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FRED&FERRY

@_fredferry_

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FRED&FERRY is an artist-dedicated gallery committed to presenting and supporting contemporary artistic practices.

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SWAN SONGS - Focus #6/15:
MIRTHE KLÜCK

Mirthe Klück is a Dutch artist based in The Hague. She graduated from the Royal Academy of Art in The Hague in 2014 and later earned a postgraduate degree in Fine Arts from the HISK in Ghent in 2019.

Her work is driven by a deep curiosity about how materials interact, respond to one another, and imbue artworks with meaning. Klück often combines abstract paintings with figurative ceramic sculptures, drawing on familiar motifs and materials such as burlap, Styrofoam, or techniques like painting and collage.

A central theme in her practice is the exploration of the spatial qualities of the flat surface and the “in-between space” that lies beyond it. She refers to this concept as “dry” and investigates whether an artist can add meaning to seemingly mundane, overlooked things. In doing so, she approaches seemingly insignificant subjects with respect and questions whether the impersonal can be made personal.

Her work has been exhibited at venues including Fred&Ferry, Museum IKOB in Eupen, Galleria Fuoricampo in Siena, and M HKA in Antwerp.

Currently, she is active as a resident artist and is developing new projects that further deepen her research into materials and the creation of meaning.

6th Song

Canción contra la indecisión
Bobo Stenson Trio

Canción contra la indecisión is a composition by the Cuban singer-songwriter Silvio Rodríguez. Bobo Stenson recorded the song with his trio for Contra la indecisión (2018). In his version, the song takes on a very different form: transparent, contemplative and spacious, with drummer Jon Fält’s soft brushwork and plenty of space between the notes.

The music does not try to resolve hesitation. Instead, it remains within it, as if each next step only acquires meaning through the time that precedes it. Perhaps that is where its strength lies: not in offering an answer, but in inhabiting attentively the moment in which a decision slowly begins to take shape. taken in Fred&Ferry Gallery by @_fredferry_

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7 days ago

SWAN SONGS - Focus #5/15:
ROBBERT&FRANK FRANK&ROBBERT

Frank&Robbert Robbert&Frank grew up together.

They developed a strong intuition for the symbolic and political power of images. Instead of provocation, they seek poetry, inviting viewers to look closer. By questioning the role of the artist, they constantly develop new methods for creating and presenting their work. Trial and error, persistence, and humor are key to their practice.

After graduating with a master’s in visual arts from KASK (Ghent, 2012), they adopted the artist duo name Robbert&Frank Frank&Robbert. Their intense collaboration forms the foundation of their artistic practice and symbolizes their vision of friendship, collectivity, interplay, and knowledge sharing. Together, they create multidisciplinary works, including objects, prints, installations, videos, public actions, and performances that blur the lines between art and theater. Their work actively engages with global society, offering poetic alternatives and critical questions.

Beyond official exhibitions and festivals, they initiate public actions to reach broader audiences, refine their experiments, and expand their network.

Collaboration is central to their practice. By working with other artists and organizations, they deepen their roots in the local and global art world while embracing relational art as a vital, meaningful approach.

5th Song

Stars
Nina Simone

Janis Ian wrote Stars when she was twenty, as a sombre reflection on fame and the transience of artistic recognition. Nina Simone recorded the song in 1976 during her legendary performance at Montreux. She made it more than a cover: her rendition sounds like a personal confrontation with what remains of an artist when the glow of the stage begins to fade.

During the song, Simone even interrupts her performance to address a member of the audience who is about to leave (see YouTube-link). Then she continues singing. The moment is almost uncomfortable in its directness, but it is precisely this that gives Stars the quality of a confession that is at once public and deeply intimate. taken in Fred&Ferry Gallery by @_fredferry_

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14 days ago

SWAN SONGS - Focus #4/15:
LIESBETH HENDERICKX

Liesbeth Henderickx’s creations invite us to reconsider how we underestimate the worth of the everyday, and to purposefully integrate construction
elements into our vicinity.

Henderickx unravels ways to demand attention for often-overlooked details, to avoid becoming blind to what we have come to take as a given. Growth stalls when we cease to acknowledge the patterns within which we live, as is shown by the artist’s vision on craftsmanship that harbours respect and a sense of wonder for the space objects and materials are allotted. A mountain rock exists as a bathroom tile elsewhere.

She prefers it when the connection between individuals and their environment can be as comfortable as a cushioned coat. Her work sets out to re-think the bond between people and materials, bodies and architecture.
In addition, her installations and concepts pay homage to the freedom to create, craftsmanship, and the pursuit of progress.

The artist reminds us that beauty takes shelter in the things we think we know, as long as we are willing to look towards them with restored wonder.

