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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 • 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
Rue Borrens, 32 34 • 1050 Ixelles
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 Jean Volders, 24 • 1060 Saint-Gilles
Rue de la Régence, 67 • 1000 Brussels
Rue du Marché aux Porcs, 4 • 1000 Brussels
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 Veydt, 13 a • 1060 Saint-Gilles
Rue Veydt, 15 • 1060 Saint-Gilles
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
Rue de la Régence, 67 • 1000 Brussels
Place Royale, 6 • 1000 Brussels
Rue de l'Abbaye, 8 B • 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
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
Place du Jardin aux Fleurs, 5 • 1000 Brussels
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
Boulevard de Waterloo, 11 • 1000 Brussels
Avenue Van Volxem, 354 • 1190 Forest
Rue Saint-Georges, 6 • 1050 Ixelles
Rue de l'Eté, 78 • 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 - 1020 Laeken map 02/475 47 64
On the occasion of the 2017 edition of Design September, the ADAM [Brussels Design Museum] works together with the hotel BLOOM! by proposing a pop up of its permanent exhibition, the Plasticarium. Through a selection of objects from the museum's collections or photographs, the exhibition gives a taste of 50 years of plastic design history. From the Cactus of Guido Drocco & Franco Mello to the Universe of Joe Colombo and the icons of Kartell, it is the utopia of ‘everything in plastic’ that settles for 4 weeks at the BLOOM!
website
| Monday | 10:00 - 18:00 | |
| 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 | |
Place de Belgique - 1020 Laeken map 02/475 47 64
To mark the 100th anniversary of the Russian Revolution, the Art & Design Atomium Museum and Moscow Design Museum present a special exhibition Paper Revolution 1920 – 1930’s.
The exhibition is dedicated to the Soviet graphic design of the 1920s and 1930s. Featuring significant works of Aleksandr Rodchenko, Varvara Stepanova, Vladimir Mayakovsky and others, the exhibition showcases the visual identity of the USSR created by the Constructivist artists.
The Constructivism movement was the art in the service of the Revolution. It defined a new order and a new better life for everyone. Sharing the beliefs in the idea of a bright future, the artists became the loudspeakers of the Soviet propaganda through their creations.
| 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 | |
Place de Belgique - 1020 Laeken map 02/475 47 64
An overview of a century of modern design in Belgium. Starting with art nouveau, the exhibition covers the social aspirations of the interwar avant-garde, Belgium’s ambitious participation in world fairs, educational experiments in La Cambre, the post-war design craze, and the promotion of modernist Belgian design by the Brussels Design Centre (1964-1986) under Josine des Cressonnières. Objects, graphic material, pictures, and original film footage show the multiple faces of modern design in Belgium.
website
| Monday | 10:00 - 18:00 | |
| 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 | |
Place de Belgique - 1020 Laeken map 02/475 47 64
During the Autumn 2017, the ADAM – Brussels Design Museum will host the exhibition Tribute to Componibili, realized in collaboration with the Kartell Museo (Milan) to celebrate the 50th Anniversary of this iconic piece of 60’s design.
This new type of furniture was designed in 1967 by Anna Castelli Ferrieri ( 1920 – 2006 ) and they were the first modular and stackable interior design objects in ABS, a type of plastic used for the first time.. The Componibili responded to the new needs of that time as it was a very functional product which fitted into any context and bore out that concept of modularity, becoming a ‘leitmotif’ lasting down through the following decades.
The exhibition tells the history of Componibili from an emotional viewpoint and personal interpretations by designers as Ron Arad, Nendo, Philippe Starck, Mario Bellini, Ferruccio Laviani,..The Brussels edition of the exhibition will be enriched by the view of Belgian designers on this iconic piece.
| 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 - 1020 Laeken map 02/475 47 64
In collaboration with the Moscow Design Museum, Soviet Design. Red Wealth is the first retrospective showcase bringing together daily objects and graphics designed in the USSR in the past century. From the fifties to the Moscow Olympic games (1980), the exhibition will feature iconic pieces of the Soviet lifestyle, examples of graphic and industrial design, technical drawings and prototypes made by Soviet designers from the Moscow Design Museum and private collections.
The exhibition is divided into sections, each representing a certain aspect of a Soviet citizen’s life and material culture: childhood and leisure, sports and public events, visual communication and packaging design, furniture and household products, precision engineering and industrial production, as well as unique projects of the All-Union Research Institute of Technical Aesthetics (VNIITE). Now, when Russian design of the 21st century is being formed it is important to look back at the achievements of decades past and unveil the names of the designers who shaped the lifestyle of Soviet people.
| 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 - 1020 Laeken map 02/475 47 64
Exhibition in cooperation with Wallonia-Brussels Design-Mode (WBDM) as part of the biennale in contemporary design of the ADAM. ‘Domestic Tales’ invites to look at design in a different way, hustling the dichotomy between subject and object. A tale for children, which, thanks to an open staging and interactive animations, explains the importance of design and its cultural value. But above all, an experience that allows us to better understand the objects that surround us, in our homes and in our cities, which, as the characters in a story, have meaning and give meaning to life.
This exhibition is a tribute to life, ours and that of the design objects: everyday interfaces, custodians of valuable legacies of the past, social and aesthetic experiences, production models and sustainable products, vectors of innovative scenarios for a better future.
| Monday | 10:00 - 18:00 | |
| 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 | |
Place de Belgique - 1020 Laeken map 02/475 47 64
Within the framework of the programme 2018, ADAM – Brussels Design Museum will be to hosting a tribute to Ettore Sottsass, realized in collaboration with the Kartell Museo and shown during the Autumn and Winter 2018. This exhibition will be part of the Brussels Design September festival.
The exhibition “Kartell. A Tribute to Ettore Sottsass” will present a comprehensive overview of the project by Ettore Sottsass work for Kartell.
The exhibition will be mainly focused on the collection of objects he designed for Kartell in 2004. In 2014 Kartell paid tribute to the master of design Ettore Sottsass with a collection of original projects he designed 10 years earlier but that had never been created. With six vases, two stools and a lamp, the collection expresses a marked affinity with the aesthetics of Memphis, the famous design collective founded by Sottsass.
With post-futurist volumes, the stools and vases have bright colours and express many aspects of Sottsass’ approach to design. The same colour palette is repeated in the “Daisy” hanging lamp with an unusual application of rectangular plastic shapes to a central disk.
The exhibition is also enriched by references to the environment created by Sottsass on the occasion of the exhibition “Italy the New Domestic landscape” at MoMA (1972) and to the collection “Kartell goes Sottsass. A Tribute to Memphis”: chairs by Philippe Starck, Patricia Urquiola and Piero Lissoni covered with fabrics designed by Michele de Lucchi, Nathalie du Pasquier, and Ettore Sottsass himself and created in collaboration with Memphis.
| 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 - 1020 Laeken map 02/475 47 64
Nightclubs and discos are the epitome of contemporary culture. They merge architecture and interior design with sound, light, fashion, furnishing, graphics and visual effects to create a modern Gesamtkunstwerk. As place of cultural experimentation for subcultures and avant-garde, they question the established codes of social life and offer individual and collective freedom by playing with different identities and realities.
If the 20th century was the age of pop culture, the nightclub was probably its most powerful design expression. Night Fever is the first exhibition to examine the design history of the nightclub. It will feature exhibits from design, art, architecture, music and media including films and original photographs, flyers, posters, records covers, models, furniture, magazines as well as 1:1 installations that will immerse the visitors in a journey of creative experimentation.
Place de Belgique - 1020 Laeken map 02/475 47 64
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 | Closed | |
| Wednesday | Closed | |
| Thursday | Closed | |
| Friday | 10:30:00 - 18:30:00 | |
| Saturday | 10:30:00 - 18:30:00 | |
| Sunday | Closed | |
Rue Washington, 186 - 1050 Ixelles map +00 32 2 537 22 02
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | Closed | |
| Friday | 10:30:00 - 18:30:00 | |
| Saturday | 10:30:00 - 18:30:00 | |
| Sunday | Closed | |
Rue Washington, 186 - 1050 Ixelles map +00 32 2 537 22 02
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | Closed | |
| Friday | 10:30:00 - 18:30:00 | |
| Saturday | 10:30:00 - 18:30:00 | |
| Sunday | Closed | |
Rue Washington, 186 - 1050 Ixelles map +00 32 2 537 22 02
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 Isidore Verheyden, 2 - 1050 Ixelles map 02-512.92.95
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 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 | 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 de l'Abbaye, 20 - 1050 Ixelles map 02-648.56.84
Occupying an impressive space in Ixelles, the Parisian gallery defines its strategy according to strong individual characters : the artists. They are invited to feel free to use the gallery space as they wish. Based on minimalist and conceptual artists, the programme includes artists whose works, using different media, can be compared beyond styles and beyond their generation, within the gallery.
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 - 1000 Brussels map +00 32 (0)2 229 00 03
For a Time Light Must Be Called Darkness is the first solo exhibition in Belgium by Lina Selander (b. 1973), one of today’s most important Swedish moving image artists. Central in Selander’s work is the analysis of how junctures are depicted, how are events reported and how things are portrayed.
For a Time Light Must Be Called Darkness features six video installations, most of them made in collaboration with Oscar Mangione. These works take us to Bredäng (a suburb in south-west Stockholm), Berlin, the West Bank, Pripyat and Chernobyl. All of these places are the occasion and the starting point for broader reflections about our present in relation to historical facts.
Selander visits these sites and like an archaeologist digs in their past, their monuments, museums and archives. She looks for visual documents, focuses on details and analytically sketches new hypothesis. In this way, she tries to retrace hidden links between distant imageries, correspondences and analogies, in order to create new narratives.
In her essayistic approach, Selander combines her own texts and footage along with still images, quotes and archive material. In this way a constant tension springs within these multiple-layered audiovisual works and reminds us that seeing is never an innocent act.
Selander’s work has been on view recently at Oslo Kunstforening (2017), Göteborgs Konsthall (2016), Moderna Museet (Stockholm, 2015) and VOX – Centre de l’image contemporaine (Montréal, 2015). Selander represented Sweden at the Venice Biennale in 2015.
For a Time Light Must Be Called Darkness is kindly supported by IASPIS.
| 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 - 1000 Brussels map +00 32 (0)2 229 00 03
After a first presentation at Gallery Sofie Van de Velde (Antwerp) in the autumn of 2016, The Odd Hour Cinema by Anouk De Clercq is now on view at Argos. This programme features a selection of her most fascinating single-channel works that are screened in Argos Black Box. Like in her multidisciplinary work, The Odd Hour Cinema explores the audiovisual potential of computer generated and manipulated images to create possible worlds, many of which have a strongly architectonic character.
PROGRAM
Thing (2013)
Swan Song (2013)
Oh (2010)
Oops wrong planet (2009)
Me+ (2004)
Conductor (2004)
Building (2003)
| 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 - 1000 Brussels map +00 32 (0)2 229 00 03
What does a community still mean for us today? What thresholds do we have to cross in order to meet the other? How do we define a community?
Argos and ISELP, two Brussels institutions that have links with the main Belgian communities, team up to organize a large-scale exhibition about the theme at both venues, using Argos’s extensive film and video collection. Additionally, we organize an extra programme with lectures, debates and performances.
