НОВОСТИ
10/06/2025
Galerie Nicolas Bourriaud celebrates its 10th year
Galerie Nicolas Bourriaud is celebrating its 10th anniversary. A unique opportunity to bring together clients, friends and family to celebrate this milestone in the life of a gallery owner. Festive evening on Thursday 5 June from 6.00 pm at 205, rue du Faubourg Saint-Honoré. Exhibition from 6 June to 12 July 2025
Nicolas Bourriaud remembers: …my first Bugatti, Il y arrivera, my first Rodin, L'âge d'airain cast by Alexis Rudier, followed by a rare Panthère noire by Pompon, or Barye's exceptional sculpture, Angélique et Roger montés sur l'hippogriffe (bouche ouverte), of which only three exist... And these carefully chosen works have met their collectors through wonderful exchanges, new friendships and unforgettable moments of shared passion… Museums and institutions also play an important role in the gallery's reputation. For example, the Musée Rodin was able to acquire the Buste de jeune femme aux roses dans les cheveux by the eponymous master, which I presented to them, and more recently, the Étude pour le vase, sujet pastoral by Henry Cros, which joined the collections of the Musée des Arts Décoratifs… Finally, for the past ten years, we have been organizing exhibitions on major themes in nineteenth- and twentieth-century sculpture, illustrated by often unique masterpieces, such as Les sculpteurs du Jardin des Plantes; Le Groupe des Douze; Rodin, maître, praticiens et amis... In this way, I also seek to highlight artists who are particularly important to me, such as Antoine-Louis Barye, of course, but also Jules Dalou, for whom there hasn't been an exhibition since the Petit Palais in 2013, and Georges-Lucien Guyot…
05/06/2025
DIE GALERIE is delighted to show Pierre Alechinsky and his artist friends
Pierre Alechinsky and his artist friends: Pierre Alechinsky, Karel Appel, Corneille, Constant, Jacques Doucet, Karl Otto Götz, Lucebert, Reinhoud, Christian Dotremont, Theo Wolvekamp
DIE GALERIE, Frankfurt am Main
5. Juni – 10. September 2025 ∙ June 5 – September 10, 2025
Vernissage ∙ Opening: 5. Juni 2025 ∙ June 5, 2025
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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.
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DIE GALERIE
Grüneburgweg 123, DE-60323 Frankfurt am Main
t. +49 (0)69 971 47 10 | m. +49 (0)171 81 33 125
info@die-galerie.com | www.die-galerie.com
DIE GALERIE, Frankfurt am Main
5. Juni – 10. September 2025 ∙ June 5 – September 10, 2025
Vernissage ∙ Opening: 5. Juni 2025 ∙ June 5, 2025
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.
Pierre Alechinsky, Vin versé, 1957, Oil on canvas, 80 x 126 cm, Signed, entitled and inscribed verso
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.
Grüneburgweg 123, DE-60323 Frankfurt am Main
t. +49 (0)69 971 47 10 | m. +49 (0)171 81 33 125
info@die-galerie.com | www.die-galerie.com
23/05/2025
Dei Bardi Art, special focus on Burgundian sculpture
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.
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Corbel with an Angel Holding a Shield, Burgundian Netherlands, 15th century, Limestone, On a modern metal stand
H 21 x W 16.5 x D 18.5 cm
H 21 x W 16.5 x D 18.5 cm
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.
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Jan Van Schayck, Roof Boos, 1497, Victoria and Albert Museum
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Angel corbel, Brabant, C. 1500, Rijksmuseum
Dei Bardi Art srl
12 rue Watteeu, 1000, Bruxelles
m. +32 (0) 476 74 05 57 I contact@deibardiart.com I www.deibardiart.com
22/05/2025
Galerie Taménaga celebrates Jean-Pierre Cassigneul
On the occasion of Jean-Pierre Cassigneul’s 90th birthday, Galerie Taménaga unveils an exceptional exhibition celebrating the artist, whose singular universe has endured through the decades with unwavering sensitivity and grace. Entitled Carnets Intimes, the exhibition invites visitors on a contemplative journey through the painter’s memories, tracing over sixty years of a deeply personal exploration of beauty, poised delicately between reality and imagination. Bringing together more than forty paintings — from the 1960s to the present day — the exhibition reveals a body of work shaped by the pursuit of a serene, almost suspended world. Enclosed gardens, opulent bouquets, sun-drenched houses, tranquil lakesides and languid summer shores compose an intimate, near-secret geography that Cassigneul traverses tirelessly. His landscapes, often untouched by the clamour of the world, evoke sanctuaries for the soul. At the very heart of this oeuvre are women. The women of Cassigneul imbued with quiet grace and timeless elegance. Through their recurring presence, they lend his work its most poignant depth. Tall figures crowned with hats, wrapped in silks of muted sheen, they appear to emerge from another era, from a realm gently out of reach. Their thoughts drift afar, across inner waters that painting can only ever graze. Through this exhibition, Jean-Pierre Cassigneul is revealed in all his facets: painter of beauty, poet of colour, chronicler of a steadfast dream. With undiminished delicacy, he continues his silent dialogue with the world. A world he gently whispers to us through each canvas, far from the noise, where beauty remains, both fragile and sovereign.
Picture: Nu, 1965 - 73 x 54 cm
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Jardin, 2000 - 162 x 260 cm
La Vague, 2012 - 92 x 65 cm
21/05/2025
rodolphe janssen presents new works by the Tobias brothers
Gert & Uwe Tobias, All your secrets
(OPENING) WEDNESDAY 21 MAY, 6 - 9 PM - (EXHIBITION) 21.05 - 12.07.2025
(GALLERY) LIVOURNE 35 & 32
(OPENING) WEDNESDAY 21 MAY, 6 - 9 PM - (EXHIBITION) 21.05 - 12.07.2025
(GALLERY) LIVOURNE 35 & 32
The Tobias brothers have developed a collaborative practice, since the end of their studies in 2002. They work with a broad variety of media including woodcut prints, relief sculptures, typewriter drawings, watercolors, gouaches and ceramics. Their artistic practice is mainly influenced by their Romanian heritage and the local myths, costumes, handcrafts and vernacular motifs associated with this area. The Tobias brothers combine these biographic elements with motifs from popular culture, abstract art and contemporary graphic design. The result is a diverse, yet highly personalized oeuvre that fluctuates between archaic cultural mythology and contemporary visual culture.
— LVB
Recent solo exhibitions were held at Kunsthalle Tübingen, Tübingen, Germany; Kunsthalle Recklinghausen, Recklinghausen, Germany; Sprengel Museum Hannover, Hannover, Germany; Pinakothek der Moderne, Munich, Germany; Museum Morsbroich, Leverkusen, Germany; Museum Dhondt-Dhaenens, Deurle, Belgium; Whitechapel Gallery, London, UK; Kunstmuseum Ravensburg, Ravensburg, Germany; Staatliche Kunstsammlungen Dresden Kupferstichkabinett, Dresden, Germany; Collezione Maramotti, Reggio Emilia, Italy; and many more. They were shortlisted for the the Daniel et Florence Guerlain Contemporary Art Foundation Drawing Prize 2022.
— LVB
Recent solo exhibitions were held at Kunsthalle Tübingen, Tübingen, Germany; Kunsthalle Recklinghausen, Recklinghausen, Germany; Sprengel Museum Hannover, Hannover, Germany; Pinakothek der Moderne, Munich, Germany; Museum Morsbroich, Leverkusen, Germany; Museum Dhondt-Dhaenens, Deurle, Belgium; Whitechapel Gallery, London, UK; Kunstmuseum Ravensburg, Ravensburg, Germany; Staatliche Kunstsammlungen Dresden Kupferstichkabinett, Dresden, Germany; Collezione Maramotti, Reggio Emilia, Italy; and many more. They were shortlisted for the the Daniel et Florence Guerlain Contemporary Art Foundation Drawing Prize 2022.
21/05/2025
Galerie Nathalie Obadia Paris - Johan Van de Moortel
Joris Van de Moortel, Le poids du ciel illumine la terre
May 17 - July 26, 2025 at Paris
Opening Saturday, May 17 - 5pm - 8.30pm
With a performance at 7pm (duration 20mins)
3, rue du Cloître Saint-Merri, Paris 4e
May 17 - July 26, 2025 at Paris
Opening Saturday, May 17 - 5pm - 8.30pm
With a performance at 7pm (duration 20mins)
3, rue du Cloître Saint-Merri, Paris 4e
Galerie Nathalie Obadia is pleased to present Le poids du ciel illumine la terre, a solo exhibition by the Belgian artist Joris Van de Moortel. Following his major exhibition at the Stedelijk Museum Voor Actuele Kunst (S.M.A.K.) in Ghent which recently closed in March 2025, Van de Moortel unveils new works in a contrasting setting: the space of the Parisian gallery, made of alcoves and arches, that the artist has adorned with stained glass. Transformed by his works, the gallery’s architecture evokes a place of worship: its high ceilings seem to bring heaven and earth together. A profusion of celestial fragments is inflected with profane detail, freely circulating across oil paintings, watercolors, sculptures, mirrors, neon works and a video. Here, light becomes faith: it moves between works, and sometimes flows through them, revealing the singular vision of Joris Van de Moortel - a vision of a world which, although tormented, is adorned with a thousand and one colors. [...]
www.nathalieobadia.com
www.nathalieobadia.com
15/05/2025
Galerie La Forest Divonne dévoile les nouvelles oeuvres de Jeff Kowatch
Du 15 mai au 5 juillet 2025, la Galerie La Forest Divonne présente une exposition personnelle très attendue de Jeff Kowatch. La première à Bruxelles depuis 2021. Elle s’intitule « Incantation ». Jeff Kowatch y déploiera un ensemble d’oeuvres nouvelles qui sont le fruit d’une longue gestation, Kowatch travaillant toujours de longs mois sur ses oeuvres et parfois même plusieurs années, à rebours de l’immédiateté qui nous entoure. Jeff Kowatch est à un bien des égards un mystique, mû par une quête spirituelle constante, qui a pris différente formes au fil du temps, de la ferveur catholique de son enfance, à l’abyme nihiliste du jeune homme et, plus tard, à la pratique intensive de la méditation zen qui a en grande partie façonné sa peinture actuelle. Il y puise la patience, le temps long, la répétition du geste et la recherche d’un équilibre paradoxal entre immobilité et mouvement, énergie et quiétude.
A regarder Kowatch peindre, on pense à une danse, un chant : une « incantation ». Comme le prolongement de sa méditation et une forme de prière. A observer ses œuvres et ses couleurs, on pense à un enchantement, pour le regard et les sens, à une forme d’envoûtement, en somme, qui nous fascine et nous entraine dans sa transe. Les couleurs sonnent fort, les arabesques nous portent dans un monde de matières et de pigments qui nous fait basculer dans la surface du tableau.
L’Exposition « Incantation » sera l’occasion de présenter en Belgique la monographie consacrée à Jeff Kowatch par les éditions Skira. Parue en 2024, 184 pages, texte de Juliette Singer, Conservateur du Patrimoine, Directrice du Palais des Beaux Arts de Lille et du Musée de l’Hospice Comtesse.
A regarder Kowatch peindre, on pense à une danse, un chant : une « incantation ». Comme le prolongement de sa méditation et une forme de prière. A observer ses œuvres et ses couleurs, on pense à un enchantement, pour le regard et les sens, à une forme d’envoûtement, en somme, qui nous fascine et nous entraine dans sa transe. Les couleurs sonnent fort, les arabesques nous portent dans un monde de matières et de pigments qui nous fait basculer dans la surface du tableau.
L’Exposition « Incantation » sera l’occasion de présenter en Belgique la monographie consacrée à Jeff Kowatch par les éditions Skira. Parue en 2024, 184 pages, texte de Juliette Singer, Conservateur du Patrimoine, Directrice du Palais des Beaux Arts de Lille et du Musée de l’Hospice Comtesse.
15/05/2025
Galerie Christophe Gaillard Paris, Tirdad Hashemi & Soufia Erfanian
VERNISSAGE / PARIS - JEUDI 15 MAI, 17-21h
TIRDAD HASHEMI, BUTCHERED BODIES - Mainspace - 15.05 - 21.06.2025
SOUFIA ERFANIAN, LIES THAT BLED BLUE - Frontspace - 15.05 - 21.06.2025
VERNISSAGE & LIVE PERFORMANCE DE ZHINA ARDALAN AKA XEEN LE 15 MAI, 17-21h
OPENING & LIVE PERFORMANCE BY ZHINA ARDALAN AKA XEEN: ON MAY 15, 5-9 PM
Portrait de / of Tirdad Hashemi & Soufia Erfanian. © Photo : Parisa Shirvani, Lens, 2025.
Galerie Christophe Gaillard is pleased to present, for the first time within its walls, the work of Tirdad Hashemi and Soufia Erfanian, two Iranian artists currently in residence at the Pinault Collection in Lens. These two exhibitions are the result of their first months of research and creation during the residency, offering an intimate and poignant perspective on experiences of transformation, isolation, and memory.
Soufia Erfanian
Lies That Bled Blue
Frontspace, 15.05 - 21.06.2025
PARIS
5 rue Chapon, 75003 Paris
Phone : +33 (0)1 42 78 49 16
Mail: contact@galerie-gaillard.com
www.galeriegaillard.com
EN CE MOMENT / BRUSSELS - CURRENTLY / BRUSSELS
TANGIBLE / INTANGIBLE, exposition collective
= > 28.06.2025
BRUSSELS
Quai du commerce 50 Handelskaai, 1000 Brussels
Phone : +32 474 851 640
Mail: brussels@galerie-gaillard.com
TIRDAD HASHEMI, BUTCHERED BODIES - Mainspace - 15.05 - 21.06.2025
SOUFIA ERFANIAN, LIES THAT BLED BLUE - Frontspace - 15.05 - 21.06.2025
VERNISSAGE & LIVE PERFORMANCE DE ZHINA ARDALAN AKA XEEN LE 15 MAI, 17-21h
OPENING & LIVE PERFORMANCE BY ZHINA ARDALAN AKA XEEN: ON MAY 15, 5-9 PM
Portrait de / of Tirdad Hashemi & Soufia Erfanian. © Photo : Parisa Shirvani, Lens, 2025.
Galerie Christophe Gaillard is pleased to present, for the first time within its walls, the work of Tirdad Hashemi and Soufia Erfanian, two Iranian artists currently in residence at the Pinault Collection in Lens. These two exhibitions are the result of their first months of research and creation during the residency, offering an intimate and poignant perspective on experiences of transformation, isolation, and memory.
Tirdad Hashemi takes over the main gallery space with Butchered Bodies, a series of paintings in which trans bodies appear in a suspended state—between becoming and dissolution. Marked by solitude, desire, and resistance, these bodies are neither frozen nor victimized, but are entities in flux, asserting their presence through an existence that oscillates between visibility and erasure. Hashemi explores isolation not as absence, but as a space of identity construction, where the self breaks and regenerates itself continuously, where flesh speaks without permission and demands to exist.
(...) Extract from the text written by Élisabeth Lebovici.Soufia Erfanian
Lies That Bled Blue
Frontspace, 15.05 - 21.06.2025
Based in Berlin and working between Tehran, Paris, and Berlin, Soufia Erfanian’s artistic practice is rooted in painting and drawing. Engaging deeply with personal and societal themes, her work examines the intersections of systemic oppression and self-expression—particularly in relation to marginalized bodies. Shaped by experiences of displacement and the negotiation of identity beyond normative frameworks, she explores how relational structures transform during times of rupture and redefinition, challenging conventional perceptions of gender, desire, and belonging while embracing fluidity as a site of resistance...
PARIS
5 rue Chapon, 75003 Paris
Phone : +33 (0)1 42 78 49 16
Mail: contact@galerie-gaillard.com
www.galeriegaillard.com
EN CE MOMENT / BRUSSELS - CURRENTLY / BRUSSELS
TANGIBLE / INTANGIBLE, exposition collective
= > 28.06.2025
BRUSSELS
Quai du commerce 50 Handelskaai, 1000 Brussels
Phone : +32 474 851 640
Mail: brussels@galerie-gaillard.com
15/05/2025
Meessen unveils ''Apparently Empty' by Ignasi Aballí
Ignasi Aballí, Apparently Empty, 15 May - 28 June
Opening reception - Thursday, May 15, 6 - 9 PM
Apparently Empty is Ignasi Aballí's fifth solo exhibition at the gallery. This exhibition brings together a number of notions and concepts that the Spanish artist has been exploring in minute detail for some thirty years. It's an exhibition that questions the appearance of things, the processes of creation, all seen through the inexorable passage of time.
Picture: Detail of Blank Spaces (2025), Ignasi Aballí
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Opening reception - Thursday, May 15, 6 - 9 PM
Apparently Empty is Ignasi Aballí's fifth solo exhibition at the gallery. This exhibition brings together a number of notions and concepts that the Spanish artist has been exploring in minute detail for some thirty years. It's an exhibition that questions the appearance of things, the processes of creation, all seen through the inexorable passage of time.
Picture: Detail of Blank Spaces (2025), Ignasi Aballí
Ignasi Aballí, In Ictu Oculi, Centro Andaluz de Arte Contemporáneo, 2024
© Photo: Pepe Morón. Courtesy of the artist and CAAC
www.meessen.be
© Photo: Pepe Morón. Courtesy of the artist and CAAC
14/05/2025
Francis Maere Fine Arts launches the new edition of Ooidonk Art Festival
Ooidonk Art Festival 2025, Nature in Flux, 17 May - 31 August
Thursday > Sunday 11:00 - 18:00 @ Goed Te Réables, Ooidonkdreef 5, 9800 Bachte-Maria-Leerne
During the summer months, Francis Maere Fine Arts invites more than 40 contemporary artists to transform the 17th century estate "Goed te Réables" in Ooidonk (Deinze) into a surprising artshow. A cultural celebration for both established art lovers and new art discoverers. Enjoy the artworks in a unique setting through an exploration of the estate. This year festival will be in continuous change, just as nature is in constant flux. There will be a parallel exhibition with the same artists at our gallery on the Kouter 172 in Ghent.
Artists: Stephan Balkenhol - Toon Boeckmans - Marlise Breye - Pol Bury - Jonas Callaert - Johan Creten - Berlinde De Bruyckere - Bert De Geyter - Luc De Man - Marco De Sanctis - Herman de Vries - Johan De Wit - Wim Delvoye - Stief DeSmet - Ruth Devriendt - Eugène Dodeigne - Anthony Duffeleer - Jan Fabre - Maen Florin - Jean-Michel Folon - Jeroen Frateur - Isidoor Goddeeris - KUBACH-WILMSEN - Stanislas Lahaut - Anthony Leenders - Lieven Lefere - Christophe Lezaire - Joachim Louis - Sylvie Martens - Kris Martin Tony Matelli - Chris Meulemans - Sofie Muller - Stefan Papco - Chie Hasegawa/Hammons - Randoald Sabbe - TAKIS - Florian Tomballe - D.D. Trans - Roeland Tweelinckx - Jo Van Rijckeghem - Alice Vanderschoot - Koen Vanmechelen - Simon Verheylesonne - Tim Volckaert - Conrad Willems
Summer Bar & Restaurant - The art experience is enhanced with its own summer bar and pop-up restaurant by Garçon Catering where you can enjoy drinks & food whilst reminiscing about the art, the scenery or the view. The on-site pop-up restaurant is the perfect opportunity to elevate your senses even further with a full culinary experience (reservation only).
www.ooidonkartfestival.be
Thursday > Sunday 11:00 - 18:00 @ Goed Te Réables, Ooidonkdreef 5, 9800 Bachte-Maria-Leerne
During the summer months, Francis Maere Fine Arts invites more than 40 contemporary artists to transform the 17th century estate "Goed te Réables" in Ooidonk (Deinze) into a surprising artshow. A cultural celebration for both established art lovers and new art discoverers. Enjoy the artworks in a unique setting through an exploration of the estate. This year festival will be in continuous change, just as nature is in constant flux. There will be a parallel exhibition with the same artists at our gallery on the Kouter 172 in Ghent.
