intentieverklaring Loes Jacobs, nadine
intentieverklaring Mieke Mels, MuZEE
intentieverklaring Dirk Snauwaert, Wiels
2026, 2025 & previous welcome letters MoMA, NYC
realities are messy & in it i am: a rock. or a wave / / /// //, 2026
site specific window fresco, lime, vinyl, truck, windows, daylight
De Warande, Turnhout
curated by Glenn Geerinck
autonomy comma a future
/ / // //// / // //// , later &
beyond
site specific vinyl collage, 2026
subway station Merode, Brussels
commissioned by Brussels Mobilité & MIVB-STIB
this will not end, 2024
performance by Lotte Van den Audenaeren & Hampus Lindwall
organ, air, wooden wedges, hands, audio, projections, text, light
AMOK Festival, KAAP, Brugge
images © Tom Leentjes
tarp texts, 2024
high density polyethylene
series, work in progress
a rock under water multiple rhythms, 2023
cotton
part of denim series, 2023
slightly moving things / almost anything most of the time, 2012 – present
ensemble, 32 works, acquired by Collection Vlaamse Gemeenschap
solo presentation Mu.ZEE, curator Mieke Mels, Ostend, 2023
images © Cedric Verhelst
slightly moving things / almost anything most of the time (2012 – present) is an ensemble of 32 individual works acquired by Collection Vlaamse Gemeenschap, presented in a solo exhibition at Mu.ZEE, Ostend (2023). Every single work glows, grows, moves and disappears at its own pace.
someone to watch over me (2023) displays a monstera deliciosa plant, soil, flowerpot, water and the daylight that are necessary to keep the plant alive.
Please see slightly moving things / almost anything most of the time (2012 – present) for additional information.
pieces , 2020, installation consisting of multiple works
Z33 museum, Hasselt
picture © Z33 Kristof Vrancken
“pieces (2020) unfolds sequentially in parts and the works that comprise the installation reveal themselves or fade away according to their own time. Transient and ephemeral materials—scattering light, suspended silk, and decomposing oranges – spread to fill and respond to the frame of the museum’s architecture. Projected light casts images onto the gallery’s floor and back wall while an eroding fresco has calcified on the ground. A sinuous piece of silk hangs from a window and unravels sequentially in blue hues. The fabric was made light sensitive and illuminated in successive phases, evoking an architectural plan or blueprint sketch. Suspended and provisionally weighted down by glass pieces, rocks, and duct tape placed on the fabric, the afterimage materialises time in shades of blue.”
Isabelle Lynch, March 2020
a piece is a part, possibly of a bigger part or a whole, 2020
cyanotype on silk, glass, oranges, slate, limestone, granite, branch, duct tape
cyanotype installation on 2 floors, Z33 Museum Hasselt
pieces, 2020, installation consisting of multiple works, Z33 museum, Hasselt
something final, 2020, profile spot, tripod, extension cables
incomplete, 2020, lime fresco on gallery floor
a piece is a part, possibly of a bigger part or a whole, 2020, silk, cyanotype, glass, oranges, slate, limestone, granite, branch, duct tape
what happened (2013) what will happen, 2020, nail
pink is important, 2020, pink permanent pen
something to look forward to, 2020, profile spot, tripod, extension cables
pictures © Z33 Kristof Vrancken
S L I D E / monument for the momentary, 2012 – present
traces made by 22 karat gold coated skate board decks
video by Geoffrey Van Hove
riders: Orapan Arwen Tongkong, Noah De Jaeger, Pablo Delaplace
KAAP & Mu.ZEE, August 2020 Oostende, BE
hypertext / chances are bigger in the sun, 2021
offset print on billboard
The Bows, Calgary, AB
hypertext / chances are bigger in the sun by Lotte Van den Audenaeren
July 2021
multiple outdoor fresco’s, Kunst&Zwalm2019
sunrise, 2019, metal paint on Hubert’s garden wall, Roborst, Belgium
all parts, 2019, lime fresco mural painting
ever again, 2019, lime fresco mural painting
o o o o o o o, 2019, lime fresco mural painting
Potentialis, Moore Street Market, Brooklyn, New York
permanent site-specific work commissioned by the City Council of New York, Brooklyn, New York
color = only light, 2012, painted skylight, daylight projection
more or less or, 2012, phosphorescent ink, site-specific silk screen print on wall
relentlessly / everything is enough, 2021
silver colored metal paint on steps
Place Louis Morichar, Brussels
not that big a deal, 2021
lime fresco, Bornem
possibilities & optional subtitles, 2020
multiple lime frescos on gallery window
image © Miguel Rozpide
possibilities & optional subtitles, 2021
tiens., 2021
it is already happening, 2021
CCINQ artspace, Brussels
it is already happening, 2020, lime fresco on gallery window
CC De Werf, Aalst BE
after ratio, 2019
neon
SUPPORT / SURFACE (watercolors), 2012
light projection in Brussels canal, Molenbeek-Brussels
all things will never be all things, 2014, reinstallation 2024
permanent light installation, public commission for Brussels Capital Region, Maelbeek tunnel, Brussels
the timekeeper, 2014
metronome, Marshall amplifier, audio mixer, microphone
video: sound sculpture
circles of fifths, 2014
performance by 2 musicians on steeldrum
film editing by Wim Reygaert
Sound sculpture the timekeeper (2014) displays a small mechanical metronome, amplified by a microphone and a large electronic amplifier, in order to echo perpetual indications of time throughout the exhibition space.
