Mirror Mirror: Fashion & the Psyche

Description

Mirror Mirror, Fashion & the Psyche, a double exhibition in the Ghent Dr. Guislain Museum and MoMu – Fashion Museum Antwerp, explores the connection between fashion, psychology, self-image and identity.

Clothes and style are not only the work of well-known designers. Sometimes they are created in isolation, for example in a psychiatric hospital or in the privacy of one’s living room. They can fulfil desires, spread a message and enter into dialogue with the world of fashion.

The Dr. Guislain Museum brings together creations by artists who use clothes and textile to claim their place in the world. Even though their work belongs on the street’s catwalk, it is rarely put in the spotlight. You’ll see designs by Marcel Bascoulard, Jane Fradgley, Christopher Kane, Yumiko Kawai, Bas Kosters & Ayse Somuncu, Ezekiel Messou, Giovanni Batista Podestà, Kenneth Rasmussen, Melina Riccio, Joseph Schneller, Henry Speller, Pascal Tassini, A.F. Vandevorst, Giuseppe Versino, ROB Walbers, Nana Yamazaki and others.

The MOMU exhibition focuses on the personal experience of the body and starts a dialogue between art installations and avant-garde fashion. The themes in this part of the exhibition are body dysmorphia, the meaning and history of human replicas such as dolls and mannequins, and the symbiosis between art, fashion and technology in the form of cyborgs and avatars.

Prefer not to wait in line at the ticket booth? Want to be sure you can discover the Muse­um Dr. Guis­lain when you want to? Then book your tickets online in advance and enjoy your visit to the fullest.

Billets

Accessible with a CityCard Gent
Gratuit
Reduced rate -13 years
Gratuit
Reduction -19 years
1€
Reduction -26 years
3€
Reduction groups min. 10 pers.
8€
Reduction +65 years
8€
Basic price per person
10€

Organisateur

Vous organisez cet événement ?

Contactez-nous si vous souhaitez mettre à jour les informations et autres.

