BEIGE is thrilled to present Isabelle Andriessen’s first solo exhibition, BILE, in Brussels.

In her sculptures Isabelle Andriessen explores ways to physically obscure the interface between animate and inanimate (synthetic) materials by giving them their own metabolism, behaviour and agency. Through interlacing materials, parsing queer materialism and probing plastics, crystals, and coolant for latent dark intent, they offer a window into a speculative world.

Her work inhabits the liminal space between sculpture and performance; Addressing a world attuned to death but thriving with new organs and sex, as if to suggest how new entanglements might flourish in a non-human world. Seemingly beyond perception they transform into grim agents, often irreversible. They remind of re-animated automata or relics, revealing unreliable characteristics within materials that otherwise seem dormant or passive.

These processes unfold in phases choreographed over one or several exhibitions; Some performances last a few months, while others continue to develop over years. They showcase the passage of time, disturbing notions of permanence, posterity, and the primacies afforded the restoration and collection of art.

Installed in the first space is a work which has been on display since 2018 and revealing an increase of disintegration. Tidal Spill offers a glimpse into a grim future reality. A reality in which materials have agency, enabling them to control certain entities and bodies, transgressing them into resilient species that endure in crisis.

The title of the exhibition BILE refers to ‘black bile’. According to medieval the theory the body is comprised of four fluids—blood, choler (yellow bile), mucus, and black bile—which must maintain balance for good health. Historically, black bile was associated with not only sorrow but also heartbreak, irrational behavior, and uncontrolled bodily impulses. These sculptures become a cast of characters in a sticky landscape members of a semi-choreographed orchestra, an exhibition chorus.

Concluding, Andriessen alludes to loss, grief and horror, and in order to redefine what an apocalypse can be, understanding it as not necessarily (or only) a space for destruction but rather a continuum state in which there is apocalypse upon apocalypse, or catastrophe upon catastrophe—an inhospitable darkness that is also a fertile source.

Isabelle Andriessen lives and works in Amsterdam.
Andriessen has had solo exhibitions at art institutions including De Pont Museum, Tilburg (NL) and CAN Centre d’Art Neuchâtel, Neuchâtel (CH) (both 2021) and Kunsthal Gent (BE) (upcoming 2025). Group exhibitions include Middelheim Museum, Antwerp (BE) (upcoming 2024); Moderna Museet, Malmö (SE) (2022); GAMeC, Bergamot (IT); Modern Museum of Art, Warsaw (PL) (both 2020); 15th Lyon Biennale, Lyon (FR) (2019); Stedelijk Museum Amsterdam (NL).

Writing on works like RELAY and UNTITLED by Paul Czerlitzki, included in the artist’s show at BEIGE, brings back images of various Volcano eruptions and the traces they leave behind. On one image, the totality of what used to be a village was completely covered by masses of light gray dust. The interiors of a kitchen, along with the shapes of cans, vessels or tables, are covered in a fluffy, thick layer of dust (a sort of mirrored replacement of the real object) as a result of the earthly breathing. Only for a small moment, before it disappears again, through a wind or touch. While after time the ashes lower from the air to cover various surfaces, liquid stone, on the other hand, shapes the landscape and changes it by pressure. Moving without control, only guided by the multifaceted shapes of the ground. There is something profound yet fragile about the very nature of materials that make themselves space and how they move through the air and on the ground.

Paul Czerlitzki works as a painter, guiding pigments and paint in an indirect manner that balances between control and letting go within the boundaries of an artistic program that he has developed over the years. It allows variations in a minimal outline, concentrating on the basic principles of painting. His methodology, which he keeps coming back to in long series of works, allows him to operate as an instructor for the materials he works with. The artist takes paint and a painterly underground (canvas or walls), the very fundamentals of the medium, as his main working material, and deconstructs and maneuvers around the highly charged terms and histories of painting.

Shaped by the process of time and embracing chance, all works in his series RELAY consist of unfixed pigments deposited on canvas, welcoming traces and damages to enter the thin layer of dusty paint, allowing its fragility ever further. Only through those events, the very nature of the materiality becomes visible. With another layer of pigments (often in a different color tone), the works are being revised; scratches and touches that resulted of handling, are covered by another layer which results in partly deeper color and half-hidden traces. The monochrome paint thus creates several shades (in this exhibition it is red), by different amounts of paint applied. This creates certain depth on the surface, thicker and dark amounts of paint, and very thin and light layers.

A similar strategy was applied for the wall drawing UNTITLED: While pigments flow and eventually touch the canvas in RELAY, paint is sprayed through canvas that was previously fixed onto the wall, leaving traces and touches of paint back on it, carrying the irregular patterns of canvas, sort of as a negative imprint.

Both series combine a sense of materiality that always allows the process to take charge of the painterly outcome. That way, his process becomes part of what the work is, how fast paint dries and what way it behaves. These physical aspects, define the ground the artist created for himself. A space in which definition and process are the main figures in his minimal approach, that is very much site specific, as this exhibition shows.
Dust, which describes not the material itself but rather a time-based process and condition is also reflected in the show’s title: Not That Red. As in: Almost, not yet, in relation, a color, yet not quite there, a timely stretch, description, condition, a function, a gap?

Text by Carla Donauer

Beige is pleased to present new works by Heidi Voet.

The exhibition Am I moving atoms when I wave my hand? starts off from the physical gesture of waving one’s hand as an acknowledgment of a social context and a form of communication. The hand as a tool through which one connects, both tender or cruel, and interacts with the material world.

As one of the earliest motifs identified in art history, the hand gives agency and defines the specific abilities of primates. Whereas today, the creases and veins of the palm are used as biometric information to map identities. With the focus on a gesture through which one now shares and communicates personal information, the exhibition places this ordinary gesture in a context of world politics and future building.

For Am I moving atoms when I wave my hand? Heidi Voet worked together with a medium and AI developer to read the palms of world leaders, based on media images of their waving hand. Intimate details about aspirations, trauma, relationships, character flaws or strengths, and predictions, are read and articulated by both
medium and machine. The lines of the palms are translated into glass neon signs and placed on modular structures adorned with materials to form portraits of contemporary world leaders.

The glass tubes are filled with noble gasses such as Neon and emit a strong, coloured light when electric current is applied and the ionised gas rushes through the fragile veins. The element Neon, from the Greek work ‘neos’ or new, consists only of a single atom. An element more common in the cosmos than on Earth, where it is found mainly in the cracks of rocks in the Earth’s crust. Neon signs refer both to the early 20th century commercialisation and the obsession of man to explore far beyond Earth’s horizon.

The exhibition Am I moving atoms when I wave my hand? reflects on intimacy, agency, power and building futures. Through the abstract portrayal of powerful individuals, questions are posed concerning the structures that uphold contemporary society. How gestures, bodies, materials and signs are read to find a sense in the entanglement.

Heidi Voet lives and works in Brussels and Taipei. Her multidisciplinary practice is concerned with the place of an individual in contemporary societies, and locating this within cultural, historical and universal narratives. The interconnectivity of these elements is evoked in her practice through the use of everyday objects which are placed in large scale installations, sculptures and performances, creating links between the singular object or individual, and larger entities.

She recently participated in A Madeleine Moment: The Technology of Memories and Emotions curated by Amy Cheng at Forever Life Foundation, Taichung (TW) and But don’t tell anyone curated by Joanna Warsza at Elefsina (GR). In 2021 she was part of Beaufort 2021 curated by Heidi Ballet.

BEIGE is proud to announce the new exhibition My Address by Emmanuelle Quertain.

The exhibition My Address presents 440 watercolors painted while looking at a computer screen. The entire show is thought as a portrait of the IP (Internet Protocol) address of the artist. These watercolours partially transcript the subjects consulted online as well as a “time of focus”, concentrates on the virtual documents. The whole esthetical work of this exhibition proposes to the viewer a definition of the value of numerical data through painting. It’s also a way to approach the intimacy of the modern subjectivity.

Emmanuelle Quertain (°1987, Uccle; lives and works in Brussels) deals with the mass production of images in today’s society through painting. The eye is saturated therefore “we see nothing, yet there is something to see”. Through painting Quertain investigates and reframes the world around us.

After studying painting at ERG, School of Graphic Research in Brussels, she won the Young Belgian Art Prize in 2015. She had solo presentations at Nagel Draxler, Cologne (DE), EMERGENT, Veurne (BE), KRIEG, Hasselt (BE), CC Strombeek (BE) and Project room Galerie Baronian, Brussels (BE). The work was recently featured in group exhibitions at SMAK, Ghent (BE), Centre de la Gravure, La Louvière (BE), KIOSK, Ghent (BE), Kasteel van Gaasbeek, Gaasbeek (BE) and Roger Raveelmuseum, Machelen-aan-de-Leie (BE).

Her work is part of various private collections and the following public collections: MAC’S Musée des Arts Contemporains Grand-Hornu (BE); Cera Collection, M, Leuven (BE); Collection of Kasteel van Gaasbeek (BE) and Collection Vlaamse Gemeenschap (BE).