4th Song

Where Wind Blows
Bonnie “Prince” Billy

A spare ballad from The Wonder Show of the World (2010), in which
Will Oldham sings with a characteristic blend of restraint and intimacy. As is often the case with Bonnie “Prince” Billy, the lyrics unfold through images
rather than a clearly defined narrative. The very title evokes an idea of
movement without a fixed destination, of yielding to forces that can only partly be guided.
In this context, the song may be heard as an invitation to experience change not merely as loss, but also as a movement whose meaning reveals itself
in its own time. taken in Fred&Ferry Gallery by @_fredferry_

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21 days ago

SWAN SONGS - Focus #3/15:
ANNE VAN BOXELAERE

To capture this unmistakable tension between order and disorder,
Van Boxelaere experiments with large and small formats, with different types of paint, with rubber, epoxy and ink. But also with figuration and abstraction - her figurative and abstract works are different interpretations of the same world. Some situations can be articulated concretely, even require a literal statement; in others the silence speaks.

Van Boxelaere works in direct relation to her surroundings: the physical, pre-eminently urban, landscape, and the mental one. Due to the sometimes rigid administration that governs both areas, she discerns a certain detachment. In the hermetic system of everyday life, no one feels at home anymore; escaping from the restless noise, from the “laws and practical encumbrances”, is almost impossible. Mesmerized, Van Boxelaere observes the schizophrenic social systems and oppressive developments in densely populated, densely built Belgium. In her deeply felt canvases, she fillets the insane grid that was supposedly constructed to provide something to hold on to, but that turns out to be a submission hold.

Sometimes she breaks open that oppressive framework, sometimes she cleans the rubble of the passing storm.

3th Song

Paradise Circus
Massive Attack

Carried by Hope Sandoval’s dreamy, almost impassive voice, Paradise Circus unfolds as a piece that is at once sensual and quietly unsettling. The music seems to hover between attraction and unease, between surrender and the awareness that every form of attachment already contains the possibility of loss.
The lyrics move between desire, dependency and the loss of control; the line “Love is like a sin, my love” lends the song an unmistakably ambiguous charge. In this context, the song can be heard as a reminder that the places and projects to which we become attached derive part of their meaning from their very impermanence. taken in Fred&Ferry Gallery by @_fredferry_

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a month ago

SWAN SONGS - Focus #2/15:
ZORO FEIGL

All of Zoro Feigl’s installations make noise. Sometimes it’s subtle, like the soft creaking of your own footstep on ‘liquid’ wood, and at other times it’s the thundering of rapidly rotating plastic roaring like a hurricane. His work also moves. Sometimes a slow turn creates a ripple in a pool of water, or a powerful twist sends metal strips upwards before crashing to the floor. Sometimes the work vibrates so fast that it’s imossible to follow with the human eye.
(Ellis Kat)

“Moving parts tend to break down, they wear, they give way, they destroy themselves, they do not do what you want them to do. This is what I do.

In trying to make a physical manifestation of movement, both the mechanical and the forms it produces are what I consider to be my work. I’m not
discovering anything new, I’m discovering the amazingness of what is already there, right in front of us. The results of this two-part process, be the end
products or the effects it may have on the ones who are willing to look at it, are not fully within my reach.

While intentionally aiming to produce and control a more or less predictable outcome, I am aware and of course counting on the elements of reality to help me finish my projects.

The discrepancy between thought and object, what is allowed in and that what forces itself upon the work, are the things I try to manage, its results will be mine, but never fully.

Although the work manifests itself as a pure visual experience there is another layer, sometimes poetical sometimes critical.

Documentation will hopefully never do justice to the work. An honest anecdote of the experience will give more credit than any registration of it can do.”

2nd Song

The Rip
Portishead

The Rip begins with little more than an acoustic guitar and Beth Gibbons’ restrained, intimate voice. Midway, a pulsing synthesizer pattern emerges, steering the song in an unexpected direction and opening up its initial intimacy.
The Rip can be heard as music for a passage:
a farewell that does not yet know what shape its continuation will take. taken in Fred&Ferry Gallery by @_fredferry_

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a month ago

SWAN SONGS - Focus #1/15:
ANTOINE WATERKEYN

For 17 years, Antoine Waterkeyn has been developing his practice intensively.

He moves mountains into research, documentation, reading, and conversation, which gives tremendous depth to his work. His interest goes as much to the heritage of Western traditional/elitist cultural history as to alternative sources and ways of thinking that remain prevalent in vast segments of the population. The reading of tarot cards, for example, is not foreign to him, and he places substantial faith in an alternative society that is connected to elements in life that are dictated by fate and chance.

As a figurative painter, he is substantially pursuing a sincere and personal visual language, averse/far from all conventions and strategic positioning prevalent in the art field. Antoine Waterkeyn treads an authentic track in art and allows himself a transhistorical approach. From the images he incorporates into his paintings, he lets the energy flow spontaneously. Painting-wise, he constantly explores mediums and techniques. He views his work as iconoclastic and permanently exposes it to self-criticism.

