AUSSTELLER-NEWS

Galerie Greta Meert is delighted to present the historical exhibition titled Bands, Curves and Brushstrokes by American artist Sol LeWitt (1928, Hartford, Connecticut - 2007, New York). Between 1996 and 2002, Sol LeWitt created a striking group of works on paper - Parallel Curves, Tangled Bands, Irregular Curves and Not Straight Brushstrokes. They mark a shift within his practice: away from the reductive logic of Minimalism and Conceptualism toward something more tactile, sensual and immediate. Long associated with systems, modules, and instructions, here LeWitt embraces irregularity, gesture, and colour. These works, while modest in scale compared to his wall drawings, carry an intimate energy, rewarding close looking with a wealth of texture, density, and surface articulation... Read more

Galerie Greta Meert is honoured to present Liam Everett’s recent body of work in He Loved Him Madly. This exhibition continues Everett’s long-standing exploration of painting as an accumulative, experimental practice — one that thrives on instability, transience, and the residue of gesture. What emerges on the surface of his canvases is not a static image, but the layered memory of action: an imprint of movements, erasures, and resistances enacted over time. The title He Loved Him Madly is borrowed from Miles Davis’s 1974 composition, a sprawling, mournful elegy to Duke Ellington. Davis’s piece resists conventional structure: it drifts through repetition, silence, and improvisation, unfolding slowly rather than reaching resolution. The resonance with Liam Everett’s work is immediate. Like Davis, Everett cultivates an art of deferral and transience, where presence is inseparable from erasure, and where meaning emerges gradually, in time. The title therefore acts as both echo and homage: a phrase that expands beyond its musical origin to frame Everett’s own devotion to painting as a fugitive, unstable, and yet profoundly vital practice... Read more
 

Galerie Gallery Greta Meert, 13 rue du Canal, 1000 Brussels
+32 2 219 14 22 - info@galeriegretameert.com - Visiting Hours: Tuesday to Saturday, 2pm - 6pm

From September 4 to October 18, 2025, Galerie La Forest Divonne Brussels is pleased to present a solo exhibition by artist Jean-Marie Bytebier.
This first exhibition by the Flemish artist marks the beginning of the collaboration between the gallery and the painter. The show will be accompanied by texts from Claire Leblanc, Director of the Musée d’Ixelles, and Koen Van Synghel, Belgian writer en architect. 

The exhibition is titled 'Nature Prescription. PaRx.' - a reference to nature-based therapies prescribed as medical treatments. Jean-Marie Bytebier invites us to immerse ourselves in nature as a form of healing: a breath of air and sensation that transforms us. Jean-Marie Bytebier works with landscape painting, drawing inspiration from the great landscape traditions - Flemish in particular, but also Italian and British - while offering a deeply contemporary perspective. Through his compositions, formats, and textures, he draws the viewer into a space that is at once familiar and mysterious, light and floating. The recurring wide white bands in his paintings affirm the idea of the canvas as a “window” - not one that opens onto a perspective, but rather onto an inner, intimate, and spiritual emotion.

Galerie Templon launches its new season with the first solo exhibition by Belgian painter Matthieu Ronsse within its Brussels premises (September 4 - October 31, 2025). A singular figure on the Belgian contemporary art scene, Matthieu Ronsse has, for over two decades, cultivated an organic and uninhibited painterly practice. His work seamlessly weaves together abstraction and figuration, classical references and contemporary gestures, in a jubilant and unrestrained approach to form. As art critic Guy Gilsoul notes, references to Rembrandt, Titian and Velázquez infiltrate his paintings like a 'Trojan horse, to force open the gates of our mental citadels.'

The exhibition brings together a previously unseen selection of around twenty paintings of various formats. Titled Hotel Prado - in reference to a local hotel in his neighbourhood in Ostend, the Belgian coastal city where he lives and works - the show offers a fleeting fragment of Ronsse’s intimate universe: a slice of life unveiled for a few weeks within the gallery’s walls. The artist transforms the exhibition space into an extension of his studio, where chaos is transfigured into visual poetry. Ghostly figures, fragments of memory, and gestural traces converge on the surface of the canvas, bearing witness to an ongoing process - art in a constant state of flux, resisting all fixity. Into this evolving visual language, Ronsse introduces newer artistic references, notably American artists Paul Thek and David Hammons, as well as Colombian artist Oscar Murillo, underscoring the richness of his eclectic vocabulary.

Ronsse’s oeuvre unfolds as an expansive pictorial discourse in which experimentation and the sheer joy of creation hold centre stage. His paintings embrace incompletion. None of his exhibitions is ever static; transformations may occur over time, revealing a dynamic and fluid approach to making. For the artist, the finished image is not the goal - what truly matters is the ongoing act of creation. Each painting becomes simultaneously a surface, a trace, and a tool: it is its own palette, bearing the imprints of its making and the deliberate accidents that infuse it with raw, intuitive energy. Ronsse rejects the notion of a predetermined curatorial path. Instead, he allows the works to present themselves spontaneously - welcomed in their raw, unmediated state.

