The gathering of the 8th has been a success, in as far as the preparations for an anniverserial pantomimi goes -The basic premise of a dissolution of boundaries between actor and public, presenter and consumer has been met: the banquet idea still prevails as main format in which to present set-piece elements and improvisation at the same time.

  « ... la société des Buveurs d’eau s’est dissoute naturellement par la mort de tous ses membres, sans que le nom d’aucun soit resté attaché à une œuvre qui pût attester de leur existence ».
Henri Murger,
Scènes de la Vie de Bohème, ch. XVIII, ii.

L’appellation Groupisme a désigné sous le Second Empire une convivialité que des bohèmes, écrivains et artistes, partageaient dans des salons privés1. Le plus célèbre est celui qu’ouvre Nina de Villard en 1868, rue Chaptal, entre la place Clichy et l’église de la Trinité, dans le IXe arrondissement. Ce salon connaît son plein éclat quelques années plus tard, à son retour de Genève, dans le petit hôtel particulier de la rue des Moines, quartier des Batignolles, nettement plus excentrique. Les traces en sont peu nombreuses, un album amicorum atteste sa durée et ses fréquentations2 mais on compte les témoignages sur les doigts de la main : Verlaine, dans une notice sur Charles Cros, évoque ces « médianoches [...] féeriques, voire un brin diaboli...

from a book by victor gronjnovski

In considering the references made over the ten year period in which BuktaPaktop has been in operation, this 'symposium' format (Plato's Banquet) seems to have served us well, and along with the 'cabaretic' notions of Voltaire, the tragedy of Socratic silence and the Aristotelian peripatetikum combine to create what is an a-political pantomime, based not so much on the comedia del arte, but the deficiencies of modern life.

In brief, the festivities for the tenth anniversary of the operation could be fashioned along the guidelines set by Filliou – being well, badly or not made – thus serving up the most liberal set of possibilities possible – a pantographic display might be a practical way to go about it: there being 8 tot nine players, indeed more if needed, with historic credentials as well as contemporary concoctions grown out of fetishes and dreamlike figments...

As this most recent try-out, with Franconetti as the canary-yellow dompteur, the chance encounter of a paella and an expressive machine on a (horsey textile-clad) operating table is a perfect initial impulse to build upon: working title “Paellero Homologado” (or 'Genorter Paella-Kochring') or variations thereof, giving rise to a Sancho Panza or a Punch and Judy, as the case may be.





Thinking of the cruelty of life, obviously, and the influence it has on the living theater of today – but old hat perhaps, for many and questionable in terms of originality – since we have already incorporated quite a few of the essential elements proposed by those formerly avant-guard movements... what is it we might add? Pshitt! I would say, as “disait la reine”) Ubu hasn't spit that far yet, Jarry and Co. incoherntly babbling about Emmy Hennings' dress code and Hugo the Ball rolling down the stairs has all been part of the fair for ever so long... 


but is also the inception of our little operation in the 'passage des mirroires' (spiegelgasse) if you like – so why not hark back if we do so anyway? Back to the Ursonate, back to the desire caught by the tail, back to messopotamimicri.... why knot?

(thinking here of Picasso's 'desire caught by the tail'....)


On Ka Ka Wa ra Lanusletter


On On Kakawara, travail d'Alexandre Half expecting a collecTion of scatalogical doodles on scraps of toilet paper I soon realized it was much more than that... Displaying the same sort of obsessional methodicalness, this series of dates, calendar accumulation has an interesting relation to it"s ono-maopeic counterpart... In fact one might consider if this is a anti-dating, rather than ante-dating the reflective counterpart... Anything but the neutral depiction of date in the method of the zone in which produced, this ia contrarily individualist, subjective, non-intellectual without being obtuse... In fact many are very witty and can compete with any humerous tradition cultural history can reference... 

 While in the first instance conjuring various styles of "underground comix' especially from the time when censorship was loosened in the late sixties, early seventies, thinking here of the freak brothers, Robert Crumb came to mind quite quickly, alomg with punk aesthetics and more recent badly drawn boy trends... Could fittingly illustrate Bukowski"s stories or any renegade literate figure, but also free-fall flux associations... 