An artist talk was held between the artist and curator Nadia Bijl on October 14, 2023 at BEIGE, Brussels.

BEIGE is delighted to present Recent Paintings, an exhibition by Béatrice Balcou (b. 1976, Tréguier, France. lives and works in Brussels), featuring new works on paper.

Whether through a stormy and atmospheric painting by William Turner; or a delicate and vibrant work by Agnes Martin; a rigorous and systematic print by Claude Rutault or a romantic yet melancholic photograph of Bas Jan Ader on his boat – in her solo show at Beige, Béatrice Balcou displays the restorative and emotional gestures that take care of the works of art. Through these gestures she investigates our relationship to the value and the role of art today.

The exhibition is composed of pages from monographic art books which suffered water and time damage. They were subsequently professionally restored in her studio with the help of two students from the restoration department of La Cambre. The project focusses on the restoration of the reproduction of a painting. The work of Balcou typically highlights the different agencies that take part in the life of the art work: the technicians, the registrars, sometimes even the cleaning agents and in the case of Recent Paintings, the restorers and in another way the publishers of art books. Balcou therefore levels the playing field between the artist, photographer, editor, collector, printer, restorer.

Lying underneath this apparently unrelated choice of works is their approach in portraying a natural element such as a seascape through abstraction; projecting through the lens of their own sensibility a depiction of one of the most classic examples of the aesthetic sublime. Through restoring their appearance to what it originally was, the artist underlines how every transformation and passage from a medium to the other – from actual artwork to catalogue reproduction – has already transformed them into something distinct.

Béatrice Balcou describes the process as follows:
« The restoration was carried out in collaboration with Mathilde Bezon and Camille Jallu. The pages were restored to be preserved over time. They were first dry cleaned, and then washed in various agar baths. Discolorations and distortions were reduced to improve the readability of the work. Next, they were stabilized in order to restore their physical integrity. The missing parts in the sheets were recovered with paper fibers similar to the original support. The most difficult part was filling the big or small gaps by “illusionist retouching” or by a neutral background. Some actions were even not possible at the risk of destroying the work. When finally the decision has been made to stop restoring, the last step consisted in flattening and relaxing each sheet – protected in between non-woven papers and blotters – under several weights, and then wait… ».

Various international institutions organised solo or duo exhibitions featuring her work, including Musée d’art de Joliette (Joliette, Canada), Société (Brussels), Rozenstraat – a rose is a rose is a rose with Tlön Project (Amsterdam), M Museum (Leuven, Belgium), Iselp (Brussels), Casino Luxembourg – Forum d’art contemporain (Luxembourg), Le Quartier Contemporary art center (Quimper, France) and the FRAC Franche-Comté (Besançon, France).

Her work has been featured in group shows at Jeu de Paume (Paris), Kunsthalle Recklinghausen (Germany), Société (Brussels), Fondation CAB (Brussels), Salle Principale (Paris), Villa Kujoyama (Kyoto, Japan), Kunstverein Langenhagen (Germany), FRAC Bretagne (Rennes, France), Kunsthalle (Mulhouse, France), Été 78 (Bruxelles), WIELS (Brussels), FRAC Franche-Comté (Besançon, France), Center Georges Pompidou (Paris) and Palais de Tokyo (Paris).


With the support of:

CNAP, Centre national des arts plastiques


Beige is pleased to announce the exhibition: Hocus Pocus, with works by Jurgen Ots and Heidi Voet.

Jurgen Ots gives new life to objects by turning them over, seeking them out and experimenting with them in assemblages. For the exhibition Hocus Pocus, Ots worked with the representation of the folkloric music tradition, combining record covers of mechanical orchestras and metal disks made for music boxes. His material, found on flea markets, is consistently turned into the archeologic domain of human communication, language, images and identity. The works in this show present six record covers paired with a metal music disk. The disks and the LPs refer to a nostalgic time, presenting a world that is gone which lives only through this manufacts: in this series we can observe the theatrical and the kitsch juxtaposed with the austere and rusty. As the LP covers for the records of the massive Decap organs are beginning to fade, the musical discs have already become obsolete to the point it is for us hard to imagine the melodies they produced. The titling of the works – a pastiche of the inscriptions found on both elements of each piece – becomes a playful attempt to reconstruct their intended use and original place in the world through association of meanings, opening entryways and portals to the organ rooms pictured in the covers and multiplying the spaces within the gallery.

The work of Heidi Voet investigates the position of an individual within contemporary societies, embedded in cultural, historical and universal structures. Her practice illustrates this interconnectivity through the use of everyday objects comprising her sculptures and installations, thus linking the individual to the larger entity. Starting from hacked personal data, Heidi Voet presents for the exhibition at Beige two sculptures, two stolen and reconstructed identities, two possible outcomes of the same dataset. These life-size sculptural portraits are comprised of a vase, representing the female and the domestic, and a cast of a ball, representing the male and the public domain, covered by a wig meticulously imitating the hairstyle of the presumed victim. Their elements share a complex relationship, both the vase and the ball are reproductions – the vase is a copy, and the ball is cast – made redundant and cold; whereas the wig is on surface realistic and seductive, and quickly becoming uncanny. The sculptures are turned away from the viewer and placed in a multi-colored display, rendering the true colors and materials invisible and alienating the viewer’s gaze.

Jurgen Ots lives and works in Brussels. Most recent exhibitions include: CC Strombeek, Brussels 2021; Biennale de Curibita, 2020; Cabaret Voltaire, Zurich, 2019; Walker Art Center, Minneapolis, 2018; BOZAR, Bruxelles, 2018; Gemeinde Museum, 2010.

Heidi Voet had recent solo exhibitions at BANK, Shanghai, 2022; Project Fulfill Art Space Taipei, 2020; Sint-Lukas gallery Brussels, 2018. She participated in group exhibitions as Beaufort21 Triennale, 2021; CHAT Center for Heritage, Art and Textile Hong Kong, 2019; S.M.A.K. Ghent, 2017; 11th Shanghai Biennale, Shanghai, 2016; Center for Contemporary Art Vilnius; and Wiels Brussels, 2008.

Beige is pleased to announce the new exhibition 1, 2, 3 Pirelli by Willem Oorebeek. The exhibition gathers for the first time all the works of the celebrated Pirelli series, started in the mid-nineties.

The work of Willem Oorebeek (b. 1953, Pernis NL; lives and works in Brussels) focusses on the perception of the image and the message as seen through graphic technical processes. He often appropriates printed matter found in public space, like advertising, magazine covers, electoral campaign posters and reworks them. Either through the use of the ‘black-out’, a layer of black ink that covers and obscures the image, or by applying a halftone grid. Both methods sharpen our awareness of our perception of the image.

The show at Beige gathers for the first time all the works of the Pirelli series. The series is a formal exercise that explores the schematic representation of the self through the techniques of the printing process. The dots in the Pirelli rubber point to the dots of the printing process. These black studded rubber flooring tiles are positioned behind a reflective glass plate. At once the viewer’s image is reflected in the glass that is framing the work, thus creating a temporary merging of the original image and the viewer. The works function as ‘a tool for seeing’, images, space, the self.

The different formats that consist the series make us conscious of the variety of different standardised forms: the portal, the landscape and the portrait. The Pirelli Portal has the size of a standard door and therefore it also relates perfectly to the human body. The formats like portrait and landscape are interchangeable. They relate to each other, to the printing process and to art historical formats. The work Without Title follows the same procedure as the Pirelli series. Here the person is already portrayed and is pushed back in the grid through the added rubber dots. Playing with the perception and perspectives the artist sets a frame that make the viewer more aware of all the frames he is already surrounded with in everyday life.

From 1970 until 1975 Willem Oorebeek studied graphic art, painting and drawing in Rotterdam. He would go on to become intensively involved – as a teacher, advisor and mentor in the Netherlands, Belgium and Austria – in knowledge transfer, the debate on art and art education and the reception of art. First at the Jan van Eyck Academy in Maastricht and later in Amsterdam, Hamburg and Vienna. In 1997, together with Aernout Mik, he represented the Netherlands at the Venice Biennale. In 2008 he set up the artist-in-residence-program at WIELS where he was one of the artistic mentors. He was influential to numerous generations of artists. Recently he stopped teaching and is now fully committed to his own artistic practice in his Schaerbeek studio.

His work is held in the collection of Kanal, Brussels; S.M.A.K., Ghent; Generali Foundation, Vienna; Boijmans van Beuningen Museum, Rotterdam; MHKA, Antwerp.

Born 1991 in France. Lives and works in Brussels.

