As if an extraordinary imagination for fantastic, unsettling monsters and a genius ahead of his time for sensitive, naturalistic depictions of ordinary people weren’t enough, Hieronymous Bosch also had a modern knack for successful branding.
Northern Ireland’s permanent representation in Brussels periodically brings to the capital of Europe a sample of Northern Irish culture in a spirit of cross-cultural exchange that risks being disrupted in the event of a Brexit.
Playwright In-Sook Chappell, born in South Korea and brought up in Britain, was inspired to write P’yongyang by a visit to the Demilitarized Zone between North and South Korea and accounts from North Korean refugees of their harrowing experiences.
Wry, strange, self-mocking, subversive, acerbic, ironic, cynical, sarcastic, bitter, unconventional and of course surreal – are just some of the adjectives that spring to mind as you browse the unsettling Belgian art on display in a central Brussels venue until 24th January.
Barbara Hepworth said finding Trewyn Studio in St Ives was “a sort of magic”. It provided her with the perfect context to work, in harmony with her surroundings, and to display her sculptures in the best possible light to reveal their contours and depths.
In the world of Sam Shepard, on the border with Mexico where the boundaries of objective fact and subjective story-telling blur, the fiercest fight is not over possessions, but over memories in a quest for the truth of the relationships between parents and siblings.
In the Flemish town of Veurne (Furnes in French), tucked away with appropriate incongruity between a bandstand and an aviary, stands a bust of Paul Delvaux (1897-1994), the surrealist painter who lived and died among the step-gabled houses painstakingly rebuilt after the devastation wrought by the World Wars.
Victor Hugo at Villers-la-Ville until August 16 and Le Malade Imaginaire at Villers-la-Ville until August 8.
The 12th-century abbey of Villers-la-Ville in Belgium has a tradition of open air summer theatre that dates back more than a hundred years – but the tradition is not quite unbroken.
Victorian essayist Thomas de Quincey described it as “perhaps the most superb work in the language”. More recently, scholar Paul Edmonson in his new, highly readable introduction to Shakespeare says the play is “as innovative as anything Shakespeare ever produced”.
One of Britain’s biggest pop icons and one of France’s intellectual giants have more in common than you might think.
An exhibition of the extraordinary output of France’s Henri Cartier-Bresson, hailed as the founder of photojournalism and “the eye of the century”. That is true in the fullest sense of the words, given his exceptional ability to see the telling detail, or, in his own words, to seize the fact related to “the deep reality”.
With their green goats, giant roosters and bridal couples flying through the air, Marc Chagall’s works appear fantastic, but he insisted he only painted direct reminiscences of his own life.