Artists: Stephan Balkenhol - Toon Boeckmans - Marlise Breye - Pol Bury - Jonas Callaert - Johan Creten - Berlinde De Bruyckere - Bert De Geyter - Luc De Man - Marco De Sanctis - Herman de Vries - Johan De Wit - Wim Delvoye - Stief DeSmet - Ruth Devriendt - Eugène Dodeigne - Anthony Duffeleer - Jan Fabre - Maen Florin - Jean-Michel Folon - Jeroen Frateur - Isidoor Goddeeris - KUBACH-WILMSEN - Stanislas Lahaut - Anthony Leenders - Lieven Lefere - Christophe Lezaire - Joachim Louis - Sylvie Martens - Kris Martin Tony Matelli - Chris Meulemans - Sofie Muller - Stefan Papco - Chie Hasegawa/Hammons - Randoald Sabbe - TAKIS - Florian Tomballe - D.D. Trans - Roeland Tweelinckx - Jo Van Rijckeghem - Alice Vanderschoot - Koen Vanmechelen - Simon Verheylesonne - Tim Volckaert - Conrad Willems
Summer Bar & Restaurant - The art experience is enhanced with its own summer bar and pop-up restaurant by Garçon Catering where you can enjoy drinks & food whilst reminiscing about the art, the scenery or the view. The on-site pop-up restaurant is the perfect opportunity to elevate your senses even further with a full culinary experience (reservation only).
www.ooidonkartfestival.be
13/05/2025
Helene Bailly Gallery presents Moise Kisling
The HELENE BAILLY Gallery is proud to present a monographic exhibition dedicated to Moïse Kisling (1891-1953), a Polish-born painter who became a naturalized French citizen, a singular figure of the School of Paris, celebrated for his mastery of color and his central role in redefining the modern nude. Trained at the Academy of Fine Arts in Kraków, Kisling’s early formation reflects a dual lineage: that of the Post-Impressionist masters - Renoir, Cézanne - and that of his teacher Józef Pankiewicz, who encouraged him to move to Paris in 1910. Settling first in Montmartre, then in Montparnasse, he quickly integrated into the cosmopolitan world of the Parisian avant-garde. His friendships with Modigliani, Soutine, and Braque played a formative role in shaping his pictorial language. Fascinated by the female figure, which he treated as a plastic ideal, Kisling developed a distinctive iconography of the frontal portrait and stylized nude, which would become emblematic of his oeuvre. In parallel, his work in still life - particularly in floral compositions - offered a space for chromatic exploration and decorative structure...
Picture: MOÏSE KISLING (1891-1953), Jeune Femme Assise se Coiffant, 1918, Huile sur toile, 92 x 73 cm, 120 x 101 cm (avec cadre)
Picture: MOÏSE KISLING (1891-1953), Jeune Femme Assise se Coiffant, 1918, Huile sur toile, 92 x 73 cm, 120 x 101 cm (avec cadre)
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MOÏSE KISLING (1891-1953), Jonquilles, 1944, Huile sur toile, 56 x 38,5 cm, 82 x 62,5 cm (avec cadre)
13/05/2025
Helene Bailly Gallery - focus on Pablo Piccaso
The HELENE BAILLY Gallery is pleased to present a monographic exhibition dedicated to Pablo Picasso, widely regarded as the greatest artistic genius of the 20th century. Bringing together works on paper, paintings, sculptures, and ceramics, the exhibition highlights the way Picasso approached each medium as a distinct field of experimentation, while weaving a continuous and dynamic dialogue between them. His works on paper - fundamental to the genesis of his artistic explorations - reveal the evolution of forms in perpetual transformation. Sketches, studies, and fully realized pieces alike testify to a liberated gesture, where a new visual syntax is constantly being invented. On canvas, this syntax becomes expressive, synthetic, and at times iconoclastic painting, shaped by the major cycles of his oeuvre - from the Blue Period to Cubism, from Surrealism to his final metamorphoses. His sculptures demonstrate a direct relationship with matter - assembled, modeled, or repurposed - echoing the radical spirit of early 20th-century avant-gardes. Far from being merely decorative, Picasso’s ceramics stand as autonomous works of art. They reveal a singular dialogue between art and craft, form and function, Mediterranean heritage and modern reinvention.
Picture: PABLO PICASSO (1881-1973), Visage à Deux Profils, 1959, Daté et numéroté au revers : 11.7.59. ; VI, Pinceau et encre sur papier
20,8 x 26,8 cm, 46,5 x 52,5 cm (avec cadre), Certificat d'authenticité délivré par Monsieur, Claude Picasso, en date du 29 juin 2016.
© Succession Picasso 2025
Verre et Cerises, 1945, Daté et numéroté au dos : 4.6.45 ; IV, Huile sur toile d'origine, Cadre en bois sculpté et doré, XVIème siècle, Italie, 14 x 24 cm, 39,5 x 49,5 cm (avec cadre), Certificat d'authenticité délivré par Monsieur Claude Ruiz-Picasso, en date du 13 juin 1989
12/05/2025
Maison Rapin connaît un beau succès avec sa rétrospective de Robert Goossens
En ce moment à la Maison Rapin, galerie dédiée aux Arts décoratifs du XXe siècle et contemporain, a lieu une exposition exceptionnelle consacrée à Robert Goossens (1927-2016), artiste, designer, maitre d’art, représenté par la galerie depuis une quinzaine d’années et ami intime de son fondateur Philippe Rapin seul ayant droit et expert de l’œuvre.
Cette rétrospective inédite, qui se tient encore jusqu'au 31 mai 2025 au 7 quai de Conti dans le 6e arrondissement parisien, présente plus d’une vingtaine de pièces iconiques, lustres, miroirs, et objets d’art, une sélection de « bijoux d’intérieur » uniques et historiques, réalisés de son vivant et de la main de l’artiste. Une exposition qui couvre les années 1970 – 1990, de la période Chanel jusqu’à sa collaboration avec Yves Saint Laurent et Loulou de la Falaise. Un hommage à l’œuvre magistrale de cet artiste emblématique qui émerge durant la seconde moitié du XXème siècle et qui reste encore aujourd’hui d’une modernité intemporelle.
Cette rétrospective inédite, qui se tient encore jusqu'au 31 mai 2025 au 7 quai de Conti dans le 6e arrondissement parisien, présente plus d’une vingtaine de pièces iconiques, lustres, miroirs, et objets d’art, une sélection de « bijoux d’intérieur » uniques et historiques, réalisés de son vivant et de la main de l’artiste. Une exposition qui couvre les années 1970 – 1990, de la période Chanel jusqu’à sa collaboration avec Yves Saint Laurent et Loulou de la Falaise. Un hommage à l’œuvre magistrale de cet artiste emblématique qui émerge durant la seconde moitié du XXème siècle et qui reste encore aujourd’hui d’une modernité intemporelle.
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08/05/2025
Bernier/Eliades Gallery Athens unveils new works by Ximena Maldonado Sánchez
Ximena Maldonado Sánchez, cardón, carmín y ola
Opening: MAY 8, 2025 - Running until JULY 10, 2025
Caption: Ximena Maldonado Sánchez, terracotta, 2025 | Oil and acrylic on canvas | 180 x 130 cm | 70.9 x 51.2 in | Photo credits: Courtesy of the artist
Athens
11 Eptachalkou, 11851 Athens, Greece
tel: +302103413935-7 - email: bernier@bernier-eliades.com
Hours: Tuesday-Friday: 11:00-18:30 I Saturday: 12:00-16:00
www.bernier-eliades.com
Opening: MAY 8, 2025 - Running until JULY 10, 2025
The Bernier/Eliades Gallery is pleased to present the second solo exhibition of Ximena Maldonado Sánchez, “cardón, carmín y ola”, in Athens. Ximena Maldonado Sánchez’s paintings explore the relationships between humans and ecosystems, focusing on the textures, colours, and rhythms of plants and mineral formations. Her work is inspired by sensory experiences in the landscape and engages with themes of interconnection, ecological reciprocity, and the hidden dynamics within topography. Ximena Maldonado Sánchez’s artistic process begins with observing landscapes and evolves into a practice that engages the entire body while painting. Through a fluid weaving of figuration and abstraction, she conjures new and unfamiliar environments, navigating the realms where the two softly converge...
Born in 1999 in Irapuato, Mexico, Ximena Maldonado Sánchez earned her Master’s degree in Painting from ENSAV La Cambre in Brussels, Belgium, where she now lives and works.
Born in 1999 in Irapuato, Mexico, Ximena Maldonado Sánchez earned her Master’s degree in Painting from ENSAV La Cambre in Brussels, Belgium, where she now lives and works.
Caption: Ximena Maldonado Sánchez, terracotta, 2025 | Oil and acrylic on canvas | 180 x 130 cm | 70.9 x 51.2 in | Photo credits: Courtesy of the artist
Athens
11 Eptachalkou, 11851 Athens, Greece
tel: +302103413935-7 - email: bernier@bernier-eliades.com
Hours: Tuesday-Friday: 11:00-18:30 I Saturday: 12:00-16:00
www.bernier-eliades.com
08/05/2025
Galerie La Patinoire royale Bach presents Hannah De Corte
Hannah De Corte, Hypervigilance, 08.05-26.07.25
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La Patinoire Royale Bach’s museum-like nave is filled with Lebohang Kganye’s large scale installations in The Work of Shadows, the artist’s first solo exhibition at the gallery.
Carlos Cruz-Diez, Éditions, open through 26.07.25
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In Hypervigilance, the artist’s second solo exhibition at the gallery, many pieces are exposed in the reverse — the vulnerable underside of the canvas is presented as the work. At times, De Corte even removes the stretchers from her paintings, which maintain their shape by the semi-solidity the paint brings to the (hidden) face of the canvas. The works are supple and soft, holding lightly in their form the imprinted memory of the rigid rectangle of the stretcher. The edges have come loose.
Lebohang Kganye, The Work of Shadows, open through 07.06.25
Lebohang Kganye, The Work of Shadows, open through 07.06.25
La Patinoire Royale Bach’s museum-like nave is filled with Lebohang Kganye’s large scale installations in The Work of Shadows, the artist’s first solo exhibition at the gallery.
Carlos Cruz-Diez, Éditions, open through 26.07.25
07/05/2025
Galerie Marc Heiremans welcomes back Reinhilde Van Grieken
Galerie Marc Heiremans is glad to welcome back the renowned ceramist Reinhilde Van Grieken by showcasing a group of her latest works.
Her solo exhibition will take place from Thursday May 2 to Sunday June 1, 2025 in Antwerp - Graaf van Egmontstraat 1 during our regular opening hours or by appointment.
View the exhibition catalogue
Her solo exhibition will take place from Thursday May 2 to Sunday June 1, 2025 in Antwerp - Graaf van Egmontstraat 1 during our regular opening hours or by appointment.
View the exhibition catalogue
07/05/2025
Galerie Hurtebize, a journey through the seasons
With the arrival of spring, take a journey through the seasons as seen by three great painters: Albert Marquet, Louis Valtat and Albert Lebourg. Three singular visions of light, landscape and the passage of time, between Impressionism, Post-Impressionism and the beginnings of Fauvism. Each season brings its own light, contrasts and atmosphere. It is this dialogue between passing time and painted matter that we invite you to discover through these three works, brought together around a single theme: the seasons as seen by the Masters of modernism. From the impressionism of Albert Lebourg to the nascent fauvism of Albert Marquet, to the post-impressionist sensibility of Louis Valtat, these three paintings each embody a moment, a season captured through their eyes.
Picture caption: Louis Valtat, Oil on canvas, 32 x 40 cm, Signed lower left, Arthur Tooth & Sons label on back. Provenance: Private Collection, Belgium
In this composition, painted in Normandy, Louis Valtat asserts his personal, masterful vision of nature. The brushstrokes are broad and the palette vibrant, characteristic of his post-impressionist style. Far from a naturalistic representation, the artist favors visual intensity: a stylized, expressive nature, carried by assertive movement and great chromatic freedom. A work that bears witness to his mature period, where form and color unite in an assertive pictorial language.
Picture caption: Louis Valtat, Oil on canvas, 32 x 40 cm, Signed lower left, Arthur Tooth & Sons label on back. Provenance: Private Collection, Belgium
In this composition, painted in Normandy, Louis Valtat asserts his personal, masterful vision of nature. The brushstrokes are broad and the palette vibrant, characteristic of his post-impressionist style. Far from a naturalistic representation, the artist favors visual intensity: a stylized, expressive nature, carried by assertive movement and great chromatic freedom. A work that bears witness to his mature period, where form and color unite in an assertive pictorial language.
Albert Marquet, Oil on canvas, 38 x 46 cm, Signed lower left "Marquet". Provenance : private collection, France
In this work, Albert Marquet delivers a fresh, peaceful vision of an urban summer, in the shade of the trees of the famous Parisian garden. Painted in the nascent energy of Fauvism and his early research alongside Matisse, Jardin du Luxembourg is marked by vivid colors and deep, contrasting greens. A pictorial stroll, between light and shadow. Here, the Jardin du Luxembourg becomes the scene of a calm summer with lush greenery.
Albert Lebourg, Oil on canvas, 50 x 73 cm, Provenance: Private collection, France
This work illustrates Albert Lebourg's mastery of light and atmosphere. A product of the Impressionist tradition, here he explores its subtlest version: a calmer vision of landscape, structured by simple framing and a restrained but nuanced palette. The reflections on the water, the warm tones of the foliage and the lightness of the sky create a visually coherent whole. A painting distinguished by its refined sobriety and acute sense of tonality.
07/05/2025
Huberty & Breyne - Christophe Chabouté - Plus loin qu'ailleurs
PARIS | Chapon - 19 rue Chapon, 75003 Paris - une sélection de quarante pages originales.
Christophe CHABOUTÉ, Plus loin qu'ailleurs
Exposition Du vendredi 16 mai au samedi 14 juin 2025
Rencontre Samedi 17 mai 2025 de 16h30 à 19h30
BRUXELLES | Châtelain - 33 place du Châtelain, 1150 Bruxelles
Nicolas de CRÉCY, MONTAGNES (Randonnée picturale)
Dessins - peintures - recherches
Exposition jusqu'au samedi 31 mai 2025
PARIS | Matignon - 36 avenue Matignon, 75008 Paris
Milo MANARA, Rétrospective
Exposition jusqu'au samedi 31 mai 2025
PARIS | Chapon - 21 rue Chapon, 75003 Paris
Aude PICAULT, Picault en quarantaine
Exposition jusqu'au samedi 31 mai 2025
Christophe CHABOUTÉ, Plus loin qu'ailleurs
Exposition Du vendredi 16 mai au samedi 14 juin 2025
Rencontre Samedi 17 mai 2025 de 16h30 à 19h30
Voyager, est-ce partir vraiment ? L’exotisme ne serait-il pas plus proche qu’on ne croit ? Explorer, c’est surtout changer de regard sur les choses. C’est ce que propose Christophe Chabouté dans son nouvel album Plus loin qu’ailleurs, publié aux éditions Glénat. Il y met en scène un gardien de nuit de parking bien décidé à enfin faire le voyage de sa vie : l’Alaska. Une annulation de dernière minute, une chute à l’aéroport le contraignant de se déplacer avec des béquilles et le voilà de retour à la case départ. Ou presque. Plutôt que de rentrer chez lui, il loue une chambre d’hôtel en face de son appartement et décide que son quartier sera son nouveau territoire de pérégrination. Il voulait explorer des contrées sauvages et inhabitées, il va finalement explorer cette contrée toute aussi inconnue : le coin de sa rue. Christophe Chabouté construit son récit tout en finesse et poésie. Il amène à réfléchir sur la perception de notre environnement. Ses pages originales sont à l’image de leur sujet. On y retrouve des emballages, des collages, de la matière collectée pour servir le récit. Chaque planche, réalisée à l’encre de Chine avec maestria, est donc un élément de l’enquête, de l’aventure, qui se déroule sous nos yeux.
BRUXELLES | Châtelain - 33 place du Châtelain, 1150 Bruxelles
Nicolas de CRÉCY, MONTAGNES (Randonnée picturale)
Dessins - peintures - recherches
Exposition jusqu'au samedi 31 mai 2025
PARIS | Matignon - 36 avenue Matignon, 75008 Paris
Milo MANARA, Rétrospective
Exposition jusqu'au samedi 31 mai 2025
PARIS | Chapon - 21 rue Chapon, 75003 Paris
Aude PICAULT, Picault en quarantaine
Exposition jusqu'au samedi 31 mai 2025
29/04/2025
Librairie Ingert - Jean-Luc Jehan I Du spirituel dans l'arbre
JEAN-LUC JEHAN | Du spirituel dans l'arbre
April 29 — June 6, 2025
There is something in the work of Jean-Luc Jehan (born in 1956) that attracts and intrigues. Like a gesture arising from a larger and more invisible movement, which could be the formation of a cloud or a galaxy, an element that expands, swirls and fogs each piece of art in the thickness of mystery. We can feel that questions are still being asked, patiently and unpretentiously about the world, about time, about history. During an initial period, Jean-Luc Jehan built and represented prototypes of flying machines, “satellite objects” (as he calls them) inspired by Leonardo da Vinci’s projects and the aeronautics of the 19th century. Flying machines, or rather winged machines, because the artist is very careful, each time, to ensure that they can’t fly, that something always malfunctions. The point, one might say, is to make sure that even with the greatest wings, with the greatest zeal, they can’t travel through skies other than those of the imagination or of thought. If the machines eventually disappear, the skies remain, a fluid, ethereal space that forms the common ground for all his works, the place where they unfold and appear.
Then comes the adoption of a new decisive technique, derived from the effect of the pigment punctuating the paper : to create an echo with the tiny spots, which introduce the microscopic in the representations of infinity, Jean-Luc Jehan comes to drawing only with dots, applied with a tubular ink pen with tips of 0.10 to 0.25 millimetres. From now on, everything starts with the dot, sometimes stretched into the beginning of a line ; everything is formed point by point, by the thousands of dots placed one after the other on the surface of the paper, repeated, multiplied, concentrated and dispersed. An endless aggregation of minimal operations. Between the dots, the white paper left in reserve, and, at times, the barely perceptible and almost unseen sparkle of a gold leaf’s flake. Angels, trees, mountains, horsemen : most of these figures are borrowed from the Italian Renaissance, which, as the artist says, “grounds” all his works and lives in him constantly. They evoke and invoke another epoch, another time.