2022 – 2023
HISK (Higher Institute for Fine Arts), Ghent / BE

2015 – 2017
MFA, KASK & Conservatorium / School of Arts Gent, Ghent / BE

2013 – 2014
MA in Communication mention Illustration, HEAR (Haute École des Arts du Rhin), Strasbourg / FR

2011 – 2012
BA in Communication mention Illustration, HEAR (Haute École des Arts du Rhin), Strasbourg / FR

2009 – 2011
ESAIG (École Supérieure des Arts et Industries Graphiques), Paris XIII / FR

Solo Exhibitions
2022, Brussels / BE

A Flower is Speaking to a Dog, BOEKS, Ghent / BE

A.Mon seul désir.R, Map, Ghent / BE

Group Exhibitions
In holes, we all – duo show with Izabela Czarna, Piano Fabriek, Brussels / BE
The Praise of Folly, Beige, Brussels / BE

Appels & Oranges an artists’s publications and multiple fair, C-mine, Genk / BE
Book Launch, Family Nexus exhibition catalogue published by KIOSK
(Ghent) with Sophie Nys, Liene Aerts and Leila Peacock, Rile*, Brussels / BE
Prix Mediatine, Wolubilis, Brussels / BE
Salon Sale, Level Five, Brussels / BE

Therolinguistic Tale, a Verse of Wormdots and Seedlines – duo show with Chantal van Rijt, De Koer, Ghent / BE
Therolinguistic Tale, a Verse of Wormdots and Seedlines – duo show with Chantal van Rijt, Cas-Co, Leuven / BE

Condition Report, Charles Vandenhove Pavilion, Ghent / BE
La Magie – book launch organized by La Verrerie, Level5, Brussels / BE
Leviosa, Transpalette Centre d’art de Bourges, Bourges / FR
Domestic Echo – duo show with Chantal van Rijt, M-Museum, Leuven / BE
A good talking candle – reading group, BOEKS, Ghent / BE

Prijs van de vrienden V/H S.M.A.K, S.M.A.K, Ghent / BE
Ciel/Vide, PUTSCH Galerie, Brussels / BE
Grâce au travail de ceux qui espèrent – collaboration with The Fine Art Collection, le 19, Crac Montbelliard, Montbéliard / FR

City Market Festival, Hasselt / BE
Fill up that back seat, Ghent / BE
La vie mode d’emploi, KIOSK, Ghent / BE
Playground, Le Maga, Brussels / BE
B-sides and Rarities, Damien and the Love Guru, Brussels / BE
Page Space Fold Page, Map, Ghent / BE
Organization and participation to the group show THE FRAUD, THE FRIEND AND THE POKER FACE, Rio de Janeiro / BR

RSS07, Belgium Premium Butter Biscuit, Reynolds, Brussels / BE
Organisation and participation of the workshop Performances sans objets by Louise Hervé & Chloé Maillet, CRAC Alsace (Centre Rhénan d’Art Contemporain), Altkirch / FR

AAIR, Antwerp / BE

M-Atelier residency organised by M-Museum at Cas-co, Leuven / BE

La Verrerie residency organised by Margot Delalande, head of distribution and external projects at FRAC Loraine, Continvoir / FR

XRIVISTA residency organised by the Italian artists magazine
XRIVISTA, Le Maga, Brussels / BE

Publications and writings
Eight short stories about Nobody – writings for the collective edition Family Nexus with the artists Sophie Nys, Leila Peacock and Liene Aerts, published by KIOSK, Ghent / BE
The window – drawing published in Kunstletters 013

Writing about the artist Accacio Ortas for the online project Post-comics, BOEKS, Ghent / BE

A Flower is Speaking to a Dog – published by BOEKS, 100 copies in sale at the Kunsten Library, Ghent (BE) and in Rile* (, Brussels / BE

Chambres d’aimés, drawing published in HART magazine

Seven Songs, self-published, 50 copies

Grants, Awards
Kortlopende beurs, individual funding, Flanders State of the Art

Un futur pour la culture, individual funding, Fédération Wallonie-Bruxelles

Laureate of The City of Brussels Prize, Brussels / BE

Finalist of The Friends of S.M.A.K. Prize, Ghent / BE

Finalist for Horlais Daspens Prize with the project Peinée l’eau peut
Laureate of Legaten van het Kask with the project Peinée l’eau peut

Publications, Reviews
Article written by Estelle Spoto journalist at Focus Vif for Prix Mediatine

Interview for Radio Level Five
Interview with Chantal van Rijt, published in Cas-Co Open Studio
program and in M-Magazine

Born 1983 in Roeselare. Lives and works in Ghent.

2006 – 2007
MFA, KASK & Conservatorium / School of Arts Gent, Ghent, BE

2002 – 2006
BFA, KASK & Conservatorium / School of Arts Gent, Ghent, BE

Collecting the Alphabet: The Oracle’s Tongue, solo exhibition, Beige, Brussels / BE

Collecting the Alphabet: (Embrace), solo exhibition, De Posterie, Roeselare, BE
Zes permanente kunstwerken, group exhibition, Museum Dhondt- Dhaenens, Deurle, BE
Zomersalon 2021, group exhibition, Kunsthal Gent, Ghent, BE
After all, a collection is only human, group exhibition, Museum Dhondt-Dhaenens, Villa Vandenbussche, Tielt, BE
Potluck, group exhibition, Blauwhaus, Sint-Niklaas, BE

In Vitro, M HKA group exhibition, Antwerp, BE
Zomersalon 2020, group exhibition, Kunsthal Gent, Ghent, BE
Kunst aan je raam, group exhibition, De Spil, Roeselare, BE
Alle rechte lijnen zijn gebogen, group exhibition, CC De Ververij, Ronse, BE
Gekende Woorden, group exhibition, Stedelijke Kunstacademie, Tielt, BE

Abracadabra, solo exhibition, CC Merksem, Merksem, BE
Aurora Interna, group exhibition, Officina della Scrittura, Torino, IT
At the gym, group exhibition, tegenboschvanvreden, Whitehouse Gallery, Lovenjoel, BE
Malta Festival, group exhibition, Poznan, PL
The Production of Space II, group exhibition, Former Blokkerspace, Ghent, BE
Blauwhaus – Where Arts Meet Crafts, group exhibition, Kasteel Blauwendael, Waasmunster, BE

Je me suis souvent demandé, A monument for Bobbejaan Schoepen,  permanent integration, Biblioteek Lichtaart, Lichtaart, BE
The Unending Gift, group exhibition, Meessen De Clercq, Brussels, BE
Nomadic Mountains, group exhibition, SCHUNK*, Heerlen, NL
Worklflow, group exhibition, CC Sint-Niklaas, Sint-Niklaas, BE
Art Brussels 2018, Meessen De Clercq, Tour & Taxis, Brussels, BE

Collecting the alphabet: The Inner Ear Chambers (Heartbeat), solo exhibition, tegenboschvanvreden, Amsterdam, NL
Celebrations – Part I Let There Be Light, group exhibition, Gallery Sophie van de Velde, Antwerp, BE
Ecce Homo, group exhibition, Geukens & De Vil / Marion de Cannière, Antwerp, BE
The Raft – Art is (not) Lonely, group exhibition, Muzee, Oostende, BE
For Tanguy, group exhibition, SKI, Ghent, BE
Number 46, group exhibition, tegenboschvanvreden, Amsterdam, NL
The Walk, group exhibition, Meessen De Clercq, Brussels, BE
Wordswordswords, group exhibition, Sofie Van De Velde, Antwerp, BE
Tien om te zien, group exhibition, Gevaertsdreef 01, Oudenaarde, BE
Art Brussels 2017, Meessen De Clercq, Tour & Taxis, Brussels
Du verbe à la communication, group exhibition, Gensollen collection / Carré d’Art, Nîmes, FR

Collecting the alphabet: The Mapmaker’s Garden (Fig.1), Present Future, Artissima, solo exhibition, Meessen De Clercq, Turino, IT
Tous Belges, group exhibition, Abbaye Saint-André/Centre d’art contemporain, Meymac, FR
In Love With Beauty, group exhibition, Transfo, Zwevegem, BE
Art Brussels 2016, Meessen De Clercq, Tour & Taxis, Brussels, BE

Collecting the alphabet: Liquid language (Fig.1), solo exhibition, De Brakke Grond, Amsterdam, NL
Collecting the alphabet: The Prequel (or how I met W), solo exhibition, Meessen De Clercq, Brussels, BE
Stay Focused, Private Collection R. Part II, group exhibition, Cookie Butcher, Antwerp, BE
A.N.T.R.O.P.O.C.E.N.E, group exhibition, Meessen De Clercq, Brussels, BE
Was it a car or a cat I saw, group exhibition, Škuc Gallery, Ljubljana, SI
Bild, group exhibition, Bildplatform, Bleek, Sint-Niklaas, BE
H of Houdini, Beaufort Beyond Borders, group exhibition, Oostende, BE
Wij zijn handelaars, group exhibition, Beursschouwburg, Brussels, BE
Apprentice / Master Expo #20 From Tokens to Totems: Five Pillars And A Platform: A Conversation:, group exhibition, De Brakke Grond, Amsterdam, NL
Art Brussels 2015, Meessen De Clercq, Brussels Expo, Brussels, BE

