When David Lynch passed away last week, I was writing a little bit of an overview of this show, Canadian artist David Altmejd’s “Prélude pour un nouvel ordre mondial” at Xavier Hufkens, Brussels. It felt eerily apt and I stopped writing to look over the Lynchian universe, a bit of a gut punch to lose such an icon of Los Angeles in the wreckage of the fire disasters. Altmejd, to me, exists in this sort of post-Hollywood aesthetic, a juxtaposition of cultural and idyllic worlds mixed with the surreal and chaotic vision of modernity and post-humanism. In essence, while Altmejd’s sculptures manifest physical transformations in the medium of sculpture and invite viewers to engage with them spatially, Lynch’s films manifest narrative transformations that engage…