Who would have thought that we owe one of the most beautiful and least predictable artistic collaborations in Brussels to Gustave Flaubert, the author of the nineteenth century, who also Madame Bovary donated? The poetic filmmaker Nina de Vroome and the effervescent illustrator Nina Vandeweghe puppet together into ‘Readymade Ninas’ and pimped Flauberts Dictionary of ideas receipts for a stimulating exhibition at Alice Gallery.
Born in 1988, studying painting and illustration to KASK in Ghent
After her studies she goes ordered illustrations provide i.a. The morning† Vice† Crack† humor† BRUZZ† devil†
is a part of breasts with hera Brussels-Ghent magazine and collective of illustrators and cartoonists
Her work is expressive and multi-layered and is populated by exuberant, uninhibited cartoon characters
IN Ready-made Ninas she shows her latest painting adventures
Born in 1989, studying movie to KASK in Ghentand in that period do refugee (2012) and her graduation project Waves (2013)
building a poetic documentary oeuvre of An idea from the sea (2016), The dog’s happiness (2018) and Globes (2021), which is shown at festivals such as Visions du réel and the International Film Festival Rotterdam
The also teaches and is co-founder of Sabzianan online movie magazine
“Book. Whatever it is, always too long.” “Artists. Tous farcører.” “Imbecile. Those who do not think like you.” “Society. See you soon.” “Sorry. Toujours s’en garder.” With a thousand posts and some well-directed words for interpretation, Gustave Flaubert – the literary greats, known for classics such as. Madame Bovary† salammbo and Bouvard and Pecuchet – in his Dictionary of ideas receipts a mirror to his French fellow man from the nineteenth century.
That book – intended as a kind of explanatory encyclopedia at Bouvard and Pecuchet – was a tantalizing pleasure for many years, a spontaneous and steadily growing satirical ‘side’ of the time he lived in, and the vanity, complacency, and intellectual laziness with which French society at the time looked upon itself and others. A book so full of disgusting, ready-made ideas “that once you read it,” Flaubert wished, “you would not dare speak again, for fear of accidentally slipping one of the book’s sentences.” But while his unfinished novel Bouvard and Pecuchet – about two retired copyists who indulge in all their passions and interests (from chemistry to literature, from politics to love) to fail again and again – published a year after his death in 1880, it remained. Dictionary of ideas receipts until 1913 unpublished.
When Brussels filmmaker Nina de Vroome more than a hundred years later found the ideal platform on Twitter to slowly release Flaubert’s ingenious social dissection on twenty-first-century people, there was nothing to predict that it would become the germ of an unpredictable, but oh so beautiful Brussels artistic collaboration. Well tuned to be found together: artist of the junk surplus, the comic book-like opposition and the exuberant tumble life Nina Vandeweghe and filmmaker of the wonder, the simplicity, the poetry and the intense to see Nina de Vroome.
“I had that booklet from Flaubert and was very excited about it,” says Nina Vandeweghe. “My friend, like Nina an instructor, made me aware that she has been making the original for a while Dictionary of ideas receipts tweeted. “” If Flaubert had lived today, he would no doubt have been an avid tweeter, “adds Nina de Vroome. Dictionary is read as a very sharp presentation of the prevailing worldview of the bourgeoisie of the time. ” “And from the common fascination arose the idea of doing something with Flaubert’s lexicon together,” says Nina Vandeweghe. “To make it an updated version, grafted into the present, in word and image.”
JUMP FROM WORD TO WORD
“That mission has taken a toll on my dealings with people,” laughs Nina de Vroome. “When I talk to people, I find that I often think, ‘Oh yes, that word!’ I am constantly looking for the signal words of our time. Our dictionary is a kind mouthpiece of a generation, of a general consensus in our culture. It is not our voice that speaks, but a kind of contemporary average, even though it is less defined than Flaubert’s, because he is not associated with one particular class, for example. ”
And then our encyclopedia is filled, just like with Flaubert, with buzzwords that are filled with meaning very temporarily, such as woke, natural wine or corona. But also words that are essentially neutral – a washcloth is just a washcloth – but that have so many specific connotations. ”
“Washcloths – are disgusting. To wipe genitals and children’s faces, ”can be read in Nina’s dictionary, which guides every visitor through the exhibition. Or: “Sitting – smoking the new.” “Meat – In a hundred years we will find eating meat as immoral as slavery.” “Flying Shame – Very annoying to have when looking for the cheapest itinerary.” “Yourself – Being is the most important thing.”
Or “Body – It is important to feel at home in it. Southern people can do this better than northerners. “” I found it difficult, yes, “says Nina de Vroome.” But it inferential racismwhich is not explicit, but is embedded in our language and concepts, I would include it. “” These are the clichés that tell a lot about what is happening now, “Nina Vandeweghe nods.” That comment is also in there. with ‘Conversation – Better not about identity politics.’
“And it also touches on something else,” says Nina de Vroome. “But more words are forbidden today. Not from censorship, the use of words is just increasingly the subject of debate. Look at the pronouns in the lgbtq + community or at words like “white”, “white”, “black” or “colored”. All the words that revolve around identity politics are delicate. It’s good that there’s a shift in how we can name things, but at the same time it sometimes feels like talking like a kind of hop shoe that jumps from ‘forbidden words’ to ‘permissible words’, and that play is also a part of this project. ”
“I’ve never been the person standing on the barricades to address abuse, that’s not my style,” says Nina Vandeweghe. “Indirectly, through dark humor, a strange kind of melancholy and the grotesque magnification that is always in my characters and their actions, my work touches on all these issues. But people are still meant to see in it what they want to see in it: the hypocritical or just the funny, the flat or the crooked. That space is important. “
Nina Vandeweghe’s paintings depict the layering of the clichés from the updated Dictionary of ideas receipts in a striking way. grotesque attitudes, larger than life tumbling bodies, dangling limbs and melting masks: Nina Vandeweghe’s expressive, very personal imagery remains very recognizable on the canvas. “While I have only really painted since November. It was already a special experience to get away from that A3 sheet and get bigger, also looking for that texture and layer on paint. Suddenly I get very different options. But I’m still growing, it sometimes goes in all directions, I have the feeling. It’s because of the variability that can overwhelm me, make me jump from one thing to another, get bigger and faster, and want to work with even more layers and texture. “
It also turns out to have a backside. “The lights have gone out, yes,” says Nina Vandeweghe. “I obviously touch my sleep by creating. And it takes its toll on my creativity. I do not want to make it a theme, but somehow it also flows into my work. ”
“Deterioration” is one of the items that Nina Vandeweghe has portrayed. The statement: “We all have to endure it. More tragic for women than for men.” “The masks are melting away from the hypocrisy, but also my feeling of melting away under the pressure is incorporated into it.” It does it personally, but not one-on-one. “Handwriting” is the entry to which two canvases by Nina Vandeweghe refer. “Reveals a great deal about one’s character,” the statement read. “And then I intentionally paint in a mega silly calligraphy: ‘Love, love, love’, very cliché.” A playful hopscotch route to escape.
> 1/7, Alice Gallery, alicebxl.com