Homo Ludens, group exhibition, Meessen De Clercq, Brussels, BE
Return To Sender, group exhibition, Wiels, Brussels, BE
Z (as in Zigzag), group exhibition, A tale of the tub, Rotterdam, NL
Re art, group exhibition, Oudenaarde, BE
Art-O-Rama, Meessen De Clercq, Marseille
Der Leone Have Sept Cabeças, group exhibition, CRAC Alsace, Altkirch, FR
Art Brussels 2014, Meessen De Clercq, Brussels Expo, Brussels, BE

It seems economical to make use of a character already in play, solo exhibition, KIOSK, Ghent, BE
The Smuggler’s Outfit, solo exhibition, Meessen De Clercq, Brussels, BE
The Imprint, permanent integration, Vlaamse Gemeenschapcommissie / Gemeenschapscentrum De Kroon, Brussels, BE
Brainbox 3 Unit 3, group exhibition, Croxhapox vzw, Ghent, BE
Private Collection R Part 1, group exhibition, Cultuur Club Jean de la Moutarde, Zele, BE
Museum to scale 1 / 7, group exhibition, Galerie Ronny Van de Velde, Koninklijke Musea voor Schone Kunsten van België, Brussels, BE
Published By Mer. Paper Kunsthalle, group exhibition, De Kabinetten van de Vleeshal, Middelburg, NL
Diffractions of destroyed design, group exhibition, Netwerk – Centrum voor Hedendaagse Kunst, Aalst, BE
Bosch Young Talent Show, group exhibition, Stedelijk Museum, ‘s-Hertogenbosch, ‘s Hertogenbosch, NL
Solid enough to be inhabited, group exhibition, Schloss Ringeberg, Hamminkeln, DE
Dreaming of the south, group exhibition, Marion De Cannière, Antwerp, BE
Art Brussels 2013, Meessen De Clercq, Brussels Expo, Brussels, BE
Art Rotterdam 2013, Meessen De Clercq, Rotterdam, NL

Lost in Translation?, group exhibition, tegenboschvanvreden, Amsterdam, NL
Gwangju Biennale, group exhibition, Gwangju, KR
The meaning of colour, group exhibition, Valerie Traan, Antwerp, BE
ManifestAanwezig, group exhibition, Forum Tri, Oud-Rekem, BE
Shenzhen Sculpture Biennale, group exhibition, Shenzhen, CN
Food and Tools for Food, The Maarten Van Severen Foundation, group exhibition, Hoet Bekaert Gallery, Ghent, BE
S.H.O.W.T.I.M.E, group exhibition, Hoet Bekaert Gallery, Ghent, BE
BRAFA, group exhibition, Galerie Ronny Van de Velde, Brussels, BE
In de wind, group exhibition, CCS – Strombeek, Grimbergen), BE
Arco Madrid 2012, Hoet Bekaert Gallery, Madrid, ES
Art Rotterdam 2012, Hoet Bekaert Gallery, Rotterdam, NL

20 1 1
One voice makes two perspectives, solo exhibition, De Vleeshal, Middelburg, NL
Charlie & Sabrina, qui l’eût cru ?, Audrey Cottin and collaborators, group exhibition, Jeu de Paume, Paris, FR
Pearls of the North, group exhibition group, Paris, FR
Hoet Bekaert depot, group exhibition, Ghent, BE
Sleeping Beauties, group exhibition, Kasteel van Gaasbeek, Lennik, BE
Characters Make Stories, group exhibition, Residentieproject Frans Masereel Centrum,  NICC, Antwerp, BE
Villa II, group exhibition, Hoet Bekaert Gallery, Knokke, BE
Out of Storage, group exhibition, collection FRAC Nord Pas de Calais, Maastricht, NL
Laureate Young Belgian Painters Award 2011, group exhibition, Paleis voor Schone Kunsten – BOZAR, Brussels, BE
Joris Van de Moortel and Kelly Schacht, exhibition group, Hoet Bekaert Gallery, Ghent, BE
Art in Belgium after 2010, group exhibition, Hoet Bekaert Gallery, Ghent, BE
Performatik Festival, group exhibition, Kaaitheater, Brussel (Belgium) / Kaaistudio’s, Brussels, BE
Art Brussels 2011, Hoet Bekaert Gallery, Brussels Expo, Brussels, BE

The Traveller’s Scrapbook, solo exhibition, Brugge, BE
For the record, I’m only the voice-over, solo exhibition, Hoet Bekaert Gallery, Ghent, BE
Perform what you remember, Archive Blinky Palermo and Kelly Schacht, solo exhibition, CC Strombeek, Grimbergen, BE
Tour Detour / The Guide, permanent integration, Bilzen, BE
Critical Complexity: Chartreuse jeune by Olaf Nicolai, group exhibition, Villa Tabarelli, Bolzano, IT
Coup de Ville, vzw WARP, parcours in Sint-Niklaas,  BE
Gustav, group exhibition, Hoet Bekaert Gallery, Knokke, BE
Mini Market, group exhibition, Hoet Bekaert Gallery, Magazijn 153, Amsterdam, NL
‘Changez’ een belgenshow, group exhibition, Enschede, NL
A Show 2010, group exhibition, Hoet Bekaert Gallery, Ghent, BE
Art Brussels 2010, Hoet Bekaert Gallery, Brussels Expo, Brussels, BE
Art Rotterdam 2010, Hoet-Bekaert Gallery, Rotterdam, NL
The Armory Show 2010, group exhibition, Hoet Bekaert Gallery, New York, USA

It was like a déjà-vu, performance, Tertzweildreef, Merelbeke, BE
Versus_V: Destiny without destination, exhibition, Oudenaarde, BE
Ename Actueel, group exhibition, parcours in Ename, Ename, BE
Kunst & Zwalm, vzw Boem, parcours in Meilegem / Zwalm, group exhibition, Meilegem, BE
The Biënnale Knokke, Hoet Bekaert Gallery, Knokke, BE
The final opening at Hogeweg, group exhibition, vzw Logement, Borgerhout, BE
Today is OK, group exhibition, Gallery Klerkx, Milan, IT
ReAct! Reinventing past performances, group exhibition, Gynaika vzw, Antwerp, BE 
Brainbox 2 Unit 9, group exhibition, Croxhapox vzw, Ghent, BE
Art Brussels, Private Public, Hoet Bekaert Gallery, Brussels, BE
Art Rotterdam 2009, Hoet Bekaert Gallery, Rotterdam, NL

RE: thinking the story by Kelly Schacht, solo exhibition, Hoet Bekaert Gallery, Ghent, BE
C’était un rendez-vous, permanent installation, Museum Dhondt-Dhaenens, Deurle, BE
Playground festival, group exhibition, STUK, Leuven, BE
Difference, what difference?, Art Forum Berlin 2008, group exhibition, Hoet Bekaert Gallery, Messe Berlin Gmbh, Berlin, DE
Cabinet of Imagination, group exhibition, Netwerk, Aalst, BE
Nostalgia. L’istante e la durata del tempo, group exhibition, Museo d’Arte Contemporanea Di Villa Croce, Genova, IT
Jez Riley French & Co, group exhibition, Logos, Ghent, BE
10 PM, group exhibition, Culture Club, Ghent, BE
Christie’s for Museum Dhondt-Dhaenes, group exhibition, Museum 
Dhondt-Dhaenens vzw, Deurle, BE
Fragile, group exhibition, Hoet Bekaert Gallery, Ghent, BE
Sfeer, Design CH4010 of Hans J. Waegner by Kelly Schacht, group exhibition, Flanders Expo, Ghent, BE
Kids in the gallery, group exhibition, Hoet Bekaert Gallery, Ghent, BE
I am your private dancer, group exhibition, CC Strombeek, Grimbergen, BE
Buy Now – Art Brussels, Hoet Bekaert Gallery, Brussels, BE
Art Rotterdam, Hoet Bekaert Gallery, Rotterdam, NL

A4: Intervalles door Kelly Schacht en Fabrice Samyn, solo exhibition, Paleis voor Schone Kunsten – BOZAR, Brussels, BE
C-08S SOLO SHOW, Art Brussels 2007, solo exhibition, Hoet Bekaert Gallery, Brussels, BE
APERTO, group exhibition, Hoet Bekaert Gallery, Torino, IT
OPEN, group exhibition, Hoet Bekaert Gallery, Ghent BE
Made in Gent, group exhibition, Ghent, BE
Summercamp, Jonge zwanen, vzw Tapis Plein, group exhibition, Entrepot, Brugge, BE
Instalraam Croxaphox, group exhibition, Ghent, BE
Een lek in het zwijgen: NOISE, Poëziezomer Watou, BE
Error #6, group exhibition, King Kong, Antwerp, BE

#5, Het Kabinet, solo exhibition, Het Kabinet, Ghent, BE
#2 bis, Acaciapark in situ, solo exhibition, Acaciapark, Ghent, BE
Youngst*rs2, group exhibition, Hoet-Bekaert Gallery, Ghent, BE
Solitude, group exhibition, De Bond, Brugge, BE
Coming People, group exhibition, SMAK, Ghent, BE
9th ELIA Conference, Parcour(s) Art & Design, group exhibition, Kunstencentrum Vooruit vzw, Gent, BE
#6, Afstudeerproject, group exhibition, De Zaal, Ghent, BE
#2, group exhibition, GITO, Ghent, BE
#1, group exhibition, Landgoed ‘De Campagne’, Drongen, BE
Moving, group exhibition, Gent, BE

Input / Output, group exhibition, Guido Gezellemuseum, Brugge, BE
Klitmultimediafestival, group exhibition, Klit-Site, Ghent, BE
De Hele Zaal, group exhibition, De Zaal Hogeschool Gent, Ghent, BE

Atelier Beeldhouwkunst, group exhibition, KASK, Ghent, BE

Born 1978 in Dendermonde. Lives and works in Brussels.

