Photographer Sarah Eechaut

“When I am unable to start working, I tend to go for a walk (mostly in the nightime), I take a book and read, reorganise my studio or take up older works. The canvas remains blank for a while, but even then I give it a push. Even if it’s not completely good, I paint the entire canvas until it has a first layer of paint over which I can paint the day after. Then at least I have an image that I can criticise. Worrying about a blank canvas or painting is useless. It is not the moment one stands before a new canvas that I start thinking about what to paint; when I order the canvas I already know what to do with it. There are some canvasses that I have been working on for years now, I paint over them, or they are waiting for the ’moment of genius’ to get things right. ” Vadim Vosters (32) currently works on a painting for the Hermitage Museum in Amsterdam, a light installation for De Markten in Brussels and a performance video for an installation in Ukraine.

vadimvosters.be

(This feature was first published in the white album)

Photographer Sarah Eechaut

“I don’t think I have a fear of the blank canvas but I do sometimes find it hard to start a new piece of work because when the canvas is blank it could become anything. A blank canvas is imbued with so much potential and there’s always the danger of failure, you have to have the confidence to move forward, work through any problems and remember if it all goes wrong, there’s always more canvas. If I’m blocked then I avoid the canvas or turn it round to face the wall while i work on something else until I’m ready to start painting. The challenge then is if it doesn’t go the way you want or it doesn’t look right do you stick with it and work though the problem or start again.”

Matthew Crasner (30) is a Brussels-based artist currently working on a new series of paintings for an upcoming book.

(this feature was first published in the white album)

Photographers Gregoire Pleynet and Pauline Miko.

Photography courtesy of Zeno X Gallery Antwerp

One of the most prominent photographers of his generation, Ghent-based Dirk Braeckam‘s work has been enjoying something of an increased interest of late, with exhibitions in Leuven (M Museum) and Antwerp (at Zeno X Gallery, which ends this Saturday), artist books (to be published in conjunction with the exhibition in Leuven, and which will include many previously unpublished images) as well as a documentary on Belgian television (aired last night on Canvas’ Goudvis). A teacher at the Royal Academy of Fine Arts, Braeckman is known for his grey-scaled works that owe as much to his accute sense of composition as to his restrained approach (he sometimes doesn’t develop his rolls years after having shot them). With his exhibition at M Museum spanning his entire career to date (from early-beginning self portraits and later years landscape images to his most recent experimentation with digital photography), Braeckman cements his reputation as the grand-daddy of Belgian fine art photography. We met up with him a couple of days after the opening to talk analogue photography, eliminating colour and working against photography as a medium.

(Scroll to the bottom of the page for an image gallery review of the exhibition, shot by Joke De Wilde)

Photography Joke De Wilde

At the moment there are two exhibitions of your work in Belgium. Do you actually have a say in how your photos are displayed?

Yes. For the exhibition in Leuven – my biggest so far – I wanted the hanging to be very classical. 12 years ago I had a completely different approach: For example I did a show with mainly small prints, all hanging in one row and very close to each other to give it a cinematic feeling. Now, when the moment for an overview of my work had come, I prefer to keep the pictures apart and want to let them stand for themselves – even though there will of course always be a dialogue between the pieces. There is also book, something that is very important to me. It is not just a usual publication to accompany the exhibition. It includes about 350 images, many of which are published for the first time and in the book only – they don’t even exist as prints. It is a piece of art in itself – I see the book as an additional independent space to present my work.

What is your way of working? Do you arrange your photographs or are they more spontaneous snapshots?

My way of working is very impulsive. I never know what I want before I actually start shooting. I don’t arrange the setting. The golden thread running through my work is the autobiographical aspect – but not in an obvious way. It is autobiographical in the sense that I photograph things close to me, what is around me.  And in the end it matters more in which way I print it and how I photograph something than what.

It matters more how I photograph something, not what.

You recently started with landscape photography – can you tell us more about that? Is this the current focus of your work?

It all started with a sponsorship by Nikon. They gave me their best camera on the market and in order to see what it can do I travelled around a bit. That’s how I started photographing nature. But in the end my landscape images have the same feeling to them as my interior ones. For example I kept the habit of concentrating on little details. Currently landscapes are my main motifs and I photograph much more outside. I guess I needed that after 25 years of working in rather enclosed places. But as I said, the looks and atmosphere of the photos stays the same and it is a logical continuation of my work.

