February 10, 2020
Sofie Gielis

Tim Ingold, professor at the University of Aberdeen, is a well-known anthropologist who formulated very interesting ideas on the edges of the four A’s: Art, Architecture, Archeology & Anthropology.

In his latest research he has been exploring three themes, all arising from his earlier work on the perception of the environment, concerning first, the dynamics of pedestrian movement, secondly, the creativity of practice, and thirdly, the linearity of writing. Starting from the premise that what walking, observing and writing all have in common is that they proceed along lines of one kind and another, his research seeks to forge a new approach to understanding the relation, in human social life and experience, between movement, knowledge and description. At the same time, Ingold is researching and teaching on the connections between anthropology, archaeology, art and architecture (the ’4 As’), conceived as ways of exploring the relations between human beings and the environments they inhabit. Taking an approach radically different from the conventional anthropologies and archaeologies ‘of’ art and of architecture, which treat artworks and buildings as though they were merely objects of analysis, he is looking at ways of bringing together the 4 As on the level of practice, as mutually enhancing ways of engaging with our surroundings.


Conventional research protocols expect the scholar to treat the world as reserve from which to draw empirical material for subsequent interpretation in light of appropriate theory. Ingold seeks to establish an alternative procedure whereby theory is not applied after the fact, to a corpus of material already gathered, but rather grows from our direct, practical and observational engagements with the stuff of the dwelt-in world. Theoretical thinking, then, is embedded in observational practice, or knowing in being, rather than vice versa. This way of knowing, by studying with things or people instead of making studies of them, has long been key to anthropology. It is also, however, central to arts practice, as it is to the contingent disciplines of architecture and design. All four disciplines offer paths to knowing-in-being which challenge the division between data gathering and theory building that underwrites normal science.


19/2/2020 – 12:30-13:30

New building PXL-MAD, Gouverneur Verwilghensingel – Hasselt

REGISTER HERE: https://inschrijfformulieren.pxl.be/inschrijving.aspx?form_ID=e94b178e


Expo: A Phantom Limb – Eleanor Duffin
February 8, 2020

For this South West Showcase exhibition, Eleanor Duffin presents a new installation-based work which incorporates sculptural objects and sound-based work.

These new elements are extensions of an ongoing project, titled Phantoms of Form, which takes as it’s central point the idea of the “other” woman. The protagonist is a female figure, who is occupied with material investigation and is a composite of a number of historical female artists and designers. She is a ghost, a shadow, She is there but not present. The life and designs of these figures are used in collaboration with Eleanor’s own work, and the project oscillates between auto and fan fiction.

This chapter of the project, titled A Phantom Limb, focuses on a series of letters written by Eleanor to the artist Barbara Hepworth, following a visit to Hepworth’s studio in October 2018. Preoccupied with the garden planted by Hepworth at the studio, the research for this show began by focusing on Hepworth’s use of the garden as an exterior workspace. In tandem to this interest, Eleanor documents the demise of her own house plants slowly beginning to die. A second element in the research is a bronze cast made by Hepworth of her left hand. Eleanor’s curiosity here is in Hepworth creating such a figurative object, speculating if it is an act of somehow othering the self. The research also encompasses an intrigue with the gaps or holes within Hepworth’s sculptures. Described by Hepworth as “concavities”, Eleanor’s interest here is with the action of subtraction of material in order to leave a gap, perhaps as a space for leaving room for things that can not be spoken or a space for the viewer to insert themselves in the narrative.

Recurring concerns within Eleanor’s practice is the role of verbal and text-based language in the process of making, the relationship developed by the female with materials and the nature of co-working, within a visual art context.


Opening on Thursday 20 February 2020, 5-7pm – free and open to the public.

Expo: Friday 21 February 2020 – Thursday 9 April 2020 (Monday-Friday 9am-5pm, Saturday 10am-1pm, closed Sunday), free and open to all.