Rijksakademie (3 months residency), Amsterdam / NL 

2001 – 2005
MFA, Sint Lukas University College of Art, Brussels / BE 

École nationale supérieure des beaux-arts, Lyon / FR 

Solo Exhibitions 
The Stolen Eye and the schlaftabletten, curated by Charlotte Crevits, CC Strombeek, Brussels / BE 

The bingo Season, curated by Paolo Baggi, Place Jeu de Balle (spin o Studio), Brussels / BE 
Je m’apelle sigarette, curated by Eloi Boucher, NICC, Brussels / BE 
Der Magen Europas II (with Christoph Westermeier) curated by Haris Giannouras, Rotonde 58, Brussels / BE 
Round a Ball (with Kjersti G Andvig) curated by Natalia Valencia Arango, De Rotonde, Brussels / BE 

The Four Seasons: Online Radio Presentation, Montez Press Radio, New York / US 
Bunkers for All, curated by Aura Seikkula, Place Jeu de Balle, Brussels / BE 

The Four Seasons p.1: Monkey Business, with Kjerst.G Andvig curated by Caroline Dumalin, Place jeu de Balle, Brussels / BE 
The Four Seasons p.1: Monkey Business, curated by Michelangelo Miccolis, Cabaret Voltaire, Zurich / CH 
This Little Piggy Ended Up At The Market, curated by Jana Haeckel (Goethe Institute), Place jeu de Balle, Brussels / BE 
The Flat Bat, curated by Jennifer Teets, Place du Jeu de Balle, Brussels / BE 

The Periaqueductal Gray series, Galleria Zero, Milan / IT 

The Periaqueductal Gray, Elisa Platteau, Brussels / BE 

La Porte de l’enfer, Elisa Platteau, Brussels / BE 

Emulating Echo, Gemeinde museum, Brand / AT 

Denoting Frenzy, Etablissement d’en face, Brussels / BE 

Anonymous, Galleria Klerkx, Milan / IT 
Cutting Pitch, Komplot, Brussels / BE

Group Exhibitions 
The Praise of Folly, Beige, Brussels / BE 

RG28, curated by Harald Thys en Jos de Gruyter, Mulier Mulier Gallery, Knokke-Heist / BE 
Special Bias, Lesage, Brussels / BE 
From Brussels with Love, OFFICE, Brussels / BE 

The Tindel Project, Galeria Central, São Paulo / BR 
(Award) Love Letter Piece, in collaboration with Kate Carr, BBC 3, London / GB 
Biennale De Curibita / BR 
Das Magens Europas, Da in die Front project space, Düsseldorf / DE 
The pots, Etablissement d’en face, Brussels / BE 

Natan, the artist studio, Natan, Brussels / BE 
Small Fires, University of Leuven / BE 
Skate Room, Catherine Bastide, Brussels / BE 

Collection the Walker, Walker Art Center, Minneapolis / US 
Celluloid Brushes, Etablissement d’en face, Brussels / BE 
Something in between, BOZAR, Brussels / BE 
Open AIR, Air Antwerp, Antwerp / BE 
Europe, Europe, BOZAR, Brussels / BE 
Collection of Michel François, DOC. Paris / FR 

The Living Room, BODEM, Antwerp / BE 
Tjigger Fun, Panicz, Ostend / BE 

What Are We Going to Paint, Annet Gelink Gallery, Amsterdam / NL 

Hearing Colors, Tasting Shapes, Aike-Dellarco, Shanghai / CN 
Dust, Centre for Contemporary Art Ujazdowski Castle, Warsaw / PL 

Imitatio Christie’s (part of the process 6), Galleria Zero, Milan / IT 
A house of passive noise, Ursula Blickle foundation, Kraichtal / DE 
Another dream, another sense, another mind, Library Faculty of Law, Leuven / BE 
Parallel Borders, Forum stadtpark, Austria and National Museum, Reykjavik, Iceland 

Celluloid Brushes, Ludlow38, NewYork / US 
Rainbow Juice, The Helper, Brooklyn, NewYork / US 
Parallel Borders, National Museum, Reykjavik / IS 
The Fridge, Komplot, Brussels / BE 
Black and vases, Komplot, Brussels / BE 
The Perfect Marble Face, Elisa Platteau, Brussels / BE 
Kompiouti, SIC project space, Helsinki / FI 
Remap4, Athens / GR

Vinyl in het atelier, Mu.ZEE, Ostend / BE 
Celluloid Brushes, Isabella Bortolozzi, Berlin / DE 
A World Bound in Secret Knots, Giuliani Foundation, Rome / IT 
Popup, Musée d’Ixelles, Brussels / BE 
Celluloid Brushes: An Anthology of the Filmic Perception of the Artist from 1267 till today, Witte de With Center for Contemporary Art, Rotterdam / NL 
Façade, Netwerk, Aalst / BE 

An Exchange with Sol LeWitt, MASS MoCA Massachusetts / US 
Celluloid Brushes: An Anthology of the Filmic Perception of the artist from 1267 till today, Etablissement d’en face / BE 
Uncommon Places, Extra City, Antwerp / BE 

Short Fuse, Broadcast Project, Leeds / GB 

Arrival-departures, Ancona / IT 
Isomosis, Etablissement d’en face projects, Brussels / BE 

Show Me, Don’t Tell Me, First Brussels Biennial, curated by Witte de With, Brussels / BE 

Rectre vs spectre, The residence gallery, London / GB 
The moss gathering tumbleweed experience, Lokaal 01, Breda / NL 
What remains, Labrate, Milan / IT 
Small stuff three, HermanTeirlinckhouse, Beersel / BE 
The moss gathering tumbleweed experience, NICC Antwerp / BE
De garage, Centre for contemporary art, Mechelen / BE 
The moss gathering tumbleweed experience: black, gold, yellow and blue, Milan / IT 
Does it show?, S.I.M, Reykjavik / IS 

Cite action, Assenede / BE 
Penultimo, Factor 44, Antwerp / BE 

Overschilderen, STUK, Leuven / BE 

Art Fairs 
Liste (2010, 2013) 
Art Basel (2014, 2015, 2016) 
Shanghart (2017) 
Art Basel Hong Kong (2017) 
Basel Miami (2016) 
Art Brussels (2013, 2014)

Born 1987 in Neuilly-sur-Seine. Lives and works in Brussels.

HISK, Higher Institute for Fine Arts, Ghent / BE
MFA in Sculpture, ENSAV La Cambre, Bruxelles/ BE
Exchange student at the University of fine arts of Belgrade, Sculpture department under the supervision of Mrdjan Bajic, Belgrade/ RS

Solo Exhibitions
Mouvements de Masse, Brasserie Atlas, Brussels / BE

Refroidissement nocturne / Night cooling, She Bam Gallery, Leipzig / DE

Séquence métamorphique, Treignac Projet, Treignac / FR

Les sols acides, Island, Brussels / BE
La fosse aux lions, Tonus, Paris / FR

Dirty Water, Soej Kritik, Leipzig / DE
Glorious Ruins, Kvaka 22, Belgrade / RS

Les angles d’extinction / Uglovi nestajanja, gallery U10, Belgrade / RS

Fireline, De La Charge, Brussels / BE

Les yeux ne veulent pas en tout en temps se fermer, Project room of Xavier Hufkens gallery, Brussels / BE

Group Exhibitions
Publiek Park, Citaldelpark, Gent / BE
Sonsbeek quadrennial: Force times distance, (Agora), Arhem / NL
New songs for old cities, Netwerk Aalst, Aalst / BE

Your friends and neighbors, Highart, Paris / FR
From scratch to scratch, online show organized by the curatorial studies of KASK, Ghent / BE

Paris internationale, with Tonus, Paris, France
On choisit pas sa famille / You don’t choose your family, Curated by Louise Sartor, Atelier Acturba, Paris / FR
Ležerna razmjena bez panike, Curated by Thomas Nolf and Gauthier Oushoorn, Galerija savremene umjetnosti Charlama, Sarajevo / BIH

Some of My Best Friends Are Germs, Curated by Ana Iwataki and Marion Vasseur Raluy, Le DOC, Paris / FR
Team Building, exhibition and project with Dusan Rajic, Gallery KM8, Belgrade / RS

Youth: portraits of artists, between freedom and fight, Maison Particulière, Brussels / BE
59ème salon de Montrouge, Le salon de Montrouge, Montrouge / FR

Residencies – Workshops
LARGE SCALE, 2 month residency at Fielwork, Marfa / TX
A month residency at Treignac Projet, Treignac / FR

Le Fugitif, 3 month residency in Le Fugitif, Leipzig / DE

The cheapest University, 10 days of workshop about the creation of a free university, Treignac Project, Treignac / FR
Le DOC, 1 month residency leading to a collectif exhibition Some of My Best Friends Are Germs, Paris / FR

To appropriate, one month residency in Issu Perpetuummobile, Belgrade / RS

Teaching – Curating
Invitation from Marion Vasseur Raluy and “Orange rouge” association, to produce a work with the highschool kids from ULIS class (for kids with special needs), Vaux le pénil / FR

Visiting tutor at La cambre (ENSAV La Cambre), Bruxelles / BE
Two weeks of workshop with the students of the Caso Video (videoworkshop from ENSAV La Cambre) visiting in Belgrade / RS
Organisation and curating of “Ghost Rider” in collaboration with the students at Drugstore, Belgrade / RS

Born 1978 in Graz. Lives and works in Vienna. 

