New Exhibitions Contemporary Art - NECA is a website and a weekly newsletter. We provide you with the freshest info about contemporary art exhibitions in Brussels.
Want us to keep you posted ? It’s free and easy
Want to download our brochure ? It's here
Ongoing gallery shows in Brussels by gallery name. Plan your escape into contemporary art.
Rue Washington, 186 • 1050 Ixelles
Rue de la Concorde, 33 • 1050 Ixelles
Rue Isidore Verheyden, 2 • 1050 Ixelles
Rue du Pays de Liège, 4 • 1000 Brussels
Rue de l'Abbaye, 20 • 1050 Ixelles
Werfstraat/ Rue du Chantier, 13 • 1000 Brussels
Drève de Rivieren, 334 • 1090 Jette
Avenue Franklin Roosevelt, 67 • 1050 Ixelles
Rue Royale, 236 • 1210 Saint-Josse-Ten-Noode
Rue du Marché aux Porcs, 10 • 1000 Brussels
Place Sainte-Catherine, 44 • 1000 Brussels
Place Sainte-Catherine, 44 • 1000 Brussels
Place Sainte-Catherine, 16 • 1000 Brussels
Rue Ravenstein, 23 • 1000 Brussels
Rue de la Concorde, 21 • 1050 Ixelles
Cité Fontainas, 4 A • 1060 Saint-Gilles
Gemeenteplein • 1853 Strombeek-Bever
Avenue de Stalingrad, 26 • 1000 Brussels
avenue Jean Volders, 24 • 1060 Saint-Gilles
Rue de la Régence, 67 • 1000 Brussels
Rue du Marché aux Porcs, 4 • 1000 Brussels
Rue de l'Eté, 78 • 1050 Ixelles
Rue Borrens, 32-34 • 1050 Ixelles
rue Saint Georges, 5 • 1050 Ixelles
Avenue des Klauwaerts, 9 • 1050 Ixelles
Rue Hôtel des Monnaies, 66 • 1060 Saint-Gilles
Rue Charles Decoster, 8 • 1050 Ixelles
Rue du Grand Cerf, 12 • 1000 Brussels
Rue du Canal, 13 • 1000 Brussels
Rue Saint-Georges, 109 • 1050 Ixelles
Rue Saint-Georges, 109 • 1050 Ixelles
Quai des Charbonnages, 30 • 1080 Molenbeek-Saint-Jean
Place Royale, 6 • 1000 Brussels
Rue Van Eyck, 29 • 1050 Ixelles
Boulevard de Waterloo, 31 • 1000 Brussels
rue Général Leman, 69 • 1040 Etterbeek
Rue Saint-Georges, 24 • 1050 Ixelles
Chaussée de Forest, 90 • 1060 Saint-Gilles
Rue de Menin • 1080 Molenbeek-Saint-Jean
Rue Veydt, 15 • 1060 Saint-Gilles
Boulevard de Waterloo, 50 • 1000 Brussels
Rue Fourmois, 9 • 1050 Ixelles
Avenue Louise, 430 • 1050 Ixelles
Rue de l'Abbaye, 2/A • 1000 Brussels
Rue des Sablons, 13 • 1000 Brussels
Rue Washington, 51 A • 1050 Ixelles
Quai du Hainaut, 39-41 • 1080 Molenbeek-Saint-Jean
Rue Saint-Georges, 13 • 1050 Ixelles
Rue de la Régence, 67 • 1000 Brussels
rue Van Eyck, 57 • 1050 Ixelles
Rue de Livourne, 35 • 1050 Ixelles
Rue de Livourne, 32 • 1000 Brussels
Rivoli Building - ground floor #17 - chaussée de Waterloo, 690 • 1180 Uccle
Rue de la Régence, 67 • 1000 Brussels
Rue de la Concorde, 68 • 1000 Brussels
Rue Washington, 45 • 1050 Ixelles
Rue Buchholtz, 15 • 1050 Ixelles
Boulevard de Waterloo, 11 • 1000 Brussels
Avenue Van Volxem, 354 • 1190 Forest
Rue Saint-Georges, 6 • 1050 Ixelles
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | Closed | |
rue Saint Georges, 26 - 1050 Ixelles map +32 2 648 77 70
website
| Monday | 10:00 - 18:00 | |
| Tuesday | 10:00 - 18:00 | |
| Wednesday | 10:00 - 18:00 | |
| Thursday | 10:00 - 18:00 | |
| Friday | 10:00 - 18:00 | |
| Saturday | 10:00 - 18:00 | |
| Sunday | 10:00 - 18:00 | |
Place de Belgique, 1 - 1020 Laeken map 02-669.49.21
Held at the dawn of the “Golden Sixties”, Expo 58 was the first international event to take place following the Second World War. A celebration of peace regained, humanism and modernity, Expo 58 caught the public imagination and has held a place in the collective memory of the Belgian people ever since.
Three exhibitions, organised by ATOMIUM-EXPO, take place especially to celebrate this 60th birthday within our walls!
With Podium 58, the Design Museum shows, in collaboration with the Fashion and Lace Museum, the visitors to the Expo strolling along its alleyways dressed in their Sunday best, as the old rubbed shoulders with the new in a world undergoing dramatic changes on the eve of the Swinging Sixties.
| Monday | 10:00 - 18:00 | |
| Tuesday | 10:00 - 18:00 | |
| Wednesday | 10:00 - 18:00 | |
| Thursday | 10:00 - 18:00 | |
| Friday | 10:00 - 18:00 | |
| Saturday | 10:00 - 18:00 | |
| Sunday | 10:00 - 18:00 | |
Place de Belgique, 1 - 1020 Laeken map 02-669.49.21
Design Generations is an exhibition presented in collaboration with Wallonie-Bruxelles Design-Mode (WBDM) within the framework of Intersections, the ADAM’s biennial contemporary design event. It invites visitors to take a fresh look at design by demonstrating the profound value of this profession, which has witnessed and often advocated changes in our society over the last century. Ten Belgian design companies explain their approach through a selection of products, some from the past (permanently held in the Museum), some from the present (taken from their current collections) and some from the future (imaginary objects).
Through its multi-sensory approach, which reveals spatio-temporal links and intersections, the exhibition offers a true experience of the world of design, improving our understanding of the lives of the objects that surround us and of their intelligence, both retroactive and prospective. They are the interfaces of our everyday lives, custodians of the precious legacies of the past, agents of social and aesthetic experiences, models for sustainable production and development, and vehicles for innovative scenarios promising a better future.
| Monday | 10:00 - 18:00 | |
| Tuesday | 10:00 - 18:00 | |
| Wednesday | 10:00 - 18:00 | |
| Thursday | 10:00 - 18:00 | |
| Friday | 10:00 - 18:00 | |
| Saturday | 10:00 - 18:00 | |
| Sunday | 10:00 - 18:00 | |
Place de Belgique, 1 - 1020 Laeken map 02-669.49.21
Held at the dawn of the “Golden Sixties”, Expo 58 was the first international event to take place following the Second World War. A celebration of peace regained, humanism and modernity, Expo 58 caught the public imagination and has held a place in the collective memory of the Belgian people ever since.
Three exhibitions, organised by ATOMIUM-EXPO, take place especially to celebrate this 60th birthday within our walls : Podium 58, Graphic 58 and People of 58!
With Graphic 58, the ADAM revisits the innovative visual world of Expo 58, focusing on its key elements : its forms, colours and textures, and their impact on creativity in design. In fact, these even gave rise to an « Expo Style ».
Graphic designers : Raymond Loewy, Paul Haesaerts, Lucien De Roeck, Jacques Richez, Reginald Mount, Richard Roth, Julian Key, Dan Reisinger, Raymond Peynet, Marie Marcks, Saul Steinberg
| Monday | 10:00 - 18:00 | |
| Tuesday | 10:00 - 18:00 | |
| Wednesday | 10:00 - 18:00 | |
| Thursday | 10:00 - 18:00 | |
| Friday | 10:00 - 18:00 | |
| Saturday | 10:00 - 18:00 | |
| Sunday | 10:00 - 18:00 | |
Place de Belgique, 1 - 1020 Laeken map 02-669.49.21
The nightclub is one of the most important design spaces in contemporary culture. Since the 1960s, nightclubs have been epicentres of pop culture, distinct spaces of nocturnal leisure providing architects and designers all over the world with opportunities and inspiration.
"Night Fever. Designing Club Culture 1960 – Today" offers the first large-scale examination of the relationship between club culture and design, from past to present. The exhibition presents nightclubs as spaces that merge architecture and interior design with sound, light, fashion, graphics, and visual effects to create a modern Gesamtkunstwerk. Examples range from Italian clubs of the 1960s created by the protagonists of Radical Design to the legendary Studio 54 where Andy Warhol was a regular, from the Haçienda in Manchester designed by Ben Kelly to more recent concepts by the OMA architecture studio for the Ministry of Sound in London. The exhibits on display range from films and vintage photographs to posters, flyers, and fashion, but also include contemporary works by photographers and artists such as Mark Leckey, Chen Wei, and Musa N. Nxumalo. A spatial installation with music and light effects takes visitors on a fascinating journey through a world of glamour and subcultures – always in search of the night that never ends.
A coproduction with the Vitra Design Museum.
Place de Belgique, 1 - 1020 Laeken map 02-669.49.21
The ADAM [Brussels Design Museum] is installed in part of Brussels International Trade Mart [BITM], and has a surface area of around 5,000m², almost half of which is to be devoted to the permanent collection of the former Plasticarium, which will keep its name. It comprises more then 2,000 pieces ranging from everyday objects to works of art via designer items. A stool, a desk, an alarm clock, a lamp... we tend to forget that not so long ago plastic was everywhere.
As there will not be sufficient space in the ADAM to present the collection in its entirety, the display will be rotated on an annual basis. This will offer visitors a different experience with every new visit to the museum.
| Monday | Closed | |
| Tuesday | 12:00 - 18:00 | |
| Wednesday | 12:00 - 18:00 | |
| Thursday | 12:00 - 18:00 | |
| Friday | 12:00 - 18:00 | |
| Saturday | 12:00 - 18:00 | |
| Sunday | Closed | |
Rue de la Concorde, 33 - 1050 Ixelles map 02-512.92.95
The stories of Aleppo’s trees is what resisted the erosion of time. Beyond
appearances, Rajak Ohanian constrains the eye to dwell on silent beaches, chosen
without concern for elegance or artifice. The surface is eroded, without
magnificence. By staring at the incisions turned into a black, imprecise and vague
entanglement, the eye gets lost. Nodes, buds, graffitis dissolved in the matter stand
out of the ashen rectangular background, mostly processed horizontally. Are these
blurred, uncertain writings the result of a natural process or is the human hand
behind it? We look for the writing (…) And that is exactly what the artist wanted to
capture. He chose to record what precedes writing and sculpture. (…)
The wind and the rain erased the words carved on the wood. Rajak Ohanian’s
enigmatic pictures confront us with the idea that any sign written in sand, clay or on
wood assumes the existence and the awareness of a trace, however subtle or
tenuous it may be.
(…)
On the tree barks all sorts of vicissitudes are outlined (…) That offers no plausible
explanation to the slow transformation that was irrevocably frozen on Rajak
Ohanian’s photographic paper. On the grey backgrounds a contrasting game of
presence and absence is lined out. Absence when blackened surfaces with
uncertain edges indicate they resisted and placed themselves upon the lack of
matter. Presence when a recognizable shape stands out: a graffiti in a square, a
heart… Interesting enough, on the paper the scarred shapes refer to some paintings
of Willi Baumeister’s Gilgamesh series, inspired by the Sumerian poem of the Epic of
Gilgamesh, dating back to the early 2nd Millennium B.C. (…)
Excerpts from Martine Dancer-Mourès’s essay, The stories of Aleppo’s trees
Chief curator at the Musée d’Art Moderne et Contemporain of Saint-Etienne
(MAMC), France, April 2018
| Monday | Closed | |
| Tuesday | 12:00 - 18:00 | |
| Wednesday | 12:00 - 18:00 | |
| Thursday | 12:00 - 18:00 | |
| Friday | 12:00 - 18:00 | |
| Saturday | 12:00 - 18:00 | |
| Sunday | Closed | |
Rue Isidore Verheyden, 2 - 1050 Ixelles map 02-512.92.95
Albert Baronian is pleased to announce a new exhibition of paintings by Los Angeles-based artist, Joshua Smith.
While the artist has worked across various media and formats, including painting, photography, and speaking and organizing projects, this show will focus entirely on the signature monochrome paintings which he first began producing in New York in 2009.
