Museum of Parallel Narratives
14 May–2 October 2011
MACBA, Barcelona

Dimitrije Bašicevic Mangelos, "Manifest vlaškovulicanski," 1977–78. Moderna galerija, Ljubljana / Museum of Modern Art, Ljubljana.*
MACBA presents, in the context of transinstitutional organisation ‘l’Internationale’, Museum of Parallel Narratives. This exhibition offers a possibility to (re)discover art forms, collectives and documented actions developed within and representing post-war Eastern Europe. The works are part of the Arteast 2000+ Collection of the Moderna galerija in Ljubljana and includes sixty-two artists, eight artist groups with more than a hundred art pieces, mostly originating between 1961 and 1986.
The show is structured around eight relatively defined groups sharing similar themes, artistic intentions and political concerns. Marina Abramović, the OHO Group, Dalibor Martinis, amongst many others - from the avant-garde to performance art and documents extracted from the mass media, the exhibition presents a variety of practices that unveils a complex art system, one that developed against the establishment, the authorities and the dominant ideology of the time.
Walking into the large galleries of the MACBA feels like travelling through a fragmented constellation of micro-politics, self-organised groups and alternative movements. Dense in nature, the exhibition could use a stronger sense of direction. It presents however an extremely valuable collection of documents that enable visitors to grasp some elements and narratives of a historical period marked by the emergence and demise of an ideology.
The project has its own website
Curator: Zdenka Badovinac. Organised and produced by: Museu d’Art Contemporani de Barcelona (MACBA); Moderna Galerija, Ljubljana; the Július Koller Society (SJK), Bratislava; the Van Abbemuseum (VAM), Eindhoven; and Museum van Hedendaagse Kunst (M HKA), Antwerp.
This work programme has been funded with support from the European Comission. This publication [communication] reflects the views only of the author, and the Comission cannot be held responsible for any use which may be made of the information contained therein.

Auto Italia and Upset The Rhythm present: MATMOS with J. LESSER, JOHN WIESE and BIRDS OF DELAY:
Thursday 19 May 7.30pm

As part of an ongoing collaboration with record label and music promoter Upset The Rhythm, Auto Italia launch their 2011 programme with an evening of live performances from Matmos, John Wiese and Birds of Delay.
Matmos, the experimental music duo from San Francisco, will be performing in collaboration with J. Lesser. The pair, who started working together in the mid-1990's make music out of the sounds of objects, animals, people and actions using audio samples from plastic surgery operations to the sounds of saliva on a singer's mouth. They work not only in music production but explore, through performance and collaboration the various social, political and economic contexts of sound. Matmos have an unusual and critical connection to sound, focussing on the content and potential of project based audio experimentation. This expanded interpretation of sound stretches their technical and theoretical expertise to a multitude of contexts with a huge variety of other collaborators and disciplines which includes the Kronos Quartet, Björk and Erase Errata. As well as performing they have taught seminars at Harvard, scored the soundtracks for five gay porn films, one pinball machine and even a NASCAR television commercial.
The event will also feature John Wiese, a solo artist and serial collaborator from Los Angeles. His ongoing projects include LHD and Sissy Spacek, he has toured extensively as a member of Sunn O))) and recently performed in the 52nd Venice Biennale with artist Nico Vascellari.
Support comes from the London/Berlin duo Birds of Delay. Brought together through a shared love of power electronics and noise bands the pair will be opening this evening of collaborative music.
Upset The Rhythm have been creating their own community around DIY music since 2003. Through distributing artist's work, releasing records and organising a formidable amount of weekly shows they have a proximity and commitment to the scene that has developed around them. They have been working with Auto Italia since 2009, co-producing YES WAY a festival celebrating grassroots music and art in the UK.
Tickets can be purchased in advance from We Got Tickets.
Auto Italia
434 - 452 Old Kent Road
London SE1 5AG