Brussels - Veydtstraat 13, 1060 Brussels, Belgium - Tél. +32 (0)2 537 13 17

Alain Biltereyst takes the fast, loud imagery of the city truck stripes, brand logos, graphics on the street and slows it down. His paintings on wood panels distill the mundane into something quiet, deliberate, and charged. Working with basic colors and simple forms, Biltereyst finds beauty in what we usually pass by: the everyday made extraordinary. What is often dismissed as low culture is here elevated to visual poetry. There is a tension at play between stripped-down modernist formalism and the messy vibrancy of popular culture. His interest in how the ideals of Modernism have penetrated everyday life through design and mass production is paired with a painterly approach that is careful, measured, and profound. His works exist at a crossroads: abstract and concrete, street and studio.

QG Brussels, Rue Saint-Georges 13, 1050 Brussels, Belgium
Wednesday to Saturday, 2pm to 6pm and by appointment
qg-gallery.com

The Nosbaum Reding gallery pays tribute to sculptor Bernd Lohaus through a group exhibition that seeks to offer a renewed perspective on his work. In counterpoint to his sculptures made from azobé wood salvaged along the banks of the Scheldt, the exhibition brings together Jacqueline Mesmaeker - architect of the structure of the line - and a group of contemporary artists: Luca Dal Vignale, Tina Gillen, Priscilla Gils, Karsten Krogh-Hansen, Gijs Milius, Ute Müller, Nele Tas, and Charlotte Vandenbroucke. Some of these artists are, moreover, graduates of the Royal Academy of Fine Arts in Antwerp. Together, they explore the foundational concepts in Lohaus’s practice: heightened spatial perception, tension and balance in composition, and a careful attention to the object’s presence—with the aim of staging an encounter between two protagonists: the viewer and the object.
 
A singular figure in sculpture, Bernd Lohaus consistently anchored his work in questions of language and the presence of the body, set against a backdrop of sculpture reduced to its mass - blocks whose volumes are articulated with the floor, the wall, the openings and closures of space. The exhibition, which presents both sculptures and paintings, revisits the paradox common to both mediums: the tendency to operate through processes of addition and subtraction in their relationship to material. In what way do Lohaus’s sculptures carry within them a dialogue between forms and a reflection on their history? And how do these assemblages of beams in display mode convey a generational legacy - one that persists in the becoming-sculpture of painting and in an ongoing reflection on the frame?

Erwin Wurm (b. (b. 1954, Bruck an der Mur, Austria) is an Austrian artist renowned for pushing the boundaries of sculpture and conceptual art. Ever since his pioneering One Minute Sculptures of the 1990s – which invite viewers to briefly become living sculptures by posing with everyday objects – Wurm’s practice has explored the absurdity of everyday life with a humorous yet critical eye. His works span sculpture, performance, photography, drawing, and even painting, but at their core they share a fascination with the human body and the forms of daily existence. Wurm is perhaps best known for comically distorting ordinary things as a way to question consumerism, body image, and the human condition, inviting us to reconsider what a sculpture can be and how our own bodies and identities are reflected in the material world.
 
Still Blue, Wurm’s second solo exhibition at Mulier Mulier Gallery, presents a vibrant cross-section of his recent explorations in form, body, and absurdity. The show brings together freestanding sculptures in dialogue with works on canvas, creating an environment that is at once playful and profound. Across these works, Wurm continues to transform the familiar – pieces of clothing, buildings and cars – into surreal art objects. The results range from life-sized aluminum figures that resemble empty outfits, to small bronze architectural miniatures, to bold painted “flat sculptures” that blur the line between painting and object. Despite their variety, all the pieces resonate with Wurm’s conceptual preoccupations: the absence of the human body, the transformation of mundane matter into art, and the inherent absurdity that underlies human identity and physical form.
 
Erwin Wurm graduated from University of Graz, Austria, in 1977, and University of Applied Art and Academy of Fine Art, Vienna in 1982. Recent solo exhibitions at international institutions include Albertina Modern, Vienna (2025); Fosun Foundation, Shanghai (2024); Biblioteca Marciana, Venice, Italy (2024); Yorkshire Sculpture Park, Wakefield, UK (2023); Tel Aviv Museum of Art (2023); SCAD Museum, Savannah, US (2023); Suwon Museum of Art, Suwon, Korea (2022); Biblioteca Nazionale Marciana, Venice, Italy (2022); Museum of Contemporary Art Belgrade, Serbia (2022), MAK, Vienna, Austria (2021); Taipei Fine Arts Museum, Taipei City, Taiwan (2020). In 2017, Wurm represented Austria at the 57th Venice Biennale.