Some of these landscape photos are displayed in the exhibition in Leuven.

Yes. They actually refer to the origin of the world and are partly inspired by the same-titled painting of Gustave Courbet. Many people do not recognize this reference though.

Photography courtesy of Zeno X Gallery Antwerp

Do you have a favourite picture in the exhibition?

It’s hard to say, there are quite a few of them. There is this one image though where I eliminate almost everything with the flash – all you see is structure. It’s probably my most secretive picture, the most intriguing, mysterious and abstract. I took it about six years ago and some people even considered it as the final point of my work and asked me: ‘What now?’ It is a very important picture for me.

You almost only photograph in black and white – is there a specific reason for that?

Eliminating colours means eliminating information. It becomes more suggestive. And even if an image is black and white – you can always feel the colours. It is not necessary to display them. Coloured images feel more like illustrations to me. When I do use colour I do it in a rather monochrome way, as an artificial yellow light for example.

In a way I work against the medium and do the opposite of what photography is originally meant for.

You mentioned the elimination of information in your photos – what is the reason behind that?

This is a very important aspect of my work. I delete all references to when and where the picture is taken. In a way I work against the medium and do the opposite of what photography is originally meant for. My goal is to make the viewer guess and wonder. I want the image to stand by itself – a story is not necessary. It could be taken anywhere. I don’t want to show a certain reality, rather a sensation. My pictures are very tactile, they become objects, like a painting – many viewers actually want to touch them.

Who are the people in your photos? Are they people you randomly meet on the street? Or do you work with models?

No, they are all people I meet, some I know well, others just for one night. As I mentioned already, I never stage the setting, but I can still stir it into a certain direction if I want to. But the subjects of my pictures are not important. It is much more about an inner reality, my state of mind, a very personal perspective. Sometimes you don’t see the person on the picture, but they are in the room and you can feel their presence. I don’t want things to be too evident.

Photography courtesy of Zeno X Gallery Antwerp

You recently started experimenting with digital cameras. What are the biggest differences between analogue and digital photography? What are the advantages and disadvantages?

They are two completely different things. With analogue photography you always have this mystery of what will be the outcome in the end, you don’t see directly what you photographed. Using digital cameras there is no process, the result is there immediately and I can’t do the printing myself – something that is very important to me. I’m not a big fan of technology and computers. I need to spend time in the darkroom, I need the physical act of developing the picture myself.

So you never use digital cameras?

Sometimes I do, some of the big prints in the Leuven exhibition are made with a digital camera. I also combine both methods from time to time. For example I take pictures with a very small camera or even a mobile phone and then photograph them again on the screen with an analogue camera. I like to experiment and I’ve never followed the common rules of photography. But yes, I prefer the analogue way – a very nostalgic reaction, I know.

I’ve never followed the common rules of photography.

Is digital photography changing photography as an artform?

Many young photographers nowadays first look at all the technical possibilities and then think about the image – in my opinion that is the wrong approach. I first come up with an idea and then I choose the tool to realise it with. But with all the possibilities opening up through digital technology this is changing into the other direction.

Dirk Braeckman

Until 8th January 2012

M Museum Leuven, Leopold Vanderkelenstraat 28, 3000 Leuven

www.mleuven.be

The festival to catch: Sonic City

Courtesy of Mute Records

By inviting Melvins, Factory Floor, HTRK, Mark Ernestus, Legendary Pink Dots, Tannhäuser Sterben & das Tod, Standish/Carlyon, and Sightings, LA-based Liars – who were asked to curate this two-day festival in Courtrai/Kortrijk – live up to the sharp, eclectic and somewhat offbeat taste one would rightfully expect of them.

From 29th to 30th October

Sonic City @ De Kreun, Conservatoriumplein – 8500 Courtrai/Kortrijk

www.dekreun.be

The concert to go to: The Ex

Veterans of the Dutch punk scene, The Ex emerged at the height of the sub culture’s explosion in 1979 and survived its downfall. Going through several line-up changes during its three-decade career, the band’s sound evolved from anarcho-punk to new-wave, sometimes even incorporating elements of free jazz, afrobeat, blues and folk whilst never losing its relevance, edge or mythical energy on stage.

