Nadia Naveau

Nadia Naveau


23.04 - 18.06 In her studio, Nadia Naveau often collects and finds fragments, small items or parts of objects; elements of unfinished thoughts. She brings them together into three-dimensional collages. It is her way of thinking: with memory, association and play. Clay is her main material: she uses it to sketch ideas, which may or may not be given a more 'final' elaboration. She often plays with the perception of materials, something rarely really is what we think we see. In terms of content, Naveau finds crossovers between art historical influences and pop culture (she makes references to figures from Greek mythology, the Baroque and presentations in archaeological museums, but also to The Simpsons and Disney). Naveau distances herself from an academic method (the strictly defined sequence of ideas, drawn sketches and sculpted and glazed final results). The artist's liberation occurs at the breaking point of conformity and finding a method all of one’s own. During the creation process, the clay often takes the lead: the image itself will evoke certain associations or coincidences.

Works

Ballroom Gallery
Koningsstraat 119–123
Rue Royale 1000 Brussels

Opening Hours
Wednesday — Saturday
12:00—18:00

Denitsa Todorova

Denitsa Todorova


23.04 - 18.06 Denitsa Todorova works almost exclusively with graphite on paper. Her method could be called quasi-sculptural: after she has completely blackened the paper with graphite, she reveals a composition (usually based on a photo) by removing the graphite in very precisely defined places. The whole process is time-consuming, intensive and not all too different from a sculptor who distills a shape by cutting away marble or wood. Due to the high degree of abstraction, it is tempting to think that her images are created almost effortlessly, as a result of intuitive artistic gestures, but in reality, Todorova leaves relatively little to coincidence. In her abstract drawings Todorova strives for a certain isolation of the viewer – a reduction of sensory stimuli in favour of a pure confrontation with the imagination. She compares it to staring into the sun for too long: you see black and colourful spots, distortions; shapes and images become more difficult to distinguish in a kind of dizzying mirage.

Works

Ballroom Gallery
Koningsstraat 119–123
Rue Royale 1000 Brussels

Opening Hours
Wednesday — Saturday
12:00—18:00

Kaspar Dejong

Kaspar Dejong


23.04 - 18.06 In his exhibition “Reading between the lines” Dejong focuses on our direct surroundings during an average city stroll. Dejong’s work is in line with the semiotic tradition that revolves around the exploring and studying of signs and symbols as a significant part of communication. The traces of life that surround us in our daily habitat are telling us stories of something that once was or one day will become. By lifting mundane/trivial signals and situations out of their initial context, decomposing them and studying them, Dejong intends to raise questions around their original intent and our ways of living

Works

Ballroom Gallery
Koningsstraat 119–123
Rue Royale 1000 Brussels

Opening Hours
Wednesday — Saturday
12:00—18:00

Justine Grillet

Justine Grillet


16.10 - 13.11 Throughout my practice I’ve mostly been working around three topics: Theatre, Structure & Performance, explains my idea of working with different scenes from a play. To create a stage where figures can perform and dance. For this, I use theories from fictional stories that I consider as truth and applies them in my work. By playing with a non-physical world, I feel like I can question the role of a performer and the meaning of his performance. This means that creatures living in this particular world can be drawn, written down, or become a piece of sound. These non-physical creatures or monsters suggest figurative work. They do not exist in the real world but in words, memories, and stories, they are present. After this process some of them become physical beings and they’re growing into characters with a personality.

Works

Ballroom Gallery
Koningsstraat 119–123
Rue Royale 1000 Brussels

Opening Hours
Wednesday — Saturday
12:00—18:00

Charlot Van Geert

Charlot Van Geert

29.01.22 – 05.03.22 Van Geert kicks the shins of art history and all the obvious meanings in art and everyday life. But she does not do this lightly. She does not create chaos, but irony. Irony is a form of humor that creates expectations and then does not fulfill them, but breaks them down. There is a great complexity in the use of irony: a game with psychology, obviousness, timing, subtlety, that Van Geert plays throughout her oeuvre. What you (think you) see is never what you get.

