FRED&FERRY

Winnie Claessens - All Tomorrow's Parties In this exhibition, a contemporary tragedy unfolds in which three versions of the Earth exist side by side. Each worldview speaks with equal certainty, claiming to hold the truth. Images, voices, and signs attempt to persuade the viewer, while doubt quietly lingers in the background. What we know reaches us through screens, books, and mediated authorities, far removed from direct experience. Conviction becomes a matter of choosing rather than questioning. The title, inspired by William Gibson’s All Tomorrow’s Parties, gestures toward a world caught between overlapping futures, where reality is shaped in transitional zones rather than fixed conclusions. Between black and white, the space for nuance, dialogue, and mutual respect slowly disappears. This exhibition invites the viewer to step back into that fragile in-between space.

*magh- is a site-specific Adventure Lecture Performance blending magical realism, developed in 2023 in collaboration with Platfrom 0090 and now presented at the Royal Museum of Fine Arts Antwerp (KMSKA). *magh- is a site-specific Adventure Lecture Performance blending magical realism, developed in 2023 and now presented at the Royal Museum of Fine Arts Antwerp (KMSKA) in collaboration with Platform 0090. Up to ten participants follow a guided tour using a shared iPad that reveals augmented reality images—dreams of the Fuller’s pirates—while a portable speaker provides an immersive soundtrack. Practical: - *magh- (performance walk) from Monty to KMSKA on Thursday 14/05: 13.30 – 14.30 + 16.00 –17.00 - *magh- (performance walk) from Monty to KMSKA on Friday 15/05: 14.30 – 15.30 + 16.00 - 17.00 - *magh- (performance walk) from Monty to KMSKA on Saturday 16/05: 14.30 – 15.30 + 16.00 –17.00 - *magh- (performance walk) from Monty to KMSKA on Sunday 17/05: 14.30 – 15.30 + 16.00 –17.00 The performance explores the museum’s architecture and hidden spaces, weaving an alternative history that connects industrialization, the museum’s construction, and the mythical pirates who inscribed their dreams into the building itself. Combining architecture, history, technology, and fiction, magh- offers a unique narrative experience between a tour, lecture, and adventure.

Jana Coorevits presents her second solo exhibition at our gallery Jana Coorevits creates poetic spaces where time and stillness take center stage. In this new presentation, she reveals photographic works crafted with meticulous precision and a keen sensitivity to nuance. While her previous exhibitions included video, this time the focus is entirely on analog photography, featuring both color and black-and-white prints. She seeks a language that makes room for complex emotions and experiences, with the analog print process enhancing the unhurried and intimate nature of her images. The stillness inherent in analog photography supports the delicate rhythm that underpins her work. Within her images unfolds a subtle interplay of time, light, and material, where shapes and ideas resonate and new layers of meaning emerge. This exhibition invites viewers to immerse themselves in a lyricism that engages multiple senses and awakens intuition — an invitation to slow down beyond the digital pace and experience the deeper nuances of the moment.

Jana Coorevits presents her second solo exhibition at our gallery Jana Coorevits creates poetic spaces where time and stillness take center stage. In this new presentation, she reveals photographic works crafted with meticulous precision and a keen sensitivity to nuance. While her previous exhibitions included video, this time the focus is entirely on analog photography, featuring both color and black-and-white prints. She seeks a language that makes room for complex emotions and experiences, with the analog print process enhancing the unhurried and intimate nature of her images. The stillness inherent in analog photography supports the delicate rhythm that underpins her work. Within her images unfolds a subtle interplay of time, light, and material, where shapes and ideas resonate and new layers of meaning emerge. This exhibition invites viewers to immerse themselves in a lyricism that engages multiple senses and awakens intuition — an invitation to slow down beyond the digital pace and experience the deeper nuances of the moment.

Krystel Geerts - Imprints, 2026 The works of Krystel Geerts are united by the intangible nature of their surfaces and materiality. They appear fragile and open, like blurred memories of Baroque architecture, not least because the process of their creation is inscribed in the works. Her sculptural practice investigates how form can function as a carrier. Drawing from the body and architecture, her work evolves through a somatic process in which the body functions simultaneously as measure and limit. She approaches the world as a field of infinite folds, unfolding not only in material form but also through experience. Material actions such as folding, compressing, creasing, and allowing forms to collapse play a central role in shaping the work. The resulting surfaces act as imprints tactile archives holding traces of touch, force, and pressure.

