House Rules, Koenraad Dedobbeleer at Woning Van Wassenhove. Join us for a special performance by the artist taking place and responding to Juliaan Lampens' Brutalist landmark. For four weekends, starting May 23rd. Book your slot. Link in bio. @museum_dhondt_dhaenens@goedelebartholomeeusen
“Dusty Die,” Alicja Kwade’s (@alicjakwade ) solo exhibition at M Leuven, gathers a selection of works encapsulating the different stages of her sculptural and conceptual practice from the late 2000s to the present day. Ory Dessau (@dessauory ) looks into how she has accumulated (and maintained) a growing stock of perspectives, contexts, and discourses, moving the viewer through and between cosmological schemes, scientific models, perceptual and epistemological challenges, and systems of evaluation.
Tap the link in bio to read the review.
📢 STILL ON VIEW! 📢
We are happy to announce that the exhibition “Luc Tuymans – Basilica di San Giorgio Maggiore” HAS BEEN EXTENDED!
This new commission for the main altar of the Palladian Basilica will remain on view until February 22, 2026! 🗓️
Don’t miss the chance to see the two new works created by #LucTuymans, which have temporarily replaced the large presbytery canvases by Jacopo Tintoretto, currently undergoing restoration inside our Sacristy.
The exhibition is curated by Carmelo A. Grasso, Director and Institutional Curator of Abbazia di San Giorgio Maggiore – Benedicti Claustra Onlus, Dr. Corinna Otto, Director of Draiflessen Collection, and independent curator Ory Dessau.
📍 Basilica di San Giorgio Maggiore, Island of San Giorgio Maggiore 2 – 30124, Venice
* Open every day except Mondays
* 10:00 AM – 6:00 PM
Free admission.
#AbbaziaSanGiorgioMaggiore
#BenedictiClaustraOnlus
#LucTuymans
Currently on view at @mudamlux , ”Phantasmatic Screens” by Hong Kong–born, New York–based artist Tiffany Sia (@t1ffany4scal3 ) presents two video works installed sculpturally: “The Sojourn” (2023) and “Antipodes III” (2024). In his review, Ory Dessau (@dessauory ) reflects on how Sia’s imagery is characterized by a sense of elusiveness, detachment, ambiguity, and emptiness.
Tap the link in bio to read the review.
A detail from Quadrum (2005/06) by Robert Grosvenor, charismatically recalling E.T.'s silhouette. The work is part of Grosvenor's survey exhibition at @fridericianum opening tonight. Not to be missed @moritz_wesseler@lumvn
Deeply moved and extremely touched to be part of this project, Luc Tuymans at the Basilica of San Giorgio Maggiore!
On the right wall of the presbytery is the painting Heat (2025), which consists of a configuration of radiant heaters at full blast. The fact that the painting is titled Heat (and not Heaters) amounts to an event of synesthesia, where stimulation of one sense is experienced as stimulation in another sense. Tuymans’ Heat is a synesthesia in which a visual-optical sensation induces a sensation of physical touch, exuding color and light as sources of heat and warmth. It posits painting beyond the field of sight, staging it as a somatic event. The interchangeability of sensorial stimulations offered by the painting acquires an additional symbolic significance with respect to its appearance in the environment of a consecrated church.
On the left wall of the presbytery (from the point of view of the congregation) hangs the painting Musicians (2025), based on a photograph Tuymans took at a hotel bar in Busan, South Korea, using his iPhone. Taken from a side angle, the photo shows the reflection of two musicians on a marbled wall. Painted in shades of greenish-blue with the veins of the marble running through them, the figures appear constructed, distortedly composite. The result can be described as anamorphic, meaning that when seen from a usual point of view, they look deformed, requiring to be viewed from a particular angle or reflected once again in a curved mirror to emerge “normal”—whatever that might mean. When defined as anamorphic, Musicians presupposes a prospective scenario, a potential future in which it will obtain its normal appearance. As such, the painting unfolds in space as a code, a cipher. In the context of the painting’s presentation to the left of the main altar of the Basilica di San Giorgio Maggiore, taking the place of Jacopo Tintoretto’s painting The People of Israel in the Desert (1592–1594), this aspect is amplified. It underscores a redemptive framework, intimating a resolution that is yet to come.
@studioluctuymans@carmeloantoninograsso@abbaziasangiorgiomaggiore@draiflessencollection
« Out of this World » at The Museum Dhondt-Dhaenens (near Ghent) includes a comprehensive exhibition of works by German artist Blinky Palermo (1943–1977), a sculptural installation by American artist Robert Grosvenor (°1937), and an intervention by Belgian artist Luc Tuymans (°1958).
The work of Palermo is not photogenic as his painting deals with subtle associations mixing color, materiality and scale but believe me, the sharp show set up by Ory Dessau @dessauory looks gorgeous.
« Treppenhaus (after Blinky Palermo) »
1970/2024 (photo 3) has been recreated by Italian artist Paolo Chiasera @paolo_chiasera@martinasimeti
Until 6 April 2025
https://museumdd.be/en/
@cattmonnors@cecile_bart@nathaliedupasquier@nicolas_chardon@rasmusnilausen@moritz_wesseler
#blinkypalermo #abstractart #abstractpainting #monochrome #orydessau #museumdhondtdhaenens #triangle #kabinettfueraktuellekunst #kabinettfüraktuellekunst