1997 – 2002
Institute of Fine Art – Painting, University of Applied Arts Vienna / AT 

2003 – 2005
MA Course Fine Art – Painting, Royal College of Art, London / GB 

BEIGE, Brussels / BE 

Laurenz, Vienna / AT 
Kunstfenster Graz, Graz / AT 

Unfinished Culture, Fondazione Brodbeck, Catania / IT 
Die andere Seite, Sammlung Sandra & Avram Berkson, Vienna / AT 
#13, White Paper Museum, Vienna / AT 

Museum Moderner Kunst Stiftung Ludwig (MUMOK), Vienna / AT (Cat.) 
Austrian Cultural Forum Tokyo (with Christoph Meier), Tokyo / JP 

Künstlerhaus – Halle für Kunst und Medien, Graz / AT 
Ghost Busters (with Michael Strasser), Kunstverein Schattendorf, Schattendorf / AT 

One Work Gallery, Vienna / AT 
The Canyon (with Zin Taylor), Galleria Collicaligreggi, Catania / IT 
Strabag Artforum, Vienna / AT 
Galerie Max Hetzler (with Karel Malich), Berlin / DE 

Klocker Stiftung Förderpreis (with Theresa Eipeldauer), Kunstpavillon Innsbruck / AT (Cat.) 

Galerie Kunstbuero, Vienna / AT 
M (with Christoph Meier), Sariev Contemporary, Plovdiv / BG 

Galleria Collicaligreggi, Catania / IT 

Frame, Ve.Sch, Vienna / AT 

Magazin (with Shingo Inao), Vienna / AT 
Despite straight lines (with Benjamin Hirte), Schloss Hollenburg, Hollenburg-Krems / AT 

Back in 5 minutes., Galerie Dana Charkasi, Vienna / AT 
Volta 5, Galerie Dana Charkasi, Basel / CH 
Don‘t worry, I met friends, Kleine Galerie, Künstlerhaus Klagenfurt / AT 

Ekstasis, SwingR, Vienna / AT
Sala Terrena, Heiligenkreuzerhof (with Heike Schäfer), Vienna / AT 

Group Exhibitions 
Austrian Expedition. Apeiron 2021, The Lithuanian National Museum of Art, Vilnius / LT 
Chambre d’amis xes, Laurenz, Vienna / AT 
Etablissement d’en face, WAF Galerie, Vienna / AT 
Re-Generation 2008, Collica & Partners, Catania / IT 

Black Pages, Kunstverein Bielefeld / DE (as Black Pages) 
The Home Museum, LagosPhoto20 / NG 

Di fuochi e accesi sensi, Galerie Greta Meert, Brussels / BE 
Beijing International Art Biennale, National Art Museum of China, Peking / CN 
Cherry Pickers, Podium, Luxembourg / LU 
LAX BAR, Wiener Festwochen, Vienna / AT 
Everlasting Light, Tim Nolas, Vienna / AT (as Black Pages) 

Münster Sculpture Project 2017, Machida / JP 
Raymond Controfigura, Museo Civico di Castelbuono, Castelbuono / IT 
Ciao2, Galleria Collicaligreggi, Catania / IT 
VICE VERSA: Our Earth is Their Moon, Our Moon is Their Earth, m3 festival, Prague / CZ 
Black Pages, Salzburg Kunstverein / AT (as Black Pages) 
Raymond, Grand Hotel et des Palmes, Palermo / IT 
It’s a trap, Significant Other, Vienna / AT 
Moon Contemporary, Castello di Carini / IT 

Publishing as an Artistic Toolbox: 1989–2017, Kunsthalle Wien, Vienna / AT 
Accentism, Taxispalais – Kunsthalle Tirol, Innsbruck / AT 
Temporary 2017, Palais Schönborn-Batthyány, Vienna / AT 
Kardinal König Kunstpreis, St. Virgil, Salzburg / AT (Cat.) 
Strookoffer, Établissement d’en face, Brussels / BE 
Anton Faistauer Preis 2017, Galerie im Traklhaus, Salzburg / AT (Cat.) 
ba =/= a + b – 10 Jahre Musa. Aus der Sammlung der Stadt Wien, MUSA, Vienna / AT (as Black Pages) 
Ich weiss nicht – growing relations between things, Vienna Biennale, MAK, Vienna / AT (Cat.) 
Künstlerbücher für Alles, Weserburg, Museum für moderne Kunst, Bremen / DE 
Maieutics, Kubatur des Kabinetts, Fluc, Vienna / AT 

Dilata in maggiore spazio, L’A Project, Palermo / IT 
Nuovo sculptura una, Gesso Artspace, Vienna / AT (Cat.)
Subjective Wien, contemporallye, Augsburg / DE 

Strabag Artaward International, Strabag Artforum, Vienna / AT (Cat.) 
Los Bar, Mackey Apartments / MAK Center for Art and Architecture, Los Angeles / US 
Display of the Centuries. Friedrich Kiesler & Contemporary Art, Austrian Cultural Forum, New York / US (Cat.) 
A likeness has blisters, it has that and teeth, Atelierhaus Akademie der bildenden Künste, Vienna / AT 
Lesen [Literatur], Kunstraum Niederösterreich, Vienna / AT (Cat.) 

Ciao!, Galleria Collicaligreggi, Catania / IT 
La stanza della seta, Museo Palazzo Milio, Ficarra / IT 
Notes from Underground, Baba Vasa’s Cellar, Shabla / BG 
Der Brancusi Effekt, Kunsthalle Wien, Vienna / AT 
To continue. Notes towards A Sculpture Cycle | Scale, Nomas Foundation, Rome / IT 
Dear Darling, Kunstverein in Hamburg, Hamburg / DE 
Syllabus #1_talking about art and life, Galleria Collicaligreggi, Catania / IT 
Black Pages, Kunstverein in Hamburg, Hamburg / DE (as Black Pages) 
Anton Faistauer Preis 2014, Galerie im Traklhaus, Salzburg / AT (Cat.) 
First Emerald, then Sapphire, then Black, Semperdepot, Vienna /AT 

Kardinal König Kunstpreis, St. Virgil, Salzburg / AT (Cat.) 
szkmr, invited by Rosa, Galerie Kamm, Berlin / DE 
21 Posters by 21 Artists, Magazin, Vienna / AT 
Diyalog, Contemporary Istanbul, Istanbul / TR 
Der Raum der Etablierung des Versuchs, Kunstraum Super, Vienna / AT 
Ephemeral Self – Finite Projections, NTK Gallery, Prague / CZ (Cat.) 
Chat Jet, Künstlerhaus – Halle für Kunst und Medien, Graz / AT 

Drawing Quote, Pigna Project Space, Rome / IT 
Keine Zeit, 21er-Haus, Vienna / AT (Cat.) 
Antidepressiva 2, Clubschiff Johann Strauss, Vienna / AT 
Black Beauty, Apartment Draschan, Vienna / AT 
Sleepwalking, Freies Museum Berlin / DE 
Black Pages, Galerie Emanuel Layr, Vienna / AT (as Black Pages) 

At the end of the rainbow, What the Shop, Vienna / AT 
Phase O, Bureau für Angelegenheiten, Vienna / AT 
Franzi‘s Choice, Museo Premoderno, Spodnji Hotic / SI 
Future Garden, Kunstbunker, Forum für zeitgenössische Kunst, Nürnberg / DE 
Antidepressiva, Galerie Peithner-Lichtenfels, Vienna / AT 
Anton Faistauer Preis 2011, Galerie im Traklhaus, Salzburg / AT (Cat.)
Wallpaperism, Motel Campo, Geneve / CH (Cat.) 
Dancing to the Rhyme, Kumho Art Museum, Seoul / KR 
Polis-Pollis-Politics, Das Weisse Haus, Vienna / AT 

Förderpreis des Landes Steiermark für bildende Kunst, Neue Galerie im Künstlerhaus, Graz / AT (Cat.) 
Fahrenheit, Kunstraum Schattendorf, Schattendorf / AT 
In Passing 10, Passagegalerie, Künstlerhaus Wien, Vienna / AT 