29th October

VK,  Rue de l’Ecole 76 Schoolstraat – 1080 Brussels

www.vkconcerts.be

The nights out: Bozar Electronic Weekend

Courtesy of Monkeytown Records

With Berlin’s Modeselektor headlining the bill, this weekend’s Electronic Weekend once again promises to bring sonic mayhem down on Bozar‘s labyrinth of underground rooms and corridors. Reinforcing an already solid international line-up (Siriusmo, Girl Unit and Rustie amongst others) with a finely-tuned selection of homegrown talent (Surfkill’s Ssaliva and Spank Me More Records’ Concert Debout), the two-nighter promises to deliver enough ear candy to keep you on your toes until the early hours of the morning.

From 28th October to 29th October

Bozar Centre for Fine Arts, Rue Ravensteinstraat 23 – 1000 Brussels

www.bozar.be

The walk to take: Parcours Modo

Courtesy of Modo

One of the quickest and safest way to get a good idea of what’s brewing in Brussels’ creative hotpot at the moment is to let yourself be guided through this weekend’s Parcours Modo, a fashion-focused, city-wide trail in which emerging and established fashion designers as well as the majority of downtown Brussels’ retail glitterati join forces to create a walk full of unexpected surprises. Top of our list this year is the exhibition ’Fashion Drawers’ at Papers. Another must-do on our list: MAPP, which is hosting the so-called Smile Book project. If you’re lucky, you might even get to be photographed in one of designer Marc-Philippe Coudeyre‘s new winter jackets with a vintage polaroid camera.

Starting point and information: The Rits Café, Rue A. Dansaertstraat 70 – 1000 Brussels

www.modobrussels.be

The exhibitions to go to: Dreamsuits and Precarious Interchange

Dreamsuits

Courtesy of MoMu

What do Elvis Presley, John Lennon and Johnny Cash have in common? All three music icons wore outfits by Ukrainian-born designer legend Nudie Cohn, a tailor who by revolutionising Country & Western fashion rose from designing g-strings for New York strippers to international stardom. In what is the first comprehensive exhibition of his creations in Europe, the show allows you to discover a vast selection of Cohn’s extravagant outfits and accessories, including the personal collection of Belgian entertainer Bobbejaan Schoepen.

From 28th October to 12th February 2012

ModeMuseum Province of Antwerp,  Nationalestraat 28 – 2000 Antwerp

www.momu.be

Precarious Interchange

Courtesy of Waxy Pith

Waxy Pith, a new platform for contemporary art, displays the works of artists from France, Norway, the US and Germany touching different topics and artforms ranging from photography to video installations or sculptures whilst all having one thing in common: A certain sense of precariousness.

From 28th October to 13th November

Waxy Pith, Rue de l’Arbre 4 Boomstraat – 1000 Brussels

www.waxypith.com

The exhibition to go to: Antoine Bouillot

Courtesy of A.L.I.C.E. Gallery

After having infiltrated the Parisian fashion world aged barely 16 – where he worked on catwalk scenography, became artistic director and created identities for luxury brands such as Lanvin, Jean-Charles de Castelbajac, Sampar or Gaspard Yurkievich – Antoine Bouillot decided to have a go at movie directing, before settling for visual arts. Visibly inspired – or affected – by his previous experience, the French artist’s vision of art became one of a tautological provocation with the world of luxury as an alibi, resulting in a body of work that accuses as much as it celebrates these two worlds.

Until 29th October

A.L.I.C.E. Gallery, Rue du pays de Liège 4 – 1000 Brussels

www.alicebxl.com

The concert to catch: Teeth

Being touted as Karl Lagerfeld‘s favourite new band certainly raises the stakes. Fortunately, Teeth‘s electro-noise-pop lives up to the hype. Playful, fresh, stylish minimalistic yet very punchy, cynics might describe the Dalston trio as yet another bunch of hipsters, but who cares – they put on a good show and that’s all that counts, right?

14th October

Botanique, Rue Royale 236 Koningsstraat – 1210 Brussels

www.botanique.be

Watch the video of the single Care Bear:

The auction to go to: Second Hand Second Life

Acclaimed Belgian designers will once more present one of a kind creations made from second hand goods for the 9th edition of the now famous Petits Riens / Spullenhulp fashion show, which is auctioned at the end of the show to raise funds for the non-profit organisation.

