NEWS > NOW

Ruimtemissie/Space Mission with Hubert Leyendeckers and Bo Stokkermans, Stedelijk Museum Breda, the Netherlands, curated by Ad van Rosmalen [18 Jan - 31 Sept 2025; vernissage: Friday, 17 Jan 2025; 16:30-19u]

Salon de la Muse, AAIMACHINE / Lieven Segers, Statiestraat 74, 2600 Antwerp-Berchem, Belgium [24 Nov - 22 Dec 2024]

AAIMACHINE VOL 7, Statiestraat 74, Antwerpen Berchem

Open every Sunday until 22nd of December

With Alex Salinas, Anne-Mie Van Kerckhoven, Ayrton Eblé, Bart Vanderbiesen, Ben Martens, Benny van den Meulengracht-Vrancx, Bogdan Shirokov, Boran Verstraete, Boris Van Den Eynden, Carla Arocha & Stephane Schraenen, Carole Vanderlinden, Caroline coolen, Cel Crabeels, Celine Mannens, Chris Gillis, Chris Johanson, Daan Peeters, Daniel Sannwald, Danny Devos, David Maroto, Dennis Vanderbroeck, Dirk Braeckman, Dora Brams, Dries Otten, Ebe Meynckens, Eileen Sussholz, Elen Braga, Eleonore Van Meerbeeck, Ellen Pil, Ellen Vrijsen, Emma Verhulst, Erwin Van Looveren, Fee Verachtert, Femke Ooms, Fia Cielen, Fien Geers, Filip Collin, Floris Van Look, Floris Vanhoof, Frank Koolen, Frank Theys, Frederik Heyman, Ged Proost, Geoffrey De Beer, Gijs Bakker, Gregory Frateur, Guillaume Bijl, Guy Van Bossche, Hadassa Emmerich, Hannah Willems, Hantrax Dolls, Harley Roberts, Harry Heirman, Honoré d’O, i.s.m. architecten, Ilse Van Roy, Indigo Deijmann, Into Niilo, Jacqueline Peeters, Jaehun Park, Jan Lemaire, Jan Tomza, Jan Tromp, Jee Kast, Jef Roels, Jelle Spruyt, Jeroen Olyslaegers, Jeroen Stevens, Jesse Keulen, Jesse Siegel, Johan Gelper, Johanna Trudzinski, Julien Meert, Karsten Krogh-Hansen, Kasper Claes, Kasper De Vos, Katia Rabey, Kato Six, Kaylan Saro, Khalid Verhaert, Kim Peers, Kobe Ruysen, Koen Theys, Koen Wertelaers, Kris Van Dessel, Lander Donné, Lara Finkenstädt, Laura Vandenbroucke, Leonard Nolens, Leonard Wertelaers, Lies Pauwels, Liesbeth Den Besten, Lieven Martens, Lisa Vlaeminck, Lotte Vrancken, Luc Deleu, Lukas Verstraete, Lune Marchal, Manon De Bruyn, Marc Nagtzaam, Marc Vanderleenen, Marie-Sophie Beinke, Marieke Pauwels, Marijn Van Kreij, Marius Ritiu, Maryam Najd, Mathias Kuypers, Maya Strobbe, Melody van Gompel, Miaux, Michiel Ceulers, Mike Moonen, Mohammed Alani, Mss Delmotte, Nadia Sels, Natasja Mabesoone, Nick Andrews, Nico Dockx, Olivier Voordeckers, Patrick Ceyssens, Pieter Jennes, Pieter Vermeulen, Rachel Daniels, Raquelle Verheyen, Ria Pacquée, Rita Bettens, Roelandt Tweelinckx, Ruben De Smet, Rufus Michielsen, Ruudt Peters, Sabina Maria van der Linden, Sam Timmerman, Sam Van Paesschen, Sam Vanallemeersch, Seppe Tack, Sietske Van Aerde, Spank Moons, Stijn Ter Braak, Subin Son, Ted Noten, Tina Schott, Tinne Guns, Tom Liekens, Tom Poelmans, Tom Tosseyn, Tom Volckaert, Tremaine de Senna, Ulf Herold, Ulrike Lindmayr, Vanessa Van Obberghen, Vedran Kopljar, Victor Avonds, Victor Schoester, Wataru Sato, Willem Roekaars, William Ludwig Lutgens, Wim Wauman, Winnie Claessens, Xavier Noiret Thomé, Yotam Bahat, Zeger Vetters, Zena Van Den Block en het 5de & 6de studiejaar van lagere school Klavertjevier.

Full House Collection, Mu.ZEE/Museum of Modern Art in Ostend, Belgium [02 June 2024 - 05 January 2025]; FR: French and EN: English

"(MK) ULTRAVETTE" aka "THE TRICKSTER"

2018

crushed velvet, cotton, foam batting, 2-component expanding nautical foam, mdf, and cardboard

117 x 88 x 66 cm or

46 x 34-5/8 x 26in

Collection: Mu.ZEE/Museum of Modern Art in Ostend (BE), acquired with the support of the Flemish Community/ Vlaamse Gemeenschap

Facing Fabrics: Expo Hedendaags Textiel, CC De Ververij Ronse (met dank aan M HKA, S.M.A.K., Mu.ZEE, Axel Vervoordt Gallery, Collection Servais, Waldburger Wouters), Ronse, Belgium [14 September - 13 Oct 2024]

Any Way the Wind Blows: Let’s Go Fly a Kite, C-Mine, Genk, Belgium, curated by Winnie Claessens [22 June - 15 Sept]; Saturday, 21 September: flying all 30+ kites by the artists

"Stay Awhile & Shine: Change By Connection"

Starting May 30th at 17:30 within the locomotor rehabilitation wing (blue hall) of AZ Turnhout Campus Sint Jozef, and through the cooperation between Blijde Gedachten/Silver Linings and myself, the artworks of three classes of the students of the Heilig Graf will be on display. 

This exhibition of sculpture, sewn works, print-making, painting, and illustrations are the results of ten (10) months of working with Chris Campers of BG/SL to incorporate the students' creative abilities along with the history of Turnhout and the Heilig Graf school, which includes bobbin lace-making, HG's stained glass window by Roger Daniels, the Taxandria Museum, and the archives of the Speelkarten Museum (Turnhout, Belgium).  