 
MULIER MULIER - BRUSSELS - 10 Rue Saint-Georges, Ixelles 1050 (BE)
Opening hours: Wednesday - Saturday, 13.00-18.00 and by appointment
 

Opening Saturday, September 13, 2025 @ Kanaal, Belgium (till November 15, 2025)
Axel Vervoordt Gallery is pleased to announce a solo exhibition by Jaromír Novotný, whose refined visual language explores the boundaries of perception through subtle interventions in material, light, and transparency. Jaromír Novotný is a restless searcher with a never-ending quest to explore the possibilities and limits of painting. Novotný's early works were inspired by architecture. They are introverted and rather dark. Since 2011, he has shown a particular interest in different shades of black. Then in 2014, he began limiting himself to the use of black and white. He began to paint on canvasses hung freely on the wall without stretchers. A short while later, he started his exploration of painting on synthetic organza, and since then his works have become much lighter... Read more

We are also delighted to announce the opening of an exhibition dedicated to Raimund Girke, presenting a focused selection of his refined works on paper that highlight his subtle exploration of light, rhythm, and materiality. Raimund Girke lived and worked in Cologne and Berlin until he passed away in 2002. He was an artist who was at the forefront of Analytical Painting. He participated in the 1977 edition of Documenta VI in Kassel, Germany, and is widely known for his investigations of the colour white.

Ce jeudi 4 septembre, la galerie vous invite à découvrir Inside the Law, la cinquième exposition personnelle de Jorge Méndez Blake. Cette exposition explore l’impossibilité de l’accès, en prenant pour point de départ Devant la Loi, l’une des fables les plus intrigantes et puissantes de Kafka. Dans un monde où l’autre, le vulnérable, l’étranger est séparé, bloqué, expulsé, isolé par des murs, des barrières, des préjugés, ou encore par le langage, le dilemme kafkaïen se révèle plus actuel que jamais. Nous nous réjouissons de vous retrouver pour le vernissage le jeudi 4 septembre à partir de 17h, et vous invitons à nous contacter si vous souhaitez visiter l’exposition plus tôt dans la journée.

meessen.be
 

Johannes Heisig (*1953) is a most passionate painter. With every self-portrait, every depiction of a landscape and every representation of what he observes in nature – be it shrubs, trees, flowers, hornets or crows – he outdoes himself in his painting. Time and again, he creates original works that are unrivalled. His unique pictorial world is characterised by modern narrative painting, based on personal impressions and reflections of different situations outside and inside his studio. His sources of inspiration can be found in the small details of everyday life, in art history and literature, as well as in the recesses of his own psyche, in the world of dreams. In the cityscapes, each of which also tells a story, the observing eye remains close to the action: from the punks to the skaters and activists. These external phenomena are transformed into powerful and energetic painterly depictions in his studio. Even in his more tranquil representations of nature, Heisig‘s use of color and his distinctive, expressive brushstrokes are mesmerizing. With the exhibition Weltgefühl, new paintings and works on paper are presented alongside artworks spanning the last 25 years of artistic production. 

die-galerie.com

Bruxelles, Rue Charles Decoster 
Johanna Mirabel, I Wish
4 septembre - 25 octobre 2025
La Galerie Nathalie Obadia est heureuse de présenter à Bruxelles la première exposition personnelle de Johanna Mirabel, après celle tenue l’an passé dans la galerie du quartier de Beaubourg.Diplômée des Beaux-Arts de Paris en 2019, Johanna Mirabel est une artiste française d’origine guyanaise dont le travail s’impose rapidement sur les scènes artistiques française et internationale. Elle est notamment récompensée par le Ritzau Art Prize à New York en 2022, à Paris par la bourse Emerige en 2023, et à Miami en 2024 par le prix CPGA Etant Donné. Avec sa sœur Esther Mirabel, elle est lauréate de la promotion 2026 de la Villa Albertine. 

Dans sa nouvelle exposition, Johanna Mirabel s’intéresse au motif des ex-voto, et tout particulièrement à leur potentiel de métissage symbolique. Aussi appelées peintures votives, ces représentations naïves, souvent réalisées en remerciement d’une puissance spirituelle, sillonnent l’histoire de la tradition picturale, se développant au Moyen Âge en Europe, avant d’arriver en Amérique latine et au Mexique au XIXe siècle. [...]

WWW.NATHALIEOBADIA.COM

For her first solo exhibition in Belgium Delprat presents recent paintings and ceramics, alongside a selection of small-format gouaches from the mid to late 1990s, never before shown. Created during a pivotal moment of temporary withdrawal from the art world, these works reflect a profound questioning of her practice and a sustained meditation on boldness, cynicism, and the role of transgression in the history of her painting.

