Chloë DELANGHE

Profile

Chloë Delanghe (b.1991, Ostend BE) is a Belgian visual artist, photographer and filmmaker who lives and works in Brussels.
Delanghe obtained her MA in Fine Arts at the Media Arts department of the Royal Academy of Arts (KASK), Ghent in 2014. She completed her bachelor’s in fine arts at Sint Lukas Brussels in 2013. Chloë Delanghe’s work mainly focuses on memory and domestic life using various methods of storytelling. Through the use of archive materials, staged objects, portraiture and writing, a patchwork of narratives appear that invoke reflections on class, love and form.

Recent activities
“EMAF European Media Art Festival #32 (international premiere)”, screening program, Lagerhalle, Osnabrück, Germany, 2019
“An Exhibition of Posters” Group exhibition, Witte de With, Rotterdam, The Netherlands, 2019
“elephy” Group exhibition, Size Matters, Vienna, Austria, 2019
“We’re This and We’re That Aren’t We?” Group exhibition, Kunsthal Extracity, Antwerp, Belgium, 2018
“Specks of Blue” Solo exhibition, The Living Room , Antwerp, Belgium, 2018

Awards, Grants
Flanders Audiovisual Fund, Filmlab scriptwriting support (2019)
Belgian Arts Council, artistic development grant (2015/ 2018)
City of Ghent Foundation prize (award for graduation project Master Fine Arts) (2014)

About works / performance

The work of Chloë Delanghe relates to her own life understood as the ties and connections we are born into; those relations we spend all of our life re-shaping and being shaped by. Memories, much like artworks, are fickle, hard to grasp in any permanent sense. Images, much like memories, are defective, suggestions of something else. Delanghe’s video works are a mixture of her life’s story and visual, sometimes aloof storytelling. The desire to portray is joined by the desire to remember. Her work offers a detour via the lived world as we see it, leading to a more intimate understanding of an inner world.
The work also strikes that skillful chord whereby the personal is transformed into the anonymous and as such –strangely so, perhaps – opens up to the recognizable. The empathic yet analytical gaze of her camera shows an intimate world through the clever use of cinematic, narrative tools such as the close-up, framing, and the off-screen. (Samuel Saelemakers, 2018)