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Related: Belgium - city

Boccaccio [...]

This is how it went in the early days: in the Boccaccio discotheque in Ghent, young artists presented their demos to the DJ, hoping they would play them. When the audience went wild, the track was approved. When there was no reaction, the artist went back to his studio to tinker on. And the week after that he came up with a new tape. It was an excellent experience. [...]

Culture Club [...]

http://www.cultureclub.be Culture Club

Mo & Benoelie [...]

Mo & Benoelie are two sound freaks annex DJ's with a passion for pleasing the crowd. They have been a part of the Belgian party scene from the early days of the "roaring 80ies" through to a variety of electronic music of the '90s. Their varied mix selection can be pinpointed by their need for soul fullness. Their most striking quality is that they can make everybody move, by choosing and combining the best records out of the history of popular and contemporary music. Now Mo & Benoelie are resident-dj's at Culture Club (the new Belgian top club), Eskimo, Bel Mondo, Kozzmozz and Poplife.

Guide to Gent


Second Hand Vinyl

  1. DE KAFT Kortrijksepoortstraat 44 9000 Gent T +32 (0)9 329 64 38 de.kaft@pandora.be Open from monday to saturday from 10am to 6pm.
  2. FLEAMARKET BIJ SINT-JACOBS Bij Sint-Jacobs (rond de kerk) 9000 Gent When: every friday, saturday and sunday from 8am to 1pm.
  3. VINYLKITCHEN Sleepstraat 23 9000 Gent T +32 (0)9 225 40 47
  4. VYNILLA Sint-Kwintensberg 38 9000 Gent T +32 (0)9 223 71 22 F: +32 (0)9 223 71 22 www.vynilla.com vynilla@pandora.be Open from monday to saturday from 11am til 6pm.

Fortlaan 17

In 1989 Gallery Fortlaan 17 opened its doors to become an animated centre of international contemporary art. Apart from presenting striking exhibitions it has edited various publications and staged a large number of activities. The gallery has carefully selected a number of artists for their professional qualities and their wide-ranging activities, including painting, sculpture, drawing, photography, installations and multimedia-productions.

The artists can be categorized in four groups. The first category includes artists who started their career in the 1960s and who have become figures of major importance in the history of contemporary art. Among them rank figures like Günter Brus, Jacques Charlier, Roy Grayson, Peter Greenaway and Bruce McLean. The early work of these artists caused a lot of controversy and they influenced generations to come. Their current work causes as much excitement as ever.

The second category is defined along geographical lines, i.e. it focuses on areas of major importance on the scene of contemporary art. A typical example is Austria with artists like Gunter Damisch, Brigitte Kowanz, Walter Vopova and Ulrich Waibel, but also the works of Scottish, English and French artists have been exhibited.

Thirdly, the gallery is always prospecting for young talented artists, both at home and abroad.

The last group includes native talents. Exhibitions have been made with works from artists like Dirk Braeckman, Peter Buggenhout, Mark Cloet, Jacques Charlier, Danny Devos, Michel François, Ria Pacquée, Narcisse Tordoir, Ludwig Vandevelde and Marthe Wéry.

It is a conscious policy of Gallery Fortlaan 17 to offer a varied programme, as we believe that art can only be appreciated from an open-minded point of view and through developing a sense of discernment. Gallery Fortlaan 17 wants to affirm its identity through offering top-quality works of art. Integrity is a premier criterion to engage in a long-term cooperation with artists. We therefore seek first and foremost artists with authentic and daring views. Gallery Fortlaan 17 is committed to follow the artists throughout their oeuvre so as to deliver a well-founded appraisal of its merits. Offering such a wilful and radical programme implies that trendy or fashionable movements are excluded from the exhibitions, though these may be discussed at length during debates the gallery organizes.

A second criterion by which artists are judged, involves the relativism of the contemporary art production. To what extent do artist challenge the disintegration and cynicism of contemporary art? What are their different attitudes towards contemporary society? Apart from the fact that artists should be able to put things into perspective, the gallery's own policy must also be subject to continual evaluation.

There may be a certain importance in being earnest, but unquestionably it is good policy to have it balanced by some wit of our soul, which is consequently a quality the gallery appreciates.

Also the weight of history enters our selection criteria. In this respect the gallery selects artists who relate the topicality of their art to a historical background and who question the prevailing elements of our present and past culture. Their works bear witness to powerful communicative skills and a vigorous historical vitality.

Furthermore, the gallery aspires to exclusiveness, i.e. it attempts to show the works of artists who have achieved an international reputation, but whose work has either never or only occasionally been on display in Belgium.

The gallery itself has put together a fine collection of art works. These include works from the artists it represents, works which are of a major historical importance and works from young talented artists who in some way ideologically complete the philosophy of the basic collection. At regular intervals a floor of the gallery is being reserved to acquaint the public with part of this collection.

These lines of policy are not only the fundamentals of our numerous exhibitions on the premises at the Citadelpark, but also of the activities the gallery organises elsewhere. The gallery has presented various one-person exhibitions and exhibitions which confronted the works of two or more artists, but the main events have been group exhibitions which focus on a specific theme in line with the criteria mentioned above. Illustrative of this approach are exhibitions like 'Le goût est fait de mille dégoûts' (1992), or 'Extremes Meet' (1994), which confronted various themes, causing much debate about the state of contemporary art and the position of the work of art. 'Without Trembling' (1997) highlighted different attitudes within the abstract art of the past thirty years, and 'Amour & Obsession' presented artists of different nationalities and generations who focus on 'involvement with history'. Eminent curators have collaborated with the gallery to acquaint the public with new and refreshing artistic views: Roy Grayson presented 'The Space Between' (1993), an exhibition introducing young British artists; Veerle Van Durme selected four young French artists (1995); Mark Decock confronted the intriguing works of four artists (1996). Gallery Fortlaan 17 has also assisted museums and arts centres with exhibitions, including the Elzenveld in Antwerp, the Museum of Contemporary Art in Antwerp, the Provincial Museum of Modern Art in Ostend, etc.

As an intermediary between the artist and the public, Gallery Fortlaan 17 is also a place where the current events on the art scene are debated and analysed. The gallery organizes debates, encounters with artists, lectures and visits to artists' studios. It participates in art fairs and festivals abroad and at home. The gallery's policy is explained in catalogues of the various exhibitions and in reviews, articles and interviews in the bimonthly 'Newsletter', which has been published since 1991. Informing an international public is an increasing part of the gallery's activities: since January 30, 1998 extensive and up-to-date information is available on our web-site (http://www.fortlaan17.com). Through these channels the gallery wants to guide people through the ever-increasing production of art and the manipulations of the system. The gallery also assists private individuals or companies wishing to start a collection of art. To facilitate the starting of a collection, since 1992 the gallery has evolved a borrowing system, which makes it possible to acquire a work of art through a hire-purchase contract.

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