Serpentine Gallery presents:
Nancy Spero: A conference

Friday 15 April, 11am – 5pm Hochhauser Auditorium Victoria & Albert Museum Cromwell Road London SW7 2RL The Serpentine Gallery presents this conference on the occasion of their current exhibition of the celebrated American artist Nancy Spero, the first major presentation following her death in autumn 2009. This conference has been organised in collaboration with Jon Bird.
Artists, academics and curators, including Jon Bird, Clayton Eshleman, Margaret Harrison, Gill Perry, Olivia Plender, Monica Ross and Lisa Tickner, gather to discuss and celebrate the work of Nancy Spero and its relationship to feminism, literature, philosophy and theatre, specifically focusing on the distinctive understanding of the relationship between Nancy Spero’s work and that of Artaud. Rarely screened documentary films of the artist made by Irene Sosa over the past 15 years will be screened throughout the conference.
Artist and activist Nancy Spero (1926–2009) was a leading pioneer of feminist art. During her 50-year career, she created a vibrant visual language constructed from the histories and mythologies of past and present cultures.
Trained in the figurative tradition, Spero was greatly influenced not only by the enduring dialogue with her husband Leon Golub, but also by artists including Jean Dubuffet and by the objects and artefacts she discovered in ethnographic museums. Spero rejected the dominant post-war movements of formalist Abstraction and Pop Art in the 1950s, developing a more ephemeral way of working that used paper and collage, gouache and printmaking – a process she described as allowing for ‘all manner of processions, conflicts, interruptions and disruptions’.
Spero created an identity through the acts of borrowing and disguise. In early work, texts as well as images were enlisted from a wide range of sources to express alienation, disempowerment and physical pain. Directly quoting the writing of poet and playwright Antonin Artaud, Spero voiced her anger at being exiled as a female artist to the peripheries of the art world. Spero’s often radical work made strong statements against war, male dominance and abuses of power, presenting compelling arguments for tolerance and a non-hierarchical society. Yet her work was never simplistically utopian. ‘Utopia, like heaven,’ she once remarked, ‘is kind of boring.’

Tickets £10/£5 Available from the Victoria & Albert Museum Box Office: +44 (0)20 7942 2211

...ment Issue 01: Welfare Statement, O(nline)UT Now!

Friends and collaborators from ...ment, new online journal on contemporary art, culture and politics, have released their first issue 'Welfare Statement'. This first issue explores recent debates on the crisis of the welfare state. Contributors include Franco Bifo Berardi, Markus Miessen, Margit Mayer, DOXA, Patrick Coyle, The Public School, amongst others. Whilst the journal primarily operates online, a beautiful risograph print limited edition of 150, featuring a contribution from Elmgreen & Dragset, is available from various art bookshops in Berlin and shortly in London.
The London/Berlin based collective also announces a first event at the Chisenhale Gallery, London, on 16th April, co-organised with DOXA and the Amateurist Network. The event AMASS: Towards an Economy of the Commons, consists of an afternoon of round-table discussions and presentations on the notions of the commons. Participants and contributors include Anthony Iles (Mute) and the University for Strategic Optimism.
Next issue is expected towards the end of the summer, and an event in Berlin is lined up in collaboration with Archive Books/Kabinett.

The Other Tradition
26 February - 1 May 2011
WIELS, Brussels

Sharon Hayes, In the Near Future, 2009 35mm multiple-slide-projection installations: 13 actions, 13 projections. Courtesy the artist and Tanya Leighton Gallery, Berlin

Wiels presents a new group exhibition curated by Elena Filipovic and including international emerging and established artists. The show, which opens to the public on 26 February, aims at exploring a 'new' genre of art practice, located somewhere between situationism, relational aesthetics and participatory arts. The works presented are largely structured around social actions, situations and documentation, opening up a layers of possibilities for a new terminology of, and new approach to the 'Other Tradition' in art doing/making . Live event is at the core of this production process, and the exhibition comes alongside various live performance and interventions.
Participating artists: Danai Anesiadou, Ei Arakawa (& Silke Otto-Knapp), Cezary Bodzianowski, Sharon Hayes, Sung Hwan Kim, Roman Ondák, Jimmy Robert, Katerina Šedá, Tino Sehgal, Jiří Skála, Pilvi Takala, Tris Vonna-Michell.

Pilvi Takala, Bag Lady, 2007/2008. Performance, Alexa Shopping Center, 2008. Copyright Pilvi Takala. Photographer Ahmet Ögüt

In the context of this exhibition, Finnish artist Pilvi Takala will perform her intervention piece Bag Lady, previously presented during the 5th edition of the Berlin Biennale in 2008. On 26 February, Takala will casually be strolling through a shopping center in Brussels (location to be confirmed) with a transparent plastic bag full of cash. Looking to generate and investigate social reactions, Takala's body of work is an investigation into socio-cultural codes that shape the way we (inter)act publicly.
WIELS Av. Van Volxemlaan 354 1190 Bruxelles - Brussel Info:

Border Reverb - short video

by Raul Gschrey
Border Reverb, 8 - 13 June 2010, Clandestino Festival, Gothenburg (Swe)