Furthermore, Antoine’s work is transdisciplinary. Imbued with literary aspects, his paintings evolve into freestanding sculptures, theatrical props, sets, installations, etc. Videos, performances, and “interactions” emerge from his free imagination and groundbreaking attitude laced with humor, sarcasm, and healthy criticism of himself and society. (Patricia De Peuter)

SWAN SONGS - Track #1/15:

Nude
Radiohead

Nude was once described by Pitchfork as a “big-hearted resurrection”: a song that haunted listeners for over a decade before it found its definitive form. The music floats effortlessly: a pulsing bassline, sparsely placed guitar figures, and Thom Yorke’s high, almost weightless voice keep the song suspended in a state of tension and restraint. The lyrics carry a sense of disappointment and the realization that desires are not always fulfilled. The song seems to be as much about resignation as it is about the lingering resonance of what remained unfinished.

Photos:
1-4-5 @tomasuyttendaele
2-3 @lynnvanoijstaeijen taken in Fred&Ferry Gallery by @_fredferry_

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a month ago

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2 months ago

Follow the Swans — an artistic performance by Robbert & Frank Frank & Robbert

On Saturday 10 October from 3.00 pm to 5.00 pm, Robbert & Frank Frank & Robbert invite you to join them in creating a special trail through the exhibition.

During the performance, they will draw and fold all kinds of paper swans, together with the visitors. Each swan becomes a small sculpture and finds its place within the exhibition. Slowly, a trail of swans will emerge, leading us through the exhibition and all the way to the front door.

There, a final and larger work awaits: a ceremonial piece that will be set on fire. A symbolic closing ritual to celebrate the exhibition and the collaboration — bringing the trail of swans to an end in fire.

Come watch, fold, and become part of the ritual.

Afterwards, we invite you to join us for a drink. taken in Fred&Ferry Gallery by @_fredferry_

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10 days ago

Swan Songs is the final exhibition of FRED&FERRY, which will close its doors permanently on 13 December.
For this occasion, each of the 15 artists currently represented by the gallery presents a work specially selected or developed for the exhibition.

#kunstflaneur #fredferry #antwerpartgallery #swansong taken in Fred&Ferry Gallery by @_fredferry_

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23 days ago

Swan Songs - The final exhibition of FRED&FERRY - 13 September - 13 December 2026

Opening: Sunday, 13 September, 14:00-19:00

After six years, FRED&FERRY will permanently close its doors on 13 December 2026. Swan Songs serves as the gallery's final exhibition, uniting the fifteen artists currently represented by FRED&FERRY.
For this occasion, each artist has created or selected a work specifically for the exhibition. The exhibition unfolds over three months, tracing the chronology of six years of collaboration-from the gallery's earliest exhibitions to the present day.

participating artists:
@winnieclaessens @janacoorevits @tramainedesenna @lydiahannahdebeer @studiozoro @liesbethhenderickx @postbotenschreck @mirthekluck @teloneon @annevanboxelaere @verstraeten_thomas @waterkeynantoine

Merci pour la route @frederik_vergaert en @ferrysaris

x taken in Fred&Ferry Gallery by @_fredferry_

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a month ago

🌱 Artwork of the Month. Last year we participated with the WITBOEK project, curated by @brunodevos of @hopperandfuchs & @frederik_vergaert of @_fredferry_ gallery. Core concept: fifty artists transform fifty empty white paged books into ‘book-objects’. With f&r r&f we made a series of small, associative drawings where dreams, alter egos, fragments of our shared mythology, and various associations came together. No single story - part archive, part playground. 📖

This amazing project is still running, as the WITBOEKS keep on traveling the world.

In the meantime we, and many other artists, are working on SWAN SONGS, the final exhibition at Fred&Ferry gallery. SWAN SONGS will open on 13th of September and will run till the 13th of december. As per 1 January 2027 the gallery will stop it’s activities and seize to exist. We loved the collaboration during the last couple of years and therefore we would like to thank everyone involved ❤️
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#artwork #contemporaryart #witbook #artonpaper #book taken in Fred&Ferry Gallery by @_fredferry_

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2 months ago

De laatste week van mijn solotentoonstelling Een Onzichtbare Stad in @dewarande in Turnhout gaat in. Van woensdag 26 augustus tot zondag 30 augustus kan je nog een laatste keer de video’s bekijken van Familiestraat, Urbi et Orbi, A 21st Century Portrait en Symphony for one hundred Citizens and a Traffic Light. Daarna verdwijnen ze samen met de decorstukken, foto’s en maquettes weer in het archief.
Op de finissage op 30 augustus ga ik om 14u in gesprek met Marie Peeters over Schoonheid en Toeval.
Heel welkom!

@_fredferry_
@de_warande_expo
@marieppeeters
@glenngeerinck
@wietsenys
@lynnvanoijstaeijen
@sen_studio
@heleenvanhaegenbrgh

Foto’s: @wedocumentart by @_fredferry_

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2 months ago