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9 September 2024

The Atomium and Other Lessons from Pointillism: Joseph Thabang Palframan’s Reflection on Power and Identity

I had the privilege of attending the opening of Joseph Thabang Palframan’s Atomium and Other Lessons from Pointillism. The title alone sparks curiosity, hinting that the exhibition dives deeper than just the well-known Belgian monument. And it certainly does. Palframan weaves together ideas of time, colonialism, and memory, showing how they are all intertwined—much like the Atomium’s steel spheres themselves. Born in Namibia and now based in Belgium, Palframan brings a fresh, personal lens to these themes, challenging us to rethink the stories national landmarks tell and, perhaps more importantly, the stories they leave out.

The first painting visitors encounter when entering the space shows young Black men relaxing and having fun in front of the Atomium. Their carefree, powerful poses contrast with the history associated with the structure. Built in 1958 for the Brussels World’s Fair, the Atomium was meant to symbolise "scientific progress", yet the same event included a “human zoo” where Congolese people were displayed in a reconstructed village, dehumanized for the entertainment of European spectators. Palframan’s painting of these young men reclaims this space—an image of confidence that challenges both the past and present, raising the question: what has been done to rewrite this chapter of Belgian history?

To the right, the artist presents the Atomium in isolation, its structure softened by the artist’s choice of colour and Pointillism. Unlike traditional phallic landmarks such as the Eiffel Tower, skyscrapers, or Egyptian obelisks, the Atomium’s spherical forms evoke a distinctly feminine presence. This subtle reimagining invites a shift in how we perceive monuments, demonstrating that their meanings are not fixed but fluid—something that resonates deeply with me, as a woman. Palframan seems to challenge us to reconsider the authority and power traditionally imbued in such structures, asking: who truly defines what these monuments stand for?

Opposite the painting of the young men, a more intimate scene unfolds in another portrait. While it might seem like a personal family moment at first glance, Palframan shared that this painting is not of his own relatives but of individuals he connected with during his travels. The artist sits between two women—one of whom has since passed away. Her absence is emphasized by her portrayal without the Pointillism technique used for the other figures, creating a poignant contrast. Palframan explained that the elderly woman was one of the oldest in her community, making her presence symbolic of generational continuity. This focus on memory and time ties beautifully into the broader themes of the exhibition. I found myself reflecting on the way this simple, quiet moment captured the passage of time in a deeply moving way, adding layers of meaning to the entire project.

In the background of the family portrait, a white doll sits quietly on the sofa—seemingly unobtrusive, yet loaded with significance. Palframan’s inclusion of this symbol is subtle but deliberate. A white doll in a Black family’s home evokes the lingering presence of cultural imperialism, a quiet reminder of how these influences seep into even the most personal spaces. Historically, white dolls have been linked to damaging the self-esteem of non-white children by promoting exclusionary beauty standards. Having experienced the impact of these symbols myself, I know how they impose ideals that undermine identity, acting as a form of psychological harm—silent, but deeply insidious.

On the opposite of the Atomium painting, a smaller portrait of a solitary woman caught my attention. Palframan chose her from a photograph of a crowd, yet here she stands alone, gazing away from the Atomium. Her quiet defiance in looking away made me reflect on the many ways women resist—sometimes in silence, sometimes by simply turning their backs on the symbols of authority. I found myself wondering about her story, and in doing so, it felt as if Palframan had created a space for her, for women like her, to resist being swallowed up by the weight of history.

Palframan’s use of Pointillism throughout the exhibition transcends technique; it serves as a metaphor for the complexity of identity and history. Each dot represents a moment, a fragment of experience, yet together they form a cohesive image. This reflects how personal and collective identities are woven from countless individual moments.

You can visit Atomium and Other Lessons from Pointillism at Studio Minckelerstraat 139 in Leuven. The exhibition will be on view until September 22nd. Support local artists and discover the new generation of talented individuals who call Leuven home.

This article is part of a series where I highlight the work of fellow Leuvenaars as we work toward becoming the European Capital of Culture. Read the first article in this series, How a Leuvenaar Bakery Turned into a Sociocultural Entity  here

atomium belgium painting


Painting of young Black men in front of the Atomium


atomium belgium painting



Palframan’s family portrait

Portrait of a solitary woman


Marilia Breite art reflection on the Atomium paiting of Joseph Thabang





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27 May 2024

Charting New Waters: Monica Edwards Schachter’s Literary Journey to Ocean Conservation

I recently had the pleasure of diving into Monica Edwards Schachter's book, Guardians of the Sea. Monica, who shares a similar background with me as a Latina living in Europe, has crafted a narrative that's both a joy to read and a tool for learning. With her expertise in engineering and a PhD in education, she brings a thoughtful approach to a critical topic: ocean conservation.