Border Reverb
8 - 13 June, Clandestino festival, Göteborg (Swe)

(click on the flyer for a close-up)
Raul Gschrey, Moustache Collectif, Helen Turner, Ashley Wong
Curated by Benoît Loiseau & Joanna Figiel
Preview/Performance: TBC
Screening: Friday 11 June, 18.30-20.30
Hey, It’s Enrico Pallazzo Banehagsgatan 1p, 415 51, Göteborg
A year ago, LDN/BRU started working actively towards what was going to be its first show and the beginning of a long, sometimes uncertain, but extremely exciting journey. This sucessful event at Congrès Station in Brussels in October 2009 saw a group of international creatives taking over the public space; turning Gare du Congrès into a collaborative lab for art, performances, music and debate.
Soon after, the collective was invited to work with Beyond Borders Network and the Centre for Cultural Studies at Goldsmiths to develop Border Infection, an engaging series of workshops, debates and performances along with an art exhibition, held at Goldsmiths and the Amersham Arms (London) in March 2010.
Border Reverb is the last of a series of events that work with the themes of borders, activism and the arts. Once again, LDN/BRU will have the pleasure to raise its profile and work alongside Beyond Borders to present a collection of videos by international artists, in the context of Clandestino Festival in beautiful Göteborg, Sweden. The works function as a response to the theme of the reunion, investigating issues and limitations surrounding human flows, surveillance culture, ownership and the distinction between private and public sphere.
Workshops and talks will offer challenges to restrictive immigration laws and practices and the ways these intersect with creativity, performance and artistic and musical opposition. Border Reverb will include keynote presentations by Eyal Weizman, Julian Henriques, Abhijit Roy and Rangan Chakravorty. The five-day session will begin with a special evening event on Tuesday, 8 June, with Gayatri Chakravorty Spivak in conversation with John Hutnyk.
For more information regarding the talks, please visit Clandestino's website.

Border Infection Photos

Border Infection has been a great success, thanks to everyone who came down and took part to our activities.
Here are a few pictures of the private view of Border Infection exhibition, at Goldsmiths. More photos of the rest of the event will be posted shortly.
Photos by Chris Collier ©

Border Infection

(click on the flyer for a close up)
We have had to move all seminars and workshops to a bigger venue (Amersham Arms upstairs). See below :
TALKS, EXHIBITION & PERFORMANCE NIGHT 22 - 26 March 2010, Goldsmiths, New Cross London
BORDER INFECTION is the result of an ongoing collaboration between Beyond Borders and LDN/BRU that originated from a shared enthusiasm for questioning and transgressing creative, cultural and geographical boundaries. The event includes three days of talks, panel discussions and workshop, along with an exhibition.
info & RSVP for talks :
Exhibition // 22 - 26 March // The Gallery, Goldsmiths SU
Exploring issues and limitations surrounding urban and city narratives, as well as ownership and dislocation, the exhibition includes multimedia installations, videos and performances by international artists.
Artists : Raul Gschrey, Nicolas Sauret & Ashley Wong, Moustache Collectif, Helen Turner.
Curated by Benoît Loiseau & Joanna Figiel
Private View : Mon 22, from 8pm onwards, The Gallery (Goldsmiths SU) ---------------------------------------------------------------------------------------
After Party // Wed 24 March, from 8pm // Amersham Arms
Neil Transpontine Will Martin + guests

