Hélène Amouzou often immerses herself in photographic self-portraits that question her identity. They are evanescent and possess a touch of mystery. The bodies produce an uncertain image, the pictures are the witnesses of a painful quest. Who is she really? A force emanates from her work, a clear intention that revels in all the series as a whole. The need to live, to prove it to yourself, to find yourself and to lose yourself... A frozen anguish is perceived, that of being nowhere.
• MBAT (Musée des Beaux-Arts de Tournai), (april – september 2021)
• FOTOFEST Biennial 2020 African Cosmoligies : Photography, Time, and Other (november 2019 – august 2020, march – april 2020)
• Houston, USA & Tropenmuseum, Amsterdam (2014/15)
• Bozar, Brussels (2014)
• Photoquai, Quai Branly, Paris, (2011)
Laurette Atrux-Tallau is a plural artist. She frequently uses drawing, photography, sculpture and installations to create both monumental and very small pieces. She finds inspiration in what surrounds her, everyday events and also nature. Her work seems to stretch time in order to question infinity. Identity is never fixed, while the elements are turned into and become others, ready to change form constantly. It is difficult to determine a final image, a central point between all that she produces. A certain number of focal points emerge which never overlap with the totality of the research carried out.
Photo credit: Laurette Atrux-Tallau, Sculpture, untitled, series of assemblies, mixed techniques, 2021
• Tout est paysage, Biennale d’art contemporain du parc d’Enghien, Enghien (2018)
• De Nature en Sculpture, Fondation Villa Datris, L’Isle sur la Sorgue (2017)
• Travaux de bureau, Galerie Francis Carrette, Brussels (2016)
• Art on Paper, Bozar, Brussels (2015)
• L’Art dans les chapelles, Plumeliau, Bretagne (2013)
• Les invités, Musée d’archéologie Henri Prades, Montpellier (2012)
Through an analytical approach, Stephan Balleux transforms the media environment of everyday life into diverse artistic proposals that are all based on an invariable act: assembling various images from films, press clippings, magazines, his personal photographs, etc. Stephan Balleux’s work is thus mobile and allows him to question the image, perceived as an infinite field of research and exploration. A veritable laboratory of experiments on representation, his artistic corpus is transformed into an existential metaphor.
• Bounce, avec Porz Am Park, Le musée du Botanique, Brussels (2021)
• La Poussière des Météores, Lavallée, Brussels (2019)
• La peinture et son double, Musée d’Ixelles (2014)
• Mème, ISELP, Brussels (2014)
• ABC-Art Belge Contemporain, Le Fresnoy, Studio national des arts contemporains, Tourcoing (2010)
• Un-Scene, Wiels Centre d’Art Contemporain, Brussels (2008)
Kitty Crowther is an illustrator and author devoted to younger audiences. She sees her albums as a way of communicating her doubts and emotions. “Kitty Crowther’s English, Swedish, Dutch and Belgian origins have given rise to a singular universe imbued with both British nonsense and mystery, fantasy and gravity”*. In her work, she gives a primordial place to doubt, visible in her characters: she tries to ensure that they are never completely identifiable so as not to lock them into a genre. She gives them a “conscious presence”*, on the borderline between the real and the imaginary.
*Le monde de Kitty Crowther, Paris, Pastel, 2007.
• Picture Festival, Brussels (2019 & 2021)
• Festival Grafixx, Antwerp (2019)
• Hälsinglands Museum, Sweden (2019)
• Musée Bror Hjorths Hus, Uppsala, Sweden (2019)
• Petites histoires de nuits, Paris, Musée de poche (2018)
• Le chant du temps, Gemeente Museum Den Haag, The Hague (2016)
Artist's Instagram ↗
In his sculpture, David de Tscharner magnifies the materials he uses with elements such as time constraints, geographical contexts, appropriation and participative processes. The question of wandering also plays a major role in his work: “I glean objects from my walks, my travels, from encounters; then I modify them, attempting to create a tension between my everyday reality and the fantasy of that same reality.” Beyond any compartmentalisation of genre, he immerses himself in ongoing experimentation, in such a way that randomness, chance and indeterminacy are all closely intertwined.
