Brussels Gallery Weekend
A Performance Affair
50 Rue de l'Ecuyer
1000 Brussels

The Panopticon, A PERFORMANCE AFFAIR’s first edition, transforms the second floor of the Vanderborght Building into an immersive space for three days of performances in collaboration with the Brussels Gallery Weekend (7 to 9 September 2018). Inspired by the notion of the Panopticon and the building’s unique architecture, continuous and overlapping performance works by international artists will be presented throughout the dynamic venue.

Presenting a myriad of performances for sale by emerging and mid-career artists selected by a highlevel
committee, and featuring Violent Incident, an historic performance video by Bruce Nauman an auctioned immaterial work by Philippe Parreno, an interactive performance installation by Greg Finger, A PERFORMANCE AFFAIR will put the whole spectrum of the economies of performance art on display and for discussion.

The Panopticon will introduce the APA Bureau, a dedicated space inviting players, professionals and
collectors to gather and examine the economies of performance. A round table taking place on Sunday 9
September and moderated by Rose Lejeune will encourage key players to discuss crucial aspects such as
the acquisition, dissemination and preservation of performance art today.


Artists : 

Alice Anderson , Elena Bajo, Sanna Helena Berger, Julien Bismuth, Anna Byskov & Lidwine Prolonge, Jeremiah Day, Lieven De Boeck, Marijke De Roover, Carole Douillard, Tim Etchells, Nikolaus Gansterer, Ariadna Guiteras Ištvan Išt Huzjan, Emily Perry, Candida Powell-Williams, Mireia c. Saladrigues, Sarah & Charles, Moussa Sarr, Flore Saunois, Sarah Trouche, Joris Van de Moortel, Laurence Vauthier

Selected by:

Ellen de Bruijne, Gallerist (The Netherlands)
Josée & Marc Gensollen, Collectors (France)
Frédéric de Goldschmidt, Collector (Belgium)
Michel Rein, Gallerist (France)
Eva Wittocx, Curator Museum M (Belgium)
Catherine Wood, Curator Tate (UK)

Boghossian Foundation Villa Empain
+32 (0)2 627 52 30
67 Avenue Franklin Roosevelt
1050 Brussels
116 Rue du Marché aux Herbes
1000 Brussels

C5 is a space for visual arts who takes inspiration from “The Holy Theatre”, second chapter of Peter Brook’s radical theory “The Empty Space”.

The author explains that he could have substituted the name Holy Theatre with The Theatre of the Invisible-Made-Visible. It’s all there.

Collaborating since 2004, Brussels artists Sarah & Charles draw inspiration from the world of entertainment and more specifically, its invisible structures. Subjects and genres such as make-believe, simulacrum, the story within the story, cinematic experience, the suspension of disbelief and sound are playfully and thoughtfully reviewed

in their research and practice. They produce architectural interventions and stage designs combining video, photography, sculpture and installation techniques that communicate both artists’ interests. They live and work in Brussels.

By now, the Brusselians have been working on their intriguing oeuvre for over a decade. Talking about the work of Sarah & Charles is referring to Plato’s cave (what else?). And rightly so. But there is much more to their art than just that. First and foremost, the duo produces art with barbs.

It gets its hooks into the physical world that surrounds us, into our thinking, but into the complete history of art as well: from film (Godard, Fellini, Truffaut) and theatre (Beckett, the fourth wall), through literary principles, to the traditional visual arts of painting and sculpture (relief, perspective). Established values are turned on their heads. Everything is artfully deconstructed, and what is left is used to create interesting ‘Gesamtkunstwerk’. (excerpt from the text ‘Barbed Art, the Intelligent oeuvre of Sarah & Charles’ by Dorothee Cappelle)

24 Avenue Jean Volders
1060 Brussels

AGGIORNAMENTO’ curated by Eloi Boucher


Tom Volkaert (1989, Antwerp, Belgium) combines his life as an artist with a job of art handler, the creation of his own work with the manipulation of existing works of art. This equation of activities – in the studio and in the gallery or museum – enables him to question the autonomous, sacred artwork and to develop a visual language focused on materiality. Volkaert starts from a fascination with the sculptor’s craftsmanship and respect for his material and tools. However, he doesn’t use them in a traditional way, but he investigates the properties of his tools and pushes, sands, files and bakes until they leave their familiar surroundings. This results in amorphous forms in cement, clay and plaster, finished with metal, silicone and pigment. Supporting elements such as the pedestal, handles and suspension systems form an integral part of the sculpture. The art handler and the artist work together. Tom Volkart is represented by Base-Alpha, Antwerp. (Louise Osieka)