Through the various perspectives of the artist we want to explore what is this space that defines communities—and gives rise to them. Furthermore, we delve into the question what unites communities and drives them apart. For us, studying the theme of communities does not mean simply showing projects that were jointly realized, but rather observing the result of links between communities and the world around them.
Four contemplative axes function as chapters or itineraries along which we explore the implicit complexity of this theme, while at the same time we consider the thresholds that condition the existence or non-existence of communities in our societies.
∩∪ Urbanity: Whether we are talking about public places or simply the street: these urban transition places are places where people live and communicate.
∩∪ Sociability: Our contemporary world is extremely fragmented and individualistic—is it still possible to act in this world in a way that is specifically related to communities?
∩∪ Politics: What sort of political actions are we referring to when communities express themselves?
∩∪ Environment: How does the environment determine the life of communities, and vice versa, how does the life of communities influence the environment? What is the responsibility of societies with regard to this issue?
Artists
Herman Asselberghs, Sven Augustijnen, Silvia Beck, Ruben Bellinkx, Justin Bennett, Libia Castro & Ólafur Ólafsson, Jef Cornelis, Teresa Cos, Jos De Gruyter & Harald Thys, Els Dietvorst, Peter Dowsnbrough, Pieter Geenen, Ira A. Goryainova, Maria Iorio & Raphaël Cuomo, Esther Johnson, Dagmar Keller & Martin Wittwer, Ken Kobland, Michel Lorand, Jan Locus, Vincent Meessen, Julia Meltzer & David Thorne, Mara Elsa Montoya, Bernard Mulliez, Hans Op de Beeck, Els Opsomer, Miguel Peres dos Santos, Marie-Françoise Plissart, Nicolas Provost, Aïlien Reyns, Shelly Silver, Krassimir Terziev, Harald Thys, Sarah Vanagt, Emily Vey Duke & Cooper Battersby, Effi Weiss & Amir Borenstein.
Scenography: Sarah & Charles
The ISELP ‘screens’ the issue of the cinema—in the twentieth century the communal space par excellence. The screening programme changes every three weeks.
Argos evokes the video lounge: an in-depth reflection on the idea of the nineteenth-century salon, a metaphor for formats that were so powerful that they resulted in the creation of new communities and a way to allow us a glance into how new communities are created.
Curated by Ive Stevenheydens & Maïté Vissault.
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | 11:00 - 18:00 | |
Werfstraat/ Rue du Chantier - 1000 Brussels map +00 32 (0)2 229 00 03
Since the early 2000s, Claude Cattelain has explored various disciplines such as performance art, painting, sculpture and video art. All his works depart from minimal performances or poetic gestures that investigate the forces of nature, the limits of an exhausted body, the notion of repetition and fragility. Cattelain then decides whether the action should be ephemeral and unarchived or whether it should be translated in another autonomous medium, as a different work of art. In his audio-visual work, too, Cattelain tries to capture the essence of the volatile. His video miniatures are flashes of amazement and fragility, at times staged or captured spontaneously.
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
website
Drève de Rivieren, 334 - 1090 Jette map 02-428.33.06
Atelier 34zero Muzeum is an independent art centre, created in 2014. Born from the ashes of the Atelier 340 Muzeum, its main mission is the study and promotion of sculpture and three-dimensional art in Belgium and abroad.
Atelier 34zero Muzeum organises 3 to 4 exhibitions a year in its own spaces as well as several events extra muros. Three types of exhibitions are organised: thematic, confrontational or comparative, and personal (retrospectives). These are accompanied by quality publications; quadrilingual and richly illustrated catalogues, and postcards.
Along with its exhibitions, Atelier 34zero Muzeum is building up a collection of artworks as a memory of past activities and a tool for further questioning. It contains work of Ado Hamelrijck, Wladyslaw Hasior, Pal Horvath, Jem, Roman Karalus, Walter Leblanc, Jean-Philippe Lecharlier, Waclaw Szpakowski, Guy Stukens, Bernar Venet, Bob Verschueren, Bernard Villers and Christine Wilmès, among others.
| 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 | 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
This artist has an intuitive and even organic way of working, and this has given rise to a vast body of work that comes into being in a rather rhizome-like fashion. Her oeuvre includes drawings, collages, images captured here and there, which she paints and scribbles upon, or cuts out. They form fine outlines, impressive, brightly coloured plates, plant adornments, or a joyful accumulation of delicate figures all side-by-side. Of unbridled appearance, her work is nevertheless governed by an archiving precision whose infinite variables change the rules like clockwork.
Each work of art, considered as complete, and even every reject is preserved. They are likely to resurface and to be hung upside down at a next display.
Hotel Mnemosyne comes across as an intimate and sensitive place in which each element, with its own fragility, spins around like a fragment in a global system that is continually re-inventing and re-establishing itself to always come up with a new language.
| 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
Already exhibited in the Museum in the 2014 group show Nass Belgica, this time he storms the entire space with a huge personal project, designed for the Botanique and including new and existing works.
For several years, Mehdi-Georges Lahlou has focused his work on confronting the cultural divisions of his mixed-race heritage, through appropriation and hybridisation. He explores the idea of genre, the influence of religions and traditions with an apparent casualness that sometimes borders on irreverence. His works take as their point of departure his own personal point of view, the limits of beliefs, fantasies and stereotypes. Using his body, the principal medium of his works, he combines symbols and hackneyed clichés and invites the spectator to take part in the confusion of Arabo-Muslim and Judeo-Christian codes that he orchestrates.
Mixing the farcical and the absurd, his works nevertheless bear witness to a profound interrogation of identity, constantly renewing its devices with as much humour as commitment.
| 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
The sculptor, draughtsman, and photographer Johan Muyle is famous far beyond the borders of Belgium. His works include a huge variety of found objects. Often playful, his ensembles convey a powerful message about global problems, strongly influenced by his travels in Africa and India.
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 | |
Avenue Van Volxem, 311 - 1190 Forest map
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | 14:00 - 18:00 | |
| Friday | 14:00 - 18:00 | |
| Saturday | 14:00 - 18:00 | |
| Sunday | Closed | |
Rue du Marché aux Porcs, 10 - 1000 Brussels map
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
The upcoming exhibition at CAB departs from the climate of reconstruction that marked Post-WWII Europe; the context in which Jean Prouvé conceived his Demountable House 6x6 as a temporary refuge for people who had lost their homes during the war, in order to sustain them with a shelter while rebuilding their lives.
Perpetually in construction, the environments we inhabit become exponentially urbanised, in a constant process of decay and rebirth. The exhibition is therefore set up as an urban construction site, drawing attention to the way we organise, control and inhabit space. The cyclic sequential processes of construction, deconstruction and reconstruction are applied to the urban fabric to explore its influence on our individual and collective life rhythms. These accelerating urban changes provoke questions on the power mechanisms influencing our ways of living and interacting in a city context.
Artists such as Jordi Colomer, Thea Djordjadze, Driss Ouadahi and Philippe Van Wolputte question our occupation of public space, its privatisation, and the restrictions that are imposed on human freedom and expression within a city. For example the notions of the utopia, or ideological architecture are embedded within these topics.
In extent, Perpetual Construction addresses how the capitalist agenda is altering the urban landscape by inviting artists whose practice deals with a repurposing of waste materials, and by-products of consumption such as Gabriel Kuri, Oscar Tuazon and Simon Callery.
Katinka Bock, and the French collective Mountaincutters have a more poetic approach that combines both fragile and intimate materials such as ceramics and textile, with raw concrete, stone and other textures inherent to urban aesthetics. They conceive a certain human presence by blurring the lines between the organic and the manmade.
Some constellations finally deal with the actual materials making up the concrete, modernist constructions, such as Christoph Weber, Lena Verijke, Jose Davila and Nina Canell. They hereby inscribe themselves in the hegemony of contemporary architecture, while questioning the mechanics that underline its discourse.
Through these different projects by both Belgian and international artists, Perpetual Construction explores the city as a self-organizing chaotic biotope.
Perpetual Construction is an exhibition that was conceived and executed by the team of CAB.
| 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
Collectors, both Belgian and international, have had a lot to do with the emergence of new museums in Brussels over recent years - a period that has also seen a number of private collections become more accessible to the public. This exhibition offers an opportunity to explore the passion of private collectors for contemporary art.
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
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 + 32 (0)2-279.64.44/52
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, 16 - 1000 Brussels map +32 (0)2-279.64.44/52
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
After a particularly successful exhibition on Jules Wabbes, BOZAR turns the spotlight on another great post-war Belgian designer: Ado Chale. Born in Brussels, he is a mineralogist and blacksmith, who uses crystals or petrified wood in his works of art, and approaches making furniture like a craftsman rather than as a designer. This very first retrospective outlines the career and the world of Ado Chale, through carefully selected pieces of furniture and objects, such as his famous Goutte d’eau bronze table, inspired by pre-Columbian art. To coincide with the exhibition, publishing house Aparté is bringing out a new important book on Chale. An opportunity for the general public to get acquainted with this internationally renowned artist who combines craftsmanship with innovation.
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
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 Archaeology of the Screen. The Estonian Example is an exhibition project that analyses the relationship between art and new media, and is connected to three concurrent events: the transfer of the Presidency of the Council of the European Union to Estonia in July 2017, Estonia’s celebration of its centennial in 2018, and the opening of a new wing of BOZAR, the venue for the exhibition focused on media art – BOZAR Lab – in September 2017.
Since the early 1990s, a part of Estonian art has dealt consistently and intensively with new technologies. This approach has progressed simultaneously with the development of the Estonian state, which, in the early 1990s, chose information technology as one of its developmental priorities, and launched a unique e-state project, which has attracted attention around the world. Another important factor in Estonian art during the 1990s was the change in artistic paradigm: from the officially regulated and financed art scene of the Soviet Union to a free and open artistic environment, which was especially receptive to developments in new technologies. The works of all of the artists in the exhibition are associated, in one way or another, with the wealth of possibilities created by new technology, as well as by an environment that could be manipulated and was open to constant cultural and technological change.
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
The meeting of science, technology and the arts (STARTS) is the favoured basis for the innovation necessary if we are to combat the social, ecological and economic challenges that Europe will be facing in the near future. The STARTS Prize, an initiative of the European Commission taken up by Ars Electronica in cooperation with BOZAR and Waag Society, rewards projects that bring significant progress in this field, acknowledging on the one hand a work of art that changes the perception of technology and on the other a creation that combines innovative forms of cooperation between the private sector and the world of culture.
For this second edition, "I’m Humanity" by Etsuko Yakushimaru won the Grand Prize for Artistic Exploration. The Japanese singer has composed a work in which musical information was converted into genetic information. This was then incorporated into the chromosomes of blue algae, thereby permitting its cross-generational transmission. If the human race were to disappear and algae survive, a future species would be able to listen to our music that is literally embedded in the genetic memory of these cyanobacteria.
"Rock Print" from the ETH–Swiss Federal Institute of Technology of Zurich and the Self-Assembly Lab of MIT was awarded the Grand Prize for Innovative Collaboration. This prefigures the future progress of 3D printing in the field of architecture, generating a more efficient exploration of raw materials, a better design and lower costs than its predecessors.
These two works and a selection of projects that received a special nomination or mention at the STARTS PRIZE will be exhibited at the Centre for Fine Arts as part of the BOZAR Electronic Arts Festival (BEAF).
