Komplot Brussels

MOThS at Chapel of Boondael / Brussels Artists: @kim_farkas @agingarden @minnekersten @vibekemascini @monicamays_ @chantalvanrijt Curator: @koi_persyn Organisations: @komplot_brussels @kult.xl Photographer: @documentationstation.be

Title: MOThS Artist: Kim Farkas, Agata Ingarden, Minne Kersten, Vibeke Mascini, Mónica Mays, Chantal van Rijt Curator: Koi Persyn Duration: 17 Apr ― 10 May 2026 Venue: Chapel of Boondael (Brussels, Belgium) Photography: Documentation Station AI Summary: The exhibition approaches the moth as a fragile figure of desire, endlessly drawn toward light even at the edge of disappearance. Moving between poetry, death and metamorphosis, it reflects on transformation as a state where words, bodies and images dissolve before taking new form. @kim_farkas @agingarden @minnekersten @vibekemascini @monicamays_ @chantalvanrijt @koi_persyn @komplot_brussels @documentationstation.be The complete documentation of the exhibition is available on saliva.live web platform. https://saliva.live/exhibitions/0b65cfbf

Last weekend of 𝙼𝙾𝚃𝚑𝚂! Open today and tomorrow, 17-22h 🐛 Where I’m Calling From & Shapeshifter by @minnekersten : Minne Kersten’s video Where I’m Calling From is set in a meticulously constructed attic, inhabited for one night by Nudaurelia dione moths (Saturniidae), whose erratic flight introduces a troubled, spectral appearance. Within this staged domestic sphere, they act as both protagonists and metaphors, reflecting Kersten’s interest in the instability of constructed binaries – light and dark, life and death – and suggesting that absence may in fact take the form of another kind of presence, one with complexity and agency. Here, the moths emerge as ghost-like apparitions of dissolving memories – phantoms that may also carry traces of repressed trauma. The yellow wallpaper lining the attic walls incorporates moth motifs concealed within its floral pattern. Designed and hand-printed by the artist, it draws on Charlotte Perkins Gilman’s seminal feminist novella The Yellow Wallpaper (1892), in which domestic confinement gives way to a hallucinatory dissolution of the mind. In Gilman’s story, the wallpaper becomes both prison and portal – a surface onto which the psyche’s projections take shape. Shapeshifter references this literary work as painted footnotes, depicting a woman shrouded in a translucent, fine fabric featuring the warm shades and eye-like patterns of the Nudaurelia dione’s wings. They evoke the visually vivid, embodied identification of the dying moths as described in Woolf’s and Dillard’s essays. 𝙼𝙾𝚃𝚑𝚂 is a nocturnal group exhibition, presenting the artistic practices of @kim_farkas , @agingarden , @minnekersten , @vibekemascini , @monicamays_ , @chantalvanrijt , curated by @koi_persyn . 𝙼𝙾𝚃𝚑𝚂 is co-produced by @komplot_brussels , part of @artbrussels ’ OFF programme, and realized with the support of @kult.xl , @nlinbelgie and @polishinstitutebrussels . 🐛 18.04 > 10.05.2026 🕘 Thu. - Sun., 17:00 - 22:00 🌅 Sunset: ± 21:00 🗣 Guided tour today at 20:00 📍 Chapel of Boondael / Square du Vieux Tilleul 10, 1050 Ixelles Documentation by @documentationstation.be

Last week of 𝙼𝙾𝚃𝚑𝚂! Open Thu.-Sun., 17-22h 🐛 Jolt by @vibekemascini : Vibeke Mascini approaches the chapel’s electrical outlets as portals within open-ended systems of energy transference. Jolt connects electrical cables, copper wires, resin casts, taxidermied hawkmoths, and a collection of international nightlights mimicking butterfly within a single circuit. Mascini conveys the power cable as a conduit through which current and memory circulate simultaneously, linking processes of destruction, light, and metamorphosis to everyday electrical actions, forecasting the moth’s emergence from its transparent cocoon. The resin alters the appearance of the hawkmoth as a distorting lens, while recalling the preservation of insects in amber – fossilized tree resin that received its Ancient Greek naming ἤλεκτρον (ēlektron) because of its ability to generate static electricity. The death's-head hawkmoth – Acherontia atropos (Sphingidae) – takes its name from the skull-like marking on its thorax, while its taxonomic designation draws on Greek mythology associated with death. Acheron refers to the river leading the souls of the deceased to the underworld. Atropos – one of the three Fates – determines the moment of death by cutting the thread of life. This life thread resonates in Mascini’s use of electrical cables in Jolt, which channel energy through the dead specimens that, bound in copper wire, become conductors powering the butterfly lights – objects typically used to ward off nightmares and other nocturnal fears, much like the apotropaic eye-like patterns on the moth’s wings deter predators. 𝙼𝙾𝚃𝚑𝚂 is a nocturnal group exhibition, presenting the artistic practices of @kim_farkas , @agingarden , @minnekersten , @vibekemascini , @monicamays_ , @chantalvanrijt , curated by @koi_persyn . 𝙼𝙾𝚃𝚑𝚂 is co-produced by @komplot_brussels , part of @artbrussels ’ OFF programme, and realized with the support of @kult.xl , @nlinbelgie and @polishinstitutebrussels . 🐛 18.04 > 10.05.2026 🕘 Thu. - Sun., 17-22h 🌅 Sunset: ± 21h 🗣 Guided tour this Saturday at 20h 📍 Chapel of Boondael / Square du Vieux Tilleul 10, Ixelles Documentation by @documentationstation.be

