Tom Hallet

Arrangements, 2025 curated by @holamarianolla @anresende @tomhallet @puntwg 28.08-7.09 Arrangements is an exhibition by Tom Hallet, Maria Nolla Mateos and Ana Resende. The exhibition came together through looking carefully at archival photographs of the Wilhelmina Gasthuis. Pictures of hospital spaces where small acts of domestic improvisation, and communal gestures, fabric draped over harsh lights, makeshift decorations in sterile rooms, or theater plays staged by patients, recall the often-overlooked ways people nurture one another in the cracks of institutions. These moments, like the artworks themselves, gesture towards practices of relationality: by softening, covering, holding, or dimming. Through projections, curtains, and revealed traces, the artworks propose a willingness to be shaped through connection rather than rigid autonomy. “Wall drawings accompany the pencil works on paper. Veiled in a fine layer of charcoal dust, they reveal their own histories, scarred, rearranged, patched, and layered with traces of past exhibitions. Through this intervention, Hallet interrogates how institutions can both preserve and present artists’ stories while repeatedly painting over their own surfaces. Can true inclusivity exist if it is endlessly whitewashed? By leaning into the unknown and allowing forms to emerge without control, the drawings find a way to coexist with the past rather than erase it. I’d like to thank @anresende & @holamarianolla for this smooth collaboration ✨and Punt WG for bringing us together. -To Denton Welch, pencil on paper, 2025 -Wall Drawing 10, charcoal, 430 x 320, 2025 To see all the pictures of the exhibition go and check out the website of @puntwg ! Credit photos @harm_van_den_berg

Artists Who Wear Jewelry, 2025 Curated by @kasperbosmans , @mendeswooddm d’Ouwe Kerk, Retranchement, NL Jul 26 - Aug 9, 2025 “In 1902, Fernand Khnopff completed construction on a house on the edge of the Bois de la Cambre in Brussels. The belly of the building concealed his studio behind a brass bar that a butler would slide aside for visitors - a gesture described as pernickety and pedantic in its day. A golden circle on the floor housed the artist’s easel. It’s position was adjusted in harmony with the stars. Every studio visit began in the rose garden surrounding the house, a rampant of flowers that shielded the careful choreographies of the artist’s dwelling from the bustling, gossipy city outside. - Here, in the cloistered setting of a desacralised church, each artist, we may appreciate, finds in art itself a kind of home both protected and exposed. Artist Who Wear Jewelry gathers artists who, each in their own way, gracefully defy expectations. Artist who wear subtle jewelry in streets otherwise filled with murmur of jeering football supporters passing by. Artists who paint ramparts of flowers.” -words by Kasper Bosmans. Last weekend to visit “Artists Who Wear Jewelry”! Dorpsstraat 16, 4525 AH Retranchement, the Netherlands I’d like to thank Kasper Bosmans for asking me to participate in this group exhibition. We have been spiralling around each other like two starlings at the opposites sides of the same flock, creating images in the cloud. When we finally worked together it felt like a full circle to me 🪷 I had the chance to work with a dear friend, @piechant who’s delicate works I have admired for so long. Seeing his painting become larger than life, a spectacle of color, a collage ripping itself free from the wall its been pierced upon ✨ Thank you to the team of @mendeswooddm , and to @yoelpytowski for finding the “straight line” with me.

Tom Hallet - based in Brussels, BE @tomhallet Card 1, Sowing songs #1, pencil on paper - SOLD Card 2, Sowing songs #2, pencil on paper - SOLD Card 3, Sowing songs #3 pencil on paper - SOLD ★ DM @kind.regards.cards with the number of the card you’d like to purchase to support the fundraiser. Thank you for sharing and participating! €30 + shipping (minimum contribution) Cards are located in Brussels, BE.