• D’ailleurs, la vie ici, CAC les Capucins, Embrun (2020)
• Vida Largo Octopus Trend, Galerie Valeria Cetraro, Paris (2019)
• Élémentaire, Abstract, Lausanne (2018)
• Fantasmagorie, Frac des Pays de la Loire, Carquefou (2014)
• One sculpture a Day, Aliceday, Brussels (2012)
Lise Duclaux’s work lies somewhere between drawing, writing, gardening, typographic composition, performance and photography. She recycles her devices in such a way that they are always evolving, feeding off each other over time. Between science and poetry, she uses the living as a raw material, tries to get closer to everything that has a form and wanders over the surface of the everyday to reveal the world around us.
• Risquons-Tout, WIELS Contemporary Art Center, Brussels (2020)
• À l’horizon profond, quatrième partie des histoires naturelles, Fondation pour l’art contemporain Claudine and Jean Marc Salomon, L’Abbaye, Annecy-Le-Vieux (2019)
• Trouble dans l’allée des raisins, Festival Trouble #10 / Redux, Brussels (2019)
• Tempérer l’espace, espacer le temps, LLS Paleis, Antwerp (2019)
• Anders is anders dan anders, l’observatoire des simples et des fous, INBOX M HKA, Museum of Contemporary Art, Antwerp (2017)
Patrick Everaert designs his pieces so that they always have a multiple meaning. No title is given to them, so as not to influence their reception. His work follows a unique process: he selects previously archived images and reframes them, blurs them, inserts them, and works on the layers, thereby creating a link between them. Finally, the work is finished... or almost, because it is not immune to further work, to a new floating meaning.
Photo Credit: Patrick Everaert (untitled) 2020, detail
• Regards croisés sur le Palais: Robert Doisneau / Patrick Everaert, Palais de la découverte, Paris (2017)
• Chimera, MeetFactory, Prague (2015)
• Evermore, Espace 251 Nord, Liège (2014)
• Le mur, La Maison Rouge, Paris (2014)
• L'Institut des Archives Sauvages, Villa Arson, Nice (2012)
Jot Fau describes her work as a search for “questions of identity, making and becoming, exploration and searching. Of remaining and being reborn. Of departure but never arriving”. The formats are very diverse, ranging from sculpture to installation and video. She also explores words, textiles, poetry, drawing, photography and sound. Jot Fau seizes everyday life, the scattered elements that cross it, in order to recreate it and sprinkle it with her reverie. She invites us to search, to direct our thoughts and immerse ourselves more fully into her work.
• Generation Brussels, Brussels Gallery Weekend (2020)
• De banales restrictions affectives, Les Brasseurs, Liège (2020)
• Les Fragments qui nous constituent, Les Drapiers, Liège (2020)
• Le Grand Large, territoire de la pensée, Capitale de la culture Européenne, Mons (2015)
Maika Garnica likes to explore the invisible link between a work of art, a viewer and the space. She makes use of sculpture and sound objects, which she activates in performances. The relationship between form and material is essential, bringing sound back to an organic dimension. She likes the fact that her creations can function with interaction or completely on their own, like installations. They are then autonomous and never really defined or finished.
• Grote Prijs Ernest Albert 2021, honorable mention, De Garage, Mechelen (2021)
• Lippenstift en gasmaskers – de stadscollectie, M HKA, Antwerp (2021)
• Growlers, Cracklers & Bursters, CIAP Kunstverein, Hasselt (2019)
• Roger Raveel Museum, Machelen (2017)
• Forward Loop, Krinzinger projekten, Vienna (2017)
• In the wake of his surrounding he fades, Extra City Kunsthal, Antwerp (2016)
Lara Gasparatto, a photographer, places her work somewhere between reality and fiction, using both colour and black and white and multiplying formats. She moves among landscapes, sometimes intimate settings, or simply everyday life. Her work, presented in book form or as installations, has a real or fantasized (auto)biographical dimension. What is important to her is that viewers are ready to enter into her art to the point of forgetting that they are looking at a photograph, a snapshot. She then encourages the questioning of the image itself and thus opens up all kinds of possibilities.