Some of the works on view will date from the artist’s first series of monochromes. (…)
Smith’s work has been exhibited at MoMA (PS1), Artists Space, White Columns, White Flag Projects, Art Production Fund, Albert Baronian Gallery, Anton Kern Gallery, John Connelly Presents, Essex Flowers, West Street Gallery, Nicole Klagsbrun, and many others. He was a cofounder of the New York exhibition projects, Apartment Show, and Essex Flowers.
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 14:00 - 18:00 | |
| Thursday | 14:00 - 18:00 | |
| Friday | 14:00 - 18:00 | |
| Saturday | 14:00 - 18:00 | |
| Sunday | Closed | |
Rue du Pays de Liège, 4 - 1000 Brussels map 02-513.33.07
website
| Monday | Closed | |
| Tuesday | 11:00 - 19:00 | |
| Wednesday | 11:00 - 19:00 | |
| Thursday | 11:00 - 19:00 | |
| Friday | 11:00 - 19:00 | |
| Saturday | 11:00 - 19:00 | |
| Sunday | Closed | |
Rue de l'Abbaye, 20 - 1050 Ixelles map 02-648.56.84
website
| Monday | Closed | |
| Tuesday | 11:00 - 19:00 | |
| Wednesday | 11:00 - 19:00 | |
| Thursday | 11:00 - 19:00 | |
| Friday | 11:00 - 19:00 | |
| Saturday | 11:00 - 19:00 | |
| Sunday | Closed | |
Rue de l'Abbaye, 20 - 1050 Ixelles map 02-648.56.84
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | 11:00 - 18:00 | |
Werfstraat/ Rue du Chantier, 13 - 1000 Brussels map +00 32 (0)2 229 00 03
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | 11:00 - 18:00 | |
Werfstraat/ Rue du Chantier, 13 - 1000 Brussels map +00 32 (0)2 229 00 03
website
| Monday | Closed | |
| Tuesday | 11:00 - 19:00 | |
| Wednesday | 11:00 - 19:00 | |
| Thursday | 11:00 - 19:00 | |
| Friday | 11:00 - 19:00 | |
| Saturday | 11:00 - 19:00 | |
| Sunday | 11:00 - 19:00 | |
Drève de Rivieren, 334 - 1090 Jette map 02-428.33.06
A visual artist from Ghent, passionated about photography and architecture, Filip Dujardin designs unique works that reinvent the urban space. Between realism and fiction, his photographic assemblies stimulate our attention and sharpen our eyes by proposing a new point of view on the environment that surrounds us. Alongside many photographs presented in the museum's rooms, the highlight of this exhibition is the creation of six new banners - manipulated, mixed and rearranged panoramas of the cities of Ghent, Brussels and Katowice (PL) where the artist recently exposed – which will be placed in the cultural park of Atelier 34zero Muzeum.
website
| Monday | Closed | |
| Tuesday | 12:00 - 18:00 | |
| Wednesday | 12:00 - 18:00 | |
| Thursday | 12:00 - 18:00 | |
| Friday | 12:00 - 18:00 | |
| Saturday | 12:00 - 18:00 | |
| Sunday | Closed | |
Rue du Châtelain, 46 - 1050 Ixelles map 02-640.55.04
website
| Monday | Closed | |
| Tuesday | 11:00 - 18:00 | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | 11:00 - 18:00 | |
Avenue Franklin Roosevelt, 67 - 1050 Ixelles map +32 (0)2-627.52.30
The Boghossian Foundation presents its new exhibition, Melancholia, at the Villa Empain. The exhibition examines the origins and manifestations of this feeling – manifest in both the East and the West since ancient history – which unremittingly reminds us of a lost origin, and instills in us a sense of mourning for a past world.
“Those who have been eminent in philosophy, politics, poetry, and the arts have all had tendencies toward melancholia.” states Aristotle. This feeling of melancholy remains at the heart of the problems we are confronted with today because the world we face is an inevitable cause for concern, especially given the irreversible climate change. The earth we know will never be the same – the digital revolution in the 2000s has marked the beginning of a form of dehumanisation of human relationships, questioning how a person can remain a unique and irreplaceable being.
Today’s and tomorrow’s children of Saturn remain inconsolable beings, haunted by existential problems. Works by modern and contemporary artists presented in the exhibition explore issues such as nostalgia for a bygone era; for the depiction of solitude, absence, and passing time.
The catalogue includes an anthology of quotes from modern and contemporary poets and writers, as well as photographs of the exhibition. Among others, it presents in situ installations, specially conceived for Melancholia, in the Villa and the Foundation’s garden.
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 12:00 - 20:00 | |
| Thursday | 12:00 - 20:00 | |
| Friday | 12:00 - 20:00 | |
| Saturday | 12:00 - 20:00 | |
| Sunday | 12:00 - 20:00 | |
Rue Royale, 236 - 1210 Saint-Josse-Ten-Noode map +00 32 22183732
A l’occasion des cinquante ans de l’invasion de Prague par les chars soviétiques en 1968, le Botanique accueille cet été une des légendes vivantes de la photographie contemporaine. Josef Koudelka est l’auteur de plusieurs séries aujourd’hui iconiques. Ses tirages noirs, ses cadrages rigoureux et son oeil acéré en ont fait l’un des pères incontestables de la photographie humaniste. Associé à l’Agence Magnum Photos depuis 1971, il a livré avec Invasion Prague 1968, le travail le plus journalistique de sa carrière.
La fulgurante intervention militaire soviétique dans les rues de Prague en 1968, qui a marqué de façon déterminante l’histoire tchèque, s’est muée à travers l’objectif de Koudelka, en un symbole universel de résistance. D’abord publiés anonymement, ces clichés ont depuis fait le tour du monde.
Koudelka a trente ans en 1968. Il vient d’abandonner des études d’ingénieur aéronautique pour se consacrer à la photographie. Jusque là, ses travaux se consacrent en particulier aux théâtres et aux Gitans. Alors qu’il rentre à peine de Roumanie, où il était justement allé les photographier, Prague est prise d’assaut par les forces du pacte de Varsovie. A la fois observateur et participant, il imprime sur sa pellicule des vues des chars dans la ville et la population se dressant contre eux. Si d’autres photographes ont également couvert cet épisode à l’époque, il est le seul à en avoir traduit l’essence avec autant de force et d’intensité.
Mythiques, ses images deviendront rapidement des icônes de la lutte pour la liberté. Sans avoir jamais réalisé de photographie d’actualité auparavant, Koudelka signe en effet ce qui deviendra l’un des classiques du reportage d’après guerre. Remarqué par Elliott Erwitt qui l’introduit dans l’Agence Magnum, son travail est diffusé dans le monde entier et récolte de nombreux prix prestigieux. Il est cependant obligé de garder l’anonymat jusque dans les années 1980, malgré cette reconnaissance internationale, pour préserver la sécurité de sa famille. Les images de l’invasion de Prague paraîtront pour la première fois en Tchécoslovaquie en 1990, sur les pages de l’hebdomadaire Respekt.
Cette exposition est organisée dans le cadre de la Biennale «Summer of Photography».
| Monday | Closed | |
| Tuesday | 10:00 - 18:00 | |
| Wednesday | 10:00 - 18:00 | |
| Thursday | 10:00 - 18:00 | |
| Friday | 10:00 - 18:00 | |
| Saturday | 10:00 - 18:00 | |
| Sunday | Closed | |
Avenue Van Volxem, 311 - 1190 Forest map
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 10:30:00 - 18:00 | |
| Thursday | 10:30:00 - 18:00 | |
| Friday | 10:30:00 - 18:00 | |
| Saturday | 10:30:00 - 18:00 | |
| Sunday | 10:30:00 - 18:00 | |
Place Sainte-Catherine, 44 - 1000 Brussels map 02-279 64 35 / 52
This year marks the 50th anniversary of May ’68 and its movements of contestation. On this occasion, Alderwoman for Culture Karine Lalieux decided to bring all the cultural institutions in the City of Brussels together with the shared projection “2018, Year of the Contestation”.
In this context, the CENTRALE presents, starting from September 2018, the exhibition RESISTANCE, in which the role of the artist as a major player in revolutionary thinking will be central. Whether it is notable works by Belgian and international artists from 1968 or more contemporary works, all the pieces presented are steeped in the beliefs of their authors concerning major social issues, such as feminism, globalisation, ecology, and more.
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 10:30:00 - 18:00 | |
| Thursday | 10:30:00 - 18:00 | |
| Friday | 10:30:00 - 18:00 | |
| Saturday | 10:30:00 - 18:00 | |
| Sunday | 10:30:00 - 18:00 | |
Place Sainte-Catherine, 44 - 1000 Brussels map 02-279 64 35 / 52
The ambition of the CENTRALE for contemporary entrale is to give contemporary visual arts the widest possible audience. This centre for contemporary art of Brussels City seeks to raise questions about today’s society. The idea is to be a space that is open to the world, Europe, the city and the neighbour-hood, and to respond to the specific characteristics of Brussels, with its diverse population and rich cultures.
With the CENTRALE.box and the CENTRALE.lab the CENTRALE for contemporary art supports the emerging, young creation and experimentation.
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 10:30:00 - 18:00 | |
| Thursday | 10:30:00 - 18:00 | |
| Friday | 10:30:00 - 18:00 | |
| Saturday | 10:30:00 - 18:00 | |
| Sunday | 10:30:00 - 18:00 | |
Place Sainte-Catherine, 44 - 1000 Brussels map 02-279 64 35 / 52
The ambition of the CENTRALE for contemporary entrale is to give contemporary visual arts the widest possible audience. This centre for contemporary art of Brussels City seeks to raise questions about today’s society. The idea is to be a space that is open to the world, Europe, the city and the neighbour-hood, and to respond to the specific characteristics of Brussels, with its diverse population and rich cultures.
With the CENTRALE.box and the CENTRALE.lab the CENTRALE for contemporary art supports the emerging, young creation and experimentation.
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 10:30:00 - 18:00 | |
| Thursday | 10:30:00 - 18:00 | |
| Friday | 10:30:00 - 18:00 | |
| Saturday | 10:30:00 - 18:00 | |
| Sunday | 10:30:00 - 18:00 | |
Place Sainte-Catherine, 16 - 1000 Brussels map +32 (0)2-279.64.44/52
The summer exhibition presented at the CENTRALE.lab, D’un BanKet à l’autre, recounts Françoise Schein’s ambitious project. The visual artist, born in Brussels, lives and works in Paris while following her projects around the world, especially in Rio de Janeiro and São Paulo where she has set up two workshops to create artistic and social projects. Over more than 30 years, Françoise Schein has begun building a worldwide network of monumental works dedicated to themes around democratic issues and human rights. Engaged politically and sensitive to the historical evolution of fundamental rights, she sets up contemporary projects that joined the heritage of cities.
In 2016, CENTRALE initiated Le Grand BanKet, a participatory project born from workshops with residents and users of the Sainte-Catherine district, to celebrate the tenth anniversary of CENTRALE for contemporary art. Since the festive inauguration on June 26, 2016, the tables have been adopted by residents, city dwellers, tourists, school groups and other passers-by in search of a convivial break, the project thus fitting perfectly into the urban fabric.
The exhibition D’un BanKet à l’autre highlights the work of Françoise Schein while placing it in the continuity of other similar projects in Europe. Plans, videos, photographs and texts document 5 banquets realised between 2012 and 2018 (Les Muraux, Brussels, Louvain-la-Neuve, Vienna, Paris). All of these elements highlight the social and political dimensions of projects resulting from a process based on creation as a sharing process.
For Françoise Schein, art embodies the social bond first and foremost.
PRACTICAL INFOS
Wednesday, June 27, from 18:00 à 20:30
Afterwork at Françoise Schein’s Grand BanKet : Place Sainte-Catherine, behind the church, between CENTRALE and the black tower
With the participation of the fanfare Pas ce soir chéri ! starting from 18:30
Opening D’un BanKet à l’autre at CENTRALE.lab: Place Sainte-Catherine 16
The exhibition runs until Wednesday, August 22, 2018
www.centrale.brussels – https://soundcloud.com/brussels_culture/le-grand-banket
Place Sainte-Catherine, 16 - 1000 Brussels map +32 (0)2-279.64.44/52
The district of Sainte-Catherine is once again celebrating on Wednesday, June 27th. CENTRALE for contemporary art celebrates the second anniversary of Le Grand BanKet. This permanent installation was born from a participatory project initiated by the artist Françoise Schein and made possible through the collaboration of about 120 participants of the neighbourhood.
See you on Wednesday, June 27th from 6pm for an ‘After Work’ at Francoise Schein’s table, with the participation of the brass band Pas ce soir chéri, starting at 6:30pm.
At CENTRALE.lab (Place Sainte-Catherine 16), you can also visit the exhibition D’un BanKet à l’autre, devoted to the work of Françoise Schein.
