Ellen de Bruijne PROJECTS

Ellen de Bruijne PROJECTS is delighted to present a new limited edition print by Jeremiah Day: “the people” (Pelham Town Hall, Oldest In Continuous Use For Town Meeting), 2026 Type C Print With Acrylic Paint & Ink 35.5 x 50.5 cm Edition of 15, each unique Price: €560,- (ex. VAT) Enquire via mail, website, or DM. Proceeds of sales will support a series of performances and public events by the artist across the United States, where Day will reflect on US revolutionary and imperialist political history and articulate gathering spaces to respond to the current Trump administration. The print image comes from the 2016 slide-show performance the chair remains empty / but the place is set, which bridged the spontaneous assemblies of post-Gezi Istanbul to the New England town hall meetings which inspired historian and philosopher Hannah Arendt—a recurrent inspiration in Day’s work. The image depicts the town meeting hall of Pelham, Massachusetts, a room which has been continuously holding self-governing assemblies since 1743, longer than any other place in the US. The first events will take place at the Emily Harvey Foundation in New York City on May 1st and 2nd. Day will offer two programs with different approaches to embodiment, imagination and the meaning of gathering in assembly. The point of departure of Day’s performance on May 1st is a vision of assembly itself and its potential, best explored by Hannah Arendt and what she called the “nameless treasure” of council democracy. On May 2nd, Day will present Without The Consent Of The People, a new book by the late Fred Dewey, a long-time friend and collaborator of the artist. Co-edited by Day, this book contains Dewey’s critique of the US as a “proto-totalitarian state” and affirmative strategies and arguments for how it can be counteracted by gathering. Day is returning to the Emily Harvey Foundation for the first time since 2018, following ten years of collaboration between Fred Dewey, Simone Forti and himself which manifested in presentations at the Emily Harvey Foundation, the ICA in London, and The Box in Los Angeles. #jeremiahday #edbprojects

Opening next week 🚨 𝓐𝓻𝓮 𝔂𝓸𝓾 𝓵𝓸𝓸𝓴𝓲𝓷𝓰 𝓯𝓸𝓻 𝓟𝓤$$𝓨𝓫𝓲𝓵𝓲𝓽𝓲𝓮𝓼? We are delighted to present a new solo exhibition by Anne-Lise Coste. In this second iteration of Pussybilities, Anne-Lise Coste transforms the gallery space into a field of experimentation. The project first unfolded in the architecture of a castle turned Contemporary Art Museum of Haute-Vienne and now reappears in Ellen de Bruijne PROJECTS in a new configuration. This movement from one site to another mirrors the logic of the work itself. Nothing is fixed. Images travel. Objects shift position. Meanings are constantly recomposed. In Anne-Lise Coste’s world, the exhibition space becomes something close to a dance floor for images. Bodies appear, disappear, fragment and recombine. And somewhere between fabric, paper and neon, new pussybilities begin to take shape. Text by Anouchka Mbia. Join us on Saturday 18 April for the opening, in the presence of the artist. More information on our website, link in bio. #annelisecoste #edbprojects #artopening #artamsterdam

In ‘Pussybilities, Dance Club #2’, bodies themselves rarely appear as complete figures. They are cut, cropped, pasted and recomposed. In collages and photographic assemblages, limbs, postures and expressions detach from their original context and reassemble in new constellations. This strategy directly recalls the visual language of Dada photomontage and later feminist collage practices of the 1970s and 1980s. The body is not a stable image but a field of possibilities. It can be multiplied, fragmented and reimagined. Anne-Lise Coste, Jambes (Chèvaliere), 2025 Plastic and plexiglass 102 x 72 cm Text by Anounchka Mbia Until May 23. #annelisecoste #edbprojects #amsterdamart

We are open today with ‘Pussybilities, Dance Club #2”, a solo exhibition by Anne-Lise Coste. Run away, turn away 2023–2024 Clothing and mixed objects 300 x 300 cm More information on our website, link in bio. #annelisecoste #edbprojects #amsterdamart

In Pussybilities, Dance Club #2, the relationship between body and clothing is quietly inverted. Normally clothing covers or carries the body. In Anne-Lise Coste’s installation the opposite begins to happen. Garments become surfaces that carry bodies as images. Printed faces, silhouettes and photographic fragments migrate onto fabric. Clothing becomes a support, almost a skin that stores gestures, attitudes and identities. The décor of the exhibition is built out of these traces. Anne-Lise Coste Free Spirits, 2025 Installation with printed t-shirts Variable dimensions The exhibition runs until May 23. Text by Anounchka Mbia.

