GLEAN

Valérie Mannaerts’ Antennae W H A T A B E A U T I F U L S H O W !

Inspiraling (14.11.25 until 1.3.26) was made for @crac_alsace by Katja Mater, Claire Noonan, Jessica Gysel, Marnie Slater, Robin Brettar and Matilda Çobanli. Read Els Roelandt’s personal take on this exhibition on living together, a girl’s school, the waning of Winter, friendship and a love quietly beginning to unfold. ‘Building a house demands countless decisions and endless consultation and compromise. How do you do that? And how do you ensure that your house acquires a soul, that it becomes an open house, a place where people can be together and creative.’ (ER) On our website now! 1. Entrance to *CRAC Alsace*, flags designed by Charles Mazé & Coline Sunier, photo. A. Mole 2. Quote by ER 3. Katja Mater, Clare Noonan, Jessica Gysel, Marnie Slater, Robin Brettar, Matilda Çobanli, *Swingers*, 2025, keys to the building where the group lives in Molenbeek, chain, string, recycled copper, bamboo, various dimensions, courtesy the artists, production *CRAC Alsace*, photo. A. Mole 4. Quote by ER 5. Ot Lemmens, *Samplers (Charlotte, Susanne, and Sarah’s atelier)*, 2025, polyester and cotton thread, appr. 15 × 30 cm each, courtesy the artist, photo A. Mole 6. Quote by ER @crac_alsace @els_roelandt @clare_noonan @matildacc @marnie_jane_slater @jessicagysel @buttcoin.transaction @yuditttt @oddd.oddd @rosishibi @eline.de.clercq @mycket_ @reijniersanne @elsevettier @_richardneyroud @mariclau.gamboa

Featured in Gleanings: Alicia Kwade — ‘Dusty Die’ at M Leuven ✨ This Gleaning is written by Sofie Van Loo. The exhibition runs until February the 22nd, 2026, be sure to check it out 💫 @alicjakwade @sofievanloodesade77 @m.leuven @kathleen_weyts #gleanings #gleanings #alicjakwade #sofievanloo #mleuven

The Artist’s Library: a conversation with photographer Sanne De Wilde on the occasion of the tenth edition of the PhotoBrussels Festival @photobrusselsfestival in which Sanne De Wilde takes part in the exhibition ‘Family Stories’ at Hangar @hangar.photo . In this conversation, the photographer looks back on her nomadic life, her cautious relationship with books and publications, and the ways in which personal experiences shape her work. She speaks about intimacy and family, about migration, motherhood, neocolonial structures, and the responsibility of the artist. From Lagos to Antwerp, a practice unfolds in which photography functions as a form of research, and moments of presentation are meant to enable immersive experience. Sanne De Wilde emerges as an artist engaged in a persistent search for new ways of seeing, connecting, and imagining. This is Sanne De Wilde’s The Artist’s Library, in conversation with Els Roelandt. ✨ @els_roelandt Read more on our website: glean.art 1. Sanne De Wilde, 2025. Photo by Ilvy Njokiktjien @ilvynjio 2. Quote by Sanne De Wilde 3. Photo by @sanne_de_wilde 4. Quote by Sanne De Wilde 5. Publications 6. Quote by Sanne De Wilde

‘Valkenburg – Willem de Rooij,’ Centraal Museum Utrecht, on view through 25 January 2026. This exhibition is accompanied by the first comprehensive Dirk Valkenburg’s first ever catalogue raisonné, a collaboration with RKD Research, the Netherlands Institute for Art History, and edited by Willem de Rooij and Karwan Fatah-Black, an historian and expert in Dutch colonial history. It includes essays by international scholars and thinkers from various disciplines, including art history, anthropology, postcolonial and queer studies. From January 17-19, there will be several lectures related to the exhibition. For more information, check @willem.de.rooij ✨Read the full article, ‘To See a Hare Die’ by Wolfram Vandenbergen now on our website! 1. Dirk Valkenburg, Hunting Still Life, ca. 1700, Collection Centraal Museum, Utrecht 2.Quote by Wolfram Vandenbergen 3. Jan Weenix, A Dog Guarding a Guinea Fowl, ca. 1680, Collection Centraal Museum, Utrecht 4.Quote by Wolfram Vandenbergen 5. Hall overview, Willem de Rooij, Valkenburg, 2025, Jens Ziehe 6.Quote by Wolfram Vandenbergen 7.Subcribe now! #willemderooij #dirkvalkenburg #janweenix #centraalmuseum #art