Ingert
46 rue Madame, 75006 Paris, France
ingert.fr
April 29 — June 6, 2025
There is something in the work of Jean-Luc Jehan (born in 1956) that attracts and intrigues. Like a gesture arising from a larger and more invisible movement, which could be the formation of a cloud or a galaxy, an element that expands, swirls and fogs each piece of art in the thickness of mystery. We can feel that questions are still being asked, patiently and unpretentiously about the world, about time, about history. During an initial period, Jean-Luc Jehan built and represented prototypes of flying machines, “satellite objects” (as he calls them) inspired by Leonardo da Vinci’s projects and the aeronautics of the 19th century. Flying machines, or rather winged machines, because the artist is very careful, each time, to ensure that they can’t fly, that something always malfunctions. The point, one might say, is to make sure that even with the greatest wings, with the greatest zeal, they can’t travel through skies other than those of the imagination or of thought. If the machines eventually disappear, the skies remain, a fluid, ethereal space that forms the common ground for all his works, the place where they unfold and appear.
Then comes the adoption of a new decisive technique, derived from the effect of the pigment punctuating the paper : to create an echo with the tiny spots, which introduce the microscopic in the representations of infinity, Jean-Luc Jehan comes to drawing only with dots, applied with a tubular ink pen with tips of 0.10 to 0.25 millimetres. From now on, everything starts with the dot, sometimes stretched into the beginning of a line ; everything is formed point by point, by the thousands of dots placed one after the other on the surface of the paper, repeated, multiplied, concentrated and dispersed. An endless aggregation of minimal operations. Between the dots, the white paper left in reserve, and, at times, the barely perceptible and almost unseen sparkle of a gold leaf’s flake. Angels, trees, mountains, horsemen : most of these figures are borrowed from the Italian Renaissance, which, as the artist says, “grounds” all his works and lives in him constantly. They evoke and invoke another epoch, another time.
46 rue Madame, 75006 Paris, France
ingert.fr
26/04/2025
Gilden's Art Gallery unveils 'Muses'
London, latest exhibition dedicated to 'Muses' in all their artistic forms, 26 April - 5 July
Digital catalogue available.
View the Catalogue
Picture: Sasha Wiederhold (1904-1962), Untitled [Figurine], circa 1946
Signed Pencil, Chalk and India Ink on Wove Paper
33.2 x 20.4 cm. / 13 x 8 in.
Other highlights from the forthcoming exhibition:
Marc Chagall (1887-1985)
Orpheus, 1969
Original Hand Signed and Numbered Lithograph in Colours
on Arches Wove Paper
48 x 59 cm. / 18.9 x 23 in.
Pablo Piccasso (1881-1973)
Aubade, with a Woman in an Armchair, 1959
Original Hand Signed and Inscribed Linocut in Colours
on Arches Wove Paper
62 x 75 cm. / 24.4 x 29.5 in.
www.gildensarts.com
Digital catalogue available.
View the Catalogue
For generations of artists the ‘Muses’ as they are known today in the context of art can be anything f rom an object to a place, but they remain rooted in and inspired by the original nine Greek Muses; who governed the spark of inspiration in the arts and sciences. In this diverse exhibition we explore the main themes or genres that have time and time again been the starting point for artists in the twentieth century. The ‘Muse’ transcends artistic movements, manifestos and eras, as we look at the source of inspiration. The exhibition is divided into six main categories. These subjects are Music and Dance; The Human figure; Mythology; Still-life; The Natural World and finally a nod to the original Greek Muses of the ancient world. Naturally, there are of course artworks where more than a single ‘Muse’ can be identified as the sources of inspiration overlap creating beautiful layers to experience art in a new light...
Picture: Sasha Wiederhold (1904-1962), Untitled [Figurine], circa 1946
Signed Pencil, Chalk and India Ink on Wove Paper
33.2 x 20.4 cm. / 13 x 8 in.
Other highlights from the forthcoming exhibition:
Marc Chagall (1887-1985)
Orpheus, 1969
Original Hand Signed and Numbered Lithograph in Colours
on Arches Wove Paper
48 x 59 cm. / 18.9 x 23 in.
Pablo Piccasso (1881-1973)
Aubade, with a Woman in an Armchair, 1959
Original Hand Signed and Inscribed Linocut in Colours
on Arches Wove Paper
62 x 75 cm. / 24.4 x 29.5 in.
www.gildensarts.com
23/04/2025
COLNAGHI - Official opening of the venue in Brussels
Opening Party of the New Gallery in Brussels on Wednesday 23rd April 2025, 5pm - 9pm
STUDIO exhibition until the 30th of May 2025 by appointment
The new gallery space, 30 rue Jacques Jordaens, will be inaugurated on the 23rd of April 2025 with an exhibition titled “STUDIO”, a playful exploration spotlighting both artists at work in their studios and the study conducted by Colnaghi during its important artistic rediscoveries. To mark the occasion, Colnaghi will unveil an important recent rediscovery made by the gallery, the Triumph of Minerva by Jacob Jordaens, the 17th-century Flemish master and namesake of the gallery’s new address.
The work, rediscovered by Colnaghi after decades of absence from public view, is widely recognised to be an important study for a large, now lost composition by Jordaens. A series of nine photographs by Douglas Duncan of Pablo Picasso at work in his studio will complement the “STUDIO” theme, giving an intimate perspective into the artist’s creative practice.
Picture: Colnaghi's new gallery space in Brussels on Rue Jacques Jordaens
Philippe Henricot (left), Director of Colnaghi Belgium, and Jorge Coll (right), CEO of Colnaghi.
www.colnaghi.com
STUDIO exhibition until the 30th of May 2025 by appointment
The new gallery space, 30 rue Jacques Jordaens, will be inaugurated on the 23rd of April 2025 with an exhibition titled “STUDIO”, a playful exploration spotlighting both artists at work in their studios and the study conducted by Colnaghi during its important artistic rediscoveries. To mark the occasion, Colnaghi will unveil an important recent rediscovery made by the gallery, the Triumph of Minerva by Jacob Jordaens, the 17th-century Flemish master and namesake of the gallery’s new address.
The work, rediscovered by Colnaghi after decades of absence from public view, is widely recognised to be an important study for a large, now lost composition by Jordaens. A series of nine photographs by Douglas Duncan of Pablo Picasso at work in his studio will complement the “STUDIO” theme, giving an intimate perspective into the artist’s creative practice.
The gallery on Rue Jacques Jordaens will operate by appointment, offering Colnaghi’s excellent selection of Old Master paintings, drawings, and invaluable Antiquities.
Picture: Colnaghi's new gallery space in Brussels on Rue Jacques Jordaens
Philippe Henricot (left), Director of Colnaghi Belgium, and Jorge Coll (right), CEO of Colnaghi.
www.colnaghi.com
23/04/2025
Claes Contemporary & Modern Gallery: Congolese painters from the early 1970s to the present day
Brussels, Kitoko, works by Moke, Chéri Samba, Bandoma and Vitshois, 23April - 24 May 2025
For the first time, the Claes Contemporary & Modern Gallery opens its doors to an exhibition bringing together Congolese painters from the early 1970s to the present day. At the dawn of Independence, as art academies flourished across the country, young artists sought to build artistic careers outside conventional codes and pictorial traditions. In 1978, the group exhibition « Art Partout » at the Kinshasa Academy of Fine Arts, bringing together both « academicians » and « self-taught » artists, introduced to the public many artists who proclaimed themselves as « popular artists ». Narrators of urban life and guardians of collective memory, their paintings reimagined the style of their predecessors from the Hangar workshop, embracing figurative art inspired by daily life, political events, and social realities—imagery in which the entire population could recognize itself...
CAPTION: Chéri Samba, "Quel avenir pour notre art?", 1997, Acrylic on canvas, 100 x 81 cm
For the first time, the Claes Contemporary & Modern Gallery opens its doors to an exhibition bringing together Congolese painters from the early 1970s to the present day. At the dawn of Independence, as art academies flourished across the country, young artists sought to build artistic careers outside conventional codes and pictorial traditions. In 1978, the group exhibition « Art Partout » at the Kinshasa Academy of Fine Arts, bringing together both « academicians » and « self-taught » artists, introduced to the public many artists who proclaimed themselves as « popular artists ». Narrators of urban life and guardians of collective memory, their paintings reimagined the style of their predecessors from the Hangar workshop, embracing figurative art inspired by daily life, political events, and social realities—imagery in which the entire population could recognize itself...
CAPTION: Chéri Samba, "Quel avenir pour notre art?", 1997, Acrylic on canvas, 100 x 81 cm
23/04/2025
Objects With Narratives presents a solo show by Jojo Corvaia & a group show
Brussels, Place du Grand Sablon 40, Opening on 23rd of April
SOLO SHOW - JOJO CORVAIA - TEMPS & MATIERE
Jojo Corväiá offers a body of work where materials are not only shaped, but inhabited by absence, by the quiet force of being. The artist captures the delicate dance between silence and movement, between presence and the traces it leaves in time. His sculptures do not hide; yet they whisper, unfolding slowly, like a quiet conversation between form and memory. Each piece bears the marks of its creation; textures that hold the weight of touch, edges fading into shadow, surfaces that seem to breathe. There is an intimacy in this rawness, a language of fractures, of forms settling softly into space. Like a murmur in the wind, this work exists in the space in-between, anchored and ephemeral, where silence is never still, and the unseen vibrates just beneath the surface.
GROUP SHOW - SAVOIR MATIERE - ‘Knowing Material’
SOLO SHOW - JOJO CORVAIA - TEMPS & MATIERE
Jojo Corväiá offers a body of work where materials are not only shaped, but inhabited by absence, by the quiet force of being. The artist captures the delicate dance between silence and movement, between presence and the traces it leaves in time. His sculptures do not hide; yet they whisper, unfolding slowly, like a quiet conversation between form and memory. Each piece bears the marks of its creation; textures that hold the weight of touch, edges fading into shadow, surfaces that seem to breathe. There is an intimacy in this rawness, a language of fractures, of forms settling softly into space. Like a murmur in the wind, this work exists in the space in-between, anchored and ephemeral, where silence is never still, and the unseen vibrates just beneath the surface.
GROUP SHOW - SAVOIR MATIERE - ‘Knowing Material’
SAVOIR MATIÈRE celebrates the exceptional craftsmanship and expertise of seven French artists, each renowned for their deep connection to a specific material. In this unique group show, the artists explore the relationship between material, process, and artistry, elevating everyday substances into objects of transcendent beauty and meaning. From the delicate manipulation of stone to the precision of metalwork, and from the transformative use of aluminium to the tactile qualities of textiles, each artist’s work reveals a singular mastery over their chosen medium. Through refined techniques, innovative processes, and an unwavering commitment to excellence, SAVOIR MATIÈRE invites the viewer to witness the alchemy of creation where material becomes art, and art becomes an embodiment of skill, tradition, and passion.
Artists: Cedric Breisacher, Frédéric Saulou, William Guillon, Elissa Lacoste, Kiko Lopéz, Tom Jablin
www.objectswithnarratives.com
23/04/2025
MARUANI MERCIER: Pam Glick, Romantic Comedy
Brussels, Avenue Louise 430, Romantic Comedy by Pam Glick, 23 April - 7 June
MARUANI MERCIER is delighted to present Romantic Comedy, the exhibition of new paintings by Pam Glick, opening on April 23 at our Brussels gallery. This is the artist’s first solo exhibition with the gallery and her first in Belgium. Constructed in vibrant blocks of carefully selected hues of pink, orange, green, and blue, the paintings in Romantic Comedy are resolutely celebratory, projecting a sense of joy and unimpeded rhythm. Quilt-like, the paintings evoke accumulations of flashes of human experience and echo the orthogonal patterns of the New York streets. Addressing the legacy of Modernism and the history of abstract painting, Glick embraces the free momentum of the hand and body in the undulating lines, locating the authentic and immediate expression of being in the world...
About the artist: Glick's paintings respond to landscapes which she describes as “the perfect blend of physical and spiritual.” Her work emerges through improvisation and free association, capturing a deep yet surprising connection to nature. Born in Albany, Georgia, in 1956, Glick studied Painting at Rhode Island School of Design in 1980 and earned her MFA from the University of Buffalo in 2019. In 1995, Glick moved to Vermont, focusing on collage and works on paper, and later had an artist residency in Budapest in 2019. Her work is part of several collections, including the Buffalo AKG Art Museum, The Broad, and Deutsche Bank.
Picture: Pam Glick, Marry Me, 2024
oil and acrylic on canvas
182 x 182 cm, 71 x 71 in
_T638804809361106321.jpg)
Pam Glick, Bird Man, 2024
oil and acrylic on canvas
152 x 152 cm, 59 x 59 in
MARUANI MERCIER is delighted to present Romantic Comedy, the exhibition of new paintings by Pam Glick, opening on April 23 at our Brussels gallery. This is the artist’s first solo exhibition with the gallery and her first in Belgium. Constructed in vibrant blocks of carefully selected hues of pink, orange, green, and blue, the paintings in Romantic Comedy are resolutely celebratory, projecting a sense of joy and unimpeded rhythm. Quilt-like, the paintings evoke accumulations of flashes of human experience and echo the orthogonal patterns of the New York streets. Addressing the legacy of Modernism and the history of abstract painting, Glick embraces the free momentum of the hand and body in the undulating lines, locating the authentic and immediate expression of being in the world...
About the artist: Glick's paintings respond to landscapes which she describes as “the perfect blend of physical and spiritual.” Her work emerges through improvisation and free association, capturing a deep yet surprising connection to nature. Born in Albany, Georgia, in 1956, Glick studied Painting at Rhode Island School of Design in 1980 and earned her MFA from the University of Buffalo in 2019. In 1995, Glick moved to Vermont, focusing on collage and works on paper, and later had an artist residency in Budapest in 2019. Her work is part of several collections, including the Buffalo AKG Art Museum, The Broad, and Deutsche Bank.
Picture: Pam Glick, Marry Me, 2024
oil and acrylic on canvas
182 x 182 cm, 71 x 71 in
Pam Glick, Bird Man, 2024
oil and acrylic on canvas
152 x 152 cm, 59 x 59 in
23/04/2025
Galerie Nathalie Obadia: Victoria Palacios's first solo show
Brussels, Des signes, des scènes de Victoria Palacios - 21 March - 17 May 2025
Galerie Nathalie Obadia is pleased to present Des signes, des scènes, Victoria Palacios’s first solo exhibition at the gallery in Brussels. Born in 1992 in Rennes, the French artist has lived and worked in Brussels for several years. She graduated in performance and painting from the École de Recherche Graphique (ERG) in 2019. Through a multidisciplinary practice combining painting, music, and performance, Victoria Palacios immerses visitors in a theatrical world of layered narratives, blending the sublime with the unsettling. The exhibition unveils new paintings, objects, and other recent works, in which captivating figures awake. Each piece seems suspended between the ecstasy of a celebration at its height and the melancholy of a spectacle drawing to a close.
Clowns, swans, veiled widows, and ghostly figures greet visitors in procession.The objects depicted come to life as well: they dance—like the bagpipe (biniou)—or sway in sinuous curves, like a lamp post beckoning spectators to follow. Little by little, visitors may come to realise they are watching the spectacle of their own lives: an existence shaped by fetishes, improvisations, laughter, wounds and bereavements, encounters and harmonies as impromptu as they are orchestrated....
For further information, please contact Valérie Wille - valerie@nathalieobadia.com / + 32 (0)2 648 14 05
WWW.NATHALIEOBADIA .COM
Paris Cloître Saint-Merri
Roger-Edgar Gillet
Gillet et compagnie
8 February - 26 April 2025
Paris Saint-Honoré
Sarkis
22 March - 3 May 2025
Galerie Nathalie Obadia is pleased to present Des signes, des scènes, Victoria Palacios’s first solo exhibition at the gallery in Brussels. Born in 1992 in Rennes, the French artist has lived and worked in Brussels for several years. She graduated in performance and painting from the École de Recherche Graphique (ERG) in 2019. Through a multidisciplinary practice combining painting, music, and performance, Victoria Palacios immerses visitors in a theatrical world of layered narratives, blending the sublime with the unsettling. The exhibition unveils new paintings, objects, and other recent works, in which captivating figures awake. Each piece seems suspended between the ecstasy of a celebration at its height and the melancholy of a spectacle drawing to a close.
Clowns, swans, veiled widows, and ghostly figures greet visitors in procession.The objects depicted come to life as well: they dance—like the bagpipe (biniou)—or sway in sinuous curves, like a lamp post beckoning spectators to follow. Little by little, visitors may come to realise they are watching the spectacle of their own lives: an existence shaped by fetishes, improvisations, laughter, wounds and bereavements, encounters and harmonies as impromptu as they are orchestrated....
For further information, please contact Valérie Wille - valerie@nathalieobadia.com / + 32 (0)2 648 14 05
WWW.NATHALIEOBADIA .COM
Paris Cloître Saint-Merri
Roger-Edgar Gillet
Gillet et compagnie
8 February - 26 April 2025
Paris Saint-Honoré
Sarkis
22 March - 3 May 2025
23/04/2025
Galerie La Patinoire Royale Bach: Lebohang Kganye | The Work of Shadows
Brussels, Lebohang Kganye | The Work of Shadows, 23 April - 7 June
Vernissage: 23 April from 5pm to 8pm, Artist conversation: 23 April at 6pm
La Patinoire Royale Bach’s museum-like nave will be filled with Lebohang Kganye’s immersive installations in The Work of Shadows, the South African artist’s first solo exhibition at the gallery. During the vernissage, at 6pm Kganye will be in conversation with Renée Mussai, Curator and Chairwoman of the Deutsche Börse Photography Foundation.
Éditions brings together a selection of bidimensional works by Carlos Cruz-Diez, renowned in the Op Art and Kinetic Art movements, who revolutionized the experience and perception of color.
Jeanne Susplugas - Ordinary Madness
Open Through 30 April 2025
www.prvbgallery.com
Vernissage: 23 April from 5pm to 8pm, Artist conversation: 23 April at 6pm
La Patinoire Royale Bach’s museum-like nave will be filled with Lebohang Kganye’s immersive installations in The Work of Shadows, the South African artist’s first solo exhibition at the gallery. During the vernissage, at 6pm Kganye will be in conversation with Renée Mussai, Curator and Chairwoman of the Deutsche Börse Photography Foundation.
Éditions brings together a selection of bidimensional works by Carlos Cruz-Diez, renowned in the Op Art and Kinetic Art movements, who revolutionized the experience and perception of color.
Jeanne Susplugas - Ordinary Madness
Open Through 30 April 2025
www.prvbgallery.com
22/04/2025
Van der Meij Fine Arts - Artwork of the Month
Discover the artwork the month April by Jan Weissenburch.
Jan Weissenbruch (1822-1880)
Two ladies at the Noorderkerkhof, 1860
Oil on panel
13 x 10.5 cm
Signed lower right: JAN WEISSENBRUCH f.
The Dutch artist Jan Weissenbruch (1822-1880) excelled both at graphic art and at painting. His chosen genre was architectural painting, mainly townscapes, and in this he stands in a rich tradition: like his famous Dutch 17th-century predecessors Gerrit Berckheyde, Pieter Saenredam and Jan van der Heyden, Weissenbruch established a niche for himself through an almost uncanny mastery of contrast that managed to suffuse his paintings with an adroit stillness and an extraordinary suggestion of sunlight that is essentially unrivalled in Dutch 19th-century art.