This conversation will bring together artist Hélène Delprat, her gallerist Christophe Gaillard, and Goedele Bartholomeeusen, director/curator of Museum Dhondt-Dhaenens, to mark Delprat’s first solo exhibition in Brussels. The discussion will explore her artistic practice and various sources of inspiration, the collaboration between artist and gallery, and the museum’s role in presenting and contextualizing contemporary art.

Hélène Delprat is a French artist known for her paintings, drawings, installations, and multimedia works filled with dark humor and literary references. Delprat’s work explores themes such as identity, death, and bold visual imagery, often with a baroque and narrative approach. Her practice is marked by a unique, theatrical visual style and a fascination with archives and historical sources. She has exhibited in numerous international institutions and galleries, including Fondation Maeght, Museu Picasso in Barcelona, Lyon Biennial.

Goedele Bartholomeeusen is a Belgian curator and art historian who has served since 2022 as director/curator of Museum Dhondt-Dhaenens in Deurle. She has a background in art history and extensive experience developing exhibitions and programs for contemporary art. Bartholomeeusen is known for her focus on contextual and critical approaches to presenting art. Before joining MDD, she worked in various museums and cultural institutions. She is committed to connecting artistic practices with a broad and diverse audience.

Christophe Gaillard is a French gallerist and founder of Galerie Christophe Gaillard in Paris an Belgium. Since 2007, he has built a program showcasing both established and emerging artists, with a strong focus on contemporary painting and conceptual practices. His gallery is known for its bold exhibitions and international collaborations. Gaillard is committed to presenting independent, critical, and innovative artistic voices.

Paul Cocksedge (b. 1978) lives and works in Hackney, East London.The artist is known for his unorthodox approach to materials in works that span public art, sculpture and architectural installation. Science is an ever-present anchor for the works, and a forensic investigation into the limitations of processes, materials, and the human body lays the foundations for everything. Paul is enduringly curious about our relationship to the Earth, and his works address pressing issues of our time, from social connection to fossil fuel. Sorcery in light, colour and mass all zero in on creating a moment of communication with other human beings.

Paul grew up in north London, and came to art on his own terms, bringing a freshness in perspective that has remained integral to his work. He received his Bachelor of Fine Arts in Industrial Design from Sheffield Hallam University in 1997, and subsequently studied under the mentorship of Ron Arad at the Royal College of Art in London. Graduating with an MA in Product Design in 2002, he went on to co-found his eponymous studio with business partner, fellow RCA graduate Joana Pinho in 2004.

objectswithnarratives.com

Martina Quesada’s practice encompasses sculpture, installation, and video, challenging the boundaries of materiality, perception, continuity, and spirituality. For this exhibition, the artist has created a series of artworks that function as a visual synthesis distanced from any narrative structures, yet consistent with an internal order. The body comprising wall sculptures and works on paper is to be perceived as a system of interrelated forms. Repetition, variation, and spatial arrangement - across both sculptural and pictorial media - generate a quiet yet intentional rhythm. 

Quesada’s works engage with tensions between material presence and symbolic suggestion, visibility and withholding. Geometric forms are treated not as fixed compositions, but as propositions - flexible structures that allow for shifts in perception. The use of pigment on paper introduces a more atmospheric register, extending the sculptural language into the pictorial. Rather than occupying space in a conventional sense, her works aim to activate it as a site of resonance. They do not seek to impose meaning, but instead establish a set of conditions through which meaning may emerge. 

Martina Quesada (b. 1987) lives and works in Paris. She is a self-taught artist whose practice has developed through sustained, hands-on study with master artisans and material specialists. Her research has taken her across Latin America and Europe, including in-depth work with ceramicists and chromists dedicated to traditional pigment-making techniques in Peru and Mexico. Quesada has presented her work in solo and group exhibitions in London, Paris, Madrid, Buenos Aires, and Lima. Her work is held in both institutional and private collections, including the MACBA – Museum of Contemporary Art of Buenos Aires and the MALI – Museum of Art of Lima. She has an upcoming solo exhibition at MACBA, opening in November 2026.

The Gallery is open Tuesday – Saturday, 12:00 – 18:00 - www.bernier-eliades.com

Martina Quesada, “The borders are fragile II”,  2023 | Marble dust, pigment, gesso wood and linen | 142 × 217 × 4 cm | 55.9 × 85.4 × 1.6 in | Photo: Courtesy of the artist
 

Des géométries variables presents an unexpected encounter between two painters, LéonWuidar and Brooklin A. Soumahoro, who at first glance seem to have little in common. They differ in artistic lineage, generation, and geography. Wuidar was born in 1938 in Liège, where he still lives, and since the late 1960s has produced singular paintings, works that inherit geometric abstraction yet never fully renounce figuration or references to the world around us. Soumahoro, on the other hand, was born in 1990 in Paris and has lived for about a decade in Los Angeles, where he began his self-taught painting practice. His work is rooted in a highly precise form of abstraction, composed of mathematically repeated triangles within a strict, pre-defined colored grid. While these two painters emerge from vastly different worlds, they share more common ground than one might initially think...