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
Afro-American literature is primarily associated with classics such as James Baldwin and Toni Morrison. But who are the American black writers of today? Following the example of YO. Brussels Hip-Hop Generations, the BOZAR exhibition based around hip-hop, we are inviting a number of contemporary African-American authors for a literary evening based around the black American body of thought. Themes such as White Supremacy and Black Lives Matter are naturally broached, as are hip-hop, urbanity and feminism.This evening is the Brussels preview of the Amsterdam literature festival Read My World that is this year based on Black USA.Shantrelle P. Lewis (1978) was born in New Orleans and lives in Philadelphia. She is a curator, historian and documentary maker. She has written, amongst others, for The New York Times, The Washington Post, the BBC and Huffington Post. Her debut novel Dandy Lion, on “Global Black Dandyism”, was published in 2017. She is currently working on a documentary about the Dutch Zwarte Piet tradition.Rickey Laurentiis (1989) grew up in New Orleans and lives in Brooklyn. He picked up a number of literary prizes and nominations for his poetry debut Boy with Thorn (2015). The collection celebrates eroticism and desire, but also tackles the physical violence perpetrated against blacks throughout history. Kleaver Cruz is an Uptown, NY native, a writer, dreamer and lover of travel. His work has been featured on Vibe.com, the Huffington Post as well as La Galería and African Voices Magazine among others. Kleaver is the creator of The Black Joy Project, a digital and real-world movement to center Black joy as a form of resistance. He is the co-founder of the NYC Chapter of the Black Lives Matter network.The debate will be moderated by Tunde Adefioye, born in Los Angeles but active in Belgium since many years. Amongst other things, he coordinates Urban Woorden and is city dramaturg at the KVS in Brussels.
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
From Sumatra to Java, from the Moluccas to Papua … across the whole of Indonesia, ancestors play a leading role. This exhibition portrays the rich diversity, power and poetry in the worship of ancestors and explores the importance of traditions and rites in contemporary society. In cooperation with the National Museum in Jakarta and with collections from throughout the archipelago, EUROPALIA has succeeded in bringing together archaeological, ethnographical and contemporary treasures never before exhibited.
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
This exhibition takes you on a journey through Indonesia’s turbulent history, from the Dutch colony and Japanese occupation to today. Through the eyes of four 19th and 20th century artists you see how the arts gradually evolved. In the work of contemporary artists such as Agung Kurniawan, Wendelien van Oldenborgh, Ana Torfs and many others you discover how trade, culture, religion and war are inextricably linked in Indonesia.
website
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
The EU Mies van der Rohe Award is an architecture prize with a European vocation that celebrates urban excellence.This itinerant exhibition reflects the discussions held by the 2017 jury. The selected works emphasize the importance of Europe’s urban character. The 40 shortlisted works are organised according to the urban fabric where they are found: Exo-urban, Periphery, Consolidated and Historic Centre. Together they construct an imaginary city, the City of 40.The different projects of the 2017 winners and finalists, and how these are experienced, illustrate the nature of Contemporary European Architecture. The issues that emerge from them will continue to be discussed on social media and at different events connected to the 2017 prize over the next two years. This exhibition, together with the EU Mies Award Catalogue 2017, will kick off this fascinating discussion.
website
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
With the SUPERDEMOCRACY exhibition, three cultural institutions will join in dialogue with the Belgian Senate in October. BOZAR in Brussels, BPS22 in Charleroi, and M HKA in Antwerp will add a cultural dimension to the Senate’s current questionings.The Senate is the assembly of federated entities, a place for reflection and dialogue between communities on "transversal issues". The artwork of BPS22 and M HKA will also establish a dialogue between them, with elected officials and citizens, on these transversal issues. As they enter the Senate, they will also open the debate on the evolution of democracy, which, like the ever-increasing diversity of our society, sometimes called “superdiversity”, could well become a "superdemocracy".The SUPERDEMOCRACY exhibition will focus on fifteen issues in as many rooms of the Senate, exceptionally open to the public. In each instance, an artist from the Wallonia-Brussels Federation and an artist from the Flemish Community will be brought together with a third artist, from another community. The result is a unique opportunity to discover the similarities between the works and to follow their invitation to participate in the debate.This debate will be fed throughout the month of October by "discussion rooms" and conferences proposed by the three partners, and in particular by BOZAR, on the themes of the exhibition.
website
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
To celebrate the EU Council Presidency and its 100th birthday, Estonia is gifting a present to Brussels. Artworks combining street art and digital technologies are giving a new life to several colourful characters from a century ago, building a bridge between the past and the present.At first glance, positioned as observers on the streets of a foreign country, they invite passersby to get to know them better via smartphones and tablets. Augmented reality technology wakes the characters to life. To experience it, simply download the augmented reality mobile application from www.RestartReality.ee, scan the image onto your phone and watch it come alive!It’s a novel concept of public space art designed by Edward von Lõngus and the NOAR.eu art platform that, through creative technologies and humour, tells a story that all Europeans are part of. Dressed to impress and equipped with props from their own era, the time travellers are happy to make friends with passersby.The characters are also waiting to meet you in BOZAR's Horta Hall!
website
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
Since the late 1960s the painter Jean Glibert (Brussels, 1938) has pursued a creative logic in his work that is close to that of the architect. From the method of finalising the designs through to completion and reception by the client, his work displays the same principal characteristics. Like an architect, he too works on the constructive image of the environment. Push and pull, stresses and rhythms… are all present in his work. With Jean Glibert form and matter are not autonomous: colour is never a mere coating; light is always more than a matter of illumination. Form, matter, colour and light always play a role in the organisation and total physicality of the space. JEAN GLIBERT. Peintre en bâtiment is more than a retrospective. The exhibition was conceived in close cooperation with the artist, defining not only the scenographic device but also the visual interventions that establish a dialogue with the Centre for Fine Arts as designed by Victor Horta. The exhibition will also look at Jean Glibert's methodologies, illustrated by the object collections and series of photographs presented on this occasion. Curators: Emmanuel De Meulemeester, Michel De Visscher and Laurent Jacob. This exhibition is an initiative of Alda Greoli, Minister of Culture, produced by the Fédération Wallonie-Bruxelles (General administration of Culture / Contemporary Plastic Arts Directorate / Architecture Unit).
website
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
In the spring of 2017, architects from five Estonian and five Belgian architectural firms took a deep dive into a number of urban design and architecture problems facing the city of Brussels. The issues were selected based on expertise from the firms. How could the security of critically important buildings in the city be improved? How could urban planning and architecture contribute to a more coherent society? How might a more digital society change the physical city around us?The site-specific conclusions and solutions suggested by the architects will form the core of the exhibition titled BEL:EST - A Laboratory for the City of Europe, which will open during the Tallinn Architecture Biennale TAB 2017 in Estonia in September 2017. Subsequently the exhibition will travel to Brussels, to BOZAR, to present the case studies to the Brussels public. The exhibition is curated by Aet Ader (a promising young Estonian architect from the b210 office, and Vice-Chairman of the Estonian Association of Architects), and is produced by BOZAR and the Estonian Centre of Architecture.The offices from Estonia include: Salto, b210, Arhitekt Must, PART and KAOS Arhitektid.The offices from Belgium include: L’escaut, AgwA, Delmulle & Delmulle, Bogdan & Van Broeck and Lassa.
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Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
As a pioneer of uncompromising modernism, Fernand Léger (1881-1955) worked constantly with filmmakers, poets, choreographers, composers and architects. This first Belgian retrospective of the French artist since 1956 illustrates the ground-breaking forms that can result from these interdisciplinary exchanges. You will discover how Léger’s impressive and contrasting work encouraged generations of artists to seek the essence of beauty in a clear style with bright colours.The exhibition « Fernand Léger. Beauty is everywhere » is conceived and organized by the Centre Pompidou-Metz in partnership with BOZAR, Centre for Fine Arts Brussels. It is realized with the exceptional support of the Centre Pompidou, Musée national d'art moderne - Centre de création industrielle.
website
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
Still life painting: an unambitious exercise in imitation? No longer, since avant-garde artists seized upon the genre to bring radical change to art. For the first time, this retrospective presents 400 years in the evolution of the most magnificent Spanish still lifes: from the first bodegónes of the 17th century and the personal interpretations of Velázquez and Goya to the experiments in form of Picasso, Dalí and Miró and the recent work of contemporary Spanish artists.
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
Rue Ravenstein, 23 - 1000 Brussels map 02-507.82.00
Almost 40 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
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
| 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
For the first time, Charles Riva Collection presents an exhibition dedicated to the American artist Frank Stella. After several retrospectives devoted to him, his art is now coming to the collection with his monumental works.
His work makes reference to his contact with the New York avant-garde and also contains traces of the pop, abstract, and expressionist movements.
Beyond these seemingly vivid, joyful works, a darker story can be made out. Presenting his “Polish Village” series, the artist’s interest in topics linked to the Holocaust and the loss of the Jewish way of life in Europe are here evoked through an abstract vocabulary.
Event : http://www.fb.com/events/403292836712497/
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | 12:00 - 18:00 | |
| Thursday | 12:00 - 18:00 | |
| Friday | 12:00 - 18:00 | |
| Saturday | 14:00 - 18:00 | |
| Sunday | 14:00 - 18:00 | |
Cité Fontainas, 4 A - 1060 Saint-Gilles map + 32 (0)2 538 42 20
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
When Daniel Brunemer arrived in Brussels in 1975 to start his photography course at the “Le 75” art college, his camera gave him a sort of free pass or pretext to open doors and photograph the city at night. His series entitled “Quartier Nord” (the city’s red-light district around the Gare du Nord) was deemed too shocking and was censored, despite his claim that his intention had not been to shock,
nor to provoke, but rather to convey the rather “romantic” view of life people of his age then had, and to get to know the women and transsexuals “who were doing a difficult job”.
Having been spotted and driven away from photographing prostitutes in the “vitrines”, he took refuge in the alcoves of strip-tease nightclubs, photographing the hostesses while they were waiting for, or serving, clients… then he moved on to the private gay or lesbian nightclubs in the district around the Stock Exchange.
His next project was to meet couples by answering advertisements in the magazine «Contact International», which led to his “Pornographic” series of photos, which was much more sexually explicit. The photos have a voyeuristic quality which he finds ironic and sometimes cynical: they were taken from a very direct point of view using a flash. This series remains his favourite.
From 1988 onwards, he started creating photographic portraits, that are also nude studies, in his home, all with the same background, with his models noticeably adopting the same pose, using the same angle, the same focal length (35mm, 28mm or 21 mm) and natural light. In parallel, he also embarked on a series of landscape studies (in particular his “Little Streams” series) and more intimate and tender family and holiday photos.
In 2004, fed up with traditional black-and-white photography and the hours spent cooped up in his darkroom developing the prints, he decided to put aside his traditional camera for good and to start using a digital camera instead. Digital technology allowed him to take colour photos and led to his series “Diary 2005-2013”, “Houbi-Houbi Facebook Family Album” and “Holiday Diary”.