"Leerlingen Heilig Graf ontwerpen kunst voor AZ Turnhout." GVA.be/Gazet van Antwerpen, 23 May 2024, https://www.gva.be/cnt/dmf20240523_92942171. Accessed 23 May 2024.

Nederlands (NL): 

Blijde Gedachten wil aan de hand van kunst aan zorgverbreding doen. Leerlingen uit het tweede jaar, 2B Kunst en creatie, en het vijfde jaar Beeldende Vorming van het Heilig Graf zochten dit jaar samen naar antwoorden op vragen over wat hen verbindt met de wereld van vroeger en nu.

Hedendaags kunstenares Tramaine de Senna uit de Verenigde Staten begeleidde de scholieren. “De artistieke samenwerking tussen Tramaine de Senna, de leerlingen en de leerkrachten leverde prachtige resultaten op”, zegt Chris Campers, leerkracht Kunst initiatiefnemer van het Heilig Graf. “Samen maakten ze artistieke toepassingen vanuit een filosofische benadering over wat verandering in de brede zin van het woord kan betekenen. De erfgoedcollectie van het Heilig Graf en de kantcollectie van de musea brachten heel wat inspiratie als verbindende factor tussen vroeger en nu.”

De creatieve werken zijn vanaf donderdag 30 mei te bewonderen op de permanente tentoonstelling van Blijde Gedachten in het AZ Turnhout, Campus Sint-Jozef.  (bvdl)

English (EN):

Blijde Gedachten aims to use art to broaden care. Students from the second year, 2B Art and Creation, and the fifth year Visual Arts of the Holy Sepulchre searched together this year for answers to questions about what connects them to the world of the past and present.

Contemporary artist Tramaine de Senna from the United States supervised the students. “The artistic collaboration between Tramaine de Senna, the students and the teachers yielded wonderful results”, says Chris Campers, Art teacher and initiator of the Heilig Graf. “Together they created artistic applications based on a philosophical approach to what change in the broad sense of the word can mean. The heritage collection of the Heilig Graf and the lace collection of the museums provided a great deal of inspiration as a connecting factor between the past and the present.”

The creative works can be admired from Thursday 30 May at the permanent exhibition of Blijde Gedachten in the AZ Turnhout, Campus Sint-Jozef. (bvdl)

Concurrent with my solo exhibition "Luckx Interior" (16 May - 08 June) at the Fred & Ferry Gallery which premiered during the 10th annual Antwerp Art Weekend, poet and art critic Maarten Buser, has interviewed me for the May/June 2024 issue #181 of the Gonzo (cirucs) magazine. Thank you Maarten.

Buser, Maarten. "De backstage van materiële cultuur: Tramaine de Senna." Gonzo (circus) #181, May - June 2024. Print.

EN English:

With Luckx Interior, Tramaine de Senna presents a space where pop imagery, nature, and the human form are dancing with the artist’s profound understanding of art history, architecture, philosophy, and fashion. Fabrics, ceramics, and drawings are having a blast in a vibrant celebration of ideas, adorned with sparkling embellishments, shiny glazes, animal prints, and bold colours. In her exploration of visual theory, de Senna deliberately contrasts prevailing norms and patterns, seeking to unravel the migration of forms and the construction of cultural appearances. Unlike mere appropriation, her work delves into the origins of objects, connecting them with the accumulation of the times and the vast array of human creation.

Drawing inspiration from matchbooks, magazines, LP-covers, movie sets, the runway, industrial environments, and anthropocentric questions, de Senna has a unique way of layering cultural history into her works. She looks at our human legacy through a wide-angle lens that transcends temporal boundaries, and recognises that the trends and standards we’ve elected today are all products of what came before. Or, rather, she regards the buildup of all prior visuals, spaces, and concepts as a fluid continuum where past and present coalesce. ‘Even though it has been a long time ago, it all exists now, albeit in different forms’, she says. That’s how contrapposto legs easily remind of classical sculptures, while whimsical mushrooms bring in a sense of humour, and the boots on their feet tie the sculpture’s pose to our contemporary days. Within her work, the distance between timeframes has been removed. Think of it as history without the element of time. De Senna connects disparate viewpoints, images, and ideas across different eras and cultures, guided by the boundaries of matter, while upholding a sensitivity for how our urban habitats are decorated, experienced, and lived in.

The artist’s thorough insight of theory and philosophy sharpens her multiple, all-encompassing thinking, making the connections she draws crystal clear. In her rebellion against modernism’s shedding of decoration, she refers to art critic Boris Groys, who sees that people’s distrust of the surface lies in their fear of manipulation; ‘therefore, they seek to destroy the surface of the object, find the crack. This is a strategy of modernism.’ Talking about her own personal affinity with colours of plenty, vivid imagery, and “feminine” materials (or what is culturally regarded as such), de Senna mentions feeling a certain restraint against the hygiene of streamlined modernism. From the 1930s on, everything started to look more clean and alike. Architecture became more sleek, allowing for surfaces to be easier to wipe.

Besides the urge to bring back a sense of exuberance to our spaces, de Senna is, at the same time, interested in how movements within the aesthetics of design and architecture have the ability to spread widely throughout other aspects of society. Take Jean Paul Gaultier’s pointy bras leaving wardrobes alongside the emergence of cleaner lines, or the coming and going of luxurious-looking interiors of fifties cars. Certain colour palettes are first brought alive on runways, only to be later found in our kitchens. Along these lines, the artist is fascinated with the sheer ingenuity of humanity. From engineering bridges and the internet, to the evolution of shades and materiality, de Senna reflects on every individual’s role in the vast network of human knowledge and experience. Like a cascading waterfall, ideas and insights flow from generation to generation, shaping the delegation of space and our experience with where we live. How many people did it take to build our current world?

