Colour in Belgian documentary photography. The case of Jan Kempenaers

Documentary photography in belgium has received recently a number of strong institutional as well as artistic impulses. First of all, there is the stimulating example and influence ofthe datar (‘direction de l'aménagement du territoire et de l'action régionale’) experience in france, which took place only a few miles from the belgian border and the images of which were undoubtedly recognizable to the local public and artists. Second, there is the increase in commissioning photographers — following the french and dutch governmental policies — who can now comrnit themselves more regularly to non-commercial documentary photography. Finally, there is the direct and welcome discovery of the work of five important foreign examples: john davies, bernard plossu, hans aarsman, heinz cibulka and andré gelpke, who were invited to participate in the project 'antwerp 93' (the photographic ‘pole’ of the events celebrated during the year antwerp was elected cultural capital of europe), the results of which were to be published in alandmark book: a city in photographs.1 antwetpen 93. Een stad gefotografeerd/a city in photographs, antwerp: provincial museum voor fotografie 1993. View all notes.