mercredi 13 février 2013

Chrystel Mukeba "Confrontations"








Chrystel Mukeba
L’asbl Lieux-Communs poursuit la programmation d’expositions d’art contemporain dans la galerie Short Cuts, située à Salzinnes (Namur).
L’exposition inaugurale sera, du 2 mars au 13 avril 2013, « Confrontations » de Chrystel Mukeba. 
Cette artiste a photographié sa grand-mère et l’univers de celle-ci :une série de photographies fortes, poétiques, sensibles …qui a été exposée au MAMAC (Musée d’art moderne et d’art contemporain) de Liège. Après l’exposition au Forum, cette série partira pour Paris où dès avril elle sera présentée au Centre Wallonie-Bruxelles."Chrystel Mukeba, jeune photographe bruxelloise sortie des rangs de l'Académie Royale de Beaux-Arts de Bruxelles, nous montre une série de photographies autour de sa grand-mère. Tout en subtilité, elle capte magnifiquement le temps qui passe, et ne passe presque plus, les couleurs de l'âge qui avance et ne permet plus d'avancer. Sans nostalgie, elle pose un regard tendre et lucide sur ce qui reste de l'existence lorsqu'il ne reste plus à voir que les indices d'une complétude passée."
About Bip 2012, Extrait. Frédéric Rolland

Chrystel Mukeba

Née en 1983 à Bruxelles, Chrystel Mukeba a étudié la photographie à l'Académie royale des Beaux-Arts de Bruxelles.
Assistante du photographe belge Vincen Beekman depuis 2011, elle vit et travaille à Bruxelles en tant que photographe pour divers projets liés notamment à Recyclart.



Galerie Short Cuts
 
mercredi de 14 à 21h
jeudi 18 à 21h
vendredi 18 à 21h
samedi 14 à 21h
dimanche 14 à 20h

Entrée Libre.



There aren't many places where the past consolidates more easily and where memories persist more visibly than in wallpaper. In two of the photographic series Chrystel Mukeba (born in 1983) is currently exhibiting, "Confrontations" and "Last Travel with You", that architectural skin is to the fore. Her pictures show the residue of a life, where time itself, layer by layer, lays down a sediment in the form of a rich patina.
Chrystel Mukeba's photographs have a time span: they are pictures whose metaphorical shutter time is stretched to the time needed for an intimate, authentic portrait. The "Confrontations" series is sober, but produces a great effect. In portraits and details of her grandmother's folded hands, bare back, or legs under a blanket, Mukeba gives expression to an intimacy that goes far beyond a reflection on physical ageing. "For three years, my grandmother saw me arriving every day with my camera. At the end, she thought, 'Oh no, there she is again!' [laughs] The project followed a completely natural course. At first I didn't know where it was going; it grew almost organically. I didn't take photos every time we were together; we did a lot of talking. It was our intimate project. Her house, where I grew up, moreover, was being renovated at the time and I saw everything changing. I wanted to preserve something with the photographs, to record traces. At first, my grandmother used to ask me sometimes what I wanted to do with all those photographs: 'You're not taking photos of an old lady, that's a waste of time.' But when she saw them, she was quite proud: 'I'm leaving a trace behind.' I know she won't be there forever. That's why the project is so dear to me."



Mukeba's photography is based on patient work. The material must sink in. As against the general tendency to shoot pictures rapidly, she favours the slowness the medium can offer, the literal development that goes with the way analogue images become visible in their liquid chemicals. "I feel more at ease with an analogue camera. I do use a digital camera for the reportages I make for Recyclart, as assistant to Vincen Beeckman. I like to talk with people, rather than to immediately start taking pictures. Building up trust like that can last for months. There has to be a story involved. The photographs must able to narrate. You can't force that."
Perhaps it has something to do with her initial studies, too: "At first, I studied communication. I wanted to be a journalist, a real great reporter, but during my studies I realised that theory and studying were not really for me. I was more moved by images, by the wealth of stories to be found in them. And I wanted to do something creative, rather than spend the whole day sitting indoors at a desk."



"I have been taking photographs since I was a child. I was always the one who took the holiday snaps. Photography was really a passion, but I had never thought of making it my career. Then I started a photography course at Le Septante Cinq. And in 2007 I started studying at the Académie Royale des Beaux-Arts de Bruxelles. That was really fantastic, but I didn't finish my third year. I already knew Vincen slightly, and he asked me to do a little exhibition. When his assistant left, he asked me to take the job. The projects and reportages for Recyclart, in the Marollen/Marolles – you put something of yourself into them: you meet people, you make contacts... Previously I only took pictures of my family; now I'm much more daring."
The social impact is crucial for Chrystel Mukeba, whether in personal projects focusing on her grandmother or the traces that loved ones leave behind, or in reportages in the Home des Ursulines or about schizophrenia. " Kurt Snoekx extrait de Agenda



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