Works

Ballroom Gallery
Koningsstraat 119–123
Rue Royale 1000 Brussels

Opening Hours
Wednesday — Saturday
12:00—18:00

Bram De Jonghe

Bram De Jonghe - All's well that ends well

12.03.22 - The works for the duo-exhibition “All’s well that ends well” are an accumulation of comments on my own practice and my role in society. The title is a proverb meaning : as long as the outcome is good, problems on the way don’t matter. On the one hand this can refer to the human cost. On the other hand relates to the way I work in the studio and has a more positive vision of the future. One work can transform into another and cease to exist. They enable me to look forward along with the work.

Works

Ballroom Gallery
Koningsstraat 119–123
Rue Royale 1000 Brussels

Opening Hours
Wednesday — Saturday
12:00—18:00

Veronika Pot

Veronika Pot

29.01.22 – 05.03.22 Veronika Pot's photographs always return to an analogous representation of nature. In her earlier series she often used a Camera Obscura to introduce an alienating character in her images. The blurred corners, sharp center and strong contrasts could almost be smartphone filters applied to her photos. Yet it is all carefully developed and printed in the darkroom.

In her latest series 'Before again.' Pot works in a similar way. The Camera Obscura has been replaced by a traditional analog camera, the images taken are fragmented. These fragments are brought together as a collage and photographed again. With this she will perform digital-looking actions in an analogous way, seemingly with the same result, without any form of Photoshop or digital manipulation. The final image is a digital archival print that only enhances the trompe l'oeil effect. The images come in as different photos that the viewer wants to experience together. The question arises as to what the original image was and how it was able to transform itself into an amalgam of simultaneous images.

Veronika Pot's process is about transforming images. Capturing moments to remember them again and processing them selectively and fragmentarily into new images. The original image has often become unrecognizable and raises the question of the context in which it originated. They are landscapes, trees, sea, rocks, ... that Pot tries to 're-view', 're-memorize' and 're-visualize' – often with references throughout the art history of landscape painting and land art.

Works

Ballroom Gallery
Koningsstraat 119–123
Rue Royale 1000 Brussels

Opening Hours
Wednesday — Saturday
12:00—18:00

Harold Lechien

Harold Lechien – Mark Brand

06.01 – 05.02 Mark Brand is a hybrid body of work associating an artistic production with a promotion exploiting the language of branding, then used as artistic material. The heart of the installa- tion is a video bringing together the artworks and a series of messages, logos and derived objects used in a narrative process that makes the brand oscillate between artistic discourse and a commercial product. It reveals an emotional relationship to these products, to their equivocal status in our lives, and to their distribution.

Ballroom Gallery
Koningsstraat 119–123
Rue Royale 1000 Brussels

Opening Hours
Wednesday — Saturday
12:00—18:00

Xavier Duffaut

Xavier Duffaut

18.11—18.12.21​ A place where poetic encounters emerge through processes of infiltration and appropriation, creating a cosmos of fraud and aesthetic conviction. Conceived as a soft-chateau, the exhibition is crowded with opulent expressions of hygiene, mass manufacturing and enchantment. Duffaut’s work activates the carefree qualities of market coercion. It shapes and sculpts wasted perfections up until a point where constellations of clean bold colors emerge.

For his first solo exhibition, Xavier Duffaut brings into focus the elegantly banal that intrigues him so. The works intend to produce a collective atmosphere of non-difference, of non-heterotopia. They allow us to fall implicit, to fall into a trope, into a corporate business meeting, a collective therapy session for people with trust issues.

FOURT asks serious questions about the nature of ‘realness’. Its impossibility and absolute possibility. Liveliness beyond the boundaries of realness. Forms catapult through the space creating new levels of dysphoric sensation and general confusion. A sanitary extravaganza, an arena of branded monstrosities. It wonders what might have happened in the factories or in the mechanical fur or in Julia's bathroom?

This show has one mission. To do it well. And then, to head to the compost or the gutter.

Works

Ballroom Gallery
Koningsstraat 119–123
Rue Royale 1000 Brussels

Opening Hours
Wednesday — Saturday
12:00—18:00