In the video installation ‘A Howl from Brussels’ words are images, images are personal, and the personal roams through a Brusselian world of queer joy and confusion. ‘A Howl from Brussels’ originated as a poem, adapted from Allen Ginsberg’s poem ‘Howl’ about gay New York in the 1950s, and grew into an installation that drags you inside a kaleidoscope of queer memories based in present-day Brussels. 

With the installation, the siblings Lander and Anthe Hermans queerly knit together the adapted poem’s words and barely second long video fragments from their own archive. By chaining dancing bodies, statues, filters, friends, unhinged playfulness, gloom, day, night, afterday, afternight (which takes place after afterday of course), they conjure up places, spaces and people that inhabit their experiences. Lucky for you, their tactic is laughter, their tactic is cutting up time, their tactic is nonlinear, chaotic and trippy. Chances are that you might get lost. “Not to worry,” they say, “a member of our queer call centre is on stand-by in a second screen to take you by the hand (but not your real hand, bish, this ain’t VR).”

Accompanying their installation, on the closing night (and only night!) they curate ‘Anaesthesia Night’, a slowww evening experimenting with wordswordswords and how to (queerly) express them.

'Anaesthesia Night' features a word-based set by Alex Sourbis, a performance by Clara Lissens and short performances by Lilolance, Marie Van Roost and Violeta Borges Marques.

Anthe Hermans (1994, she/her) is a mixed-media artist, currently following the advanced master program in research and design (ADMA) at Sint-Lucas Antwerpen.
https://www.instagram.com/anthe.hermans/

Lander Hermans (1996, he/him) is a mathematician, currently completing a PhD in fundamental mathematics. 
https://www.instagram.com/lilolance/

This project is supported by the Flemish Government.