Daniel Brunemer has been a Lecturer in Photographic History, Aesthetics and Studio Technique at the St Luke’s Tournai art college at Ramegnies-Chin in Belgium since 1979.
| 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 | 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 | 11:00 - 18:00 | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 11:00 - 18:00 | |
| Sunday | Closed | |
Avenue de Stalingrad, 26 - 1000 Brussels map 0478-56.86.26
A Rebours is the second solo exhibition of Italian conceptual artist Marco De Sanctis (1983, lives and works in Brussels) at Dauwens & Beernaert Gallery. A Rebours (“Going Backwards”) lends its name from the eponymous novel by the French writer Joris-Karl Huysmans. By using this title, Marco De Sanctis literally and figuratively introduces a temporal dynamic in his solo exhibition. Temporal shifts, reinterpretations of and interventions on existing works challenge the legitimacy and art historical legacy of contemporary artistic practices. Marco De Sanctis works challenge the duality between the copy and the original, investigate the transmission (methods) of images and the position of a contemporary artist vis-à-vis this art historical heritage
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 | |
Avenue de Stalingrad, 26 - 1000 Brussels map 0478-56.86.26
Dauwens & Beernaert is a contemporary art gallery founded by Laurence Dauwens and Joris Beernaert exhibiting mainly young promising artists.
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
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 | 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
The Rue de la Régence 67 is definitely one of the liveliest gallery hubs in Brussels.
Also Dvir Gallery from Israel chose this neighbourhood to settle in Brussels, on the first floor of the front Building.
The gallery was established in 1982 by Dvir Intrator, who wanted to promote contemporary Israeli art.
In the mid-1990s, the gallery started to represent international artists such as Douglas Gordon, Lawrence Weiner, Jonathan Monk, Adel Abdessemed amongst many others.
Gallery co-director Yotam Shalit-Intrator explained that the decision to expand was a natural progression of the gallery’s activities.
After combining their three spaces around Tel Aviv into a five-story building, where the gallery is still housed today, it was time to grow outside of Tel Aviv.
| 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 Marché aux Porcs, 4 - 1000 Brussels map 02-217.74.00
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
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Avenue Van Volxem, 304 - 1190 Forest map + 32 (0)2 502 38 78
In October 2012, the “Fondation A Stichting” opened its doors in south Brussels on the site of the former Bata factories. Created upon the initiative of Astrid Ullens de Schooten, and recognized as promoting the public interest, it has a vocation to support the creation, knowledge, and preservation of the photographic image. Nothing exists any longer that does not seem to have to be attested by the image. Yet the idea of recording the real using photography does not go without saying. What happens to our capacity to see and to discern when, in their overabundance and their virtual immediacy, the images surrounding us are rapidly and powerfully becoming more complicated. The foundation’s project consists in exploring the stakes and contradictions of the image-document, putting into question this world in which all is visible. It organizes three temporary exhibitions each year, accompanied with workshops on reading and writing the image designed for youths and children. High-school and university students are invited to come and engage in dialogue with the artists during their visits, Premières Découvertes.
website
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| Thursday | 12:00 - 18:00 | |
| Friday | 12:00 - 18:00 | |
| Saturday | 12:00 - 18:00 | |
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Rue de la Régence, 67 - 1000 Brussels map
website
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| Thursday | 11:00 - 18:00 | |
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Saint Georges, 5 - 1050 Ixelles map +32 2 648 77 70
website
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| Wednesday | 14:00 - 19:00 | |
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| Saturday | 10:00 - 19:00 | |
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Avenue des Klauwaerts, 9 - 1050 Ixelles map 02-647.30.15
website
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| Tuesday | 11:00 - 19:00 | |
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Rue Hôtel des Monnaies, 66 - 1060 Saint-Gilles map + 32 (0) 25 44 16 73
website
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| Tuesday | 10:00 - 18:00 | |
| Wednesday | 10:00 - 18:00 | |
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| Saturday | 12:00 - 18:00 | |
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Rue Charles Decoster, 8 - 1050 Ixelles map +32 (0) 2 648 14 05
website
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Rue Veydt, 13 a - 1060 Saint-Gilles map + 32 (0) 2 537 13 17
website
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Rue Veydt, 13 a - 1060 Saint-Gilles map + 32 (0) 2 537 13 17
Daniel Templon founded his gallery in 1966 in Paris, at just 21 years of age. At the time, Templon was one of the French pioneers of contemporary art. Many artists, who now form part of the history of art, have been represented by the gallery : Boltanski, Buren, de Kooning, Cucchi and Warhol, among others. Daniel Templon has always been very influential in the world of art in France, notably through his magazine Art Press and his association of collectors ADIAF. In 2013, at the age of 68, the Parisian gallery owner decided to open a new space near rue Louise in the Belgian capital. Today, the gallery is still true to its principles, representing thirty or so international artists. The programme is designed to promote a dialogue between different generations : established artists of “classic” contemporary art, international artists in mid-career, and experiences of younger artists.
website
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| Tuesday | 11:00 - 18:00 | |
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Rue Veydt, 15 - 1060 Saint-Gilles map +32 (0)2 533 03 90
On the occasion of Brussels Gallery Weekend's 10th edition, Valérie Bach Gallery is pleased to present Koen Vanmechelen's first solo exhibition at the gallery. His work has already been presented by the gallery during the collective exhibition "Force of Nature" curated by James Putnam in 2016 as well as in the current group show "Summer in the city" that will end on July 20. This exhibition entitled "Vision of The Owl" is also curated by James Putnam.
The title proposes that this show can be perceived through the eyes of the owl whose vision is peripheral. Although it can only look forwards, the owl is able to turn its head nearly 360 degrees, which has led to a folklore belief that it has supernatural powers. Its ability to predict weather conditions has also inspired people to think that it can foretell the future or that when an owl is sighted it means a change is coming. In the context of this exhibition, the owl evokes associations with myth and magic but in a wider sense reflects the climate of uncertainty surrounding the current state of world affairs. 'Vision of the Owl' is about conflict and how our society is dealing with it, a theme that Koen Vanmechelen explores using metaphors he has drawn from his vast experience of working with the animal world.
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| Tuesday | 11:00 - 20:00 | |
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Rue Veydt, 15 - 1060 Saint-Gilles map +32 (0)2 533 03 90
website
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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 | |
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Rue Jean d'Ardenne, 46 - 1050 Ixelles map 0485- 69.91.46
website
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| Thursday | 13:00 - 18:00 | |
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Rue Saint-Georges, 109 - 1050 Ixelles map +32 2 511 05 55
Zoom in. The camera rests low on the back of a man who is holding a cigarette in his hand. What do we know about this scene? The man seems decently dressed, with his striped shirt neatly tucked into his marine trousers. His leather watch and golden wedding ring suggest a traditional domestic life. Let’s say he’s in his fifties. We have a notion about our protagonist, but what is happening here? His hand is holding a burning cigarette, probably a Winston, in a protective and shielding gesture. The bright sun is beaming, so he is definitely not sheltering his cigarette from the rain. Is he hiding it from sight, as if he doesn’t want to be caught smoking? Or is it the sand-like substance on his hand that no one is supposed to see, as if this could give away the crime that preceded this scene?
In Domestic Flight, the viewer is not confronted with traces of what has been. Rather, each scene allows us a glimpse into the action of the story Camille Picquot is unfolding. Released of its burden of proof, photography can now fully be applied to its new purpose: to visually narrate and suggest a fictional story. In her artistic work, Picquot is equally at ease with photography as she is with film. Applying and mixing common practices of these media, she never places one above the other, but rather reinforces them both. In Domestic Flight, Picquot does not shy away from adding a playful cameo of herself in the series, possibly hinting at Hitchcock’s famous appearances.
The photographic language is apprehensible: it seduces through clear compositions, contrasting colors and vivid details. But there is always something amiss, an unusual viewpoint or a distressing detail, converting it into a disquieting scene. The images become enigmatic without falling into the trap of closing themselves off from the viewer. Instead, they invite a sharp reading and dissection. They give away as much as they conceal.
Text Rein Deslé, curator & editor FOMU (Fotomuseum) Antwerp.
Camille Picquot (b. 1990, France) lives and works in Brussels.
She studied at ERG and La Cambre in Brussels and at KASK in Ghent. Her film Hollow Hours was awarded a Wildcard from the Flemish Audiovisual Fund at the end of 2016. She is currently preparing a publication on the photo series Domestic Flight with Art Paper Editions (APE).
In 2018 Picquot will have a solo exhibition at FOMU (Fotomuseum) Antwerp.
| Monday | Closed | |
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| Thursday | 13:00 - 18:00 | |
| Friday | 13:00 - 18:00 | |
| Saturday | 13:00 - 18:00 | |
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Rue Saint-Georges, 109 - 1050 Ixelles map +32 2 511 05 55
With his work, the artist appears to want to capture something that he actually doesn't understand, something that exists outside our own environment and for which imagery still hasn’t been developed. In his way of looking at the unknown, Tinus Vermeersch very consciously uses a western gaze, as if he is the first and only person that has discovered a new world.
It is not a predetermined idea or image that drives him to paint – it is the act of painting itself.
Drawing and painting techniques that have fallen into disuse ensure that his imagination discerns the potential volumes and depths that are suggested by the lines and surfaces that he applies intuitively at the onset of the painting. Those volumes and depths are reinforced by applying more specific tones and lines that are dictated by the painting itself. They are gradually allocated a role and meaning in a scenic spectacle that slowly appears during a painting process that starts with a coincidental image and ends in a very controlled, dramatic scene.
In his recent sculptures, he continues the imagery that he developed in his drawings. You could view them as props that were left behind, used in the obscure performances that are shown in those drawings, or as ritual objects that have fallen into disuse and were removed from the environment that gave them meaning and a function. That alleged function is expressed in shapes that sometimes suggest protective things like an article of clothing, helmet, fur coat or covering. But due to their ornamental modelling work, the shapes are an unrealistic, three-dimensional reproduction of an assumed existing object or prop.
Their meaning or role within the entity remains open and impervious. The further one penetrates and gets lost in Tinus Vermeersch’s world, the more one is confronted with the many possible interpretations. The pleasure of looking at his work becomes so intense that it becomes a compelling and enduring visual experience.
Tinus Vermeersch (°1976 Kortrijk, Belgium)
His works are represented in private collections as well as at the MUba in Tourcoing (F); MU.zee, Oostende (B), Broel Museum, Kortrijk (B), Province of West Flanders (B), Flemisch Parlement, Brussels (B) and the National Bank, Brussel (B)
His works are currently in the exhibition TU SAIS CE QU'ELLE TE DIT... MA CONCIERGE? at MUba Eugène Leroy in Tourcoing (F).
Rue Saint-Georges, 109 - 1050 Ixelles map +32 2 511 05 55
Nadia Guerroui creates poetic-abstract works in which she explores everyday phenomena and concepts from our complex, contemporary world. An intense reflection process and experiments with unconventional materials are at the basis of her creation process. The dialogue that her work brings about with the observer and the space, and the well-considered choice of materials, textures and shapes link Guerroui’s work to minimalism. Her works are able to transcend the personal, the anecdotal and as a result layers of meaning and imagination are given free play.
For the Window Project, entitled A World out There, Guerroui explores the frontiers of the window. The work, which is made up of different multiples, isn't only located behind the display window. It's also spread out in the public space where it carries on an intimate dialogue with the (possibly accidental) observer. The work not only transcends the spatial barriers, but as a navigating, nomadic work of art it also breaks through the conventional length of time and rigidity of an exhibition.