(Address) 35 & 32 Rue de Livourne — Livornostraat 1050 Brussels, Belgium
(Contact) +32 (0)2 538 08 18 - info@rodolphejanssen.com - rodolphejanssen.com
 

MARUANI MERCIER is delighted to present The Space In Between, an exhibition of new paintings by British artist Von Wolfe, opening on 4 September at our Brussels Gallery. Portraying figures in restrained interiors or expansive landscapes, the works in The Space In Between evade attribution to a fixed space and time. The works are developed in collaboration with artificial intelligence, but not as mere tools of image generation. Instead, Von Wolfe treats the AI as an errant interlocutor - producing a flood of visual propositions, outliers, and uncanny hybrids. From this visual delirium, the artist isolates moments of particular psychic intensity, reworking them by hand in oil with classical precision. What results is a new kind of mythic realism – one that emerges from the machine’s subconscious and the artist’s instinctual logic.

Tra Terra e Concetto (Between Earth and Concept) presents a landmark exhibition dedicated to the revolutionary Italian movement Arte Povera, curated by esteemed colleague and friend Albert Baronian, along standing advocate and champion of this group of artists. Bringing together seminal works by ten of the most influential artists of the movement, the exhibition offers a rare opportunity to experience the radical materiality and philosophical rigor that redefined contemporary art in the late 20th century.
 

Arte Povera, literally 'poor art', emerged in Italy in the late 1960s as a radical break from conventional artistic practice. Renouncing traditional materials and embracing everyday objects - earth, lead, wood, glass, and fabric - the artists forged a language both grounded and metaphysical, elemental and conceptual. Their work challenged the dominance of industrial aesthetics and consumer culture, opening up new possibilities for art’s engagement with time, nature, and thought. With works by Giovani Anselmo, Pier Paola Calzolari, Alighiero Boetti, Luciana Fabbro, Jannis Kounellis, Mario Merz, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto, Gilberto Zorio.
 
qg-gallery.com

Niele Toroni (Muralto, 1937) pioneered a practice called “Travail-Peinture” which entails marking a surface with imprints of a no. 50 paintbrush at regular 30 cm intervals. Executed on diverse surfaces such as canvas, cloth, gallery walls, and floors, Toroni’s works are both paintings and painterly interventions into space. Each marking is distinct and yet all the markings are the same, transforming the experience of spaces and creating a field in which formal tensions between uniformity and difference, repetition and spontaneity emerge.

www.edouardsimoens.com

Pierre Alechinsky & Christian Dotremont: de geschiedenis van een vriendschap
From August 2 until September 19, 2025 

De zomertentoonstelling in de galerij van Samuel Vanhoegaerden zet de unieke relatie tussen PierreAlechinsky (°1927) en Christian Dotremont (1922–1979) in de schijnwerpers. De expositie belicht niet alleenhet veelzijdige oeuvre van Alechinsky, maar ook de artistieke synergie en vriendschap die hij deelde met Dotremont, medeoprichter van de COBRA-beweging.

Papier speelt een centrale rol in het werk van Alechinsky. Zijn tekeningen, gravures, lithografieën en schilderijen zijn diep doordrongen van respect voor het materiaal. Elk vel papier – van Japans rijstpapier tot historische documenten – fungeert als een betekenisvolle drager van expressie. Zijn affiniteit met oosterse kalligrafie, verdiept tijdens een reis naar Japan in 1955, is zichtbaar in zijn vloeiende lijnvoering en de bewuste omgang met witruimte.

De vriendschap tussen Piette Alechinsky en Christian Dotremont begon in 1949 tijdens de eerste COBRA-tentoonstelling in Brussel. Beiden waren jonge kunstenaars, verbonden door hun drang naar experiment en samenwerking. Samen creëerden ze schilderij-gedichten, waarin beeld en taal samensmolten. Dotremonts logogrammen, waarin poëzie wordt geschilderd, vormden een unieke kruisbestuiving van schrift en beeld –iets wat Alechinsky enorm waardeerde. Na een tijdelijke breuk in de jaren ’60 vonden de twee elkaar terug, werkten opnieuw “met vier handen” en hervatten hun artistieke dialoog. Alechinsky bleef Dotremonts werk steunen en verzamelen, tot aan diens dood in 1979 – en ook lang daarna, met tentoonstellingen zoals die in het Centre Pompidou.

Pierre Alechinsky & Christian Dotremont: de geschiedenis van een vriendschap toont niet enkel kunstwerken op papier, maar ook een intieme geschiedenis van vriendschap, wederzijdse inspiratie en het blijvende belang van de handgetekende lijn in een digitale wereld. Deze tentoonstelling gaat gepaard met een publicatie onder dezelfde titel: Alechinsky Papiers.