In their solo exhibition “Pussybilities, Dance Club #2”, Anne-Lise Coste presents an extensive series of drawings on paper from 2024 and 2025. They are all 32 x 24 cm and combine ballpoint pen and collage. Referential and declarative, the drawings are very expressive of Coste’s practice. For a complete overview and enquiries, see our website (link in bio). Anne-Lise Coste Pussybilities, Dance Club #2 until May 23. #annelisecoste #edbprojects #amsterdamart

We are delighted to announce the participation of Lara Almarcegui and Susan Philipsz in the 18e Biennale de Lyon, titled “To pass from one dream to another” and curated by Catherine Nichols. “To pass from one dream to another,” the main title of the 18th edition of the Biennale of Contemporary Art draws on the traboules—those distinctive passageways running through Lyon’s courtyards and buildings—to explore how one moves from one mode of perception to another, from one collective dream to another. Lyon, a crossroads of trade and industry, becomes the starting point for a reflection on the economy, approached here as the set of processes through which interdependent beings acquire, transform, and circulate what sustains their existence. From 19 September to 13 December 2026 Press days: 16-18 September 2026 Preview: 17 & 18 September 2026 #laraalmarcegui #susanphilipsz #bienaledelyon #edbprojects

Last week to opened “Pussybilities, Dance Club #2”, a solo exhibition by Anne-Lise Coste. The project “Pussybilities” first unfolded in the architecture of a castle turned Contemporary Art Museum of Haute-Vienne and now reappears in Ellen de Bruijne PROJECTS in a new configuration. This movement from one site to another mirrors the logic of the work itself. Nothing is fixed. Images travel. Objects shift position. Meanings are constantly recomposed. Anne-Lise Coste RÊVE BB RÊVE Sprayed mural 254 x 251 cm Visit today from 13:00 to 18:00. #annelisecoste #edbprojects #amsterdamart

Jeremiah Day Proposal To Add Townhall Meetings To The Constitution The Emily Harvey Foundation, New York May 1, 6 PM: Performance May 2, 2 PM: Book presentation, workshop & discussion around ‘Without The Consent Of The People’, by Fred Dewey “Let’s declare a four-month break from business, and dedicate ourselves, all of us, to a countrywide conversation. Let’s meet our neighbors and boycott, with them, the void and garbage calling itself news and governance and business. We have a right to this. What do we want? Why are our rights in ruins? What is a meaningful life? What happened to the people’s self-government? Stop the wars and looting for four months and let’s talk and figure this out. Starting from this rubble, why not begin imagining?” -Fred Dewey In this two part program, Jeremiah Day will offer different approaches to embodiment, imagination and the meaning of gathering in assembly. May 1st, 6:00 PM Hannah Arendt argued that townhall meetings, or council democracy, represented the potential for “a new concept of the state.” Day’s slideshow performance fleshes out this provocative thought through images of the parks of Istanbul, the New England townhalls, Basque courtyards, aiming to sketch out this “nameless tradition.” May 2nd, 2:00 PM At the time of his passing, Day’s long-time collaborator Fred Dewey was known as a cultural organizer and political thinker, simultaneously long-time director of Beyond Baroque poetry center in Los Angeles and a crucial force behind the establishment of neighborhood counciles in Los Angeles. Dewey left behind an unfinished manuscript which Day and a small group of friends carried through to publication which is timelier than ever in evoking a proto-totalitarian situation and how to respond within it. This event will introduce Fred’s work (and its link to Arendt’s) through a participatory format, discussion and book presentation. The Emily Harvey Foundation 537 Broadway, 2nd Floor New York, NY 10012

