#academy antwerp

[booksinantwerp]

Academy Antwerp graduate collection of An Vandevorst, 1991 follow on Instagram for more

[funstealer]

Royal Academy of Fine Arts Antwerp Year One Show - Skirt (2010)

[infinitycutter]

got automatically rejected from fit cuz they lost my transcripts and never looked at my application at all

[paul-cant-tell]

Antwerp Royal Academy Masters 2018

[shifting---patterns]

How Post-Punk Influenced Nowadays Fashion

It's been a long time since Malcolm McLaren opened his boutique "Sex" in the 1970s, and Vivienne Westwood equipped the Sex Pistols with their iconic outfits and sent them out onto King's Road. The approach back then was: "Being anti at all costs, against the establishment." Eventually, it turned into "Do It Yourself." It was fashionable because it tried not to be fashionable.

A few years later, members of Joy Division met at a Sex Pistols show in 1976 and started as a punk band. However, it soon evolved into something entirely different. When you listen to old Joy Division songs like "Warsaw" you can clearly hear the punk rock influences, but the band quickly started to deviate from the common motifs of the genre.

The music slowed down. The noisy guitar sound of punk was subdued to appear more intriguing, and Ian Curtis's existentialist lyrics, influenced by authors like Fyodor Dostoevsky, Jean-Paul Sartre, and Franz Kafka, focused not on chaos, rebellion, and hedonism but reflected his fears, physical sufferings, and the absurdity in the face of the zeitgeist and social influences of the 1970s and 1980s, marked by changes and political uncertainty, forced Joy Division to experiment.

They created not only something musically unique but also something aesthetic. For example, with their monochromatic designs on their album covers for "Unknown Pleasures," which is probably the third best-selling T-shirt in fast fashion stores, alongside Nirvana and the Ramones T-shirts. Joy Division ended in 1980 after Ian Curtis hung himself in his kitchen. They not only helped shape the sub-genre "Post-Punk" but were also the unofficial soundtrack of existentialism. The soundtrack that made Joy Division's music feel so genuine. Because it was genuine.

Of course, in the 1960s, there were artists who processed existential themes in their lyrics. A good example would be Lou Reed of The Velvet Underground, who, heavily influenced by literature, dealt with many serious topics in his lyrics. However, it wasn't just their music; it was also their appearance that defined Joy Division. On stage, in promo pictures, and in interviews.

Ill-fitting shirts from army surplus stores, old man's pants, a few pair of derbies, big raincoats. Everything that was atypical for the punk movement, and many other artists, including The Cure, The Smiths, Siouxsie Sioux and the Banshees, Bauhaus, Alien Sex Friend or Sisters Of Mercy, went in the same direction: Through a dark, introspective, sometimes minimalist, but avant-garde aesthetic, they set themselves apart from punk and society, and looking at bands from the Post-Punk Revival from the 2000s like Interpol, Iceage, Molchat Doma, Boy Harsher, or Cold Cave, it quickly becomes apparent that this aesthetic has proven itself for almost 50 years.

This trend was, of course, not only an inspiration for musicians but also for artists, fashion designers, architects, and many more.

One designer that immediately comes to mind is Antwerp-Six member Ann Demeulemeester from Belgium, whose influences clearly evoke artists like Siouxsie Sioux or Patti Smith but also the playful goth look of the 1980s era by Rei Kawakubo (Comme Des Garcons) or Japan's goth father himself: Yohji Yamamoto.

Her story begins in Antwerp, where she initially studied at the Royal Academy of Fine Arts and quickly got to know the other Antwerp-Six members. She and the Antwerp Six presented their collections at Fashion Week and quickly became highly esteemed designers, now considered among the greatest designers of all time. Many of Ann's collections featured songs by Patti Smith, Nick Cave and the Bad Seeds, or The Velvet Underground.

This alone shows the influence of Post-Punk on Ann Demeulemeester's designs. Her asymmetrical cuts and draperies, her monochromatic, Kawakubo and Yamamoto-inspired, mainly black designs were groundbreaking, bringing avant-garde ideas in a consumable form to the people.

Another noteworthy designer from Antwerp is Raf Simons and his collections. Raf Simons grew up in the 1980s and was deeply rooted in the punk and goth subculture, whose influence can be traced in many of his collections or directly referenced by Raf himself. Notable are his A/W96 collection, which includes all-black looks with jet-black dyed hair and long black overcoats, his A/W99 collection with direct Joy Division references, black cloaks, and Gothic looks on the runway.