 Personally I am a can-reader, and have a pile of reading material I take to hand wile doing the buisness... The idea of scribling or drawing in the wc never came up in my mind, but then "why not?" As long as one is in there anyway- evert day, practically peristaltic clockwork... Perhaps the dates series have a similar origIn? The fact that these. Anifestations of "lost time" are in themselves so interesting is already a fact worth considering... But in addition to just the amassmet of a daily production of er some seven years, there are also indications of what might be done with them... 


 This exhibition being a case in point, using showcase-tables, walls, piles and even projection... A slide-show in the latrIne no less... As well as some folded versions, minuscule zig-zag booklets, different kind of framing, transparencies, modifications coloured-in versions (a bit like the postcards of yore) and then a step further... Namely printed versions: etchings.... Here we immediately return to a more traditional mindset, the dry-point versions being less rough and more distilled... Here one has to think of Roland Topor, both in style and subject matter, and Paul. Joostens springs to mind... But also any manner of rybald illustrations from the various publications of the turn of the last century, Alfred Jarry, the inconherentes, to some degree les hydropathes... 




 So a much broader palette that I initially expected, and hopefully we will be seeing more... Another interesting aspect is the relation between Alexandre van Leemput and On Kakawara - where one ends and the other begins... More food for thought, producing, hopefully more. Creative excrement! The most obvious would be in book-form, but this little illustration has shown that any avenue is possible... 




sort of non fifty fifty editorial meeting at maison Pelgrims 11 february

Some twenty years after Laetitia Yalon first proposed to do a fifty-fity at the Maison Pelgrims, here we finally are - a bit late (toujours en retard as WV would have said) but till in spirit: this time to discuss the production of a biographical collection: 

Buktapaktop was already involved in the first selection of archives and had included part of her stone collection in an excursion to Munich a couple of years back - now assisting in this project as technical support....

picture Laetitia origianlly used as invite to host a gathering...


Tentative Effondrements


...and a finissage sort of get together with first paella of the year on the 27th

Le Buktapaktop est très heureux d'accueillir l'exposition de Marion Fabien : Tentatives d'effondrement (terre / chantier / rouleau), du 12 au 20 février 2022 et de vous invitez au vernissage le jeudi 10 février de 18h à 22h en présence de l'artiste.

Marion Fabien
Tentatives d'effondrements
(terre / chantier / rouleau)

Vernissage :
jeudi 10 février de 18h à 22h

Exposition ouverte :
Samedi 12 et dimanche 13 février de 14h à 18h
Samedi 19 et dimanche 20 février de 14h à 18h

Nocturne :
Mercredi 16 février de 16h à 22h

une exposition organisée avec le soutien de la Fédération Wallonie-Bruxelles


20 rue Simonis
1050 Ixelles

Dans sa pratique de la céramique, Marion Fabien s’intéresse à l’architecture et aux mutations urbaines qui modifient le paysage de Bruxelles et le cadre de vie des habitants.
Avec le projet effondrement, elle tente de garder les traces des étapes de construction architecturale et des mutations urbaines. Elle manipule, compose et recompose les formes urbaines observées dans une sorte de jeu de construction / déconstruction sans fin. Le rapport au corps est inversé, les échelles sont modifiées, les constructions architecturales qui d’habitude sont surdimensionnées et nous surplombent, deviennent petites miniatures précieuses qui fascinent autant qu’elles questionnent notre rapport aux formes de la ville.

Copyright © *Buktapaktop-Marion Fabien*, All rights reserved.


Art-Amour Fou to go ahead February 1st!

 This time it seems all lights are on green - we can finally go ahead with the archive-homage exhibition for Laetitia Yalon:

the dates:

the programme is still a bit in disarray but will be fixed shortly... 

some participant may have been ommitted here in the chaos - sorry!


Art Amour Fou - postponed, extended, modified...


At this point:  (flash update - expo goes ahead Feb 1, 2022!)

Rather than beginning with performances, these are postponed towards the end of a possible 'work in progress' in which the spaces in the Maison Pelgrims will serve as office & laboratory of investigate and compile the archives and the collection Laetita left behind – with view to an exhibition to follow. By using the restrictions of public access in a practical and creative way, the slot provided will not be lost but well used for essential research that is surely needed, seen as to how much unknown material there still neesd to be investigated – towards an possible overview and at some point perhaps a 'catalogue raisonné'

Once Covid-restriction have been eased we can consider relaunching the original series of public presentations.

more/updates on this blog... as well as a dedicated site (soon)

Pour le moment...