Zhana Ivanova: Cadence New performance for Stedelijk Museum Amsterdam Dates: April 18, May 9 & 10, June 1 & 14, 2026 Time: 1:30 to 4pm Zhana Ivanova’s new work continues her longstanding inquiry into how bodies relate to structures of authority and control. Cadence (2026) has been comissioned for the exhibition For Beyond the Manosphere. Masculinities Today (17.04–2.08.2026). It is a durational performance involving six men, presented in the exhibition space over five afternoons spanning April to June. Zhana Ivanova examines how masculinity is suggested and assumed through gestures, postures and movements: expressions that are often small, subtle and perceived as “natural” in everyday life. Ivanova’s work produces subtle shifts within clichés, modulating existing patterns of perception and subverting expectations. Zhana Ivanova (Bulgaria, 1977) is a cross-disciplinary artist working with performance, installation, video, sound, and text. She studied at Queen Mary University College, London, and DasArts, Amsterdam; she was a resident at Rijksakademie van beeldende kunsten, Amsterdam (2012–13) and an artistic research fellow with THIRD, DAS Graduate School, Amsterdam (2021–24). Her scriptbased practice uses language to probe power structures, staging rule-governed live situations that surface relational tension while exposing the instability of their own systems. Recently she has exhibited at Kunsthalle Basel; Astrup Fearnley Museet, Oslo; Fondation d’Entreprise Ricard, Paris; Rozenstraat Amsterdam; Playground Festival – STUK / M Leuven; De Appel, Amsterdam; Centre Pompidou, Paris; Lafayette Anticipations, Paris. Ivanova lives and works in Amsterdam. Image: Zhana Ivanova, Fugue (performance detail), 2012, durational performance, Rijksakademie van Beeldende Kunsten, Amsterdam. #zhanaivanova #stedelijkmuseum #edbprojects

Last days to see Klaas Kloosterboer’s latest solo exhibition “But came the waves”, with new added drawings. The drawings constitute a more playful and methodical line of work in Kloosterboer’s practice, as they form a system of words and symbols that make up a personal artistic alphabet with which the visitor engages in a game of association and deduction. In “But came the waves” we are reminded again by Klaas Kloosterboer’s constant artistic inquiry, which keeps on bringing his work to new propositions fuelled by the joyful anticipation to what can still be done. Until this Saturday. #klaaskloosterboer #edbprojects #drawing #artamsterdam

Last week Pauline Curnier Jardin opened her solo exhibition “Virages Vierges” at Palais de Tokyo, Paris. Entitled “Virages Vierges” [Virgin Turns], Pauline Curnier Jardin’s solo exhibition takes as its starting point the notion of deviation, or even deviance: the turn as a departure from the straight line, abandoning a stable trajectory in favour of uncertainty and crossroads. Like her fragmented narratives, the artist’s work is constructed in areas of confusion where fiction, ritual and documentary intertwine without hierarchy. This large-scale monographic exhibition allows Pauline Curnier Jardin to present her practice through a selection of major works—most notably video installations and sculptures—as well as new productions. It reveals her phantasmagoric atmospheres, situated somewhere between theatre, cinema, and ritual, and structured around recurring themes: the fluid relationship between bodily vulnerability and power, the place of women in society, and forms of popular spirituality and syncretism. For the creation of a new video installation, the artist drew inspiration from a clandestine cinema discovered in 2004 beneath the Trocadéro (near the Palais de Tokyo), nicknamed “les arènes de Chaillot”—a place where alternative forms of freedom could be invented. This site resonates deeply with her work, nourishing her attraction to liminal spaces, dissident practices, and narratives that escape established norms. This project continues a long-term relationship between the Palais de Tokyo and the artist, who previously took part in the group exhibitions “Dynasty” (2010, with the Musée d’Art Moderne de Paris) and “Antibodies” (2020). This exhibition is organised in collaboration with the Museo Nacional Centro de Arte Reina Sofía (Madrid). Palais de Tokyo (Paris), Museo Nacional Centro de Arte Reina Sofía (Madrid), and M HKA (Antwerp) will publish in 2026 the first monographic publication on the work of Pauline Curnier Jardin. Curated by Daria de Beauvais. “Virages Vierges” is on view at @palaisdetokyo until September 13. Photography by Aurélien Mole, © Adagp, Paris, 2026. #paulinecurnierjardin #feelgoodcooperative #edbprojects #palaisdetokyo