The sculpture provides the rhythm for two steel drum musicians, who perform a transcription of the circle of fifths – the visual representation of the relationships among the 12 tones of the chromatic scale by Nikolai Diletskii from 1679 – repeating this figure as a circular movement. The metronome is manually activated by a museum guard, making this person the actual timekeeper of the piece.
untitled (prelude), 2016, ever changing responsive sound installation, mirror
sounds by George Van Dam
public commission for Emmaus vzw Mechelen
2019 award Laureate ‘Prijs Wivina Demeester voor Excellent Bouwmeesterschap’ Team Vlaams Bouwmeester
i see so much it hurts my eyes, 2019, permanent light installation, public commission for VGC Vlaamse Gemeenschapscommissie, De Rinck Community Centre, Brussels
UNTIL EVERYTHING IS FORGOTTEN, 2014, woven sewing label, gold colored metallic letters, multiple edition of 120 copies
Given by the artist to a person dear to the artist, the label is to be attached by a person dear to the receiver into a favorite piece of clothing of the receiver. The piece of clothing might get worn out, while the label tends not to.
very little very dangerous, 2018
vintage uranium glass, fractured, remelted and reunited
edition of 23 unique pieces
in common usage, a boulder is too large for a person to move, 2017
woven cotton blanket, made in USA, New York residency March – April 2017
replica rocks, 2016
ceramics, 22 pieces, dimensions variable, Banff Centre Residency, Canada, 2016
2 duct tapes, 2016
bronze, Banff Centre Residency, Canada, 2016
all i have seen teaches me to trust, 2016, cyanotype on cotton, oranges
Banff Centre Residency, Canada, 2016
back in 10, 2017
felted wool
solace, 2016
cyanotype on silk, duct tape, Banff Centre Residency, Canada
ABSENCE, 2016, vinyl edition 250 copies, 33 RPM, sound by Regina Lok Yan To
ABSENCE (2016) shows disappearing materials, including a sound, hidden in the gloss lacquer layer on top of the image.
Colored chemicals in the picture are only visible during the disappearing process of melting ice.
The edition can be played as a vinyl on a record player. The nebulous sound made by Regina Lok Yan To, appears briefly to occupy a momentary space. Repeated replaying of the sound makes it wear out and become less audible.
multiply, 2012
NYC 2012
sound recording by LVDA & James T Ralph
01:03
7-inch vinyl edition of 5 copies
audio
three years on arock, 2017
digital print on silk, silk embroidery, New York residency March – April 2017
cooler (sunset), 2020
cotton
part of slightly moving things / almost anything most of the time, 2012 – present
ensemble, 32 works
acquired by Collection Vlaamse Gemeenschap
one with the woods, 2019
cotton
O series, 2017 – present, glass sculptures
endurance (Brooklyn) 2018 – present, glass and ceramic sculptures
endurance (Duffel), 2018 – present
glass, elastic cord, glass volume sculpture, left in trees on location, (Chicago, Philadelphia, Brooklyn, Duffel and other locations)
A tree is climbed; a hand made glass sculpture is attached to a branch and left behind. Few people are informed about its location and will follow the piece over time. More people notice it or discover it by the grace of others.
Over time, the sculpture lasts through the seasons and seems to survive the tree: blossoming Magnolia flowers, strong green summer leaves disappearing in autumn, waiting for new growth in winter.
Robust and solid as for its location, the glass sculpture is a fragile point in time: the materiality is unkind to its own nature, easily hurt or broken.
unforever (Brussels), 2018
off set print on paper, poster edition 841 x 1189 mm, A0, unlimited copies
A message was found in public space. It has been written and made unreadable, possibly by the same author. In the effort to make the writing undone, it became absolutely present and always unreadable. A picture of the writing becomes a free poster edition.