During this summer, Galerie Oscar De Vos presents a carefully curated selection of forty landscapes of the Lys region, painted between 1880 and 1940. Works by, among others, Emile Claus, Valerius De Saedeleer, Albert Saverys, and Léon De Smet reveal how the picturesque surroundings of the Lys inspired generations of artists. The exhibition features both iconic masterpieces and surprising discoveries by their contemporaries. A unique opportunity to rediscover the soul of Latem art.

oscardevos.be/event/50199

De Brock is pleased to present its third solo exhibition with Keith Coventry. There is a beauty to Suprematism and its vision to fashion an understanding of a new multi-dimensional, non-Newtonian, world of purity without objects, a non-objective world in flux. This is a world without commodities and philosophy whose attachment to the shape-shifting fourth dimension could never have imagined any association with the birth of globalist deregulationary neo-liberalism. This, however, is just the sort of connection that Keith Coventry – the history painter of the late 20th and early 21st century – brings to bear. If his Junk Paintings harnessed fragments of the Golden Arches of McDonald’s to Suprematism to reveal the tarnished implications of its pure vision, his Gastro-Constructivism deploys its poor relation Burger King to similar ends.

The spark for Coventry’s subjects is found, more often than not, as a part of his daily life – for instance, the particular milieu he inhabits or his leisured walking around a city – and with his current paintings a visit to a Burger King in his hometown Burnley, when its degraded screen-printed schematic renderings of a burger on the walls, sparked his imagination. The constituent parts of a burger were just printed blocks of colour on the wall, each denoting ingredients: bun, cheese, beef, ham, lettuce, onion, gherkin, chicken, meat substitute, fish, relish, sauce, mustard, pickle … the list is endless, a list defining the plenitude of consumerist desire and demands. The blocks of colour in Coventry’s painting define not just the ingredient but also challenge the pathetic belief in control of destiny – that the demand to ‘supersize me’ or ‘hold the mayo’, or any other instruction levelled at the server to construct your perfect burger, is a form of empowerment on behalf of the individual (can belief in one’s own destiny really be realised through placing an order at a fast-food bar?) or is it just an indication of an engaged, relational, individualist enslavement to fast food, globalised, brand power.

Unlike the cheaply printed imagery on the walls of the Burnley Burger King, each of Coventry’s paintings – the colour, touch, facture, impasto and gestured mark making that they reveal – express an aesthetic sensibility and individualist beauty that fruitfully reconstitutes or rearranges Malevich’s geometries. We never see an image of a complete burger with Coventry’s paintings, just a half. He has transformed the disintegrating Burger King imagery, he had at first encountered, into a play of fragments, elements, and traces that are in many ways not unlike a transactional relic, the significance of which is accelerated by its untouchability, framed, and venerated behind glass.

This summer, MARUANI MERCIER’s annual homage to the icons of modern art turns its lens to Surrealism, not as a single vision, but as a shifting terrain shaped by artists like Salvador Dalí, Paul Delvaux, Max Ernst, René Magritte, Man Ray, Joan Miró, Francis Picabia and Yves Tanguy, each of whom made the movement unmistakably their own. Far from a fixed style, Surrealism emerged as a field of tension between collective ideals and radical individuality. Rooted in dreams, desire, and psychic liberation, and rising from the ashes of Dada, its influence has long outlasted the conditions that gave rise to it. Officially inaugurated with André Breton’s 'Manifesto of Surrealism' in 1924, the movement sought to free thought from the shackles of reason and morality. Inspired by Freud and Marx, its adherents, poets, philosophers, and painters, ventured into the irrational, the erotic, and the fantastic. Together, these visual artists forged a shared language of dreamscapes, unconscious impulses, and uncanny juxtapositions, each in radically individual terms.

 

The Belgian Antiquarian Booksellers’ Association cordially invites you to the 6th edition of the Salon du Mont des Arts, Belgium’s leading event for antiquarian book and print lovers. Organised under the auspices of the International League of Antiquarian Booksellers (ILAB), the fair brings together Belgian and international booksellers and print dealers. This popular fair welcomes with great conviviality both bibliophiles and iconophiles, and the general public who can discover a panorama of the literary and artistic production of the last six centuries along the aisles. ARA BELGICA will be the guest of honour and will hold an exhibition of designer bookbindings. To coincide with this year’s celebrations around the 1925 Paris Exposition, we will also host a finely curated exhibition, ART DECO AND THE GRAPHIC ARTS, with the support of the BRUSSELS ART DECO SOCIETY. Admission is free. List of exhibitors: Blanche Buffet, Eric Grangeon, Laurent Coulet, Michel Bouvier, Galerie Christian Collin, Rootenberg Rare Books, Demian Books, Librairie Koegui, Librairie Sur le Fil de Paris, François Roulmann, Galerie Le Tout Venant, Ma Maison de Papier, Antiquariat Neidhardt, Pierre-Adrien Yvinec, Anne Lamort, Antiquariat Banzhaf, Le Manuscrit Français, Antiquariaat Marc Van de Wiele, Librairie De la Terre à la Plume (Christophe Briot), Pascal de Sadeleer, Antiquariaat De Slegte, Bouquinerie Aurore, Erik Tonen Books, Antiquariaat Tanchelmus, Hans Lindner, Librairie Calliope, Lex Antiqua (Rob Camp), Pierre Coumans.

