21.05.26 – 31.05.26, #195 Kyra Voordeckers, IF I FORGET, AM I FORGOTTEN TOO?

‘Have you ever heard a nightingale scream?’, tells the story of Philomela, one of the many women in Greek mythology whose voice has been silenced. Through audio works, Anne Rosa Lut explores how women, just like songbirds, have altered their voice in order to be heard within a patriarchal society filled with noise.

RANDVOORWAARDE is a collaboration between Margaux De Pauw and Charlotte Bracke.

Together, they explore the role of fire extinguishers within an exhibition space and how they can relate to paintings without being perceived as a distraction. Rather than ignoring the fire extinguisher, Charlotte aims to draw attention to it. We are all familiar with the accompanying pictograms, but they often disappear from view until danger threatens.

In this exhibition, they bring the fire extinguisher, pictogram and painting together. What is normally ignored becomes a playful interaction here. For perhaps the fire extinguisher is the most successful object in the art world: it hangs in every museum.

Frilly Blouse Syndrome takes its cue from Linda Nochlin’s essay Why Have There Been No Great Women Artists? (1971), and examines the representation and visibility of women within art history.

Taking Rosa Bonheur as a starting point, we encounter a 19th-century female artist who did not so much find her place as take it — and then simply stayed there.

In een ademende, veranderlijke ruimte raakt Washing The Soul aan een innerlijke verschuiving, een beweging van loslaten en terugkeren. In die omwenteling wordt het zelf zachter, ontvankelijk voor wat het overstijgt. Wat hier resoneert, is een stille toenadering tot het onnoembare.

Dit project brengt het werk van twee beeldhouwers samen. Lenie creëert witte, humoristische mengwezens: combinaties van verschillende levende wezens die samen een nieuw, eigen universum vormen.

Alyssia Reale vertrekt vanuit alledaagse consumptieobjecten, vaak speelgoed, en onderzoekt hoe hun betekenis vervaagt door tijd, gebruik en herinnering. Met felle kleuren en speelse vormen balanceert haar werk tussen herkenbaarheid en abstractie.

Rippelstippel fungeert als verbindend element in de ruimte en versterkt de samenhorigheid tussen beide oeuvres. Het sobere kleurgebruik van Lenie vormt een spannend contrast met Alyssia’s opvallende kleuren, waardoor hun werken elkaar aanvullen en versterken.

Voor er nog maar sprake is van een schilderij, is er het object.
Deze objecten zijn vaak strak, een beetje afgeleefd en industrieel van aard.
Ik vind ze op straat, in afvalcontainers of ik krijg ze.
Ik verzamel ze en gebruik ze om een stilleven mee te bouwen, vanuit dit stilleven start ik dan met schilderen.
In deze MAP probeer ik hun aanwezigheid in mijn praktijk verder te onderzoeken door te kijken naar wat er gebeurt als ik mijn stillevens op zichzelf tentoonstel, in mijn schilderijen te spelen met hun aanwezig- en afwezigheid alsof ze ingeschakeld zijn of juist uitgevallen, door zelfgemaakte objecten te laten zien en te kijken wat er gebeurt wanneer dit samenkomt.

White picket fence: a typical family, a typical house, typical actions. What happens if these typicality’s were broken or forgotten?

Two unlikely image-worlds are brought together: the staged American nuclear-test families and the simplified domestic scenes found in children’s drawings. Both operate as fictions – idealized models of family life rehearsed rather than lived.Within the fragile structure of the cardboard house, fragments of this script unfold. These are not moments of intimacy, but the residue of gestures remembered from elsewhere.What follows is not collapse, nor the emergence of a new narrative. Bodies keep rehearsing, as if repetition alone might hold the fiction together.

The exhibition FROM WHERE WE GROW by Clair Bravo & Noé Znidarsic brings together two photographic approaches that explore the construction of identity in their practice through their respective experiences.

In their ongoing work Where We Bloom, Clair Bravo explores queer rural communities and the ways queer people inhabit, navigate, and transform rural spaces in France. Through portraits, landscapes, and documentary fragments, the project reflects on belonging, visibility, and how queer presence reshapes environments so often imagined as conservative or heteronormative. Rooted in a rural perspective shaped by their own upbringing, the work questions what it means to be queer beyond the city’s walls, how queer lives take root, unfold, and endure in places where they are frequently overlooked. The series of analog images offers a soft cartography of queer presence across the countryside. During three months of travel, they grew close to people they met, encountered a wide range of kinship practices, laughed deeply and often, allowed time to slow, and confided doubts, worries, and care.

In MODEL CARD, Noé Znidarsic explores the temporality of the fashion world, focusing on suspended moments that often escape the collective imagination: the pauses backstage between fittings, the silence of casting rooms, the seemingly endless waiting. These intervals reveal another facet of modeling, one that resists spectacle and glamour. The project appropriates and subverts the ambiguous form of the model card, also called a “composite” in French. Traditionally, this object serves both as a professional identity card and as a promotional tool, designed to attract clients through standardized information: height, measurements, hair color, and so on. Reduced to a formula, the body becomes data — a surface to be consumed. By reworking this format, MODEL CARD shifts its original utilitarian function and questions the very structures that frame the lives of young models. “In this continuity, the project establishes a link with the portraits and images I have produced over the past years, deliberately replaying the same visual schemes as those of traditional model cards.” Being a “model” — a term derived from the Latin modulus, diminutive of modus (measure, standard) — thus becomes a field of reversal. By subsequently reintroducing people who are no longer part of the industry, the project proposes an alternative reading of the body represented: a body that is no longer merely a surface for standardized projection, but one that exposes and reveals the mechanisms of representation and the standardization of beauty.

Together, these two bodies of work invite viewers to reflect on how identity, community, and self- expression are both constructed and performed, and how spaces—whether rural landscapes or fashion worlds—are reshaped by those who inhabit them.