This is vintage Weissenbruch: the two ladies in our painting are arranged as miniature dolls in a scene intended to convey an almost otherworldly sense of harmony. In doing this, the artist departed from the style of so many of his colleagues, like Springer and Van Hove, whose townscapes were intended to be much more "ordinary" depictions of actual street scenes, with much wider vistas and clear reference to human activity.
Born in The Hague in 1822, Weissenbruch enrolled at the drawing academy in his home town at the age of 14, where he remained a student until 1840. From 1839 onwards, he participated in various exhibitions in Amsterdam and The Hague. His evident ability as a draughtsman led to his being able to show his work abroad, at international exhibitions in Brussels, Paris and London. It was in fact at the Brussels Salon in 1860 that Prince Albert bought two paintings by Weissenbruch as a present for Queen Victoria. They still today form part of the Royal Collection of HM King Charles III. Towards the end of his life, Weissenbruch developed agoraphobia, which inevitably restricted his working routine. Despite this affliction, however, he continued painting until his death in 1880.
Weissenbruch was a very methodical artist. He travelled throughout Holland in order to make drawings of quiet spots near rivers and towns. His paintings would normally be preceded by little sketches he made whilst in situ, although he would also occasionally base a painting on an etching he had done earlier. Before producing a finished painting, he would often create a study in oils, which he would also sign and sell. Unlike work made in the earlier part of his career, Weissenbruch seldom dated any of his later paintings. This means that a chronology of his oeuvre after about 1850 is difficult to establish.
All leading Dutch museums today own work by Jan Weissenbruch. His work can also be seen in international museums in, for example, Belgium, the Hermitage in St Petersburg and the Kunsthalle Hamburg. In 2016/17, a retrospective at the Teylers Museum in Haarlem provided an overview of Weissenbruch's impressive oeuvre, allowing a new generation of museum visitors to enjoy the beauty of this exceptional artist's work.
Jan Weissenbruch (1822-1880)
Two ladies at the Noorderkerkhof, 1860
Oil on panel
13 x 10.5 cm
Signed lower right: JAN WEISSENBRUCH f.
The Dutch artist Jan Weissenbruch (1822-1880) excelled both at graphic art and at painting. His chosen genre was architectural painting, mainly townscapes, and in this he stands in a rich tradition: like his famous Dutch 17th-century predecessors Gerrit Berckheyde, Pieter Saenredam and Jan van der Heyden, Weissenbruch established a niche for himself through an almost uncanny mastery of contrast that managed to suffuse his paintings with an adroit stillness and an extraordinary suggestion of sunlight that is essentially unrivalled in Dutch 19th-century art.
This is vintage Weissenbruch: the two ladies in our painting are arranged as miniature dolls in a scene intended to convey an almost otherworldly sense of harmony. In doing this, the artist departed from the style of so many of his colleagues, like Springer and Van Hove, whose townscapes were intended to be much more "ordinary" depictions of actual street scenes, with much wider vistas and clear reference to human activity.
Born in The Hague in 1822, Weissenbruch enrolled at the drawing academy in his home town at the age of 14, where he remained a student until 1840. From 1839 onwards, he participated in various exhibitions in Amsterdam and The Hague. His evident ability as a draughtsman led to his being able to show his work abroad, at international exhibitions in Brussels, Paris and London. It was in fact at the Brussels Salon in 1860 that Prince Albert bought two paintings by Weissenbruch as a present for Queen Victoria. They still today form part of the Royal Collection of HM King Charles III. Towards the end of his life, Weissenbruch developed agoraphobia, which inevitably restricted his working routine. Despite this affliction, however, he continued painting until his death in 1880.
Weissenbruch was a very methodical artist. He travelled throughout Holland in order to make drawings of quiet spots near rivers and towns. His paintings would normally be preceded by little sketches he made whilst in situ, although he would also occasionally base a painting on an etching he had done earlier. Before producing a finished painting, he would often create a study in oils, which he would also sign and sell. Unlike work made in the earlier part of his career, Weissenbruch seldom dated any of his later paintings. This means that a chronology of his oeuvre after about 1850 is difficult to establish.
All leading Dutch museums today own work by Jan Weissenbruch. His work can also be seen in international museums in, for example, Belgium, the Hermitage in St Petersburg and the Kunsthalle Hamburg. In 2016/17, a retrospective at the Teylers Museum in Haarlem provided an overview of Weissenbruch's impressive oeuvre, allowing a new generation of museum visitors to enjoy the beauty of this exceptional artist's work.
19/04/2025
De Brock: Fourth solo show with Jason Martin, Folk Law
Knokke, Zeedijk 758, 19 April - 29 May
De Brock is pleased to present its fourth solo exhibition with Jason Martin. Martin channels a minimal approach to painting through an expansive yet controlled use of colour, brush and medium. Martin interrogates the fundamentals of painting, veering from epic and luscious compositions of swirling forms to pared-down and muted abstractions in precisely blended tones. Martin’s sensual, three dimensional paintings bow to Abstract Expressionism with their obvious focus on process and intensely expressive gestures.
Martin (b. 1970, Jersey, UK) lives and works in London and Comporta.
Picture: Jason Martin, Poles Apart, 2024, oil on aluminium, 147 x 78 x 8 cm
De Brock is pleased to present its fourth solo exhibition with Jason Martin. Martin channels a minimal approach to painting through an expansive yet controlled use of colour, brush and medium. Martin interrogates the fundamentals of painting, veering from epic and luscious compositions of swirling forms to pared-down and muted abstractions in precisely blended tones. Martin’s sensual, three dimensional paintings bow to Abstract Expressionism with their obvious focus on process and intensely expressive gestures.
Martin (b. 1970, Jersey, UK) lives and works in London and Comporta.
Picture: Jason Martin, Poles Apart, 2024, oil on aluminium, 147 x 78 x 8 cm
16/04/2025
Galerie Christophe Gaillard presents a Group show
Brussels, Tangible / Intangible, 17 April - 28 June 2025
Opening of its upcoming exhibition on Wednesday, April 16th. This group exhibition explores the subtle boundary between the material and immaterial world, inviting the viewer to reflect on what sparks our desire to touch a work of art, as well as on the possibility of making visible and tangible what eludes us.
Works by
Éric Baudart (FR, 1972) / Nancy Brook Brody (US, 1962-2023) / Pier Paolo Calzolari (IT, 1943) / Edith Dekyndt (BE, 1960) / Hélène Delprat (FR, 1957) / Marina Gadonneix (FR, 1977) / Kendell Geers (ZA, 1968) / Cate Giordano (US, 1986) / Dave Hardy (US, 1969) / Thibault Hazelzet (FR, 1975) / Rachel de Joode (NL, 1979) / Michel Journiac (FR, 1935-1995) / Isabelle Le Minh (FR, 1965) / Michelle Lopez (US, 1970) / Anita Molinero (FR, 1953) / Georges Noël (FR, 1924-2010) / Léo Orta (FR, 1993) / Daniel Pommereulle (FR, 1937-2003) / SMITH (FR, 1985) / Pablo Tomek (FR, 1988) / William Tucker (GB/US, 1935) / Letha Wilson (US, 1976)
At the entrance of the exhibition, the eye calls upon the hand. Visitors are greeted by a vibrant interplay of colors and textures, immediately evoking the desire to touch. But caution is advised - these works challenge perception and play with the illusions that materiality can create. Daniel Pommereulle, Éric Baudart, Letha Wilson, and Dave Hardy manipulate materials and forms in ways that surprise us and heighten our senses.
Opening of its upcoming exhibition on Wednesday, April 16th. This group exhibition explores the subtle boundary between the material and immaterial world, inviting the viewer to reflect on what sparks our desire to touch a work of art, as well as on the possibility of making visible and tangible what eludes us.
Works by
Éric Baudart (FR, 1972) / Nancy Brook Brody (US, 1962-2023) / Pier Paolo Calzolari (IT, 1943) / Edith Dekyndt (BE, 1960) / Hélène Delprat (FR, 1957) / Marina Gadonneix (FR, 1977) / Kendell Geers (ZA, 1968) / Cate Giordano (US, 1986) / Dave Hardy (US, 1969) / Thibault Hazelzet (FR, 1975) / Rachel de Joode (NL, 1979) / Michel Journiac (FR, 1935-1995) / Isabelle Le Minh (FR, 1965) / Michelle Lopez (US, 1970) / Anita Molinero (FR, 1953) / Georges Noël (FR, 1924-2010) / Léo Orta (FR, 1993) / Daniel Pommereulle (FR, 1937-2003) / SMITH (FR, 1985) / Pablo Tomek (FR, 1988) / William Tucker (GB/US, 1935) / Letha Wilson (US, 1976)
At the entrance of the exhibition, the eye calls upon the hand. Visitors are greeted by a vibrant interplay of colors and textures, immediately evoking the desire to touch. But caution is advised - these works challenge perception and play with the illusions that materiality can create. Daniel Pommereulle, Éric Baudart, Letha Wilson, and Dave Hardy manipulate materials and forms in ways that surprise us and heighten our senses.
BRUSSELS
Quai du commerce 50 Handelskaai, 1000 Brussels
Phone : +32 474 851 640
brussels@galerie-gaillard.com I www.galeriegaillard.com
EN CE MOMENT / CURRENTLY I PARIS
Frontspace : A History of America
Brian MAGUIRE
-> 19.04.2025
EN CE MOMENT / CURRENTLY I PARIS
Mainspace : Le futur est un arbre
Gianfranco BARUCHELLO
-> 19.04.2025
PARIS
5 rue Chapon, 75003 Paris
Phone : +33 (0)1 42 78 49 16
contact@galerie-gaillard.com
LA RÉSIDENCE I LE TREMBLAY
Château du Tremblay, 61230 Orgères
Sur rendez-vous / By appointment
12/04/2025
MARUANI MERCIER: inaugural show of South African artist Kate Gottgens
Knokke Kustlaan 90, Darkening Dusk by Kate Gottgens, April 12 – May 25, 2025
www.maruanimercier.com
MARUANI MERCIER is proud to present Darkening Dusk, the inaugural solo exhibition of South African artist Kate Gottgens. Recognized for her haunting, dreamlike compositions, Gottgens crafts works that exist in a state of liminality—never fixed, always in flux, and at times elusive. Just as the fading light of dusk blurs the boundaries of day and night, her paintings evoke a sense of transition, where familiarity dissolves into something more fluid, open-ended, and mysterious.
Gottgens builds her work from a variety of sourced imagery— anonymous snapshots found at flea markets, family vacation photos, or fragments retrieved from the vast digital archive of the internet. Stripped of their original contexts, these images become the raw material for a process of reconstruction and transformation. This gives rise to landscapes that feel both intimate and unplaceable, imbued with an unsettling, cinematic tension. A feminist undercurrent runs through the works in Darkening Dusk, with Gottgens increasingly centering enigmatic female figures.
Her paintings do not offer clear narratives but instead invite viewers to respond instinctively, as if recalling a dream just beyond their reach. Suspended between the past and present, beauty and disquiet, her work lingers in the spaces where certainty fades and something more enigmatic takes hold. Darkening Dusk invites viewers to enter a world where reality and memory, nature and self, are never fully defined.
Caption: Kate Gottgens, Summoned by the tides, 2025 oil on canvas, 150 x 110 cm
Gallery Brussels
Drawing in Space
George Rickey
till 12 April 2025Gottgens builds her work from a variety of sourced imagery— anonymous snapshots found at flea markets, family vacation photos, or fragments retrieved from the vast digital archive of the internet. Stripped of their original contexts, these images become the raw material for a process of reconstruction and transformation. This gives rise to landscapes that feel both intimate and unplaceable, imbued with an unsettling, cinematic tension. A feminist undercurrent runs through the works in Darkening Dusk, with Gottgens increasingly centering enigmatic female figures.
Her paintings do not offer clear narratives but instead invite viewers to respond instinctively, as if recalling a dream just beyond their reach. Suspended between the past and present, beauty and disquiet, her work lingers in the spaces where certainty fades and something more enigmatic takes hold. Darkening Dusk invites viewers to enter a world where reality and memory, nature and self, are never fully defined.
Caption: Kate Gottgens, Summoned by the tides, 2025 oil on canvas, 150 x 110 cm
Gallery Brussels
Drawing in Space
George Rickey
www.maruanimercier.com
12/04/2025
Galerie Alexis Pentcheff: Hervé Di Rosa
Marseille, Escale à la Reine Jeanne, Hervé di Rosa, 12 avril - 31 mai
Sous-marine joyeuse
www.galeriepentcheff.fr
Sur le chemin de l’exposition Un air de famille, qui lui est consacrée à Marseille par le Mucem, Hervé Di Rosa fait une escale dans la calanque de Malmousque, au Pavillon de la Reine Jeanne. La galerie expose ainsi un ensemble de travaux de l’artiste, oeuvres récentes ou pièces issues de son vaste projet Autour du Monde, caractéristique de sa démarche artistique. Tableaux, sculptures, oeuvres sur papier, céramiques... Di Rosa maitrise un vaste répertoire technique qu'il soumet à son iconographie fabuleuse, à sa galerie de personnages hauts en couleurs.
Sous-marine joyeuse
www.galeriepentcheff.fr
11/04/2025
Galerie Jean-François Cazeau dévoile 'La Figuration dans tous ses états'
Paris, La Figuration dans tous ses états, du 11 avril au 2 juin
Durant des siècles, les représentations picturales et sculpturales ont fasciné l’humanité. Néanmoins, au début du XXe siècle, avec l’arrivée de l’abstraction et la libération de la peinture de toute contrainte de figuration, la peinture figurative devient un terme difficile. L’art moderne et l’art abstrait deviennent synonymes à cette époque. La figuration, est-elle devenue un vestige, un survivant d’un autre monde? Sa persistance au sein des mouvements d’avant-garde montre que l’abstraction n’est pas la seule voie prise par les artistes pour renouveler le langage plastique. La Figuration dans tous ses états fait suite et pendant à l’exposition L’Abstraction dans tous ses états tenue par la galerie en 2018, une manière de montrer au public l’autre voie de la modernité plastique. L’exposition La Figuration dans tous ses états offre une vue panoramique des mouvements figuratifs de la modernité, à partir de l’impressionnisme, post-impressionnisme et l’École de Pont-Aven jusqu’à l’après-guerre...
Rue Anastrase 8
75003 Paris
www.galeriejfcazeau.com
Durant des siècles, les représentations picturales et sculpturales ont fasciné l’humanité. Néanmoins, au début du XXe siècle, avec l’arrivée de l’abstraction et la libération de la peinture de toute contrainte de figuration, la peinture figurative devient un terme difficile. L’art moderne et l’art abstrait deviennent synonymes à cette époque. La figuration, est-elle devenue un vestige, un survivant d’un autre monde? Sa persistance au sein des mouvements d’avant-garde montre que l’abstraction n’est pas la seule voie prise par les artistes pour renouveler le langage plastique. La Figuration dans tous ses états fait suite et pendant à l’exposition L’Abstraction dans tous ses états tenue par la galerie en 2018, une manière de montrer au public l’autre voie de la modernité plastique. L’exposition La Figuration dans tous ses états offre une vue panoramique des mouvements figuratifs de la modernité, à partir de l’impressionnisme, post-impressionnisme et l’École de Pont-Aven jusqu’à l’après-guerre...
Rue Anastrase 8
75003 Paris
www.galeriejfcazeau.com
10/04/2025
Bernier/Eliades Gallery Brussels - Rallou Panagiotou, Hard Shoulder
Brussels, Rallou Panagiotou, Hard Shoulder, April 10 - July 5, 2025
The Bernier/Eliades Gallery is pleased to present "Hard Shoulder", a solo exhibition by Rallou Panagiotou, the artist’s first solo show in Brussels and her third with the Bernier/Eliades Gallery. The exhibition consists of a suite of new sculptures conceived like characters of a static absurdist theater play. All elements that appear in the works - partial bodies, objects, and places - become equal agents of open narrative possibilities. Each sculpture appears as a composite topology with a materiality synthetic and natural alike. Each examines the relations of objects, environment and the body in moments of leisure and reverie. Marble bas-reliefs, printed or industrially coated surfaces, and copies of architectural features morph together into fragmented mise en scènes....
The snake, whose body interacts with space like the lightwaves on obstacles, appears in the works through the mythological element of Medusa as well as via waveform elements throughout the exhibition; the S-shape of a chaise-longue where a pile of broken glass found on the shore reflects light, metal water hoses shape a Medusa’s raft, a line of blood streams from a cut on a leg.
Rallou Panagiotou lives in Glasgow and Athens.
Caption: Rallou Panagiotou, Double entendre (sfrenato & lingotto), 2023 | Marble, aluminium and Lancia car paint | 76 x 49 x 5,5 cm | Photo credits: Sebastiano Pellion di Persano
Gallery
Rue du Châtelain 46 / BE-1050 Brussels
t. +32 (0)2 640 55 04 I brussels@bernier-eliades.com I www.bernier-eliades.com
The Bernier/Eliades Gallery is pleased to present "Hard Shoulder", a solo exhibition by Rallou Panagiotou, the artist’s first solo show in Brussels and her third with the Bernier/Eliades Gallery. The exhibition consists of a suite of new sculptures conceived like characters of a static absurdist theater play. All elements that appear in the works - partial bodies, objects, and places - become equal agents of open narrative possibilities. Each sculpture appears as a composite topology with a materiality synthetic and natural alike. Each examines the relations of objects, environment and the body in moments of leisure and reverie. Marble bas-reliefs, printed or industrially coated surfaces, and copies of architectural features morph together into fragmented mise en scènes....
The snake, whose body interacts with space like the lightwaves on obstacles, appears in the works through the mythological element of Medusa as well as via waveform elements throughout the exhibition; the S-shape of a chaise-longue where a pile of broken glass found on the shore reflects light, metal water hoses shape a Medusa’s raft, a line of blood streams from a cut on a leg.
Rallou Panagiotou lives in Glasgow and Athens.
Caption: Rallou Panagiotou, Double entendre (sfrenato & lingotto), 2023 | Marble, aluminium and Lancia car paint | 76 x 49 x 5,5 cm | Photo credits: Sebastiano Pellion di Persano
Gallery
Rue du Châtelain 46 / BE-1050 Brussels
t. +32 (0)2 640 55 04 I brussels@bernier-eliades.com I www.bernier-eliades.com
08/04/2025
Francis Maere Fine Arts - Discover the 2025 Collection
Ghent, till 4 May 2025
Francis Maere Fine Arts is delighted to invite you to explore our exceptional 2025 collection, featuring an outstanding selection of works by celebrated artists. This year, we present masterpieces by Emile Claus and Léon Spilliaert, alongside iconic works by Paul Delvaux, Fernando Botero, and Medardo Rosso. A special highlight of our exhibition is the dedicated salon honoring Karel Dierickx, offering an intimate perspective on his remarkable oeuvre. Additionally, we showcase a beautiful Dotremont, a rare Evenepoel, and a quintessential De Saedeleer, complemented by an important work by Pol Bury. Our collection also includes exceptional pieces by Frits Van den Berghe, James Ensor, Malfait, and Gustave De Smet, among many others.