PRACTICAL INFOS
Wednesday, June 27, from 18:00 à 20:30
Admittion Free
Afterwork at Françoise Schein’s Grand BanKet : Place Sainte-Catherine, behind the church, between CENTRALE and the black tower
With the participation of the fanfare Pas ce soir chéri starting at 18:30
Opening D’un BanKet à l’autre at CENTRALE.lab: Place Sainte-Catherine 16
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
On Thursday the 21st of June, the exhibitions are exceptionally accessible via the Rue Royale 10. You can buy your tickets at BOZAR TICKETS in Rue Ravenstein 16, in front of the Centre for Fine Arts. In 1974, the Belgian cartoonist Hergé, a great admirer of American avant-garde art, and Karel Geirlandt, the new director of the Centre for Fine Arts, invited Charlemagne Palestine to perform in Brussels, after discovering him on a prospecting trip to New York. Having witnessed the artist in performance, they were impressed by the “total art” nature of his work, and the physical power of his presentation. Surrounded by a multitude of stuffed animals arranged like so many alter egos, Charlemagne strummed his piano into a trance. Marking the entry into office of the newly appointed director, the concert in Brussels would leave a lasting impression on everyone who attended.Forty-four years later, the total artist (Gesamtkünstler) is now returning to the total Work of Art and Architecture (Gesamtkunstwerk) conceived over a century ago by architect Victor Horta – to install what he calls his “CharleWorld”: a universe where his works unravel animist stories and tales of adventure, teasing and reinventing the art deco sobriety of the original design of the building, and all these magical sparks that this encounter produces are then multiplied to infinity in magical halls of wonder.A Yiddish play on words, the title of the exhibition, AA SSCHMMETTRROOSSPPECCTIVVE, makes a mockery of the finite, finished nature of the classic, austere retrospective project, preferring instead to open up a huge range of possibilities and future avenues for the artist to explore. See also:Oldddworlddd on 4/05 – 17:00 at the Cathedral of St. Michael and St. GudulaNewwwsswirlll on 25/05 – 22:00 at Kanal – Centre Pompidou
website
| Monday | Closed | |
| Tuesday | 10:00 - 18:00 | |
| Wednesday | 10:00 - 18:00 | |
| Thursday | 10:00 - 21:00 | |
| Friday | 10:00 - 18:00 | |
| Saturday | 10:00 - 18:00 | |
| Sunday | 10:00 - 18:00 | |
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
Almost 45 years on from his first performances in the Horta Hall, the New York-born musician and visual artist Charlemagne Palestine, who has been living in Brussels for the past 20 years, will be back with his fetish soft toys, and a visual and sonorous incantatory universe that is simultaneously chaotic, shamanic and radical.
website
| Monday | Closed | |
| Tuesday | 10:00 - 18:00 | |
| Wednesday | 10:00 - 18:00 | |
| Thursday | 10:00 - 18:00 | |
| Friday | 10:00 - 18:00 | |
| Saturday | 10:00 - 18:00 | |
| Sunday | 10:00 - 18:00 | |
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
The Université libre de Bruxelles, in partnership with BOZAR and in collaboration with the ULB and VUB research centres, is proud to present the exhibition, The Art of Difference, a scientific, historical and artistic exhibition about disability. Thanks to new technologies, research into sensorial, physical and mental handicap has led to many new inventions. These innovations have undoubtedly improved the day-to-day life of people suffering handicaps and those caring for them. However, they have also ignited many discussions around the augmented humans and transhumanism – a debate that is also addressed and challenged by artists through their work.
website
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
On Thursday the 21st of June, the exhibitions are exceptionally accessible via the Rue Royale 10. You can buy your tickets at BOZAR TICKETS in Rue Ravenstein 16, in front of the Centre for Fine Arts. The exhibition brings together the multiple realities of art practices from all over Europe. It is both a meditation on Europeanness and an attempt to gather stories, experiences, relations and encounters from a wide range of artists, curators and other engaged individuals. BOZAR gives carte blanche to five artistic constellations: Brussels-based art spaces Etablissement d’en face, Komplot and La Loge; KASK School of Arts (Ghent) and its Kunstenbibliotheek and students of Curatorial Studies; and the Orient project presented in collaboration with Kim? Contemporary Art Center (Riga) and Bunkier Sztuki (Kraków). Together they engage in a journey seen from a point in space and time, constructed with artists chosen not upon nationality but via relation. Somewhere in Between provides a unique window on today’s artistic hotbeds of Europe, it’s developments and conversations across the continent, from Brussels to Riga, from Prague to Athens, from Kraków to Lisbon, from Tbilisi to Rotterdam,...These alliances are indicative of today’s European art scenes where artists roam freely, without the geographic restrictions or institutional constraints that once defined the continent. Artists: Abel Auer, Steinar Haga Kristensen, LIFE SPORT, Dan Perjovschi, Apparatus 22, Bebe Books (Ruud Van Moorleghem & Mert Sen), Goeun Choi aka Chego, Karol Radziszewski, Doireann O’Malley, Jean-Samuel N’Sengi, JF. Pierets, Jurgen Ots, Marie-Fleur Lefebvre, Marijke De Roover, Megan-Leigh Heilig, Mikolaj Sobczak & Nicholas Grafia, Simone Gad, Aline Bouvy, Mathias Prenen, Ugo Woatzi, Kiwanoid, Andris Indans & Laura Ziemele, Kara-Lis Coverdale, Jelena Glazova, Gundega Graudina, Patrick Tubin McGinley, Raul Keller, Kaspars Groševs, Lisa Rave, Ana Vaz, Tinne Zenner, John Smith, Maxime Jean-Baptiste, Raoul De Keyser, Albert Setola, Balder (Boudewijn Van Hoecke), Roger Raveel, Pol Mara, Willy Plompen, Johan Mahieu, Willy Van den Bussche (ed.), Dirk De Vos (ed.), Natalia Kozhukhovskaya, Bora Akinciturk, Nils Alix-Tabeling, Julie Bena, Francisco Camacho Herrera, Arnaud Eubelen, Jade Fourès-Varnier & Vincent de Hoÿm, Julien Goniche, Katerina Kana, Hardijs Ledinš, Imants odiks, Kris Lemsalu, Salvatore Moro, Enrico Piras, Alessandro Sau, Alex Morrison, Adler Murada, Cécile Noguès, Jaakko Pallasvuo & Viktor Timofeev, Carl Palm, Marthe Ramm Fortun, Aili Vint, Elise van Mourik, Jan Bro, Adam Kokesch, Jirí Kovanda, Alice Nikitinova, Vlad Nanca, Jasanský & Polák, Julius Reichel, Jirí Skála, Romana Drdová, Matei Bejenaru, Jirí Cernický, Darja Bajagic, Veronika Bromová, Anetta Mona Chisa & Lucia Tkácová, Matyáš Chochola, Aurora Király, Dragana Sapanjoš, A??e? ?e?-??????? (Avdey Ter-Organyan), Mark Ther, Christian Steiner, Jana elibská, Marge Monko, Habima Fuchs, Zsófia Keresztes, Pavla Malinová, Atis Jakobsons, Ioana Nemes, Adéla Soucková, Petr Štembera, Pavel Braila, Piotr Bosacki, Václav Litvan, Adrian Kiss, Jerzy Truszkowski, Piotr Lakomy, Gizela Mickiewicz, Jimena Mendoza, Richard Nikl, Emöke Vargová, Martin Vongrej, Wojciech Bakowski, David Maljkovic, Pakui Hardware, Aneka Hošková, Andreas Angelidakis, Andros Zins Browne, Hanne Lippard, Michaël Van den Abeele, Cave Club, DIK Fagazine, feeelings, Sabrina Chou, Juliette Le Monnyer Curators: Maria Arusoo, Griet Bonne, Hilde Borgermans, Nathalie Cohen, Romuald Demidenko, Christine Denamur, Sonia Dermience, Maaike Descendre, Liliana Do Nascimento, Eva Dobbels, Maxime Gourdon, Laura Herman, Antony Hudek, Hélène Jacques, Valentinas Klimašauskas, Alice Lefebvre, Xavier Mary, Marta Masiero, Alicja Melzacka, Michal Novotný, Enrico Piras, Bert Puype, Els Roelandt, Maija Rudovska, Alessandro Sau, Anne-Claire Schmitz, Benedict Vandaele, Etienne Wynants, Anna Zhironkina
website
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
In cooperation with Cinema Galleries, BOZAR Cinema is presenting the open-air screening of a series of four films on this summer's theme of "RESIST". So enjoy a cocktail and film in the Piovenefabi Half Circus. The following films will be shown:Clash (2017, 97’): DATE is an Egyptian thriller about the 2013 revolutionPride (2014, 120’): DATE is a British comedy drama on the cooperation between an LGTB movement and striking miners in the 1980s. No (2012, 118’): DATE is a film by the director Pablo Larraín starring Gael García Bernal in the lead role about the end of the dictatorship in ChileVisages Villages DATE (2017, 89’) by Agnès Varda
website
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
During the summer of 2018 , Brussels landscape architect Bas Smets and 'POOL IS COOL' will set up a temporary public installation on Baron Hortastraat alongside the Centre for Fine Arts, as part of the BOZAR Open Air programme. The two partners of BOZAR based their idea on a closed ecosystem and went on to consider how it might tie in with Brussels' central green-zone network. Bas Smets' trees and the POOL IS COOL shadow pool will be there for the season, and, with some styling from studio Piovenefabi, will provide an area of leisure and greenery for all, packed with a programme of summer cultural activities and a people's bar a la GUINGETTE in Van Vorst Park.
website
| Monday | Closed | |
| Tuesday | 10:00 - 18:00 | |
| Wednesday | 10:00 - 18:00 | |
| Thursday | 10:00 - 21:00 | |
| Friday | 10:00 - 18:00 | |
| Saturday | 10:00 - 18:00 | |
| Sunday | 10:00 - 18:00 | |
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
Exactly 50 years ago Paris students took to the streets to protest against the conservative society and its moralising ideals. At the Centre for Fine Arts too, the concert hall was occupied for three months by young rebels, artists and thinkers. The festival takes May ‘68 as the point of departure to zoom in on the turbulent sixties in which Russian tanks put an abrupt end to the Prague Spring, the Vietnam War raged, the Civil Rights Movement shook up the US, wars of independence were sweeping across the African continent...
website
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
Les Detours Cyphers adapt the rules of battle to all artistic disciplines and promote social interaction. Professional dancers communicate their passion during workshops and share the inherent values of dance culture, namely unity, fun, peace and love with the young and young at heat. This is an unmissable event for fans of the Belgian hip-hop scene but also a genuine moment of social cohesion, which brings people from all backgrounds together in a celebration of positive values - the very essence of the festival spirit. Les Detours Cyphers take place every Wednesday at the Bourse throughout the months of July and August with three performances at BOZAR: 19 July, 23 August and 12 September from 6 pm to 8 pm. The chance to witness two top Belgian hip-hop dancers in a battle exhibition; followed by a workshop during which professionals share their know-how. All welcome !
website
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
Lezarts Urbains is an association active in the socio-artistic field of urban culture and hip-hop in particular, in the Federation Brussels-Wallonia. With its many partners it accompanies and supports diverse artistic projects, organises events, reflections, training and running workshops. The association is active within the associative and cultural network and works with schools, youth centres, prisons, cultural centres, theatres, libraries and other cultural venues. Lezarts Urbains also runs an information and dissemination platform and staffs a fascinating Documentation Centre in partnership with the Maison du Livre, based in the Library of Saint Gilles.
website
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
Frontal is a Brussels hip-hop collective founded by Stikstof. They have a weekly radio programme on Bruzz hosted by Shabba, DJ Proceed and DJ Vega, plus their own recording studio and record label that releases discs by artists such as STIKSTOF, Nag & LeFto and Zwangere Guy. They also organise regular events and workshops in Brussels and elsewhere. Opening evening '26 June > Frontal presents Rapcypher Deluxe’ is a tradition in rap culture in which rappers form a circle to rap in turn to the beats chosen by the DJs. A talent for improvisation and versatility is a must! House DJs and hip-hop institutions DJ Vega and DJ Proceed close the evening. ‘Afrontal 28 July > Frontal’ adopts a different style for the side project ‘Afrontal’ that focuses on Afro music. From roots music to the new electronic variants, from live bands to DJ sets… the dance floor has never looked more attractive. ‘Frontal Takeover (date to be determined) > Hiphop’ gives a voice to those who are rarely heard. Social criticism and disobedience are part of their DNA. Frontal celebrates the most rebellious side of hip-hop with sharp DJ sets and images to match.
