Are you interested in contemporary art, but do you find it difficult to “get started”? Kunst in Huis works like a library where everyone can borrow works of art. An ideal formula for discovering the fascinating work of contemporary Flemish artists and hanging it in your own home. And what if you fall in love with a work of art and you don’t want to give it back? Then maybe you’ll buy it!

Today, the collection of Kunst in Huis counts about 5,000 works by 400 current artists who live and work in Flanders. The collection aims to provide a picture of all contemporary visual art movements in Flanders. We regularly enrich the collection with new artists and works of art.

Kunst in Huis has four branches where you can register, choose, reserve, exchange and buy. You can find us in Antwerp, Ghent, Brussels and Leuven.

In this way Kunst in Huis makes a wide range of contemporary art forms accessible and gives starting artists a helping hand. Moreover, a work of art is never ‘just’ lent out, but you also get to hear the artist’s story when you borrow a work.

Untitled perhaps functionally and formally mostly resembles a column.

It is brought into tension
between floor and ceiling, organizes the room and reads its precise height from a scale.
Sectionally, the iconic I-beam is mirrored by a counterfeit composite of two T-sections, manufacturing both balance and opposition.

Its internal rigour juxtaposes an unavoidable surrender to the space it is in.

At first glance, the object seems archetypal. At second sight, it can only be seen as selfsabotaging.

MAXIME PRANANTO runs a practice of interventions in architecture and art spaces.
It deals in simultaneous design and production of scenography, exhibitions, furniture and objects.
All interventions reflect a sensitivity to the beauty of constraints and gather meaning throught the
entirety of their process.

Part of F / A Fake Authentic

Santella, one of the italian terms for shrine, is an object that toys with the idea of sacred site, presenting in a profane and ironic way the motif, common in many religions and mythologies, of the “world tree” or “axis mundi”, the connection between Heaven and Earth.
A juxtaposition of archetypical shapes and ordinary objects, Santella is a weird domestic monument that emphasizes and ritualizes gestures like charging the phone. But don’t expect it to actually function. At best the socket may represent a spiritual connection of some kind, because after all, as religions teach, faith is all that matters.

Formed as an architect, he operates within the broad field of design. His work revolves around the relationship between tradition and modernity, always keeping a critical and disillusioned eye on contemporary society issues. For his projects he employs different materials and techniques, ranging from traditional craftsmanship to industrial know-how, often mixing the two.

Part of F / A Fake Authentic

As for the acoustic phenomenon in which the sound, reflecting against an obstacle, returns to be heard at the point where it was emitted, ECHO is a project on the return, on the rediscovery of old and new waste from marble processing.
Everything starts from the travertine slab which is placed under the blocks for the cutting operation. This slab, when it is removed from the machine to be eliminated, has a three-dimensional texture given by the randomness of the multiple cuts.
By combining various marble slabs of different colors and sizes and travertine, motifs of vertical and horizontal lines are created, which give life to a set of both tactile and visual graphics.
A desecrating process that tends through the recovery of waste, to give a new value to one of the most
iconic materials of architecture and art.

MARCO BARAZZUOLI, designer and artist. His work is distinguished by a careful choice of materials, aimed at enhancing their characteristics, also thanks to contrasting their combinations.
CARLOS BERRETTINI, marble craftsman. Third generation of ARS MARMI, a company based in Siena born as a laboratory in 1910, and which for over 25 years has been involved in the processing of stones and marble, collaborating with international architects, designers and artists.

Part of F / A Fake Authentic

Foto dal finestrino was a Domus column edited by Ettore Sottsass.
A collection of instant photos of worlds and realities described in an immediate and essential way.
An almost casual succession of themes and reflections on the loneliness, the traditions around the world and the traces left by humans.
An ode to travel.
I have kept Sottsass’s little book since fourth grade and when I feel I have lost my focus, I always go back to it, leafing through it.
During these months of pandemic, I felt distant and isolated, and I found myself looking at the world from the window. A window that has often become a video call, an Instagram story or a photo taken by someone. A way to peek into other people’s lives without really being part of it, a way to feel closer to
everyone.
Foto dalla finestra is a collection of 19 drawings,
19 shots through windows, starting from Bergamo and arriving in Milan.