Group exhibition Shared Rooms - Capturing Cosiness, 2025 17/05-23/11/2025 “Tom Hallet explores the grey areas of his family history, shaped by trauma, where love developed in a survival strategy. His most recent work - an installation made especially for this exhibition - unfolds both in the garden and in the exhibition space. It is based on a memory: his grandmother lost her ability to speak and move later on in life. A camera, which has always been her favourite tool of communication, became her only voice during recovery. From her chair in the garden, she photographed the waking landscape at dawn almost daily. Not driven by artistic ambition, but as a way of staying in touch with her surroundings. In many of the photos, there is a weathervane with a sun and an eclipsing moon, which Hallet’s father made for his mother. For Hallet this weathervane, an exact reproduction of which now stands in the garden of the museum, embodies the cosmic and enigmatic bond between (grand)mother and (grand)child.” The frame can be opened, just like the picture box. Once again, I asked the museum staff to choose one photgraph from a pile of 80, they liked each morning at dawn and replace the previous one. In this way, just as my grandmother used to do, the morning sky rises with the opening of the doors. I’d like to thank @inne_gheeraert for the invitation to participate in this exhibition @permekemuseum and to trust me. I was able to revisit older projects and bring them into my current practice. The other artists include zaddy Permeke himself, Maria Lassnig, Alice Neel, Birde Vanheerswynghels, Etienne Elias, Anne Daems and Katinka Bock. Blessed in your company. I’d like to thank @renardstef for producing the frame and picture box, and Lara Claes for producing the reproduction of the weathervane. Pictures: - Original photograph of Alice Gilain, 10,2cmx15,2cm - Daybreak (A Rite), 2025, photos, Artist’s personal collection - Installation view “Shared Rooms - Capturing Cosiness” - Original photograph of Alice Gilain, 10,2cmx15,2cm @permekemuseum Jabbeke - @mu.zee Oostende Credit 3rd picture, @steven_decroos

Group show Shared Rooms - Capturing Cosiness, 2025 17/05-23/11/2025 “Family and interpersonal relationships run like a thread through Permeke’s artistic practice. His works evoke a sense of togetherness, warmth and domestic intimacy - the longing and anticipation of birth, as well as the raw pain of loss and loneliness.” “The sculptures in the main space of the exhibition allude to the plaited lavender nosegays that Hallet made with his grandmother every summer during his childhood. The current evoke distance and hardness, as well as unexpected fragility and tenderness. Beneath the tightly stretched skins, covered with scars and cracks, weeds and flower seeds germinate. Daily care by museum staff inevitably causes the sculpture and its scars to change, fade, and renew.” I’d like to thank @inne_gheeraert for the invitation to participate in this exhibition @permekemuseum and to trust me. I was able to revisit older projects and bring them into my current practice because of the thematics of this exhibition. The other artists include zaddy Permeke himself, Maria Lassnig, Alice Neel, Birde Vanheerswynghels, Etienne Elias, Anne Daems and Katinka Bock. Blessed in your company. I also like to thank friends and family that came and helped in the progress of the work ♥️ I’d like to give a special shoutout to Lara Claes, that produced the steel structures for the sculpture. Pictures: A.G. (A Menace of Lavender) I+II, 2025, steel, latex earth, seeds - 400cm x 100 cm @permekemuseum Jabbeke - @mu.zee Oostende Credit photos @steven_decroos

Group show A Queer Garden, 2025 What a pleasure it is to be invited by @ds_galerie to be part of this group show about gardens and how they can become a territory of resistance, “a utopia that refuses to be permanently fixed.” The show centers partly around the legacy of Derek Jarman, and directly inspired by his life’s work: Prospect Cottage. A place abandoned, sour and seemingly infertile, but brought back to life with devotion and creativity, love and rebellion. His work “Untitled, 1988” hangs in the space like a shoulder, our daddy extraordinair, onto which we lift ourselves up. Thank you @thomas.havet and @ulysse.feuvrier for trusting me and giving me the humble pleasure to be shown together with my paladin. ‘The works in this exhibition do not simply represent the garden, but extend its logic: they cultivate ambiguity, thwart binarisms, and are rooted in a materiality that questions modes of production and perception of the world. In this sense, they extend the thinking of Monique Wittig, who wrote that “lesbians are not women”: a phrase that, far from being a simple provocation, draws a loophole in the categories of gender, and proposes an escape from the heteropatriarchal system.’ - @ulysse.feuvrier Together with @baaaaayyyyooo , @ardaasena , @aubry.guillaume , @andresbaronm , @clement.bataille , @claude_eigan , @virandresherastudio , @youri.johnson , @srtamartinezperez , Leïla Vilmouth, and Derek Jarman, we make the fields turn yellow in spring. 1. Exhibition view “A Queer Garden” 2. To M. Shepard & To A. McKinney, 2023 3. Unnamed 4. Exhibition view Derek Jarman, Untitled, 1988 & Faggotry III (duo), 2024 Courtesy of the artists and DS galerie. Credit photos @romaindarnaud