On Escape Salzburg, Koje 38, Salzburg / AT 
Physical Reabilitation – Moholy, Rua da Boavista, nº86 R/C, Lisbon / P 
Anzengruber Biennale 2009, Café Anzengruber, Vienna / AT 
EXPosition of mythology – ELectronic technology, Nam June Paik Art Center, Seoul / KR (Cat.) 
The Red Thread, Galerie Dana Charkasi, Vienna / AT 
Breathless – Qu‘est-ce c’est dégueulasse?, Wien Mitte, Vienna / AT 

BA-Kunstpreis 2008, Galerie3, Klagenfurt / AT 

Vertauscht 2, K/haus Galerie, Künstlerhaus Wien, Vienna / AT 
Vertauscht, NÖ Dokumentationszentrum für moderne Kunst, St. Pölten / AT 

Ware, Wert, Künstlerhaus Klagenfurt, Klagenfurt / AT 

A Moment In Time, Temple Bar Gallery & Studios, Dublin / IE 
Degree Show, Royal College of Art, London / GB 
Walter Koschatzky Kunstpreis 2005, MUMOK, Vienna / AT 
A Sharp Intake of Breath, Beldam Gallery, Uxbridge, Middlesex / GB 

Power – clap your hands, sucker, Chambers Project Space, London / GB 
X Mas Free Tree, 32, London / GB 
Von der Ritzzeichnung zur Knochenflöte, Stadtgalerie Wien, Vienna / AT 
Group Show, Hockney Gallery, RCA, London / GB 

Malerei und Grafik, Kunstraum Arcade, Mödling / AT 
Weltensichten, Soho in Ottakring 2003, Vienna / AT 
Achtzehn Jahre Meisterklasse Frohner, St Peter an der Sperr / AT 

The Essence, Künstlerhaus Wien, Vienna / AT (Cat.) 
Mann, Frau, Schloss Ulmerfeld, Amstetten / AT 
Degree Show, Universität für angewandte Kunst, Vienna / AT 
Vel Satis Award, Österreichische Nationalbibliothek, Vienna / AT 

Wir, Universität für angewandte Kunst, Vienna / AT 
Junge Kunst, Dorotheum Wien, Vienna / AT 
Junger Österreicher – Junge Künstler, Museum für angewandte Kunst, Vienna / AT

2009 –
Editor and co-founder of the Artist-Zine Edition Black Pages (together with Christoph Meier and Nick Oberthaler), Vienna / AT

Awards, Grants 
Kapsch Contemporary Art Prize 

Austrian State Grant for Fine Art 
Nomination Anton Faistauer Prize 
Nomination Kardinal König Art Prize 

Advancement prize, Klocker Foundation Innsbruck 
Recognition prize, Strabag Artaward International 

Nomination Anton Faistauer Prize 

Scholarship of the Federal Ministry of Education, Arts and Culture 
Nomination Kardinal König Art Prize 

Nomination Anton Faistauer Prize 
Viktor Fogarassy Prize 

Nomination Walter Koschatzky Prize 

Fellowship of the Emanuel and Sophie Fohn Foundation 

Scholarship of the Premiere advancement program, University of Applied Arts Vienna 
Scholarship for graduates of the Universities of the Arts 

Fellowship of the Sussmann Foundation 
Recognition award of the City of Vienna 

Fellowship of the Adelmüller Foundation 
Scholarship of the University of Applied Arts 

Lectures, Talks 
Artist Lecture Series, Vienna / AT 
Artist talk, Künstlerhaus Graz / AT 
Symposium: Accentism, Taxispalais – Kunsthalle Tirol, Innsbruck / AT 

Artist talk, Kunstverein Graz / AT 

Artist talk, Fondazione Brodbeck, Catania / IT 

Artist Lecture Series, Vienna / AT

Publications, Reviews 
Entkunstung III, Ed. Felipe Duque, Maximilian Mauracher, Vienna 

Soiree Berkson, No.17 – Ute Müller, Ed. Sandra & Avram Berkson, Vienna / AT 
Schizm Magazine #10, Ed. Emma Holmes, Grenada 
Artists’ Books for Everything / Künstlerbücher für Alles, Ed.: Dr. Anne Thurmann-Jajes, Zentrum für Künstlerpublikationen, Weserburg Museum für moderne Kunst, Bremen / DE 
Artist Lecture Series – Ute Müller, Ed. Artist Lecture Series, Vienna / AT 

Ute Müller, Ed. Rainer Fuchs, mumok – Museum moderner Kunst Stiftung Ludwig Wien, Verlag der Buchhandlung Walther König Köln / DE 

Up & Coming, Parnass Special – Junge Kunstszene Wien, München & Berlin, Vienna / AT 
Anton Faistauer Preis 2017, Ed. Galerie im Traklhaus, Salzburg / AT 
K wie Kunst – Kardinal-König-Kunstpreis Salzburg, Ed. Antonia Gobiet, müry salzmann, Salzburg / AT 
Vienna Biennale 2017 Guide – Roboter. Arbeit. Unsere Zukunft, Ed. Christoph Thun Hohenstein, VfmK Verlag für moderne Kunst, Vienna / AT 

Ute Müller – A Handbook of Possibilities, Ed. Ute Müller, Harpune Verlag, Vienna / AT 

Ute Müller, Ed. Klocker Stiftung, Innsbruck / AT 
Strabag Artaward International 2015, Ed. Strabag SE, Villach / AT 
Display of the Centuries. Friedrich Kiesler and Contemporary Art, Ed. Christine Moser, Austrian Cultural Forum New York, Verlag Anton Pustet, Salzburg / AT 
lesen [Literatur], Ed. Christiane Krejs, Kunstraum Niederösterreich, Vienna / AT 

La stanza della seta a Ficarra, Daniela Bigi, Arte e Critica #79, Rome / IT 
Experten-Watchlist, Nicolaus Schafhausen, Artinvestor No.02/14, Munich / DE 
Anton Faistauer Preis 2014, Ed. Galerie im Traklhaus, Salzburg / AT 

K wie Kunst – Der Kardinal-König-Kunstpreis 2013, Ed. Antonia Gobiet, Muery Salzmann Verlag, Salzburg / AT 
Ephemeral Self – Finite Projections, Ed. Robert Gruber, Alexandr Puškin, Milan Mikuláštik, Vienna / Prague 

Vier Jahre Ve.sch ungefähr …, Ed. Martin Vesely, Ve.sch, Vienna / AT 
Moby Dick Filet No.69 – The Funeral, Harpune Verlag, Venna / AT
Keine Zeit – Busy, Ed. A. Husslein-Arco & B. Steinbrügge, Belvedere, 
Verlag d. Buchhandlung Walter König, Vienna / AT 

Luxe Immo No. 6, Marie Emilie Fourneaux 
Wallpaperism, Ed. Nick Oberthaler & Izet Sheshivari, Boabooks, Geneva / CH 
EXPosition of mythology – Electronic technology, Ed. Nam June Paik Art Center, Seoul / KR 
Anton Faistauer Preis 2011, Ed. Galerie im Traklhaus, Salzburg / AT 

Förderungspreis des Landes Steiermark 2010, Ed. Neue Galerie, Universalmuseum Joanneum, Graz / AT 
Kunst als Bedingungselement von Raum, Walter Seidl, (18.03.2010) 

Malerische Montagen, Christa Benzer, in: Der Standard/ Printausgabe (01.10.2009), Vienna / AT 

Fine Art RCA 05, Ed. Royal College of Art, London / GB 
Malerei in Österreich zu Beginn des 3. Jhtsd, Ed. Krieger-Kramer-Alkier-Einem, Forum Artis Austriae, Vienna / AT 

Visionäre Mobilität – Velsatis Award 2002, Ed, Renault Österreich, Vienna / AT 

Kunstkalender 2003, Ed. Edition Hausner, Vienna / AT 
Meisterklasse Frohner, Ed. Universität für angewandte Kunst, Vienna / AT 
Kunstmagazin Sterz, Ed. Gernot Lauffer, No.: 78/79, 81, 83, 101, Graz / AT 
The Essence, Ed. Die Angewandte und das Künstlerhaus Wien, Vienna / AT 

mumok – Museum Moderner Kunst Stiftung Ludwig Wien / AT 
Sammlung Neue Galerie Graz, Universalmuseum Joanneum, Graz / AT 
Sammlung Oesterreichische Nationalbank, Wien / AT 
Lafayette Anticipation – Fonds de dotation Famille Moulin, Paris / FR 
Sammlung der Klocker Stiftung Innsbruck / AT 
Sammlung der Osterreichischen Galerie Belvedere / AT 
Sammlung des Bundes / AT 
Sammlung des Stadt Wien / AT 
Royal College of Art London / GB 
Verein Stubenring 3 / AT

Solo project of Adam Harrison. Born 1983 in Vancouver. Lives and works in Düsseldorf. 