Tour & Taxis, Avenue du Port 86C A Havenlaan – 1000 Brussels

www.petitsriens.be

The night out: Audiorama

With Dan D, a veteran of the Berlin club scene Panorama Bar, Maria am Ostbahnhof or Club der Visionäre) set to man the decks, The Wood‘s Audiorama night promises to bring a little Berlin to Brussels this weekend. And, with Koln’s Audio Werner joining Dan D for a double-whammy of house goodness, the night’s guaranteed to go on until the early hours…

14th October

The Wood, Avenue de Flore 3 Floralaan – 1000 Brussels

www.thewood.be

Photography Joke De Wilde

Photography Sarah Eechaut

Messing around with snakes is no innocent choice; such is the strength of mythology associated with them and the fear they seem to elicit in a vast majority of people. “There is a clear will to demystify the animal,” admits Rien, “but they’re also of an extreme beauty, colour and texture wise.” Working in collaboration with other breeders, Rien purchased several snakes, mostly red ones, and began experimenting three years ago. “You can predict the outcome of the colour and pattern, but there are no guarantees.”

One could obviously question the true artistic value of this project. After all, this could very well happen in nature. Yet the boundaries of artistic creation keep on being pushed, as technology, scientific research and biology merge into new forms of expression. Commonly referred to as BioArt, made popular in the late 90s when Eduardo Kac introduced Alba, the world’s first transgenic fluorescent rabbit, Sébastien’s work is more traditional in that he simply exploits accidents and genetic flukes. But the selection on top of that is key in differentiating his approach to that of a scientific researcher or a mere breeder. Sang Mêlé is a study on form and colour. “Just like a painter, I chose my colours by selecting certain individuals, and like the sculptor, my work operates in shapes as the snake is a three-dimensional object,” he explains. Sang Mêlé could there- fore very well earn its place within art history, even though having living creatures as a main medium definitely challenges its archetypes and the way people perceive art. If anything, the dichotomy between nature and human productions is one in which Rien does not believe, as he firmly stresses. “We often speak of nature as being something external to our productions but when you think of it, if we are products of nature, than our very own productions are those of nature too.”

Having worked on Sang Mêlé for three years, he lacks distance and results. His livestock currently counts about 18 specimens and he produced one baby in August, which sadly died a few weeks later. The product was a blend of four different species, and Sébastien is unsure as to the exact causes of this failure. The defunct one has now been recycled into another project. “It sounds sordid, but I’ve always kept all my carcasses in a freezer,” he says with a mischievous smile. Frozen into interesting shapes, his colubrids, boas and pythons have become sculptures, which he then photographs. Busy with countless other projects, such as his collective Phase 3 or Le Bestiaire – a line of silver pendants cast in the shape of small animals’ jaws, created in collaboration with jewellery designer Artamonoff – Sang Mêlé currently remains a non-profit side-enterprise (the artist can’t sell the products in order to keep the process going). It is also a never-ending one: “there will always be new ways of pushing the selection in other directions. It’s a work in movement, like life. Like the world.” And just like life, this project doesn’t have an ultimate goal, if only perhaps, achieving the creation of specimens that will be as far removed from their original forms.

Sébastien Rien’s photographs of frozen specimens will be displayed at the MAAC
Rue des Chartreux 26-28 Kartuizersstraat
1000 Brussels
From 27th May to 25th June
maac.be

Tracy Emin, 'I whisper to my past, do I have another choice' (2010)

The  weekend before last saw the return of the Frieze Art Fair in London, so we thought we should take a look for ourselves and see what the fuss was about. Frieze art fair is a pilgrimage of sorts for art lovers and dealers; an almost sacred spot to pose while you peruse the finest offerings from the worlds’ leading fine contemporary art galleries.

Lorna Simpson, 'Staircase' (1998)

I’d never been before, despite living in London for five years and realised why as I sat on the Eurostar leaving Brussels leafing through my info on the event. Priced at £25 a day ticket, the fair was a luxury event. Despite this quite saddening comprehension (naïve maybe but wasn’t modern art supposed to be by the people for the people?) I was excited as I realised the sheer number and breadth of galleries on show; from small indies that I had seen in London to the monsters of the art world such as Gagosian and Hauser & Wirth. But even this list couldn’t prepare me for the overwhelming plethora of art in all forms that hits you as you enter the bustling arena.