Raf's most famous collection A/W02-03 Riot Riot Riot! A coveted collection featuring cutoff and distressed hoodies, repurposed military garments, and loaded with punk references through patches. Among them, a bomber jacket with a patch depicting the self-harming Richey James Edwards of the Manic Street Preachers.

Obviously, his A/W03-04 Closer collection with a direct collaboration with Peter Saville, the graphic designer of Factory Records, featuring iconic graphics from Joy Division, New Order, and more.

These two examples of designers actively influenced by this culture are just a fraction. These designers were punks or goths themselves. People influenced by the postmodern identity of the time and post-Soviet tradition. Post-Punk fashion embodies the music of the time it emerged and aligns with deeper considerations. So, it didn't take long for the entire fashion world to embrace this style, partly because "Gothic" and "Punk" became more mainstream, and partly because its aesthetic components were easy to design due to their often penetrating monochromatic minimalism.

Not only goths or avant-garde designers like Ann Demeulemeester, Martin Margiela or Rick Owens, deeply connected to the style and subculture of that time, but also luxury designers like Prada, Balenciaga or Bottega Veneta are incorporating it.

The look is romantic, dark, longing for death, partly edgy, partly overloaded. All aspects that exude a constant attraction from the clothing, as people are often drawn to "the other," sometimes even "the forbidden." The look can also be easily detached from the actual Post-Punk/Goth culture - something postmodernity excels at. The style of the Gothic culture can be perfectly broken down into its individual parts and used as a kind of aesthetic sandbox. Here a thick heavy chain, there's a choker, here big long earrings, add a pair of black high combat boots, a slim-fitted mesh shirt, and preferably paint the nails, and you're done. All things that houses like Prada, Marni, Bottega Veneta, for example, have done right.

What we see today in the Post-Punk-influenced style and what we interpret as avant-garde should actually be considered a modern tradition. Post-Punk fashion embodies the music and the spirit of the time it emerged and aligns with deeper existential discourses. The design language and atmosphere of that time are now used by traditional fashion houses to incorporate young designers into their ranks and increase their relevance, merely fulfilling their quota to be considered part of the traditional fashion pipeline of LV, Dior, Gucci, and Balenciaga. The avant-garde cannot be seen as so established. The rapid growth these companies have undergone to make billions and the inheritance method of finding a designer to take over the house are enough to profile themselves as industry magnates.

In a world where fashion constantly reinvents itself, the enduring legacy of post-punk culture persists as a modern tradition. From the raw, rebellious sounds of bands like Joy Division to the avant-garde designs of Ann Demeulemeester and Raf Simons, the essence of post-punk continues to captivate hearts and minds. As luxury fashion houses seamlessly incorporate this style, it's vital to recognize the roots and the countercultural spirit that birthed it.

The romantic, dark allure, the edgy overtones – they all beckon, inviting us to explore "the other," even the forbidden. Yet, amidst the mainstream adoption, a call echoes for authenticity. True avant-gardists, whether musicians or designers, carve their paths, declaring, "This is our thing." The new avant-garde emerges not just from runways but from the pulsating hearts of those deeply rooted in their subcultures.

In a world dominated by industry magnates, the journey of post-punk fashion from the underground to luxury houses is a testament to its enduring power. As we witness the evolution, let us celebrate the genuine, the authentic, and the countercultural voices shaping the new avant-garde.

So, whether draped in asymmetrical cuts or sporting a rebellious attitude, the message is clear: The post-punk spirit lives on, and the next wave of avant-garde creators is ready to make their mark, confidently declaring, "This is our thing."

Davis Jahn

[artthatgivesmefeelings]

Louis Joseph Brüls (German, 1803-1882) The Knight’s Farewell, The Knight’s Return, ca.1840 Louis Joseph Brüls was born in Aachen and learnt to paint at the academy in Antwerp under W. Herreyns, one of the most famous narrative painters of his time. Brüls settled in Rome in 1837 and died there in 1882. The scenes in this pair of works are presumably intended to evoke the time of the crusades, which was a popular theme in Romantic painting.

[random-brushstrokes]

Dermod OBrien - The Fine Art Academy, Antwerp (1890)

[pwlanier]

Dmitry Shagin "Laika, Tereshkova and Leonov in Space"

2011. Oil on canvas.

Shagin Dmitry Vladimirovich

Born in 1957

Dmitry Shagin is a Russian artist, one of the founders of the Mitki creative group.