LUCIA AMADDEO is an architect, illustrator and food designer who loves to draw and who is currently based in Zurich.
She works organically in the field of architecture and food design using drawing as a communication tool. Drawing is for her a method of analytical deconstruction of reality into surfaces, textures, and lines to be transformed into a world of dreams and magic.

Part of F / A Fake Authentic

The series ‘Laventa’ is inspired by the colossal stone heads of the pre-Colombian culture of the Olmecs, such as those found in La Venta, Mexico. These stone heads are in reality a round shape with the distinctive senses of the kings who ruled in their respective periods. I reworked this concept of these historical images starting with building a ’round’ shape and finally adding my versions of the senses. The ears , eyes, nose and mouth, starting from what I know, or rather, what my hands know. These sculptures are therefore not based on a live model, but more like a subconscious self portrait.

‘The Original Memory Object Matching Game’

The honor of your presence is requested for a Table Tennis Match on Thursday,
the seventh of October 2021, nine thirty in the morning at my place.
Yours sincerely,
Ran De Vos

A very efficient and well executed display which seems to have been built up along a fruitful and dense reflection but also a playful interest in manipulating material – casts – characters, references, narratives. The display as much as the editorial projects create a framework of great potential for further explorations on how some ordinary artefacts could be reinvested ad libitum in theatrical plays.
— Esther Le Roy, Goda Budvytytė and Yohanna My Nguyen

‘The Original Memory Object Matching Game’ is the graduation project of Ran De Vos (°1999) in which she strategically combines her education in graphic design with personal memories and the technique of mold casting.

Dries Otten is a studio for furniture design, interior architecture and scenography based in Antwerp, Belgium. Dries Otten is known for his commitment to color and an ability to design playful joinery. He uses a no-nonsense approach, resulting in clear forms in search of the archetype.
Knowledge of, and the sensations from materials, the historical framework, contrasts of color and constructional simplicity are central to Dries Otten’s designs.
It’s all about the design as an enjoyment

MANIERA gallery commissions architects and artists to develop furniture and objects for use, offering them the opportunity to take an excursion beyond their usual practice. Architects often have a close relationship with the visual arts and artists are often inspired by the spatial environment. MANIERA crystallises these affinities into new design proposals. More than just furniture, the objects produced by MANIERA are a deliberate search for confrontations between the realms of architecture, design and art.

MANIERA brings both up-and-coming and well-established figures to the fore. What they all have in common is a personal language and hand, a conceptual mode of thought, and an authentic and idiosyncratic ‘maniera’ or working method.

MANIERA was founded by Kwinten Lavigne and Amaryllis Jacobs in 2014.

Atelier leda is multiple, vivid colour atelier established by leda devoldere in 2019 and based in gent, belgium.
She is focussing on textiles within design, interior, art & in betweens.

HISK offers a post-academic course in visual arts and provides young artists from Belgium and the world with a workspace and pedagogical guidance for a duration of two years. The emphasis at the HISK lies on individual practice and close contact with a community of distinguished visiting lecturers – artists, writers, curators and scholars. Based on diversity of artistic practices and positions, the unique HISK concept gives the artists every opportunity for critical research within a broader aesthetic, social and political context.

At the end of the two years, the participating artists receive a certificate as a ‘Laureate of the Higher Institute for Fine Arts.’ 258 laureates have graduated from the institute since 1997. The majority of them are now pursuing successful professional careers in the international art world.

HISK is officially recognized as a higher educational institute and is financed by the Flemish Community (the Ministry of Education) and supported by the City of Ghent.

Participating artists:
Dries Boutsen
Nelleke Cloostermans
Manu Engelen
Oscar Eriksson Furunes
Antoine Goossens
Nokukhanya Langa
Zhixin Liao
Linda Jasmin Mayer
Ivan Nylander
Edouard Pagant
Elisa Pinto
Juan Pablo Plazas
Paulius Šliaupa

Universum Carroussel Journey is the alter ego for architecten jan de vylder inge vinck/inge vinck jan de vylder architecten. Maybe this alter ego is even the primo ego. No more than three words. And actually only three words. But no more than three words are needed to situate what A JDVIV / IVJDV A should be about when the idea of architecture should be given perspective.