Etablissement d’en face
02 219 44 51
32 Rue Ravenstein
1000 Brussels
Kanal – Centre Pompidou
Quai des Péniches
1000 Brussels
Seven exhibitions :
« Objet : Administration »
« L’Usine de Films Amateurs »
« Tôles »
« As Found »
« Espace Public »
« House 3»
 S. Choua / Y. Baba-Ali / L. Rosell Albear / A. Loze / S. Denicolai & I.Provoost
During Brussels Gallery Weekend, the access to the museum will be to a special price of 10€.
+32 (0)478 05 33 75
90 Chaussée de Forest
1060 Brussels
Maison Lempertz
02 514 05 86
6 Rue du Grand Cerf
1000 Brussels

Lionel Estève will start the new season with an in-situ installation at Lempertz Contempora Brussels from 6 to 28 September 2018 in collaboration with Espace 251 Nord.

The artist produced an installation with improvised materials from which he made small sculptures that are easily transportable. They are the result of a kind of pilgrimage of the artist from Kinshasa to Los Angeles, New York, then Rome.

«Little by little, I realized that I accidentally portrayed the monstrosity of the city, its components, from the attraction for the diversity of its crowd to the dread of its anonymity. I do not want to draw any conclusion from this journey; I only want to show these relics that can be read as a diary. » Lionel Estève, June 2016.

Lionel Estève
Lionel Estève (1967) is a French artist who has been living and working in Brussels for more than 25 years. His works are exhibited around the world.

Lempertz Contempora Gallery Brussels
In our beautiful Art Nouveau building in the center of Brussels, our museum space of 250m2 and 7m high glass roof is dedicated to promote contemporary art. We showed artists like Anish Kapoor (2015), Joëlle Tuerlinckx (2015), Ellsworth Kelly (2016), the Cooreman Collection (2016), Sean Scully (2017), Heimo Zobernig (2018) among others.

Curator: Laurent Jacob.

La Loge
+32 (0)2 644 42 48
86 Rue de l'Ermitage
1050 Brussels

Unfortunately, La Loge is closed due to water damage.

Michel Blazy
September 6–November 10, 2018

The passage of time over matter is key to Michel Blazy’s practice. Since the early 90ies the artist has been working with living entities, integrating them with static, artificial things – both equally submissive to the supremacy of time. From 6 September to 10 November, La Loge will transform into an animated, temporary garden, combining a selection of films and key elements from Blazy’s studio practice consisting of organic matter and mutable materials. Responding to the lively and ever-changing nature of an institution that is evenly shaped by time, this site-specific installation will explore how material transform, grow and deteriorate under the influence of external spatial and temporal conditions: climatic, architectural, technological.

+32 472 61 03 51
39 Quai du Hainaut
1080 Brussels

Get Up Stand Up: The voice of the people before Twitter – the poster in May 1968

Get Up Stand Up: an exhibition on civil disobedience.
The advent of social media has breathed new life into public protest, just as posters did in the late 1960s. While society has evolved since then, the issues facing it remain the same: the environment, minority rights, peace, work and gender equality.

Get Up Stand Up explores the visual world of the posters created by the protest movements of the period between 1968 and 1973. These six years of intense political and social upheaval were marked in France by the student and worker movements of May 1968 and in the USA by the continuing fight for minority rights, demonstrations against the Vietnam War, and the rise of feminism and environmentalism, while a desire for greater freedom, equality, dignity and justice was expressed across the world as a whole. “Sois jeune et tais-toi” (“Be Young and Shut Up”), “Power to the People”, “Make Love Not War” and “Black Power” were just some of the provocative slogans used in visuals and disseminated by thousands thanks to the new and fast technique of silkscreen printing. In the process students and artists came up with a simple and concise universal, visual language possessed with a hitherto unseen expressive power.

The golden age of protest posters began to fade in 1973, with the USA’s withdrawal from Vietnam. Their revolutionary style had made an impact, however, thanks to their explosive mix of violence and humour. In presenting an image with no text or a text with no image, they broke new ground, while their legacy lives on today through Occupy Wall Street, Black Lives Matter, the Women’s March, the Arab Spring and the “Je suis Charlie” movement. The breath of freedom they provided has helped promote the cause of minority rights, combat violence and nurture empathy.