The Gallery at Plymouth College of Art, PL4 8AT, Plymouth (UK)



Expo: Shapes and Distances – Ingel Vaikla
February 3, 2020

Seeing double: Estonian-born, Belgium-based artist Ingel Vaikla overlaps past and future, time and space in her audio-visual investigation of the subjective and the collective.

In her first solo exhibition in Belgium, Ingel Vaikla conceptualises her work through the idea of the double exposure. We see archival footage of the city of Slavutych, built to house the surviving workers of the Chernobyl disaster. We see it then in 1986, the last city ever built by the Soviet Union, and we see it now, as a young city in present-day Ukraine. In this way Vaikla invites us to let these overlapped realities develop simultaneously in our minds. If we have the courage to climb through the image, through time, space and experience, then we can start to understand how subjective and collective identities are formed, and how they in turn materialise on film, in politics and in architecture.

Curated by Laura Toots

From 8 February to 21 March 2020
Wed–Sat from 12:00-18:00

Opening Friday 7 February 2020, 19:00-22:00​​​​​​

The exhibition is supplemented by two events:
SA 8.02 17:00 Walk & Talk w/ Ingel Vaikla & Laura Toots
WE 18.03 20:30 EAST FROM WEST Screening programme by Ingel Vaikla w/ EKKM Tallinn



Expo: Phantoms of Form; A Scaffolding – Eleanor Duffin
October 11, 2019

Manifesting as an ongoing project, Phantoms of Form takes as it’s central point the idea of the “other” woman. The protagonist is a female figure, that has been devised to enable a distance. She is a ghost, a shadow, She is there but not present. The “other” woman is currently a composite of the architect Eileen Grey (1878-1976), the artist Barbara Hepworth (1903-1975) as well as the instigator, Eleanor Duffin. The life and designs of all women are used as a collaboration. The project adopts some of it’s framework from fan fiction. This iteration, titled “A Scaffolding”, focuses on a cast of the artists’ hand, found on the table at Hepworth’s studio in St Ives.


All Eyes
September 11, 2019

Wanneer je rondkijkt, snij je in je uitzicht. Je blik hongert naar voor maar er bestaat ook steeds een achter, een boven, een tussen dat achter je rug verdwijnt. Elke nieuwe blik maakt een spoor. Dwaal opnieuw en opnieuw in dit landschap, gevangen in een deel van het beeld. Wat je niet ziet blijkt groter dan wat je oog gadesloeg.

All Eyes is een 360°-opname van één groot veld vol theatrale beeldende acties die te bekijken is op laptop of smartphone. Je kan ze enkel niet allemaal tegelijk zien zodat jouw keuze een deel is van het geheel.

concept Sofie Gielis, Griet Moors, Patrick Ceyssens & Philippe Bekaert – m.m.v. Leen Hoogmartens, Melissa Placido & Centaine Wekking

Met dank aan Kunstencentrum BELGIE > OPEN CIRCUIT & ccha

Lancering op zondag 22 september om 15u

di t/m vr van 10 tot 17 u, za & zo van 13 tot 17 u / vr 1 nov gesloten




Expo: Without the first, the second will not be there

Over het digitale omvormen en analoog her-bekijken van nieuwe technieken.

Deze tentoonstelling en aanpak is een vertraagde tegenbeweging in deze tijden van alsmaar snel evoluerende processen en technieken. Twee ogenschijnlijke tegenstellingen (digitaal versus analoog/mechanisch, high-tech versus low-tech, interactief versus narratief) worden hier in elkaars licht gehouden. Of hoe de hermaakte wereld opnieuw getransformeerd kan worden en het eerste het tweede terug overdenkt.

is de artistieke residentiële werkplek in CCHA. FRAME is een multidisciplinaire onderzoeksgroep met zowel grafisch vormgevers, architecten, kunstenaars als theoretici aan boord. Beelden worden door FRAME dan ook ruim opgevat. Het gaat dus niet enkel over te kaderen beelden zoals schilderijen, tekeningen, foto’s, maar ook over installaties, sculpturen, interieurs, gebouwen, landschappen, literaire teksten.