Quand j’étais enfant, j’aimais le soleil : je fermais les yeux et, à travers les paupières, il était rouge. Le soleil était terrible, il faisait songer à une explosion : était-il rien de plus solaire que le sang rouge coulant sur le pavé, comme si la lumière éclatait et tuait ? Dans cette nuit opaque, je m’étais rendu ivre de lumière. - Le Bleu du Ciel, George Bataille
A small, ambiguous object is the basis of the project and her research into ‘metonymy’ or a shifting of the meaning of everyday objects. Due to its small dimensions and illusory quality, the object evokes associations with a playing card, a bookmark or a talisman. The work undermines meanings; it is an ode to the banal, precarious, unpredictable and the contingent at a moment when such notions seem to be losing importance. Or, as Guerroui insinuates, at a moment when people get lost without applications like Google Maps, previously Google Local, search engines and online dictionaries.
Il y a une scénographie de l'attente: je l'organise, je la manipule, je découpe un morceau de temps où je vais mimer la perte de l'objet aimé et provoquer tous les effets d'un petit deuil. Cela se joue donc comme une pièce de théâtre. - Roland Barthes, Fragments du discours amoureux, L'attente.
The multiples will be placed in the urban fabric by the artist during and after the exhibition in one of the three forms. Either as a bookmark in a book in a public library, as a talisman in the wallet of a visitor, coincidental passers-by or friend of the artist, or as a playing card scattered on the streets of metropolises all over the world. The ‘Nachleben’ or survival of images and motives throughout art history, which the German art historian Aby Warburg once defined as the central concept within art, is given an original and almost literal interpretation.
Nadia Guerroui (b. 1988 in France, lives and works in Brussels) obtained a Master in Textile Design from La Cambre, Brussels. In 2014 she was selected for Coming People, S.M.A.K. Ghent and her work was exhibited in CAB Art Center, Brussels. Her recent solo exhibitions include “Blink” (DAC Dolceaqua, Dolceaqua, Italy, 2017) and “Impostor Syndrome” (SNAP Projects Gallery, Lyon, France, 2016).
Charlotte Crevits (b. 1990) has been the curator of the Museum Dhondt-Dhaenens in Deurle since 2016. She also writes for De Witte Raaf. In the past she has worked as a freelance curator for diverse projects. After her studies in Art Sciences (Ugent), she obtained a postgraduate degree in Contemporary Art at Sotheby’s Institute of Art in London.
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| Thursday | 13:00 - 18:00 | |
| Friday | 13:00 - 18:00 | |
| Saturday | 13:00 - 18:00 | |
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Rue Saint-Georges, 109 - 1050 Ixelles map +32 2 511 05 55
website
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| Wednesday | 13:00 - 18:00 | |
| Thursday | 13:00 - 18:00 | |
| Friday | 13:00 - 18:00 | |
| Saturday | 13:00 - 18:00 | |
| Sunday | 13:00 - 18:00 | |
Quai des Charbonnages, 30 - 1080 Molenbeek-Saint-Jean map +32 (0)2-410.30.93
The artworks
'Multiplicity' (2017) - Justin Bennett
During his residency at Overtoon, Justin Bennett looked into the acoustic territories of Brussels and studied its voices and stories, signals and sirens, sounds of work environments, chirps of birds and other animals, reverberations and resonances of underground tunnels and passageways, ...
His research departed from three parallel approaches. With self-designed active listening devices -like a miniature microphone inside a trumpet or a wooden stethoscope- he manipulated sounds during combined listening, improvisation and field recordings. In addition, he recorded his walks -solo, with friends or strangers- through the city and traced out narrative paths. Thirdly, he explored the visual and spatial forms of the city in a series of drawings and sculptures.
In iMAL Justin shows the first results of these three approaches, as a preparation for a new sound installation that will be completed in 2018.
Concept and realisation: Justin Bennett / Co-production: Overtoon, Jubilee, Stroom Den Haag. Thanks to: Collection Famille Servais, Harlan Levey Projects & Hotel Bloom / With the support of the Flemish authorities and the Mondriaan Fund.
The White (2017) - Kurt d'Haeseleer & Franck Vigroux
The audiovisual installation 'The White' consists of a Pepper's ghost-like structure. The Pepper's ghost technique began as a stage illusion. In order to create a ghost apparition on stage, a glass plate was placed between the spectator and the scene. That plate reflected a ghost-actor, invisible for the audience. In 'The White’ two white TV screens are reflected, but the reflecting glass plate doesn’t show a white image, as could be expected, but two streams of moving images on each side of the plate.
‘The White’ is an installation that tries to poke into the dark subconscious part of our mind. It confronts us with both our fear and resistance for what is strange and unknown as our fascination and attraction to it. White, a color associated with positivity and goodness, seems to hide a more troubled and complex reality. The sensorial experience of ‘The White’ is somewhere between ecstasy and fear, like that of a child that hides his eyes from something horrible he sees, but still glimpses through his fingers to see what is happening.
Concept & video: Kurt d’Haeseleer / Music: Franck Vigroux / Design & realisation object: Ief Spincemaille & Bout De Beul / Production: Werktank / In collaboration with: Cie d’autres cordes / With the support of: the Flemish authorities and SCAM Paris
Search for the frame (2011-2016) + 2 in situ works - Johannes Langkamp
Johannes Langkamp always carries a camera around. He is fascinated by its operation and the gap between reality and its representation. 'Search for the frame' is a selection of sixteen video sequences from Langkamp's archive of video sketches from the past five years. The compilation is a cumulative view of his research in which he is experimenting with the possibilities of the focused look. By playing with the perspective, he shows how the camera can manipulate reality.
In this exhibition the artist also presents two site-specific works, as a spatial continuation of his film and the quest he pursues.
Concept and realisation: Johannes Langkamp
Polyhedra (2017) - Floris Vanhoof
With fourty different geometric shapes Floris Vanhoof creates an orchestra of speakers, the newest instrument in his growing collection around the research of our perception. The installation 'Polyhedra' sends a cloud of sounds through space. The different volumes and spatial placement of the objects provide an intense listening experience: every speaker translates the sound different. Between the speakers numerous spatial movements occur which, combined with the natural musical movements, take the audience on a voyage of sounds along the sculptures.
Concept and realisation: Floris Vanhoof / Co-production: Overtoon, Het Bos and KRAAK / With the support of the Flemish authorities.
Overtoon & Werktank
Overtoon is a platform for sound art, based in Brussels, that produces visual installations with sound as the basis. Werktank is a platform for new and old media art, based in Leuven. They produce and distribute installation art that explores the relationship between technology and perception.
Overtoon and Werktank each have their own identity and vision, but they also share some similarities. They are among the only production platforms for installation art in Flanders, working at the cutting edge of media arts and visual arts. Although Overtoon focuses on sound and Werktank on visual art, the work of their residents is characterised by a sensory approach to image, light, sound, etc. Technology is an integral part of the artworks, but never a goal in itself.
Quai des Charbonnages, 30 - 1080 Molenbeek-Saint-Jean map +32 (0)2-410.30.93
The Internet Yami-Ichi1, a flea market where people share and buy internet-related things, is back in Brussels!
The internet used to feel like a vast, unexplored alien land. A new space of freedom, liberated from the constraints of the old world. Gradually, it conquered real life, and from an alternative, grew into a necessity. In the process, it also became increasingly streamlined, commodified, wall-gardened and heavily monitored.
So maybe it's time to find a new escape, back into the real world! Look at flea markets: much like the old cyberspace, they are chaotic assemblages of unlikely objects, amazing collectibles and useless trash. The Internet Yami-Ichi aims to be a flea market for the post-digital age. An invitation to relive, in the physical space, the freedom and gleeful anarchy of the early internet!
Exonemo and their online secret society IDPW organised the first Internet Yami-Ichi in Tokyo in 2012. The fifth Yami-Ichi took place in Brussels, in 2014. After travelling to over ten cities, including Moscow, Seoul and New-York, the Internet Yami-Ichi is finally returning to the capital of Europe!
For this second edition, we will take over the unoccupied ground floor of iMAL building, before it gets converted into a fully renovated exhibition space to open in late 2018!
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| Friday | 12:00 - 18:00 | |
| Saturday | 12:00 - 18:00 | |
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Rue de la Régence, 67 - 1000 Brussels map
website
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| Wednesday | 10:00 - 21:00 | |
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Place Royale, 6 - 1000 Brussels map
“Christo and Jeanne-Claude. Urban Projects” is the first retrospective museum exhibition since the 1980s of the urban projects created by Christo and Jeanne-Claude. It will be shown from the 25th of October 2017 to the 25th of February 2018 at the ING Art Center, Place Royale 6, 1000 Brussels.
A unique opportunity to gain a comprehensive insight into the creative process of this unclassifiable artist couple.
To evoke a number of urban projects by Christo and Jeanne-Claude, the exhibition seeks through a careful selection of around eighty original works, whether or not these were ever carried out, ranging from Wall of Oil Barrels, Rue Visconti, Paris, 1961-62 up to the important urban project The Gates that Christo and Jeanne-Claude realized for the city of New York in 2005.
These urban works of art were created by temporarily appropriating buildings, monuments or public places with a deeply symbolic value.
The works are selected and displayed in such a way as to emphasise the crucial importance of drawing in the genesis, evolution and aesthetic crystallisation of each of the projects. Christo sees drawing as “a path towards the real” and indulges this passion daily.
The exhibition presents a series of emblematic works, from the first schematic sketches, usually in small format, to the final drawings, complex and often large-format collages in which colour, textural effects and volume bring out their visionary character, offering a real foretaste of the actual in situ projects.
Christo will give a lecture at Flagey (Studio 4) October 23th at 7 pm, a unique opportunity for a large audience to meet the artist. You can book your tickets via www.flagey.be > Meet.
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| Tuesday | 11:00 - 13:00 | 14:00:00 - 18:30:00 |
| Wednesday | 11:00 - 13:00 | 14:00:00 - 18:30:00 |
| Thursday | 11:00 - 13:00 | 14:00:00 - 18:30:00 |
| Friday | 11:00 - 13:00 | 14:00:00 - 18:30:00 |
| Saturday | 11:00 - 13:00 | 14:00:00 - 18:30:00 |
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Rue de l'Abbaye, 8 B - 1050 Ixelles map +00 32 2 647 55 16
website
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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
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| Wednesday | 11:00 - 18:00 | |
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| Sunday | 11:00 - 18:00 | |
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
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rue Général Leman, 69 - 1040 Etterbeek map 02-648.40.06
website
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| Saturday | 12:00 - 18:30:00 | |
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Petit Sablon / Kleine Zavel, 10 - 1000 Brussels map 02-514.10.10
website
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| Thursday | 12:00 - 18:00 | |
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Rue Saint-Georges, 24 - 1050 Ixelles map +32 478 48 77 09
For her first exhibitions at Jozsa gallery, Marie Hendriks takes us in a personal and complex world between reality and fiction. Plausible, her « out of time » spaces combine childhood memories and folk tales, while plunging the viewer into the uncanny.
Her work (photos, drawings, videos, sculptures) falls within a personal mythology and points out the uneasiness of the comforting rationality of the daily life. They aren’t use for drama but propose a vision without empathy, between catharsis and collective unconsciousness. The artist shows us indirectly, with derision, situations of doubt, trouble and obsessions. The images, beyond their beauty and perceived familiarity, turn out to be disturbing, returning us to a part of ourselves.
