Collective Inventions constitutes the first collection and book-length publication on Surrealism in Belgium on which Belgian and Anglo-American scholars have collaborated. Collective Inventions offers new writings by leading international scholars and experts on the movement's diverse manifestations in Belgium. The essays range from comparative analyses of Surrealism in Belgium with other versions of Surrealism, particularly French, to detailed critical engagements with individual oeuvres.
What is the place of Critical Realism today, given the fact that both realism and commitment in art have become highly problematic notions since at least several decades? Realism in the first place appears to be relegated to the museum of pre-modern styles and devices, safely locked-up in the toolbox of 19th-Century art history. Secondly, in our cool, postmodern times, the place for commitment has become highly confuse. The naïve confusion between Critical Realism and notions like Social(ist) Realism or Political Correctness has complexified that situation.
This book is the result of a collaborative project, commissioned to the Lieven Gevaert Research Centre for Photography and Visual Studies at the KULeuven by the Concertgebouw Bruges. Complying to its mission as a laboratory for creation, the Concertgebouw seeks farreaching synergies between different artistic media. Photography and music thus found one another in a creative encounter that lasted six months, during MOZART06, the Concertgebouw's festival in the Spring of 2006.
This book is the outcome of a collaborative research project between LGC, the Leuven Museumsite and STUK Arts Centre. On the occasion of the centennial anniversary of Constantin Meunier's death, the contributions by Sura Levine and Marjan Sterckx examine the importance of Meunier for Leuven, where he taught at the Arts Academy from 1887 until 1897 and lived from 1887 until 1894. As a complement, four authors from various disciplinary backgrounds address the actuality of Meunier's social realist thought today.
In this photo book, Els Vanden Meersch investigates the latent presence of violence and dominance in the everyday reality of the urban fabric. Subtle images contain combinations of banal details, through which emerges a restrained tension that points at the paranoid as it is felt in architecture. Control mechanisms such as surveillance camera's, spy holes and rear-view mirrors are set against one another.
Prof. Wendy Morris teaches contemporary arts at KU Leuven and LUCA School of Arts, Brussels. She is an artist - filmmaker - researcher whose work is focused on the retrieval of marginalized histories.
Dr. Liesbeth Decan teaches theory and history of photography at LUCA School of Arts - Campus Sint-Lukas Brussels. Her research is focused on the use of photography by artists, especially in Belgium, between the 1960s and early 1990s. She is the co-ordinator of the research group Photography Expanded of LUCA School of Arts (http://www.luca-arts.be/en/photography-expanded-0), and member of the editorial staff of Depth of Field (journal.depthoffield.eu, Leiden University Press).
Dr. Jeanne Boden works at ChinaConduct. Her research focuses on contemporary Chinese art and photography, discourse analysis, Post-colonial, Post-traditional and Post-socialist China.
Dr. Maarten Vanvolsem is Head of the MA-programme in Photography at LUCA (Leuven University College of Art). His artistic research is focused on the relationship between photography and time.
Prof. T.J. Demos is Professor of modern and contemporary art at University of California, Santa Cruz. He is the director of the Center for Creative Ecologies.