Terrace Gallery, Kanaal, June 14 - September 6, 2025
Opening in presence of the artist on Saturday, June 14 from 11 a.m. until 6 p.m. Axel Vervoordt Gallery is pleased to present the first solo exhibition in Europe by Chinese artist Shi Zhiying (b. 1979, Shanghai) titled, All Things Kinship. Shi Zhiying’s seascapes and intricate depictions of rocks and gemstones convey the philosophical tension between emergence and concealment. Drawing inspiration from both Eastern and Western art tradition, she adeptly captures the life-movement of the spirit through the rhythm of things and the inner logic of breath emphasised in Chinese painting, utilizing colour, texture, and brushstrokes. In the recent years, she has focussed on colour experimentation to explore concepts of ephemerality and permanence through the interplay of abstraction and figuration.

Du 13 juin au 06 septembre 2025, la galerie HELENE BAILLY présente un dialogue artistique entre plusieurs générations, en rendant hommage à Paris, capitale des arts, et à ses ateliers emblématiques, du Montparnasse historique à la scène contemporaine actuelle. Sous le commissariat d’Armand Camphuis, cette exposition s’intéresse à ces lieux iconiques de l’histoire de l’art moderne et contemporain. L’exposition met en lumière les grandes figures de l’École de Paris qui ont fait de Montparnasse un véritable foyer de la modernité artistique au XXème siècle.

La Ruche, la Grande Chaumière, la Cité Falguière… autant de lieux de vie et d’ébullition où naissent les chefs-d’œuvre de Kisling, Léger, Modigliani, et bien d’autres. Ces artistes venus du monde entier ont partagé ateliers, idées et amitiés, dans un élan créatif sans précédent.

En dialogue avec ces icônes de la modernité, la galerie invite quatre artistes contemporaines de POUSH à investir l’espace de la galerie. Valentina Canseco, Juliette Minchin, Lisa Ouakil et Dune Varela incarnent cette nouvelle génération inspirée et audacieuse.

De Montparnasse à Aubervilliers, de l’École de Paris aux expériences contemporaines, cette exposition met en lumière l’importance des ateliers d’artistes pour les avant-gardes parisiennes d’hier et d’aujourd’hui.

La galerie HELENE BAILLY est heureuse de présenter ce dialogue entre deux générations, de souligner les ruptures et les intuitions communes qui jalonnent un siècle de création. De 1900 à 2025, l’histoire de l’art s’écrit toujours dans les ateliers parisiens.

www.helenebailly.com

Alexander Calder, a pioneer of modern art, is gaining renewed recognition for his vibrant textile works. Long overshadowed by his mobiles, his tapestries -created with the Aubusson workshops - are now featured in top museums and international art fairs. At the Norton Museum of Art, Calder’s Art Car was recently shown beneath a monumental tapestry, highlighting his cohesive vision across mediums. The Bechtler Museum of Modern Art also showcases key pieces, affirming the importance of Calder’s textile legacy. Galerie Hadjer, a longtime advocate of Calder’s tapestries, continues to promote their artistic significance at global fairs like Art Basel, TEFAF and BRAFA-Brussels, revealing the bold, graphic beauty of his woven masterpieces.
 

Picture from the Betchler Museum
 

 

DESBOIS Jules (1851-1935), Léda étendue sur le cygne (avant 1915)
Terre cuite d’édition signée « J. Desbois »
H. 18 x L. 25,5 x P. 22 cm
Circa 1915

SEGOFFIN Victor  (1867-1925), La suppliante 
Bronze à patine brun nuancé, signé « V Segoffin » et daté « 1899 » 
Fonte de Alexis Rudier, porte l’inscription « .ALEXIS. RUDIER.Fondeur.Paris. », porte le monogramme de l’artiste et le numéro « 15 »
H. 58,5 x L.18 x P. 18,7 cm
Circa 1910

SANDOZ Édouard-Marcel (1881-1971), Hibou 
Bronze à double patine brun rouge et brun vert nuancé signé « Ed. M. Sandoz »
Fonte de Susse, porte la marque du fondeur « Susse Frs Edts Paris »
H. 11,5 x L. 4,5 x P. 5,5 cm Socle en bronze à patine noir nuancé
Circa entre mai 1922 et mars 1927.