Heavy Air, 2024 Duo exhibition together with @antoniaphoebebrown @nw_aalst A few weeks ago, Heavy Air ended in harmony, with some deep transcendent dance tunes by @bassem_s_ and food by Kitchen Stories, and readings and lectures by @bassem_s_ & @fallon_mayanja , and @jonasroelens & myself. Today I’d like to thank my dear friends @stephanie.becquet & Lara Claes for their involvement in the making of “Decoy, a strategy”. Hours of spinning, hours of welding, simultaneously creating a solid structure, as a memorial for our queer ancestors. After reading @jonasroelens “De onuitspreekbare zonde, sodomie in de zuidelijke Nederlanden (1400-1700)”, I realised how much of the strategies they used in the MiddleAges to eliminate, excommunicate and destroy not only queerness, is still used today, in various ways, to attack and blame vulnerable communities in times of political, social and economical distress. It is a tactic of mass destruction. We can’t be convinced otherwise. I’d like to thank the curators @laurammherman & Godart Bakkers for their invitation and support. Image I, II, III, IV: detail “Decoy, a strategy”, 2024, 350x100x200, steel, wood, rope (sheep’s wool, silk, flax, human hair). Image V: rope used to bind together the faggots. Image VI: a little mouse called @stephanie.becquet Photo I by @lola.pertsowsky

Heavy Air, 2024 Duo exhibition together with @antoniaphoebebrown @nw_aalst “These drawings carry a haunting resonance, particularly considering a recent event in France, where fishermen, following an altercation with Sea Shepherd, disfigured a dolphin by carving the initials “PD” into its back - and enduring homophobic slur, which akin to the word “Faggot” represents one of the most lethal messages. The act of inscribing such a word on a living creature prompted Hallet to consider the performance of scarring, both physical and emotional. What if these scars, often mental, were instead visible as the slurs victims are forced to carry?” -@laurammherman I’d like to thank the curators Laura Herman & Goddart Bakkers for their invitation and support. Thank you @antoniaphoebebrown for this wonderful collaboration. Also I’d like to thank two very special people, Lara Claes, who produced the skeleton of the large scale sculpture “Decoy, a strategy”, and @stephanie.becquet who produced the rope which holds all the faggots harmoniously together. This emphasises the importance of a community, as a supportive structure. I will for always be great-full for the time and trust you’ve put into the project. Image I: “Vessel I (Blow Out)”, 2024, 75x57, pencil on paper Image II: detail “Vessel I (Blow Out)” Photos by @lola.pertsowsky

Heavy Air, 2024 Duo exhibition together with @antoniaphoebebrown @nw_aalst “During the Middle Ages, amid a shortage of branches and twigs, it is alleged that witches, heretics, and condemned Queer individuals were tragically used as firewood, leading to the derogatory slur “faggots”. In Heavy Air, the wooden bundles also become a stage where bodies interact with the inherent threat of support structures and protective shelters. While the first primitive hut was built around a fire for warmth and light, Hallet’s work reimagines architecture as a potential site of destruction and combustion, where bodies might become burnables.” -@laurammherman This Saturday, 11th of January, at 15h, I will be in conversation with @jonasroelens about the link between his book “De onuitspreekbare zonde - Sodomie in de Zuidelijke Nederlanden (1400-1700)” and the work I’ve produced for Heavy Air. I’d like to thank the curators Laura Herman & Goddart Bakkers for their invitation and support. Thank you @antoniaphoebebrown for this wonderful collaboration. Also I’d like to thank two very special people, Lara Claes, who produced the skeleton of the large scale sculpture “Decoy, a strategy”, and @stephanie.becquet who produced the rope which holds all the faggots harmoniously together. This emphasises the importance of a community, as a supportive structure. I will for always be great-full for the time and trust you’ve put into the project. Image I: “installation view Heavy Air - Decoy, a strategy, 2024, 350x100x200, steel, wood, rope (sheep’s wool, silk, flax, human hair) Image II: “Faggotry III, 2024, 150x50, branches, treated latex, human hair, rope Image III: “detail “Faggotry III” Photos by @lola.pertsowsky