RITUAL FOR THE LIVING

Sounds colab with Adam Russell
Undergarment: Murielle Victorine Scherre La fille d’o

Come and rest with me
In the shadow
Of the cross, and with cross
I always meant say crossroads

This bed used to be the artist’s bed for years. As an object it saved memories. It was also a place where she was in suicidal purgatory for months during the summer of 2019.

Now it is time to rest in the shadow of the cross, the cross – a crossroad between life and death itself- and read a loud from the exact words she wrote down in her personal journal during those long days.

As a way of celebrating this personally horrifying learning experience and to honour any horrifying experience that comes with being human. With this performance she tries to transcend the past by embodying her ultra-kind higher self that is obsessed with rest and care.

This is an invitation to come and rest with her in the shadow of the cross to honour life.

—

Although graduating as an Illustrator at LUCA School of Arts, Gent in 2013 Nina Van Denbempt (°1989) works with mixed media. Whether it is painting, painting over old paintings, redesigning jackets, collecting old paper, writing, sculpture, building a shrine at home, playing music, making performances with friends or drawing short comics… It’s all in the purpose of trying to keep a naive curiosity in ways of expressing oneself combined with a mild obsession with the uncomfortableness of being a human in the world. She’s always looking for ways to enhance connection by sharing personal stuff as an antidote for irony and as a way to personally break free from the numbing effects of fear and shame. Recurring themes as anxiety, failure, shame, crushes, existential dread, loneliness, mental health and feminism are very close to her being and are a part of processing her own life events. Mix a deep love for DIY, glitters and pop culture with some darkness and depression and there you have it.

Elke Van Kerckvoorde (b. 1992, Ghent) graduated as a Master of Painting from LUCA School of Arts in 2014, but grew up in a world of logos, design programs and printmaking.
Van Kerckvoorde distorts graphic elements from the everyday world into a geometric imagery and finishes them in a seemingly machine-like way with industrial materials.
This eclectic way of working creates a fascinating play of forms with layered meanings.

With “Series C.R.,” Van Kerckvoorde pays a vivid homage to her deceased mother, herself a graphic designer.
In the paintings, the lively circle and the symbolic cross provide a colourful geometric play of forms in which the combinations look endless.

Elke Van Kerckvoorde is represented by Gallery De Ziener.

This is the water and this is the well.

Photo: Dirk Pauwels

Niels Vaes pulls freely from a multitude of –personal, historical, social, and political– sources, creating a visual language that is simultaneously rich and economical, sensitive and controversial. In his work, an important topic is that of the ever changing landscape. It can refer both to the tangible landscape of nature as the broad range of different cultures.
In his own culture, Niels struggles with the black Pete tradition that is still present in Belgium and the Netherlands. He grew up with the character as a child and even played him when he was older. Therefore, he loved him… He is also aware that the form of how Black Pete is depicted, as a black slave (earrings, red lips, frizzy hair, page suit) is wrong and racist. Niels is visually researching where the tradition is coming from, what the core is and what symbols we can keep or throw overboard. During his research he discovered that one of the characters Black Pete originated from is the Water Nekker, a ghost that lived in waters. People told stories about the ghost to scare children so they didn’t come to close to the water and drown. This ‘evil’ ghost existed to keep children safe. This raises questions about what is evil and what is good. Niels believes good can coexist besides evil and serve a purpose. What you see is an interpretation of the Water Nekker, depicted as a tragicomic clown that fell on his ass. Is he struggling of laughing? Maybe both. He is definitely not human. He is a personification of something we fear. The core of this tradition is that children can conquer their fears and get one step closer to adulthood. The form Black Pete exists in now contributes nothing to this purpose.

ONBETAALBAAR began in late 2012 as an artist and designer collective. Several artists, (graphic) designers, writers and illustrators collaborated on projects concerning the reuse of waste. We organized auctions and other sales performances, projects in elderly houses, worked with children,… These projects invite people to look at discarded materials in a different way and spread a sustainable, ecological ideology. Typical for ONBETAALBAAR is the passport that we gave to each self-made object. This gives it an identity with a unique life story, the design idea, the working method and the time spent making it. In 2017, CAMPO arts center offered ONBETAALBAAR its own place in Bomastraat in Ghent, that we share with fellow makers. Here we explore materials, invent and develop prototypes and look for a more circular way of working .
We now focus on prototyping, material research and interior design. By focusing even more on reuse and implementation of sustainable and circular materials, we enrich our style. For us, honoring the history of spaces goes hand in hand with bringing new life to them by reworking them and giving them a different, more ecological identity. ONBETAALBAAR presents an overview of new unknown materials to future clients. We support new circular producers by developing their materials through applications and user experiences.