07/04/2025
Stern Pissarro Gallery - Exploring the tradition of painting in the Pissarro family
In this video, David Stern discusses the Pissarro family and takes a deep dive into the tradition of painting that has persisted across five generations, beginning with Camille Pissarro. Stern Pissarro Gallery, which holds the strongest collection of Pissarro works worldwide, was established in 1964 and is co-owned by David Stern and Lélia Pissarro, the great-granddaughter of Camille Pissarro. The gallery lends extensively to international museums and institutions and has become a center of research and expertise on the work of Camille Pissarro’s descendants.
For more information visit our website or contact us at stern@pissarro.com.
Gallery
66 St James's Street / London SW1A 1NE / United Kingdom
+44 (0)20 7629 6662 I stern@pissarro.com I www.pissarro.art
05/04/2025
QG Gallery unveils the group show Language & Art
Knokke, Zeedijk 720, Language & Art, 5 April - 29 June 2025
Brussels, Rue Saint-Georges 13, French Touch, till April 13, 2025
A showcase of works by some of the most influential French artists of the 20th and 21st centuries with a focus on minimal and conceptual works. The exhibition will run . With works by: Daniel Buren, Cécile Bart, Nicolas Chardon, Nathalie Du Pasquier, Bernard Frize, Bernard Joubert, Quentin Lefranc, Vera Molnar, François Morellet, Jean-Pierre Raynaud, François Ristori, Bernar Venet, Claude Viallat
www.qg-gallery.com
QG Gallery is thrilled to present LANGUAGE & ART, an exhibition showcasing artists who have explored the interplay between language and visual art. Featuring works spanning from the 1950s to the present, the exhibition will be on view from April 5 to June 29. With works by: Art & Language, John Baldesarri, Robert Barry, James Lee Byars, Nicolas Chardon, Claire Fontaine, Hamish Fulton, Frank Gerritz, Bernd Lohaus, Marcel Marien, Shirin Neshat, Raymond Pettibon, Jack Pierson, Gustavo Riego, Betty Tompkins, Rirkrit Tiravanija, David Tremlett, Lawrence Weiner, Leon Wuidar.
Brussels, Rue Saint-Georges 13, French Touch, till April 13, 2025
A showcase of works by some of the most influential French artists of the 20th and 21st centuries with a focus on minimal and conceptual works. The exhibition will run . With works by: Daniel Buren, Cécile Bart, Nicolas Chardon, Nathalie Du Pasquier, Bernard Frize, Bernard Joubert, Quentin Lefranc, Vera Molnar, François Morellet, Jean-Pierre Raynaud, François Ristori, Bernar Venet, Claude Viallat
www.qg-gallery.com
05/04/2025
Axel Vervoordt unveils new works by Kimsooja
Terrace Gallery Kanaal @ Wijnegem, Meta-Painting by Kimsooja, April 5 - June 7, 2025
Axel Vervoordt Gallery is pleased to announce Meta-Painting, Kimsooja’s sixth solo exhibition at the gallery. A visionary artist exploring migration, memory, and materiality, Kimsooja redefines painting through immersive installations. Meta-Painting transforms raw linen and Bottari fabric bundles into a meditation on creation, while Thread Routes II links weaving, architecture, and human movement. Blurring boundaries between disciplines, her work unveils the poetic interplay of textile, space, and labor, offering a profound reflection on transformation.
AXEL VERVOORDT GALLERY
Kanaal
Stokerijstraat 19
2110 Wijnegem
t. +32 3 355 33 00 - info@axelvervoordtgallery.com
Opening hours: Friday 2 p.m. - 5 p.m. & Saturday 11 a.m. - 6 p.m.
www.axel-vervoordt.com
Axel Vervoordt Gallery is pleased to announce Meta-Painting, Kimsooja’s sixth solo exhibition at the gallery. A visionary artist exploring migration, memory, and materiality, Kimsooja redefines painting through immersive installations. Meta-Painting transforms raw linen and Bottari fabric bundles into a meditation on creation, while Thread Routes II links weaving, architecture, and human movement. Blurring boundaries between disciplines, her work unveils the poetic interplay of textile, space, and labor, offering a profound reflection on transformation.
AXEL VERVOORDT GALLERY
Kanaal
Stokerijstraat 19
2110 Wijnegem
t. +32 3 355 33 00 - info@axelvervoordtgallery.com
Opening hours: Friday 2 p.m. - 5 p.m. & Saturday 11 a.m. - 6 p.m.
www.axel-vervoordt.com
03/04/2025
Galerie Taménaga: Exposition collective Into the Woods
Exposition collective: Yuichiro Sato - Pierre Roy-Camille - Enrico Tealdi - Youn Hye Sung - Paris, du 3 au 26 avril 2025
«La forêt est un état d’âme, elle a ses pensées, ses songes, ses murmures. C’est un être mystérieux qui a une âme comme l’homme, et qui souffre comme lui.» Les Contemplations de Victor Hugo, publié en 1856
«La forêt est un état d’âme, elle a ses pensées, ses songes, ses murmures. C’est un être mystérieux qui a une âme comme l’homme, et qui souffre comme lui.» Les Contemplations de Victor Hugo, publié en 1856
Sous le titre Into the woods / Dans les bois, la Galerie Taménaga est heureuse de dévoiler une exposition collective réunissant 4 artistes contemporains aux racines et sensibilités diverses : le Japonais Yuichiro Sato, le Français Pierre Roy-Camille, l’Italien Enrico Tealdi et la Coréenne Youn Hye Sung. À travers leur peinture, chacun explore à sa manière, la thématique intemporelle de la forêt. Cet espace végétal, tantôt foisonnant et dense, tantôt dépouillé et minimal, demeure l’un des derniers refuges où l’empreinte humaine est encore limitée; la nature y régnant en maîtresse incontestée.
Plus que la forêt elle-même, les artistes peignent la lumière. Celle qui se faufile, qui éclaire et transforme; de l’ombre profonde des sous-bois aux cimes baignées de lumière, du reflet d’une goutte d’eau longeant les sillons de l’écorce à la réverbération du soleil sur les nervures de feuilles. La forêt devient ce champ de forces invisibles où le jeu entre lumière et obscurité façonne notre perception.
De sa forêt finlandaise, Yuichiro Sato en capte l’anatomie des bouleaux et autres sapins. Par son dessin à la mine de plomb...
Face à cette exactitude, Pierre Roy-Camille, lui, inscrit le paysage dans une mémoire stratifiée. La forêt y est jungle...
Chez Enrico Tealdi, la forêt se dissout en une atmosphère brumeuse, tel un voile flottant...
Enfin, l’oeuvre de Youn Hye Sung se veut une exploration picturale où seule la lumière subsiste comme principe fondateur...
Pour plus d'informations, téléchargez le communiqué de presse.
18 Avenue Matignon
FR-75008 Paris
t. +33 (0)1 42 66 61 94
galerie@tamenaga.fr | www.tamenaga.com
Plus que la forêt elle-même, les artistes peignent la lumière. Celle qui se faufile, qui éclaire et transforme; de l’ombre profonde des sous-bois aux cimes baignées de lumière, du reflet d’une goutte d’eau longeant les sillons de l’écorce à la réverbération du soleil sur les nervures de feuilles. La forêt devient ce champ de forces invisibles où le jeu entre lumière et obscurité façonne notre perception.
De sa forêt finlandaise, Yuichiro Sato en capte l’anatomie des bouleaux et autres sapins. Par son dessin à la mine de plomb...
Face à cette exactitude, Pierre Roy-Camille, lui, inscrit le paysage dans une mémoire stratifiée. La forêt y est jungle...
Chez Enrico Tealdi, la forêt se dissout en une atmosphère brumeuse, tel un voile flottant...
Enfin, l’oeuvre de Youn Hye Sung se veut une exploration picturale où seule la lumière subsiste comme principe fondateur...
Pour plus d'informations, téléchargez le communiqué de presse.
18 Avenue Matignon
FR-75008 Paris
t. +33 (0)1 42 66 61 94
galerie@tamenaga.fr | www.tamenaga.com
03/04/2025
Galerie La Patinoire Royale Bach sparkles with the Enchanted Forest By Joana Vasconcelos
Don't miss the last weeks of Joana Vasconcelos' The Enchanted Forest. Please join us before it closes April 12. Over 8,000 visitors have immersed in the installation. It feels like a sylvan mirage. In La Patinoire Royale Bach’s nave, lights glow in what look like the branches and along the sturdy trunks of a clearing full of magical trees. Floating in air, they tend toward the ground as though yearning for roots. In the multi-colored splendor of this layered labyrinth, small bullseyes of crochet look like the rings of Seussical flora. The wizardry of elemental alchemy is at once disorienting and enchanting. Cloth turns timber; sequin or ruffle become leaf; ceiling turns canopy.
The exhibition Catalogue, with a text by Eve Hill-Agnus is available for 10 € at the gallery.
The exhibition Catalogue, with a text by Eve Hill-Agnus is available for 10 € at the gallery.
Jeanne Susplugas, Ordinary Madness till 30 April 2025
In a world where the pursuit of well-being often borders on addiction, the artist presents Ordinary Madness, a pharmacopoeia of chemical formulas: endorphins, serotonin, ethanol and other drugs in the form of drawings, ceramics and sculptures.
Galerie La Patinoire Royale Bach
15 rue Veydt - 1060 Brussels
T+32 2 533 03 90 - contact@prvbgallery.com
www.prvbgallery.com
01/04/2025
Dei Bardi Art - Focus on Veneto-Saracenic candlestick
This rare candlestick exemplify exquisite craftsmanship, featuring a bell-shaped base with a flared foot adorned with intricate engraved patterns. The candlesticks bear European coats of arms. Similar candlesticks with blank shields can be found in the Rijksmuseum and the British Museum, indicating a widespread demand for such items in Europe. Merchants likely commissioned these pieces for the open market, allowing buyers to personalize them with their own heraldic symbols.
The candlesticks reflect the technical innovations of Islamic metalworkers, particularly their advanced use of sand-casting for vessels and three-dimensional forms, a method that predated its widespread adoption in Europe by several centuries.The engraved arabesques, thread-like scrolls, acanthus leaves, and palmettes provide a striking contrast to the coats of arms.
This combination of Eastern and European influences defines a category of artworks known as Veneto-Saracenic. This term refers to a group of metal vessels produced between the 14th and 16th centuries that blend Middle Eastern craftsmanship with European stylistic features.
These objects are now understood to have been produced in the Near East -particularly Egypt and Syria- specifically for Western clients. These candlesticks serve as rare examples of how Venetian upper bourgeoisie and nobility embraced Orientalist influences during the late Renaissance. They also testify to this fascination and cross-cultural exchange, offering a glimpse into the rich artistic dialogue between East and West.
The candlesticks reflect the technical innovations of Islamic metalworkers, particularly their advanced use of sand-casting for vessels and three-dimensional forms, a method that predated its widespread adoption in Europe by several centuries.The engraved arabesques, thread-like scrolls, acanthus leaves, and palmettes provide a striking contrast to the coats of arms.
This combination of Eastern and European influences defines a category of artworks known as Veneto-Saracenic. This term refers to a group of metal vessels produced between the 14th and 16th centuries that blend Middle Eastern craftsmanship with European stylistic features.
These objects are now understood to have been produced in the Near East -particularly Egypt and Syria- specifically for Western clients. These candlesticks serve as rare examples of how Venetian upper bourgeoisie and nobility embraced Orientalist influences during the late Renaissance. They also testify to this fascination and cross-cultural exchange, offering a glimpse into the rich artistic dialogue between East and West.
Veneto-Saracenic candlestick
Engraved bronze
15th century
12.5 x 6.2 cm
Gallery at Sablon area
Rue Watteeu 12 / BE-1000 Brussels
www.deibardiart.com
29/03/2025
Gallery Sofie Van de Velde: Solo show Kees Goudzwaard & Group show Words are very Unnecessary
Antwerp, Nieuw Zuid, Kees Goudzwaard, An Optismist's View & Group Show, Words are very Unnecessary, 29 March - 4 May 2025
Kees Goudzwaard, Collage, 1992, Oil and ink on canvas, 150 x 200 cm
Gallery
Nieuw Zuid - Léon Stynenstraat 21 / BE-2000 Antwerp
m. +32 (0)470 04 88 83 I info@sofievandevelde.be | www.sofievandevelde.be
Kees Goudzwaard (b. 1958 in Utrecht, NL) currently resides in Antwerp (BE) and works in Reusel (NL). At first glance, Goudzwaard's artworks appear to be minimalist color studies composed of rectangular pieces of paper and tape. However, upon closer examination, these works reveal themselves as meticulously crafted trompe-l’oeil paintings. He begins by constructing a model, arranging sheets of paper, transparent acetates, and tape on a colored surface. He often spends a considerable amount of time refining the composition before creating the painted illusion at full scale. Goudzwaard seamlessly merges artistic traditions spanning three centuries, combining the playful precision of 17th-century Dutch still-life painting with the abstract art movements of pre- and post-war Europe and America (Ben Luke, 2009)...
Read more by donwloading the press text.
Caption: Kees Goudzwaard, Documented, 2025, Oil on canvas, 100 x 75 cm
Read more by donwloading the press text.
Caption: Kees Goudzwaard, Documented, 2025, Oil on canvas, 100 x 75 cm
Kees Goudzwaard, Collage, 1992, Oil and ink on canvas, 150 x 200 cm
Gallery Sofie Van de Velde is also proud to present Words are very Unnecessary, a group exhibition that brings together artists whose practices navigate the space between presence and absence. With reduced forms, quiet materials, and restrained gestures, these works challenge the need for explanation or excess.
Nieuw Zuid - Léon Stynenstraat 21 / BE-2000 Antwerp
m. +32 (0)470 04 88 83 I info@sofievandevelde.be | www.sofievandevelde.be
27/03/2025
rodolphe janssen welcomes Thomas Lerooy
Brussels rue de Livourne 35, Twists and Turns by Thomas Lerooy, 27 March - 10 May 2025
Surprising shifts, curves, and frequent changes of direction. The road through the mountains is full of twists and turns. For his sixth solo exhibition at rodolphe janssen, Thomas Lerooy presents a new series of small and large paintings on panel and on canvas, alongside unique sculptures in bronze and stone. With Twists and Turns, Lerooy continues to build an oeuvre that recontextualizes and demystifies existing visual lexicons. His sculptures depict bronze faces crushed between massive stone blocks. They evoke the tension between movement and stillness, between freedom and constraint. These works suggest an allegory of a society that both shapes and crushes us.
Lerooy’s oeuvre continues to balance between opposites: the sculptures and paintings oscillate between heaviness and lightness, concealment and revelation, grotesque and intimate, classical and twisted, observing and being seen. Twists and Turns is an exercise in seeing differently, in rephrasing what we think we know. An exhibition that not only reflects on Lerooy’s own work but also on broader visual structures- and the frameworks that define how and what we see.
About the artist: (BORN) 1981 IN ROESELARE, BELGIUM (BASED) BRUSSELS, BELGIUM
Thomas Lerooy has gained international recognition through several solo exhibitions in recent years, including at institutions such as TANK Shanghai (2024), the Royal Museums of Fine Arts of Belgium (2019), Museum Dhondt-Dhaenens in Deurle (2017), and the Petit Palais in Paris (2015). His work is part of major public collections, including the Centre Pompidou in Paris, the Province of West Flanders, the Belfius Art Collection in Brussels, and the cities of Brussels, Puurs, and Knokke, where he has a permanent monumental installation.
www.rodolphejanssen.com
Lerooy’s oeuvre continues to balance between opposites: the sculptures and paintings oscillate between heaviness and lightness, concealment and revelation, grotesque and intimate, classical and twisted, observing and being seen. Twists and Turns is an exercise in seeing differently, in rephrasing what we think we know. An exhibition that not only reflects on Lerooy’s own work but also on broader visual structures- and the frameworks that define how and what we see.
About the artist: (BORN) 1981 IN ROESELARE, BELGIUM (BASED) BRUSSELS, BELGIUM
Thomas Lerooy has gained international recognition through several solo exhibitions in recent years, including at institutions such as TANK Shanghai (2024), the Royal Museums of Fine Arts of Belgium (2019), Museum Dhondt-Dhaenens in Deurle (2017), and the Petit Palais in Paris (2015). His work is part of major public collections, including the Centre Pompidou in Paris, the Province of West Flanders, the Belfius Art Collection in Brussels, and the cities of Brussels, Puurs, and Knokke, where he has a permanent monumental installation.
www.rodolphejanssen.com
19/03/2025
Galerie AB presents 'Dessins de 1880 à nos jours'
Paris, Dessins de 1880 à nos jours, 19 March - 19 April
During the 'MOIS DU DESSIN' in Paris, Agnès Aittouares opens her new venue in the heart of Saint-Germain-les-Prés for an exhibition of drawings by great artists from the 19th century to the present day. To look at a drawing is to penetrate to the heart of the artist's intimacy. Drawings are the very architecture of the artist's creative work, and were originally usually kept in the artist's studio. From the beginning of the 20th century, modern art, with its emphasis on materials and techniques, turned them into an art form in their own right. In this chronological tour, the visitor will discover the sensibility of these artists who, through drawing, reveal a creative gesture, touching on the major currents of modern art, such as Paul Signac's Impressionism, the intimism of Pierre Bonnard and Édouard Vuillard, the cubism of Georges Valmier and Leopold Survage, the surrealism of Joan Miro, the lyrical abstraction of Hans Hartung, the abstract expressionism of Sam Francis, the anamorphism of Sam Szafran and many others...
Galerie AB - Agnès Aittouares
5 rue Jacques Callot- Paris VI
Mail : galerieab@gmail.com
Tel. : +33 1 45 23 41 16 / Mobile : +33 6 14 42 96 83
www.galerie-ab.com
During the 'MOIS DU DESSIN' in Paris, Agnès Aittouares opens her new venue in the heart of Saint-Germain-les-Prés for an exhibition of drawings by great artists from the 19th century to the present day. To look at a drawing is to penetrate to the heart of the artist's intimacy. Drawings are the very architecture of the artist's creative work, and were originally usually kept in the artist's studio. From the beginning of the 20th century, modern art, with its emphasis on materials and techniques, turned them into an art form in their own right. In this chronological tour, the visitor will discover the sensibility of these artists who, through drawing, reveal a creative gesture, touching on the major currents of modern art, such as Paul Signac's Impressionism, the intimism of Pierre Bonnard and Édouard Vuillard, the cubism of Georges Valmier and Leopold Survage, the surrealism of Joan Miro, the lyrical abstraction of Hans Hartung, the abstract expressionism of Sam Francis, the anamorphism of Sam Szafran and many others...
Galerie AB - Agnès Aittouares
5 rue Jacques Callot- Paris VI
Mail : galerieab@gmail.com
Tel. : +33 1 45 23 41 16 / Mobile : +33 6 14 42 96 83
www.galerie-ab.com
14/03/2025
Meessen welcomes back Rinko Kawauchi
Rinko Kawauchi, M/E, 14 March - 26 April 2025
Meessen
Abdijstraat 2A Rue de l'Abbaye, 1000 Brussels
Thu-Sat: 11AM - 6PM
t. +32 2 644 34 54
www.meessen.be
Meessen is delighted to welcome Rinko Kawauchi for her third solo exhibition at the gallery. In M/E, Rinko Kawauchi explores the profound links between the individual, the Earth and the universe, weaving together themes around natural landscapes, family and existence. The title M/E, meaning both ‘Mother Earth’ and ‘me’, reflects this complex and intimate relationship. His serene photographs navigate between micro and macro perspectives, revealing the equality and interconnectedness of all things in the great cycle of life. For Kawauchi, photography is a profoundly physical act: moving away to better perceive, absorbing to better understand. This movement, between distance and proximity, is at the heart of his work.