• Solstices, Rencontres photographique de Gaspésie, Quebec (2020)
• Après la pluie, Galerie Horta, Brussels (2019)
• Come dawn to us, Le Botanique, Brussels (2018)
• Ask the dusk, Photomuseum Den Haag, Netherlands (2017)
• Recreation tunnel, Atelier Haus Aachen, Germany (2016)
Pélagie Gbaguidi defines herself as a contemporary “griot”, in the image of this intercessor between past and present known in various different African cultures. Through an anthology of signs and traces linked to trauma, she unmasks the processes of forgetting in history. To do so, she uses a liberating creative process through drawings, performances and installations. She moves from notebooks to walls, and settles on sheets, canvases and hanging paper. Her artistic language reveals itself through several different media, so that her imagination never seems to to be completely defined.
• Kunsfestivaldesarts, Brussels (2021)
• BXL Universel II multipli.city, Centrale d'art contemporain, Brussels (2021)
• 11e Berlin Biennale, Berlin (2020)
• Documenta 14, Kassel and Athens (2017)
• Multiple Transmissions: Art in the Afropolitan Age, Wiels, Brussels (2017)
• Biennial of Lubumbashi, Congo (2017)
Kate Gilmore uses several different mediums (performance, video, sculpture, painting) that she seeks to bring together in order to challenge our way of thinking, power structures and the depiction of women. Her models are exclusively female figures and it is not unco.mmon for her to perform herself in order to attack the way in which notions of power, authority and control are gendered. Her work is as much political as it is humorous and critical, a true metaphor for the challenges women face in society and cultureArtist's website ↗
Vincent Glowinski, better known as Bonom, dotted cities with his graffiti of animals and skeletons for a long time. Since then, his prolific work has moved on to different means of expression: drawings, dance, sculptures, performances, etc. His art is always fed by a vital bodily energy, which he places at the service of a phantasmagorical bestiary (octopuses, spiders, wolves, etc.). Our inner animality is revealed with an exhilarating power.
• Mater Museum au Botanique, Brussels (2016)
• Bonom, le Singe Boiteux, ISELP, Brussels (2014)
Stephan Goldrajch’s work combines textiles, texts, drawings, installations and recycled materials. His artistic approach consists above all of creating links. He often starts “from lacks and gaps to rewrite a story, recast it and create an elsewhere”. It is not uncommon for him to work with non-art lovers to confront their existence and their practice with his own, thus generating a new dimension of creation. His projects are in line with his personal approach to ancestral techniques and traditions as well as his interest in human relationships, from which he draws inspiration to give a new dimension to heritage.
• Porte-bonheur, Galérie Baronian Xippas (2021)
• Paris Art Solo show, Galerie François Sage, Grand Palais (2019)
• Les tissus de nos démons, Tamat, Switzerland (2016)
• La Légende du Canal, Wiels, Centre d’art contemporain, Brussels (2013)
• The best way to forget myself is not to think about me, Galerie Dollinger, Tel-Aviv, Israel (2010)
• The time for the dead, Galerie Vladimiro Izzo, Berlin, Germany (2009)
Camille Henrot’s multidisciplinary practice takes place in film, drawing, sculpture and installations. She reconsiders established knowledge systems and object typologies. She likes to question the validity of certain deeply-rooted opposites in society, and to give doubt a special place. She says that “knowledge is presented as an authority, but what takes pride of place in my practice is curiosity. I rather like the idea of always being a stranger to one’s own field of specialisation. It is a special freedom of artists not to be obliged to be right and they should use this freedom to think unreasonably”*.
*Claire Moulène, Jean-Max Colard and Judicaël Lavrador, 55e Biennale de Venise : entre classicisme et propositions novatrices, Les Inrocks, 13 June 2013
Graciela Iturbide is a Mexican photographer characterised by her black and white photographs. Her fascination with the eclecticism of cultural, religious, political and everyday experiences endows her images with an anthropological and humanistic dimension. She succeeds in capturing human fragility, community, tradition, religion and death. Poetry and the decisive moment run through her work, giving it a special significance.Artist's website ↗
Mehdi-Georges Lahlou regularly questions cultural and religious identity, aesthetics and gender. He diverts them, rethinks them, and thwarts stereotypes to reincarnate them in a new and challenging proposition. Through sculptures, installations, performances, collages, etc., he builds bridges between East and West that recall his own multiple identity. His work is polysemic, interpreted by the eye of the viewer and his own culture.Artist's website ↗
Hippolyte Leibovici came to prominence at the end of his cinema studies with the short film Mother’s, which puts a family of four generations of drag queens in the spotlight. The aesthetics of the mirror are essential in this film, which reveals, confronts and imposes a gaze. For Leibovici, Mother’s is, above all, a film that evokes human problems shared by everyone: discomfort with oneself or with others, acceptance and the lack of love. It highlights the essential learning process of building oneself up in the eyes of others.