WASTE isn’t WASTE until you WASTE it.

The Bowie is a unique, simple floor and table lamp with a recognizable sharp angle. The lamp is available in black, white and brown stained wood and each has a unique marble base made from a discarded bedside table or an old fireplace.
The Boy table top of this trestle table rests on the two elegant three-pronged panels, made from remnants of hardwood and plywood. Due to the double conical shape of the triples, this table has an elegant shape and maximum seating comfort. In addition, you can easily store the table for flexible use of your interior.

«The fine rain stopped falling towards the end of the afternoon, the sky became clear. I was hungry and was delighted to be hungry, for now Zorba would come and light the fire and begin the daily ritual of cooking. “Another of these things that never leave you alone,” Zorba often said, as he set the pot on the fire.
[…]
On this coast I felt for the first time what a pleasant thing it could be to have a meal. In the evening Zorba lit the fire between two stones and did the cooking. We started eating and drinking, the conversation became animated. I at last realised that eating was a spiritual function and that meat, bread and wine were the raw materials from which the mind is made.
[…]
His eyes lit up, he was brim full of memories, wings grew on his feet and he danced. “Tell me what you do with the food you eat, and I’ll tell you who you are. Some turn their food into fat and manure, some into work and good humour, and others, I’m told, into God. »

Níkos Kazantzákis, « Zorba the Greek »

RBRTBRBR is a Croatian architect currently based in Ghent (BE). In his work, he is searching for a certain atmosphere through manipulation of architectural elements, their scale, the materiality, the in-between. Atmosphere as a concept rather than a consequence. He is interested in ambiguous architecture or object that is not giving you the answer but rather stimulating question. He makes objects that originate in architectural projects, ending up somewhere between sculpture and usable furniture.

Numbered By is a platform focused on creating unique sweatshirts in collaboration with Belgian contemporary artists. The art practice of the artists is further refined and results in unique wearable artworks.

The collaboration creates an interaction between Numbered By and the artists exploring the boundaries between art and fashion.

‘The digital noise in the artworks thus becomes a kind of textile itself’
— Manor Grunewald

Numbered By invited Manor Grunewald to create 30 unique artworks. It is a study of shape, color and graphic elements within the A3 format. Each collage is available on sweatshirt in different sizes S, M, L and XL.

Arthur Dekker (°1988) combines carpentry and steel. Apart from his atelier, Arthur is developing furniture trough the experiment of the making.

BRIDGE,
1. Fixed or movable connection between two points
2. Provides possibility of approach, advance, approximation
The superstructure consists of feet, legs, the span and the plateau:
Feet: on the ground, in the ground.
Legs: supportive, at height.
Span: carrier of the plateau
Plateau : support for the light and the heavy.
These four parts all together provide the connection between points, cities, roads possible. And therefore between people. Big, small, wide, narrow, twelve lanes or just a single one. I myself, prefer a single lane, just before the bend. Where one has to look over the bridge, where one has to slow down in order not to go off road, to be able to see who or what is on the other side, to find out how to make the crossing. By imposing himself for example or rather patiently, fearfully. By going out of control while singing his favourite song.
All this, you can also say about a table, a stately symbol.

Through sketchings in a sketchbook, I try to better fix moments, taking the time to understand a specific place and to take it in. Withdrawing from the ephemeral, this is how I try to better hold on to that moment in order to remember it later.

Because memories often fade away very quickly. Even though we think we still remember things well, we lose details over time. Sometimes stories and/or photos can refresh them, but only for a time.

Later, in my studio, I capture this process, when I try to fix a memory on paper with charcoal. First I draw the image as expected. Then I leave it there and start to blur it. Until the paper is saturated and the black can’t get any blacker. Or, when a memory is fragmented, I might use several sheets of paper overlapping the memory.

I try to create an image as if the viewer just turned off the light in the room and had to find his way through the dark. After some time, his eyes get used to the dark, and he starts to distinguish small nuances within the space. My work acts in the same way: the longer you look at it, the more you discover of my memory.