In Guardians of the Sea, we meet Kai and his grandmother Vanora, two mermaids exploring the challenges facing our oceans today. Through their adventures, Monica introduces young readers to the consequences of pollution in a way that's easy to understand and compelling. It’s not just a story; it’s a conversation starter about what we can do to make a difference.

What stands out in Monica’s book is her incorporation of the Kanban method, a simple yet effective organisational tool that helps children understand how to tackle projects—a skill that’s beneficial beyond the classroom. This method is woven into the story as Kai and Vanora plan their efforts to clean the ocean, making the educational content seamless and engaging.

Monica’s book is proving to be a valuable resource in schools across Europe and among parents eager to introduce their children to environmental issues through a format that is both accessible and actionable. As a parent, I appreciate how *Guardians of the Sea* doesn't just share problems but also encourages young minds to think about solutions, fostering critical thinking from a very young age.

Reading *Guardians of the Sea* has been a refreshing reminder of how literature can open doors to important discussions at home. We should never shy away from introducing complex topics like climate change and pollution, as they are our reality. However, we do need engaging resources like this book to support us in our mission. I hope that the European Union, through initiatives like The Education for Climate Coalition, provides subsidies and support to relevant authors in this field like Monica Edwards Schachter.

For those interested in obtaining a copy of the book, here is the link to purchase it in Englishhttps://t.ly/TpBfB


Guardians of the Sea Monica Edwards Schachter


Guardians of the Sea Monica Edwards Schachter



For those interested in obtaining a copy of the book, here is the link to purchase it in English.


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9 April 2024

How a Leuvenaar bakery turned into a sociocultural entity

In my wholehearted endorsement of Leuven's bid to become the European Capital of Culture, I've chosen to highlight local initiatives that merit wider recognition. I'm revisiting Papel com Clips after a lengthy hiatus. While I've stepped back from sharing my personal life on social media for many years—a practice that will continue—I now see this platform as a valuable opportunity to promote and elevate other projects. This shift marks a new chapter in how I engage with social media, focusing on amplifying the voices and endeavours that contribute to the cultural richness of Leuven and beyond. 

Patricia’s journey to Leuven wasn’t easy. Originally from Venezuela, she came to Belgium with her partner but later found herself escaping domestic violence. With two children, she sought refuge in a crisis centre close to where Plant Dragon would eventually stand. Her determination and resilience were key to rebuilding her life from scratch.

Working as a cleaner, Patricia baked in her free time, her creative recipes soon catching attention. This led to her participation in Bake Off Vlaanderen, a turning point that gave her the confidence and exposure needed to open her bakery on Bogaardenstraat 24. But from the beginning, Plant Dragon was always meant to be more than just a bakery.

Each time I visit, Patricia welcomes us with a warm smile, and I’ve noticed how much the children enjoy being there. They love watching her bake and often stand around chatting with her as she works. It’s these small, personal touches that make the bakery feel so inviting.

Plant Dragon has since grown into a community hub, where people come not just for the food but for the connection. It’s a place where you’ll find locals knitting, creating art, or simply chatting over a cup of coffee. Patricia’s impact goes beyond serving vegan treats. She employs individuals with disabilities, supports refugees by selling their crafts, and collaborates with women to offer workshops that combine creativity and food, like yoga sessions followed by a vegan brunch.

Through her work, Patricia has transformed Plant Dragon into more than just a bakery. It’s a cultural space that represents the true spirit of Leuven—where food, community, and support come together in meaningful ways.

Follow Plant Dragon on Instagram and support this incredible vegan bakery that continues to inspire and uplift the local community.



Plant Dragon


Plant Dragon Facete Leuven



Plant Dragon Patricia Leuven


Brownies Plant Dragon Vegan Leuven



art Vegan Leuven




Leuven vegan bakery






Plant Dragon

Plant Dragon Facete Leuven



Plant Dragon Patricia Leuven

Brownies Plant Dragon Vegan Leuven


art Vegan Leuven



Leuven vegan bakery


11 November 2018

Discovering Genk: A Weekend Getaway Guide

Hello folks,

As you may know, I'm an expat living in Belgium, a country that never ceases to amaze me with its chocolate, beer, and endless surprises. Even after more than four years here, I'm still discovering charming new places.

