Category Archives: Exhibition

Exhibitions

Like an Addiction

Like an Addiction

13.05 - 24.06.23

Lucie Lanzini

Lucie Lanzini’s Lanzini’s body of work shows a hidden reality behind the appearance of things. Her work opens a reflection on the domestic space and its architectural components, on what holds and what sticks. Her work consists of a set of architectural and ornamental elements whose realization and rea- lism intri- gues as much as their potential to become ruined.Through the molding technique, Lucie Lanzini evokes the relation to memories and tries to capture their absence to memorialize them. Passionate about the play of material, the artist combines different techniques of sculpture to create the discrepan- cies and oppositions that punctuate her work.

Works

Destrucformation

Destrucformation

13.05.23

Ileana Moro (°1992) Costa Rica

As a painter, I am drawn to exploring the depths of human emotion through the use of dark tones and layered surfaces. I am fascinated with the mysteries of outer space and the cosmic dance of astrology, and how they connect to our spiritual transformation. These invisible forces are often the inspiration for my work, which balances a sense of melancholy with the hopeful promise of romanticism.
My paintings are surreal, yet minimalist, each brushstroke revealing a soulful connection between the outer and inner worlds.
I work primarily in oil painting, an inherently emotional medium that allows me to express a wide range of feelings through light and shadow. The ovals forms are inherently spiritual in their meaning, playing a symbolic role in representing the birth of an unseen identity. It is a potent metaphor with many layers shed and new surfaces uncovered in the process, symbolizing the eternal cycle of creation and interconnectedness of all things.
Ultimately, with each piece, I hope to create a sense of connection between the viewer and the divine, reminding us all of our place in the infinite and unknowable universe.

Works

Tsubo Niwa

Tsubo Niwa

25.03 - 06.05.23

Romy Streep

Tsubo Niwa gives a clear insight into the definition of a garden and its potential.
On the one hand you’ve got niwa, meaning “garden”. On the other, tsubo. One meaning of tsubo is an area equal to two tatami mats or about 3.3 square meters. Most Tsubo gardens are small, some only a few square meters, but the implication of this definition is that the tsubo garden is very small. So one way to think about the tsubo garden is in terms of its size. A second meaning of tsubo brings a new dimension to the garden. In this case tsubo means a vessel, usually ceramic, such as a large water jug.
Now we see the tsubo garden not just as a tiny garden, but a three-dimensional space, a volume that is held between the walls of surrounding rooms. So in this case, the Tsubo garden is contained inside a building, like a jewel in a box. There is a third way to write Tsubo that brings the garden out of a purely physical definition and in the realm of the spiritual. There is a belief, in most countries influenced by Chinese culture, in Ki or “life energy”. A force that flows through the body. And along its lines of flow there are special points. In Japanese these points are called, tsubo. Here in I found the true definition of “my garden”. A place to take a moment, a breath.
Hidden between the noisy streets of Brusselles lays my garden. Made from wool and ceramic.

Works

Interstice

Interstice

25.03 - 06.05.23

Carla Arocha & Stéphane Schraenen

What is in-between?

Interstice is a reflection on what is within. A room in a room, inside the wall is a space; the space inside is the place for reflections, space for thoughts.
Transparent and elusive, this installation has the potential to render absence noticeable, to render emptiness tangible.

In the Japanese language Ma is an “aesthetic principle meaning “emptiness” or “absence.” It is the space between objects, the silence between sounds, or the stillness between movements. The term describes both time and space, and is much more than a “lack” of something. The emptiness is, in fact, a palpable entity¹”.


¹ Lanki, Colleen. “間: an aesthetic of space-time”, ricepaper magazine, 7 February 2013, https://ricepapermagazine.ca/2013/02/間-an-aesthetic-of-space-time/

Works

Full of whispers

Full of whispers

04.02 - 18.03.23

I spend many parts of my childhood in ruins, prehistoric caves, dying cathedrals, archaeological sites and gravel pits. In the wake of destruction, I learned how time sculpts every stone carefully and precisely. A Greek column would shape shift to become an autonomous sculpture. A demonstration of Nature always having the upper hand. A ruin embodies paradoxes; a ruin is a remnant ‘off’ and a portal ‘in’. It’s a constant reminder of the passing of time. In melancholic fashion we reminisce about time before mass media.

