EXHIBITORS NEWS

Another Life presents a new body of work by Alvin Ong that bears witness to the transition, and recovery from the artist’s self-confessed burnout in 2025. What has emerged are beguiling layers of multiplicity and texture. Bodies thin into ethereal translucency. They blend and bleed. Individual faces can be made out, encased in their own melancholy, sometimes contorted into split, or fractured souls... Learn more

Lisa Vlaemminck. Dressage Ruined by Puffers

(OPENING) SEPTEMBER 10, 5-9 PM
(EXHIBITION) SEPTEMBER 10 - OCTOBER 24, 2026
(LOCATION) 32 RUE DE LIVOURNE, 1050 BRUSSELS

With Dressage Ruined by Puffers, Belgian artist Lisa Vlaemminck presents a new series of shaped paintings at rodolphe janssen. Cut from wood into recognisable silhouettes—a tooth, a hairstyle, a slice of cheese, a chicken leg—the works establish a relation between the physical form of the support and the image painted onto it. The two do not necessarily correspond. A recognisable contour can carry an unrelated image, while the image can alter how the contour is perceived... Learn more

17 septembre - 31 octobre 2026 
Vernissage le jeudi 17 septembre

Cette année, pour fêter les 40 ans de la galerie, mère et fille organisent une exposition réunissant les 2 artistes, Henri Michaux le peintre-poète né en Wallonie en 1899 et Zao Wou-Ki, peintre et graveur chinois et phare du courant d’abstraction lyrique. Arrivé en France en 1948 et aussitôt à l’œuvre, Zao Wou-Ki réalise ses premières lithographies. Immédiatement conquis, Michaux compose un ensemble de textes sur huit lithographies de Zao Wou-Ki. C’est le début d’une belle amitié qui liera les deux hommes jusqu’à la mort de Michaux en 1984.

« Je n’ai malheureusement pas connu Michaux mais ma relation avec sa compagne, Micheline Phankim a été magnifique. Elle était très douce, attentive et compétente. Les grandes écritures de Michaux m’ont depuis toujours accompagnée. La rencontre avec Zao a été une des plus marquantes. Je me souviens de sa grande gentillesse. [...] En 2006, il participa à l’exposition Chine - Occident, ou l’aventure du signe avec Tobey, Degottex, Shan Sa et bien sûr Michaux. Il est émouvant de revoir les œuvres de ces deux artistes exposées côte à côte sur les murs de l’ancienne galerie Pierre, qui accueillit successivement Henri Michaux en 1938, puis Zao Wou-Ki en 1951 avant de devenir la Galerie Berthet-Aittouarès. » Michèle Aittouarès

Catalogue avec textes de François Michaud et Catherine Zittoun. 

Exposition réalisée en collaboration avec la Fondation Zao Wou-Ki et les Archives Henri Michaux

­Henri Michaux et Zao Wou-Ki lors du vernissage de l'exposition de Zao Wou-Ki à la galerie de France en 1980. © Sin-May Zao.

Opening on 7 September and continuing until 17 November 2026, Out of the Sand: Ancient Egypt Rediscovered brings together antiquities, paintings, works on paper, early photographs and rare books to examine the long history through which ancient Egypt has been studied, collected and represented.

Egypt was never lost to the Egyptians, but its monuments and material culture were repeatedly presented to audiences elsewhere as discoveries. Roman artists absorbed Egyptian forms into the visual and religious life of the Empire, while European scholars, artists and travellers later approached the country through the intellectual and political concerns of their own periods. The Egypt that entered books, paintings, photographs and museums was therefore shaped as much by the circumstances of its reception as by the ancient civilisation from which it derived.

The exhibition begins with objects made for use within Egyptian society, many of which were intended for funerary contexts in which the preservation of the body, name and identity of the deceased was understood to secure continued existence after death. Their subsequent removal from tombs and temples placed them within very different systems of meaning, first as objects of excavation and private collecting, and eventually as subjects of scholarly classification and museum display.

Napoleon’s campaign of 1798 represents an important moment in this history. Although the military expedition ended in failure, the scholars, engineers and artists who accompanied it undertook a survey of Egypt on an unprecedented scale, later published in the monumental Description de l’Égypte. During the nineteenth century, archaeological publications, Orientalist painting and photography carried the monuments of the Nile to an increasingly wide European audience. The architectural views of David Roberts and the early photographs of Maxime Du Camp belong to this expanding visual record, although neither medium offered a neutral account of what it claimed to document.