Lieven Lefere lives and works in Gent

Ratio and subjectivity as well as the appearance and disappearance of the image is one of the central themes in Lieven Leferes oeuvre. He is primarily interested in the formal aspects of photography and uses his camera not simply as a tool to document his environment. In doing so, he questions the position of the photographer, who can steer our perception with the choice of an image and thus manipulate parts of our reality.
The works Mirroir are from a series in which Lefere examines measure and perspective that Jan van Eyck used in his paintings. For this he reconstructed the church space from “Madonna met kanunnik Joris van der Paele” (Jan van Eyck, 1493) in his studio. The two works Des ombres et des miroirs are showing details that he re-photographed from the resulting work La miroir des ombres. Using this technique, he generates a soft, painterly effect in his photography.

Johan Gelper lives and works in Gent

Gelpers’ sculptures often grow over a long period of time, sometimes waiting for years for the missing link to be added. Constructed from Objets trouvés and items which are charged with a more personal signification, Gelper lets them correlate in a way whereby objects and shapes often contrast in their materiality. They are playful and display a crude elegance, incorporating various philosophies from Dadaism over Constructivism to Pop Art and seamlessly blend those styles.

Philip Lumai lives and works in Brussels

Philip Lumai. uses multiple painterly references to experiment with the regeneration and suggestion of form in abstract painting, whilst continuing to treat process and idea as singular movement of artistic expression as in his earlier monochrome works. Speaking of his work Phil Lumai says that he is looking to re-evaluate the ways in which ideas of form have been treated in abstract painting: “Although I begin with a very specific idea that evolves over a considerable time, eventually I think of it like a discarded sheet of sketches that, whilst presenting no formal solution, also renders up something intriguing that is quintessentially painting“.

Gelpers’ sculptures often grow over a long period of time, sometimes waiting for years for the missing link to be added. Constructed from Objets trouvés and items which are charged with a more personal signification, Gelper lets them correlate in a way whereby objects and shapes often contrast in their materiality. They are playful and display a crude elegance, incorporating various philosophies from Dadaism over Constructivism to Pop Art and seamlessly blend those styles.

Johan Gelper lives and works in Gent

Philip Lumai. uses multiple painterly references to experiment with the regeneration and suggestion of form in abstract painting, whilst continuing to treat process and idea as singular movement of artistic expression as in his earlier monochrome works. Speaking of his work Phil Lumai says that he is looking to re-evaluate the ways in which ideas of form have been treated in abstract painting: “Although I begin with a very specific idea that evolves over a considerable time, eventually I think of it like a discarded sheet of sketches that, whilst presenting no formal solution, also renders up something intriguing that is quintessentially painting”.

Philip Lumai lives and works in Brussels

Ratio and subjectivity as well as the appearance and disappearance of the image is one of the central themes in Lieven Leferes oeuvre. He is primarily interested in the formal aspects of photography and uses his camera not simply as a tool to document his environment. In doing so, he questions the position of the photographer, who can steer our perception with the choice of an image and thus manipulate parts of our reality.

The works Mirroir are from a series in which Lefere examines measure and perspective that Jan van Eyck used in his paintings. For this he reconstructed the church space from “Madonna met kanunnik Joris van der Paele” (Jan van Eyck, 1493) in his studio. The two works Des ombres et des miroirs are showing details that he re-photographed from the resulting work La miroir des ombres. Using this technique, he generates a soft, painterly effect in his photography.

Lieven Lefere lives and works in Gent

“Oh, what a wonderful world…”

‘Maison Éclectique’ started in collaboration with international editor Desplans a presentation of carefully selected quality prints of never before published architectural drawings from Benelux and international architects. Maison Eclectique prints limited editions on quality and durable paper. Prints comes as authenticated, numbered, limited editions with a certificate signed by the architects.

Architects and designers are constantly producing creative drawings and designs. Only a small percent of these makes it into the public domain, although they are an important part of the profession. There are hundreds of sketches, photographs, collages, floor plans, watercolours, cross-sections and models in architect’s offices… of unfinished architecture or design who are the abstract and/or stylized beginnings of a project. For the selection of architectural drawings, plans, watercolours, photographs, etc. ‘Maison Éclectique’ & Desplans works together with experts.