website
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
Come to the Deluxe Summer Edition of Sprekende Ezels on 30 August at BOZAR. From their monthly performances in Antwerp (café Boekowski), Leuven (café Libertad), Ghent (Hotsy Totsy), Bruges (Villa Botta) and Turnhout (Tuinzaal De Warande), Stijn Vranken and Jan Ducheyne have selected the very best pieces that they have incorporated into a veritable stage show for the ear and other senses. Anything could happen! For poetry, music, hamster throwing and nonsense of the highest order! They are looking forward to meeting you, with or without a nice tan - not yet ready for September but most certainly for De Sprekende Ezels Deluxe. In the white tent next to the entrance to the Centre for Fine Arts.
website
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
BOZAR and La Cinématèque française join forces for a journey through the world and archives of Chris Marker (1921-2012), the militant filmmaker behind La Jetée (1962), not to mention an author, photographer, artist, musician and globetrotter. Nouvelle Vague film director Alain Resnais called him “the prototype of the twenty-first-century man.” Hyper-versatile and cosmopolite.
website
| Monday | Closed | |
| Tuesday | 10:00 - 18:00 | |
| Wednesday | 10:00 - 18:00 | |
| Thursday | 10:00 - 21:00 | |
| Friday | 10:00 - 18:00 | |
| Saturday | 10:00 - 18:00 | |
| Sunday | 10:00 - 18:00 | |
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
BOZAR and La Cinématèque française join forces for a journey through the world and archives of Chris Marker, the militant filmmaker behind La Jetée, not to mention an author, photographer, artist, musician and globetrotter.
website
| Monday | Closed | |
| Tuesday | 10:00 - 18:00 | |
| Wednesday | 10:00 - 18:00 | |
| Thursday | 10:00 - 21:00 | |
| Friday | 10:00 - 18:00 | |
| Saturday | 10:00 - 18:00 | |
| Sunday | 10:00 - 18:00 | |
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
The end of the First World War and the Austro-Hungarian Empire also meant the revival of a huge number of developments in art. Political and economic changes bring about artistic migrations, new ideas and perspectives.
website
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
Climate change causes an important rise in the sea level, which is a major threat for coastal areas and small islands all over the globe. Even in urban areas at higher levels and inland, the growing quantities of rainwater in combination with spreading urbanization can also cause a major flood risk for entire city areas, something that is happening more often than before.The 2nd Edition of the Brussels Urban Landscape Biennial dives into the growing problem of floods in urban areas. How to deal with the evacuation of rainwater in an integrated manner? Can landscape architecture generate answers for these complex challenges? What are the limits of the current way of addressing this question? Through workshops, research by design, an exhibition, a colloquium, curated walks and lectures, the two-month BULB festival tries to sensitize the broader public to the importance of water in the urban landscape. Instead of considering water as a threat, it will be approached as a vital and structuring element in the urban landscape. At the main BULB exhibition at the Centre for Fine Arts, the Bureau Bas Smets, JNC International and Taktyk will be presenting their vision. Workshop leader: Architecture Workroom Brussels.
website
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
Theatre director, set designer and artist Romeo Castellucci will unveil a new project at BOZAR inspired by 17th century Caravaggism and the Theodoor van Loon exhibition. At the same time, he will open the2018-2019 season of La Monnaie with Die Zauberflöte (The Magic Flute) by Mozart and will present a new project at Kanal. Through his artistic practice these three institutions will be brought closer together.
website
| Monday | Closed | |
| Tuesday | 10:00 - 16:00 | |
| Wednesday | 10:00 - 16:00 | |
| Thursday | 10:00 - 21:00 | |
| Friday | 10:00 - 16:00 | |
| Saturday | 10:00 - 16:00 | |
| Sunday | 10:00 - 16:00 | |
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
Theodoor van Loon was one of the first painters from the Southern Netherlands to be deeply influenced by the art of Caravaggio. Like his contemporary Rubens, Van Loon developed a powerful, original style and throughout the whole of his career he remains marked by the Italian masters. For the very first time this exhibition brings you into contact with the work of this atypical artist while exploring, through books, drawings, engravings and paintings, the historical context into which he breathed new life.
website
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
Joris Van de Moortel, Belgium’s most rock ‘n roll artist, feels perfectly at home in the Baroque, with its visual abundance and heightened emotions. To celebrate Theodoor van Loon he will show new workand collaborate with the Belgian National Orchestra.
website
| Monday | Closed | |
| Tuesday | 10:00 - 18:00 | |
| Wednesday | 10:00 - 18:00 | |
| Thursday | 10:00 - 21:00 | |
| Friday | 10:00 - 18:00 | |
| Saturday | 10:00 - 18:00 | |
| Sunday | 10:00 - 18:00 | |
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
Bernard Van Orley was one of the pivotal figures of the Renaissance in the Low Countries. BOZAR and other prominent Belgian institutions are teaming up for the first major monographic exhibition devoted to this 16th century artist. Van Orley was a painter at the court of Margaret of Austria and Mary of Hungary and was inundated with commissions. As a young man he was already at the head of one of the biggest workshops of his time. He painted religious subjects and also designed wall tapestries and stained glass windows. In this exhibition special attention is paid to his portraits that place him at the centre of an important network of political advisors, influential clergymen and humanist thinkers. His work was in constant dialogue with that of contemporaries such as Albrecht Dürer and Raphael.
website
| Monday | Closed | |
| Tuesday | 10:00 - 18:00 | |
| Wednesday | 10:00 - 18:00 | |
| Thursday | 10:00 - 21:00 | |
| Friday | 10:00 - 18:00 | |
| Saturday | 10:00 - 18:00 | |
| Sunday | 10:00 - 18:00 | |
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
On the occasion of Horta Year and the 90th anniversary of the Centre for Fine Arts, BOZAR is organising an exceptional exhibition devoted to its building. 'Victor Horta's Centre for Fine Arts. A Work in Progress' presents models and documents never before exhibited, including from the Fonds Blaton (Fondation CIVA), the plans for future modifications to the building and architectural installations and interventions.
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 14:00 - 18:00 | |
| Sunday | Closed | |
Rue de la Concorde, 21 - 1050 Ixelles map + 32 (0)2-503.04.98
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 12:00 - 18:00 | |
| Thursday | 12:00 - 18:00 | |
| Friday | 12:00 - 18:00 | |
| Saturday | 13:00 - 18:00 | |
| Sunday | 13:00 - 18:00 | |
Cité Fontainas, 4 A - 1060 Saint-Gilles map + 32 (0)2 538 42 20
website
| Monday | 10:00 - 22:00 | |
| Tuesday | 10:00 - 22:00 | |
| Wednesday | 10:00 - 22:00 | |
| Thursday | 10:00 - 22:00 | |
| Friday | 10:00 - 22:00 | |
| Saturday | 10:00 - 22:00 | |
| Sunday | 10:00 - 18:00 | |
Gemeenteplein - 1853 Strombeek-Bever map + 32 (0)2-263.03.43
website
| Monday | 10:00 - 22:00 | |
| Tuesday | 10:00 - 22:00 | |
| Wednesday | 10:00 - 22:00 | |
| Thursday | 10:00 - 22:00 | |
| Friday | 10:00 - 22:00 | |
| Saturday | 10:00 - 22:00 | |
| Sunday | 10:00 - 18:00 | |
Gemeenteplein - 1853 Strombeek-Bever map + 32 (0)2-263.03.43
website
| Monday | 10:00 - 22:00 | |
| Tuesday | 10:00 - 22:00 | |
| Wednesday | 10:00 - 22:00 | |
| Thursday | 10:00 - 22:00 | |
| Friday | 10:00 - 22:00 | |
| Saturday | 10:00 - 22:00 | |
| Sunday | 10:00 - 18:00 | |
Gemeenteplein - 1853 Strombeek-Bever map + 32 (0)2-263.03.43
website
| Monday | 10:00 - 22:00 | |
| Tuesday | 10:00 - 22:00 | |
| Wednesday | 10:00 - 22:00 | |
| Thursday | 10:00 - 22:00 | |
| Friday | 10:00 - 22:00 | |
| Saturday | 10:00 - 22:00 | |
| Sunday | 10:00 - 18:00 | |
Gemeenteplein - 1853 Strombeek-Bever map + 32 (0)2-263.03.43
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | 13:00 - 19:00 | |
| Friday | 13:00 - 19:00 | |
| Saturday | 13:00 - 19:00 | |
| Sunday | Closed | |
Rue de Tamines, 19 - 1060 Saint-Gilles map +32 477 587973
website
| Monday | 13:00 - 19:00 | |
| Tuesday | 13:00 - 19:00 | |
| Wednesday | 13:00 - 19:00 | |
| Thursday | 13:00 - 19:00 | |
| Friday | 13:00 - 19:00 | |
| Saturday | 13:00 - 19:00 | |
| Sunday | 13:00 - 19:00 | |
Rue de Tamines, 19 - 1060 Saint-Gilles map +32 477 587973
Damien & The Love Guru is a Brussels-based curatorial field of experimentation in contemporary art with an anthropological twist. It is currently functioning as an art space staging compelling and non-conventional exhibitions by emerging artists. Our mission is to activate immersions in and critical approaches to the cross-disciplinary fields of visual art, performance and sound via independent projects and collaborations. At Damien & The Love Guru we channel the emphasis of an art project as a way to create an inclusive and tangible environment.
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | 15:00 - 19:00 | |
| Friday | 15:00 - 19:00 | |
| Saturday | 15:00 - 19:00 | |
| Sunday | Closed | |
avenue Jean Volders, 24 - 1060 Saint-Gilles map
Exhibition text:We hope you will like this exhibition. Thank you very much for your support. A duo exhibition by two artists who work in parallel rather than collaboratively. A dialogue between the two studios. One practices sculpture and the other painting. Both with a certain notion of narration. Telling a story through the use of figures. Whether decomposed and recomposed as in Romain Juan’s case or rendered expressive through pictorial figurations as can be seen in Tatiana Defraine’s paintings. These two practices come together and converge while maintaining their individual synthetic and expressive approach to the human figure. Expressionistpop? To speak in classical terms that reference the past. An appropriation of stylesand forms. Fashion as a starting point, whether in the decomposed models of Romain or in the elegant silhouettes of Tatiana. They borrow from magazines and fashion stores to refigure a reality that touches our body in an ironic distancing of what could be read as too banal, everyday, too real. Disfigure to configure new poses, gestures that speak of integrating the architecture that absorbs the characters. A flattening in the painting where women are caught up by accessories, cosmetics and the decor. We imagine them attending a fashion show of decomposed figures of woman/man. The white characters in the middle of the room are the main attraction of this fashion show. Women are posing as actresses. They whisper, they tell, they forget where they are and why and how they got there? The spectacle of the feminine masculine laid bare by her enthusiasts.
website
| Monday | Closed | |
| Tuesday | 10:30:00 - 18:30:00 | |
| Wednesday | 10:30:00 - 18:30:00 | |
| Thursday | 10:30:00 - 18:30:00 | |
| Friday | 10:30:00 - 18:30:00 | |
| Saturday | 12:00 - 18:30:00 | |
| Sunday | Closed | |
Rue de la Régence, 67 - 1000 Brussels map +32 2 513 69 90
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 14:00 - 18:00 | |
| Thursday | 14:00 - 18:00 | |
| Friday | 14:00 - 18:00 | |
| Saturday | 12:00 - 18:00 | |
| Sunday | Closed | |
Rue du Marché aux Porcs, 4 - 1000 Brussels map 02-217.74.00
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | 13:00 - 18:00 | |
| Friday | 13:00 - 18:00 | |
| Saturday | 13:00 - 18:00 | |
| Sunday | 13:00 - 18:00 | |
Avenue Van Volxem, 304 - 1190 Forest map + 32 (0)2 502 38 78
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 14:00 - 18:00 | |
| Thursday | 14:00 - 18:00 | |
| Friday | 14:00 - 18:00 | |
| Saturday | 14:00 - 18:00 | |
| Sunday | Closed | |
Rue Borrens, 32-34 - 1050 Ixelles map 02-644.34.32
Fondation CAB is pleased and honoured to welcome, for the third time, the Prix Pictet Prize for Photography and Sustainability. Work by the twelve of outstanding photographers shortlisted for the prize, revolving around this years' theme Space, will be exhibited at Fondation CAB from 8 June till 30 June, 2018.
The Irish photographer Richard Mosse is the seventh laureate of the Prix Pictet. He was selected for his Heat Maps series, (2016-17) in which he documented refugee camps with a military-grade thermal camera that detects body heat.
Founded in 2008 by the Pictet Group in Switzerland, the Prix Pictet is recognised as the world’s leading prize for photography. On an 18-month cycle the award focuses on a theme that promotes discussion and debate on issues of sustainability. The prize showcases leading photographers’ contributions to the debate about the most pressing social and environmental challenges of today.