Whenever de Senna passes by the Albert Canal in Deurne, she can't help but notice the bustling infrastructure of shipping, logistics, and trade. The LEGO-like colours run from primary hues to neon shades in reds, cobalt blues, ultramarine, yellows, greens, oranges, greys, clearly avoiding pinks and magentas. Similarly, in nature, male birds signal their health and vitality through colourful plumage, vying for attention. It’s a “manly” exhilaration, exuberant in its own way; the beauty of which is weirdly overlooked, according to the artist. She calls it the seen unseen. Why is it that this type of exuberance remains invisible? Why is there a certain disparity between the zest of what’s considered manly, and the perceived aesthetic preferences of women? ‘It's strange to think of [the] exuberance [of this manscape], and then look at certain “female aesthetics” among Western women and some of my works. Why [is it perceived differently]?’ It's a question that invites exploration into the complex interplay between culture, identity, and expression. It’s a question that guides the viewer as they waltz along de Senna’s luxurious visual language.

-- Yasmin Van t'Veld

About:

Dutch (NL):

Ballroom Project is een uniek creatief en commercieel platform dat galeries en kunstenaars uit de hele wereld bij elkaar wil brengen. Door nationale en internationale galeries en kunstenaars met elkaar in contact te brengen, bevordert het project een gevoel van gemeenschap en samenwerking binnen de kunstwereld, wat ervoor zorgt dat elk kunstwerk in het best mogelijke licht wordt gepresenteerd. In tegenstelling tot traditionele kunstbeurzen, maakt het project gebruik van een getalenteerde curator die een tentoonstellingsconcept creëert op basis van inzendingen van deelnemende galeries. De deelnemers kunnen drie werken inzenden, ongeacht de kunstdiscipline, hetzij van dezelfde kunstenaar, hetzij van drie verschillende kunstenaars.

Dankzij de curator van Ballroom Project wordt de tentoonstelling afgestemd op de specifieke dynamiek van de tentoonstellingsruimte, waardoor enerzijds een meeslepende en boeiende ervaring voor de bezoekers ontstaat en anderzijds een breder publiek kan worden bereikt. Ballroom Project is een spannend en innovatief platform dat door de jaren heen is uitgegroeid tot een niet te missen evenement voor kunstliefhebbers in Antwerpen en daarbuiten, waarbij bezoekers kennismaken met nieuwe en spannende kunstenaars en galeries van over de hele wereld. Of je nu een kunstliefhebber of een kunstprofessional bent, Ballroom Project biedt een unieke kans om je onder te dompelen in de wereld van de hedendaagse kunst.

Voor zijn vijfde editie vindt Ballroom Project plaats in het voormalige Justitiepaleis van Borgerhout, dat een elegant, huiselijk en open karakter heeft, waardoor het de perfecte locatie is om een dialoog aan te gaan met de wonderen van de kunstwereld. Het project is een initiatief van de lokale spelers Base-Alpha Gallery en DMW Gallery, twee galeries met sterke banden met de Antwerpse kunstscene. Ballroom Project vindt plaats tijdens het Antwerp Art Weekend van 18 tot 21 mei 2023.

French (FR):

Ballroom Project est une plateforme créative et commerciale unique qui vise à réunir des galeries et des artistes du monde entier. En mettant en relation des galeries et des artistes nationaux et internationaux, le projet favorise un sentiment de communauté et de collaboration au sein du monde de l’art, ce qui garantit que chaque œuvre d’art est présentée sous le meilleur jour possible. Contrairement aux foires d’art traditionnelles, le projet fait appel à un conservateur talentueux pour créer un concept d’exposition à partir des propositions des galeries participantes. Les participants peuvent soumettre trois œuvres, quelle que soit la discipline artistique, soit du même artiste, soit de trois artistes différents.

Grâce au commissaire du Ballroom Project, l’exposition est adaptée à la dynamique spécifique de l’espace d’exposition, créant ainsi une expérience immersive et engageante pour les visiteurs d’une part, et offrant la possibilité de toucher un public plus large d’autre part. Ballroom Project est une plateforme passionnante et innovante qui est devenue, au fil des ans, un événement incontournable pour les amateurs d’art d’Anvers et d’ailleurs, en faisant découvrir aux visiteurs de nouveaux artistes et galeries passionnants du monde entier. Que vous soyez un amateur d’art ou un professionnel de l’art, Ballroom Project offre une occasion unique de vous immerger dans le monde de l’art contemporain.

Pour sa cinquième édition, Ballroom Project se déroulera dans l’ancien palais de justice de Borgerhout, qui présente un caractère élégant, accueillant et ouvert, ce qui en fait l’endroit idéal pour entamer un dialogue avec les merveilles du monde de l’art. Le projet est initié par les acteurs locaux Base-Alpha Gallery et DMW Gallery, deux galeries fortement liées à la scène artistique anversoise. Le Ballroom Project se déroulera pendant l’Antwerp Art Weekend, du 18 au 21 mai 2023.

English (EN):

Ballroom Project is a unique creative and commercial platform that aims to bring together galleries and artists from around the world. By connecting national and international galleries and artists with each other, the project fosters a sense of community and collaboration within the art world, which ensures that every artwork is presented in the best possible light. Unlike traditional art fairs, the project employs a talented curator to create an exhibition concept based on submissions from participating galleries. The participants can submit three works, regardless of the art discipline, either from the same artist or three different artists. 

Thanks to Ballroom Project’s curator, the exhibition is tailored to the specific dynamics of the exhibition space, creating an immersive and engaging experience for visitors on one hand, and adding to the opportunity to reach a wider audience on the other. Ballroom Project is an exciting and innovative platform that has, over the years, become a must-see event for art lovers in Antwerp and beyond, introducing visitors to new and exciting artists and galleries from across the globe. Whether you are an art lover or an art professional, Ballroom Project provides a unique opportunity to immerse yourself in the world of contemporary art.

For its fifth edition, Ballroom Project will take place in the former courthouse of Borgerhout, which has an elegant, homely and open character, making it the perfect location to enter into a dialogue with the wonders of the art world. The project is initiated by local players Base-Alpha Gallery and DMW Gallery, two galleries with strong ties to the Antwerp art scene. Ballroom Project will take place during the Antwerp Art Weekend from May 18 to 21, 2023.

Dutch (NL):

Van 8 april tot en met 29 april vindt de tentoonstelling B-SIDES AND RARITIES plaats bij FRED&FERRY. Voor deze tentoonstelling hebben we alle kunstenaars van de galerie uitgenodigd, inclusief alle gastkunstenaars waar we ooit mee hebben gewerkt of in de toekomst graag een keer zouden mee willen samenwerken. Het resultaat is een energieke, dynamische en inspirerende expo geworden met een hoeveelheid aan kleinere werken en speciallekes.