The first selection includes works of: Doorzon Interieurarchitecten, architect Theo De Meyer, architect Gaston Eysselinck (1907- 1953), architect Koen Deprez, architect Charles Vandenhove(1927 – 2019), Pierre Escobar, Traumnovelle, Opera Vari, Point Suprème, Laurent de Carnière, Beau architects a.o.

KopecVerstraete are interested in generating thought-provoking multidisciplinary research, attempting to tackle vast cultural questions seeking for new perspectives rather than defined answers. Their metaphorical prototypes represent a search for a clarity of thought, oscillating between materiality and concept, experiment and pragmatism.

I started to explore and redefine the fixed values with regard to a stool – as the most common entity of furniture design – through design research. Starting from a square seat, the design was shaped by using repetitions, inversions and inflections. The object can thus form part of a series.
The design research focused on developing, explaining and questioning design strategies from the overlapping field between design and architecture; a field that is made present by further examining connections and constructions.
The structure consists of the following components; three legs, three reinforcements and the seat. These components are attached to each other by means of rivets that are attached to the inside, so that the connection gets an extra dimension.

Guy Vandenbranden

1926 (Brussels, Belgium) – 2014 (Antwerp, Belgium)

Guy Vandenbranden was an important constructivist artist of the Belgian post-war art scene. Following Piet Mondriaan and Victor Vasarely, he attained total geometrical abstraction.
He assumed a key role in the international art scene of the late fifties, where he befriended artists like Lucio Fontana, Piero Manzoni, Yves Klein, Günther Uecker and François Morellet.

From 1951 onwards, Guy Vandenbranden started to work in a lyrically abstract way. In the Brussels art scene and became friends with Pol Bury, Jo Delahaut, Kurt Lewy, Jean Rets and Jean Milo. He joined the artists’ group “Art Abstrait” in 1956. Vandenbranden worked completely in a geometrically abstract fashion from 1954 on and practised this visual language consistently until his death in 2014. Around 1958, Vandenbranden worked in black and white mainly, his artworks almost evolving to monochromy and there was a clear connection with the work of the American Hard Edge of that time. From 1961 onwards, Vandenbranden started working with relief and his first abstract sculptures were created. From 1967 onwards he started to spray cellulose lacquer directly on panels with the aim to create visual illusions (akin to the Op Art).

In 1960, Vandenbranden, Jef Verheyen and Englebert Van Anderlecht established the New Flemish School . This artists’ group, including Paul Van Hoeydonck, Jan Dries and Vic Gentils, aimed to promote their art internationally with exhibitions in Germany, Switzerland and Italy.

Vandenbranden was part of several art movements: Art Abstrait, Formes and Art Construit. He had lifelong artistic friendships with Jef Verheyen, Vic Gentils and Walter Leblanc. He increasingly exhibited abroad (Switzerland, Italy, Germany and The Netherlands), where he befriended artists from the ZERO group.

Callewaert Vanlangendonck Gallery, founded in 2012 in Antwerp, Belgium, displays lyrical and geometrically abstract artists from the following groups: Cobra, Art Abstrait, Art Construit, Formes, G58, the New Flemish School and the ZERO movement.

Gallery owners Brecht Callewaert and Yoeri Vanlangendonck emphasize the importance and the contemporary character of the Belgian artists of the 1950s and 1960s. It shows how timeless, universal and cross-border this avant-garde art still is.

In addition to organizing retrospectives and group exhibitions, Callewaert Vanlangendonck Gallery publishes art books on its represented artists and manages the artist estate of Guy Vandenbranden (1926-2014), one of the most important Belgian constructivist artists. Guy Vandenbranden bequeathed his archives to Callewaert Vanlangendonck. The gallery then founded the ‘Estate Guy Vandenbranden’, which manages the artist’s oeuvre and promotes it at home and abroad. The gallery also works together with the Estate Jan Dries in promoting this G58-sculptor on an international level. Furthermore, the gallery has a vast collection of works by Cobra-artist Serge Vandercam, from his lyrical abstract period (1955-1962).

Guy Vandenbranden

1926 (Brussels, Belgium) – 2014 (Antwerp, Belgium)

Guy Vandenbranden was an important constructivist artist of the Belgian post-war art scene. Following Piet Mondriaan and Victor Vasarely, he attained total geometrical abstraction.

