You walk in and the title is already doing the work. Not subtle, not coy, just sitting there like a dare. Who is supposed to be silent, who gets to speak, and why does it feel so blunt it almost loops back into embarrassment. You try to locate the misandrist, the third wave feminist, and immediately you are caught. No outside position. You are already in it.
🍽️ CASTING CALL: THE FEAST 🍽️
A Brechtian, darkly comedic, politically charged musical where dinner becomes a battleground.
The Feast dissects class, power, and sexual politics through a surreal, theatrical lens. A bourgeois family and their servants spiral through a world where labour, desire, and control are constantly performed, exposed, and undone.
We’re still looking for:
✨ Waiters
✨ Stable boy
✨ Mom & Dad
✨ Cooks
⚠️ Belgium-based performers only
(for my London based performers… still looking for ppl for a live reading beginning of October)
This is stylised, confrontational, and collective. Every role carries weight.
👀 Interested? Slide into my DMs or fill in the form /forms/d/e/1FAIpQLSfDoiC62NjMmefhD0FpVVfB2aIEc0C_rQUOVYqdmaFJ_MXuSw/viewform
Come make something sharp, strange, and unapologetic.
there are still a few copies left of my artist book ‘To: The Gardener’ at @copyshop.dash (hand folding the last ones as we speak) 🌺 limited edition 🌸 get your copy now 🌷
Step into a world that overwhelms like a contemporary Sturm und Drang experience. Icons from literary history write to each other—Petrarch wrote letters to his deceased love, Héloïse and Abelard wrote to overcome the obstacles of their surroundings, and our iconic Werther, in his final act, wrote a letter to his Lotte…
De Roover writes sharply to The Gardener, an unnamed figure comparable to the backdrop of a theater play—essential, yet in the background. But she does not stop there; the relationship transcends into a broader critique of societal relationship structures. Relationships in the 21st century are arguably more complex than ever.
Take this fragile collection of letters into your hands and surrender to an amorous passion within De Roover’s thinking. Follow the psychoanalytic reflections, explore the value of community in late-stage capitalism, and let yourself be warmed by the loving search and failure of language.
posting a tasteful little carousel of memes in which i, a humble scholar of the genre “men are exhausting,” perform a level of theatrical misandry so obviously exaggerated it should register as satire but will instead be interpreted (by at least three men with podcast microphones and a notes app apology template ready) as the collapse of civilization
anyway if this is my cancellation era please note that the bit was always that the bit was a bit, which of course only makes it worse, which of course is the joke, which of course guarantees someone will explain it to me in the comments
video keeps being removed!!!
WIP 🕯️
The ëpsteïn files aren’t proof of demœns or secret cults. They’re proof of patriarchy functioning exactly as designed. Stop aestheticizing elite abuse. Stop debating definitions like women’s suffering needs a technical qualifier. The personal is political. This is not a conspiracy glitch. It’s a system.
Edit: This is just a small part of a 3 screen 12-minute video installation i’m making
And no, I’m not saying there were no women involved. Some wealthy, protected women absolutely profit from patriarchy and help enforce it. That doesn’t disprove the point. It proves it. A system can recruit beneficiaries from the oppressed class. It’s still patriarchy at work.
Last chance: Marijke De Roover “Stop Being Sad” at Pizza Gallery, Antwerp.
Today marks the last day of the exhibition. Swing by to get a final glance!
“Elsewhere, De Roover presents her newest radical feminist theory memes, works that compress critique into formats optimized for speed, legibility, and misreading. They oscillate between seriousness and sabotage. They look like jokes because jokes travel. They look abrasive because friction is one of the few remaining signals of thought. Theory here does not unfold patiently. It flashes, glitches, and risks collapse. The memes do not claim authority. They stage what it feels like to think critically inside systems that reward circulation over consequence while insisting that you remain upbeat.
The exhibition also brings De Roover’s digital language into physical space through her Meme Tiles. These small ceramic kitchen tiles reproduce her memes as domestic objects. They are sold in randomized sets, turning collection into chance and ownership into partial knowledge. What once lived in infinite scroll reappears in the home, heavy, breakable, and oddly intimate. Mass circulation is slowed. Reproducibility acquires friction. Sadness becomes something you have to hold.”
Excerpt of the exhibition text.
Pizza Gallery, Antwerp
Sint-Janstraat 52
2140 Antwerpen
WIP
i meet someone/they leave
This is just a snippet. Not a take, not a conclusion, not even a proper joke yet. A work in progress, which already feels wrong online.
Dogs don’t arrive as arguments. They arrive as duration. Hanging around. Repetition. Attention without payoff. So the clip stops where a feed wants resolution.
You’re waiting for the insight. It never quite comes. That’s the point. The thought is still pacing the room.
🎾
Currently on view: Marijke De Roover - “Stop Being Sad”.
You can currently visit “Stop Being Sad” by Marijke De Roover at Pizza Gallery, Antwerpen. Next Friday 30/01 we are exceptionally open from 6pm - 9pm during Borger Nocturnes @borger_nocturnes .
Excerpt from the exhibition text:
.”.., De Roover presents her newest radical feminist theory memes, works that compress critique into formats optimized for speed, legibility, and misreading. They oscillate between seriousness and sabotage. They look like jokes because jokes travel. They look abrasive because friction is one of the few remaining signals of thought. Theory here does not unfold patiently. It flashes, glitches, and risks collapse. The memes do not claim authority. They stage what it feels like to think critically inside systems that reward circulation over consequence while insisting that you remain upbeat.”
Pictured:
Marijke De Roover: “Me Calmly Explaining Empathy While Getting Slowly Juiced by Male Fragility Tomato”, 2025. C-print mounted on dibond with aluminium subframe, 100cm x 100cm, 1 + 1 AP.
Pizza Gallery, Antwerpen
Sint-Janstraat 52
2140 Antwerpen
Currently on view in Pizza Gallery, Antwerpen: Marijke De Roover “Stop Being Sad”.
“There is a particular kind of cultural vertigo that sets in when you realize that your work has begun to circulate independently of you, accruing meanings, misunderstandings, and minor recognitions without ever quite arriving anywhere that feels like arrival. stop being sad unfolds inside that vertigo. It is an exhibition about being visible without being powerful, present without being authoritative, alive without fully being believed in.
The title reads at first like advice, then like a command, and finally like something closer to a threat. It gestures toward the way affect is increasingly managed, optimized, and corrected in public life. Sadness is treated not as information or response but as error. To be sad is to malfunction. To be told to stop being sad is to be reminded that feeling is acceptable only when it does not interrupt circulation.”
Excerpt of the exhibition text.
The exhibition runs until February 1st, 2026. You can visit us every Saturday and Sunday between 2pm and 6pm, or by appointment.
Pizza Gallery, Antwerpen
Sint-Janstraat 52
2140 Antwerpen
