maritime-hotel

You go into Carbone, and the whole thing is so fake…I went for dinner and I was embarrassed to be there
— 

Says Sean MacPheron in an interview with The New York Times. He’s the guy behind Waverly Inn, which sells $55 truffled mac & cheese to celebrities. He’s also the guy who’s allowing Tao, a Buddha-themed restaurant that sells $88 Wagyu ribeye to tourists, to open underneath his Maritime Hotel. 

So to be fair, the dude clearly knows a thing or two about fake. 

Guns N’ Roses concert put on by Nur Khan… On Thursday night, Rachelle Hruska (MacPherson) organized a girls dinner at La Bottega and and a table for us at the Guns N’ Roses concert in the basement of the Maritime Hotel. Several songs and rounds of drinks later, Rachelle and I agreed that despite enjoying ourselves, we were exhausted and should probably head home so that we’d be able to function the following morning several hours later at work. As we wove through the packed room to leave, they started to play Sweet Child O’ Mine and we both stopped walking and started dancing while belting out the lyrics at the top of our lungs. I guess that’s the fun of friendship, sometimes everything just falls into place. The song eventually wound down and we resumed squeezing our way past sweaty strangers. Once outside, we hugged goodnight and as I thanked Rachelle she smiled and said, in true mother-of-a-newborn form, “I better get home to that sweet child of mine.”

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All the windows will be square.

Video made by Luc Tuymans for the exhibition ‘De Vierkantigste Rechthoek. Tom Barman sees all sides of a century of Belgian art’.

The exhibition is over, but the Art and this peculiar movie remain.

Tom Barman: ‘As a musician and film-maker, I’ve spent the last 20 years fielding questions about what typifies Belgian culture. The answer seems to me to lie in its eclecticism and contrariness. In its humour, too. And its openness. I can see and hear it in the twinkle in René Magritte’s eye, the steely no-nonsense attitude of Jacques Brel, the multilingual turns of phrase of Raymond Goethals, and the versatility of Hugo Claus or Victor Servranckx. Because behind the threadbare cliché of Belgian Surrealism there beats an experimental heart. Always with a sneaky kind of cheek and a readiness to kick up trouble. Even with aesthetics, if necessary. My aim in this exhibition is to give my completely personal angle on this ‘typically untypical’ kind of Belgian-ness. In images, paintings and sound.’