Meessen est ravi d'accueillir Rinko Kawauchi pour sa troisième exposition personnelle à la galerie. Dans M/E, Rinko Kawauchi explore les liens profonds entre l’individu, la Terre et l’univers, tissant ensemble des thèmes autour des paysages naturels, de la famille et de l’existence. Le titre M/E, signifiant à la fois “Mother Earth” (Terre Mère) et “me” (moi), reflète cette relation complexe et intime. Ses photographies, empreintes de sérénité, naviguent entre perspectives micro et macro, révélant l’égalité et l’interconnexion de toutes choses dans le grand cycle de la vie. Pour Kawauchi, photographier est un acte profondément physique : s’éloigner pour mieux percevoir, absorber pour mieux comprendre. Ce mouvement, entre distance et proximité, est au cœur de son travail.
Meessen
Abdijstraat 2A Rue de l'Abbaye, 1000 Brussels
Thu-Sat: 11AM - 6PM
t. +32 2 644 34 54
www.meessen.be
12/03/2025
DIE GALERIE presents Max Ackermann I Pioneer of abstraction
Frankfurt am Main - March 12 – May 28, 2025
With the exhibition Max Ackermann – Pioneer of Abstraction, DIE GALERIE celebrates the life and work of a German pioneer of non-objective painting 50 years after his death. Born in Berlin in 1887 and active primarily in Stuttgart and at Lake Constance, Max Ackermann (1887–1975) ranks among the absolute pioneers of German and international abstraction and deserves to be mentioned alongside celebrated contemporaries such as Willi Baumeister and Wassily Kandinsky. Always eager to experiment and keen to try out new techniques and styles, the artist's work is characterized by an impressive and consistent degree of diversity. “I master all styles”, the artist confidently claimed in the 1960s.
Comprising around 70 works, DIE GALERIE explores the vast range of this artistic genius, from extremely dynamic compositions often inspired by music, to large-scale color fields in varying shades of blue exuding a sense of calm and harmony. Painted between 1930 and the mid-1970s, the pieces in this exhibition work together like a perfectly orchestrated symphony of loud and soft tones, captivating the viewer's attention.
Read more & download the press release.
With the exhibition Max Ackermann – Pioneer of Abstraction, DIE GALERIE celebrates the life and work of a German pioneer of non-objective painting 50 years after his death. Born in Berlin in 1887 and active primarily in Stuttgart and at Lake Constance, Max Ackermann (1887–1975) ranks among the absolute pioneers of German and international abstraction and deserves to be mentioned alongside celebrated contemporaries such as Willi Baumeister and Wassily Kandinsky. Always eager to experiment and keen to try out new techniques and styles, the artist's work is characterized by an impressive and consistent degree of diversity. “I master all styles”, the artist confidently claimed in the 1960s.
Comprising around 70 works, DIE GALERIE explores the vast range of this artistic genius, from extremely dynamic compositions often inspired by music, to large-scale color fields in varying shades of blue exuding a sense of calm and harmony. Painted between 1930 and the mid-1970s, the pieces in this exhibition work together like a perfectly orchestrated symphony of loud and soft tones, captivating the viewer's attention.
Read more & download the press release.
09/03/2025
De Brock - Third solo exhibition with Helmut Dorner
Knokke, Helmut Dorner, 9 March - 16 April
Helmut Dorner, Chrisantheme, 2024, acrylic on canvas, 186 x 146 cm
Zeedijk 758
Knokke, Belgium
debrockgallery.com
De Brock is pleased to present its third solo exhibition with Helmut Dorner. Featuring a new suite of acrylic paintings on canvas or wood panel, this exhibition is the latest demonstration of Dorner’s prominence as an abstract painter, a movement of which he has been a significant proponent since the mid-1980s. Having originally studied under Gerhard Richter at the Kunstakademie Düsseldorf between 1976 and 1982, Dorner quickly established himself as a eminent voice in post-modern European abstraction, solidified with the artists inclusion in the ninth edition of the prestigious documenta quinquennial (Germany, 1992) curated by Jan Hoet. While his early paintings were marked by dark tones; a tendency towards geometricism; and a sculptural surface built-up by thickly applied impasto oil on hand-cut wooden supports, these recent acrylic works are rendered in a softer palette of pastel shades and almost approach representation in their resolute abstraction.
Since 1989 Dorner has been Professor of Painting at Staatliche Akademie der Bildenden Künste (Karlsruhe, Germany). Important institutional solo exhibitions include Kunstmuseum Winterthur (Switzerland, 2006), Josef Albers Museum (Germany, 2006), Saarland Museum (Germany, 2006), Carré d'Art, Musée d'art contemporain de Nîmes (France, 1991) and Kunsthalle Bern (Switzerland, 1990). Dorner's work resides in the public collections of Centre Pompidou (Paris), Stedelijk Museum voor Actuele Kunst (Ghent), Centro Cultural Arte Contemporaneo (Mexico City), Museo Nacional Centro de Arte Reina Sofía (Madrid) and more.
Since 1989 Dorner has been Professor of Painting at Staatliche Akademie der Bildenden Künste (Karlsruhe, Germany). Important institutional solo exhibitions include Kunstmuseum Winterthur (Switzerland, 2006), Josef Albers Museum (Germany, 2006), Saarland Museum (Germany, 2006), Carré d'Art, Musée d'art contemporain de Nîmes (France, 1991) and Kunsthalle Bern (Switzerland, 1990). Dorner's work resides in the public collections of Centre Pompidou (Paris), Stedelijk Museum voor Actuele Kunst (Ghent), Centro Cultural Arte Contemporaneo (Mexico City), Museo Nacional Centro de Arte Reina Sofía (Madrid) and more.
Helmut Dorner, Chrisantheme, 2024, acrylic on canvas, 186 x 146 cm
Zeedijk 758
Knokke, Belgium
debrockgallery.com
07/03/2025
Ingert exhibits Georges Koskas. Works on paper from Jean Cherqui Collection
Georges Koskas. Works on paper from Jean Cherqui Collection - March 7 - April 18, 2025
Ingert
46 rue Madame, 75006 Paris, France
ingert.fr
Georges Koskas (1926-2013) is an unclassifiable painter, who even worked throughout his life to be so, rejecting classifications and disassociating himself from schools to only follow his own most personal path, made up of explorations, reversals and sideways steps. Holding onto his independence and freedom more than anything else, he has changed style and directions many times, which has no doubt contributed to a certain reluctance on the part of critics, disconcerted by these breaks in continuity that prevent any clear categorisation. Still, his work is one of the most bold and harmonious expressions of French geometric abstraction. Just arrived in Paris after leaving Tunisia, Georges Koskas studied in André Lhote’s atelier, and later in Fernand Léger’s. This rigorous formation makes him particularly sensitive to the question of composition, which remains a central theme in his painting.
From the very beginning, his concern with composition went beyond the pure harmony of form and space to an ontological, even, in the words of writer Mustapha Chelbi, “cosmic” level. What manifested within him at that moment was indeed what he called a “need to understand the deep links between beings, objects and nature, going beyond the appearances of a figurative narrative”. Claiming the primacy of sensitivity and inspiration, Koskas traced his path in complete freedom, always choosing the direction towards which his joy and inclination took him. His work can be read as a questioning of the primary elements which constitute the world and the relationship that binds them together, which are both a cosmic mystery and the evidence of a presence in the light. The answers he suggests create a singular and poetic universe, with a minimalism that is as humble as it is radical, “where fantasy can lift the deepest part of our being into the light air”.
From the very beginning, his concern with composition went beyond the pure harmony of form and space to an ontological, even, in the words of writer Mustapha Chelbi, “cosmic” level. What manifested within him at that moment was indeed what he called a “need to understand the deep links between beings, objects and nature, going beyond the appearances of a figurative narrative”. Claiming the primacy of sensitivity and inspiration, Koskas traced his path in complete freedom, always choosing the direction towards which his joy and inclination took him. His work can be read as a questioning of the primary elements which constitute the world and the relationship that binds them together, which are both a cosmic mystery and the evidence of a presence in the light. The answers he suggests create a singular and poetic universe, with a minimalism that is as humble as it is radical, “where fantasy can lift the deepest part of our being into the light air”.
Ingert
46 rue Madame, 75006 Paris, France
ingert.fr
06/03/2025
Nosbaum Reding presents Abel Auer
Luxembourg, Abel Auer, Concerning the Spirit, 6 March 2025 - 3 May 2025
Le titre de l’exposition Concerning the Spirit (« Du spirituel ») est la réduction du titre du livre précurseur « Du spirituel dans l’art » de Kandinsky, sans oublier qu’à l’époque le spirituel était généralement compris comme capacité intellectuelle et non pas comme intériorité. D’où vient l’image ? L’abstrait, l’imaginaire, ne seraient-ils que des fragments de la mimésis ? Depuis que l’invention de l’abstraction est attribuée à Hilma af Klint, beaucoup de nouvelles pistes sur la lecture de la genèse de la peinture abstraite sont devenues possibles. Est-ce que le peintre moderne serait-il éventuellement un personnage mystique, un chamane de la couleur ? Peut-être la peinture contemporaine commence déjà avec William Blake, un artiste qui construit tout simplement son univers individuel, créateur d’un monde bidimensionnel...
Dans cette promenade à travers l’histoire de l’art, le spectateur se retrouve dans un paysage et y rencontre des ruines classiques – ou est-ce une œuvre de De Chirico citant l’antiquité ? Tout un jeu de reflets composé de citations dans lequel la linéarité du temps se voit brisée. Dans cette absence de temps, la peinture se détache de la notion de culture et devient de l’humain. Elle se situe comme l’homme à la limite entre le réel et l’imaginaire ou l’idéal, un moment où le langage n’en a pas encore pris possession pour en faire un système de code. Un moment où la forme reste intuitive et libre, important à une époque où de l’intelligence digitale et codée avec sa réception algorithmée s’impose de plus en plus à nos cerveaux.
Currently in Brussels, Liliane Vertessen, till 12 April
www.nosbaumreding.com
Dans cette promenade à travers l’histoire de l’art, le spectateur se retrouve dans un paysage et y rencontre des ruines classiques – ou est-ce une œuvre de De Chirico citant l’antiquité ? Tout un jeu de reflets composé de citations dans lequel la linéarité du temps se voit brisée. Dans cette absence de temps, la peinture se détache de la notion de culture et devient de l’humain. Elle se situe comme l’homme à la limite entre le réel et l’imaginaire ou l’idéal, un moment où le langage n’en a pas encore pris possession pour en faire un système de code. Un moment où la forme reste intuitive et libre, important à une époque où de l’intelligence digitale et codée avec sa réception algorithmée s’impose de plus en plus à nos cerveaux.
Currently in Brussels, Liliane Vertessen, till 12 April
www.nosbaumreding.com
05/03/2025
HELENE BAILLY presents Serge Poliakoff
POLIAKOFF ET LA GÉNÉRATION PARISIENE - 05 Mars 2025 - 03 Mai 2025
Si les innovations que Serge Poliakoff apporte à la peinture moderne sont nombreuses – une composition rigoureuse dans l’abstraction, une
indissociabilité des formes, une harmonie mélodieuse dans la peinture – l’empreinte qu’il laisse sur ses contemporains est plus profonde encore.
La galerie Hélène Bailly est fière d’exposer des oeuvres majeures de Poliakoff – notamment celle qui servit d’affiche à la rétrospective consacrée par le Musée d’Art Moderne de Paris à l’artiste en 2013-2014 – véritables témoignages de son génie coloriste et de son approche unique de la forme abstraite. Cette exposition met en lumière la richesse d’une génération qui, dans l’effervescence du Paris d’après-guerre, a redéfini les codes de l’art moderne et façonné durablement le langage de l’abstraction.
ARTISTES EXPOSÉS
Serge Poliakoff (1900-1969)
Sonia Delaunay (1885-1979)
Hisao Domoto (1928-2013)
Maurice Estève (1904-2001)
Sam Francis (1923-1994)
Hans Hartung (1904-1989)
Fernand Léger (1881-1955)
Georges Mathieu (1921-2012)
Jean-Paul Riopelle (1923-2002)
Pierre Soulages (1919-2022)
Maria Helena Vieira da Silva (1908-1992)
Zao Wou-Ki (1920 - 2013)
Si les innovations que Serge Poliakoff apporte à la peinture moderne sont nombreuses – une composition rigoureuse dans l’abstraction, une
indissociabilité des formes, une harmonie mélodieuse dans la peinture – l’empreinte qu’il laisse sur ses contemporains est plus profonde encore.
La galerie Hélène Bailly est fière d’exposer des oeuvres majeures de Poliakoff – notamment celle qui servit d’affiche à la rétrospective consacrée par le Musée d’Art Moderne de Paris à l’artiste en 2013-2014 – véritables témoignages de son génie coloriste et de son approche unique de la forme abstraite. Cette exposition met en lumière la richesse d’une génération qui, dans l’effervescence du Paris d’après-guerre, a redéfini les codes de l’art moderne et façonné durablement le langage de l’abstraction.
ARTISTES EXPOSÉS
Sonia Delaunay (1885-1979)
Hisao Domoto (1928-2013)
Maurice Estève (1904-2001)
Sam Francis (1923-1994)
Hans Hartung (1904-1989)
Fernand Léger (1881-1955)
Georges Mathieu (1921-2012)
Jean-Paul Riopelle (1923-2002)
Pierre Soulages (1919-2022)
Maria Helena Vieira da Silva (1908-1992)
Zao Wou-Ki (1920 - 2013)
20/02/2025
Repetto Gallery - Il canto della terra, curated by Paolo Repetto
Lugano, Il canto della terra, curated by Paolo Repetto, 20 February – 13 June 2025
With works by Giovanni Anselmo, Mirella Bentivoglio, Joseph Beuys, Alberto Burri, Gianni Caravaggio, Daniele De Lonti, Olafur Eliasson, Hamish Fulton, Mario Giacomelli, Piero Gilardi, Andy Goldsworthy, Michael Heizer (photographs by Gianfranco Gorgoni), Michelangelo Pistoletto, Richard Long, Ana Mendieta, David Nash, Ernesto Neto, Giuseppe Penone, Alessandro Piangiamore, Arcangelo Sassolino, Robert Smithson, (photographs by Gianfranco Gorgoni), Barthélémy Toguo, James Turrell, Laura Viale
Il canto della terra, a group exhibition curated by Paolo Repetto, explores the intimate and complex relationship between human beings and nature in an era of increasing urbanisation and environmental challenges, through a visual journey that brings together artists of international calibre. Part of the diffuse festival “L’Uomo e il Clima“, the exhibition invites us, through a variety of artistic languages, from site-specific installations to photography, from sculpture to land art and music, to reflect on our ancestral connection with the earth, our responsibility towards the environment and the intrinsic beauty of the landscape, celebrating its eternal dance and taking us on an artistic pilgrimage where art becomes an echo of the whisper of the wind, the trembling of the water, the breathing of the earth.
Gallery
Via Clemente Maraini 24
CH-6900 Lugano
t. +41 (0)76 685 88 55
info@repettogallery.ch | www.repettogallery.ch
With works by Giovanni Anselmo, Mirella Bentivoglio, Joseph Beuys, Alberto Burri, Gianni Caravaggio, Daniele De Lonti, Olafur Eliasson, Hamish Fulton, Mario Giacomelli, Piero Gilardi, Andy Goldsworthy, Michael Heizer (photographs by Gianfranco Gorgoni), Michelangelo Pistoletto, Richard Long, Ana Mendieta, David Nash, Ernesto Neto, Giuseppe Penone, Alessandro Piangiamore, Arcangelo Sassolino, Robert Smithson, (photographs by Gianfranco Gorgoni), Barthélémy Toguo, James Turrell, Laura Viale
Il canto della terra, a group exhibition curated by Paolo Repetto, explores the intimate and complex relationship between human beings and nature in an era of increasing urbanisation and environmental challenges, through a visual journey that brings together artists of international calibre. Part of the diffuse festival “L’Uomo e il Clima“, the exhibition invites us, through a variety of artistic languages, from site-specific installations to photography, from sculpture to land art and music, to reflect on our ancestral connection with the earth, our responsibility towards the environment and the intrinsic beauty of the landscape, celebrating its eternal dance and taking us on an artistic pilgrimage where art becomes an echo of the whisper of the wind, the trembling of the water, the breathing of the earth.
Gallery
Via Clemente Maraini 24
CH-6900 Lugano
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01/02/2025
Galeria Jordi Pascual - Colectiva III
Colectiva III, February 2025 - April 2025
Gallery
C/ Enric Granados 47
ES-08008 Barcelona
t. +34 93 272 02 09 | m. +34 607 89 55 86
galeria@jordipascual.com | www.galeriajordipascual.net
We present in our space an exhibition that explores the miscellaneous essence of the gallery. During this interlude, you will be able to enjoy key figures from the second half of 20th-century Spain, such as Barceló, Clavé, Tàpies, Plensa, Valdés, and Guinovart. Artists who, each in their own way, approach art through new aesthetics and forms.
It is precisely this stylistic distance between the featured artists that allows for an exploration of the visual richness of art from the 1960s to the 2000s, a fluctuation that moves between the abstract and the figurative. These artistic approaches and outcomes contribute to the exhibition’s carefully curated visual diversity, a tapestry of pictorial and sculptural universes that reflect the identity of Galeria Jordi Pascual.
Caption: Miquel Barceló, 3 Llimones i Mitja Xapades, 2004, Mixed media/canvas, 122 x 177 cm
It is precisely this stylistic distance between the featured artists that allows for an exploration of the visual richness of art from the 1960s to the 2000s, a fluctuation that moves between the abstract and the figurative. These artistic approaches and outcomes contribute to the exhibition’s carefully curated visual diversity, a tapestry of pictorial and sculptural universes that reflect the identity of Galeria Jordi Pascual.
Caption: Miquel Barceló, 3 Llimones i Mitja Xapades, 2004, Mixed media/canvas, 122 x 177 cm
Gallery
C/ Enric Granados 47
ES-08008 Barcelona
t. +34 93 272 02 09 | m. +34 607 89 55 86
galeria@jordipascual.com | www.galeriajordipascual.net
19/01/2025
Patrick Derom Gallery is back at BRAFA with a special focus on Léon Spilliaert
The Brussels based Patrick Derom Gallery is now helmed in 2025 by Patrick Derom, his son Edouard and newly arrived Christine de Schaetzen. Spanning works from 1880 to the present day, the gallery presents an extraordinary array of modern movements from Symbolism to Pop Art, with occasional ventures into contemporary art. Artists presented this edition are Léon Spilliaert, Jean Delville, William Degouve de Nuncques, René Magritte, Ossip Zadkine, Alberto Magnelli, Lucio Fontana, André Lanskoy, Pol Bury, Bram Bogart, Evelyne Axell, Fabienne Verdier and Dirk Braeckman. Among their highlights for BRAFA’s 70th edition is a true masterpiece by Léon Spilliaert (Ostend, 1881-1946 Brussels). “La Verrière” (The Glass Roof), dated 1909, offers a splendid glimpse into the artist’s world, portraying an annex of his home through a mesmerising interplay of perspectives and reflections. The mirror plays a key role here, as in other Spilliaert’s interiors. The mirror reflects other parts of the rooms and specific objects, but also enhances the opening of the glass roof to the rear façade of the house.