Out of the Sand places ancient objects beside the works through which later generations attempted to record and understand them, considering the history of Egyptology alongside the history of representation. In doing so, the exhibition examines how the surviving material evidence of ancient Egypt acquired new meanings as it passed through excavation, scholarship, collecting and display.

The exhibition forms part of the wider programme of Colnaghi’s Oriental Art Department.

Sculptor’s Trial Piece Fragment, Egyptian Late Dynastic Period, neo-Memphite, 30th Dynasty, c. 380–343 BC, limestone, 8.1 × 13.4 cm.

View the exhibition catalogue

COLNAGHI LONDON
26 BURY STREET, LONDON SW1Y 6AL
UNITED KINGDOM
 

Discover a first selection of works from Dirk Van Saene’s new solo exhibition 'All Nightingales Understand One Another'. Van Saene once again turns to the human figure. Angular and fragile, yet remarkably tender, his figures give physical form to emotions that are often difficult to put into words. The new series grew partly out of Van Saene’s concern with a growing lack of empathy in the world around him. Rather than addressing this directly, he explores vulnerability, tenderness and human connection through the emotional language that has long characterised his practice.The title 'All Nightingales Understand One Another' captures this idea poetically: the possibility of understanding one another without the need for explanation.

The collaboration between artists and writers in the creation of portfolios and illustrated books dates back to the fifteenth century. The oldest known illustrated book is the Egyptian Book of the Two Ways, dating from around 2050 BC, while the first illustrated printed books appeared around 1450. From the end of the nineteenth century onwards, portfolios experienced a remarkable flourishing. Whether created in collaboration with writers or conceived independently, they have continued to offer artists an inspiring challenge, while providing writers with an opportunity to reach a broader and more diverse audience. They may also be regarded as a means of making art more accessible and democratic. At the same time, many illustrated books and portfolios stand out for their exceptional craftsmanship and refinement.

Following his exhibition at The Wunderwall, Edouard Devriendt presents his first solo exhibition with the gallery. The exhibition brings together a new series of paintings in which he continues his exploration of memory, perception and the emotional charge of familiar images. Devriendt’s paintings often begin with fleeting encounters. A house, a bowl of fruit or a tree is photographed instinctively on his phone and later becomes the starting point for a painting. As he paints, the original image gradually gives way to memory and atmosphere. What remains is recognisable, but at the same time slightly removed from reality. Through restrained colour and surfaces that deliberately remain unresolved, Devriendt transforms ordinary subjects into images that feel both familiar and distant. Rather than telling a fixed story, the paintings leave space for personal associations and memories to emerge.

The Wunderwall is moving. From September onwards, our platform for emerging artists will leave the gallery and take up a new, permanent position in the display window of our office, directly across the street. Visible day and night, the new location gives each artist their own space for approximately six weeks. A QR code connects the physical presentation with The Wunderwall Online, where visitors can discover more about the artist, their practice and the works on view.

The new Wunderwall opens with Noa Balon. In his work, Balon embraces the struggle of painting: the attempts, detours, hesitation and coincidences that occur along the way. Rather than searching for a perfect outcome, he allows the process itself to become part of the work.

 

Didi Ng Wing Yin, Pleats Vase No.19, 36,5x25x56,5cm, pine wood, Indian ink, shellac (detail)

Isaac Monté, Crystallized Blue in Green, salt, minerals and oxides

Fondazione Dries Van Noten, Palazzo Pisani Moretta, Venice, Italy

“I want to paint nothingness, which is everything, silence, light, measure, order, harmony. The infinite.” With these words, Antonio Calderara described what he sought in his painting. They also encapsulate an idea that runs through the exhibition Silence: a concentration on the essential and the notion that reduction can give rise to a particular intensity.

In Calderara’s work, light itself almost becomes the subject of painting. Raimund Girke and Robert Ryman explore the possibilities of the colour white, while Piero Manzoni, in his Achromes, dispenses with colour as a means of artistic expression. In the works of Heinz Mack, Hermann Goepfert, Walter Leblanc, Hal Busse, Dadamaino and Turi Simeti, light, structure and surface become essential means of expression. Other works in the exhibition find their silence in repetition, emptiness, material or restrained gesture.

In the exhibition, these works of the 20th and 21st centuries encounter ancient Chinese bronzes and ceramics. They come from another time and another culture and follow their own ideas of form, material and meaning. Yet connections emerge: in the clarity of form, in the attention given to surfaces and materials, and not least in what is allowed to remain unspoken and empty, and in what arises in between.

In cooperation with Vanderven Oriental Art, ’s-Hertogenbosch, the Netherlands.

