The exhibition entitled “Hidden in Rememberance is the Silent Memory of our Future,” presents lens-based works by 18 artists, explicitly elaborating on the spatial dimension of the films. Installing them in different buildings around the city center, the show performs

some thoughtful takes on ubiquitous black boxes, reinterpreting them as spaces of interaction with the presented works. For example, the new production Vita Nova by Vincent Meessen is displayed in the famous art nouveau building of the  Scheppersinstituut. His “factual fiction” begins with an image of child soldier from Ouagadougou on the front page of Paris Match magazine from 1955. The less than obvious route from this image to Roland Barthes’s “The Great Family of Man” and it’s colonial phantoms is compellingly told through a multi-layered unfolding of events and accounts. Several other new (co)-productions — notably by David Maljkovic, Matthew

Buckingham, Wendelien van Oldduced enbourgh, Mira Sanders — engage with various possibilities of filmic installations in diverse, recent as well as historical, buildings of the city. In addition, the all-over design of the show as a walk between different spaces creates for the spectator an engaging interplay of relocations. The exhibition develops several relevant trajectories related to fact and fiction in historiography, hitting perhaps the most exciting points when addressing alternative histories and hidden stories, like in Lene

Berg’s hilarious cuts into some solemn master narratives (the animation film Stalin by Picasso or Portrait of Woman with Moustache, 2008.) La Fée Electricité (2007) by Andreas Bunte hypnotically narrates the advent of the light bulb and its mesmerizing impact on its contemporaries in the 19th century, while (irony of history?) the European

Commission just next door in Brussels is trying to ecologically reinvent the same bulbs, with the similarly perplexing effect on today’s European population.