Last week of 𝙼𝙾𝚃𝚑𝚂! Open: Thu.-Sun., 17-22h 🐛 Uniform (The Caterpillar), The Grand Purpose and the Small Details (I & II) & The Thievish Guest by @chantalvanrijt : Chantal van Rijt investigates preserved caterpillars in the collections of the Royal Belgian Institute of Natural Sciences in Brussels. There, she produces macro photographs, including close studies of the Automeris naranja caterpillar, which later transforms into a moth of the Saturniidae family. Van Rijt is particularly drawn to the insect’s defensive markings – patterns resembling false eyes that, when magnified photographically, begin to evoke signs. While vividly green in life, these taxidermied specimens lose their coloration through the process of preservation, fading into a dull, pale yellow. In a new series of works on paper, stacks of the Belgian newspaper 'Le Soir' spread their wings. The two towers are overlaid with photopolymer etchings, produced from a UV-sensitive plate and printed on translucent, silk-like paper. One of them bears the imprint of a Hyalophora cecropia-pupa, as if the caterpillar had consumed all information embedded in the newspapers before withdrawing into its otherworldly cocoon. Van Rijt also developed a new audio work, composed of layered translations of the 47th riddle from the Exeter Book. The piece reverberates as a whispering chorus lurking behind a door, like an unwelcome intruder in the night on a quest for words. The Thievish Guest reflects on the transmission of information - how it is communicated and translated, and what is lost or rendered illegible along the way. 𝙼𝙾𝚃𝚑𝚂 is a nocturnal group exhibition, presenting the artistic practices of @kim_farkas , @agingarden , @minnekersten , @vibekemascini , @monicamays_ , @chantalvanrijt , curated by @koi_persyn . 𝙼𝙾𝚃𝚑𝚂 is co-produced by @komplot_brussels , part of @artbrussels ’ OFF programme, and realized with the support of @kult.xl , @nlinbelgie and @polishinstitutebrussels . 🐛 18.04 > 10.05.2026 🕘 Thu. - Sun., 17:00 - 22:00 🌅 Sunset: ± 21:00 🗣 Guided tour: Sat. - 20:00 📍 Chapel of Boondael / Square du Vieux Tilleul 10, 1050 Ixelles Documentation by @documentationstation.be