19/01/2025
Romigioli Antichità - series of paintings by foreign artists who worked in Italy or for Italian patrons
The Romigioli Gallery is pleased to present, on the occasion of the 70th edition of BRAFA, a series of paintings by foreign artists who worked in Italy or for Italian patrons, including Jan Fyt, Pedro Machuca, Wilhelm Marstrand, Goswin van der Weyden...
07/01/2025
Gallery Raf Van Severen - Catalogue for BRAFA 2025
Discover a beautiful array of artworks of various periods and artistic mouvements...
Works on paper: James Ensor, Léon Spillaert
Intermezzo: sculpture by Paul Troubetzkoy
Fauvism: Rik Wouters, Fernand Schirren, Ernest Wynants, George Lemmen, Willem Paerels, Jehan Frison...
Artistic lovers: Marthe Guillain and Médard Maertens
Expressionism: Gustave Van de Woestyne, Paul Schmitz, Anto-Carte, Marcel Caron, René Guiette...
Bauhaus master: Paul Klee
Congo: Pilipili Mulongoy, Sylvestre Kaballa
Lyrical abstraction: Pierre Alechinsky
Abstract expressionism: Paul Jenkins...
Geometric abstraction: Joseph Lacasse, Geer van Velde, Victor Servranckx...
Intermezzo: sculpture by Jean-Michel Folon
Contemporary art: Gís Marí, Luis Manuel Lambrechts
Works on paper: James Ensor, Léon Spillaert
Intermezzo: sculpture by Paul Troubetzkoy
Fauvism: Rik Wouters, Fernand Schirren, Ernest Wynants, George Lemmen, Willem Paerels, Jehan Frison...
Artistic lovers: Marthe Guillain and Médard Maertens
Expressionism: Gustave Van de Woestyne, Paul Schmitz, Anto-Carte, Marcel Caron, René Guiette...
Bauhaus master: Paul Klee
Congo: Pilipili Mulongoy, Sylvestre Kaballa
Lyrical abstraction: Pierre Alechinsky
Abstract expressionism: Paul Jenkins...
Geometric abstraction: Joseph Lacasse, Geer van Velde, Victor Servranckx...
Intermezzo: sculpture by Jean-Michel Folon
Contemporary art: Gís Marí, Luis Manuel Lambrechts
06/01/2025
Kunstconsult 20th century art I objects - Matserpieces
Rare Masterpieces by Henry van de Velde: Iconic Meissen Dinner Service and Bauhaus-Era Chair to Debut at Brafa Art Fair
At the upcoming Brafa Art Fair, collectors and art enthusiasts will have the rare opportunity to witness and acquire two extraordinary creations by Henry van de Velde (1863–1957). The work of this visionary architect and artist bridged the worlds of Art Nouveau and modernism. Kunstconsult presents an exceptionally rare Meissen dinner service and an early Bauhaus-style chair by Van de Velde. These masterpieces embody his innovative approach to design and mark key moments in the history of 20th-century applied arts. The legendary "Peitschenhieb" dinner service was designed by Van de Velde for the Meissen porcelain manufactory in 1902-1904.The offered set – comprising 58 pieces for 12 persons – is among the rarest surviving examples. Only three other services are known to exist worldwide... The rare 1911 armchair by Van de Velde, crafted in white-painted beech or ash by Scheidemantel Weimar, abandoned the flowing Art Nouveau forms of Van de Velde’s earlier works and reflects his evolving design philosophy and foreshadows the functional minimalism of Bauhaus...
At the upcoming Brafa Art Fair, collectors and art enthusiasts will have the rare opportunity to witness and acquire two extraordinary creations by Henry van de Velde (1863–1957). The work of this visionary architect and artist bridged the worlds of Art Nouveau and modernism. Kunstconsult presents an exceptionally rare Meissen dinner service and an early Bauhaus-style chair by Van de Velde. These masterpieces embody his innovative approach to design and mark key moments in the history of 20th-century applied arts. The legendary "Peitschenhieb" dinner service was designed by Van de Velde for the Meissen porcelain manufactory in 1902-1904.The offered set – comprising 58 pieces for 12 persons – is among the rarest surviving examples. Only three other services are known to exist worldwide... The rare 1911 armchair by Van de Velde, crafted in white-painted beech or ash by Scheidemantel Weimar, abandoned the flowing Art Nouveau forms of Van de Velde’s earlier works and reflects his evolving design philosophy and foreshadows the functional minimalism of Bauhaus...
06/01/2025
Boon Gallery - Highlights
To celebrate the 70th edition of BRAFA, the Boon Gallery will present an exceptional selection of masterpieces by Fernando Botero, Lynn Chadwick, Jean Dubuffet, Antony Gormley, Kim Tschang-Yeul, Joan Miró, Pablo Picasso, Pierre Soulages & Günther Uecker.
03/01/2025
Galerie Capazza - Focus on Goudji
Goudji’s art has been nourished by his insatiable curiosity for the arts and civilisations of the past, which he combines with elements that are always very contemporary. Through his research, his discoveries and his imagination, he has succeeded in creating his own timeless, poetic mythology. A worthy successor to the coppersmiths of his Georgian childhood, in his Montmartre workshop he invents his own technique, designing specific tools for each of his creations. With his hands, he hammers precious metal and sets hard stones to give life to unique works,
« unprecedented combinations of sculpture and goldsmithing». Galerie Capazza, Goudji’s historic gallery, is delighted to be taking part in BRAFA for the first time, with a solo show dedicated to this unique artist. The Galerie will be presenting some thirty artworks, including some created specifically for BRAFA...
« unprecedented combinations of sculpture and goldsmithing». Galerie Capazza, Goudji’s historic gallery, is delighted to be taking part in BRAFA for the first time, with a solo show dedicated to this unique artist. The Galerie will be presenting some thirty artworks, including some created specifically for BRAFA...
02/01/2025
Thomas Deprez Fine Arts - Masterpiece by Pierre Braecke
Some buildings, like some works of art, are the stuff of legends... That certainly is the case for Victor Horta's famous Hôtel Aubecq (Avenue Louise 520, Brussels). 75 years after its shameless demolition in 1950, those in the know are still hoping for the promised reconstruction of its dismantled facade. For the better part of a century, this Art Nouveau gem has been laid out for theft in hangars, moved, damaged, and moved again. Parts of its interior, saved and sold, have been eagerly collected around the world. As such, part of the dining room furniture, a doorway and its stained glass windows, have been on permanent display at the Musée d'Orsay in Paris for decades. But many objects and elements from the Hôtel Aubecq might sadly be lost forever. This was believed to be the case for what is arguably the greatest artistic treasure that was housed at the Hôtel Aubecq: Pierre Braecke's more than 2 meter high marble sculpture L'Humanité, which dates from around 1906. L'Humanité was displayed in a niche in front of the staircase of the grand hall, at the very center or the architectural heart of the house.
27/12/2024
Van Herck – Eykelberg - Persbericht
At BRAFA 2025 Van Herck - Eykelberg Gallery will dedicate more than half of its booth to the artists association «Les Compagnons de l’art». The important work with the same title by Jean Brusselmans will be the central piece. At present time oddly enough little research has been done about «Les Compagnons de l’art». It was founded in 1937 by the brothers Paul en Luc Haesaerts who organized a first exhibition in the summer of 1938 in the Centre for Fine Arts (Palais des Beaux-Arts) in Brussels. This ‘exhibition of Belgian contemporary art’ presented 32 artists, going from Rik Wouters to René Magritte, from Léon Spilliaert to James Ensor: mildly put, a very diverse company...
18/12/2024
Univers du Bronze - Selection of Highlights
La modernité sera à l’honneur avec deux sculptures de F. X. Lalanne (1927-2008), dont un Chat en marbre noir issu de l’édition originale. François Pompon (1855-1933) sera représenté par un ensemble d’oeuvres dont un rare exemplaire du Pigeon Nicolas, un portrait de son animal de compagnie. Autres raretés parmi les animaliers des années 30, un Cheval Marin en terre cuite vernissée de Jeanne Piffard (1892-1971), pièce unique; une paire de très grandes gazelles de Guido Righetti (1875-1958) (env. H. 85 cm), fondues par Battaglia vers 1936. Les figures ne seront pas en reste avec un bel ensemble de sujets de Rodin (1840-1917), notamment les gracieuses Sirènes ou Néréides, fondu en 1945. Le Torse du Diadumène par Raymond Delamarre (1890-1986) est une pièce unique de très grand format fondue par Bisceglia pour un industriel de Saint Etienne en 1937 (env. H. 120cm). Outre cette sélection éclectique, la Galerie présente à ses collectionneurs belges un groupe de pièces design contemporain par Hubert le Gall (né en 1961), décorateur, designer et scénographe internationalement reconnu pour son oeuvre pluriel et ludique. Parmi ces modèles, le dernier exemplaire de l’impressionnant cabinet Éternel Printemps, chef d’oeuvre d’ingénierie et d’esthétisme japonisant; enfin le banc branche-neige, joyeuse synthèse de dessin avec les broderies Lesage; de sculpture avec la branche et de fonctionnalité avec ses deux tabourets modulables...
18/12/2024
Whitford Fine Art - Spectacular 'TIME IS MONEY' (1984) by Bram Bogart
In 1984, Leni Bogart, wife of Bram decided to document in a series of photographs Bram’s painting activities. Bram set out making a work. As usual he started working outside but it began to rain. Covers were put over the work to protect it. Next day, Bram resumed work, and it began to rain again. Days went on and turned into weeks. Bram was able to work on the painting in between rain showers. So much time had been lost due to the rain that Bram Bogart called this work ‘Time is Money’, the aphorism first used in an essay by Benjamin Franklin in 1748. Bogart’s ‘Time is Money’ was exhibited at the James Mayor Gallery in London in 1988 where Whitford Fine Art acquired it. Since 1988 the work has not been on the market. This iconic painting called ‘Time is Money’ is one of the best documented works Bram Bogart ever painted. Whitford is proud to present this spectacular, historically important and totally market-fresh work for Brafa’s 70th anniversary for the first time in 25 years!
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18/12/2024
Samuel Vanhoegaerden - 12 drawings of James Ensor’s ballet composition 'La Gamme d'Amour (Flirt of Puppets)'
At BRAFA 2025, Samuel Vanhoegaerden will present twelve drawings of James Ensor’s ballet composition “La Gamme d'Amour (Flirt of Puppets)”, offering a fitting conclusion to the Year of Ensor. Although “La Gamme d’Amour” is less well known to the general public, it nonetheless forms a fascinating and significant part of James Ensor’s oeuvre. To mark the occasion, a detailed monograph has been published in collaboration with Ensor expert Xavier Tricot. “La Gamme d’Amour” reveals Ensor’s littleknown interest in music and ballet to many and sheds new light on the versatility of his artistic curiosity. James Ensor (1860 - 1949) is primarily known to the general public as the painter of masks and skeletons, but he was much more than that. In addition to his talent as a painter and skilled writer, Ensor was also a passionate music lover and a talented composer...
13/12/2024
Galerie Jean-François Cazeau - Sélection d'œuvres pour la BRAFA 2025
Cette année, et pour sa septième participation à la BRAFA, la galerie propose un accrochage qui met en exergue les liens entre les avant-gardes de la première partie du XXe siècle et le Post-War, tout en restant fidèle à l’éclectisme qui la caractérise. Un focus particulier sera mis sur le surréalisme, et surtout sur l’oeuvre d’André Masson. La présentation confronte la figuration moderne à l’abstraction, à travers les oeuvres cubistes de Pablo Picasso ou Jean Metzinger, et même les débuts du membre fondateur du groupe surréaliste André Masson dans le cubisme, le fauvisme de Kees Van Dongen ou d’Auguste Herbin, ou même la tension entre la figuration et l’abstraction dans l’oeuvre d’Eugène Leroy dans l’après-guerre. Ou encore le Nouveau Réalisme d’Yves Klein, une réponse française au Pop Art américain. Des oeuvres de Pierre Soulages, Serge Charchoune, Hans Hartung ou encore T’ang Haywen illustrent quant à elles l’abstraction lyrique d’après- guerre. Des gouaches de Soulages montrent deux périodes différentes de création de l’artiste, les années ’50 et ’70...
10/12/2024
Francis Maere Fine Arts presents Conrad Willems: Construction VII at BRAFA 2025
Conrad Willems’ Construction VII is a captivating synthesis of sculpture, drawing, and performance. Drawing from his lifelong passion for movement and building, Willems bridges the disciplines of architecture, art, and choreography to create modular stone sculptures that are both monumental and deeply personal. Each piece in the Construction series is built live in front of an audience, through a semi-choreographed performance that highlights the artist’s physical engagement with the material. The act of stacking and assembling stone blocks becomes a creative dance, reflecting his background in ballet and tango. The building blocks of his sculptures are inspired by the iconic Fröbel toys, reimagined and refined in natural stone such as Belgian fossil, travertine, or Calacatta Oro marble....
10/12/2024
Galerie Hadjer selects a masterpiece of Le Corbusier
The 2025 edition of BRAFA will feature an exceptional piece of work: the Aubusson tapestry ‘The Woman and the Sparrow’, designed in 1957 by the famous architect and artist Le Corbusier. From the prestigious Presidential Palace in Abidjan, this work of art is a testament to the encounter between modern art and the centuries-old know-how of the of the Aubusson workshops.
Le Corbusier and textile art: a daring encounter
Famous for his contributions to modern architecture, Le Corbusier also ventured into the world of the decorative arts, notably with tapestry.
decorative arts, particularly with tapestry. Through his textile works, he sought to create a dialogue between space
colour and form. La Femme et le Moineau (The Woman and the Sparrow) embodies this philosophy, proposing a composition that combines
abstraction and symbolism...
Le Corbusier and textile art: a daring encounter
Famous for his contributions to modern architecture, Le Corbusier also ventured into the world of the decorative arts, notably with tapestry.
decorative arts, particularly with tapestry. Through his textile works, he sought to create a dialogue between space
colour and form. La Femme et le Moineau (The Woman and the Sparrow) embodies this philosophy, proposing a composition that combines
abstraction and symbolism...
09/12/2024
Dalton Somaré - Stand concept
The silhouettes of the decorations on the façades of the Cà Brüta (literally Ugly House, the building that would later be recognized as the Manifesto of Italian 20th-century Novecento movement and one of the visual symbols of the city of Milan) will serve as the backdrop for the Primitivist exhibition by Dalton Somaré Gallery at the 2025 edition of BRAFA. By referencing the Cà Brüta (1922), designed by Giovanni Muzio, our great-grandfather, we sought to return to the artistic roots of our family and the cultural influences that have guided the activity of our Gallery: namely, to highlight the continuous and fruitful dialogue that has connected the formal austerity and anti-rhetorical approach of Modernism with the conceptual synthesis of the forms created by artists we still persist to call “primitive”. Our great-grandfather, while in Paris, was acquainted with Max Jacob, Apollinaire and the Avant-Guarde mileu and later, in Italy, with De Chirico and Carrà. Through this exhibition, we aimed to recreate a metaphysical and timeless atmosphere, where the dialogue between modernity and the “primitive” sculptures created by anonymous artists reveals its contemporaneity.
Tomaso and Gerolamo Vigorelli
Tomaso and Gerolamo Vigorelli
09/12/2024
Galerie Oscar De Vos - Selection of Masterpieces
1925: landmark moment in Belgian art history In the summer of 1924, the death of Emile Claus marked the end of a prolific career and of Belgian Impressionism. The influence of the pioneer of luminism lived on in the work of Valerius De Saedeleer, Léon De Smet, Maurice Sys and Albert Saverys, among others. At the same time, the first exhibition of the Laethemsche Kunstenaarskolonie took place in Gustave Van de Woestyne's former studio in Sint-Martens-Latem. Around 1925, the Belgian art world was reorienting itself towards modern movements such as expressionism and surrealism. Modernity in Flemish figurative art was championed by protagonists such as Constant Permeke, Gustave De Smet and Frits Van den Berghe. Sint-Martens-Latem and the Leie region served as the cradle of this artistic revolution and led to a flourishing art scene far beyond the country's borders...
2025 marks the great success of the public lover and his retrospective exhibition ‘Emile Claus. Prince of Luminism' at MuDeL (2024-2025). Gallery Oscar De Vos will offer some masterpieces from this exhibition during BRAFA 2025.
Other masterpieces presented:
Gustave Van de Woestyne's rare Source Garden
George Minne – L’Extase maternelle or Mother and child (1923)
Frits Van den Berghe - The Waiting or The Expectation (1925)
Gustave De Smet (1877-1943) The caravan (1925)
2025 marks the great success of the public lover and his retrospective exhibition ‘Emile Claus. Prince of Luminism' at MuDeL (2024-2025). Gallery Oscar De Vos will offer some masterpieces from this exhibition during BRAFA 2025.
Other masterpieces presented:
Gustave Van de Woestyne's rare Source Garden
George Minne – L’Extase maternelle or Mother and child (1923)
Frits Van den Berghe - The Waiting or The Expectation (1925)
Gustave De Smet (1877-1943) The caravan (1925)
04/12/2024
Galerie La Forest Divonne - Special selection for BRAFA 2025
For the 70th edition of the BRAFA Art Fair, Galerie La Forest Divonne is giving pride of place to contemporary tapestry, with the Belgian duo KRJST Studio, whose sculptural approach to tapestry puts the practice back at the heart of contemporary art. At BRAFA, the presentation of their works will take on a particular meaning, in dialogue with ancient tapestry and modern tapestry, presented by various dealers. Among the other artists to be presented this year, Galerie La Forest Divonne is also delighted to bring the great French painter Ronan Barrot back to BRAFA, where he has been regularly featured by our late colleague and friend, the great Parisian gallerist Claude Bernard. With this ambitious presentation, Galerie La Forest Divonne reaffirms more than ever its attachment to Brussels, where it inaugurates its new space at 130 avenue Louise in January, to mark its 10th year in Belgium...
26/11/2024
Montagut Gallery - Thematic Exhibitions - Ngon masks and Baule gold ornaments
This year's exhibitions offer a rare opportunity to explore two contrasting yet equally fascinating aspects of African art: the commanding presence of Ngon masks and the refined elegance of Baule gold ornaments. Together, they reflect the diversity and richness of Africa's cultural heritage.
1. Five Exceptional Ngon Masks, each representing the rich cultural heritage of Cameroon
These masks stand out not only for their aesthetic composition but also for their historical value. It is rare to gather Ngon masks of such quality and significance, making this exhibition a truly exceptional and unique event. Ngon masks, often carved with remarkable detail, are emblematic of the cultural and spiritual practices of the Grassfields region. Traditionally used in ceremonies, these masks symbolize power, protection, and identity within their communities.