With works by: Pablo Atchugarry · Hermann Bartels · Hal Busse · Antonio Calderara · Chun Kwang Young · Dadamaino · Herman de Vries · Raimund Girke · Hermann Goepfert · Gotthard Graubner · Gerhard Hoehme · Tschang-Yeul Kim · Stefan Kürten · Walter Leblanc · Heinz Mack · Piero Manzoni · Fausto Melotti · Milan Mölzer · Morio Nishimura · Robert Ryman · Ursula Schulz-Dornburg · Turi Simeti · Paul Van Hoeydonck and ancient Chinese bronzes and ceramics

Opening: 4 September, 6 pm
On view: 5 September – 21 November 2026

BECK & EGGELING International Fine Art 
Bilker Str. 5 / 40213 Düsseldorf
Germany

I’m Too Young To Die brings together mostly new productions alongside selected earlier works, tracing recurring concerns within Gilles Pegel’s practice. Digital technologies, artificial intelligence, financial markets, logistics, online culture, branding and automation appear throughout the exhibition as parts of an increasingly interconnected reality. Moving between sculpture, installation, painting, textiles, neon and mixed media, the works shift in material and form according to what each one demands.

Popular culture is present throughout. References to gaming, fashion, advertising and digital culture offer familiar points of entry into broader questions around value, identity, consumption and the systems shaping everyday life.

The title I’m Too Young To Die borrows the iconic difficulty setting from DOOM, but its meaning extends beyond gaming. It speaks to something much more universal: our awareness of mortality and, in the context of an artistic practice, the urge to make sense of the time we are living in. The works become bookmarks of that process, fixing a thought or observation before the world, and our understanding of it, moves on.

Humour is often the first point of contact, but beneath it lies an attempt to understand an increasingly complex present and the place we occupy within it.

Brun Fine Art is happy to present its Summer exhibition: L’oro e l'infinito

The exhibition brings together works created across distant centuries yet united by a shared aspiration: the search for what lies beyond the visible.

The gold-ground paintings, produced between the second half of the 14th century and the 15th century by masters such as Luca di Tommè, Francesco di Michele, Álvaro Pirez d’Évora, and Tommaso de Vigilia, represent one of the highest achievements of Italian painting between the Late Gothic and the Early Renaissance periods. In these works, gold is not merely a decorative element; it creates a space suspended between matter and transcendence, projecting the image beyond the earthly realm.

Centuries later, artists such as Piero Dorazio, Corrado Cagli, Lucio Fontana, Roberto Crippa, Mario Schifano, Michelangelo Pistoletto, Mirko Basaldella, Georges Mathieu, Gio Ponti, Gio Pomodoro, and Giorgio de Chirico engage, through diverse visual languages, with universal themes such as space, light, mystery, and presence. This dialogue is further enriched by the work of ABI, a contemporary brand that employs stone as a material of memory, translating its historical stratification into essential forms.

The comparison is grounded neither in stylistic affinities nor in a contrast between the ancient and the contemporary. Rather, it reveals a continuity of thought: the desire to transcend the limits of representation and materiality in order to give form to the indefinable.

Between the preciousness of gold, the strength of stone, and the essentiality of modern visual language, the exhibition unfolds as a journey spanning more than six centuries of art history, demonstrating how the pursuit of the absolute continues to renew itself across time.

Artists Featured in the Exhibition:

ABI
Alex Katz
Álvaro Pirez d’Évora
Corrado Cagli
Fausto Melotti
Francesco di Michele
Georges Mathieu
Gianfranco Meggiato
Gio Pomodoro
Gio Ponti
Giorgio de Chirico
Luca di Tommè
Lucio Fontana
Mario Schifano
Mariotto di Cristofano
Michelangelo Pistoletto
Michele di Matteo
Mirko Basaldella
Piero Dorazio
Roberto Crippa
Rosario Pulvirenti
Tommaso de Vigilia
Tommaso del Mazza



Brun Fine Art
Via Gesù 17, Milan
Tuesday – Saturday
10:30 AM – 1:00 PM | 2:00 PM – 7:00 PM
The exhibition will be on view through August

Exhibition on view from 3 June to 14 August 2026

About 40 masterworks by Léon Spilliaert (Ostend 1881 - Brussels 1946) of interiors, still lifes, and self-portrait will be exhibited at the gallery. A climate of silence reigns in Spilliaert’s rooms and interiors, devoid of human presence. He captures the immutability of objects such as bottles and flasks, seashells, a pair of discarded gloves while these objects take on a life of their own.

Exhibition curated by Anne Adriaens-Pannier and Edouard Derom
www.patrickderomgallery.com

Léon Spilliaert, Interior with Green Lampshade  December 1907, private collection.