Although I've visited Genk before, I never really had the chance to thoroughly enjoy the town. Spending a weekend there recently was a delightful experience, especially seeing how culture and nature blend seamlessly. From the acclaimed "The World of Tim Burton" exhibition to the serene cycling routes in De Wijers nature reserve, Genk has quickly become a favourite of mine.

On a sunny weekend in late September, Christian and I took a train from Leuven to Genk, a journey of about an hour. The ride offered stunning views of Limburg's lush green fields, reminiscent of landscapes that inspired painters like Emile Van Doren. It was the perfect autumn day, with a clear blue sky and birds chirping. Our first destination was the town's cultural hotspot: C-Mine. It's fascinating how the city has repurposed the old mine buildings into a vibrant, modern space. The "The World of Tim Burton" exhibition was whimsical and exciting, bringing back fond memories of my childhood fascination with Edward Scissorhands. For me, a compelling exhibition is a highlight of any city break, and Genk excels in this. Another memorable part of our visit was exploring the mine's tunnels and headframe, enhanced by a virtual reality experience that took us back to the 1950s mining boom. This insight into the town's heritage, shaped by a diverse community working together, was truly heartwarming.

Historically, miners celebrated December 4th, Saint Barbara's Day, by sharing delicacies from their homelands. This tradition of sharing, known in Dutch as "partaasch" (from the French "partager"), inspired one of the town's finest restaurants, Partaasch. Our dinner there was a celebration of multicultural culinary delights, embodying the spirit of community over individualism. The chefs, Steven and Loredana, brilliantly fuse ingredients and flavours from various cultures into a delectable experience. And for fellow dessert lovers, their divine cannoli is a must-try.

After a memorable evening at Partaasch, we stayed at the M-Hotel, my top choice in Genk. Christian raved about the breakfast selection, especially the fresh fruits, and I loved the lake and park views. On Sunday, we rented bicycles near the train station to explore Genk's outskirts, including the unique "cycle through water" path. Our route through Bokrijk and De Wijers was enchanting, offering sights like a historical farm and the beautiful Bokrijk castle.

For those with extra energy, I recommend extending your tour to Thor Park in the city's north, home to the Partaasch restaurant and a former coal mine now serving as a start-up incubator. The park's vast fields are perfect for cycling and picnicking. If you're planning a longer stay in Genk, consider day trips to other beautiful Limburg towns like Tongeren and Hasselt. For more details on our trip, check out the video below and subscribe to the Papel com Clips YouTube channel for updates on our adventures.

genk belgium blue sky

natural reserve De Wijers




Check the video below and discover more about our trip to Genk



labyrinth genk





24 October 2018

Unlocking the Past: How Park Abbey Merges History with Future Dialogues

Hello folks,

Park Abbey, a peaceful green spot south of Leuven, is popular among locals for jogging or relaxing with a book. However, many are unaware that it also houses PARCUM, a museum focused on religion, art, and culture, right in its centre.

The Park Abbey was founded in 1129 when Geoffrey I, Duke of Brabant, donated this area of his hunting grounds around Leuven to the Premonstratensians, an order founded by St. Norbert of Xanten. The Duke was keen on improving the religious and social infrastructure of the area to maintain his power and prestige in the Brabantian heartlands, and he succeeded. The monastery played an important role from the late Middle Ages until the XVII century, producing and protecting manuscripts and books, including the famous Park Abbey Illuminated Bible, dating from 1148, today displayed at the British Library in London. The canons also worked hard to establish the economic base of the abbey, which includes, besides four large fish ponds, a watermill and many gardens **that are** still being used for organic farming today. The beautiful buildings thrived over the centuries, with formerly one of the largest collections of stained glass windows produced by Jean de Caumont in the XVII century, depicting the spiritual journey of St. Norbert, and one of the most renowned carillons of the Low Lands with 40 bells.

Unfortunately, to survive the severe periods of political and financial crisis during the XVIII and XIX centuries, a myriad of relics, art pieces, and books of the Abbey were sold. Many of them are spread around the world. However, to our joy, much progress has been made in recovering the objects during the last decades. Thanks to a dedicated team of volunteers, art buffs, and friends of the Park Abbey, valuable items **have been returned** to their original home, including most of the wonderful stained glass windows. Furthermore, the Abbey has been restored and lovely surprises are being revealed, such as medieval frescoes that were hidden behind paintings from the XVI century in the chapter hall.