B-SIDES AND RARITIES was een project dat in 2009 door Lokaal 01 in Breda was geïnitieerd. Het was een project dat de intentie had om het publiek kennis te laten maken met de onuitgegeven, de ongerealiseerde en de onrealiseerbare werken van beeldende kunstenaars. Ze bood de gelegenheid om de andere grens te leren kennen, een beeld van dat wat men doorgaans niet ziet.

Wat mag je zoal verwachten: Ideeën, schetsen, ‘outtakes’, maquettes; de eerste , tweede en/of latere versies, de quasi B-kanten, rariteiten, flarden van bedenkingen, reenactments, onuitgegeven registraties, zeldzame en herwerkte edities, live-performances, radio-opnames, bijdragen aan theater of film, verzamelaarsstukken, werken die om de een of andere reden nooit tot uitvoering zijn gebracht, werken die nooit in een laatste voltooiingsfase zijn geraakt.

Opening op zaterdag 8 april van 13 tot en met 18 uur. De tentoonstelling is nog te zien tot en met 29 april. De galerie is open van donderdag tot zaterdag van 13 tot 18 uur en 7/7 op afspraak.

English (EN):

From 8 April to 29 April, the exhibition B-SIDES AND RARITIES will take place at FRED&FERRY. For this exhibition, we invited all the artists at the gallery, including all the guest artists we have ever worked with or would like to collaborate with in the future. The result has become an energetic, dynamic and inspiring expo with a quantity of smaller works and ‘speciallekes'.

B-SIDES AND RARITIES was a project initiated by Lokaal 01 in 2009. It was a project that intended to introduce the public to the unpublished, the unrealised and the unrealisable works of visual artists. It offered an opportunity to get to know the other border, an image of that which one does not usually see.

What to expect: Ideas, sketches, 'outtakes', maquettes; the first , second and/or later versions, the quasi B-sides, curiosities, snippets of reflections, reenactments, unpublished recordings, rare and reworked editions, live performances, radio recordings, contributions to theatre or film, collectors' pieces, works that for one reason or another were never brought to fruition, works that never reached a final stage of completion.

Opening on Saturday 8 April from 1pm to 6pm. The exhibition will remain on view until 29 April. The gallery is open Thursday to Saturday from 1pm to 6pm and 7/7 by appointment.

https://www.elslesage.be/playtime/:

PLAYTIME | PUBLICATIE BIJ QUARTET

Voor QUARTET bracht Alice Vanderschoot zestien kunstenaars samen in de Poortersloge. Geïnspireerd door de geschiedenis van de exporuimte, ooit het stadsarchief, maakte Els Lesage de editie PLAYTIME. Ze ging in dialoog met de deelnemende kunstenaars en legde de sporen van hun artistiek proces vast in een speelse publicatie.

Risoprint editie van 64 exemplaren + 16 artist proofs.

Medium blue, bright red & green op Biotop papier.

Genummerd en gesigneerd, 16€ per exemplaar.

Interesse? De publicatie wordt voorgesteld tijdens een nocturne op vrijdag 14 oktober 2022 om 20.00 uur. Je kan een exemplaar verkrijgen tijdens de nocturne of via els@elslesage.be (+ 4€ verzendkosten).

PLAYTIME | PUBLICATION FOR QUARTET

For QUARTET, Alice Vanderschoot brought sixteen artists together in the Poortersloge. Inspired by the history of the exhibition space, once the city archive, Els Lesage made the edition PLAYTIME. She went into a dialogue with the participating artists and recorded the traces of their artistic process in a playful publication.

Risoprint edition of 64 copies + 16 artist proofs.

Medium blue, bright red & green on Biotop paper.

Numbered and signed, 16€ per copy.

Interested? The publication will be presented during a nocturne on Friday 14 October 2022 at 20:00. You can get a copy during the nocturne or via els@elslesage.be (+ 4€ shipping costs).

Dutch (NL):

Voor het eerst mag de huiskunstenaar ook de rol van curator opnemen. Alice en zeven andere residenten uit De Tank, de atelierwerking van Het Entrepot, gaan in dialoog met acht jonge kunstenaars die geen link hebben met Brugge.

Zestien kunstenaars spelen "Quartet" in de acht exporuimtes van de Poortersloge: Ester Cornelis, Gilles Dedecker, Hans Demeulenaere, Tramaine de Senna, Kasper De Vos, Eva Dinneweth, Peter Lagast, Els Lesage, William Ludwig Lutgens, Natasja Mabesoone, Hilde Overbergh, Juan Pablo Plazas, Ellen Pil, Thomas Renwart, Alice Vanderschoot, en Leen Vandorpe.

QUARTET verwijst spelenderwijs naar het kaartspel, waarvan het doel erin bestaat om een set van telkens vier kaarten te verzamelen. Tegelijkertijd is een kwartet een stuk muziek die voor muzikanten geschreven wordt.

Tijdens QUARTET dialogeren de kunstenaars over poëtische humor, kleur, populaire beeldcultuur en representaties van (dis)functionele architectuur.

PRAKTISCH

Exporuimte Poortersloge, Kraanrei 19, 8000 Brugge

Gratis toegang van donderdag tot en met zondag van 14.00 tot 17.00

Gesloten op 1 november 2022.

Organisatie & Info: Cultuurcentrum Brugge

+32 (0) 50 44 30 60 | cultuurcentrum@brugge.be | www.ccbrugge.be

English (EN):

For the first time, the in-house artist is also allowed to take on the role of curator. Alice and seven other residents from De Tank, the studio work of Het Entrepot, enter into a dialogue with eight young artists who have no link with Bruges.

Sixteen artists play "Quartet" in the eight exhibition spaces of the Porter's Lodge: Ester Cornelis, Gilles Dedecker, Hans Demeulenaere, Tramaine de Senna, Kasper De Vos, Eva Dinneweth, Peter Lagast, Els Lesage, William Ludwig Lutgens, Natasja Mabesoone, Hilde Overbergh, Juan Pablo Plazas, Ellen Pil, Thomas Renwart, Alice Vanderschoot, and Leen Vandorpe.