• Brussels Short Film Festival, Brussels (2020)
• Festival International du Film sur l'Art, Canada 020
• États généraux du film documentaire, Lussas (2020)
• Poitiers Film Festival, Poitiers (2020)
• Festival international du film documentaire La Rochelle, La Rochelle (2020)
Eva L’Hoest explores the ways in which all kinds of mental images, especially memory and reminiscence, are re-materialised in a technological format. Above all, she pursues the exploration of memory and its tiny, strange lingering reality. Piece after piece, the artist appropriates the technologies of her times to reveal both their nature as prostheses for apprehending the world and their potential as an artistic medium.
• Regenerate, WIELS, Brussels (2020)
• And suddenly it all Blossom, Riga Biennale organisé par Rebecca Lamarche-Vadel, Latvia (2020)
• ShapeShifters, Malmö Museum, Sweden (2020)
• Okayama Art Summit, IF THE SNAKE, organisé par Pierre Huyghe, Okayama (2019)
• Lyon Biennial, Where Water Comes Together with Other Water, Palais de Tokyo, Lyon (2019)
moutaincutters is a duo that produces installations that are often temporary. The two artists create a connection between humans and the modular environment that surrounds them, using unfinished, truncated, fragile forms. They thereby create an aesthetic uncertainty. The notions of the relationship to bodies and time are essential to understanding their work: both are deconstructed and then built up again into a fragmented image. There is something tangible and transcendent that emerges from their creations, whose components come from unprocessed raw materials such as iron, steel, clay, copper, lead, paper and glass.
• Les indices de la respiration primitive, La Verrière fondation Hermès, Brussels (2021)
• Middelheim Museum, Yung Artist Fund, Antwerp (2021)
• Anatomie d’un corps absent, Centre d’art Le Creux De L’Enfer, Thiers (2019)
• SPOLIA, Le Grand-Café, Centre d’art contemporain, Saint-Nazaire (2018)
• Perpetual Construction : a dialogue with the house of Jean Prouvé III, CAB foundation, Brussels (2017)
Élise Peroi develops performance-textiles that feed on weaving. In her work, the relationship to space and habitat is essential; her work regularly takes the form of installations that show how complex they are to make, while taking the form of a place of retreat, of calm. Her meticulous compositions, which require a great amount of work, also unfold in time. Time is decomposed, deconstructed, reinvested and offers the imagination a predominant place.
• Là où se trouve la forêt, Botanique Galerie, Brussels (2021)
• Faire sillons, Centre Tour à Plomb, Brussels (2021)
• Proche du soleil, Galerie Maria Lund, Paris (2020)
• Inspire, Iselp, Bruxelles, 2020.Foresta, Bel Ordinaire, Pau (2018)
Yoel Pytowski creates immersive and often monumental installations, playing with spatiality, temporality and the viewers’ reception. Through his architectural constructions, he moves them into timelessness, where spatial reference points are blurred and undefined. Space becomes a central element of narrative questioning, linking past or future (de)constructions. This is all the more powerful because most of the time he reuses materials from his previous installations, in a need for permanent reuse and recycling, but above all with the idea that his work thereby becomes organic and multiform.
• The stamp of the definitive is avoided, Experimental Intermedia, curated by Jef Declercq, Gent (2021)
• Façades, Le Centre culturel de la Fédération Wallonie-Bruxelles « Le Botanique », Brussels (2020)
• One-Way Street, Espace Moss, Brussels (2019)
• Passages, Biennale de Bergerac, Bergerac (2018)
• Friche, exposition de groupe à Friche, Brussels (2016)
Naomi Lilith Quashie is a multimedia artist and performer who integrates multiple iconographic influences (whether popular or not) into her work, without applying any kind of hierarchy. Whether through her sculptural, costume or performance work, she attempts to construct, reconstruct and/or deconstruct mythological genealogies where fiction and reality intermingle. It thus becomes possible to draw up narratives around plural and hybrid identities while not turning away from her own empirical subjectivity. For a little over two years now, she has also been participating in balls (European Ballroom Scene) in the “Runway” category. It is through the practice of this discipline that she has developed her persona: Lilith, who is now merged into the artist’s own personality.