  • More than 400 posters and items
  • 30 countries
  • Five continents
  • Installation of the historic artwork “Frappez les gradés” (“Strike the Officers”), created by Julio Le Parc in 1969.
  • 27 May: lecture and slideshow by Lincoln Cushing, a US archivist, writer and specialist in the visual history of social and political movements.
  • During the course of the exhibition, creative workshops will be organised at the MIMA on the theme of protest posters.

Curator: Michaël Lellouche
Artistic directors: Alice van den Abeele and Raphaël Cruyt
Set design: Sandrine Alouf

+32 2 278 11 11
6 Place de la Monnaie
1000 Brussels

Saturday 8th of September, 11AM, Muntpunt


Booming Brussels, Art City

Why is Brussels such a fertile breeding ground for both artists and galleries? Listen to three of Brussels’ foremost art professionals over coffee and cake. Explore their views on the evolving art scene and their thoughts on the role of the city.

Registration link

Art Book Collection

In light of the Brussels Gallery Weekend, a selection from the art book collection has been drawn up in the Agora in Muntpunt, with titles on art collection, well-known art collections, the art world in its globality, a few recent Belgian retrospectives of contemporary art, and Belgian and international artists and designers which in one way or another are linked to Brussels museums and galleries. View the selection on website

02 219 65 55
106 Rue Vanderstichelen
1080 Brussels

The exhibition explores different systems of quantification and proportion, and their relation to space and body.

Artists: Art & Language, Pep Agut, Mel Bochner, Martin Creed, Stanley Brouwn, Michel Francois, Hamish Fulton, Mark Geffriaud, Marco Godinho, LAb[au], Jan Robert Leegte, Rokko Miyoshi, Ignacio Uriarte, Pep Vidal, … and many more.

Curatorship: Société + Christophe Veys

4 Chaussée de Waterloo
1060 Brussels
02 446 03 43
15 Rue Buchholtz
1050 Brussels

ThalieLab | Thalie Art Foundation
Thalie Art Foundation has been launched by Nathalie Guiot, a collector and patron, former journalist, author and publisher in 2015. Thereby, ThalieLab has opened its door in 2017 and is the physical expression of the Foundation.

ThalieLab is a platform for creation and production support in the field of visual arts and design that brings together projects in a spirit of innovation and societal impact. ThalieLab is based in Brussels in a neo-modernist house from the 1920s, which proposes an art collection and a singular program around performance and contemporary thought.

From Strata of Memory to Layers of Rock
Faced with the ever-increasing instrumentalisation and destruction of nature, RARA (Rain Wu and Ralf Pflugfelder, London/Maastricht/Berlin) are interested in affecting the collective imaginary and thereby countering a widespread alienation from nature. At ThalieLab, Rain Wu and Ralf Pflugfelder will research the psychic and emotional claims that human beings and their societies have made on nature, and vice versa. They set out to invest 21st Century environmental imperatives with a sacred, mythic quality, so that those memories can be unearthed again, which may help to redress the balance. ThalieLab will become an enigmatic landscape for RARA’s manifold objects and installations, follies and riddles – a site of wonder and contemplation. This ever-changing test-bed will be housed in a specifically conceived Temple to Nature and Man, and active through new rituals and unveilings.

Rain Wu and Ralf Pflugfelder form the duo RARA.
Rain Wu (1987, Taiwan) is a Taiwanese-born, London-based artist and architect with specific interests in interactive experiences, spatial narratives and material exploration. After her formation at the Royal College of Art, she collaborates with professionals from various fields to explore the versatility of architecture in art and design. She is particularly interested in the development of materials, speculative stories, and interactive spatial experiments. Rain Wu exhibited in 13th Sharjah Biennial (2017), London Design Biennale (2016) and Lisbon Architecture Triennial (2013).

Ralf Pflugfelder (1979, Kösching) is an artist living and working in Berlin and London. Through appropriation and associative thought processes that connect the everyday and the mythical, his artworks materialise in many different forms and scales: from scultpure to writing, painting to architecture, installation, performance, plagiarism, collaboration and commissioning. Pflugfelder’s work involves a questioning of knowledge and language,history and truth — a reinvention of the modes of appearance and the creation of a work of art. His work has been shown at Manifesta, FLACC, Wysing Arts Centre, Performa Biennial, Kunsthaus Graz, Gwangju Biennale, Le 104 Centquatre Paris, Kunstverein für die Rheinlande und Westfalen, Arnolfini Bristol, Lyon Biennial, Gallerie für Zeitgenössische Kunst Leipzig, Chisenhale Gallery, The Royal College of Art London, and so forth.