Born in Leningrad, in the family of artist Vladimir Shagin. In 1975 he graduated from the Art School under the USSR Academy of Arts.

In 1984, Dmitry Shagin organized a group of artists called "Mitki". Dmitry Shagin considers his mother (artist Natalia Zhilina), father, Alexander Arefiev and Richard Vasmi, his teachers.

It has been exhibited since 1976 at exhibitions of Leningrad unofficial artists: TEV (Partnership of Experimental Exhibitions), TEI (Partnership of Experimental Fine Arts).

Since 1976, he has been a member of TEV (Partnership of Experimental Exhibitions). In 1981, he became one of the founders and a member of the council of TEII (Partnership of Experimental Fine Arts).

Since 1991, Dmitry Shagin has been a member of the International Federation of Artists (IFA). Since 1988, a number of foreign group exhibitions: Paris, Cologne, Antwerp, Lausanne, Vienna, San Diego, New York, Washington, Rio de Janeiro.

The works were purchased by many private collectors of foreign countries, the USSR and Russia, the Russian Museum, the Museum of the History of St. Petersburg, the Novosibirsk Art Museum, etc.

Dmitry Shagin is one of the organizers of the Mitkilibris publishing house. In 1996, he founded and began to supervise the MITKI-VkhUTEMAS gallery together with Alexander Florensky. In 2006, he founded the museum of the MITKI creative association.

Author of musical projects: "Mitkovsky Songs", "Mitkovsky Dances", "Mitkovsky Peter", "Moscow Mitkovskaya", etc. Author of books of poems and prose. The book "Dyk" (ed. "Red Sailor") was awarded the art prize "Petrol" for 2006.

Author of objects: "Mitkovskaya Velnyashka", "Mitkovsky Flag", "Rock Musicians", etc. Author of performances: Mitkovskaya Olympics, River Brothering, Mitkovskaya Vest, etc.

Dmitry Shagin is the chairman of the board of trustees of the rehabilitation center "House of Hope on the Mountain".

In 2006, he was awarded the Petropol Art Prize. In 2009, he was awarded the Tsarskoye Selo Art Prize for the project "Russian Literature. Years passed..."

Vellum

[maximumwobblerbanditdonut]

Where there is too much, something is missing.

The Ostend International Film Festival (FFI) hosted the European premiere of the first two episodes of the TV series THE COUPLE NEXT DOOR, announcing the European premiere of Belgian director Dries Vos' latest work. The FFI announcement noted that the international cast would include Sam Heughan ('Outlander'), Eleanor Tomlinson ('Poldark'), Jessica De Gouw ('The Secrets She Keeps') and Alfred Enoch ('How to Get Away'). with Murder'), who would introduce the series to audiences on Sunday 28 January. Each year, the Ostend Film Festival (FFO) presents a Flemish film professional who contributes to the Flemish audiovisual sector.

Happy Duck Films is based in Flanders, Dries Vos -is the CEO/Producer and aims to produce English-language titles that make use of local talent. However, The Couple Next Door is not a Belgian series and was not produced in Flemish or French language. Amongst this series Driesvos Vos has a Flemish drama “The Day” and the British adaptation of “Professor T. The FFI It's not news to him

Why so much noise, laughter and shouting about 2 actors when 4 main actors star in the series according to the Dutch writer Saskia Noort on whom the series was based? The series is ranked #513 in the English-language lineup and dropped to #4 on Channel 4 TV in the UK, with low online audience engagement, including on social media.

What happened with Jessica De Gouw and Alfred Enoch, the other 2 main actors of The Couple Next Door series, who were not present at the festival even though the FFI announced the 4 actors for this day, they don't deserve a star on the Ostend Walk of Fame or to be known in Belgium? 🇧🇪 Among the 4 main actors, SH is the weakest link as far as anyone knows, he is invisible outside Outlander. What were they celebrating?

Gene Bervoets is a Belgian actor, born in Antwerp. He has performed in more than 60 films. Bervoets won the Ensor Award for Best Actor is an accolade presented by the Ensor Academy of Belgium to recognise cinematic achievement in the film industry and is the highest film honour in the Flemish-speaking part of the country.