Nous contacter

2 Photos

Événements suggérés

At STAMplein square, a separate part of the museum with changing programmes, you can visit the heritage project “The square kilometre”. Here you can learn all about the Dampoort neighbourhood. Historian in residence Tina de Gendt and researcher Thirza Vandenabeele delve deep into the history of the area around the Gent-Dampoort railway station. Contrary to Ledeberg, Rabot and Brugse Poort, which were the central topic of the project “The square kilometre”, the Dampoort area is not what you could call a “neighbourhood”. It is composed of parts of the districts Ham, Macharius, Dendermondsesteenweg and Antwerpsesteenweg. Prefer not to wait in line at the ticket booth? Want to be sure you can discover the STAM when you want to? Then book your tickets online in advance and enjoy your visit to the fullest. Are you driving to Ghent? First check whether you may enter the city centre with your vehicle. Clean vehicles may enter the city centre free of charge, polluting vehicles have to pay. Is your vehicle allowed to enter, but do you not have a Belgian or Dutch number plate? You will ALWAYS have to register!
This exhibition examines the similarities and differences between the purchasing policy of Jan Hoet, the founder of S.M.A.K. (Municipal Museum of Contemporary Art), and that of the art collecting couple Roger and Hilda Matthys-Colle. Dr. Roger Matthys stood at the cradle of the Association for the Museum of Contemporary Art (V.M.H.K.), which had the ambition to open its own museum and also purchased art. As president of the association, Matthys had a lot of influence on the purchasing policy of the V.M.H.K. His private collection included quite some works that were exhibited in or purchased by the museum. Both collections are closely intertwined and complement each other. The Matthys-Colle Collection spans fifty years. In an early stage Roger Matthys purchased works of art for his private collection as well as for the collection of the V.M.H.K. In his purchases he did not focus on one specific movement, but rather created a collection that is representative of all art movements from the second half of the twentieth century.  In 2020, the S.M.A.K. received 39 works on long-term loan, which now constitute the basis for this exhibition. Both collections include or at one time included work by every single artist represented in the exhibition.  The archive exhibition on the upper floor delves deeper into the Matthys-Colle Collection and the figure of Jan Hoet, while in the room of the association of the Friends of S.M.A.K. you will discover a selection of works by artists represented in the Matthys-Colle Collection and exhibited by the V.M.H.K.
In visual arts, collaboration is often secondary to the romanticised idea of individual artistic genius. Challenging the myth of the solitary artist, this exhibition explores the unique dynamic of collective creativity and looks at how it influences artistic production. In addition to works from the S.M.A.K. collection, created between 1959 and 2021 by art collectives, artist duos or one–off collaborations, this exhibition also displays works deliberately designed to facilitate other works of art.  Includes works by: Philip Metten, Art & Language, Denicolai & Provoost, Bernd & Hilla Becher, Jos De Gruyter & Harald Thys, Flexboj & L.A., Narcisse Tordoir & David Neirings, General Idea, Gilbert & George, HAP, David Hammons & Bruna Esposito, Franz West, Heimo Zobernig, Danh Vo, Apparatus 22, Ex-artists' collective (Anikó Loránt, Kaszás Tamás), Audrey Cottin, Alexis Gautier, Anna & Bernard Blume, Brosi & Bonier, Engelbert Van Anderlecht & Jean Dypréau, SUPERFLEX, Marina Abràmovic & Jan Hoet, Guillaume Bijl, Allora & Calzadilla, Jacques Charlier, Korakrit Arunanondchai, Mekhitar Garabedian, Ingrid Mwangi and Robert Hutter.
Sixty years ago the first Turkish migrants came to Ghent. Nowadays almost one out of ten Ghent citizens has Turkish roots. A group of young people of Turkish descent set out to find stories, objects and the meaning behind those figures. The focus of this search was the question of what should be preserved for future generations. With the help of their grandparents, parents and acquaintances, they looked for objects, stories and relevant facts relating to the Turkish migration to Ghent. The outcome of their efforts is a new Ghent-Turkish heritage collection. 
The Shore, a place I'd like to be is the first solo exhibition in a Belgian museum of electro-acoustic composer and artist Tarek Atoui. He exhibits existing works and new productions. Sound constitutes the core of his work. Atoui is well-known for the sonic-sculptural landscapes he creates on the basis of sounds, images, matter, space, time, human actions and organic processes. His installations always take the form of a participative workshop or prompt visitors to listen to the space, each other, and themselves.
Ladies Night The Fashion Store Eeklo. Op donderdagavond 30 mei openen we om 19 uur de deuren van onze winkel en nodigen we jullie graag uit om mee te genieten van hapjes en drankjes terwijl je onze lente/zomercollectie kan ontdekken. Onze styling coaches staan klaar om je onder te dompelen in alle nieuwe trends en geven je tips en tricks over hoe je onze collecties kan stylen. De eerste 25 aanwezigen krijgen een fashionable goodiebag! Wat? Ladies Night met hapjes, drankjes en stylingsadvies Waar? Krugerpark winkelpark, Stationsstraat 82F, 9900 Eeklo Wanneer? Donderdag 30 april om 19u00
The Ghent University Museum (GUM) and Botanical Garden will take you on a quest for the truth. This exhibition provides an answer to questions such as: What is true and what isn’t? What do we really want to know? Does absolute certainty exist? What is the role of science in this regard? Does a museum always tell the truth? The GUM confronts big names and young talent from the art world with exceptional research from home and abroad and intriguing science projects in which you can participate live. In the Wunderkammer of TRUTH, you (might) learn all about the truth. The exhibition is definitely worth a visit.
Marie Cloquet creates large-scale hybrid works that constitute a non-classified overlap between painting and photography. She reconstructs the places where they came into existence. This way her landscapes ignore the dividing line between nature and culture, between organic and man-made.