PRINCE Paul TROUBETZKOY (1866-1938), La Pensée                              
Bronze à patine vert antique nuancé, signé et daté « Paul Troubetzkoy »
Fonte d’Attilio Valsuani, porte le cachet du fondeur « CIRE PERDUE A. VALSUANI »
Porte une plaque en bronze « La Pensée / cire perdue / par Paul Troubetzquoy / San-Francisco 1928 ».
H. 45 x L. 38 x P. 24 cm
Socle en plâtre et plaques de marbre brèche d’Alep
Circa avant 1928

BOUCHARD Henri-Louis (1875-1960) Le sculpteur (1924)
Bronze à patine brun noir nuancé, signé « H. BOUCHARD »
Fonte de Bisceglia, porte le cachet du fondeur « BISCEGLIA CIRE PERDUE »
H. 72 x L. 30 x P. 21 cm
Circa 1930

www.galerienicolasbourriaud.com

On 6 June 2025, DIE GALERIE will ring in the summer with an exhibition that is diverse, colourful, spontaneous and a little loud. This is how CoBrA, the mid-20th century artists' group, was - young, wild, immediate and impulsive. Although the group quickly disbanded and its members went on to important international careers, CoBrA's ideas were enduring and groundbreaking. Many of the artists remained friends and collaborators for decades. 

 

Based on personal friendships and connections, DIE GALERIE has long been committed to the artists of the CoBrA group. To this day, there is a particularly strong bond between gallery owner Peter Femfert and Pierre Alechinsky, one of the most influential networkers of CoBrA and, at 97 years of age, the last living representative of this group. 
 

Born in Brussels in 1927, he became the youngest member of the CoBrA group in 1949, after studying book illustration and typography in his home town. As a young painter, Pierre Alechinsky embraced CoBrA's ideas of spontaneity and direct expression; after the group disbanded in 1951, he quickly developed his own style, concentrating on drawing and studying Asian calligraphy. He travelled to Japan for the first time in 1955. Since then, his work has oscillated between East Asian art and aesthetics and Western visual understanding... Read more in press release.

Let us inspire you - for you or all those close to you. Here you will find a selection of exquisite objects.
                                        
Covered tankard                                             
Silver, Nuremberg around 1618-1620           
Christoff Kramer 

Great George II  
Tankard 
Sterling silver, London 1758                                           
John Wirgman 

Mokume-gane vase                                         
Silver, copper, Shakudo, Shibuichi, Kuromido 
Okayama 2022,                                               
Ryuhei Sako 

Rare fish cutlery 
Silver, Bremen 1905/06
Henry van de Velde

Pair of George I Tea Caddies                         
Britannia silver, London 1720                           
John Farnell     
                                             
Rare small bowl 
900 silver, Vienna 1918
Wiener Werkstätte 

ABOUT US
What began with humble beginnings has become a permanent fixture in the international art trade over the years: as one of the few galleries specializing exclusively in silver objects, our focus is on antique silver and contemporary works by international artists, which we present at art fairs in Brussels, Munich and Salzburg, among others. As a member of the “Verband Deutscher Kunsthandel” and the “CINOA”, our name stands for the quality and originality of our objects. 

t. +49 (0)163 26 79 746  I info@kunsthaus-kende.de | kunsthaus-kende.de

This intricately carved stone corbel from the 15th century exemplifies the refined naturalism and detail characteristic of the Burgundian Netherlands during the later Middle Ages. It portrays an angel's bust with delicately feathered wings and flowing hair, holding a triangular heater-shaped shield against his chest. The angel's hair and wings, rendered with skillful precision, showcase the talent of the anonymous sculptor. The angel's face, featuring almond-shaped eyes, full cheeks, a serene small mouth, and framed by a crown of tightly coiled locks that fall gracefully to the neck, reflects Northern European artistic style, softened by a Southern influence. The figure's square jaw, rounded chin, dense curling hair, and circumflex-accent-shaped eyes, with slightly swollen lower eyelids, strongly resemble Burgundian sculpture from the 15th century. 

The angel's calm demeanor and the finely detailed curls and feathered wings indicate it was created in the Burgundian Netherlands - a region that included present-day Belgium, the Netherlands, Luxembourg, and northern France, governed by the dukes of Burgundy from the late 14th to the late 15th century. During the reigns of Philip the Bold, Philip the Good, and Charles the Bold, the area became a center of artistic innovation and elite support, with sculpture serving as a primary means to convey dynastic pride and religious devotion. Similar sculpted corbels and keystones are present in major institutional collections. Noteworthy examples include the keystone with an angel from the Zelem Charterhouse near Diest now showcased at the V&A and the Angel corbel with the Coat of Arms of Breda displayed at the Rijksmuseum.