During the summer months we curate a changing exhibition in the front room of the gallery. Filip Collin suggested a number of young artists who were invited to submit one or more works to be included in our seasonal show in summer we play. 
In the past weeks and until the first day of autumn, artworks will be added and replaced so that there is always something new to see. The gallery is closed, but the works are visible through the front window 24/7 and as always we are happy to welcome visitors on appointment, and we will be posting on our Instagram page as well as the dedicated page on our website.

 

Alexandra Puşcaş, Yoon Shun and Lucas Campforts were the first three artists whose work we presented. Anouk Van Offenwert and Marianne Borremans followed in their footsteps. Next in line were Nienke Baeckelandt & Timo Bonneure, Tomáš Predka, Maxime Fauconnier, Ayrton Eblé, Caroline Van den Eynden and Andrei Haesen.

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Alexandra Puşcaş' art offers a captivating experience in which you can switch between 'the painting' and 'the subject', similar to the difference between poetry and prose. The active involvement of the viewer is encouraged, leaving room for personal interpretation. Her work embodies a constant struggle between materials, in which harmony and disharmony are constantly evolving, resulting in abstract reliefs that evoke life. With a boundless fascination for the expressive potential of colour and material, she transcends physical boundaries to create canvases that approach sculptural forms. Natural materials, reacting layer by layer, help steer the course of the work. These elements merge or are reduced to abstract forms and undergo transformation. Through layering, the narrative aspect blurs and painting becomes a controlled, intuitive act. 

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Yoon Shun dedicates his efforts to exploring the intricate connection between the functional context and abstract narrative within objects. He seeks the hidden beauty beneath the surface, infusing his creations with meticulous attention to detail, subtlety, and patience. His sculptural process involves balancing rationality and sensibility, fineness and brutalism, allowing him to navigate the creative journey thoughtfully and contemplatively. 

Hold on Tight Before It Falls is the second installment in Yoon Shun's year-long series of twelve wooden sculptures. Shun posits that within each of us resides a bird that embodies our deepest desires. Whenever the bird descends toward the earth, we must seize it and envision the moment it ascends again. This piece is meticulously hand-carved from Platan and is available in three colours: Mahogany, Natural, and Saffron. It is a limited edition of 20 pieces.

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Lucas Campfort's entire oeuvre is characterised by his fascination with the body. At first glance, his works appear frivolous. At the same time, they are the expression of an unfulfilled longing for identity and body image. In his paintings, we see abstractions and formal associations with phalluses. For Lucas, they are symbols of desire, rendered as smooth, perfect symbols or icons representing the male reproductive organ. He makes connections between his bodily desires and the ergonomic design of various utensils that look almost as sensual as sex toys.

The images have a graphic and digital character with stylised forms, soft colour transitions and strong colour contrasts. Lucas plays with the balance between legible figuration and toning down the explicit nature of his images. This minimalist rendering keeps the viewer at a safe distance. The even areas of colour with a soft finish look as if each fingerprint would leave a trace.

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Anouk Van Offenwert lives and works in Antwerp. She obtained a master's degree in painting from the Royal Academy of Fine Arts in Antwerp in 2021. In 2019, she studied at UCM (ES). In 2020, she participated in the workshop 'Drawing in practice', organised by the Philippe Vandenberg Foundation (BE). Anouk’s paintings are driven by a ‘joie de peindre’ and a curiosity about how inks, homemade paints and drawing techniques interact. She is also inspired by the texture of finely woven cotton bales, strong pigments, or nature. The artist marvels at the transformations, patterns, lines and unexpected atmospheres that occur in plants and the air, analysing and translating them into her painting practice. In the process, this mental world is confronted with (usually) large, unprepared canvases. A great deal of spontaneity is involved, which can still be felt in the final result.