• Can't won't, Hectolitre, Brussels (2020)
• La Petite Garçonne, Lieu privé, Brussels (2019)
• All in One, Kanal Pompidou, Brussels (2019)
• Ficticious Legacies, Galerie Island, Brussels (2018)
• «Temps fort #1» de l’Exposition «Patchwork», Taverne Gutemberg, Lyon (2017)
The artist Aura Satz works with film, sound, performance and sculpture to present a distributed, expanded and shared voice. She explores various different sound technologies and the ways in which these might resist standardisation and generate new landscapes, which in turn lead to new forms of listening. She likes to delve into the unstable moment when technologies can be modelled on physical or psychic human functions and can thus explain cultural understandings of proximity, distance, action, presence, language and writing.Artist's website ↗
Elly Strik is fascinated by the creation process itself. Her works testify of the profound quest for the essence of human-condition. She is using various materials like oil, graphite, color pencils, pigments, gold and silver leave, but also ashes from her studio stove to realise her works on paper. Looking as a source of knowledge and the potential of metamorphosis are for her at the basis of our being and what creation means. All the shapes that appear throughout her works are energetically charged by an intense and poetic approach and evolve into states of being. The interplay of monumentality and intimacy creates an open experience of reality in which macro and micro cosmos meet in various ways.
• To All the Long Gone Darlings. And To You, 1700 La Poste, Montreal, Canada, (2018)
• In Search of The Present, EMMA, Museum of Modern Art, Esloo, Finland, (2016 - 17)
• Drawing. The Bottom Line, S.M.A.K. Gent, (2015 - 16)
• Fantasmas, novias y otros compañeros / Ghosts, Brides and other Companions, Museo Nacional Centro de Arte Reina Sofia, Madrid (2014)
• Ihr Anblick gibt den Engeln Stärke, Kunsthalle Mainz (2012)
• Une Terrible beauté est née, 11e Biennale de Lyon (2011 - 12)
Beata Szparagowska’s work is imbued with questions of identity and memory, working on origins and roots, exile and everyday life. Her work, often linked to collaborations, lies somewhere between documentary photography and plastic photography, opening up to new possibilities. She photographs moments and ephemeral gestures, which speak for themselves and document a sometimes fictionalised reality. Photography can set its models in an indefinite, fictitious space and time, providing immobilised gestures with a different look, where they take on a new relevance.
• Au fil des rues, Maison de la Création Bockstael, Brussels (2018)
• Entre chien et loup, Espace Photographique Contretype, Brussels (2016)
• Lignes de fuite, Photaumnales, Beauvais, France (2013)
• Hide & Seek, Flagey, Brussels (2012)
• Cisza, Salon d’Art, Brussels (2011)
• Studio Matonge, Rencontres d’Arles et Biennale Le Monde Parfait, Louvain-La-Neuve (2010)
Sarah Vanagt produces documentaries, video installations and photographs. She combines her interest in history, the origins of cinema, as well as in memory, oblivion and the traces left by mankind. She immerses herself in questions related to our human approach to the past, the way we put it into images. It becomes an object, a quest and tangible; her doubts are reflected in her installations, often related to touch, somewhere between physical and visual, intimate and public approaches. Her images, associated with a particular sound, hold a unique force that drives viewers to reflect on themselves, on what makes them up and on their History.
• Courtisane Gent (2019)
• FID Marseille (2016)
• Girl withIn Waking Hours 1632 - 1851 - 1976, International Film Festival, Rotterdam (2016)
• EMAF Osnabruck (2016)
• Kunstenfestivaldesarts, Brussels (2013)
• Girl with a Fly, Biennale of Moscow, Russia (2013)
• The Wave (film + photo wall), Biennale of Sydney, Australia (2012)