Prévue est une occupation temporaire et créative de l'espace, afin de commencer à archiver, recenser les oeuvres, dessiner les contours du catalogue raisonné autour de Laetitia, et retracer le fil de l'histoire déjà lointaine contenue dans cette matière... une chantier artistique et archéologique de ce qui a fait lien, dans le monde d'avant, quand les gens pouvaient échanger en présence, rêver, circuler librement....en guise de work in progress vers l'exposition- à venir.


Voor nu even...

de performances uitstellen en de tijd en de plaats gebruiken voor een archiefonderzoek, ordening van de collectie etc... zo is deze semi-lockdown periode nuttig gebruikt en kunnen wij de tentoonstelling degelijk voorbereiden – zelfs met oog op een samenvatting voor een toekomstig overzichts-catalogus... Wij hopen de publieke presentaties dan in de eerste maanden van volgend jaar te kunnen laten doorgaan...



Archives Laetitia Hélène Yalon ///POSTPONEDpostponed extended

 exterior activities / participation:

Laetitia Yalon ou lart-amour fou :
 exposition-hommage à l’artiste protéiforme, personnage culte de la scène culturelle bruxelloise. 
Peintre, performeuse, activiste, comédienne, éveilleuse, Laetitia marque des générations de jeunes créateurs par son esprit libre et rebelle. Fille de Gabrielle Bertrand-grande exploratrice, journaliste et écrivaine française, elle naît à Ibiza en 1934, et développe très tôt le goût de la vie hors norme. Après avoir grandi dans divers pays, elle gagne Israël et y devient batikeuse. En 1974, elle émigre en Belgique et intègre différents collectifs d’artistes, avant d'entamer une carrière de comédienne.

Derrière sa vie faite d’art et d’amitié, de rencontres passionnées, se lit en filigrane une célébration perpétuelle du lien, de l’être-et du faire-ensemble, ici-et-maintenant. 
La rétrospective réunit oeuvres personnelles, oeuvres d’amis, photos, extraits de films et documents d’ archives. Elle sera ponctuée de performances à la mémoire de Laetitia. 


Laetitia Yalon or crazy art-love: 

exhibition-tribute to the protean artist, cult figure of the Brussels cultural scene. Painter, performer, activist, actress, awakening, Laetitia marks generations of young creators with her free and rebellious spirit. Daughter of Gabrielle Bertrand-great explorer, journalist and French writer, she was born in Ibiza in 1934, and very early on developed a taste for a life out of the ordinary. After growing up in various countries, she moved to Israel and became a batikeuse there. In 1974, she emigrated to Belgium and joined various artist collectives, before embarking on a career as an actress. Behind this (her) life made up of art and friendship, of passionate encounters, there is a perpetual celebration of the bond, of being-and of doing-together, here-and-now. The retrospective brings together personal works, works of friends, photos, film extracts and archival documents. It will be punctuated by performances in memory of Laetitia.


 zie ook vorige blog-rubriek (eerste expo)


Laetitia Yalon of verzotte kunstliefde: een tentoonstelling/eerbetoon aan deze proteaans kunstenaar, cultfiguur van de Brusselse kunstscene. Schilder, performer, activist, actrice, ontwaker, Laetitia tekende generaties jonge makers met haar vrije en rebelse geest. Dochter van de Franse Gabrielle Bertrand, een geprezen ontdekkingsreiziger, journalist & schrijver. Ze werd in 1934 op Ibiza geboren en ontwikkelde al heel vroeg een hang naar een ongewoon leven. Nadat ze in verschillende landen was opgegroeid, verhuisde ze naar Israël en werd daar batik-kunstenaar. In 1974 emigreerde ze naar België en sloot zich aan bij verschillende groepen en creative werkplaatsen, voordat ze een carrière als actrice begon. Postuum blijven de vriendschap, de gepassioneerde ontmoetingen, blijft een eeuwigdurende viering van de band, van het samen zijn en het samen doen, hier en nu. Deze retrospectieve brengt persoonlijk werk, werken van vrienden, foto's, filmfragmenten en archiefstukken samen. Het zal worden doorspekt met optredens en presentaties ter nagedachtenis aan Laetitia.



  The gathering of the 8 th has been a success, in as far as the preparations for an anniverserial pantomimi goes -The basic premise of a ...