being one of many who was born into conditions (Goirle, NL) and who continuously tries to survive and (ex)change based on the performative makeabilty of living. in the third-year of the academy bo decided to quit to live and present its practice in public space from out a self-built cargo bike for a then unknown amount of time. after this 1.5 year performative gesture bo ‘returned’ to the world of art. embodying the research on how to use artisthood and its authorship as a method and condition for personal need and development. while still participating and giving back to the existing infrastructures of the arts. currently bo mainly focuses on a practice where the performative interaction with materials techniques and machines such as glass, felting, oilpaint, cnc milling and 3d printing are experienced and believed as reciprocal, caring and meaningful relationships. often looking for crosspollination and influence between materials, methods and personal experience, this practice continues in the theoretical line of relational aesthetics by Nicholas Bourriaud and the object-oriented ontology by Graham Harman. As well as the historical line of practices such as Tehching Hsieh, the fluxus and cobra movement and SAEIO megawizzard. the imaginary coming forth out of this process often consists of shapes from an ever-changing library of gestures derived and deconstructed from (post)graffiti, graphic and (neo)ornamental shapes. the worlds are created by stacking, layering, blurring and abstracting these subjective figurative shapes into new intuitive and often semi-modular compositions. after their genesis the objects become a way of researching interaction. this journey is supported by ruby soho gallery (Den Bosch NL). In recent years, you could have seen presentations at Stedelijk Museum (Breda NL), Jan Cunen museum (Oss NL) This art fair (Amsterdam NL), Ruby Soho (Den Bosch NL) among many other spaces. articles written by or about bo you could have read in the metropolis M, Mister motley. you could have also encountered bo as an interdisciplinary workshop adviser at Make (eindhoven NL) and HKU (Utrecht NL), find gestures such a websitetogether.com or experienced bo’s energy in a more indirect manner. hope to meet you any day now.

Krystel Geerts - La Chimera II, 2023, ‘Standing on the Shoulders of Giants’ — Exhibtion Saatchi Gallery London, curated by Louise te Poele. Photo: Pasquale Viglione. The works of Krystel Geerts are united by the intangible nature of their surfaces and materiality. They appear fragile and open, like blurred memories of baroque architecture. Not least because the process of their creation is inscribed in the works. Her works are inspired by architectural images that she finds on the Internet. The designs for her works ultimately emerge from memory, with the images from very different places overlapping and merging, creating the impression of a sensory illusion of incomprehensibility. In this way, Geerts comments on various illusionary techniques in the history of art and architecture, above all the Baroque period, and relates them to the present. After all, appearance and reality are increasingly diverging in the digital world: fake or manipulated images, videos and news are circulating on an almost equal footing with real information. What remains tangible in Geerts' work is the vague perception of a fragmented world.

Tramaine de Senna - Fire and Eyes - 2026 We are proud to present the second solo exhibition by Tramaine de Senna, featuring new ceramic works in dialogue with sketches, storyboards and textiles. De Senna’s practice merges material exploration with narrative layering. Her sculptures, textiles and works on paper reflect a world where forms mutate and accumulate meaning — drawing from popular culture, architecture and personal mythologies. In this new presentation, the process of transformation itself takes center stage: drawings become objects, textures evolve into narratives, and surfaces reveal the traces of making. At once playful and visceral, De Senna’s works challenge fixed identities and invite us to read material as memory — alive, tactile and constantly shifting.

For this exhibition, Icelandic artist Jóhanna Kristbjörg Sigurðardóttir has invited fellow Icelandic artists Steingrímur Eyfjörð and Sigtryggur Berg Sigmarsson to participate in a project that continues her ongoing research into artistic language, dialogue, and communication within art. Central to the exhibition are questions surrounding how meaning is formed and exchanged through artistic practice: How much information is needed to create a coherent image or context? And where and how does communication take place within the framework of an exhibition? Jóhanna presents a selection of works from Steingrímur Eyfjörð’s exhibition 1978, alongside the publication that accompanied it. In this body of work, Steingrímur constructs a personal art-historical narrative inspired by the avant-garde period in Icelandic art between 1957 and 1980. His works engage with the influence of key figures such as Dieter Roth, whose presence in Iceland played a significant role in shaping the country’s artistic development during those years. In Jóhanna’s exhibition, Steingrímur’s works are once again removed from their original context and re-situated within her own artistic framework. By doing so, she explores the interplay of influences between their practices — tracing how Steingrímur’s references to artists such as Marcel Broodthaers, Robert Filliou, Dorothy Iannone, and René Magritte continue to resonate in her own visual language. Having lived and worked in Belgium for over fourteen years, Jóhanna uses this project to investigate the dialogue between Icelandic and Belgian artistic contexts. Through the creation of new works presented alongside Steingrímur’s, she examines how artistic influence and exchange continue to shape her practice across cultural and geographical boundaries. The exhibition also includes a series of drawings by Sigtryggur Berg Sigmarsson, which reflect upon Steingrímur’s examination of Dieter Roth’s impact on Icelandic art. Sigtryggur’s drawings embody his distinctive approach to the intersection of visual art, sound, and performance. At the opening of the exhibition, he will present a live performance that connects his work to the Belgian experimental music and performance scene.