The Raft, conversation with Ostend

I have not yet seen this exhibition but glimpsing through the splendid catalogue has me all convinced... till April 15,2018. 
"The Raft. Art is (not) Lonely’ is not only an exhibition, but also a conversation with Ostend, the City by the Sea with its own distinct history and scent. The baseline of the dramaturgy of Mu.ZEE’s exhibition, which will be presented in various locations spread across the Belgian seaside resort, is the thorough research conducted into ‘The Raft of the Medusa’ (1818) by Théodore Géricault and Jan Fabre’s utopian raft ‘Art is (not) Lonely’ (1986). Although there is an unmistakable 170-year time difference and a completely different historical origin, both works tie in with each other thanks to their visualisation of the expedition and the destination of the artist, which is a theme acting as a metaphor of the condition humaine.

http://www.muzee.be/en/muzee/t208000/the-raft-art-is-not-lonely

Ostend at the North Sea

Leon Spilliaert's house in Ostend

 

Ostend is not only the birthplace of James Ensor. The Spilliaert house opened in Ostend in the beginning of May and will undoubtedly revitalise interest in the painter. The idea is to bring more works of Spilliaert to the public attention and eventually to become a place for research and rediscovery of the painter. 

"Spilliaert was born in Ostend, the oldest of seven children of Léonard-Hubert Spilliaert, who was a perfumer, and Léonie (née Jonckheere).From childhood, he displayed an interest in art and drawing. A prolific doodler and autodidact, he was predominantly a self-taught artist. Sickly and reclusive, he spent most of his youth sketching scenes of ordinary life and the Belgian countryside. When he was 21, he went to work in Brussels for Edmond Deman, a publisher of the works of symbolist writers, which Spilliaert was to illustrate. He especially admired the work of Edgar Allan Poe.Watercolor, gouache, pastel, and charcoal—often in combination—were the means by which he produced many of his best works, among which are a number of monochrome self-portraits executed in the early years of the twentieth century. Spilliaert's expressive use of black finds parallels in the work of Odilon Redon, who was a significant influence.^[2] Frequently depicting a lone figure in a dreamlike space, Spilliaert's paintings convey a sense of melancholy and silence. His later work shows a concentration on seascapes. He died on 23 November 1946 in Brussels."

https://en.wikipedia.org/wiki/Léon_Spilliaert

http://www.onserfdeel.be/frontend/files/userfiles/files/TLC_1998_Palmer_Spilliaert.pdf

Thermae Palace Hotel and Brasserie Albert in Ostende

How wonderful to see old buildings preserved and institutions  from the past coming back to life again. Brasserie Albert on the ground floor of the  Thermae Palace hotel in Ostend is a perfect example. A little history on this hotel:

"One of the many projects of King Leopold II was the construction of a large thermal institute against the colonnade that he had built at the beginning of the century. In 1929 the plans of the French architects Flegenheimer, Bard and Garella together with those of André Daniels, architect from Ostend, for this so-called “Badenpaleis” (“Thermal Palace”) were approved of. The “Badenpaleis” had everything a health and spa resort needed, including a Turkish bath, mud baths and massage rooms. A swimming pool and a luxurious hotel with various conference rooms were also erected. In 1933 the majestic Thermae Palace Hotel, in Art Deco style, was officially opened by King Albert I and Queen Elisabeth. Because of the unique combination of mineral water and seawater this health resort grew into one of the most important spas of the whole of Europe. Numerous noble families and even the shah and his retinue came to Ostend to try out the healing effects of the thermal baths.The  “Thermaal Instituut” (“Thermal Institute”) suffered a lot from World Word II. After the war it was reopened as “Badenpaleis” (“Thermal Palace”) and hotel. In the beginning of the eighties the “Thermaal Instituut” was gradually run down. During the nineties the unique complex was completely renovated and the new Thermae Palace saw the light of day."http://www.thermaepalace.be/en/hotel

Carl De Keyzer, Moments before the flood, Ostend

 
The exhibition "Moments Before the Flood" shows work of Belgian Magnum photographer Carl De Keyzer and is well worth a visit for more than one reason. I thoroughly enjoyed it. The site, a shipbuilding wharf on the outskirts of Ostend, is a great spot and an absolutely fabulous setting for the subject. The exhibition comes with an impressive book by publisher Lannoo. In a short documentary named OdysSea, Mei Vandenberghe and Jimmy Kets show De Keyzer at work during the realization of his project.
“It seems to be an accepted fact that the sea level will rise dramatically before the end of the century as a result of climate change, partly because of us humans. Moments before the Flood is a visual, photographic investigation into how Europe is coping with this unpredictable threat. The coasts of Europe are the areas in which the repercussions of this threat will be felt. For four years, Carl De Keyzer has spent four months each year travelling the coasts of Europe. (...) The pictures he took within the framework of this project are massive, both in terms of size and resolution. 65 to 80 million pixels is an unprecedented degree of detail, facilitated by the latest technology.” (David Van Reybrouck)

http://www.lannoo-events.be/expo-carl-de-keyzer-moments-before-the-flood/

http://www.oostendseoosteroever.be/cultuur-poezie-proza/219-magnumfotograaf-carl-de-keyzer-brengt-de-expo-moments-before-the-flood-naar-oostende-oosteroever.html

http://www.visitoostende.be/en

http://www.carldekeyzer.com/

http://www.summerofphotography.be/en/exhibition/moments-flood

Ostend