Parties and Public Space

By Vincent Clay
© Emilio Azevedo
Welcome To Brussels
Walking somewhere in the city, on summer weekends visiting Brussels before I lived here, I came across street events with what seemed remarkable regularity. A few thousand people dancing to techno in the square in front of the royal palace? OK! A DJ playing Burial from a bandstand tucked away in the corner of a park, to a tiny crowd? Absolutely.
You often stumble across public events in London, from Trafalgar Square to neighbourhood high streets, but the difference in Brussels is that a fair number of them - by no means all - are things that have interested me, made me stay, got me dancing. Of course, for finding things by chance, it helps that to get anywhere here you're as likely to be using your feet as you are to be rattling directly there underground.
At least in the summer, it seems evident that people here do more living in public spaces than in London, and not just in the 'continental' manner of sitting out at street-side cafes, a Brit's stereotypical point of envy of the way of life in warmer climes. It’s important here, but the Brussels drizzle makes it fairly unpleasant, if not unfeasible, for half the year. Instead, what has caught my attention is the 'official' involvement in enjoyment of public space here: the mingling of municipal permission, even encouragement, with entertainment and creativity of a quality that interests me. In the winter, you won’t passively stumble across events in the same way, but they're still going on. And so one night you might find yourself wandering through a business district doubly desolated by the night and by the weekend, catching the distant, heavy four four beat, before finding the right edifice and being welcomed by buzz and vapour down the steps to a railway station that, for tonight, has become a party. This is High Needs Low at Gare Congrès - but first you’re going to get a little history...
Ripping Up the City
For the past couple of decades, Brussels has had an image problem. Part of this is down to the word 'Brussels' being a metonym for the institutions of the European Union: admire it, despise it, or not think about it very much, whatever your opinion on the EU, the picture of Brussels that you have in your head will be bureaucratic and not lively, a million miles from 'Berlin ist arm, aber sexy.' But the capital of Europe remains a European capital in its own right, a real city, with its own urban history.
In this history, one thread is the railway line connecting the main stations of Gare du Midi and Gare du Nord. Discussed for decades before eventual completion in 1952, this project ripped through the centre of the city, resulting in the demolition of 1,200 homes. In the subsequent decades, the areas above and beside the line developed in two main ways: as poor, grey, city centre housing projects, or as grey, concrete and glass business districts.
100 years earlier, the increasingly grimy River Senne (not Seine) was covered to form some of Brussels’ main streets: as you criss-cross the busy Boulevard Anspach, there’s nothing to indicate the once-noxious river running below. Similarly, the Midi-Nord connection might not be pretty, but it’s certainly functional – at least if you’re a commuter (or appreciate the old joke about Brussels). As Nicolas Hemeleers of a Brussels -based urban planning office says: “This space has been made with urban planning in the past – it’s here, and the challenge for urban planning now is how to use it.”
Two new stations were formed by the link, Gare de la chapelle and Gare Congrès. Gare de la chapelle is in a poor, largely North African neighbourhood. Since 1997, the station has been the home of a regeneration project for the surrounding area: Recyclart. The Recyclart bar, tucked beneath the station’s concrete superstructure, is the most visible part of a project with initiatives that range from an arts programme that draws people to the area from across the city, to training that raises the skills of the neighbourhood population. This integrated project receives city funding and is one of the city’s creative hubs.
By contrast, Gare Congrès sits between the former Ministry of Finance building, a car park, and a couple of other disused, broken-windowed office blocks. It’s a business district, but a dilapidated one that offers no accommodation and no attractions. With no local community, there is no need for ‘community’ projects. Instead, since 2006, the Bruxelles Congrès association has been finding ways to transform the space, with permission but without funding.
The conception of the project was, in part, driven by former deputy mayor Henri Simons when he was in charge of urban planning and culture. The Association is entirely voluntary: Hemeleers, a member, says that this means although arranging events can be exhausting, more risks can be taken with programming. Meanwhile, the station is always in use: the program has to work around the timetable, and features exhibitions, seminars, and parties – sometimes simultaneously. In October 2009, it hosted the first LDN/BRU event, coinciding with the annual Nuit Blanche. One of the exhibits turned the locked-up ticket office into something halfway between a projection space and post-apocalyptic vitrine.
© Installation by Moustache Collectif - Photo by Dan. J. Spinney
So, not only does the space of the station challenge exhibition curators and party throwers to use it in new ways, but it works towards encouraging a new perception of the Brussels urban environment: anywhere can be used, anywhere can be transformed in purpose whilst using the existing urban fabric. For me, this surely encourages people to see the actual shapes and structure of their city regardless of a building’s function, moving away from received ideas of architectural worth and perhaps towards feeling more of a claim on the city as their own. Or at least reassess a grumpy ticket vendor.
High Needs Low
At the most recent High Needs Low, I find the wood-panelled station bar heaving with people, filled with a sense of excitement alien to what is, in effect, a subterranean transit café. Elsewhere, you hand your coat over at the cloakroom table, and it’s taken to racks lining a long, brightly lit corridor that is only ever hurried through by commuters going somewhere else: keeping something in this space is a subtle shift of purpose. And in the main underground atrium, a DJ is playing some beautifully mellow techno in front of a double-time projection of lights flickering on a city river, and the dancefloor is surrounded by screens with static images that might be fireworks, sparks, or the ends of a bunch of fibre optic cables lit with information. Whatever they are, they provide a sense of movement captured and held, at once complementary to and in tension with the act of dancing. But being there doesn’t feel as if you’re in something conceptual, it’s not clever-clever: just as your dancing legs start to flag a couple of hours in, some guy with a big smile on his face bumps into you and insists he gives you one of the stack of shots he’s carrying, the DJ brings in a new beat, and everything adds up to a fantastic party.
A couple of weeks later I meet up with two of the organisers, Soumaya Dance Machine and Guillaume Bleret. Soumaya is the resident DJ, and Guillaume one of the artists involved. I learn that the stills were actually derived from something far from techno and railways. Bleret and fellow High Needs Low collaborator Luz Diaz were photographing in a tropical garden: a near-abstract photo of light falling on the surface of a small fountain was the one that most intrigued them, and became the basis for the look of this edition of High Needs Low. Cineaste Patrick Charpentier completes the team.
An ambitious party, the first High Needs Low was in October 2008, and Soumaya’s idea was that it would be an event where your eyes and ears are on an equal level – not just another party trying to invite the right DJs (though they certainly make some good picks) with a VJ ‘responding’ more or less successfully to what is played. And it’s a labour of love: they pay the guest DJs but take nothing for themselves, and for days before the event there are always at least two of the team around the station setting up, attracting occasional glares from commuters who they have mildly inconvenienced. Soumaya, who DJs across Europe, and Guillaume, who in addition to his own work assists Ann Veronica Janssens, are dedicated to High Needs Low because they felt something was missing in their hometown. The established Fuse nightclub, for example, is on the circuit for some of Europe’s finest DJs, and was the site of my first long Brussels dancefloor night, but some people are turned off by a macho culture that occasionally appears in part of the crowd. By contrast, Soumaya tells me that giving things away to people is central to High Needs Low: it turns out that the guy who had pressed a Jägermeister into my hand was one of the team, who had liberated a bottle from the bar and brought it out onto the dancefloor.
Guillaume adds another thread to my history of the city: in the 70s and 80s, Brussels had a strong alternative scene, with a continent-wide reputation. In the early 90s, when he started to experience things first hand, it was possible to find the sharper edges of creativity or entertainment in the city. But with the continuing growth of what he ambivalently terms ‘the European fortress’, increasing efforts were made to clean the city up, and through the late 90s and early 00s, most of the city’s creativity seemed to fall away. Yet even with the temptation for emerging talent to move elsewhere, to somewhere marked more indelibly in the 21st century European creative consciousness, Guillaume is convinced that things are starting to change now, despite the inflow of Eurocrats like me helping to push up rents.
Indeed, despite this population often failing to engage outside the Euro-bubble, Brussels’ dual position as both heart and crossroads of Europe results in a mix of people that is one of the reasons Guillaume wants to work and make things happen here. And, from what I’ve seen, the willingness of the creative community to engage with municipal space – in addition to spaces commercial, domestic , or abandoned, in which other cities might have their strength –is one of Brussels’ most distinctive aspects.
© Emilio Azevedo