Daphne Wright 'Swan' 2007 © Copyright 2008 Frith Street Gallery

Busy doesn’t cover it: even the most dedicated art follower would be ambitious to think they’d be able to visit all the galleries on show such was the sheer number of them. But through the mass of what can only be described as banal gimmickry, unoriginal imitations and prescription irony, shined through great feats of artistry. Delicate skill could be seen in Daphne Wright’s swan crafted out of resin and marble dust exhibited by the Frith Street Gallery. The morbid statement of the dead swan with its stark off white, matt gloss of the marble mould reflected the light hauntingly.

Thomas Saraceno, Hydrogen Cloud Exploding (2010)

Interesting set designs for the Peter Kilchman Gallery, Zurich showed off the wonderful Fabian Marti photography and Francis Alÿs studies to their best. While at the White Cube, Christian Marclay’s seven and a half minute video titled Telephone (1995) was an amusing and whimsical series of clips with telephones used from classic movies, new and old. The breadth of artistic medium was really demonstrated at Galerie Fons Welter with an extensive array of artworks. Particularly interesting and eye-opening was Gabriel Lester’s ‘The future chasing past the present’ (2010); a conveyor belt with scale models, by Marco Giacomelli, glued on rain in a darkened room while lights from different angles created a silhouettes in motion on the four walls. The shadows of urban planning, trees and figures falling away was dramatic and the whole piece arrestingly alluded to the passing of time.

Sanchayan Ghosh, Doosra- The other maze (2010) Ⓒ Linda Nylind for Frieze

The sculpture park offered some delights as the autumn light bounced off the reflective surfaces of Tomas Saraceno’s untitled pieces. The most startlingly effective sculpture was a piece by Sanchayan Ghosh named ‘DOOSRA- The other maze’ (2010). On my way to the art fair I noticed many people clutching white flowers attached to thick wooden sticks- on arriving I realised they were in fact part of Ghosh’s artwork. A cordoned area floored with metal shape punched throughout with holes. I realised that the flowers I had seen people holding were in fact from this artwork, which asked the viewer to take a flower from its place if one wished. By the time I had reached it, all I saw was decimation of what I could only imagine was a beautiful field of crafted flowers using an ancient and now dying artform of Shola (pictured). Some remained, however, broken or trampled upon, unworthy of being collected by avid visitors. All that struck me was the environmental polemic, signalling human over consumption but maybe I was being cynical. Either way, it was disheartening and saddening and the feeling lingered all weekend. Art at its most effective.

To say the least, the Frieze Art Fair was somewhat of an emotional experience, making me smile and laugh one moment and incensing sardonicism another. If you think about all the entrance costs you pay to get into these galleries (plus the air-fare!) it’s actually a snip. But what makes it really worthwhile is the fact that it’s a haven of all things modern art, showcasing the best contemporary galleries the world has to offer  and  leaving you with a big smug smile of cultural accomplishment.

I traveled by Eurostar from Brussels to London on 15th and 18th October.

Marc Strijbos, the gallery owner, and Jodie Hruby, the artistic director, didn’t wait for the end of the holiday season to inaugurate this new space located downtown, on the ground floor of a new building rue Vieux Marché aux Grains/Oude Graanmarkt. Unlike most gallery owners, who tend to christen their ventures after their own names, they baptized the space “Naked State,” in reference to the simplest and truest condition of art they want to promote.

For the inaugural exhibition, entitled “Terminal Beauty,” Jodie presents her selection of emerging artists she spotted at the Master graduation jury in the art schools La Cambre (Brussels), Sint Lukas (Brussels) and Hisk (Ghent). The proposal is of course generous – offering a real visibility and a professional context to artists coming out of schools – but it is furthermore successful. Gathering the works of artists, who at first glance don’t share much except for their young age, is indeed a delicate exercise. Jodie readily avoided falling into the trap of the “store display” layout. Instead, she even blocked her own window by a large repetitive structure of Kevin Aerts. Visitors should therefore cross the entrance to see the show…

Sophie Giraux, L'espace d'une année en une minute; video projection; 4'00" loop, 2010, edition of 3