Solo Exhibitions
A Manual for Retaining Light in Dark Ages, Museum Abteiberg, Mönchengladbach / DE

Fabulist Manifesto: Audio/Visual Agitprop (for Children), Swallow Project Space, Vilnius / LT

The Storytellers’ Fountain; a tale told by A Gust of Wind (in the low and dark rooms), Fondazione Morra Greco, Napoli / IT

SCENOGRAPHY: Redundant as eyelids in absence of light., Kunst Halle Sankt Gallen,  St. Gallen / CH

in relation to a Spectator:, Kestner Gesellschaft, Hannover / DE 
& faintly heard (as it sinks, slowly):, Swiss Institute, New York / USA

IN ADVANCE OF A SHIPWRECK:, Kunstverein Düsseldorf / DE 
Scenes at an Inauguration, Bonner Kunstverein, Bonn / DE

Institutional exhibition projects
NOT MADE? NOT CHOSEN? NOT PRESENTED?: 3rd Studio for Propositional Cinema Film Festival,Camden Art Centre, London / UK

On The Wall In Chalk Is Written: 2nd Studio for Propostional Cinema Film Festival,Kestner Gesellschaft, Hanover / DE

EXHIBITION, Kunsthaus Bregenz / AT

We Are a Parasite on the Institution of Cinema, An Institution of Parasites: 1st Studio for Propositional Cinema Film Festival, mumok, Wien / AT

INAUGURATION, Kunstverein Düsseldorf Schaufenster, Düsseldorf / DE

Group Exhibitions
Akademie-Galerie – Die Neue Sammlung, Kunstakademie Düsseldorf, Düsseldorf / DE 
Terms and Conditions: A Sonata for Two Women, Projektsrom Normanns, Stavanger / NO

Scripts, Bielefelder Kunstverein, Bielefeld / DE

Oh… Jakob Lena Knebl and the mumok Collection, mumok, Wien /AT 
PRODUKTION: Made in Germany III, Kestner Gesellschaft, Hannover / DE 
Asymmetric Architextures: Readings in the Postwar History of the Kunstverein, Kunstverein für die Rheinlande und Westfalen, Düsseldorf / DE

FADE IN: A TRACKING SHOT, Istituto Svizzero di Roma / IT 
Von den Strömen der Stadt, Museum Abteiberg, Mönchengladbach / DE

more Konzeption/Conception now, Museum Morsbroich, Leverkusen / DE

Another Place / Another Space / Together, Quadriennale Düsseldorf, Düsseldorf / DE 
f/stop Festival für Fotographie, Leipzig / DE

Selected performances
RECITAL: Redundant as eyelids in absence of light., Liste Performance Project, Basel / CH 
RECITAL: Redundant as eyelids in absence of light., St. Alban Kirche, St. Gallen / CH 
RECITAL: Redundant as eyelids in absence of light., Reading International / UK

The Tenderness of Maggots, Kunstsammlung NRW, Düsseldorf / DE 
OVERTURE: Redundant as eyelids in absence of light., Kestner Gesellschaft, Hanover / DE

The Tenderness of Maggots, Swiss Institute, New York / USA 
Cut With Some Pieces of Cinematography: A Sonata for Two Women, Kunsthall Bergen / NO 
Cut With Some Pieces of Cinematography: A Sonata for Two Women, Index, Stockholm / SO 
AS WATER DISSOLVES SUGAR:, Paris International, Paris / FR 
When the cast invades the streets tonight…, Istituto Svizzero, Rome / IT 
IN DARK AGES:, LISTE Performance Project, Basel / CH

In Like a Lion and Out Like a Leech: A Lecture in Ten Scenes, Kölnischer Kunstverein, Köln / DE 
In Like a Leech and Out Like a Lamb: A Lecture in Ten Scenes, Kunstraum München / DE

In a cuture…, Museum Morsbroich, Leverkusen /DE 
A door left open…, Quadriennale Düsseldorf / DE 
CUT!, Kunstfilmtage Düsseldorf / DE

INAUGURATION, Kunstverein für die Rheinlande und Westfalen, Düsseldorf / DE

Myths and Manifestos, pub. Kunstverein München & Verlag der Buchhandlung Walther König 
LIBRETTO: Redundant as eyelids in absence of light., pub. Kunst Halle Sankt Gallen & Mousse

Ancient Knowledge Survivalist Manifesto, pub. A Gust of Wind & University of Washington

Ancient Knowledge Survival Kit, pub. A Gust of Wind & Tanya Leighton 
Fabulist Manifesto, pub. A Gust of Wind & Fondazione Morra Greco 
The Storytellers’ Fountain [Frame Tale], pub. A Gust of Wind & Fondazione Morra Greco


in relation to a Spectator:, pub. APE Art Projects Era, Kestner Gesellschaft & Sternberg Press

Scenes at an Inauguration, pub. Bonner Kunstverein & Strzelecki Books 
IN ADVANCE OF A SHIPWRECK:, pub. Kunstverein für die Rheinlande und Westfalen

In Like a Lion and Out Like a Leech: A Lecture in Ten Scenes, pub. Kölnischer Kunstverein 
In Like a Leech and Out Like a Lamb: A Lecture in Ten Scenes, pub. Kunstraum München

Oriol Vilanova (°1980, Manresa, Spain) lives and works in Brussels. His artistic practice is developed through the context of the (flea) market, which he visits ritually while building a collection of postcards. This process functions as a ‘thinking machine’ for his fundamental questioning of political, cultural and economic mechanisms inherent to the construction of a collection. His witty conceptual play results in installations, performances and theatre-performances, but equally in artist’s books and printed matter. 

For his show at BEIGE, Vilanova reconstructed the bargaining act at the flea market. The exhibition’s title ‘the end of the ancient world’ touches on themes such as the economic recession, and the dominance of numbers in our daily lives. In a typical deadpan manner, the artist recalls the price negotiation between the seller and the buyer in two communicating columns with numbers. It visualizes the dynamics of the process and the performative act of the transaction. 

“Economical Poems are the memory of a conversation, sometimes heard, sometimes experienced. Moments of bargaining. Price and value. Empathy and sharing. In an oral language, immaterial as the economy. Economical Poems reproduce the process of bargaining between the seller and the buyer. The market as a poetic experience.” – Oriol Vilanova

The work of the artist resonates strongly with the work of other conceptual artists. The minimal paintings are hand painted on wood referring to the wooden signs used on the market. Yet when one looks closely at the painting, one discovers the painterly quality to the surface. 

His work was recently presented in solo exhibitions in: NMNM, Monaco (France); Albright Knox Art Gallery, Buffalo (USA); Fundació Antoni Tàpies, Barcelona (Spain); CA2M, Madrid (Spain); Fundació Joan Miró, Barcelona (Spain); M Museum, Leuven (Belgium); Centre d’Edition Contemporaine Genève (Switzerland); L’Appartment 22, Rabat (Morocco).

He was part of the following group exhibitions: Palais de Tokyo, Paris (France); Les Abattoirs, Toulouse (France); Les Rencontres de la Photographie, Arles (France); Kunsthal Extra-City, Antwerp (Belgium); LLS Paleis, Antwerp (Belgium); Triennial APAP6 Anyang, Seoul (South-Korea); PetahTikva Museum of Art, Tel Aviv (Israel); Kunstverein Langenhagen, Langenhagen (Germany); Centro Botín, Santander (Spain); CAAC, Sevilla, MACBA, Barcelona (Spain); FUTURA Center for Contemporary Art, Prague (Czech Republic).

He published artist books with: JAP, Brussels; Christophe Daviet-Thery, Paris; JRP Ringier, Zurich; FRAC Champagne-Ardenne, Reims; Cru, Figueres. 

His work is part of the following public collections: MAC’S Musée des Arts Contemporains Grand-Hornu (Belgium); M Museum & Cera Collection, Leuven (Belgium); MACBA, Museu d’Art Contemporani de Barcelona (Spain); Centre d’Art La Panera de Lleida (Spain); Fundación Montemadrid (Spain); Fundación Botín, Santander (Spain); Ministerio de Asuntos Exteriores, Madrid (Spain); Albright-Knox Art Gallery, New York (USA), NMNM, Nouveau Musée National de Monaco (France); Mathaf: Arab Museum of Art (Qatar); FRAC Grand-Large – Hauts-de-France, Calais (France); DZ Bank Kunstsammlung, Frankfurt (Germany).

10.06 – 16.07.2022
Collecting the Alphabet: The Oracle’s Tongue
Kelly Schacht

Beige is excited to present Collecting the Alphabet: The Oracle’s Tongue, a new exhibition by Kelly Schacht (°1983, Roeselare, Belgium – Lives and works in Ghent, Belgium).

Opening: 09.06.2022, 17-20h

“Anatomy of a Disaster Film” is the fifth publication of A Gust of Wind, a publishing entity but also an archetypal fictional character who appeared in several past works by Studio for Propositional Cinema. It was hand-printed in a small linotype printing workshop in Naples, Italy, as part of an ongoing series of publications.

Linotype prints on paper
8 pages in envelop
Published by Beige, Brussels
Unsigned and unnumbered
An edition of 500
10 euro + shipping