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opened its doors in south Brussels on the site of the former Bata factories.Created upon the initiative of Astrid Ullens de Schooten, and recognized as a promoting the public interest, it has a vocation to support the creation, knowledge, and preservation of the photographic image.He produces his own images, collects from others (selfies) and encourages the people he meets to take some (disposable cameras). Sticking together like grains of sand forming a castle, these images bear witness, speak to us and challenge us about the lives of these men and women that must be kept on an even keel.Vincen Beeckman, a member of the former collective Blow Up, is responsible for the programming for the Recyclart association, a dynamic laboratory generating socio-artistic experimentations, meetings and urban initiatives.This program offers, among other things, meetings with the invited artists, guided visits, reading workshops and workshops on writing the photographic image.
These anonymous people appear, let themselves be viewed and interpreted.In a world where there are people who only think about building walls and where inward-looking attitudes sow the seed of indifference and violence, the committed photographic approach of the anodyne artist Vincen Beeckman (born in Brussels in 1973) has a role to play.His various interventions consist of building bridges, bringing into play all these tenuous links that can bring people, citizens, passers-by, etc. Therefore for already over ten years, he has been meeting people welcomed by the Petit Château,a former barracks dating from the 19 century located along the canal in the centre of Brussels and transformed in 1986 into a reception centre for asylum seekers, currently managed by the Federal Agency Fedasil.There he meets unaccompanied minors from the CADE (Foreigners’ Rights Access Centre).When communication is not possible, as he speaks neither Pashtun nor Albanian, Vincen Beekman uses his camera and photographic images to create dialogue, to encourage meeting and initiate sharing.