The title of the exhibition, Famyly , is taken from a photo Delanghe took of a brick wall on which this word was written in spray paint. The misspelling may make us smile, but it also distorts our reading of this mundane word. This semiotic short circuit, in which a linguistic sign and its meaning become cloudy, evokes an unstable world, in which word and image express both fears and desires, familiar and alienating at the same time.
Photography and loss go hand in hand
The history of photography is a history of ghosts, apparitions and shadows. In front of the lens is often the other side of the mirror: a mysterious world that must be revealed, the dark side of the moon. Our intuition tells us that what is captured on camera – unlike other art forms – must certainly have been there (according to the concept of philosopher Roland Barthes: “ça a été” or “this has been”). But how can we be so sure? Isn't our experience of the world always fleeting and ambiguous?
Photography and loss go hand in hand: the moment may be captured, but it is also irrevocably lost. For decades, deceased relatives were photographed as if they were still alive, dressed in their own homes. These posthumous portraits were cherished by the next of kin and displayed in the living room. Delanghe's images are also sometimes bathed in a nostalgic light, making a longing for homeliness, intimacy and tranquility tangible. The strange or terrifying becomes the known, the familiar.
The Famyly exhibition occupies two halls: several series of photographic work can be seen in the White Hall, and two digital videos in the Tuinzaal. Many of the works are being shown for the first time or have been given a new presentation form. You can visit the exhibition for free, but booking a time slot is mandatory.