"Whether they focus on our cities; on the oceans, borders and barricades; on outer space or on the humanitarian crises unfolding across Europe; each of the photographers shortlisted for this cycle of the awards address their subject with a brilliant singularity of vision. Again and again they present us with visions of people carrying on against what are frequently dreadful odds. Perhaps in this there is hope. Hope that, despite the catastrophic damage that we have visited on the natural world and on the lives of our most vulnerable fellow citizens, it is not too late for us to reverse the damage we have done – to allow each other the space to think again. For all the havoc they portray, the artists shortlisted for Space have shone a light on this possibility. We should be foolish to ignore their messages." - Kofi Annan, honourary president of Prix Pictet.
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | Closed | |
rue Saint Georges, 5 - 1050 Ixelles map +32 2 648 77 70
website
| Monday | Closed | |
| Tuesday | 14:00 - 19:00 | |
| Wednesday | 14:00 - 19:00 | |
| Thursday | 14:00 - 19:00 | |
| Friday | 14:00 - 19:00 | |
| Saturday | Closed | |
| Sunday | Closed | |
Avenue des Klauwaerts, 9 - 1050 Ixelles map 02-647.30.15
Vingt ans ont passé depuis la première exposition.
Peut-on concevoir que dès les premières oeuvres tout est déjà inscrit de ce qui sera réalisé au long des années suivantes.
C’est le geste et la matière picturale qui comptent.
Les premiers thèmes, arbres, sous-bois, une frise de plus de sept mètres : La Via Appia, sont exprimés dans des tons sombres,
noirs, bruns, très contrastés avec des blancs, clairières, trouées, neige. Correspondent les gravures au carborandum, reliefs
et noirs profonds, autre aspect de sa peinture.
| Monday | Closed | |
| Tuesday | 11:00 - 19:00 | |
| Wednesday | 11:00 - 19:00 | |
| Thursday | 11:00 - 19:00 | |
| Friday | 11:00 - 19:00 | |
| Saturday | 11:00 - 19:00 | |
| Sunday | Closed | |
Rue Hôtel des Monnaies, 66 - 1060 Saint-Gilles map + 32 (0) 25 44 16 73
website
| Monday | Closed | |
| Tuesday | 10:00 - 18:00 | |
| Wednesday | 10:00 - 18:00 | |
| Thursday | 10:00 - 18:00 | |
| Friday | 10:00 - 18:00 | |
| Saturday | 10:00 - 18:00 | |
| Sunday | Closed | |
Rue Charles Decoster, 8 - 1050 Ixelles map +32 (0) 2 648 14 05
Parisian gallery Nathalie Obadia opened a branch in Brussels in September 2008. In beautiful contemporary spaces, the gallery represents the artists championed by the Parisian owner from the early days, including the late Martin Barré, Pascal Pinaud and Carole Benzaken. The Belgian outlet also has its own programme, combining painting, sculpture, video and installations.
| Monday | Closed | |
| Tuesday | 12:00 - 18:00 | |
| Wednesday | 12:00 - 18:00 | |
| Thursday | 12:00 - 18:00 | |
| Friday | 12:00 - 18:00 | |
| Saturday | 12:00 - 18:00 | |
| Sunday | Closed | |
Rue du Grand Cerf, 12 - 1000 Brussels map 02-513.35.31
Gladstone Gallery is a leading gallery dedicated to contemporary art founded by Barbara Gladstone. Based in New York and Brussels, it represents no fewer than 35 internationally renowned artists, such as Anish Kapoor, Shirin Neshat, or more emerging artists. The Brussels gallery, situated in a building with a personal atmosphere, has already exhibited the work of artists such as Carroll Dunham, Roe Ethridge, Wangechi Mutu and Dave Muller.
website
| Monday | Closed | |
| Tuesday | 14:00 - 18:00 | |
| Wednesday | 14:00 - 18:00 | |
| Thursday | 14:00 - 18:00 | |
| Friday | 14:00 - 18:00 | |
| Saturday | 14:00 - 18:00 | |
| Sunday | Closed | |
Rue du Canal, 13 - 1000 Brussels map 02-219.14.22
website
| Monday | Closed | |
| Tuesday | 13:00 - 19:00 | |
| Wednesday | 13:00 - 19:00 | |
| Thursday | 13:00 - 19:00 | |
| Friday | 13:00 - 19:00 | |
| Saturday | 13:00 - 19:00 | |
| Sunday | Closed | |
Rue Jean d'Ardenne, 46 - 1050 Ixelles map 0485- 69.91.46
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | 13:00 - 18:00 | |
| Friday | 13:00 - 18:00 | |
| Saturday | 13:00 - 18:00 | |
| Sunday | Closed | |
Rue Saint-Georges, 109 - 1050 Ixelles map +32 2 511 05 55
website
Rue Saint-Georges, 109 - 1050 Ixelles map +32 2 511 05 55
A seemingly charming drawing of a small toy bear will adorn the window of Hopstreet Gallery in 2018. Roger Raveel drew it in 1952, one year after creating a small painting of the same subject. Like other works from the early 1950s, the drawing shows the exceptional courage of a young, rural artist to resolutely make quick work of the suffocating legacy of Flemish post-expressionism. Rudi Fuchs correctly pointed out in the Groene Amsterdammer that Raveel depicted the loose left arm of the small bear in a moving manner by applying small hatched lines instead of a dark daub of paint or ink. Everything about the drawing is crystal clear and stripped of all visual frills. According to Fuchs, that's an artistic legacy from abstract art, which was started by Cézanne and reached its full potential by Mondriaan and Malevitch. Raveel has never done anything other than make visual art that is based on a razor-sharp analysis of reality. At the same time he is able to give the new achievements of his distinguished predecessors from abstract art a place in post-war figurative painting.
Beertje (1952) is one of Raveel's early works but it is also a contemporary work of art for the 21st century.
Roger Raveel is considered one of the most important Belgian artists after WWII. His work cannot be classified in familiar art-historical partitions. It's modern and timeless. It shuns every one-sided approach. The breeding ground of Raveel's art is his immediate surroundings, but this doesn't mean that he is tied to one location. In his paintings, drawings, objects and installations, the objects around him are given universal meaning: a man, a woman, plants, a bicycle trailer, advertising and technology are seen in time and space.
His diverse expressive language is extremely fascinating. Incompatible writings or painting methods often give his work a tension that makes the observer rediscover reality.
Roger Raveel was born on 15 July 1921 in Machelen-aan-de-Leie, a village near Ghent where he lived and worked until his death on 30 January 2013. He studied at the Municipal Academy of Deinze and at the Royal Academy of Fine Arts in Ghent. His instructors were Hubert Malfait and Jos Verdeghem, amongst others. In the early 1950s he became acquainted with painters from the Cobra group, like Karel Appel and Corneille, via his friend Hugo Claus. He wanted to take very different paths with his painting. In 1962 he spent three months in Albisola Mare (Italy) where he worked and exhibited with artists like Lucio Fontana and Asger Jorn. In the second half of the 1950s his work evolved into a kind of abstract painting that has its roots in experiencing the organic, the vegetative, the animal. Around 1962 he painted a triptych entitled ’Neerhof’ with a cage in the middle with a live pigeon. He wanted to establish a direct dialogue between art and reality.
In 1966-67 he transformed the cellar corridors of Beervelde castle (near Ghent) into a pictorial environment. He received assistance from Etienne Elias, Raoul De Keyser and Reinier Lucassen. After the paintings in Beervelde he worked on several painted objects such as the ’Illusion group’ and ’Small garden with small cart to conquer the sky’. His alert environmental awareness led the artist to visualise his commitment via happenings like ’The Swans of Bruges’ and ’Raveel on the Lys River’ (1971). Almost 20 years later, in 1990, Roger Raveel commemorated the outbreak of WWII by pushing a painted wardrobe mounted on wheels through the city centre of Brussels.
For his artistic activity and graphic contribution to art history, he received honourable mention for the Young Belgian Painting Prize (1958 and 1960) and honours in the Europe Prize (1962), the International Joost van den Vondel Prize (1983), the Golden Medal of the Flemish Council (1992), he was knighted (1995) and received the Van Acker Prize (1996).
Piet Coessens is curator of the Roger Raveel Museum in Machelen-aan-de-Leie. He was Director of the Association for Exhibitions from 1992 to 2002, where he organised retrospectives of Andy Warhol, Marcel Broodthaers, Robert Smithson, William Kentridge, Lygia Clark, etc. He also worked as artistic advisor for the Flemish Master Architect from 2004 to 2007 and supervised numerous art projects in the public sphere.
The art of Roger Raveel, who was his teacher when he was 10 years old, remains a source of inspiration for Piet Coessens.
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | 13:00 - 18:00 | |
| Friday | 13:00 - 18:00 | |
| Saturday | 13:00 - 18:00 | |
| Sunday | Closed | |
Rue Saint-Georges, 109 - 1050 Ixelles map +32 2 511 05 55
website
Place Royale, 6 - 1000 Brussels map
website
| Monday | Closed | |
| Tuesday | 11:00 - 18:00 | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | Closed | |
Rue Van Eyck, 29 - 1050 Ixelles map +00 32 2 647 55 16
Tatiana Wolska, Principle of uncertainty
Tatiana Wolska has taken an important step forward in her work by developing its constructive aspect, without losing the ephemeral nature of previous installations, such as those presented at Palais de Tokyo a few years ago. The fundamental change is in the type of objects she uses, even if they are still waste materials, exploited in a logic of remediation and reusability. The flexible and biomorphic forms of her lightweight structures have given way to stronger and more stable constructions. These constructions, seemingly almost self-generated, literally take over the places they fill up, little by little, settling themselves in and taking support upon their surroundings. Suspended structures have turned into real constructions – whether they take place inside (Nice, Galerie de la Marine) or outside (Brussels, Foundation Boghossian), the process is identical.
Plank after plank, nail after nail, the structure is put in place. It occupies the space and generates in its center its own inner shell, giving it the look of a cave with steep walls, a kind of two-sided building whose internal and external walls, if they have the same raw look, do not have the same function. These sculptural structures, somewhat off-putting from the outside and sometimes creating a certain distance because of their monumentality, become basic alcoves, akin to a cave that could almost be described as prehistoric if you let the imagination run wild. The constructions, if not really habitable – purposefully – can be slowly and carefully crossed by the visitor and are de facto usable and used by the artist. One of them, recenlty shown in Nice, was aptly titled « Habitat potentiel pour une artiste » (Potential Habitat for an Artist). During the time of their edification – about a week – they can be considered not only as an extension of the workshop, but also as a true experience of creation in space, true to scale. In other words, in this development process, there are no small-scale model or intermediate test. Tatiana Wolska
literally works without a safety net, following her intuition, and the structure seems to grow by autonomous propagation.
Tatiana Wolska’s recent exhibitions are, by definition, ephemeral. And so are her installations, such as these large wooden constructions. Despite their monumental and elaborate appearance, they are doomed to disappear at the end of the event. Short-lived works, that nonetheless constitute crucial moments of her practice. The exhibition acquires a central place in her work, as it becomes an artwork in itself and as the creation is conditioned and defined by the exhibition space for which it is intended, in a unique and previously determined temporality. The destruction and disappearance of the work, the dispersion of its constituent elements are included in the very process of its elaboration. It is probably also because Tatiana Wolska does everything she can to avoid being locked in a process or a system, being dependent on a manufacturing process, limited to a single material, or, worse, a form that could be easily associated with
her. The titles of some of her personal exhibitions are also revealing in this regard: « Contre-temps », « Work in Progress » and especially « Principe d’incertitude ».