The director doesn't know how to wear a belt or his trousers are too big for him, he could at least have left his cap at home 🥴

The director was interested in the "incomparable" SH (his words) and make no mistake, his words did not refer to SH's acting performance 🎭 but to his profitable decorative style.

But we can understand that Vos's favourite actor is incomparable. If we compare it to his style, there is no doubt, SH's style was incomparable. Adulation exists, but now it's incomparably ridiculous to what it was. It doesn't happen often, but this time it is noteworthy.

[booksinantwerp]

Academy Antwerp graduate collection of Raf Stesmans, 1991 follow on Instagram for more

[zef-zef]

Moniek Darge @ BOEM 2019, Antwerp, Belgium

source: toneglow 📸: Logos Foundation

Born in Bruges, Belgium in 1952, Moniek Darge has worked as a composer, violinist, performer and installation artist. She studied music theory and violin at the Music Conservatory of Bruges as well as painting at the Ghent Royal Academy of Fine Arts, Arthistory, Philosophy and Anthropology.

She has published extensively on her musical experiences in Kenya, Rwanda, Japan, China, Brazil, Australia and New Zealand, both in 'Logos-Blad', the monthly magazine of the Logos Foundation (of which she is editor), and on numerous radio programs.

She is currently assistant professor at the Hogeschool Gent where she teaches 20th Century Art History, Audio Art, Non Western Art Studies and introductory Ethnomusicology. (Discogs)

[mybeingthere]

Koen van den Broek (b 1973, Belgium) currently lives and works in Antwerp in Belgium. He received a BA in Architect in KU Leuven and studied painting in St. Joost School of Art & Design, Breda and in Royal Academy of Fine Arts in Belgium.

He studied architecture before completing MAs in Painting at several universities, exploring figurations of urban constructions such as signposts, car parks, grid-pattern pedestrian passages, bridges and borderlines of roads easily discovered in cities and their peripheries.

‘The sheer strength of observation’ he has developed as an artist enables him to concentrate on hidden elements and colours of the sites and objects instead of simply regarding them as a framework supporting the city.

[darktwistdchaos-blog]

Skull of a Skeleton with Burning Cigarette, 1886 by Vincent Van Gogh

Meant as a juvenile joke. Van Gogh painted it in early 1886, while studying at the art academy in Antwerp. The painting shows that he had a good command of anatomy. Drawing skeletons was a standard exercise at the academy, but painting them was not part of the curriculum.

It may also be a reflection of his declining health, as he mentions in one of his letter:

"The doctor tells me I absolutely have to keep my strength up...and until I have built it up I am to take it easy with my work. But now I have made things worse by smoking, which I did because one doesn't feel the emptiness of one's stomach then."

[voidmade]

such heartbreak when i went to see the antwerp academy fashion show and was blown away by the garments from the 1st year students alone just to learn later a lot of ppl just come up with a design and…have a seamstress execute it???

[dutch-and-flemish-painters]

Andrei Matveyev - Selfportrait with wife - 1729

oil on canvas, 75.5 × 90.5 cm (29.7 × 35.6 in)

Russian Museum, Saint Petersburg, Russia

Andrey Matveyev (Russian: Андрей Матвеевич Матвеев. 1701 – 23 April 1739) was a Russian artist. He was one of that nation's earliest modern-style portrait painters and helped to establish the genre.

He was born in Novgorod in 1701 but the names of his parents are unknown.

Peter the Great, having somehow become acquainted and impressed with Matveyev's early work, sent him to study in Europe. Beginning in 1716, he spent eleven years in the Netherlands and Flanders where he worked under Carel de Moor. From 1723-1727 he attended the Royal Academy of Fine Arts (Antwerp). He was the first Russian artist taught entirely outside of Russia.

In 1727, he returned home, where he became the Chief Artist at the Court in Saint Petersburg. From c.1731, he was the head of a team of painters who worked on several architectural projects, including interiors at the Peter and Paul Cathedral and a triumphal arch in honor of Empress Anna Ivanovna. His early death is believed to be the result of his heavy work load.

His most often reproduced work is a self-portrait with his wife. There is an alternative version of the painting, also attributed to Matveyev, which has been identified as Duke Anthony Ulrich of Brunswick with Anna Leopoldovna.

He died in Saint Petersburg.

[lucfierens]

Postfluxpost will be present at the book fair with artists'books and some of friends (Elena Marini & Jean-Noël Laszlo)