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| Thursday | 12:00 - 18:00 | |
| Friday | 12:00 - 18:00 | |
| Saturday | 12:00 - 18:00 | |
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Rue Van Eyck, 44 - 1000 Brussels map 02-511.35.80
website
| Monday | 01:00 - 23:59:00 | |
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Chaussée de Forest, 90 - 1060 Saint-Gilles map + 32 (0)488-07.38.63
website
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| Friday | 18:00 - 21:00 | |
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Chaussée de Forest, 90 - 1060 Saint-Gilles map + 32 (0)488-07.38.63
website
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| Saturday | 14:00 - 18:00 | |
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Chaussée de Forest, 90 - 1060 Saint-Gilles map + 32 (0)488-07.38.63
website
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| Wednesday | Closed | |
| Thursday | 14:00 - 18:00 | |
| Friday | 14:00 - 18:00 | |
| Saturday | 14:00 - 18:00 | |
| Sunday | Closed | |
Rue de Menin - 1080 Molenbeek-Saint-Jean map +32 475 651109
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | 14:00 - 18:00 | |
| Friday | 14:00 - 18:00 | |
| Saturday | 14:00 - 18:00 | |
| Sunday | Closed | |
Rue de Menin - 1080 Molenbeek-Saint-Jean map +32 475 651109
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | 14:00 - 18:00 | |
| Friday | 14:00 - 18:00 | |
| Saturday | 14:00 - 18:00 | |
| Sunday | Closed | |
Rue de Menin - 1080 Molenbeek-Saint-Jean map +32 475 651109
Kusseneers gallery is a contemporary art gallery and opened its doors on September 11, 2003 in the south of Antwerp. End 2013, the gallery moved to a large industrial building in Brussels.
Open to all media, the gallery presents the work of emerging and mid-career artists. Its programme encourages diversity and experimentation, and strives to present all of the artists’ work within a heathy cultural context, to give the viewer the best opportunity to gain understanting of the artist's intentions.
Rue de l'Ermitage, 86 - 1050 Ixelles map +32 (0)2 644 42 48
How Do Buildings Care: Safety
Sunday 10 September 2017
13:00 to 18:30
How Do Buildings Care: Love
Sunday 17 September 2017
13:00 to 18:30
How Do Buildings Care: Intimacy
Sunday 24 September 2017
13:00 to 22:00
Rue de l'Ermitage, 86 - 1050 Ixelles map +32 (0)2 644 42 48
La Loge is a Brussels-based space dedicated to contemporary art, architecture and theory founded by architect Philippe Rotthier. Its aim is to develop a high-quality program that plays a critical role in today’s cultural conversations through specific and precise projects. Architects, artists, curators and cultural agents are invited to develop propositions in which they seek out the characteristic and the peculiar within their practices.
La Loge is a space where ideas, discussion and presentation coexist. Public formats vary depending on the project; from exhibitions, symposiums, screenings, lectures, and performances to events’ series. Its identity is drawn from the architectural gem that houses it, as well as from the commitment and concerns of its founders. La Loge values engagement of thought and feels particularly interested in exploring questions of space, habitat and use. The small-scale format of La Loge contributes to a context where intimate and direct conversations with its audience and the diversity of protagonists it invites can be initiated and sustained.
| 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
La Loge is a Brussels-based space dedicated to contemporary art, architecture and theory founded by architect Philippe Rotthier. Its aim is to develop a high-quality program that plays a critical role in today’s cultural conversations through specific and precise projects. Architects, artists, curators and cultural agents are invited to develop propositions in which they seek out the characteristic and the peculiar within their practices.
La Loge is a space where ideas, discussion and presentation coexist. Public formats vary depending on the project; from exhibitions, symposiums, screenings, lectures, and performances to events’ series. Its identity is drawn from the architectural gem that houses it, as well as from the commitment and concerns of its founders. La Loge values engagement of thought and feels particularly interested in exploring questions of space, habitat and use. The small-scale format of La Loge contributes to a context where intimate and direct conversations with its audience and the diversity of protagonists it invites can be initiated and sustained.
| 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
Officially opened in 2000, the Verrière-Hermès is part of the international network of galleries of the Hermès Enterprise Foundation. This foundation supports projects that resonate with the values of the Hermès firm: promoting traditional craft skills and supporting creativity, and involvement in the field of education and the environment, while at the same time developing its own programmes (exhibitions, artists’ residencies for the visual arts, the Émile Hermès Prize for design, the Skills Academy, and calls for biodiversity projects). Within the framework of this patronage, the Verrière produces and promotes four contemporary art exhibitions a year, coupled with design presentations. A small catalogue is published following each exhibition.
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 Fourmois, 9 - 1050 Ixelles map 02-534.77.72
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
Opening with performances of Julian Sartorius at 18:30 and 21:00
website
Avenue Louise, 430 - 1050 Ixelles map +32 2 512 50 10
MARUANI MERCIER is proud to announce the opening of The Lost of England, the first solo exhibition of acclaimed British painter George Shaw in Belgium.
Having just finished his two year residency at the National Gallery in London, with as pinnacle his praised exhibition With My Back to Nature; Turner prize award nominee George Shaw will present a brand new collection of paintings at MARUANI MERCIER in Brussels.
George Shaw paints the outskirts and woods he grew up in with passion and fastidious realism. His paintings seemingly freeze a dramatic moment in time – whether it has just passed, is about to happen, or is happening right now. Any human presence is only declared by some litter, a tramping of leaves, or a row of garage units worn down by time.
Just as remarkable is George Shaw's favoured medium, Humbrol enamel paints. Normally used to paint model trains and aeroplanes, the thin liquid is very difficult to manipulate but gives his paintings an almost photographic appearance. As enamel has no historic associations, using it as paint distances George Shaw from being a mere landscape painter, while simultaneously joining and modernising a great tradition.
George Shaw was born in Coventry, UK in 1966. He received his Bachelor of Fine Art and a Postgraduate Certificate in Education at the Sheffield Polytechnic, as well as a Masters degree in Painting at the Royal College of Art in London.
George Shaw's work is included in several major collections, including the Arts Council Collection; Birmingham Museum & Art Gallery; British Airways; British Council; Cincinnati Art Museum; Deutsche Bank; Government Art Collection; Herbert Art Gallery & Museum, Coventry; Mead Gallery, University of Warwick; Middlesborough Art Gallery; National Museum of Wales; Olbricht Collection, Germany; Simmons & Simmons; Southampton City Art Gallery and the Tate Collection.
He lives and works in Devon, UK.
The upcoming exhibition, The Lost of England, opens at MARUANI MERCIER in Brussels on the 7th of September and will run until the 3th of October, 2017.
An exhibition catalogue will be edited for this exhibition.
| 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
MARUANI MERCIER is proud to announce David LaChapelle's new series, New World, with a world exclusive exhibition at our Brussels' gallery on October 11th, 2017. Regarded as one of the most influential photographers of the last thirty years, this profound exhibition reveals the arresting results of LaChapelle’s critical departure from celebrity portraiture and fashion editorial ten years ago.
This exceptional exhibition marks the fifth solo show by LaChapelle at MARUANI MERCIER. Organized in collaboration with BAM Mons, it highlights LaChapelle’s emergence into a renaissance where he makes artifacts out of our civilization and then transcends into parables of enlightenment and the miraculous.
With this new series, New World (2017), LaChapelle returns to an analog process and the human figure, focusing on ideas of paradise and representations of joy, nature and the soul. To uncover edifying scenes of the eternal and metaphysical, the artist paints his negatives with photographic pigment. Inspired by the symbolist painters Odilon Redon and William Blake, but also by old masters like Michelangelo, New World aims to meditate on spiritual questions.
In the series Gas (2012), LaChapelle imagines scenes where the “dazzling spectacle and retrofuture aesthetic of gas stations distract from the dangers of their function.” Set in tropical jungles, forests and deserts, LaChapelle’s stations nod to the paintings of Edward Hopper while imagining his fantasy of “a future archaeologist uncovering a gas station, as if it were an Incan temple of our day”.
Aristocracy (2014) introduces three dramatic scenes of airplanes navigating through heavy atmosphere. A provocative turn into the 21st Century, LaChapelle explores “the private jet-class and the separate world they inhabit.”
In Self Portrait as a House (2013), LaChapelle uses a life-size custom built American house to explore the artist’s own experience as dramatized in the building’s many rooms.
On display will also be Icarus (2012), which finds the figure of Grecian youth caught in an ocean of discarded computers, Birth of Venus (2009) LaChapelle’s surreal modern interpretation of Botticelli’s symbolic nude and Nativity (2012) which represents the birth of Jesus in Africa.
MARUANI MERCIER is excited to offer this defining exhibition in which LaChapelle moves beyond mortality to reveal a new world.
David LaChapelle, New World opens on October 11th, and runs until November 18th, 2017 at MARUANI MERCIER, Avenue Louise 430, in Brussels.
| 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
Representing 20 artists, MARUANI MERCIER is a contemporary art gallery. Since opening its doors in 1995 it has focused on established artists from the USA in the ‘80’s. The gallery has maintained a long-term representation of influential artists like Donald Baechler, Ross Bleckner, Francesco Clemente, Eric Fischl, Peter Halley, Jonathan Lasker, McDermott & McGough, and Sue Williams.
At the turn of the new century, the gallery has developed its program with emerging artists such as Lyle Ashton Harris, David Lachapelle, Hank Willis Thomas and Wendy White.
| 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
Thu Van Tran werd uitgenodigd door Meessen De Clercq voor haar derde solotentoonstelling in de galerie. Na haar opgemerkte interventie op de Biënnale van Venetië - die nog steeds loopt - benadert Tran in deze tentoonstelling postkoloniale vragen vanuit een andere invalshoek, en interpelleert ze de bezoekers met een zeer coherente groep werken. De tentoonstelling, getitled Mountains are like the bones of the earth. Water is its blood. bestaat uit een film, foto's, sculpturen en grote zeildoeken uit Ho Chi Minh City.
Vanaf donderdag 7 september gaat eveneens het 10e Brussels Gallery Weekend van start, met een kwaliteitsprogramma vol hedendaagse kunst.
Tijdens dit weekend zal de galerie ook in Bozar aanwezig zijn, van 7 tot 10 september, op Art on Paper met een soloshow van Nicolás Lamas.
U bent van harte welkom vanaf donderdag 7 september 17u voor de vernissage van de tentoonstelling Mountains are like the bones of the earth. Water is its blood. in de aanwezigheid van de kunstenaar!
| 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
Meessen De Clercq is a contemporary art gallery that brings a group of strong, international artists. The gallery occupies three floors in a house built in 1911, including a separate video space and a "Wunderkammer", offering a particular look on the theatre of the world. The gallery also publishes catalogues and editions in close collaboration with the represented artists, in order to promote and distribute their work.