Tatiana Wolska’s sculptural practice is located on the dividing line between architecture and material recycling, but she never renounced drawing, which she considers to be on the same level as sculpture. But that’s another story…
– Bernard Marcelis
| Monday | Closed | |
| Tuesday | 11:00 - 18:00 | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | Closed | |
Boulevard de Waterloo, 31 - 1000 Brussels map +32 (0)2 504 80 70
website
Boulevard de Waterloo, 31 - 1000 Brussels map +32 (0)2 504 80 70
Founded in 1971, the iselp – higher institute for the study of the language of the plastic arts – is a place where contemporary art is approached from various, mutually enriching points of view. This plurality is what makes it different: the monstration, discussion, research, mediation and publishing activities take into account the great wealth of the current art scene. The iselp puts on several exhibitions each year (one-man exhibitions by national and international artists, group or themed exhibitions), which follow the topical relevance of contemporary creative work by giving priority to young Belgian artists. At the same time, the institute is developing an artists’ residency programme that focuses on research, innovation and exchange. The iselp encourages critical debate on contemporary art by offering conferences, screenings, symposiums, meetings, readings, guided tours, cultural trips and educational activities.
website
Boulevard de Waterloo, 31 - 1000 Brussels map +32 (0)2 504 80 70
website
| Monday | Closed | |
| Tuesday | 11:00 - 18:00 | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | Closed | |
rue Général Leman, 69 - 1040 Etterbeek map 02-648.40.06
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 14:00 - 18:30:00 | |
| Thursday | 14:00 - 18:30:00 | |
| Friday | 14:00 - 18:30:00 | |
| Saturday | 12:00 - 18:30:00 | |
| Sunday | Closed | |
Petit Sablon / Kleine Zavel, 10 - 1000 Brussels map 02-514.10.10
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | 12:00 - 18:00 | |
| Friday | 12:00 - 18:00 | |
| Saturday | 12:00 - 18:00 | |
| Sunday | Closed | |
Rue Saint-Georges, 24 - 1050 Ixelles map +32 478 48 77 09
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | 12:00 - 18:00 | |
| Friday | 12:00 - 18:00 | |
| Saturday | 12:00 - 18:00 | |
| Sunday | Closed | |
Rue Van Eyck, 44 - 1000 Brussels map 02-511.35.80
website
Chaussée de Forest, 90 - 1060 Saint-Gilles map + 32 (0)488-07.38.63
SALOON cordially invites you to our next exhibition À nos amis, with works of Frieder Haller, Andrzej Steinbach and Jasmin Werner.
He is still talking about the red wine. I really don’t know what I am still doing here, but the neighbour seems to have settled for company. We do not see each other often, do we. Naturally, as six months of the year he lives in his house on the Cote d’Azur. He just recently had the terrace extended and an outdoor shower installed. Heavenly. Now he switched to current affairs, domestic politics, foreign affairs, fiscal politics. Only yesterday he read that American students actually have no chance of paying off their student loans before retirement. Terrible. I had actually said that I didn’t want any more wine, but alright. And how we’re not getting any steady jobs anymore, everything is only ever temporary. And no one can afford anymore to build a house. It can’t go on like this, it is all about to fall apart. Yes, the wine tastes great. He doesn’t understand why we’re not going to the barricades. How come we don’t give a shit? The lights are about to be turned off, the climate is also going crazy, we can’t simply let it go on like this. We should be…, it’s not possible that…. . The bulbous nose dives into the glass again, sucks up the expensive aromas.
Actually I just wanted to drop off the parcel. But now he wants to pass on his wisdom. He probably doesn’t see that the terrific pension his semi-nationalised employer threw at him, has to be earned somehow. His generation fucked the pension and the financial system and generally the ecological balance of this planet, but kept this realisation for their retirement. Others are supposed to sort out the mess whilst our parental generation happily helps with brilliant advice from the couch or their finca on Mallorca. Our life plans remain prototypes, impossible to implement. No time, no money. Rent and loans let us do all the things we never wanted to do. But apparently it’s not enough that we have to struggle all our lives in order for their investments to yield a return. We are also supposed to listen to them as they morally right themselves with their alleged self-realisation. Keep your fucking red wine, we want something else. À nos amis.
Moritz Scheper
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | 12:00 - 18:00 | |
| Friday | 12:00 - 18:00 | |
| Saturday | 12:00 - 18:00 | |
| Sunday | Closed | |
Rue de l'Ermitage, 86 - 1050 Ixelles map +32 (0)2 644 42 48
website
| Monday | Closed | |
| Tuesday | 11:00 - 18:00 | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | Closed | |
Rue Veydt, 15 - 1060 Saint-Gilles map +32 (0)2 502 78 24
website
| Monday | Closed | |
| Tuesday | 11:00 - 19:00 | |
| Wednesday | 11:00 - 19:00 | |
| Thursday | 11:00 - 19:00 | |
| Friday | 11:00 - 19:00 | |
| Saturday | 11:00 - 19:00 | |
| Sunday | Closed | |
| Monday | Closed | |
| Tuesday | 11:00 - 18:00 | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | Closed | |
Rue Veydt, 15 - 1060 Saint-Gilles map +32 (0)2 502 78 24
website
| Monday | Closed | |
| Tuesday | 11:00 - 18:00 | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | Closed | |
Rue Veydt, 15 - 1060 Saint-Gilles map +32 (0)2 502 78 24
La Patinoire Royale / Galerie Valérie Bach is happy to present OBNOXIOUSLY HAPPY, :mentalKLINIK’s
first solo exhibition in Belgium, curated by Jérôme Sans.
« The exhibition, which brings together a whole fifteen years of their activity - more an introspective
rather retrospective - presents a symptomatic set of the multifaceted approach to their universe
which constantly blurs borders. :mentalKLINIK is an allusion to the laboratory where practice and
theory coexist, as the :mental refers to the spirit and the KLINIK to practice » (Jérôme Sans).
:mentalKLINIK is a Brussels-based artist duo composed of Yasemin Baydar and Birol Demir who
began their collaborative practice in 1998 in Istanbul. They mainly realise immersive installations and
sculptures in an experimental approach.
Their work is a mix of oxymorons and paradoxes, darkly humorous, self-contained and as much
concerned with the total effect of accelerated capitalism as with the invisible politics and dynamics
that define our everyday lives. :mentalKLINIK's oeuvre is droll yet can look very playful and fun while
at the same time it is violent, abrasive and very questioning of the world we live in. Their works range
from immersive time based installations to sculptures and objects that thwart categorisation.
:mentalKLINIK has participated in internationally renowned exhibitions, including Tomorrow Now at
MUDAM, Luxembourg in 2007; PuFF at ArtBasel 40; Art Unlimited in Switzerland in 2009; and solo
museum shows such as FreshCut at MAK Vienna in 2013 and Co-operation Would be Highly
Appreciated at SCAD Museum Georgia, USA, in 2015. Some of their solo gallery shows are That’s
Fucking Awesome curated by Jerome Sans at Galerist Istanbul in 2011; Thank You For your
Cooperation at Gallery Isabelle van den Eynde, Dubai in 2014; and 83% Satisfaction Guaranteed at
Louise Alexander Gallery in Porto Cevro, Italy, in 2015.
| Monday | Closed | |
| Tuesday | 12:00 - 18:00 | |
| Wednesday | 12:00 - 18:00 | |
| Thursday | 12:00 - 18:00 | |
| Friday | 12:00 - 18:00 | |
| Saturday | 12:00 - 18:00 | |
| Sunday | Closed | |
Boulevard de Waterloo, 50 - 1000 Brussels map + 32 (0)2-511.20.62
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 14:00 - 18:00 | |
| Thursday | 14:00 - 18:00 | |
| Friday | 14:00 - 18:00 | |
| Saturday | 14:00 - 18:00 | |
| Sunday | Closed | |
Place de la Justice, 27 28 - 1000 Brussels map + 32 (0)494 787 290
website
| Monday | 11:00 - 18:00 | |
| Tuesday | 11:00 - 18:00 | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | Closed | |
Avenue Louise, 430 - 1050 Ixelles map +32 2 512 50 10
Born to the generation of American artists who appeared on the international scene in the early 1980s, Ross Bleckner (born in New York in 1949) witnessed the explosion of the AIDS epidemic which hit the gay community and the art world hardest. From then on he created paintings that cross existential notions. Behind the seduction, the beauty of his compositions question loss, death and memory.
His delicate flowers betray a form of anxiety that their apparent fragility makes evident. Even if the artist does not conceive his paintings as vanities, they nonetheless remind us of an art form that goes beyond the elegance of a bouquet or a still life and reveals to the viewer a work tinged with spirituality.
In the past decades Bleckner has become well known his support of humanitarian causes, including the fight against AIDS. He is also the first artist to have been appointed Goodwill Ambassador of the United Nations, in 2009.
| Monday | Closed | |
| Tuesday | 11:00 - 18:00 | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | Closed | |
Rue de l'Abbaye, 2/A - 1000 Brussels map 02-644.34.54
website
| Monday | Closed | |
| Tuesday | 11:00 - 19:00 | |
| Wednesday | 11:00 - 19:00 | |
| Thursday | 11:00 - 19:00 | |
| Friday | 11:00 - 19:00 | |
| Saturday | 11:00 - 19:00 | |
| Sunday | Closed | |
Rue des Sablons, 13 - 1000 Brussels map +32 (0)2-502.09.64
The work of few contemporary artists is able to evoke the sublime and have a tranquilizing effect the way Lucas Arruda paintings do. Where so many seem intent upon obstreperously embodying and conveying the infinite noise of the contemporary, his work has a way of all but shutting it out, quieting and centering whoever looks at what he does. It’s as if they were small, portable sound-proof rooms, mute autonomous chambers, that admitted only one person at a time into their perfect, atmospheric calm. How does he do this? What procedure, if any, allows him to generate such tranquility? How do you account for this?
Side-stepping the rabbit-hole of genius, I think two new works in this show can help us if not understand, then at least begin to situate where this takes place. One is a sculptural installation (which features a painting) and the other is a new video which Arruda has been working on, intermittently, for years. Highly complementary, the two works play off one another in an interesting, almost dialectical fashion. The installation consists of placing a series of small objects in front of a seascape horizon painting in an architectural recess. The central element of the installation consists of a small, Etruscan statue whose severe and gaunt verticality is not without recalling the work of Giacometti. Symmetrically flanked by a series of small objects, the Etruscan statue is placed in front of the center of the painting, as if the combination of the horizon depicted therein and the object created a cross. Provisionally conjoined as such, they amount to a geometric ideal which has less to do with religion than an archetypical notion of centering, which is at the heart of a great deal of Arruda’s painting. The slight, uncanny object takes on an even greater significance vis-à-vis the artist’s new video.
This strange, powerful and haunting work is based on the footage of the 1962 Welterweight boxing championship fight between Benny Paret and Emile Griffith in which Paret entered a coma and died ten days later in the hospital. Scrambling the order in which events took place in the video, the montage skips around to the moment in which we see Paret fall from his K.O.. Interestingly, the video begins in perfect silence with the referee and the boxers, and the teams from each boxer standing in the ring facing the same way in a conspicuously parallel fashion straight up, not unlike the Etruscan figure standing obediently in the recess in the other room. While they apparently do not move (since this fight takes place at Madison Square Garden, they are presumably listening to the National Anthem), the surrounding crowd does. Eventually they start to move, boxers bouncing up and down, and the sound track of the video, the mournful and elegiac composition, Strokur (2014) by the Icelandic cellist Hildur Guðnadóttir, kicks in coming in and out over the announcer’s commentary and the din of the surrounding crowd. Guðnadóttir’s doleful soundtrack is paired with imagery which shifts from grainy close ups of legs in the ring to shots of the vibrating ropes themselves which cut across the screen as if it were a minimalist abstraction. Impossible not to see these three lines and think of the multiplicity of horizons that populate, like a single, pathologically repeated motif, the artist’s paintings. It’s at this point that an analogy of thresholds, of the interior and exterior, and even life and death (since it is precisely in the ring that Paret began his passage into that domain from whose bourn no traveller returns) begins to emerge between the paintings and the video. The montage then goes on to alternate between headless, besuited bodies congregating ponderously and the thin, spindly legs of the boxers dancing individually and together in the ring. While the imagery shifts to the faces of the boxersand the upper bodies and the mood of the soundtrack drops to altogether more urgent register, foreshadowing the blow to come, we never actually witness the volley of uppercuts that led to Paret’s demise. But the fall that succeeds them, the one characterized by the announcer as are sult of “sheer exhaustion”, this we witness as it becomes clear that it is the real subject of the video. In the initial fall, which the montage repeats a number of times, it’s almost as if Paret’s near lifeless body is aided downward by the strokes of Guonadóttir’s bow against the cello strings. The poignance of this conjunction, which touches upon the sublime, is effectively impossible to describe. It – the poignance – is perhaps matched only by the imagery of the hands and arms which seek to undo Paret’s body from the ropes and lay him down on the ring’s floor. Formally evocative of myriad renaissance portrayals of The Deposition (Christ’s removal from the cross and transfer to the tomb), the moment is interesting for Arruda not only because of this, but also due to its relationship to surrender and care (One almost wants to repeat it, surrender and care, surrender and care, if only for the sake of form). Again, what is of interest here is less the religious evocation than its formal resonance and complexity.
And yet, that is not all. What about the paintings? What about the broken and yet interconnected horizon that connects, separates and encircles these two new works? Where do they stand between the immutable verticality of the Etruscan statue, and Paret’s definitively collapsing figure? Or maybe they are the limitless expanse and the fine threshold that both links and divides these two poles from one another? Or maybe they mirror our experience of looking at them? Where one is reminiscent of the horizontality of the horizon line in the painting, the other mimics our verticality before the image. Rigorously and starkly conjoined, they always place us, the viewer, at the center, and are liable to lead to a strange and incommunicable peace.