The RARA has been invited to be artists-in-residence at ThalieLab from April to September 2018. They will present a lecture on their ongoing project on Thursday 26 September at the Villa Medicis.

+32 (0)2 340 00 53
354 Avenue Van Volxem
1190 Brussels

WIELS presents the work of René Daniëls in a wide-ranging exhibition: Fragments from an Unfinished Novel will run from 07.09.2018 until 06.01.2019

In September the Contemporary Art Centre will devote a wide-ranging exhibition to the Dutch artist René Daniëls. This will be an opportunity for visitors to discover a number of historic paintings, some of which have been restored specially for the exhibition and have never been presented to the public before. An extensive selection of drawings will complete the exhibition, offering a better understanding of how the vocabulary of the artist evolved. Paintings and drawings will be displayed over two floors of WIELS in an attempt to trace the career of this leading artist and to explore the relation between perception and memory that lies at the heart of René Daniëls’ pictorial reflection.

René Daniëls is a key figure in the history of art of the second half of the twentieth century. His career began in the late 1970s, at a time when painting was being rediscovered on the art scene. The artist stood out thanks to an original, idiosyncratic idiom. He did not hesitate to experiment with different pictorial styles, combining elements borrowed from surrealism and references to the literature and counterculture of the day, all the while integrating recurrent motifs. Like a composer, Daniëls created variations on a theme. Starting from 1984, one motif in particular was going to play a predominant role: that of an exhibition space seen in perspective. He would reproduce this form in compositions where he employed mirror effects, juxtapositions or changes of orientation. In late 1987, a stroke put an abrupt end to his blossoming career.

Inspired by the title of one of the few texts written by Daniëls, the exhibition Fragments from an Unfinished Novel looks back on the development of the artist’s visual language, with a focus on the phenomenon of “déjà vu”.

Relying on visual games such as duplication, “mise en abyme” fragmentation, stratification and erasure, Daniëls has given us images of incredible poetic and conceptual force, images that bear witness to a view of art on the frontier between the visible and the invisible, seeing and knowing, perception and imagination, reality and fiction.

The exhibition at WIELS will also be accompanied by an important monograph devoted to René Daniëls. For this reference work, designed by Mevis & van Deursen and published jointly by Fonds Mercator and Koenig Books, various authors have been called on : Devrim Bayar (curator at WIELS) and Paul Bernard (curator at Mamco) as well as Angela Bartholomew (Vrije Universiteit Amsterdam) and Jordan Kantor (California College of Art). This catalogue will be available at the vernissage on 6 September at the WIELS Bookshop.

Generation Brussels generation-brussels
50 Rue de l'Ecuyer
1000 Brussels

During its eleventh edition, the Brussels Gallery Weekend will feature the exhibition Generation Brussels at the Vanderborght building in the centre of Brussels. Generation Brussels wants to discover, recognize and give support to a  generation of artists. The exhibition will bring together artists based in Brussels and working in different media such as drawing, installation, painting, ceramics, sculpture, photography and video.

1 Rue Lambert Crickx
1070 Brussels
NICC is pleased to present a new self portrait painting work and video action piece by artist Nel Aerts (b.1987 lives and works in Antwerp) in its window vitrine space. Aert’s uncanny paintings depict shapes and forms that are at once familiar—a face, a rounded doorway, a swaying curtain—and at the same time wholly peculiar. For the NICC vitrine, the artist will reproduce her signature contours in a quick, monochromatic style on the unlikely canvas of the gallery window. Further, she will document the act of painting the gallery window in film, which will be projected from the inside of the space onto the window so the painting and the film will come together on the window at night. The painted glass work will dwell more on the action of painting than on the content of the painting itself. Here, Aerts considers painting as both a process of making and as a finished product.
Passersby will encounter the artist’s works differently based on the time of day. While it is light out, passersby will see the painting on the window, while at night passersby you will see the looping film projection. Aerts, however, will nevertheless appear in both the painting and in the film, a shadowy form reflected in stillness and movement.