An Act of Resistance

As part of finalising this body of work, Baldi presents the exhibition ‘Sea Through Skin’, currently on view at Kunsthal Extra City until January 25. This solo exhibition brings together pieces that offer an overview of the breadth of this endeavour. A protagonist in this research is found in the figure of the cuttlefish, a cephalopod capable of changing its skin in response to its surroundings. The cuttlefish becomes a metaphor for passing. This metaphor was prompted by her personal history. — Febe Lamiroy Read more on our website glean.art See link in bio ✨ 1. Bianca Baldi, photo by Tom Vanhee 2. Bianca Baldi, Sea Through Skin, Kunsthal Extra City, September 2025 - January 2026, © We Document Art 3. Bianca Baldi, Sicomoro Centenario, 2025 Bianca Baldi, Sicomoro Centenario, 2025 4. Bianca Baldi, Sea Through Skin, Kunsthal Extra City, September 2025 - January 2026, © We Document Art 5. Quote by Bianca Baldi 6. Bianca Baldi, Sea Through Skin, Kunsthal Extra City, September 2025 - January 2026, © We Document Art 7. Quote by Bianca Baldi 8. Subcribe now, Link in bio #Biancabaldi #extracity #art #glean #seathroughskin

His Parangolés, made from various pride flags, colourfully activate a broad spectrum of identities, inviting spectators to participate in the unfixing of the binary. This inclusive ethos continues in his book Breaking Free: Queer Temporality and Collaborative Art, in which instructions are provided for making the garments and performing the piece. During these performances, Lieven De Boeck extends the invitation to participate collectively by inviting bystanders to join in. — Seraphine Verstraete ‘Breaking Free’ is a solo exhibition by Lieven De Boeck, on display at the Centre de Création Contemporaine Olivier Debré (CCCOD) in Tours from November 7 2025 to May 31 2026. Curated by Isabelle Reiher. The exhibition is open from Wednesday to Sunday, 11 a.m.–6 p.m. 1. Exhibition view from the exit of the artist atelier, photos by Vincent Royer 2. Quote by Seraphine Verstraete 3. Exhibition overview from exit artist atelier 4. Quote by Seraphine Verstraete 5. Exhibition view detail Foreground Becoming (Devenir), on the wall Gathering (se rassembler) 6. Quote by Seraphine Verstraete Read the article, Another Choreography Awaits by Seraphine Verstraete on our website! 🔗See Link in Bio #lievendeboeck #seraphineverstraete #performance #glean #art #cccod_tours

What is happening now, with the government silencing any public dialogue even before it arises, is deadly to democracy. The very policy makers who value contemporary art value the people who think critically about the world today. Limiting contemporary art limits the critical conversation. — Tamara Beheydt Tamara Beheydt in conversation with Nadia Bijl, Dora Brams, and Vedran Kopljar. Read the full article on our website, see link in bio! On November 23 from 11 a.m. to 6 p.m., there will be lectures in the M HKA reading room. 1:30 p.m.: Hands Against the Wall, based on a performance by Ben Benaouisse Follow @museumatrisk_mhka to stay informed, and support them via https://museumatrisk.be/en/help-us/ 1. Nadia Bijl photos by Christine Clinckx and Johan Pas 2. Quote by Nadia Bijl 3. 24h manifest, Musem at Risk 4. Quote by Dora Brams 5. Vedran Kopljar, photos by Marc Tops 6. Quote by Vedran Kopljar #musematrisk #mhka #tamarabeheydt #nadiabijl #dorabrams #vedrankopljar #art #glean

Jacob Lawrence (1917–2000) was one of the first African-American artists to gain national recognition. In 1941, aged just twenty-four, he exhibited his complete Migration Series at Edith Halpert’s Downtown Gallery in New York. This was a groundbreaking moment, as Halpert was one of the first gallerists in the city to represent an African-American artist.  — Benedicte Goesaert Jacob Lawrence | African American Modernist, on display at Kunsthal Kade until January 4, 2026. Read the full review by Benedicte Goesaert on our website: glean.art ✨ 🔗See link in bio 1. Jacob Lawrence-Vaudeville, 1951, Eitempera op hardboard, 75,9 x 50,6 cm, Hirshhorn Museum of American Art, Washington DC 2. Quote by Benedite Goesaert 3. Jacob Lawrence, Migration Series Panel 1, During World War I there was a great migration north by southern African Americans 4. Quote by Benedite Goesaert 5. Jacob Lawrence, Northbound, 1962. Eitempera op hardboard, 61 x 101,6 cm. Private Collection 6. Quote by Benedite Goesaert #jacoblawrence #kunsthalkade #benedictegoesaert #glean #afroamerican #art

Nina Beier’s newest exhibition takes place in the antechambers of Bozar which is comprised of four rooms that radiate out from a central rotunda – an architectural layout recently used to host compact, mid-scale solo shows by both emerging and established artists. Nina Beier titled her exhibition ‘Real Estate’, borrowing the name from one of her works – fittingly so, since the sculptures latch onto and infiltrate the symbolic ‘entrée’ to one of Brussels’ most prestigious properties and art institutions with precision. — Michaela Schweighofer Nina Beier’s solo exhibition ‘Real Estate’ is now on view at Bozar until January 4, 2026. Read our article; Pressing Matters: Nina Beier Investigates Form, Labor, and Power. Written by Michaela Schweighofer on our website: glean.art ✨ 🔗See link in bio #ninabeier #michaelaschweighofer #glean #bozar #art