– Chris Sharp
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 10:00 - 21:00 | |
| Thursday | 10:00 - 21:00 | |
| Friday | 10:00 - 21:00 | |
| Saturday | 10:00 - 21:00 | |
| Sunday | Closed | |
Rue Washington, 51 A - 1050 Ixelles map 02-640.26.40
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 10:00 - 18:00 | |
| Thursday | 10:00 - 18:00 | |
| Friday | 10:00 - 18:00 | |
| Saturday | 10:00 - 18:00 | |
| Sunday | 10:00 - 18:00 | |
Quai du Hainaut, 39-41 - 1080 Molenbeek-Saint-Jean map
website
| Monday | Closed | |
| Tuesday | 10:00 - 18:00 | |
| Wednesday | 10:00 - 18:00 | |
| Thursday | 10:00 - 18:00 | |
| Friday | 10:00 - 18:00 | |
| Saturday | 10:00 - 18:00 | |
| Sunday | Closed | |
Rue Saint-Georges, 13 - 1050 Ixelles map +32 2 648 21 01
Upon entering the gallery, works by Rebecca Horn, Arnulf Rainer and Bernardí Roig explore anatomy and the historical representation of the human figure. Arnulf Rainer uses photographs with details from paintings by Fra Angelico, Simone Martini and Andrea Mategna, drawing over them and distorting the original image. Bernardí Roig’s aristocratic figures, reminding the viewer of portraiture by Spanish masters such as Velazquez and Goya, are disfigured by thick charcoal lines, blurring the vision of the represented figures or transforming them into memento mori. Rebecca Horn’s works are linked to the artist’s body through her own performative movements, in which the resulting abstract forms represent the physicality of her gestures.
Giuseppe Stampone works exclusively with BIC pen and graphite, reproducing images found online in a hyperrealistic manner. Using only BIC pen forces him to work slowly, as a protest to the ever-increasing rapidity that our society demands. He changes the original meaning of the image by juxtaposing words with the original image or by inserting new imagery into classical masterpieces, forcing the viewer to see the image as a representation of the human condition. These changes evoke a discussion on the original vs. mass produced object, as well as on the state of our contemporary society. Works employing popular music culture are reassembled for this exhibition, showing both representations of famous album covers and classical painting which uses music to carry a narrative.
Downstairs, works by Christine Ödlund and Nikolaus Gansterer approach art through a scientific investigation, using paper as a support for notations and a way of making visible that which is invisible. Gansterer’s drawings are spaces in which the noted forms are intuitive and related to what is happening in his body and surroundings during the creation of the works. He gives forms to senses and thoughts in an abstract manner, creating lines which are the representation of mental processes or of physical agitations. As for Christine Ödlund, her work has two main axes of research – notation of electro-acoustic music, and the invisible communication strategies of plants. Her works can often be read as a musical composition. She paints and draws directly on paper, using plant-based pigments which range from light washes of colour to completely opaque zones which seem to absorb the light around them.
Works by Jason Gringler, Katharina Hinsberg and Santiago Reyes Villaveces are subtle testimonies of creative gestures and the artists’ practice. Jason Gringler uses photographs of his studio to create collages which abstract his own works hanging on the walls or posed on the floor. The images are obscured with paint, other photographs, and silver foil, upending traditional exhibition photography. Katharina Hinsberg uses paper not as a support but as the main subject of her works, cutting away areas of the sheet to create abstract grids or to accentuate intuitive abstract forms. Encased in white frames and almost blending into their backgrounds, the works necessitate a close interaction with the spectator, who enters into the intimate sphere of the work and discovers the artist’s gestures. The white works by Santiago Reyes Villaveces are the byproduct of his Goodwill Moon Rock Series, in which he creates a similar texture to that of meteorites with only graphite and paper. The force exerted upon these drawings creates a relief on a second sheet of paper placed underneath, in which the image appears only through plays of light and shadow.
| Monday | Closed | |
| Tuesday | 10:00 - 18:00 | |
| Wednesday | 10:00 - 18:00 | |
| Thursday | 10:00 - 18:00 | |
| Friday | 10:00 - 18:00 | |
| Saturday | 10:00 - 18:00 | |
| Sunday | Closed | |
Rue Saint-Georges, 13 - 1050 Ixelles map +32 2 648 21 01
website
| Monday | 01:00 - 23:59:00 | |
| Tuesday | 01:00 - 23:59:00 | |
| Wednesday | 01:00 - 23:59:00 | |
| Thursday | 01:00 - 23:59:00 | |
| Friday | 01:00 - 23:59:00 | |
| Saturday | 01:00 - 23:59:00 | |
| Sunday | 01:00 - 23:59:00 | |
Rue Lambert Crickx - 1070 Anderlecht map 0485-62.51.34
website
| Monday | 01:00 - 23:59:00 | |
| Tuesday | 01:00 - 23:59:00 | |
| Wednesday | 01:00 - 23:59:00 | |
| Thursday | 01:00 - 23:59:00 | |
| Friday | 01:00 - 23:59:00 | |
| Saturday | 01:00 - 23:59:00 | |
| Sunday | 01:00 - 23:59:00 | |
Rue Lambert Crickx - 1070 Anderlecht map 0485-62.51.34
a new project with Eric Croes & Jean-Baptiste Bernadet. + A performance of Céline Gillain at the opening.
NICC presents a window display exhibition entitled Le Quart d’Heure Américain featuring works by painter Jean-Baptiste Bernadet (b. 1978 Paris, lives in New York) and sculptor Eric Croes (b. 1978 La Louvière, lives in Brussels). The show includes a brightly hued suspended canvas by Bernadet that serves as a tableau backdrop for a series of sculptural pieces by Croes. The latter’s anthropomorphic models reference the American desert and take the form of a cowboy hat, cowboy boot, booze jug, and cacti. These models resemble birdhouses, alluding to treehouses and other childhood wonders. Bernadet’s dreamlike landscape connotes the bright, radiant sunset of the old film classic Gone With the Wind (1939), and together both artist’s works come together as a vivid, hallucinatory diorama.
The show’s title considers both the temporal limits and potential of this particular allotment of time. For the duo, this interval takes on various forms that range from the time spent looking at NICC’s window display, to brief meetings the artists scheduled to discuss the project, to broader conceptual or historical implications like the interval allotted at a party to inverse the age old unwritten rule where women might ask the men to dance known as Sadie Hawkins. In this exhibition, fifteen minutes can represent both an eternity and a fleeting, ephemeral moment.
Bernadet and Croes have participated in residencies together in Switzerland and France where they collaborated on numerous projects and have shown their work together in various group exhibitions. For the exhibition’s opening reception, Brussels-based artist Céline Gillain (b. 1979 Liège, lives in Brussels) will present a performance. Taking cues from the exhibition’s themes, Gillain’s performance will resemble a hybrid lecture, combining storytelling, gossip, and in-depth research into bird songs.
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 13:00 - 17:00 | |
| Thursday | 13:00 - 17:00 | |
| Friday | 13:00 - 17:00 | |
| Saturday | 13:00 - 17:00 | |
| Sunday | Closed | |
Place du Jardin aux Fleurs, 5 - 1000 Brussels map 0484-59.92.28
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 14:00 - 18:00 | |
| Thursday | 14:00 - 18:00 | |
| Friday | 14:00 - 18:00 | |
| Saturday | 12:00 - 18:00 | |
| Sunday | Closed | |
rue Van Eyck, 57 - 1050 Ixelles map 02-201.37.83
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 12:00 - 18:00 | |
| Sunday | Closed | |
Rue de Tenbosch, 124 - 1050 Ixelles map 02-850.42.38
website
| Monday | Closed | |
| Tuesday | 10:00 - 18:00 | |
| Wednesday | 10:00 - 18:00 | |
| Thursday | 10:00 - 18:00 | |
| Friday | 10:00 - 18:00 | |
| Saturday | 14:00 - 18:00 | |
| Sunday | Closed | |
Rue de Livourne, 35 - 1050 Ixelles map 02-538.08.18
website
| Monday | Closed | |
| Tuesday | 10:00 - 18:00 | |
| Wednesday | 10:00 - 18:00 | |
| Thursday | 10:00 - 18:00 | |
| Friday | 10:00 - 18:00 | |
| Saturday | 14:00 - 18:00 | |
| Sunday | Closed | |
Rue de Livourne, 32 - 1000 Brussels map 02-538.08.18
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | 13:00 - 17:30:00 | |
| Friday | 13:00 - 18:00 | |
| Saturday | 14:00 - 18:00 | |
| Sunday | Closed | |
Rivoli Building - ground floor #17 - chaussée de Waterloo, 690 - 1180 Uccle map +32 486 31 00 92
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | 13:00 - 17:30:00 | |
| Friday | 13:00 - 18:00 | |
| Saturday | 14:00 - 18:00 | |
| Sunday | Closed | |
Rivoli Building - ground floor #17 - chaussée de Waterloo, 690 - 1180 Uccle map +32 486 31 00 92
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | 13:00 - 17:30:00 | |
| Friday | 13:00 - 18:00 | |
| Saturday | 14:00 - 18:00 | |
| Sunday | Closed | |
Rivoli Building - ground floor #17 - chaussée de Waterloo, 690 - 1180 Uccle map +32 486 31 00 92
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 12:00 - 17:00 | |
| Thursday | 12:00 - 17:00 | |
| Friday | 12:00 - 17:00 | |
| Saturday | 13:00 - 17:00 | |
| Sunday | Closed | |
Rue des Palais, 116 - 1030 Schaerbeek map +32 (0)2 250 11 66
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 14:00 - 18:00 | |
| Thursday | 14:00 - 18:00 | |
| Friday | 14:00 - 18:00 | |
| Saturday | 14:00 - 18:00 | |
| Sunday | Closed | |
Rue de la Régence, 67 - 1000 Brussels map +32 478 354 213
The narrative fictions bet on stage by Nava takes us in an improper universe where the reality has little its place. Imagins that you cross the road, that a truck knocks down you, but that, not only you died, but that moreover, crocodiles arise to stop eating you. Welcome in Robert Nava's universe. It is absurd and reality, border between the reality, the imagination, and what could happen. We oscillate constantly between esthetics of cartoons, south park ft Princess Mononoké, incredibly unrefined and trick in game of language. The paintings of Nava possess a feeling profoundly personal and autobiographical. As he says it exactly, "I like making drawings and playful paintings which push the seriousness in the nonsense ... The work is often led from daily events which balance each other at random and in the synchronicity". Never completely sincere or easy to decipher, Robert's funny morbid rooms leave us with a bitter laughter and a question mark. Nava paints rear of trucks, crocodiles which kill people "accidentally", but also devils, fighting angels, fancies on fire. He is very livened up by this question of the chance, indeed, why things arrive now rather than later? Why am me i made overturn by a truck by crossing and didn't me die? Necessity, questioning, are the keys for reading the work of Nava. The free violence of its works sends back to us to our own violence in the sense that as regardeur paints, we wonder if we want to see that. Once seen, it is too late, the image is, significant as a retinal persistence there, it sticks us at the bottom of the retina, it is ended, we have no more the choice. There is then an everyday nature in the work of Nava, every being of which cannot that it smells close in spite of him: houses, truck, fire, dog, fox, child, fox on fire in one children house etc. etc. etc.. The vocabulary of Nava's habits and customs is ours. As Boccato, he makes the fine distinction between what he is and what precedes him, the history is clear. Squares-trucks we dismissals in more famous squares, than they are black or white, the abstractions in so many lines, deletions, words move closer us of to one Jonathan Messe, himself even inspired by a mixture of classic and primitiveness. The subjects of representation vary all in all little, but their interpretation are contextual. We are in 2018, Goya painted the disasters of wars, Nava paints trucks and legs stained with blood on linen large formats. Things little changed.
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 14:00 - 18:00 | |
| Sunday | Closed | |
Rue de la Concorde, 68 - 1000 Brussels map +32 470 40 27 75
website
| Monday | Closed | |
| Tuesday | 11:00 - 18:00 | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | Closed | |
Rue Washington, 45 - 1050 Ixelles map + 31 (0)2-649.17.72
Painter, print-maker and poet, Bill works in the world of words and images. A child of Fluxus art, Concrete and political poetry, and historical curiosities, Bill curates language, takes apart taxonomies and recombines encyclopedic knowledge in visual haiku, as he strains for bits of wisdom, precision, philosophy or humor. His incidentalism relies on discovering incidental ideas that resonate in beautiful, colorful and playful works with undercurrents that are political, dark and dreamy.