This was 𝙧𝙞𝙥𝙥𝙡𝙞𝙣𝙜 𝙩𝙝𝙧𝙤𝙪𝙜𝙝! From March 20th till April 26th, Komplot was very pleased to present the duo exhibition by Natalija Gucheva and Julia Tröscher. A week after its closing, it feels like a lovely moment to look back and thank everyone who made it possible, as well as all those who visited and engaged with the project. A heartfelt thank you to the artists, Natalija and Julia, for embracing the project and developing such thoughtful and intuitive works, both individually and collaboratively. Warm thanks to assistant curator Charlotte Frenay and head of production PC Malet, without whom the project would not have been possible. Special thanks to Emma Burel for creating the remarkable graphic elements accompanying the exhibition, including the 𝘳𝘪𝘱𝘱𝘭𝘪𝘯𝘨 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 publication. And sincere thanks to all collaborators and supporters of this exhibition: Aidan Abnet, Rachel Alvarez, Adam Baillon, Theo Bonne, Charlotte Daniëlse, Erifili Doukeli, Lorella Granvillano, Thibaud Leplat, Paul Murgat, Ines Amaia Naaraat, Johan Poezevara, Anton Ripon, Pauline Salinas Segura, Benjamin Schoones, Ivy Slater, Jan Staiger, Samuele Sartori, Regine Tröscher, Pieter Vandenhoudt, Sofie Anny Nicea Velghe, Oriana Mangala Ikomo Wanga @natalija.gucheva @juliatr.o.scher @chafrenay @shift_entity @gilbard.e.s @emmaburel @camille_vm @aiden.abnet @rachel.alv @thbonne @charlotte_danielse @lorella_granvillano @thibaud_leplat @johanpoezevara @antonwvripon @pauline_salinas_segura @bnjmnsch @janstaiger @reg.ine2612 @p.vandenhoudt @sofie.anniy.nicea @iambadgalriri__ 𝙧𝙞𝙥𝙥𝙡𝙞𝙣𝙜 𝙩𝙝𝙧𝙤𝙪𝙜𝙝 Natalija Gucheva and Julia Tröscher Curated by Camille Van Meenen Assistant Curator Charlotte Frenay Scenography and production by PC Malet Co-produced with Gilbard Graphic Design by Emma Burel Part of the @artbrussels OFF Programme 𝙀𝙭𝙝𝙞𝙗𝙞𝙩𝙞𝙤𝙣 20.03-26.04.2026 📍Komplot, Place du Conseil 4 Raadsplein, 1070 Anderlecht Thur. - Sat. | 14:00 - 18:00 or by appointment This exhibition is generously supported by FWB, VGC, Commune d’Anderlecht and Gilbard. Exhibition views by @janstaiger

𝙼𝙾𝚃𝚑𝚂 is open this week(end) Thu.-Sun., 17-22h 🐛 Shadowbox by @monicamays_ : In her Shadowbox series, Mónica Mays works with the cocoons of the silkworm moth, Bombyx mori, a species domesticated for centuries for the production of silk. As one of the earliest luxury commodities, silk played a crucial role in trade networks and systems of global circulation. Within the works, however, this history appears through the fragile architectures that precede it: the cocoons themselves. The cocoons are arranged within typographic drawers - ready-made objects used to organise the lead letters of printing presses. These compartments once functioned as systems for structuring language and knowledge. Removed from their original cabinets and repurposed as wall displays, they also belong to a vernacular culture of collecting small personal relics. Mays activates this dual condition of systematised control and minor intimacies, allowing the grid to oscillate between scientific taxonomy, archive, and subversion. The drawers are covered with translucent chiffon silk produced through this same reproductive system. Acting as a delicate membrane, the fabric partially veils the rigid grid beneath it. Aleatory botanical traces spread across the silk, interfering with the rigid structure of the grid. Suspended between archive, relic, and display, the Shadowboxes stage an encounter between systems of knowledge, luxury production, and the economies of reproduction that sustain them. Courtesy of the artist and Blue Velvet. 𝙼𝙾𝚃𝚑𝚂 is a nocturnal group exhibition, presenting the artistic practices of @kim_farkas , @agingarden , @minnekersten , @vibekemascini , @monicamays_ , @chantalvanrijt , curated by @koi_persyn . 𝙼𝙾𝚃𝚑𝚂 is co-produced by @komplot_brussels , part of @artbrussels ’ OFF programme, and realized with the support of @kult.xl , @nlinbelgie and @polishinstitutebrussels . 🐛 18.04 > 10.05.2026 🕘 Thu. - Sun., 17:00 - 22:00 🌅 Sunset: ± 21:00 🗣 Guided tours every Saturday at 20:00 📍 Chapel of Boondael / Square du Vieux Tilleul 10, 1050 Ixelles

