Modern & Contemporary Art Exhibitions in Bruxelles - Brussel

Marcos Siqueira: Paths of Observation To observe. This is the verb that comes to mind when I think of Marcos Siqueira’s paintings. Perhaps this is because the term recurs so often in our conversations. Siqueira frequently refers to his habit of sustained looking, of close attention, that he carries into his...

Avec Reinata Sadimba, artiste sculptrice du Mozambique et Raymond Tsham, artiste de la République démocratique du Congo, cette exposition réunit deux figures majeures de l'art contemporain africain dont les pratiques, bien que profondément singulières, se rejoignent dans une même réflexion sur la mémoire, la transmission et le dialogue entre les cultures.

Photographe franco-américaine installée dans le sud des Landes, Gabrielle Duplantier développe depuis plus de vingt ans une œuvre profondément intuitive et personnelle. À travers des paysages familiers, des scènes domestiques et des portraits, elle compose un univers sensible. À l'occasion de son exposition à L'Enfant Sauvage galerie, Gabrielle Duplantier réunit pour la première fois ses trois grandes séries publiées aux éditions lamaindonne — Volta, Terres Basses et Wild Rose — invitant à découvrir les résonances qui traversent son œuvre. L'exposition présentera également de nouvelles images ainsi que son nouvel ouvrage, Pâle, publié aux éditions Origini. Gabrielle Duplantier sera présente lors du vernissage le 25 septembre pour vous rencontrer et signer ses livres.

Vedovi gallery is pleased to present Echoes Of The Feminine, an exhibition bringing together prominent modern and contemporary artists whose work navigates the fluid and expansive interpretations of the feminine form. Across this presentation, the female figure offers an opportunity to champion an homage to beauty while advancing artistic...

An Accounting é a primeira exposição individual de Maria Thereza Alves na galeria em Bruxelas. Partindo dessa assimetria — entre aqueles que contabilizavam a distância e aqueles que viviam o tributo —, a artista investiga de que maneira a exploração colonial dessas localidades no México, sustentada ao longo de séculos pelo trabalho não remunerado e pela extração de bens, permanece inscrita na paisagem, nos objetos e na memória da região. A relação tributária entre Xico e a família nobre, por exemplo, remonta a 1529, quando o rei Carlos V concedeu ao conquistador Hernán Cortés o peñol de Xico — um ilhote rochoso no meio do lago Chalco —, juntamente com o título hereditário de Marquês do Vale de Oaxaca, domínio que obrigava seus habitantes a pagar tributos a quem quer que detivesse o título, mesmo do outro lado do Atlântico. Ao longo dos dois séculos seguintes, por meio de sucessivos casamentos entre membros da nobreza europeia, o título — e a renda que ele gerava — passou para a família napolitana Pignatelli Cortés. O sistema hereditário de tributos foi formalmente abolido com a independência do México, em 1821, mas a exploração da terra, sob a forma de haciendas,

light, sound and performance converge in a fully immersive experience across five rooms. Rooted in the playful spirit of artist-run initiatives and in the structures that support them, NO SHOW explores how artists sustain their practices in a world increasingly geared towards quick pleasures, scattered attention and high consumption.

An immersive film installation that weaves together scenes across countries and generations, exploring the artist's unique cosmology where past and present enter into conversation.

For several years, Joëlle Tuerlinckx kept a close eye on the construction of Kanal. With a light show and an explosive symphony of sounds co-created with Christoph Fink, she puts you under hypnosis and introduces you to the underground part of both the museum and her work. In the empty space, stories about foundations slowly blend with other tales.

Amidst the bustle of the new museum, Blindsight invites you to slow down. Take a seat in a cinema chair and dive into the soundtrack of a film you can feel rather than see. This installation by artist Manon de Boer, collaborating with choreographer Latifa Laâbissi and sound designer Laszlo Umbreit, is the final part of a trilogy that began with the performance Ghost Party 1 (2022) and the film Ghost Party 2 (2022). In that film, de Boer and Laâbissi lend their voices to artists and writers who inspired them, from Chantal Akerman and Beyoncé to Anne Carson and Marguerite Duras. The dialogues and soundscapes were later translated into a sound installation, now reimagined for Kanal. Blindsight immerses you in a carefully composed sensory environment. Sound emanates from speakers concealed inside vases – a nod to the vases featured in Ghost Party 2 – which are dispersed throughout the space. Each vase corresponds to one of the 'ghosts' to whom the artists give their voices. Here, the ear takes precedence over the eye. In a world saturated with stimuli, the installation creates an interval of stillness, a near-meditative space in which the whispers of forgotten voices resurface. Manon de Boer is a central figure in the Belgian art scene, known for her video work that brings together music, dance and film. Through her filmed portraits, she explores the perception of time and space. This work is part of the Kanal collection.

For the opening of Kanal, Otobong Nkanga weaves stories through threads. An installation of looms becomes the backdrop for encounters and conversations about sustainability and ownership, but also about the museum’s role in the social ecosystem.

A century ago, the mass-produced image of a Mangbetu woman went viral. An infinite woman explores how the distinctive profile of the Mangbetus from Congo became a modernist and colonial emblem after Citroën’s La Croisière Noire expedition, but also a powerful catalyst for artists. Through archives and works by contemporary artists like Carrie Mae Weems, Frida Orupabo and Magdalene Odundo, the exhibition celebrates the limitless Black female imagination in resisting the colonial algorithm.

In a world where they continue to be undermined and violated, Banu Cennetoğlu presents the articles of the Universal Declaration of Human Rights of 1948 in bouquets of gold letter balloons in Kanal’s showroom. As the balloons slowly deflate, the work questions the language of rights and the human rights framework the Declaration helped put into place. It reflects on what these rights mean, their history and lofty rhetoric, but also on how their inherent promises visibly fade.

"Brussels" is blamed for everything. The city has become a symbol of dysfunction, bureaucracy and fragmentation. The exhibition Right to the city organised by Kanal Architecture presents a different view: a critical homage that positions Brussels as a pioneering laboratory for a new spatial practice. A practice that is based less on the linear logic of a masterplan than on conflictual, antagonistic and participatory processes that define, renegotiate and reinvent our ways of living together in the city.

A truly immense journey guides you through the forces that have set people, ideas and artistic forms in motion from the early 20th century to today. The exhibition spans modern icons such as Lygia Clark, Sonia Delaunay, Alberto Giacometti, Natalia Goncharova, Wifredo Lam and Henri Matisse, alongside contemporary international and Brussels-based artists including Sammy Baloji, Edith Dekyndt and Hana Miletić. More than 350 works, predominantly from the Centre Pompidou and Kanal, but also from numerous Belgian public and private holdings are brought together.