2. Gold Ornaments of the Baule Culture of Côte d'Ivoire. Each piece reflects the Baule people's artistic mastery and cultural significance, showcasing their exceptional craftsmanship in goldsmithing and their deep connection to tradition. All the ornaments in this collection come from a single Italian collection, Giovanni Franco Scanzi*, making their provenance as remarkable as their craftsmanship. These works highlight the symbolic use of gold in Baule rituals and adornments, celebrating themes such as beauty, prestige, and spiritual power.
*Giovanni Franco Scanzi was is a prominent collector and expert in African art, renowned for his extensive collection of ethnographic objects, particularly traditional Lobi and Akan art. He has made significant contributions to promoting African art through exhibitions and publications. One of his most notable achievements includes organizing exhibitions of Akan gold jewelry in Europe, particularly in Italy, highlighting the craftsmanship of Ivorian artisans.
1. Five Exceptional Ngon Masks, each representing the rich cultural heritage of Cameroon
These masks stand out not only for their aesthetic composition but also for their historical value. It is rare to gather Ngon masks of such quality and significance, making this exhibition a truly exceptional and unique event. Ngon masks, often carved with remarkable detail, are emblematic of the cultural and spiritual practices of the Grassfields region. Traditionally used in ceremonies, these masks symbolize power, protection, and identity within their communities.
2. Gold Ornaments of the Baule Culture of Côte d'Ivoire. Each piece reflects the Baule people's artistic mastery and cultural significance, showcasing their exceptional craftsmanship in goldsmithing and their deep connection to tradition. All the ornaments in this collection come from a single Italian collection, Giovanni Franco Scanzi*, making their provenance as remarkable as their craftsmanship. These works highlight the symbolic use of gold in Baule rituals and adornments, celebrating themes such as beauty, prestige, and spiritual power.
*Giovanni Franco Scanzi was is a prominent collector and expert in African art, renowned for his extensive collection of ethnographic objects, particularly traditional Lobi and Akan art. He has made significant contributions to promoting African art through exhibitions and publications. One of his most notable achievements includes organizing exhibitions of Akan gold jewelry in Europe, particularly in Italy, highlighting the craftsmanship of Ivorian artisans.
26/11/2024
Segoura Fine Art présente une sélection de highlights pour la BRAFA 2025
Fidèle à sa passion pour le XVIIIe siècle, la galerie mettra en lumière deux chefs-d’oeuvre de Charles-François Lacroix, dit Lacroix de Marseille (1700-1782), peintre de marines d’une rare finesse. Ses paysages maritimes évoquent la puissance des éléments naturels, sublimant vagues, rochers et navires sous une lumière méditerranéenne unique.
Le XIXe siècle, période de renouvellement artistique, est représenté par des oeuvres magistrales de Juana Romani, Ferdinand Heilbuth et Carolus-Duran. Romani, talentueuse portraitiste, nous offre des compositions intenses où l’élégance se mêle à la sensibilité. Heilbuth, quant à lui, explore avec délicatesse les scènes de genre et les paysages, tandis que Carolus-Duran capture l’essence de ses sujets avec une touche d’audace et de vivacité. Chacune de ces oeuvres reflète la diversité et la richesse stylistique d’une époque où le portrait et la scène de genre occupaient une place de choix dans l’art européen.
La galerie proposera également un sublime dessin du XXe siècle de Jean-Gabriel Domergue, représentant toute l’élégance de la modernité et l’audace graphique de cet artiste connu pour ses représentations féminines à l’allure distinguée.
Côté symbolisme, les oeuvres de Guéran de Scévola Henry Danger ou encore Carlos Schwab révèlent la puissance et la profondeur de ce mouvement artistique. À leurs côtés, nous présenterons également un artiste méconnu dans ce registre : Fausto Zonaro, qui, autour de 1907, s’aventure dans l’univers symboliste avec une toile d’une grande poésie, Les Nymphes des Vallées.Leur symbolisme, riche en détails ésotériques et en atmosphères mystérieuses, transportera les visiteurs dans un univers où l’imaginaire et la poésie se rencontrent pour créer des compositions captivantes et envoûtantes.
Les amateurs d’art pourront ainsi explorer ce voyage artistique exceptionnel au sein du stand de la Galerie Segoura, où chaque oeuvre a été choisie avec soin pour offrir un témoignage authentique des grandes périodes de l’histoire de l’art européen.
Le XIXe siècle, période de renouvellement artistique, est représenté par des oeuvres magistrales de Juana Romani, Ferdinand Heilbuth et Carolus-Duran. Romani, talentueuse portraitiste, nous offre des compositions intenses où l’élégance se mêle à la sensibilité. Heilbuth, quant à lui, explore avec délicatesse les scènes de genre et les paysages, tandis que Carolus-Duran capture l’essence de ses sujets avec une touche d’audace et de vivacité. Chacune de ces oeuvres reflète la diversité et la richesse stylistique d’une époque où le portrait et la scène de genre occupaient une place de choix dans l’art européen.
La galerie proposera également un sublime dessin du XXe siècle de Jean-Gabriel Domergue, représentant toute l’élégance de la modernité et l’audace graphique de cet artiste connu pour ses représentations féminines à l’allure distinguée.
Côté symbolisme, les oeuvres de Guéran de Scévola Henry Danger ou encore Carlos Schwab révèlent la puissance et la profondeur de ce mouvement artistique. À leurs côtés, nous présenterons également un artiste méconnu dans ce registre : Fausto Zonaro, qui, autour de 1907, s’aventure dans l’univers symboliste avec une toile d’une grande poésie, Les Nymphes des Vallées.Leur symbolisme, riche en détails ésotériques et en atmosphères mystérieuses, transportera les visiteurs dans un univers où l’imaginaire et la poésie se rencontrent pour créer des compositions captivantes et envoûtantes.
Les amateurs d’art pourront ainsi explorer ce voyage artistique exceptionnel au sein du stand de la Galerie Segoura, où chaque oeuvre a été choisie avec soin pour offrir un témoignage authentique des grandes périodes de l’histoire de l’art européen.
26/11/2024
Mearini Fine Art presents a Special Highlight
To celebrate the 70th edition of BRAFA, the Mearini Fine art Gallery will present an exhibition of marble and wooden sculptures from Haute époque to Renaissance. Among these sculptures there is an exceptional one. It’s a standing figure of Saint (Orsola?), dated circa 1350, polychromed and gilded softwood with decoration in ‘Pastiglia’ from the Lake of Costance region. It comes from one of the most important European collection of the beginning of the 20th century, the Albert Figdor Collection.
Albert Figdor (Wien 1843-1927) is considered one of the last private art collectors of ancient art. At the beginning of the 20th century, Albert Figdor's art collection was considered the largest private collection in Europe. It included paintings, miniatures, sculptures, ivory carvings, tapestries, clocks, gold and silversmith's work from altars to jewelry as well as relics and around 300 pieces of furniture of all kinds. As Figdor had a particular fondness for objects of domestic and craft use, chandeliers, stoves, metal vessels, tiles, faience, stoneware, glassware, games, toys, medals, textiles, tools and many other groups of objects were added, demonstrating the broad spectrum of their respective genres.
The actual size of the encyclopedic collection seems never to have been determined in terms of numbers; it was estimated at 5,000 to 6,000 artifacts. Many of these can now be found in important museums and private collections around the world. This legendary collection is published in five volumes. This sculpture is published in the 4th volume of the collection.
Albert Figdor (Wien 1843-1927) is considered one of the last private art collectors of ancient art. At the beginning of the 20th century, Albert Figdor's art collection was considered the largest private collection in Europe. It included paintings, miniatures, sculptures, ivory carvings, tapestries, clocks, gold and silversmith's work from altars to jewelry as well as relics and around 300 pieces of furniture of all kinds. As Figdor had a particular fondness for objects of domestic and craft use, chandeliers, stoves, metal vessels, tiles, faience, stoneware, glassware, games, toys, medals, textiles, tools and many other groups of objects were added, demonstrating the broad spectrum of their respective genres.
The actual size of the encyclopedic collection seems never to have been determined in terms of numbers; it was estimated at 5,000 to 6,000 artifacts. Many of these can now be found in important museums and private collections around the world. This legendary collection is published in five volumes. This sculpture is published in the 4th volume of the collection.
26/11/2024
VKD Jewels presents Luz Camino at BRAFA 2025
Luz Camino is a renowned Spanish jewellery designer known internationally for her unique, artistic creations. Her work is special for its combination of sophisticated technique, innovative materials and a strong emphasis on natural elements. Here is a comprehensive overview of her career and style:
Background
Luz Camino began her career in the jewellery world with a deep fascination for art and design. Self-taught, she learned the intricacies of the craft through experimentation and a huge passion for the craft. Her Spanish heritage plays a major role in her work, which often features Mediterranean influences.
Design style
Her style is characterised by a deep appreciation for nature. She draws inspiration from flowers, leaves, insects and other natural forms, which she transforms into sophisticated, delicate jewellery. Camino's work balances on the border between art and craft, where each piece can be considered both a wearable piece of jewellery and a work of art in its own right...
Background
Luz Camino began her career in the jewellery world with a deep fascination for art and design. Self-taught, she learned the intricacies of the craft through experimentation and a huge passion for the craft. Her Spanish heritage plays a major role in her work, which often features Mediterranean influences.
Design style
Her style is characterised by a deep appreciation for nature. She draws inspiration from flowers, leaves, insects and other natural forms, which she transforms into sophisticated, delicate jewellery. Camino's work balances on the border between art and craft, where each piece can be considered both a wearable piece of jewellery and a work of art in its own right...
22/11/2024
Repetto Gallery - Selection of highlights
Founded in 2007, first in Milan and London, then in Lugano in 2022, Repetto Gallery is a modern and contemporary art gallery. It is actively engaged in promoting and enhancing Italian artists, Burri, Ghirri, Fontana, Munari; some of the protagonists of Arte Povera and Conceptual Art, Boetti, Calzolari, Paolini, Pistoletto and some of the greatest international artists, Christo, Long, Matsutani, Motonaga, and Neshat. The historical artist of the gallery is Melotti, whose support led Repetto Gallery to the important exhibition in 2014 at the Guggenheim Museum in Venice. Among the most significant exhibitions, kένωσις – Lucio Fontana and Fausto Melotti and Giorgio de Chirico, nello specchio del Novecento Warhol, Schifano, Paolini, Ghirri, Salvo. Please find here a selection of highlights that will be presented at BRAFA 2024...
21/11/2024
COLNAGHI - BRAFA 2025 Artworks selection
For its first participation at BRAFA in 2025, COLNAGHI (booth n° 34) will showcase a selection of Old Masters Paintings and Drawings from 17th to 20th century as well as important Antique Sculpture from the Roman Imperial period. Please find enclosed two major artworks.
21/11/2024
Galerie Berthet-Aittouarès - Une collection inédite surréaliste « le mur de Georges Goldfayn »
La célébration du centenaire du Manifeste à Bruxelles puis à Paris a permis de mettre en lumière l’importance du mouvement surréaliste international tant au niveau politique qu’artistique au XXème siècle. Pour l’édition BRAFA 2025, nous présenterons l’aventure du Surréalisme à travers la collection d’un de ses protagonistes. Au sortir de la guerre 39-45, Georges Goldfayn (1933-2019), critique de cinéma, n’a que 17 ans quand il rencontre André Breton. Il est aussitôt adopté par la famille des surréalistes.
Nous avons choisi de témoigner de cette amitié en reconstituant le « Mur » de Georges Goldfayn qui fait délibérément référence au « Mur » de Breton, conservé au Centre Pompidou. C’est la vie, avec ses passions, ses rencontres qui se révèle dans ce pêle-mêle organisé. Dessins, peintures, sculptures mettent en évidence les recherches de ce mouvement. On y retrouve des oeuvres surréalistes mais aussi d’Art Brut et d’Art Premier, en particulier océaniennes. Autant de références où les surréalistes vont puiser leur inspiration. Ensemble inédit d’oeuvres jamais sorties de cette collection complété d'un ouvrage rehaussé du dernier texte de la poétesse du surréalisme Annie Le Brun...
21/11/2024
Galerie Christophe Gaillard - Three major highlights by Nonas, West and Couturier
The Galerie Christophe Gaillard, founded in Paris in 2007 and based in the Marais district, has opened its second gallery in 2023 in Brussels, opposite the future Kanal-Pompidou museum. In 2020, the gallery had already opened the 'Le Tremblay' residence in Normandy, an exceptional cultural venue that welcomes artists and authors for residency programmes. In 2024, it has further strengthened its presence in this region by opening 'L'Usine', a vast space comprising a 600 m2 showroom and a 2000 m2 storage area.
Renowned for its strong representation of women artists, the gallery showcases both emerging talents and major figures in contemporary art. It also promotes the work of artists whose foundations it represents, in the light of current artistic practices.
Discover three major highlights: a sculpture by Richard Nonas, a sculpture by Franz West, a tapestry by Stéphane Couturier.
Renowned for its strong representation of women artists, the gallery showcases both emerging talents and major figures in contemporary art. It also promotes the work of artists whose foundations it represents, in the light of current artistic practices.
Discover three major highlights: a sculpture by Richard Nonas, a sculpture by Franz West, a tapestry by Stéphane Couturier.
20/11/2024
Harold t'Kint de Roodenbeke - Reconstruction of Pol Bury's studio
The concept of the booth will present an immersion into the mobile world of the artist Pol Bury. A large part of the space will feature a reconstruction of the artist's studio through nearly 70 works; Mobile sculptures, static volumes, models, sculpture projects, paintings and cinetic drawings. The presented collection, directly coming from the Pol Bury Estate, will convey the whole diversity and creativity of this major artist from the kinetic movement.
20/11/2024
TEMPLON - Solo show de François Rouan
Pour la prochaine édition de BRAFA, Templon consacre à François Rouan une exposition personnelle. Une référence de la scène française contemporaine, il est associé dès ses débuts, sans y être affilié, au mouvement Supports/Surfaces pour ensuite développer une trajectoire singulière. Peu à peu, il ajoute à sa peinture un travail approfondi de recherche sur les collages, aboutissant en 1965 à ses premiers tressages. Une pratique qu’il élargie ensuite de l’exploration dans les années 1980 de nouveaux mediums, photographiques et filmiques. Rouan a contribué à déconstruire la structure traditionnelle du tableau. Il est aujourd’hui considéré comme pionnier dans l’exploration de nouvelles pistes dans le champ de la peinture contemporaine en France...
14/11/2024
Stern Pissarro Gallery - Artwork Highlights BRAFA 2025
Established in 1964, the gallery specialises in Impressionist, modern and contemporary art as well as Camille Pissarro and his descendants. The family business offers well-known internationally established artists that can be found in important museums worldwide. Stern Pissarro Gallery is thrilled to present an intimate oil painting by the celebrated American Pop artist Tom Wesselmann. Part of his iconic Bedroom Paintings series, this 1972 work is highly collectible. With the Fondation Louis Vuitton in Paris currently showcasing a solo exhibition of Wesselmann's oeuvre, the inclusion of a piece of this calibre at BRAFA feels especially timely...
14/11/2024
Galerie Flak - Thematic exbition on Mumuye art from Nigeria
A l’occasion de la 70e édition de BRAFA en janvier 2025, la Galerie FLAK, basée à Paris présentera une collection exceptionnelle d’une vingtaine de sculptures Mumuye, un peuple vivant au nord-est du Nigeria près de la frontière avec le Cameroun. La découverte tardive de l’art Mumuye en Europe à la fin des années 1960 a constitué un choc. Apparaissait soudain aux yeux du public occidental un art d’une modernité et d’une inventivité fascinantes. L’élancement tout en mouvement du corps humain, le jeu des pleins et des vides et les ruptures de rythmes dans la statuaire Mumuye lui ont valu d’être rapprochée de l’oeuvre d’artistes majeurs du XXe siècle tels qu’Henry Moore ou Alberto Giacometti...
13/11/2024
Galerie Marc Maison - Stand presentation
Galerie Marc Maison is thrilled to present a stand centered around the theme 'Egyptomania'. In collaboration with decorator Michael Coorengel, this stand will be a true homage to the fascination with ancient Egypt. The walls will be adorned with real stone carved in low relief, featuring characteristic motifs from ancient Egyptian art. These forms, specially designed for the occasion, are to be digitally crafted in 3D and meticulously sculpted to bring 'Egyptomania' to life at BRAFA 2025. The highlight of the exhibition will a majestic 'Ramses' bed designed by cabinetmaker Louis Malard in the 19th century and presented at the the 1889 Paris Exposition. The passion for ancient Egypt, known as 'Egyptomania', dates back to antiquity itself...
08/11/2024
Dei Bardi Art - Press Release
In celebration of the 70th edition of BRAFA, the Dei Bardi Art Gallery will showcase an exhibition that explores the intricate interplay between European visual culture and the “Other” during the medieval period and Renaissance. This compelling presentation, held at Brussels Expo, will feature a carefully curated selection of artworks from the 13th to the 16th centuries, illuminating the profound cultural exchanges that have shaped identity and fostered appreciation for diversity throughout history.
The exhibition traces the evolution of racial representations, from early medieval depictions of Black Africans to the complex interpretations of interconnected identities in the early modern era. It examines how these diverse cultural encounters influenced European visual identity and contributed to contemporary conversations about identity and representation...
The exhibition traces the evolution of racial representations, from early medieval depictions of Black Africans to the complex interpretations of interconnected identities in the early modern era. It examines how these diverse cultural encounters influenced European visual identity and contributed to contemporary conversations about identity and representation...
08/11/2024
Galeries AB-BA - Hommage à Jean-Pierre Ghysels & Cabinet de Curiosités de Georges Goldfayn, ami d'André Breton
The galerie AB will pay tribute to the great Belgian sculptor Jean-Pierre Ghysels. Born in 1932, Jean Pierre Ghysels is one of the great sculptors of Belgian lyrical abstraction. A pupil of the famous sculptor Ossip Zadkine, Jean-Pierre Ghysels developed a unique artistic language, characterized by harmonious volumes and sensual, contrasting materials in an expressive abstraction. He has taken part in prestigious international exhibitions...
The galerie BA shows a Cabinet of Curiosities from the collection of Georges Goldfayn, friend of Surrealist André Breton. Georges Goldfayn (1933-2017), a film critic, was just 17 when he met André Breton. He was immediately adopted by the Surrealist family. For BRAFA, we are bearing witness to this friendship by reconstructing Georges Goldfayn's ‘Wall’, a reference to Breton's ‘Wall’ in the Centre Pompidou. This is life, with its passions and encounters: Surrealist drawings and sculptures, as well as works of Art Brut and Art Premier, particularly from Oceania. So many references from which the Surrealists drew their inspiration...
The galerie BA shows a Cabinet of Curiosities from the collection of Georges Goldfayn, friend of Surrealist André Breton. Georges Goldfayn (1933-2017), a film critic, was just 17 when he met André Breton. He was immediately adopted by the Surrealist family. For BRAFA, we are bearing witness to this friendship by reconstructing Georges Goldfayn's ‘Wall’, a reference to Breton's ‘Wall’ in the Centre Pompidou. This is life, with its passions and encounters: Surrealist drawings and sculptures, as well as works of Art Brut and Art Premier, particularly from Oceania. So many references from which the Surrealists drew their inspiration...