Allen’s work explores the formal quality of words, their acoustics and ambiguities. This critical art world work seeks out the luxuriousness and languor of words joyfully lolling off the tongue. The works in Good Fish, Bad Fish… quietly assert the beauty of language and our brainy love for lists, from cutesy dogs and sustainable fish species to American Place Names, exoplanets and names of neighborhoods in Queens, New York. Add assonance and alliteration, and you have a poem-painting on the wall. Vying with information overload, Bill builds his web of words in art’s world, with tangible materials — wood, aluminum and brushes full of hardware store enamel paint.
This smart-art-meets-sign-painting is meticulous and meditative, where folk art and signature become a personalised voice. As a viewer reads out loud, patterns emerge, flow together or get dizzy with idiosyncratic prose. A recent work, My Friend the Dog, plays with the problem of what lies beneath the painted script. Here, names of beloved dog breeds are rendered on aluminum ‘Beware of the Dog’ signs, looking for what’s tender as well as taut. Although not obvious at a glance, the artist takes pleasure in the secret, subtle shifts of meaning between form and function, between the underlying primal message and its frisky recreation.
William Allen’s work has been included in exhibitions at the Museum of Modern Art, the Tate Modern, PS 1, Momenta Art, Harvard University, Williams College, Newark Museum, Ann Norton Sculpture Garden, on the NYC subway, and Buffalo metro bus lines. He’s worked with artist collectives like Group Material and Argo Group, as well as many collaborations with the minimalist sculptor and critical artist Barbara Westermann.
His prints with Clay Street Press are made on different surfaces like street signs, Egyptian cotton, limestone and zinc. He is a recipient of a Queens Council on the Arts Fellowship (2012) for his Queens street names paintings, and a National Endowment of the Arts Creative Writing Fellowship (2009) for his poems.
His two published books of poems are The Man on the Moon (Persea and NYU Presses, 1987) and Sevastopol: On Photographs of War (Xenos Press, 1997). New poetry includes “The Largest Glue Factory in the World” (a history of the Newtown Creek), “22 Stations” about the 7 train in New York, and “Linea Eins,” on the German U-Bahn of the Berlin Wall.
| Monday | Closed | |
| Tuesday | 11:00 - 18:00 | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | Closed | |
Rue Washington, 45 - 1050 Ixelles map + 31 (0)2-649.17.72
Founded in 2012, Galerie Dakota became the Super Dakota gallery. Continuing the initial reasoning behind Dakota - to discover and promote up-and-coming young artists - Super Dakota is renewing this ambition and confirming its determination to be more open to international art. This decision is consistent with the perspective of contemporary art as a demanding discipline whose roots lie deep in the history of art and with the search for a dialogue between generations in order to produce creative synergy.
website
| Monday | Closed | |
| Tuesday | 11:00 - 18:00 | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | Closed | |
Rue Veydt, 13 a - 1060 Saint-Gilles map + 32 (0) 2 537 13 17
Galerie Templon, who has been working with Claude Viallat since 1973, is presenting a series of previously unseen works by the artist in its Brussels space. Les echelles de Nîmes highlights a lesser-known side of the founder of the Supports/Surfaces movement’s work, the pieces playing with volume and space, far from all conventional representations of how art is displayed.
Yves Michaud recalls that Claude Viallat ‘often paints on surfaces that are actually flattened or enlarged envelopes of spaces.’ In Les echelles de Nîmes, moving between positive and negative, canvas straps and emptiness, Claude Viallat’s unmistakable signature small bone shape is no longer evenly painted. With these pieces, the artist once again explores the theme of the ladder, an element (painting or object, made of rope, canvas or gauze) that links ground to wall, often used in the Supports/Surfaces movement, particularly by Daniel Dezeuze.
The name of the series refers to the artist’s Echelles de Venise from 1976, a period when Claude Viallat’s artistic approach became more complex: the material is broken up by an assemblage of fabrics with a variety of origins, the support and its seams dictating the composition and structure of the canvas.
Created in Nîmes – where the artist was born in 1936 and continues to live and work – the new pieces show the extraordinary vitality, the unstoppable creative urge of an artist who works in his studio every day. The exhibition provides yet another demonstration of Claude Viallat’s ability to reinvent himself: he works from that same, always identical abstract form he has been repeating for fifty years, in a ceaseless process where the support plays a determining role, yet every painting is unique.
Claude Viallat is one of the founders of the Supports/Surfaces avant-garde artistic movement that emerged in the early 1970s, propounding both art theory and politics. Figures in the movement included Vincent Bioulès, Louis Cane, Daniel Dezeuze, Jean-Pierre Pincemin and Noël Dolla. They called for a fresh approach to art that questioned traditional materials such as the canvas and the stretcher. Viallat began working on industrial tarpaulins without stretchers, covering them with the same endlessly-repeated abstract shape. Reproduced using a stencil, in a variety of colours and on different surfaces (upholstery fabrics, rugs, recycled materials), the motif eradicates the notion of “subject” and enables Claude Viallat to explore the meaning of the creative gesture and the status of the work of art.
Claude Viallat has been a leading figure on the contemporary art scene for the last fifty years. He represented France at the Venice Biennale in 1988. Today, Claude Viallat is an artist who cannot be ignored. His approach is all the more current in the light of the emergence of a new movement in American art that is examining his heritage (low-status materials, repetitions, the error as operating principle, exploring new surfaces) as well as the renewed interest in vernacular and artisanal practices evident in international contemporary art. His works are featured in numerous public collections, including at the Musée National d’Art Moderne de la Ville de Paris, Mnam - Centre Pompidou, and Moma in New York. The Musée Fabre in Montpellier held a major retrospective of his work in the summer of 2014. A major installation Claude Viallat first created in 1982 will be exhibited this year at Art Basel Unlimited 2018.
Rue Buchholtz, 15 - 1050 Ixelles map +32 493 52 66 17
Memory of glaciers (2017) 10’51’’
Memory of Glaciers is a myth at the confluence of science and fiction, the first component of a trilogy on the origin and existence of Man until his evolution. The film’s starting point is the discovery of the Churyumov–Gerasimenko comet, which might contain an explanation of the origin of life on Earth. The video recounts the tragic melting of a glacier in the south of Patagonia, evoking an amputation of a gangrened body. Memory of Glaciers follows a reflection which started more than ten years ago on questions such as memory, bodies and places, destruction and the cycle of life.
Logbook: Yonaguni aera (2016) 19’47’’
A lost continent or the work of human hands? The thesis that the Yonaguni Monument is the work of human hands stimulates the imagination and claims have arisen stating that this is a fragment of a lost continent, the mythical land of Mu. In 1986-7, underwater off the coast of the Japanese Yonaguni Island, a stone building was discovered with a length of 250 m and a height of 25 m, resembling a stepped pyramid. In later studies, smaller objects were uncovered: a stone ring road, a sculpture resembling a human head or a giant turtle. The complex looked like a small town, wherein the stepped pyramid, called the Monument, could have performed the function of a citadel. At least that is how Professor Masaaki Kimura, a physicist at the University of the Ryukyus, interpreted this find. He also claimed that the complex was formed 10 000 years ago, when these areas were not yet flooded by the sea. Another geologist, Robert Schoch, a professor at the University of Boston, after implementing on site testing, challenged the assertion that the object was products of human hands, seeing them as the work of the forces of nature. The controversy has not yet been resolved in the scientific world.
If the hours were already counted (2016) 11’47’’
In April of 2000, during a routine run 300 meters underground in the lead and silver mine in Naica in Mexico, two miners made a surprising discovery. They accidentally dug into an underground cave, and what they saw left them breathless. The cave was filled with selenite crystals, the largest of which were 11 meters long and were 5 times higher than those found in earlier discoveries. It is believed that these giants started to crystallize between 500 000 and 200 000 years ago. Lethal conditions prevail in the cave – the temperature ranges from 45 to 50° C and the humidity reaches 90-100%. A group of scientists from various fields formed the Naica Project to take advantage of all the possibilities to explore the past, which opened with the discovery of the cave.
One of the main aims was to search for primitive life forms. The crystals, as a result of the removal of water from the cave, were exposed to the risk of collapse due to changes in conditions. It is highly likely, however, that the mine will cease the costly pumping of hectoliters of water, restoring the cave’s original conditions and closing access to the interior of the cave.Those who visited the Crystal Cave describe their experience as an encounter with something unearthly. The extraordinary beauty and deadly conditions determine this extraordinary experience and, more specifically, allow for a way to reach the limits of survival in terms both biological and aesthetic.
Angelika Markul (1977) is a French-Polish artist, based in Paris. She graduated from the Beaux Art de Paris (ENSBA), multimedia section in the studio of Christian Boltanski. Her artistic practice focuses on missing, unknown and dangerous places. She recently won the Coal Prize 2016 , which honors an artist whose work is linked to art and environment. She is also the winner of the Sam Art Prize 2013.
Rue Buchholtz, 15 - 1050 Ixelles map +32 493 52 66 17
When the Fourierists discovered the Modern Spiritualism in 1853, they immediately tried to contact Charles Fourier’s mind to clarify points of his doctrine. Fourier had reincarnated on Uranus, within an egalitarian society.
In the first half of the twentieth century, the spirits guided certain artists in the learning of painting, which allowed them to create magic paintings and represent extraterrestrial landscapes.
With L’Iguane, Louise Hervé and Chloé Maillet are interested in the articulation between social utopia, spiritualism and mediumistic art.
Communication with spirits and projection on other worlds appear as attempts to transmit knowledge and means of profound transformation of society, to circumvent earthly impasses.
Sébastien Martins
Born in 1981, Louise Hervé & Chloé Maillet live and work in Paris. They founded the I.I.I.I. (International Institute for Important Items) in 2001, in which they create performances, movies and installations. Their practice oscillates between the fields of archeology, history, science-fiction and combines films, publication of short fictions and performances, in the manner of visit-conferences. They mix literary and cinematographic references with the reality. The duo is represented by Marcelle Alix gallery in Paris.
| Monday | Closed | |
| Tuesday | 11:00 - 18:00 | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | Closed | |
Boulevard de Waterloo, 11 - 1000 Brussels map 02-513.38.38
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 14:00 - 18:00 | |
| Thursday | 14:00 - 18:00 | |
| Friday | 14:00 - 18:00 | |
| Saturday | 14:00 - 18:00 | |
| Sunday | Closed | |
Boulevard d'Anvers, 49 - 1000 Brussels map + 32 (0)498-49.50.86
website
| Monday | Closed | |
| Tuesday | 11:00 - 18:00 | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | 11:00 - 18:00 | |
Avenue Van Volxem, 354 - 1190 Forest map + 32 (0)2-340.00.50
The historical context of the exhibitions consists of globalization and challenges for local traditions, a rapid increase in market values, the beginning of the World Wide Web and wide-sweeping geopolitical changes (including the fall of the Berlin Wall and the Tiananmen Square protests). Inspired by a selection of historic, museum-quality art works from the late 1980s and early 1990s, the exhibition focuses on the notion of an artwork’s value.
website
| Monday | Closed | |
| Tuesday | 11:00 - 18:00 | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | Closed | |
Rue Saint-Georges, 107 - 1050 Ixelles map 02-639.67.31
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | Closed | |
Rue Saint-Georges, 6 - 1050 Ixelles map 02-639.67.30
Matt Connors is a painter with a profound interest in technique and colour. His work draws upon the history of painting and processes, particularly minimalism and abstraction, but is also influenced by design, poetry, writing and music. While his visual vocabulary is often borrowed from the modernist canon – colours, gestures, grids, framing devices and compositions – Connors’ approach to his work is resolutely contemporary in both method and conception. In terms of materials and colouration, his work triggers emotional and intuitive responses. At the same time, it opens up a range of intellectual questions concerning mimesis, iteration and simulacra. Connors often works in series of interlinked, yet wholly autonomous works, in which a lively dialogue is established between repetition and variations in colours and form. Although his paintings might appear to depict something ‘real’ – a familiar work of art for example – there is, in fact, no ‘original’. Taken to the logical conclusion, Connors’ paintings could be viewed as having superseded the reality upon which they are based. Matt Connors is also known for his large-scale installations and artist books.
Matt Connors (b. 1973, Chicago) lives and works in New York . Recent group exhibitions include: New York Painting, Kunstmuseum Bonn (2015); The Forever Now: Contemporary Painting in an Atemporal World, MoMA, New York (2014) and Painter, Painter at the Walker Art Center, Minneapolis (2013). Solo exhibitions include: Impressionism, MoMA PS1, New York (2012), Gas... Telephone... One Hundred Thousand Rubles, Kunsthalle Düsseldorf, Germany (2011). In 2015, Matt Connors was a resident at the Chinati Foundation, Marfa, Texas. In 2012, he published the award-winning book A Bell is a Cup.