Works

Ballroom Blitz

Ballroom Blitz

04.02 - 18.03.23

Painting has always been the starting point of Hilde Overbergh’s artistic practice. Not the kind of painting where the action takes place within the surface of a defined canvas, but a kind of painting that challenges and shifts the rules and notions of genres and media. Her artistic method is not focussed on claiming a certain signature style, it rather zooms in on the exploration of the transformative possibilities of materials, colors, and shapes. Her work comprises aspects of painting, drawing, sculpture, photography, video, assemblage, and installation. And above anything else, the artist focuses on the process.
Although Overbergh approaches her work conceptually, what stands out is a great sense of intuition and tactility. Through leaving space for what’s unintentional or unforeseen during the creative process, her art never becomes sterile. The artist uses material to question herself. She reclaims insignificant, everyday objects – materials without obvious art-historical associations, or seemingly futile remnants of the past – and unravels and reshapes them into evocative carriers of meaning. She extracts beauty and poetry from humble materials such as foam, plastic waste, pieces of textile, glass shards … Her diverse oeuvre is also capable of holding on to elements of when and where the work was made. Environment and context often have a tangible influence on her artistic output through her search for a connection with social and urban dynamics.
By repeating and reworking fragments and works from previous presentations, the artist allows for not only the shape, but also the meaning of her work to stray and change. The meaning of her works accumulates over time, and changes according to their position in space or relation to context. Hilde Overbergh creates dynamic connections and associations between works of art and different presentations, which makes viewers sensitive to perception and experience. Her work exists fully in the present moment, and reflects the commotion and fragility of the world around us.

Works

Note to self

Note to self

23.04 - 04.06.22​

In the very free and fluid symbiosis between Todorova's drawings and Naveau's sculptures, both artists find an interesting look at their own work; a new layer of perception and meaning; a mental note. The joint exhibition Note to Self highlights points of contact between the artists (such as the sculptural potential of drawing and the sketchiness of clay) and allows the works, in their total freedom, to complement each other. This text can merely be an attempt to put into words why both oeuvres function so well together aesthetically. Their connection does not arise on an academic or rational level, but in an intuitive, emotional togetherness. Their mutual conversation is reflected in the unique, demarcated space of the gallery and reveals reverberating echoes. In this aesthetic echo, new openings arise to the imagination of the viewer and possibly also of the artists themselves.

Works

Imaginairy Mountains;Remembering Painting

Imaginary Mountains ; Remembering Painting

04.12.22 - 28.01.23

Having been first shown at an exhibition space in the Swiss alpine canton of Grisons “Ballroom Project” is pleased to present the exhibition «Imaginary Mountains: Remembering Painting» in Brussels. As a collaboration between an artists’ run space in an old textile factory in a small village (“Scala Trun”) and “Ballroom Project”, the exhibition aims to play with the exploration of painterly strategies in different contexts. What works in a village in the mountains also works in one of the busiest cities in Europe? How does the architectural, natural, cultural, and political circumstance influence the perception of artworks?
Painting, the supposed «epitome of bourgeois art», still inspires and fascinates the audiences. As the most flexible, changeable, authentic, and democratic medium, painting in keeping the artistic discourse alive. Often ridiculed by art critics in the current digitalization hype (keyword: NFT), it remains the dominant medium and does not seem to be disappearing. On the contrary: the always lively and controversial debates about its raison d'être keep the medium alive and the art world discussing.
Directly or indirectly, the international artists in this exhibition explore the painterly process one way or the other - sometimes with paint on canvas, but also with glass, wood, acid and other painterly means. They are well aware of their dialectical position on painting. Gianin Conrad (CH), Geoffrey de Beer (BE), Kaspar Dejong (NL), Mariejon de Jong-Buijs (NL) and Beate Frommelt (FL) deal with the medium in very different ways, but abstract all together. Abstraction as the universal creative language? It is obvious that self-reflection is part of their creative process.

Works

Unmatched

Unmatched

15.10 - 26.11.22

"unmatched"is an exhibition of Banjamin Volckaerts, it is a story about an unexpected event in a village far away from what is known to mankind.

Since last summer the village has been plagued by an enormous monster that lives in the shadows. After sunset, no one even dares to look outside, let alone step a foot into the darkness Since no bodies were ever found, there were whispers about the monster that it did not only kill but also devoured its victims. The village trembled in fear.

5 of the bravest warriors of the village were summoned to find and slaughter the mysterious creature.

The upcoming fortnight would serve as the ideal moment to execute the beast and free the village from these tortuous events. The warriors prepared themselves for the worst.

The day of doom came sooner than expected. At dusk, all the villagers began to hide in their homes as pure evil lurked around the corner. The warriors assembled in the main square of the city and braced themselves for battle. Unfortunately, they discovered that all their preparations were in vain.

The warriors launched attack after attack after attack but the monster did not even seem to blink

They fought with all of their strength, but alas. Wounded, exhausted and hopeless, they realized the beast’s strength was not even waning and that they couldn’t instill the slightest bit of fear into the ruthless savage.
So they ran.
And kept running, for their lives.
They tried to outrun from the monster but what they encountered afterwards was even more disastrous.

Sometimes you are afraid of something, simply because the thought of it has already become an invincible monster in your own mind.

Works