QUARTET playfully refers to the card game, the aim of which is to collect a set of four cards at a time. At the same time, a quartet is a piece of music written for musicians.

During QUARTET, the artists dialogue about poetic humour, colour, popular visual culture and representations of (dys)functional architecture.

PRACTICAL

Expo space Poortersloge, Kraanrei 19, 8000 Brugge

Free entry from Thursday to Sunday from 2 p.m. to 5 p.m

Closed on November 1, 2022.

Organization & Info: Culture Centrum Brugge

+32 (0) 50 44 30 60 | cultuurcentrum@brugge.be | www.ccbrugge.be

Dutch (NL):

Een stevige duw in de rug, een groot vertrouwen, een pak zelfvertrouwen en de unieke gelegenheid om te exposeren: die dingen kunnen het verschil maken. Tongenaar Maxim Renard kan uit ervaring hierover meespreken.

Als masterstudent Vrije Kunsten aan PXL-MAD School of Arts overtuigde hij in 2019, op uitnodiging van MoMeNT, docenten en medestudenten samen exposeren.

Ook in 2022 neemt Maxim Renard het curatorschap op zich. Deelnemende kunstenaars: Rachel Daniëls, Lisse Declercq, Hyun De Kempe, Manu Engelen, Gommaar Gilliams, Serge Haelterman, Joke Hansen, Tom Herck, Steven Antonio Manes, Ellen Meers, Aaron-Victor Peeters, Karl Philips, Niels Vaes en Koen van den Broek. Uiteraard ook Maxim Renard zelf.

Vernissage op 29 juli om 19u met openingsspeeches door Adinda van Geystelen, artistiek directeur van Z33 en An Christiaens, schepen van cultuur.

Openingsuren:

zaterdag en zondag: 10u -18u

Plaats:

Julianuscomplex via Julianus, 3700 Tongeren

French (FR):

Un coup de pouce ferme, beaucoup de confiance et l'occasion unique d'exposer : ces éléments peuvent faire toute la différence et le tongrois Maxim Renard en sait quelque chose.

Étudiant en master à l'école Pxl-Mad School of Arts, il a convaincu professeurs et camarades d'exposer ensemble en 2019, à l'invitation de MoMeNT. L'initiative n'est pas passée inaperçue et des invitations ont suivi.

En 2022, Maxim Renard assumera également le rôle de conservateur. Avec les noms proposés, l'intérêt est assuré :  Rachel Daniëls, Lisse Declercq, Hyun De Kempe, Manu Engelen, Gommaar Gilliams, Serge Haelterman, Joke Hansen, Tom Herck, Steven Antonio Manes, Ellen Meers, Aaron-Victor Peeters, Karl Philips, Niels Vaes, Koen van den Broek et Maxim Renard.

 Horaire:

samedi et dimanche: 10h -18h

Emplacement:

Julianuscomplex via Julianus, 3700 Tongeren

English (EN):

A firm push in the back, a great deal of confidence, a lot of self-confidence and the unique opportunity to exhibit: these things can make the difference. Tongenaar Maxim Renard can speak from experience about this.

As a master's student of Free Arts at PXL-MAD School of Arts, he convinced teachers and fellow students to exhibit together in 2019, at the invitation of MoMeNT.

Maxim Renard will also take up the curatorship in 2022. Participating artists: Rachel Daniëls, Lisse Declercq, Hyun De Kempe, Manu Engelen, Gommaar Gilliams, Serge Haelterman, Joke Hansen, Tom Herck, Steven Antonio Manes, Ellen Meers, Aaron-Victor Peeters, Karl Philips, Niels Vaes and Koen van den Broek . Of course also Maxim Renard himself.

Vernissage on 29 July at 7 pm with opening speeches by Adinda van Geystelen, artistic director of Z33 and An Christiaens, aldermen for culture.

Opening hours:

Saturday and Sunday: 10 a.m. -6 p.m.

Location:

Julianuscomplex via Julianus, 3700 Tongeren

ARTISTS:

Rachel Daniëls, Lisse Declercq, Hyun De Kempe, Manu Engelen, Gommaar Gilliams, Serge Haelterman, Joke Hansen, Tom Herck, Steven Antonio Manes, Ellen Meers, Aaron-Victor Peeters, Karl Philips, Niels Vaes, Koen van den Broek, and Maxim Renard.

curator: Maxim Renard

"Tramaine de Senna in Claessens Canvas." COLLECT België, March 2022. p. 18. Print.

Press Release:

Everyday Gallery’s new exhibition Potluck is about a celebration of the past, present and the future. Potluck resulted from an open invitation to the creators who over the past few years have shaped this gallery to take part in a show that was to be a celebration. A social activity which we hope would allow us to search for the limits of the art market and the financial entrapments that and shape it. Potluck is on view until 8 January 2022. 

The principle of a potluck is simple: you organize a dinner for friends and everybody brings a dish. This can be whatever they can miss. It might be a main dish, or just an aside. It’s all good. It’s about sharing, not about the ultimate result. 

Potluck is about a close-knit group of artist-friends to participate in a communal undertaking: sharing and gifting of unfinished pieces, untold stories, or unsold works.

The combination of these works will be Everyday Gallery’s potluck. Incl. works by Daan Gielis, Deborah Bowmann, Jacopo Pagin, Marria Pratts, Serban Ionescu, Bram Vanderbeke, Kristof Santy, Tom Volkaert, touche—touche, Stef Van Looveren, Thom Trojanowski … With scenography by Athos Burez.

Collectively and individually, the artists connected to Everyday Gallery have worked on issues such as sustainability, systemic contradiction, revaluation of wasted resources, respecting and communicating with ecological systems. In Potluck we share some of these works. And in doing so, allowing visitors to buy these works, we can gift the revenue to organizations that strive for systemic change and social justice in a very direct and practical way. For this reason, 30% of the revenue of this how will be donated to an NGO that works to better our world.

Overview:

This show resulted from an invitation; an invitation to the creators who over the past few years have shaped this gallery; an open invitation to take part in a show that was to be a celebration of some sort; a social activity, which, we hoped, would allow us to search for the limits of the art market and the financial entrapments that shape it.