Thanks to you all for coming down to Congrès Station and 105 Besme this week-end, the event has been a succes and that wouldn't have been possible without you ! Pictures will be available soon. Hope to see you again soon ... in London ?



Blvd Pacheco Brussels

First Event @ Congres Stations, Brussels - 2, 3, 4 October 2009

LDN/BRU aims to open a creative exchange between London and Brussels. For this first event, Congrès station will become a creative arena for exhibition, performance, discussion and music, with artists and creatives from both cities.

Alongside this, our partner space the apartment-gallery 105 Besme will house 'Vaudeville', a video installation by Cadi Hélène Rowlands.





// NIGHT + PERFORMANCES // 3 Oct // 19.00 - 02.00 // @ CONGRES // FREE !!!


A LOVE SUPREME (Queen of Hoxton) LDN



Rhiannon Hunter (performance)

Neil 'Bestever' Edward (live street art)


// DISCUSSION + PERFORMANCE // 3 Oct // 16.00 // @ CONGRES

'Breakthrough Cities : How cities can mobilise creativity and knowledge to tackle compelling social challenges'

John Hutnyk (Goldsmiths, University of London)

Monika Dziegielewska-Geitz (British Council - Creative Cities project)

Henri Simons (Former Deputy Burgomaster of Brussels - Culture & Urbanism)

Followed by a performance by Jean-Baptiste Biche (17.30)


// EXHIBITION // 3-4 Oct // 14.00 - 19.00 // @ CONGRES

Gast Bouschet & Nadine Hilbert (w/ Josiah Wolf - Why?)