Leuven is home to the oldest university in Belgium, KU Leuven. The same spirit that inspires students from all over the world to come to this city throughout centuries, is also present at PARCUM. The new museum invites believers and non-believers, people with different ideologies and backgrounds, to a dialogue. Its new exhibition, named "Religion. Healing. Dividing," encourages visitors to reflect on the duality of religion, which causes conflicts, and destruction, but also unites. To create this exhibition inside the heart of a 900-year-old historic Abbey is a revolutionary act. In critical times when we suffer from a wave of hate speech and intolerance, places like PARCUM deserve our sincere recognition and appreciation.

The new "Religion. Healing. Dividing" exhibition will be open to the public from the 8th November 2018 until the 10th March 2019. On the 11th of November 2018, the new carillons, replacing the original version that was burned during WWI, will be inaugurated by playing peace songs all day long. Thus, I deeply recommend you plan your visit on this day. Furthermore, children are especially welcome at PARCUM, which offers workshops exclusively for the little ones. 


 Check the video below for more details. 

visiting the PARCUM museum in Leuven




Practical Information

Address:
Abdij van Park 7
3001 Leuven

Contact:
Telephone: T +32 16 40 01 51
info@parcum.be
Website: https://www.parcum.be

Opening Hours:
Tuesday - Sunday from 10h to 17h
Closed
Mondays & public holidays



You can see more photos of my trips on Instagram and videos on Youtube

14 October 2018

How a Flemish Museum is Renovating the Image of a WWI Martyr City

Hello folks,

"The real voyage of discovery consists not in seeking new landscapes, but in having new eyes." Marcel Proust

Ypres, renowned as the focal point of WWI battlefields between the Allied and Central Powers, holds a narrative far beyond its emblematic role in Great War remembrance. Nestled in West Flanders, Belgium, Ypres boasts over a millennium of rich history, now eagerly shared by its residents with the world.

To bring its storied past to a global audience, Ypres proudly unveiled the new interactive Yper Museum. And no, that's not a typo; the museum's name intentionally varies from the city's to embrace its French (Ypres), Dutch (Ieper), and German (Ypern) denominations, paying homage to its medieval moniker, Ypra. Its home? The iconic Cloth Hall – a testament to Ypres's heritage. This 13th-century edifice, once a bustling hub for the cloth trade and nearly obliterated during WWI, now serves as a cultural nexus, housing the Tourism Office and the renowned In Flanders Fields Museum.

The Yper Museum emerges as a vibrant space for visitors of all ages. Upon entry, cat’s paw wristbands are provided, allowing guests to tailor their journey through Ypres’s epochs, from its cloth trade glory to the plague's dark days. Children are engaged through Katelyne and her cat Leon's video guide, making history accessible and fun. The museum thoughtfully includes child-centric attractions, like the 3D medieval city model and an exploratory cave, ensuring a memorable learning experience for younger guests.

Ypres's tumultuous history of political entanglements with Europe's major powers is presented with a distinct sense of humour. Exhibits, such as humorous badges unearthed from the moat featuring comical designs, and a mini-cinema summarizing Ypres's numerous invasions in a light-hearted video, showcase the city's enduring spirit. This spicy humour captivated my husband and me, adding a unique flavour to our museum experience.

The exhibition culminates in a celebration of influential Ypres women from the 19th and 20th centuries, highlighting figures like photographer Madame LĂ©ontine Antony-Permbeke, lacemaker Clara Lamotte, and painter Louise De Hem. In a historical narrative often dominated by male perspectives, the museum's focus on women's stories and achievements is refreshing and inspiring, encouraging recognition of female role models.

The Yper Museum stands out as an exceptionally interactive and family-friendly destination, offering a personalised experience for every visitor. Furthermore, it's great to remember that places torn apart by war have a story before the destruction that should not be forgotten. With the Yper Museum, we view this place through new eyes. For more details, check out the video of our tour.






Practical Information

Address: 
Lakenhallen Grote Markt 34
8900 Ieper | Tel. 057 239 220

Opening Hours:
From 1 April to 15 November - daily from 10 am to 6 pm
From 16 November to 31 March - from Tuesday to Sunday from 10 am to 5 pm;
closed Mondays
Annual closing - 2 last weeks of January

Prices: 
Individual - Yper Museum
adults                         7 EUR
youth (19-25)             4 EUR
children (7-18)            3,5 EUR
children (-7)               free
families                      15 EUR
(2 ad and 3 ch <18)               

Group - Yper Museum
mixed groups              5 EUR
schools/youth              3 EUR

For more practical information visit the Yper Museum website.

You can see more photos of my trips on Instagram and videos on Youtube





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