Gift economies have always existed. They are not new. On the contrary, they are older than any other economic system. They have continued to exist alongside the capitalist economy that emerged in Europe between the 13th and 16th century and they continue to exist today. They are fundamental to everything we do. All of us participate in an invisible gift economy every day. We lend a bike to one of our friends. We invite someone over for dinner. We engage in a conversation and during that conversation our ideas converge and collaboratively we create new ideas. None of these exchanges can be calculated precisely - let alone capitalized upon. These are, one might say, gift economies.

One such typical example of a gift economy is the potluck. The origins of the term are not exactly known - some say it was derived from pot and luck, other scholars argue that it is a rephrasing of the potlatch gift exchange tradition that is found among indigenous groups from the Northern Americas - but the principle is easy: you organize a meal for friends and everybody brings along a dish. This can be whatever they can miss. It might be a main dish, or just an aside. It’s all good. It’s about sharing, not about the ultimate result.

For Potluck we invited artist-friends to participate in a communal undertaking: sharing and gifting of unfinished pieces, untold stories, or unsold works. We wrote to them: “Bring what you have and share what you can miss. And maybe, if we can, we might begin to express the outlines of a different world, in which sharing rather than deprivation are central.” The combination of these unfinished pieces or untold stories will be our potluck.

We are, of course, a private gallery. And in that sense, like many institutions in the art world, we are intertwined with the art market, its commodification of aesthetic experiences and its complicitous relationship with an economic system that calculates, capitalizes and, in doing so, also brings systematic injustice and ecological destruction. But Everyday Gallery is also, and foremost, a close-knit community: artists, writers, curators - misfits running around in the cogwheels of capitalism, trying to gift aesthetic experiences to the world. From the start we have aspired to be more than just another node in the web of the art market; we have always aspired to do more than to capitalize on the production of aesthetic experiences. We wanted to be a community. You (including you visitors) are our friends and as such we escape the constraints of a capitalist economy. We pass over into a gift economy.

The aesthetic work that we have collectively developed, is deeply and actively concerned with expressing change, or with asking what systemic change might be. Collectively and individually, the artists connected to Everyday Gallery have worked on issues such as sustainability, systemic contradiction, revaluation of wasted resources, respecting and communicating with ecological systems. In Potluck we share some of these works. And in doing so, allowing visitors to buy these works, we can gift the revenue to organizations that strive for systemic change and social justice in a very direct and practical way. For this reason, 30% of the revenue of this show will be donated to an NGO that works to better our world.

Text by Bram Ieven

NL to EN:

Lisse Declercq and Tramaine de Senna are clearly also film buffs judging by what they can do for house Bernaerts. The entrance and first floor of the auction house, housed in the former interbellum cinema Cinema Tokio, are taken over for their duo show First Date - effectively the first collaboration between the two artists. They play with aesthetics of dinner and movies, the fantasy magoria of the dream manufacturer Hollywood in a duo between reality and fantasy. Personal stories are presented in a flashy form language that hints at popular culture and cinema. For example, Declercq's ​​very sweet paintings evoke the past idle calling language of advertising and cosmetics, while de Senna translates through cultural-historical research into work that takes on the most diverse forms.

I am pleased to announce my participation as one of the shortlisted artists in the genre of sculpture for the "Grote Prijs Ernest Albert" which will be held at De Garage - Room for Contemporary Art. This exhibition and biennial art prize is organized by the city council of Mechelen.

The opening of the exhibition, announcement and presentation of the prize will take place on Saturday, March 20th, 2021 at 11am in De Garage, Room for Contemporary Art, Onder den Toren 12, 2800 Mechelen.

In memory of Mrs. Marcelle Breugelmans, widow of Mr. Ernest Albert and the donor of this art prize, reference is made to the donor's preference for the figurative form of the art discipline practiced.

Shortlisted artists (listed alphabetically):

Willem Boel, Tramaine de Senna, Yannick Ganseman, Maika Garnica, Frederic Geurts, Daan Gielis, Athar Jaber, Mehdi-Georges Lahlou, Warre Mulder, Nadia Naveau, Karl Philips, Marius Ritiu, Caroline Van den Eynden, Emmanuel Van Der Auwera, Katleen Vinck.

Vernissage: 

Saturday, 20 March 2021 @ 13h/ 1:00pm:

the exhibition is open to the general public; you will have to reserve a slot via the ticket system (info will follow as it becomes available).

Exhibition dates:

20 March (Saturday) - 25 May (Tuesday),2021

Opening times:

Monday - Sunday, from 1pm - 6pm

(closed Wednesdays)

Shortlist: Grote Prijs Ernest Albert

De Garage - Room for Contemporary Art

Onder den Toren 12

2800 Mechelen, Belgium

Facebook page: Ernest Albert

The November 2020 issue of HART (Nr. 208) features a full-page ad by the Middelheimmuseum of my bronze "Figure of Color" statue currently on view, 24hrs a day, in the Antwerpse Stadspark (Quinten Matsijslei and Lange Kievitstraat entrance, near the skate park and children's playground).

Have a look!

Everyday Gallery presents "LIMBO", a group show.

Everyday Gallery

18 Jos Smolderenstraat

2000 Antwerp, Belgium

Opening: 

Saturday, 05 September, from 2 - 7pm/ 14 - 19hr.

Exhibition duration: 

05 September (Saturday) - 04 October (Sunday) 2020.

info@everydaygallery.art 

+32 (0) 495 15 43 65

Gallery hours: 

Wednesday to Saturday from 2pm to 6pm and by appointment

Facebook

Instagram

NL:

Kunstenaar Tramaine de Senna vertelt over haar nieuwe werk “Figure of Color”, en geeft toelichting bij zowel het technische proces als haar persoonlijke ideeën over publieke representatie. “Figure of Color” is het eerste werk gemaakt als onderdeel van de jaarlijkse opdrachtenreeks Publiek Figuur en is tot 18 april 2021 te zien in het Stadspark van Antwerpen. 

Videografie door Noud Wijnants. Locaties: Art Casting en het atelier van de kunstenaar. 