Maxime Crombez, Structure (framed), 2010

Inside, videos, paintings, drawings and installations are gathered. If no statement or even artist name is given (“the naked state”), Jodie, who works in the space, will happily provide you with any requested information and, by the same occasion, share her enthusiasm for the works exhibited. She may, for instance, explain that a video projection of the numbers 1 to 31 succeeding at a rapid rate is based on a precise calculation (1 year equals 1 minute) and that this unbridled race of numbers reminds us of the transience of time. She may also direct your attention to a small slide projection showing a simple list of words (such as “rain,” “room”…), and tell you they correspond to the tools of the artist’s grandparents, a couple of professional magicians, needed for their performances. Seemingly trivial words loaded with enchanting powers…

Overall, a sense of fragility dominates, which goes along the exhibition context (a new gallery dedicated to emerging artistic languages). The accuracy of the selection, coupled with Jodie’s generous and optimistic attitude can only be a good omen. A gallery to see and to follow!

Sarah Majerus, Untitled; oil on canvas; 130cm x100cm, 2010

Jodie Hruby

Rue du Vieux Marché aux Grains 57 Oude Graanmarkt
1000 Brussels
+ 32 (0) 2 512 13 11
www.nakedstategallery.com

Words Renasha Khan

Emily Scream #1, 2008, Digigraphie

The book is a celebration of this exhibition and contains detailed essays giving a lucid insight into the cineaste’s creative vision – a vision extended beyond cinema, to animation, lithography, digital print, drawings, photography, installation and painting. What is clear from the book is that his allure and success as a filmmaker is rooted in a love and understanding of painting and fine arts.

The reproductions in Dark Splendor are comprehensive and remarkably captivating, engaging not only fans but also a wider audience too. The Distorted Nudes series (2004) displays Lynch’s obvious fascination with the macabre, something that is undoubtedly evident throughout his dramatic works such as his much lauded TV series Twin Peaks (1990). Such fluid diffusion of concepts across media can also be seen in the remarkably detailed pen and ink matchbook drawings. These depict surreal landscapes and dreamlike interiors inside matchbooks and are suffused with the same sense of foreboding and atmospherics, which are so characteristic of his cinematic offerings and are resonant throughout the prints in the monograph.

David Lynch: Dark Splendor is a fan’s dream in that it illustrates the sheer breadth of Lynch’s artistry and stands up to claims of his genius. One thing is for sure; Lynch’s place is secure as one of the most enigmatic and quixotically creative energies of the 20th century.

David Lynch, (1946-)

Untitled from the Industrial Motives series, undated, photographs

Untitled from the Distorted Nudes series, 2004, digital print

Buy here

David Lynch: Dark Splendour
Edited by Werner Spies, texts by Dietmar Dath, Stefanie Diekmann, Thomas W. Gaethgens, Andreas Platthaus, Peter-Klaus Schuster, Werner Spies, graphic design by KOMA AMOK
English 2010
352 pp., 346 ills.
Published by Hatje Cantz, Berlin

Photography Sarah Eechaut

Over two months after, it’s high time to refresh your memories and remind you of the interactive design exhibition we organised early September with a three minute video directed by Gaetan Saint-Remy of Sep Stigo Films. The three opening nights were as good a success as we had hoped for (this being our first truly “Word” event), with close to 650 people coming to say hello and no suicides, emergency room visits nor DIY disasters to speak of (although we did get the odd drunk trying to slap a lawsuit on us for being hit by a paper plane).

Dance moves, envelopes, business cards and perfect songs. The three days (and the rest of the month for that matter) had somewhat of a kindergarten feel to it, with cissors and felt pens the weapons of choice.

Photography Yassin Serghini

Photography Sarah Eechaut

Thanks again to all the exhibiting artists for taking part: Félicia Atkinson, Atypyk, Base Design, Nicolas Buissart, Benoit Deneufbourg, Sarah Eechaut, Face to Face, Damien Hirst, Félicie Haymoz, Hvass & Hannibal, Label Architecture, Anais Massini, Pleaseletmedesign, Robin Renard, David Trubridge, Sylvain Willenz, Wallpaper Magazine.

Sylvain Willenz and Félicie Haymoz (Photography Sarah Eechaut)

Damien Hirst (Photography Sarah Eechaut)

Hvass & Hannibal (Photography Sarah Eechaut)

Sarah Eechaut (Photography Sarah Eechaut)

And an extra special dose of thanks to the following people for their unremitting assistance putting on the show: Melisande McBurnie, Rena Smith, Yassin Serghini, Benoit Berben and Lea Munsch.

See you all next year for Follow the Guide part two….