𝙼𝙾𝚃𝚑𝚂 is open this week, Thu.-Sun., 17-22h 🐛 Dreamer 3 & 5 by @agingarden : Agata Ingarden presents two sculptures from Inside the Dream House, a project inhabited by the Butterfly People – fictional hybrid moth-humans inhabiting a simulated parallel reality. Within a corporate system of surveillance, their constant productivity is sustained by an eternal dream-like state between work and sleep. Dreamer 3 & 5 are wearing reconstructed, silk-printed suits that reveal moth-like silhouettes, layered linings, and emerging wing structures, evoking a next stage of metamorphosis in which their bodily cells might finally reassemble and reunite. The word ‘empathy’ circulates through their limbs as a ritual incantation that accompanies this transformative incarnation. It alludes to the Ancient Greek ἐμπάθεια (empatheia) stemming from ἐν (en; "in") and πάθος (pathos; "passion" or "suffering") – scorching affects projected onto the moth in its final struggle by Woolf and Dillard. Placed behind UV-blocking office windows, these phantom-like apparitions hover between inner life and external control, deprived of the ultraviolet spectrum of light that is so irresistible to moths. Suspended in time and space, they mark a pivotal moment in the Butterfly People’s transformation as they materialize their bodies from surrounding matter – copper, textile and wood. These glass surfaces come to light as portals to another dimension, mirroring Woolf’s awakening to a renewed perception of life as a harbinger of its end, ignited through her encounter with the moth surrendering to death on her windowsill. 𝙼𝙾𝚃𝚑𝚂 is a nocturnal group exhibition, presenting the artistic practices of @kim_farkas , @agingarden , @minnekersten , @vibekemascini , @monicamays_ , @chantalvanrijt , curated by @koi_persyn . 𝙼𝙾𝚃𝚑𝚂 is co-produced by @komplot_brussels , part of @artbrussels ’ OFF programme, and realized with the support of @kult.xl , @nlinbelgie and @polishinstitutebrussels . 🐛 18.04 > 10.05.2026 🕘 Thu. - Sun., 17:00 - 22:00 🌅 Sunset: ± 21:00 📍 Chapel of Boondael / Square du Vieux Tilleul 10, 1050 Ixelles Documentation by @documentationstation.be

Last day to visit 𝘳𝘪𝘱𝘱𝘭𝘪𝘯𝘨 𝘵𝘩𝘳𝘰𝘶𝘨𝘩! Open 14:00-18:00 𝘳𝘪𝘱𝘱𝘭𝘪𝘯𝘨 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 has been a project that spanned over a year and a half, beginning when the artists were first invited to take part in this endeavour. The project has grown through collaboration, conversation, and, above all, sensitivity and intuition. “Natalija: There’s something really rewarding about seeing your passions recognised and echoed in someone you connect with. Altogether, it gives you more faith in the process, that this won’t only be understood, but also felt, even in something as subjective as dreams and memory. And then to find a meeting point in your interests is a beautiful thing. [...] Julia: I think for me it was really cool to hear you pitch your direction and the shift you envisioned. What you were describing was something I had been thinking about too, an interest I was moving toward but hadn’t yet incorporated. I had been putting it on the back burner a little bit. It felt like confirmation that we were right to trust our gut. That makes me really happy, because the whole point of this exhibition is about feeling and being intuitive. So it comes together nicely.” 𝙧𝙞𝙥𝙥𝙡𝙞𝙣𝙜 𝙩𝙝𝙧𝙤𝙪𝙜𝙝 Natalija Gucheva and Julia Tröscher Curated by Camille Van Meenen Assistant Curator Charlotte Frenay Scenography and production by PC Malet Co-produced with Gilbard Graphic Design by Emma Burel Part of the @artbrussels OFF Programme 𝙀𝙭𝙝𝙞𝙗𝙞𝙩𝙞𝙤𝙣 20.03-26.04.2026 📍Komplot, Place du Conseil 4 Raadsplein, 1070 Anderlecht Thur. - Sat. | 14:00 - 18:00 or by appointment This exhibition is generously supported by FWB, VGC, Commune d’Anderlecht and Gilbard. Image: @janstaiger @natalija.gucheva @juliatr.o.scher @camille_vm @chafrenay @shift_entity @emmaburel @gilbard.e.s

Today and tomorrow are the last days to visit 𝘳𝘪𝘱𝘱𝘭𝘪𝘯𝘨 𝘵𝘩𝘳𝘰𝘶𝘨𝘩! Open from 14:00-18:00 “When coming up with the title, I remember that the notion of a surface was something I had in mind. With rippling through, what’s nice is that it automatically implies a surface, and that something is crossing it.” - Camille Van Meenen, conversation held for 𝘳𝘪𝘱𝘱𝘭𝘪𝘯𝘨 𝘵𝘩𝘳𝘰𝘶𝘨𝘩, featured in the publication accompanying the exhibition 𝙧𝙞𝙥𝙥𝙡𝙞𝙣𝙜 𝙩𝙝𝙧𝙤𝙪𝙜𝙝 Natalija Gucheva and Julia Tröscher Curated by Camille Van Meenen Assistant Curator Charlotte Frenay Scenography and production by PC Malet Co-produced with Gilbard Graphic Design by Emma Burel Part of the @artbrussels OFF Programme 𝙀𝙭𝙝𝙞𝙗𝙞𝙩𝙞𝙤𝙣 20.03-26.04.2026 📍Komplot, Place du Conseil 4 Raadsplein, 1070 Anderlecht Thur. - Sat. | 14:00 - 18:00 or by appointment This exhibition is generously supported by FWB, VGC, Commune d’Anderlecht and Gilbard. Image by @janstaiger @natalija.gucheva @juliatr.o.scher @camille_vm @chafrenay @shift_entity @emmaburel @gilbard.e.s