EN:

Artist Tramaine de Senna talks about her new work “Figure of Color”, offering some insights in both the technical process and her personal thoughts on public representation. “Figure of Color” is the first work made in the yearly series of new commissions titled Public Figure and is on view in the Antwerp Stadspark until 18 April 2021. 

Video shot by Noud Wijnants. Venues: Art Casting and the artist’s studio.

------ 

"Publiek Figuur #1: Tramaine de Senna." Youtube, uploaded by Middelheimmuseum, 14 July 2020, https://www.youtube.com/watch?v=4d1VPICOC6g&feature=emb_logo.

Starting Friday, July 3rd, 2020, and durating until Sunday, April 18th, 2021, I am pleased to announce the Middelheimmusem's commission of "Figure of Color," my first bronze statue and the first of a new series of "Publiek Figuur" temporary commissions by Kunst in de Stad, initiated and curated by Samuel Saelemakers, Curator Collectie Kunst in de Stad (Public Art Collection) - Middelheimmuseum, Antwerp.

This statue will reside for one year in Antwerp's Stadspark, alongside other monuments of "poets and painters, monarchs and military men." If you are in town, please visit.

Practical Information:

Tramaine de Senna – Figure of Color is on view day and night from 3 July 2020 to 18 April 2021.

Address: 

Stadspark, 2000 Antwerp. 

The PUBLIC FIGURE plinth is situated near the playground and the side entrance of the park on Quinten Matsijslei.

Posters displayed in Antwerp for the re-opening of M HKA featuring artworks by Tramaine de Senna (left) and Els Dietvorst (right); photos courtesy of M HKA; poster design: Christoph Clarijs

Musician Romeo Blanco, through Hyped Events, deejayed a one-hour set of music within my MASTERBLASTER exhibition at the Museum van Hedendaagse Kunst Antwerp during the COVID-19 quarantine. Have a look and listen for a textural and scale-wise glimpse into this solo exhibition.

Here's a video interview in relation to my current solo exhibition, MASTERBLASTER which durates until August 23rd, 2020 at het Museum van Hedendaagse Kunst Antwerpen/ the Museum of Contemporary Art Antwerp. Thank you M HKA communication department (Madiken Verboven and Oliver Vereycken).

IN SITU: Tramaine de Senna

MASTERBLASTER

06.02, 20:00

OPENING 

The Flemish Minister of Culture, the Chairman and members of the Board of Directors, and the M HKA team have the honour of inviting you to the opening of MASTERBLASTER, an exhibition by Tramaine de Senna.

For her solo exhibition at M HKA, titled MASTERBLASTER, de Senna presents a series of new works alongside a key selection of existing sculptures. Together, this constellation of works form a broader investigation of transitionary aesthetics and selfhood. The forms that comprise de Senna’s works can be seen as acts of resistance to the contemporary demands for foregrounding one’s biography or one’s relations to established constituencies of identity, in favour of something much more ambiguous. Under the saccharin hues and textures, lye things more unresolved, mutable and non-representational. In this exhibition, these works requires us to reconcile our desires with the enigmatic nature of de Senna’s works.

PROGRAMME

20:00 | The museum opens its doors to the public

20:30 | Official opening 

21:00 | Reception

MORE INFO

We're also celebrating the opening of five other exhibitions taking place at that moment: 

Els Dietvorst - *Dooltocht I A desperate quest to find a base for hope

Alice Creischer − The Greatest Happiness Principle Party

Mermaid Honeymoon – A curatorial reflection on Allan Sekula’s 'Ship of Fools / The Dockers’ Museum' (2010–2013)

Hugo Roelandt & de jaren ’90 - Light Sensitive

INBOX: The Chinese with the golden claws

VISIT

PROGRAMME

© M HKA · Museum van Hedendaagse Kunst Antwerpen

Leuvenstraat 32, 2000 Antwerpen · M info@muhka.be · T +32 (0)3 260 99 99

Installation of my new artwork, "Chicken Frying, Fire Breathing, Son-of-a-Gun."

Photo: Madiken Verboven for the M HKA

MASTERBLASTER

Tramaine de Senna

January 18 - April 26, 2020 extended until 23 August 2020

OPENING NIGHT

Thursday, February 6th, 2020

20:00 / 08:00 pm

M HKA

Museum van Hedendaagse Kunst Antwerpen/ Museum of Contemporary Art

Leuvenstraat 32

2000 Antwerpen

Belgium

Tramaine de Senna’s work bears witness to the artist’s intense relationship with materials, but also to the “migration of forms” between different popular or material cultures, excess, and also the symbolic violence and ‘hauntology’ of histories, both trans-cultural and personal. Working primarily with sculpture, de Senna’s works float aesthetically between exuberance and repulsion. In appropriating different forms, surface qualities and palettes, these works adopt a position of reflection towards society’s ability to produce prosaic pop culture in conjunction with its cannibalism of symbols and human subjectivities.

For her solo exhibition at M HKA, titled MASTERBLASTER, de Senna presents a series of new works alongside a key selection of existing sculptures. Together, this constellation of works form a broader investigation of transitionary aesthetics and selfhood. The forms that comprise de Senna’s works can be seen as acts of resistance to the contemporary demands for foregrounding one’s biography or one’s relations to established constituencies of identity, in favour of something much more ambiguous. Under the saccharin hues and textures, lye things more unresolved, mutable and non-representational. In this exhibition, these works requires us to reconcile our desires with the enigmatic nature of de Senna’s works.

Tramaine de Senna is an artist from California who lives presently in Antwerp. In 2015, de Senna became a laureate of the HISK (Hoger Instituut voor Schone Kunsten) in Ghent. In 2013, she earned an MFA from the Sint Joost Academy in Breda and ‘s-Hertogenbosch (NL); and in 2004, graduated with two simultaneous BA degrees in Architecture and in Art from the University of California at Berkeley. Recent solo exhibitions include: Tramaine de Senna, Mélange, Cologne (2019); Supernatural, Pulsar, Antwerp (2019); and Tramaine de Senna, Art Centre Hugo Voeten, Herentals, BE (2015). Duo and group exhibitions include: New Movement, Boston, USA (2019); Universal Folklore – Farah Atassi & Tramaine de Senna, Permekemuseum, Jabbeke (2018); CO/LAB 4, Torrance Art Museum, California, US (2019); and Traumdepot: Plastik/Kunstoff, Bern, (2017); two commissioned poster works are currently on view at Witte de With, Rotterdam (2019).