He assumed a key role in the international art scene of the late fifties, where he befriended artists like Lucio Fontana, Piero Manzoni, Yves Klein, Günther Uecker and François Morellet.

From 1951 onwards, Guy Vandenbranden started to work in a lyrically abstract way. In the Brussels art scene and became friends with Pol Bury, Jo Delahaut, Kurt Lewy, Jean Rets and Jean Milo. He joined the artists’ group “Art Abstrait” in 1956. Vandenbranden worked completely in a geometrically abstract fashion from 1954 on and practised this visual language consistently until his death in 2014. Around 1958, Vandenbranden worked in black and white mainly, his artworks almost evolving to monochromy and there was a clear connection with the work of the American Hard Edge of that time. From 1961 onwards, Vandenbranden started working with relief and his first abstract sculptures were created. From 1967 onwards he started to spray cellulose lacquer directly on panels with the aim to create visual illusions (akin to the Op Art).

In 1960, Vandenbranden, Jef Verheyen and Englebert Van Anderlecht established the New Flemish School . This artists’ group, including Paul Van Hoeydonck, Jan Dries and Vic Gentils, aimed to promote their art internationally with exhibitions in Germany, Switzerland and Italy.

Vandenbranden was part of several art movements: Art Abstrait, Formes and Art Construit. He had lifelong artistic friendships with Jef Verheyen, Vic Gentils and Walter Leblanc. He increasingly exhibited abroad (Switzerland, Italy, Germany and The Netherlands), where he befriended artists from the ZERO group.

cortese/mazza is an architecture practice based in Bruxelles (BE), founded officialy in 2020 by Claudio Cortese and Barbara Mazza. After sharing their studies together at Accademia di Architettura di Mendrisio (CH), they have moved to Belgium in 2016, where they share interests and ambitions between Gent and Bruxelles.

RESONANCE Resonance is a hand-woven tapestry made of natural materials, built up in different layers with a subtle color gradient. The fragile resonance becomes tangible and visible through the twisCng and weaving process. In this creaCve process Delphine draws, weaves and connects threads into construcCons. Just as the line is the basis for a drawing, here her twisted thread is the basis for the handwoven tapestry.

Depending on how the material is processed, the interplay of lines reacts differently. The spontaneity and the beauty of the tacClity of raw natural materials brings Delphine home to her personal design world and is the moCvaCon to explore the boundaries of texCles. Resonance is made in limited ediCons, so each piece is numbered and unique.

franje is an interior architecture practice based in ghent, founded in 2019 by michiel hutsebaut

franje searches for the intersection between interior architecture and ornament through scenography, interior design and furniture design

michiel hutsebaut graduated in interior architecture at kuleuven, sint-lucas ghent in 2017. he worked/works for doorzon interieurarchitecten and felt architecture & design

previous works include the design for the scenography of ‘creatures made to measure’ for the design museum ghent, the design and upholstery of a donut shaped cushion for a stool designed by felt architecture & design and the design of the scenography for the opera carmen for new york based choreographer Jonah Bokaer in hong kong exhibiting various pieces of furniture in a hugely public venue, such as the belgian art & design fair, is exciting

the opportunity to share a platform with other designers and artist and to be among them as an ensemble is both stimulating and rewarding

Invited by Daan Rau

‘That’s how the light gets in’ shows Isabel Devos’ artistic path of the last years. The title of the series—a famous quote taken from Leonard Cohen’s ‘Anthem’—spontaneously evokes the previous sentence “There’s a crack in everything”, as a negative image of which Devos presents the positive. The ‘crack’ being a symbol for the natural, the imperfection or perhaps the unwanted, but at the same time an opening towards numerous possibilities….

( Tim Vanheers )

shelving I

need more space
for books vertical poles
moving around frames
actually a series of frames
on top of each other
angled shelves lay in frames
books lay in angled shelves
angled shelves to avoid bends
all from simple materials
aluminium and multiplex
vertically organised
sometimes turning
sometimes not
outsourced and home made

—

Mátyás Molnár is a Slovak born Hungarian architect. After graduating at KU Leuven Campus Sint-Lucas Ghent in 2016 he has lived and worked between Ghent and New York. In his work his interest lies between rational pragmatism and the spontaneity of making.