A focus on the 𝘳𝘪𝘱𝘱𝘭𝘪𝘯𝘨 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 publication, designed by Emma Burel @emmaburel . Emma carefully considered the project and the artists intentions, translating it visually for the graphic elements of the exhibition. Camille, Charlotte, Julia and Natalija gathered together on Friday, February 6th, at 14h in the afternoon. A month and a half before the opening of their exhibition 𝘳𝘪𝘱𝘱𝘭𝘪𝘯𝘨 𝘵𝘩𝘳𝘰𝘶𝘨𝘩, they took an active moment in time to have a conversation about their process during the project. Flow through their thoughts, reflections and unfolding ideas as the conversation continues across the pages. They were in the company of Emma and PC Malet, who took care of the production and scenography of the exhibition. The beautiful publication is available at Komplot. It’s the final weekend to visit 𝘳𝘪𝘱𝘱𝘭𝘪𝘯𝘨 𝘵𝘩𝘳𝘰𝘶𝘨𝘩—open Friday, Saturday and Sunday, 14:00–18:00. 𝙧𝙞𝙥𝙥𝙡𝙞𝙣𝙜 𝙩𝙝𝙧𝙤𝙪𝙜𝙝 Natalija Gucheva and Julia Tröscher Curated by Camille Van Meenen Assistant Curator Charlotte Frenay Scenography and production by PC Malet Co-produced with Gilbard Graphic Design by Emma Burel Part of the @artbrussels OFF Programme 𝙀𝙭𝙝𝙞𝙗𝙞𝙩𝙞𝙤𝙣 20.03-26.04.2026 📍Komplot, Place du Conseil 4 Raadsplein, 1070 Anderlecht Thur. - Sat. | 14:00 - 18:00 or by appointment This exhibition is generously supported by FWB, VGC, Commune d’Anderlecht and Gilbard. Images slide 1: @janstaiger Scans: @emmaburel @natalija.gucheva @juliatr.o.scher @camille_vm @chafrenay @shift_entity @emmaburel @gilbard.e.s

𝙼𝙾𝚃𝚑𝚂 is open this week, Thu.-Sun., 17-22h 🐛 24-09, 24-10, 21-08 and 21-09 by @kim_farkas : Kim Farkas presents two pairs of sculptures: suspended, iridescent vessels that formally reference the final stage of a pupa inside of a cocoon, and two oblong, urn-like forms that inhabit the space as extraterrestrial spines. Mimicking insect's exoskeletons, they are 3D-printed and finished with automotive spray paint and multiple layers of resin. While 24-09 and 24-10 draw on the biomorphic qualities of the shelter for a shape-shifting entity, their magma-coloured vertebrae – reminiscent of tail lights – emit the soft red glow of dusk, acting as subtle beacons that guide the very same insect’s adult form. After sunset, when most moths become active, these works illuminate other presences within the chapel, echoing the spiritual glow of candlelight – the central image of Dillard’s writing. 21-08 and 21-09 resemble flames that contain copper coils and fragments of joss paper, or spirit money – papercraft offerings burnt in Chinese-diasporic ancestral rites. These sheets and papier mâché objects take the form of material comforts, such as gold ingots, banknotes, cars, watches, and other sorts of modern luxury commodities, and are transferred to the dead through a process of incineration. Encased beneath glistening, pigmented coats of amber-like resin, these once-objects of agency and experience appear suspended in a state of perpetual combustion, echoing the moth’s self-sacrificial attraction to fire and its dissolution in the wax of Dillard’s candle. 𝙼𝙾𝚃𝚑𝚂 is a nocturnal group exhibition, presenting the artistic practices of @kim_farkas , @agingarden , @minnekersten , @vibekemascini , @monicamays_ , @chantalvanrijt , curated by @koi_persyn . 𝙼𝙾𝚃𝚑𝚂 is co-produced by @komplot_brussels , part of @artbrussels ’ OFF programme, and realized with the support of @kult.xl , @nlinbelgie and @polishinstitutebrussels . 🐛 18.04 > 10.05.2026 🕘 Thu. - Sun., 17:00 - 22:00 🌅 Sunset: ± 21:00 🗓 Opening: 17.04.2026 / 18:00 - 22:00 📍 Chapel of Boondael / Square du Vieux Tilleul 10, 1050 Ixelles Documentation by @documentationstation.be