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Marianne Borremans’ practice explores a variety of activities, including drawing, collage, gathering cardboard packaging, collecting colours through imagery, and bringing paper shapes into space. Each working session in the studio begins with a series of intuitive drawings. Inspired by the world of stream-of-consciousness writing, these drawings lead to the discovery of figures that are then developed into paper forms. The large-scale paper collages embrace the diverse properties of paper. Colour is a crucial element in her work, with attention constantly given to striking colour combinations found in the surroundings, captured with a camera. This results in a continuously growing archive of colour groupings. The work reflects and processes the colours and shapes that inspire, serving as an ode to the fleeting moments of accidental beauty.

 

Nienke Baeckelandt & Timo Bonneure brought a playful video installation to our summer show, entitled 'Pikorde' (pecking order). In the video we see a flock of pigeons picking up breadcrumbs that form the word 'ORDE' (Dutch for 'order'). Originally the word is a nicely defined entity, but over time it disappears into a mess of crumbs. The focus shifts from the word to the birds' behaviour, which becomes increasingly nervous as the crumbs become scarcer. The term 'pecking order' refers to a ranking or hierarchy within a group, and is most commonly used to indicate social status within a group of animals or humans. The term originally comes from biology, where the behaviour of chickens pecking at their peers based on their position in the social hierarchy was studied.​

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Tomáš Predka is a contemporary Czech artist who graduated from the Academy of Fine Arts in Prague. In 2017 he received the Critics’ Prize for Young Painting. He likes to explore the dynamics of space and painting through fluid forms, layering, and an intense color palette. His work is characterized by a complex composition where individual layers of paint create a dialogue between reality and abstraction. In his work, painting becomes a tool for expressing movement and change, creating a visual space that is in constant flux. He focuses on pushing the boundaries of traditional painting, using dynamism and fluidity as a means to create images that resonate between the viewer and their own space.

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Maxime Fauconnier is a visual artist living and working in Brussels, Belgium, whose practice oscillates between photography, film, text, found material, installation, and performance. His work explores the specificities and interconnections of these media while studying subjects such as memory and filiation, slowness and the mundane, or recurring motifs in our collective imagination. For in summer we play, he proposed a series of transcripts of dreams narrated in David Wojnarowicz’s Tape Journals. Each dream is handwritten in the dark, inviting the elusive essence of dreams to materialize on the page. He complemented it with I'M AFRAID IT'S BEAUTIFUL, a sentence in silver lettering high on the wall.

 

Ayrton Eblé lives and works in Antwerp. His work examines the fluid in-betweenness of public spaces. Through pseudo-archaeological research and a focused examination of these shifting borders, primarily in urban residential areas, his artistic practice delves into the fabric of public space and our interactions within it. At the core of his work are questions about ownership of these spaces, the definition of their boundaries, and the factors that influence these rights. He explores these questions through a combination of studio work, on-site observation, and collaborative creative processes.

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Caroline Van den Eynden created sculptures and installations imbued with personal memories and crafted through meticulous dexterity. She worked by hand using raw and precious materials, often combining steel, brick and glass. The formal result is similar to a model in an architectural context. It seems to meet the architectural rules, but differs at crucial points. Caroline built a tension field that links transparency to emptiness; she created a perfectly finished whole that is somehow still inconclusive. Her work stresses passages, evolutions and unspoken possibilities, both in the future and the past. For many, a staircase is functional; for the artist, however, it is fundamental. Without stairs, doors or passageways, one can never achieve a different or higher level.

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Andrei Haesen is a contemporary artist and photographer based in Belgium. He has been making images since the age of 11. His starting point: taking memories and imagination out of context and translating them into an object. By taking samples of organic material and growing them on large agar plates, their growth becomes tangible. The works aim to show the beauty of mycelium and the connection between growth and object. ZEIT shows three photoscans of micro-level processes. Andrei mixed pigments and chemicals, fungi and blood, and digitally recorded the result of these reactions. The pigmented molecules, each with its own properties and character, interact and disintegrate.

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