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
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
Mendes Wood DM was founded in 2010 by partners Felipe Dmab, Matthew Wood and Pedro Mendes with the intent to exhibit international and Brazilian artists in a context conducive to critical dialogue and cross-pollination. Central to the gallery’s program is a concern for regional difference and individuation while fostering cosmopolitanism and collaboration. Inspired by a belief that artistic practices broaden the scope of human agency and have the power to both touch and change the world, Mendes Wood DM cultivates a program premised on conceptualism, political resistance and intellectual rigor.
website
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 | Closed | |
Rue Washington, 51 A - 1050 Ixelles map 02-640.26.40
After spending several years collecting works of art, each purchased as and when they appealed to him, Michel Rein decided to open a gallery in Tours in 1992. There, he exhibits the work of prestigious artists such as Philippe Mayaux, Chen Zen, Allan Sekula and Daniel Buren. After seven years, Michel Rein closed the gallery in Tours and, in 2000, opened a space in Paris. The list of represented artists was added to with artists who have since then gained renown, such as ORLAN, Jean-Pierre Bertrand, Saâdane Afif and Didier Marcel, as well as young artists including Armand Jalut and Raphaël Zarka. In 2013, Michel Rein opened a new space in Brussels with the desire to offer his artists a new market and give the gallery a European dimension.
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
Comics are invading the halls of MIMA that offers the possibility to a number of authors to place their 9th art in the spotlight. Visitors are invited in an exposition that pushes the limits of the genre. Brecht Vandenbroucke (B), who mixes pop culture and classical painting, is one of the top guests.
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
MLF l Marie-Laure Fleisch is pleased to announce Romanian artist Alex Mirutziu's first exhibition in Belgium, This, like..., opening September 7, 2017 in conjunction with Brussels Gallery Weekend. Employing performance, drawing, poetry and sculpture, Mirutziu looks to art to answer the fundamental questions of life – “Who are we” and “How do we perceive reality”. Inspired by philosophers such as Graham Harman and Timothy Morton who question how we use objects to interpret the world around us, Mirutziu looks to anchor the contemplation of our being in the physical world. He then enriches this basis with political histories, personal letters and the natural world, exposing how each person confronts their own existence. For his current exhibition, born from a sense of admiration and camaraderie for Iris Murdoch and an interest in the possibility for gestures to become objects, Mirutziu has created a series of drawings and sculptures which draw our attention to the moments when our attempts to grasp meaning manifest themselves physically. Whether we express ourselves through poetry, conversation, or writing, the relationship between that which is said and that which is left unsaid is extremely important. During the short period when we try to wrap our heads around complicated concepts or grand ideas, what we do during our moments of silence are very revealing.
Using the Irish philosopher and novelist Iris Murdoch as an embodiment of a universal phenomenon, Mirutziu looks into the construction and de-construction of a brilliant mind that is searching for ways to comprehend and communicate the intricacies of the world we live in. Murdoch has the particularity of being an extremely prolific writer, dedicating her life to novels, philosophy and also personal correspondences with a large number of friends and lovers. Later in her life she developed Alzheimer’s, losing the capacity to navigate her own thoughts and witnessing the degeneration of her own mind. No longer able to carry on writing due to a loss of memory, Murdoch found herself in an undefined mental space, where she was unable to connect her present reality to other points of reference.
When grappling to express the ideas in one’s own mind and create meaning, we often give our internal struggle corporal form, through the lowering of our gaze or through gestures which seem to attempt to create a motor which will speed up the firing of the neurons in our brain. Using Iris Murdoch as a muse, Mirutziu gives physical weight to these temporal movements, creating drawings and sculptures which represent the unique ways a body expresses its mental exertion. For example, if Iris Murdoch could form concrete objects with her own body language, what would they look like? Or, more broadly, what are the possible physical manifestations of the mind struggling to place one's ideas in the framework of our society or even in the trajectory of one's own thoughts? Using the space between Murdoch’s body and her hands when she gesticulates, the movement of her eyes when she pauses to regroup her thoughts, or the way she shifts her body, Mirutziu creates artworks which clarify mental processes through palpable forms, underlying the relationship between one’s intellect and one’s body.
| 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
The International Cultural Centre (ICC) in Antwerp was the first official institution for contemporary art in Flanders. In the 70s and early 80s the organization contributed significantly to the dissemination and encouragement of the Belgian and foreign avant-garde art. Now established in Brussels, NICC creates spaces for interaction between visual artists, institutions and society, with specific attention to the position of the visual artist, on a local, regional and international level.
NICC plays an active role in the support and self-realisation of the professional visual artist. Its aim is to function as a first contact and mouthpiece for visual artists, striving for a qualitative social framework enabling the visual artist to develop his/her practice in a professional and autonomous way.
| 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 Ravenstein, 44 - 1000 Brussels map 0484-599.228
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 | |
Place du Jardin aux Fleurs, 5 - 1000 Brussels map 0484-59.92.28
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 | |
Place du Jardin aux Fleurs, 5 - 1000 Brussels map 0484-59.92.28
Originating from Antwerp, Office Baroque opened a new place in Brussels at the end of 2013, in an impressive Art Nouveau building designed by the architect Paul Hamesse, which used to house a former brewery. The gallery represents both promising and more established, European and American artists.
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | 11:00 - 18:00 | |
| Friday | 11:00 - 18:00 | |
| Saturday | 14:00 - 18:00 | |
| Sunday | Closed | |
Rue de Tenbosch, 124 - 1050 Ixelles map 02-850.42.38
The exhibition sets itself as a reflection on the place and the representation of the animal mainly trough contemporary sculpture. By assembling diverse form, multiple technic and various material, the idea is to create a contemporary bestiary that presents the relationship with the animal world.
Sometimes worshiped and sacred, sometimes sacrificed or naturalised, the Animal interrogates our gaze on the world. Either its representation is real or fantasised, the figure of the animal and the beast have always been a very actual concern throughout art and history. This heteroclite presentation can be seen according to each one interpretation as a hunting chart or subjective animal gallery.
In between onirism, playfulness and fascination, the artworks shown in the exhibition evoke our cohabitation with a subject of its own world but yet stimulating and revealing our special bond with the significant otherness; Animals.
| 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 | 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 - 18:00 | |
| 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 | 14:00 - 17:00 | |
| Thursday | 14:00 - 17:00 | |
| Friday | 14:00 - 17:00 | |
| Saturday | 14:00 - 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 - 17:00 | |
| Thursday | 14:00 - 17:00 | |
| Friday | 14:00 - 17:00 | |
| Saturday | 14:00 - 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
website
| Monday | Closed | |
| Tuesday | Closed | |
| 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, 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
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
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
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 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
Rue Anneessens, 29 - 1000 Brussels map + 32 (0)2-511.50.77
website
Rue Anneessens, 29 - 1000 Brussels map + 32 (0)2-511.50.77
On display are paintings, sculptures and installations that incorporate mirrors or reflecting materials, as well as artworks that hold a mirror up to the audience, encouraging introspection, critical self-awareness and reflective thought.
With a nod to the eponymous comedy film from 1936 and Michael Jackson’s famous song, this thematic exhibition extends over three floors. Combining recently created artworks with seminal, historical exponents of arte povera, Conceptualism and Neo-Geo, it covers a wide array of topics such as time and space, matter and mind, and individual and collective identity. Concurrently, it raises intricate questions about art, society and the human body.
Curatoren: Walter Vanhaerents, Emma Dexter
Assistent curator: Vincent Verbist
Rue Anneessens, 29 - 1000 Brussels map + 32 (0)2-511.50.77
Rare are the artists who have published papers with scientists because the science they had to feed on was too limited! To extend the frontier of art, Tómas first had to push the frontier of [...] science. – Bruno Latour, 2016.
Many suns and worlds is Tomás Saraceno’s first solo exhibition in Belgium. Designed especially for the project space of the Vanhaerents Art Collection, this exhibition features a new site-specific installation by the artist, as a part of his ambitious Cloud Cities project.
Tomás Saraceno’s most recent installations are experimental by nature: they critically deploy insights coming from the scientific realm and set forth the artist’s innovative thinking about various social, political and economic themes, such as urbanism, mobility and ecology. Saraceno’s artistic projects and ideas share a distinct relationship with the works of ground-breaking architects from the fifties and sixties. An unbridled utopian vision aligns his work with that of Richard Buckminster Fuller.
The Cloud Cities’ series presents Tomás Saraceno’s futuristic vision of a modular and transnational city in the clouds as an achievement of sustainable and emancipatory building practices. The utopic realisation projects a flying city that is slowly gliding through the sky in cloud-like formations of innumerable coequal structures, powered only by thermodynamic atmospheric forces and cosmic energy flows coming for the Sun. The exhibition Many suns and worlds continues to explore the global energy circulation and esteems to trigger collective imagination, so needed currently due to the prevailing ecological rift.
Tomás Saraceno was born in 1973 in Tucumán, Argentina. He currently lives and works in Berlin, Germany.
Originally trained as an architect, Tomás Saraceno is now widely recognized as one of today’s most visionary artists. His work aspires to bridge the gap between art and science. The artist’s interests are as broad and multifaceted as the subjects he explores in his works: he draws inspiration from both his own and other people’s research on spider webs, atmosphere, clouds, soap bubbles and more.
Informed by the worlds of natural sciences and engineering, Saraceno creates large-scale installations that can even be accessed by the public at times
| Monday | Closed | |
| Tuesday | 10:00 - 18:00 | |
| Wednesday | 10:00 - 18:00 | |
| Thursday | 10:00 - 18:00 | |
| Friday | 10:00 - 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
Rita McBride works with the language of sculpture, employing the vocabularies of architecture and design. Her cross-disciplinary practice also encompasses collaborative publications, editions, performances and large-scale works in public space. Following in the line of surveys at WIELS by mid-career artists, this exhibition – titled Explorer – features new productions and existing works, including several pieces never before shown in Europe. Attuned as she is to space and context, with her signature humour McBride has developed an exhibition that responds to the particular qualities of the WIELS building and its exhibition architecture. She is fondly critical of Modernist architecture and the utopian project of Modernism. As one critic put it, McBride’s work is a “light-handed and witty critique of the pleasures and vagaries of Modernism’s nervous breakdown.”
Spanning all three floors of WIELS’ exhibition spaces, McBride presents a new work titled Guide Rails (2017). The installation, 200 metres of freestanding white wooden structures, quotes original guide rails found in the Santa Monica mountains that once led to the private ranch of the humourist and celebrated cowboy, Will Rogers. The length of McBrides’ Guide Rails replicates that of the white walls of Richard Venlet’s exhibition architecture, commissioned by WIELS for its 10th anniversary exhibition, The Absent Museum. These newly created temporary delineations for WIELS highlight the lively and co-dependent relationships between architects, artists, cultural institutions and the politics of real estate.
In dialogue with this new installation, the exhibition presents a selection of McBride’s pieces that reveal how sculpture and architecture inform and measure one another. These works reintroduce forms that are often overlooked in our built environment: air conditioning units, pipes, skylights, telecommunications boxes. McBride transforms their typical materials or shifts their scale to explore the tensions between functionalism and formalism. The earliest date from 1992, the most recent from 2017, revealing the consistency of her approach and vision. They include her Glass Conduits (1999-2004), White Elephants (1999-2015), Managers and Minimanagers (2003-2004), and Vents (2010), among others.
| 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
For the last fifteen years, the French artist Saâdane Afif has been fascinated by music and sounds, with music and related objects featuring often in his work. He loves to collaborate: some have written song lyrics inspired by his installations, while composers have been commissioned to set those lyrics to music, resulting in live performances and recordings.