HOMEWORK C33-kunstenaars en FRAME-onderzoekers Griet Moors, Carla Swerts, Tom Lambeens, Remco Roes en Patrick Ceyssens dagen jonge kunstenaars uit om samen met hen artistiek weg te denken van hedendaagse technologieën.

Met werk van Stef Lemmens, Sofie Grondelaers, Jeff Swinnen, Robin Hombrouck, Lien Meeus & Lauren Wouters, Hanne Hulsmans, Roel Vandermeeren, Aaron Victor Peeters, Alis Garlick en studenten van RMIT Melbourne.


Opening expo: zondag 22 sep 2019 om 15u

di t/m vr van 10 tot 17 u, za & zo van 13 tot 17 u / vr 1 nov gesloten



Zie ook FRAME salon

Lezing: Spelen met FLORA
April 23, 2019

Op zondag 28 April zal Kris Pint een lezing geven, getiteld ‘De wilde tuin van de verbeelding’, als onderdeel van het FLORA project van Nicolas Leus bij PostX in Merelbeke.

Expo: Pamplemousse
April 12, 2019
Expo: presque rien
January 10, 2019
Expo: The Gulf Between

over zwart, wit en alles daartussen

Provinciaal cultuurhuis de Warande nodigt u van harte uit op zaterdag 26 januari om 20 uur op de opening van ‘The Gulf Between’, een tentoonstelling over zwart, wit en alles daar tussen.

De titel verwijst naar de eerste Amerikaanse filmproductie in technicolor. Deze film uit 1917 is grotendeels verloren gegaan. Slechts enkele fragmenten bleven bewaard. In het werk van de kunstenaars in deze tentoonstelling voeren wit, zwart en tonen van grijs de bovenhand. Het verdwijnen van kleur maakt soms zelfs deel uit van de kern van hun praktijk.

De Warande brengt in deze tentoonstelling een rijke selectie samen van hedendaagse kunstwerken in een palet van zwart, wit en grijs met hier en daar toch een toets van kleur. Zo kan je op verschillende manieren de kracht van kleurloosheid ervaren

Sprekers zijn gedeputeerde Kathleen Helsen (voorzitter raad van bestuur APB de Warande) en Annelies Nagels (curator van de tentoonstelling en stafmedewerker van de Warande).

Tijdens de opening brengt Ode de Kort haar performance ‘Walk With U’.


met werk van :Stephan Balleux, Ruben Bellinkx, Charif Benhelima, Tom Callemin, David Claerbout, Stijn Cole, Johan Creten, Bert De Beul, Rik De Boe, Anouk De Clercq, Ode de Kort, Koba De Meutter, Johan De Wilde, Sanne De Wilde, Reinhard Doubrawa, Geert Goiris, Reece Jones, Aglaia Konrad, Mehdi-Georges Lahlou , Tom Liekens, Katja Mater, Peter Morrens, Marc Nagtzaam, Nadia Naveau, Renato Nicolodi, Jaromír Novotný, Hans Op de Beeck, Veronika Pot, Berit Schneidereit, Stefan Serneels, Renie Spoelstra, Hiroshi Sugimoto, Batia Suter, Luc Tuymans, Rinus Van de Velde, Hannelore Van Dijck, Marcel van Eeden, Sine Van Menxel, Philippe Vandenberg, Jan Vanriet, Kevin Vanwonterghem, Dirk Zoete
curators: Annelies Nagels en Glenn Geerinck


vernissage zaterdag 26 januari om 20 uur
tentoonstelling van 27 januari tot 21 april 2019
van woensdag tot zondag van 10 tot 17 uur
maandag en dinsdag gesloten
de Warande, Expozaal