The IN SITU programme offers medium-scale monographic exhibitions by significant early- and mid-career artists from around the world. It focuses on the commissioning of new artworks and experimental practices in what is M HKA’s largest and most atypical exhibition space. The IN SITU programme is led by Nav Haq, Associate Director at M HKA.

Photo by Laure Cottin Stefanelli

M HKA

Leuvenstraat 32

2000 Antwerpen

Belgium

Monday: Closed

Tuesday: 11am–6pm

Wednesday: 11am–6pm

Thursday: 11am–9pm

Friday: 11am–6pm

Saturday: 11am–6pm

Sunday: 11am–6pm

Join me and many others at the Witte de With Center for Contemporary Art on Friday, November 29th, 2019, from 6 - 7:30pm for an informal talk with the Witte de With Research and Programs Manager, Vivian Ziherl, and five of the artists in An Exhibition of Posters: Kévin Bray, Chloë Delanghe, Vera Gulikers, Kevin Osepa, and Tramaine de Senna.

This talk is presented in the context of An Exhibition of Posters, curated by Samuel Saelemakers, with works by Maja Bekan, Kévin Bray, Chloë Delanghe, Baldvin Einarsson, Priscila Fernandes, Vera Gulikers, An Onghena, Kevin Osepa, Josie Perry, Rory Pilgrim, Tramaine de Senna, and Edward Clydesdale Thomson.

Witte de With Center for Contemporary Art

Witte de Withstraat 50

3012 BR Rotterdam, the Netherlands

Telephone: +31 (0) 10 411 0144

Monday: closed

Tuesday:11am–6pm

Wednesday: 11am–6pm

Thursday: 11am–6pm

Friday: 11am–9pm

Saturday: 11am–6pm

Sunday: 11am–6pm

On Thursday, November 7th, at 7:00 o'clock pm, I am pleased to announce my first solo exhibition "Snakes in Paradise" in Germany at Mélange in Köln. Many thanks to curators Patrick Haas and Jonas Schenk.

The exhibition runs from November 7, 2019 until January 5th, 2020.

MÉLANGE

Sudermanstrasse 2 

50670 Köln (DE)

Viewing by appointment

www.megamelange.com

Schirn Magazine has featured a review of the duo exhibition which Nicolás Lamas and I are exhibiting artworks in during München's “Various Others.” Many thanks to curators Patrick Haas and Jonas Schenk of Köln's Mélange, as well asLoggia, the space which we are exhibiting, and Romanian gallery, Sabot, which represents Nicolás Lamas.

The exhibition runs from September 13th - October 13, 2019.

https://www.schirn.de/magazin/schirn_tipps/2019/schirn_tipp_various_others_muenchen_ausstellung/

Frieze Magazine has featured a review of the duo exhibition which Nicolás Lamas and I are exhibiting artworks in during München's “Various Others.” Many thanks to curators Patrick Haas and Jonas Schenk of Köln's Mélange, as well as Loggia, the space which we are exhibiting, and Romanian gallery, Sabot, which represents Nicolás Lamas.

The exhibition runs from September 13th - October 13, 2019.

https://frieze.com/article/highlights-various-others-munichs-gallery-share-initiative

HART's September 2019/issue #195 is featuring a 4-page spread about my art practice. 

This article was initiated on behalf of curator Samuel Saelemakers of the Middelheim Museum in Antwerp (BE). 

A text and selection of key images from my archive are published as a view into my art practice.

https://hart-magazine.be/artikels/de-nieuwe-lichting-tramaine-de-senna

On Friday, September 13th, 2019, from 6-9:00 o'clock pm, I am pleased to announce my duo person exhibition with Nicolás Lamas in which a selection of my artworks will be exhibited at Loggia in München's Maxvorstadt university district, home to both small galleries and major cultural sights such as the three Pinakothek art museums. 

This exhibition, curated by Patrick Haas and Jonas Schenk of Köln's Mélange, is part of “Various Others,” a forum with a mission to “intensify exchange and dialogue between the art scene in München and international partners, guests and media.”

< LINK TO VARIOUS OTHERS MÜNCHEN 2019 >

< LINK TO MÉLANGE KÖLN >

If you happen to be in Boston, Massachusetts (US) on Friday, June 7, 2019, please stop by The Cost Annex to see my most recent works within the "New Movement" exhibition, curated by Helen Singh-Miller.

Image: Wendy Jacob, Three Minutes (red), 1993, internal mechanism

The Cost Annex is pleased to present, for one night only, a group exhibition curated by Helen Singh-Miller.

NEW MOVEMENT

Movement catches the eye, but it is not easy to see. Can we spot the impetus to motion? Can we tell the stillness of a completed action from the stillness before it began? How does the perception of movement change as we move? The artists in this show animate the connection between rhythm and syntax, basic steps and speech. A language, a family, each city street is revealed to “contain multitudes,” as Walt Whitman sings about the self. “As if you tied a knot on a timeline so that the past and future switch places and cover the current moment in more curves" (Oliver Strand). Or, as William James describes the present, like "a canoe or a saddle," something you can move back and forth inside of; it has a definite duration, is not infinitely divisible like a geometric point. Cherished gestures from pop and conceptual art, postmodern dance and *the movies* are rethought and remade. Part of a wider commitment to the relevance of physical experience, this exhibition explores what human movement looks like now. The results are unlikely and affecting. Featuring the work of Julie Carr, Carmine Grimaldi, Deniz Tortum, Wendy Jacob, Will Johnson, Helen Mirra, Robert Moeller, Joseph Pomp, Nathan Liow, Tramaine de Senna, and Helen Singh-Miller. Exhibition essay by Argyro Nicolaou.

The Cost Annex

59 Wareham Street, 5th floor

Boston, Massachusetts 02118 (US)

Friday, June 7, 2019, from 6 - 9:00pm / 18 - 21uur

Special thanks: D. Graham Burnett, Marc Levy, Robert Moeller, Argyro Nicolaou, Haleigh Roy, Andrew Ryder, Jay Scheib and the Cost Foundation.

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