Matthew Stock

Moustache Collectif

Helen Turner

Steve Jakobs

Rhiannon Hunter

Patrick Staff

Andrea Poulieva

Sarah Cross & Claire Caroll

Howard & the Urban Foxes


// EXHIBITION // 2-3-4 Oct // @ 105 BESME (105 Av Besme, Forest)

Cadi Hélène Rowlands - 'Vaudeville' - Video Installation

Opening : Friday 02/10 // 18.00 - 21.00

Supported by the British Council

Article in The Bulletin // 17 September 2009

click on picture to read

105 Besme Cadi Hélène Rowlands

Vaudeville / Cadi Hélène Rowlands
Installation - Performance – Arts visuels / Visuele kunsten / Visual arts
02.10 18:00 -> 21:00 (vernissage)
03.10 & 04.10 14:00 -> 19:00
EN/ For her first show in Belgium, British artist Cadi Hélène Rowlands transforms the domestic space of 105 Besme into a ‘vaudeville’-style theatre installation creating a suspension between appearance and reality.
FR/ Un décor théâtral rappelant le début du 20e siècle, des projections vidéo et une performance live permanente. Pour sa première exposition à Bruxelles, l’artiste londonienne Cadi Hélène Rowlands occupe l’espace domestique du 105 Besme dans le cadre du projet LDN/BRU qui rassemble artistes londoniens et bruxellois.
NL/ Britse kunstenares Cadi Hélène Rowlands toont haar installatie ‘Vaudeville’ in de huiselijk sfeer van 105 Besme. Een theaterdecor van het begin van de 20ste eeuw, videoprojecties en een permanente live performance vormen deze eerste Brusselse tentoonstelling van Rowlands in het kader van het project LDN/BRU die Londense en Brusselse kunstenaars samenbrengt.
A co-production of 105 Besme & LDN/BRU
Supported by the British Council & the commune of Forest/Vorst
With Cadi Hélène Rowlands & Matthew Stock
105 Besme
Avenue Besmelaan 105
0475 29 98 73 –
BUS 48, 54 (Albert)
TRAM 3, 4, 33, 51 (Albert)

Helen Turner

Helen Turner website

Matthew Stock

Matthew Stock website

BRXLBRAVO Art festival 2009

Cette année, la 3e édition de BRXLBRAVO et la 8e édition de NUIT BLANCHE auront lieu le même week-end, du 2 au 4 octobre. Le fait de joindre ces deux événements au sein d'un même partenariat dans le cadre de l'Année européenne de la Créativité et de l'Innovation ne peut que valoriser le dynamisme culturel et la richesse artistique de la capitale de l'Europe.

Dit jaar vallen de 3de editie van BRXLBRAVO en de 8ste editie van NUIT BLANCHE samen in het-zelfde weekend van 2 tot 4 oktober. Het samenbrengen van deze beide evenementen in een partnerschap binnen het kader van het Europese Jaar van de Creativiteit en Innovatie kan de culturele dynamiek en rijkdom van de Europese hoofdstad alleen maar extra in de verf zetten.

This year, the 3rd edition of BRXLBRAVO and the 8th edition of NUIT BLANCHE share the same weekend, from 2 to 4 October. Joining these two events into a partnership within the European Year of Creativity and Innovation can only emphasise the cultural dynamics and richness of the European capital.


British Council celebrating 75 years of cultural relations


Friday, October 2, 9am – Sunday, October 4, 2009, 11pm


British Council event at Brussels Congres train station

Join us for panel discussion on culture and innovation in cities with guest speakers from Goldsmiths University of London, the ULB, the British Council and participating artists.

In Europe, where over 70 percent of the population live in urban areas, culture and innovation is central to addressing the challenges that cities face. Cities are cradles for innovation because they are where knowledge, culture and self-governance come together, and their ability to solve problems creatively now matters more than ever.

It is fair to say that most of the big challenges, globally, are to be found in cities. So will their solutions. Join us for a panel discussion on culture and innovation in cities.

With guest speakers from Goldsmiths University of London, the ULB, the British Council and participating artists. We are also supporting an exhibition which runs for the length of the festival,

from Friday 2 – Sunday 4 October at Brussels Congres Train Station and at the house/gallery on 105 Besme.

Participating artists include Gast Bouschet and Nadine Hilbert (the artists that represented Belgium at the Venice Biennale) and a host of London-based artists including Matthew Stock, Helen Turner, Rhiannon Hunter, Cadi Hélène Rowlands, Sarah Cross, Claire Carroll and Eden Mitsenmache

British Council website

Jean Biche performance