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
The Memory of your Touch, the inaugural exhibition at the gallery by British artist Tracey Emin, opens this September at Xavier Hufkens as a cornerstone of its new season. Spanning both galleries and encompassing works in a wide range of media — including paintings, new bronze sculptures, works on paper, neon texts and a video — the exhibition reveals the most recent developments in Emin’s intensely personal yet profoundly universal oeuvre.
Typically working from memories and dreams, the artist captures her innermost feelings in language and the materiality of her work. The human condition in all its pathos, misery and beauty – youth and maturity, love, loss and lust, intimacy, shame, guilt, grief, crisis and death – is the driving force of her art, which is tantamount to a visible manifestation of different existential states. Eschewing mimesis, Emin focuses on transmitting the emotional essence of her experiences through a confessional but open-ended dialogue with both herself and the wider world. Viewed in its entirety, her oeuvre amounts to a vast, visceral and unsparing compendium of self-knowledge that facilities objectivity, with the artist watching and recording her own reactions like an observer.
The title of the exhibition, The Memory of your Touch, alludes to a line in D.H. Lawrence’s novel Lady Chatterley’s Lover (1928). When asked if she ‘misses the touch’ of her deceased husband, Mrs Bolton exclaims: ‘That’s it my Lady! the touch of him!... if there’s a heaven above, he’ll be there, and will lie up against me so I can sleep.’ The sentiment behind these words echoes the artist’s own awareness of the transient memories associated with a vanished physical closeness. An erotically charged photograph (1997-2016)– with the same title as the exhibition – showing the artist lying face-down on a hotel bed, alone, encapsulates what Emin has referred to as ‘the loss of love and sex, and about how it felt to have that passion…trying to remember, remember that desire and remember what it felt like to be entwined with someone. A lot of my work has become more abstract, more vague, and that’s because the memory is blurry.’ While related works such as the Hotel Grand series of gouaches, the bronze I Wanted You More (which mirrors the pose in the photograph) and the neon texts all address the perplexing inability to recall sexual intimacy, Emin further extends the theme of the exhibition – in works such as I waited and sat by your side and GONE – to reflect an altogether different kind of loss, that of bereavement. In the video entitled You Made Me Feel Like This, the artist draws these strands together and imbues them with a broader significance. Sitting alone in the eighteenth-century interior of a surviving Huguenot house in the shadow of Hawksmoor’s Christ Church in Spitalfields, London, we see the artist writing a poignant letter to a lost love. Juxtaposing images of the First World War memorial in the churchyard with the cranes and girders of contemporary urban development, Emin’s personal heartache now becomes a metaphor for the lives fractured by the conflict, the passage of time and for the loss and eradication – as well as survival and perpetuation – of history and memory within the built environment.
Central within the exhibition is the monumental bronze All I want is you (2016) and a series of smaller works in the same medium. A logical extension of her drawings and paintings, Emin’s bronzes translate the intuitive expressivity of her two-dimensional work into physical sculptural forms. Here, the artist’s emotions and reminiscences gain traction in the delicate energy of the modelling and the luminous textured surfaces. Light and shade not only highlight the indelible traces of the artist’s touch but also her innate understanding of mass and volume, proportion and balance.
Also on display is a selection of paintings and gouaches on paper that are akin to drawings in terms of spontaneity. A consummate and academically-trained draughtswoman, such works can be read as stream of consciousness vignettes that open a window onto an inner world. Of this aspect of her practice she has said: ‘My emotions force the drawing out of my hand… I am the custodian, the curator of the images that live in my mind. Every image has first entered my mind, travelled through my heart, my blood – arriving at the end of my hand. Everything has come through me.’
Tracey Emin (b. 1963, London, UK) has recently exhibited her work in the following solo exhibitions: Surrounded by you, Château La Coste, Aix-En-Provence, France (2017), Angel without You, Miami MoCA, Miami, USA (2014) and a major survey exhibition Love Is What You Want, Hayward Gallery, UK (2011). She has also entered her work into a series of acclaimed dialogues with the work of past masters she admires, most notably: In Focus: Tracey Emin and William Blake, Tate Liverpool, UK (2016), Tracey Emin and Francis Bacon, Tate Britain, UK (2015), Where I Want to Go, with Egon Schiele, The Leopold Museum, Vienna, Austria (2015). Emin also collaborated on a series of jointly-authored works with Louise Bourgeois between 2009 and 2011. This autumn, her installation My Bed, with which was nominated for the Turner Prize in 1999, will be shown at Turner Contemporary, Margate, UK alongside the work of JMW Turner (12 Oct 2017-14 Jan 2018). Tracey Emin represented the UK at the Venice Biennale in 2007 with the exhibition Borrowed Light, was elected to the Royal Academy in the same year. She was appointed Professor of Drawing at The Royal College of Art, London, and in 2012 Queen Elizabeth II appointed her Commander of the Most Excellent Order of the British Empire for her contributions to the visual arts.
| 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, 6 - 1050 Ixelles map 02-639.67.30
The Memory of your Touch, the inaugural exhibition at the gallery by British artist Tracey Emin, opens this September at Xavier Hufkens as a cornerstone of its new season. Spanning both galleries and encompassing works in a wide range of media — including paintings, new bronze sculptures, works on paper, neon texts and a video — the exhibition reveals the most recent developments in Emin’s intensely personal yet profoundly universal oeuvre.
Typically working from memories and dreams, the artist captures her innermost feelings in language and the materiality of her work. The human condition in all its pathos, misery and beauty – youth and maturity, love, loss and lust, intimacy, shame, guilt, grief, crisis and death – is the driving force of her art, which is tantamount to a visible manifestation of different existential states. Eschewing mimesis, Emin focuses on transmitting the emotional essence of her experiences through a confessional but open-ended dialogue with both herself and the wider world. Viewed in its entirety, her oeuvre amounts to a vast, visceral and unsparing compendium of self-knowledge that facilities objectivity, with the artist watching and recording her own reactions like an observer.
The title of the exhibition, The Memory of your Touch, alludes to a line in D.H. Lawrence’s novel Lady Chatterley’s Lover (1928). When asked if she ‘misses the touch’ of her deceased husband, Mrs Bolton exclaims: ‘That’s it my Lady! the touch of him!... if there’s a heaven above, he’ll be there, and will lie up against me so I can sleep.’ The sentiment behind these words echoes the artist’s own awareness of the transient memories associated with a vanished physical closeness. An erotically charged photograph (1997-2016)– with the same title as the exhibition – showing the artist lying face-down on a hotel bed, alone, encapsulates what Emin has referred to as ‘the loss of love and sex, and about how it felt to have that passion…trying to remember, remember that desire and remember what it felt like to be entwined with someone. A lot of my work has become more abstract, more vague, and that’s because the memory is blurry.’ While related works such as the Hotel Grand series of gouaches, the bronze I Wanted You More (which mirrors the pose in the photograph) and the neon texts all address the perplexing inability to recall sexual intimacy, Emin further extends the theme of the exhibition – in works such as I waited and sat by your side and GONE – to reflect an altogether different kind of loss, that of bereavement. In the video entitled You Made Me Feel Like This, the artist draws these strands together and imbues them with a broader significance. Sitting alone in the eighteenth-century interior of a surviving Huguenot house in the shadow of Hawksmoor’s Christ Church in Spitalfields, London, we see the artist writing a poignant letter to a lost love. Juxtaposing images of the First World War memorial in the churchyard with the cranes and girders of contemporary urban development, Emin’s personal heartache now becomes a metaphor for the lives fractured by the conflict, the passage of time and for the loss and eradication – as well as survival and perpetuation – of history and memory within the built environment.
Central within the exhibition is the monumental bronze All I want is you (2016) and a series of smaller works in the same medium. A logical extension of her drawings and paintings, Emin’s bronzes translate the intuitive expressivity of her two-dimensional work into physical sculptural forms. Here, the artist’s emotions and reminiscences gain traction in the delicate energy of the modelling and the luminous textured surfaces. Light and shade not only highlight the indelible traces of the artist’s touch but also her innate understanding of mass and volume, proportion and balance.
Also on display is a selection of paintings and gouaches on paper that are akin to drawings in terms of spontaneity. A consummate and academically-trained draughtswoman, such works can be read as stream of consciousness vignettes that open a window onto an inner world. Of this aspect of her practice she has said: ‘My emotions force the drawing out of my hand… I am the custodian, the curator of the images that live in my mind. Every image has first entered my mind, travelled through my heart, my blood – arriving at the end of my hand. Everything has come through me.’
Tracey Emin (b. 1963, London, UK) has recently exhibited her work in the following solo exhibitions: Surrounded by you, Château La Coste, Aix-En-Provence, France (2017), Angel without You, Miami MoCA, Miami, USA (2014) and a major survey exhibition Love Is What You Want, Hayward Gallery, UK (2011). She has also entered her work into a series of acclaimed dialogues with the work of past masters she admires, most notably: In Focus: Tracey Emin and William Blake, Tate Liverpool, UK (2016), Tracey Emin and Francis Bacon, Tate Britain, UK (2015), Where I Want to Go, with Egon Schiele, The Leopold Museum, Vienna, Austria (2015). Emin also collaborated on a series of jointly-authored works with Louise Bourgeois between 2009 and 2011. This autumn, her installation My Bed, with which was nominated for the Turner Prize in 1999, will be shown at Turner Contemporary, Margate, UK alongside the work of JMW Turner (12 Oct 2017-14 Jan 2018). Tracey Emin represented the UK at the Venice Biennale in 2007 with the exhibition Borrowed Light, was elected to the Royal Academy in the same year. She was appointed Professor of Drawing at The Royal College of Art, London, and in 2012 Queen Elizabeth II appointed her Commander of the Most Excellent Order of the British Empire for her contributions to the visual arts.
| 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, 6 - 1050 Ixelles map 02-639.67.30
Xavier Hufkens is one of the most influential galleries for contemporary art in Europe. When it opened in 1987, Xavier Hufkens concentrated on promising artists at that time, such as Felix-Gonzalez-Torres, Anthony Gormley and Jessica Stockholder. In 1992, its move to a 19th-century house renovated by Robbrecht Daem and Marie-Josée Van Hee coincided with the representation of a selection of established artists. Today, with thirty or so artists of different generations (including Richard Artschwager, Louise Bourgeois, Willem de Kooning, Adam Fuss, and Hans Op de Beeck), Hufkens runs a varied programme of exhibitions with solo exhibitions by the gallery’s artists and group shows and specific projects. The gallery offers a unique combination of paintings, drawings, sculptures, photography, video and installation work. In 2013, the gallery opened another space on the same street. This new space was designed by Swiss architect Harry Gugger. An eclectic but nonetheless very clear vision underlies all the gallery’s activities.
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 | 14:00 - 18:00 | |
Rue Ravenstein, 32 - 1000 Brussels map + 32 (0)2-219.44.51
website
| Monday | Closed | |
| Tuesday | Closed | |
| Wednesday | Closed | |
| Thursday | Closed | |
| Friday | Closed | |
| Saturday | 14:00 - 18:00 | |
| Sunday | Closed | |
Rue de l'Eté, 78 - 1050 Ixelles map
ETE 78 is a space for creation and realizations, a box of projects, a facilitator, a
place of rehearsals and monstrations, exchanges and discoveries ...