Heavy Air, 2024 Duo exhibition together with @antoniaphoebebrown @nw_aalst “Hallet’s drawings, meanwhile, depict amphoras -ancient vessels used during the early days of globalisation to transport grains, wine, and culture across the world. Once emptied, these containers were discarded, their forms resembling disfigured, limbless human torsos or aquatic mammals. Hallet’s amphora drawings bear the marks of violence and violation, with carvings and bartering created by pigments applied by hand, leaving uncontrolled traces. In these works, Hallet himself becomes the harasser, turning the act of creation into one of destruction. The amphoras, which historically served as urns to hold the ashes of lived ones, become symbols of resistance and portents of violence. They offer a glimpse of healing before brutally takes its toll, appearing in empty, pitch-black spaces as primordial forms - unknown, but imminent. Through this work, Hallet confronts an endless cycle of violence, where the roles of hunter and hunted, violator and victim, are constantly in flux.” -@laurammherman I’d like to thank the curators Laura Herman & Goddart Bakkers for their invitation and support. Thank you @antoniaphoebebrown for this wonderful collaboration. Also I’d like to thank two very special people, Lara Claes, who produced the skeleton of the large scale sculpture “Decoy, a strategy”, and @stephanie.becquet who produced the rope which holds all the faggots harmoniously together. This emphasises the importance of a community, as a supportive structure. I will for always be great-full for the time and trust you’ve put into the project. Image I: “Vessel II (Acquired)”, 2024, 75x57, pencil on paper Image II: “Faggotry III”, 2024, approx. 150x50, branched, treated latex, human hair, rope Image III: “Vessel III (Aqua Sodom)”, 2024, 75x57, pencil on paper Photos by @lola.pertsowsky

Heavy Air, 2024 Duo exhibition together with @antoniaphoebebrown @nw_aalst “The exhibition title, borrowed from Anne Boyer’s text on capitalism and politics of air, transforms air into a symbol of change, commonality and contestation. In times when even the air we breathe is imbued with struggle, Heavy Air envisions it as a dynamic space of resistance, sound, movement, life, and death - a realm where idea take flight, angels dwell, storms brew and fires spread.” “Hallet’s drawings carry a haunting resonance, particularly considering a recent event in France, where fishermen, following an altercation with Sea Shepherd, disfigured a dolphin by carving the initials ‘PD’ into its back - an enduring homophobic slur, which akin to the word ‘FAGGOT’ represents one of the most lethal messages. The act of inscribing such a word on a living creature prompted Hallet to consider the permanence of scarring, both physical and emotional. What if these scars, often mental, were instead visible as the slurs victims are forced to carry?” - @laurammherman I’d like to thank the curators @laurammherman and Godart Bakkers for their invitation and support. To give me the possibility to show together with an artist I have admired for years previous to this collab @antoniaphoebebrown . Also I’d like to thank two very special people: Lara Claes, who produced the skeleton of the large scale sculpture “Decoy, a stategy” and @stephanie.becquet who produced the rope which holds all the faggots harmoniously together. This emphasises the importance of a community, a supportive structure. I will for always be great-full for the time and trust you’ve put in the project. Image: “Vessel IV (introspect)”, 2024, 75x57, pencil on paper. Photos by @lola.pertsowsky

Heavy Air, 2024 Duo exhibition together with @antoniaphoebebrown @nw_aalst “The exhibition’s title, borrowed from Anne Boyer’s text on capitalism and the politics of air, transforms air into a symbol of change, commonality and contestation. In times when even the air we breathe is imbued with struggle, Heavy Air envisions it as a dynamic space of resistance, sound, movement, life, and death- a realm where ideas take flight, angels dwell, storms brew and fires spread. Tom Hallet presents a new body of work that references the term ‘faggot’, which historically referred to a bundle of sticks used in house constructions and as material to reinforce riverbanks. Hallet reinterprets this term […] to highlight a grim chapter in queer history. Scattered throughout the space are sculptures derived from body-sized wooden bundles, subtly evoking the notion of “hunting”. The sticks are bound together with heavily treated latex, giving them the appearance of quivers filled with arrows - tools for both protection and survival. This duality reflects the human instinct to defend against the elements and predators, but also hints at the unsettling shift when the hunter becomes the hunted.” - @laurammherman I’d like to thank the curators @laurammherman & Godart Bakkers for their invitation and support. To give me the possibility to show together with an artist I have admired for years previous to this collab @antoniaphoebebrown Also I’d like to thank two very special people: Lara Claes, who produced the large skeleton of the large scale sculpture “Decoy, a strategy” and @stephanie.becquet who produced the rope which holds all the faggots harmoniously together. This emphasises the importance of a community, a supportive structure. I will for always be great-full for the time and trust you’ve put in the project. Image 2: “Faggotry I” (branches, latex, human hair, rope), 2024 Photos by @lola.pertsowsky