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hear/here on view until March 2027
Register to our Newsletter for more info ⬇️

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Doruntina Kastrati, A Horn That Swallows Songs presented in Labouring Bodies

In her installation, Doruntina Kastrati addresses working conditions at factories in and around Istanbul that produce lokum, a confectionary also known as ‘Turkish delight’ that is usually offered after meals as a sign of hospitality. The women work long days, sometimes in shifts of more than twelve hours, mainly standing up. The artist used her interviews with the workers to develop a text that adopts the perspective of a fictional first-person narrator. In her engagement with exploitative working conditions, Kastrati contrasts stereotypes of the Orient’s ‘sweet pleasures’ (linked both to foodstuffs and to images of women) with the corresponding material reality.

@doruntinakastrati_ @museumtinguely @collectionservais

exhibition runs through November 8

#labouringbodies #artinbasel #thisisbasel

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Annalee Davis: More Tender Geographies.
Curated by Katja Rivera.

Fine Art Center, Colorado Springs. September 4, 2026 - December 5, 2026

“Barbadian artist Annalee Davis’s first solo museum exhibition in the United States, More Tender Geographies, brings together more than thirty works spanning a decade of the artist’s practice. Davis examines what she calls a “post-plantation landscape” through a process by which she looks to land to explore evidence of rupture, care, resistance, & survival. Barbados’s social & ecological history shapes Davis’s sustained attention to land, labor, & cultural heritage.

On view are works in which Davis incorporates materials found on her family’s property, a working dairy farm that formerly operated as a sugar plantation. 18th- & 19th-century sherds likely used by both plantation owners & enslaved laborers are visible in Davis’s (bush) Tea Services. Ledger papers became the substrates in a suite of drawings of plants cultivated in Barbados, such as sugarcane, paw-paw, & blue vervain.

Davis also presents a collection of dried plants in How to Know a Land II, a topographic drawing in From a Garden of Hope, & large-scale embroidered textiles, such as Post Reproductive Breasts Sprouting New Life. Together these works emphasize plants in the process of healing, care, as well as reproductive & post-reproductive health.

Alongside these works, the exhibition debuts a newly commissioned sound installation created by Davis in collaboration with musicians from Barbados (Simon Pipe & Jomo Slusher) and Martinique (Marcel Jean-Baptiste). In an underground limestone cave, the musicians engaged in a dialogue with the natural world through sound, echo, & reverberation.

Across the exhibition, Davis encourages viewers to recognize mutual entanglements: between past & present, between people, and between humans & the natural world. In ways that are deeply personal yet global in reach, Annalee Davis explores colonial histories of extraction and labor, and the sacredness of land, to unearth possibilities for resistance in the present, while imagining more responsible futures.”

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“The art week was incredible. I’m actually considering moving to Brussels.”

Last month, IMPULSE writer Nicolas Vamvouklis @vamvouklisn made his way through the second edition of RendezVous, picking out 10 exhibitions and projects you should check out if you happen to be in Brussels this season. Click on the link in our bio to read the full article, through which our New York editors are living vicariously.

@rendezvousbxl @espaceaygo

#Brussels #art #brusselsartweek

Michel Frère @kinbrussels

@tatianatrouve @xavierhufkens

@alvinonglj @rodolphejanssen

@ali.cherri @wiels_brussels

“Casual/Tease” @cloudseven.be

@kristofsanty @sorrysorry_were_closed

@folkert.dejong @galeriechristophegaillard

@ugorondinone0 @gladstone.gallery

“hear/here” @collectionservais
@cracknpain @youngjun.tak

@isaacandrewsstudio @stems_gallery

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…why do you hold back?

Attempt II, presented on the third floor, centres on four video works—Repetition, Production, Monotony, and Mechanical Pain—developed from interviews conducted across six lokum (Turkish delight) factories in Istanbul in 2025.

curated by: @amilapuzic
sound installation: @hauptmeier_recker
architect: @okanxh
images: Anrej Lamut

@collectionservais 🤍

*description taken from curatorial text

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@rendezvousbxl it’s been a journey! ✨🦢✨🦢

Behind the scenes and in the thick of it // Brussels, we did it. 🤍 #brusselsartweek #contemporaryart

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Last night was a special night🖤

…why do you hold back? The title comes from Barbara Strozzi’s 17th-century song Lagrime mie. The show gathers research from 2023–2026, existing works, and two new commissions, curated by @amilapuzic.

Across three floors of the institution, the exhibition unfolds in three interconnected parts — Attempt I, Attempt II, and Attempt III — bringing together new sculptural reliefs and sound installations on body, machine, and labour.

sound installation: @hauptmeier_recker
architect: @oxatelierl
3d design: @pakmatutje
soprano: @elonasadiku_

On view until 22 November🖤

photo: Andrej Lamut

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Plan your visit to our participating Private Foundations this weekend!

Discover the full programme and opening hours for each venue on our website via link in bio.

1. 𝐕𝐚𝐧𝐡𝐚𝐞𝐫𝐞𝐧𝐭𝐬 𝐀𝐫𝐭 𝐂𝐨𝐥𝐥𝐞𝐜𝐭𝐢𝐨𝐧
‘VIEWING DEPOT EXH#03’
Group Exhibition
and
‘Reflections on Breathing’ by Jeppe Hein 📍Rue Anneessens 29, 1000 Bruxelles

2. 𝐀 𝐅𝐨𝐮𝐧𝐝𝐚𝐭𝐢𝐨𝐧
‘Lost and Found.’ Japanese photography in the collection of the A Foundation
Group Exhibition
📍Av. Van Volxem 304, 1190 Forest

3. 𝐂𝐥𝐨𝐮𝐝 𝐒𝐞𝐯𝐞𝐧
‘Casual/Tease’
Group Exhibition
📍Quai du Commerce 7, 1000 Brussels

4. 𝐅𝐨𝐧𝐝𝐚𝐭𝐢𝐨𝐧 𝐁𝐨𝐠𝐡𝐨𝐬𝐬𝐢𝐚𝐧
‘Diary of Happiness’ by Jean-Michel Othoniel
📍Av. Franklin Roosevelt 67, 1050 Ixelles

5. 𝐅𝐨𝐧𝐝𝐚𝐭𝐢𝐨𝐧 𝐂𝐀𝐁
‘Edgar Sarin Matthäus-Passion’
Group Exhibition
📍Rue Borrens 32-34, 1050 Ixelles

6. 𝐅𝐨𝐧𝐝𝐚𝐭𝐢𝐨𝐧 𝐖𝐚𝐥𝐭𝐞𝐫 & 𝐍𝐢𝐜𝐨𝐥𝐞 𝐋𝐞𝐛𝐥𝐚𝐧𝐜
‘Zones de lumière, zones d’ombre.’
Group Exhibition
📍Chaussée de Gand 1118, 1082 Berchem-Sainte-Agathe

7. 𝐆𝐚𝐥𝐥𝐢𝐥𝐚’𝐬 𝐏𝐎𝐂
‘Overdose’ Group show
📍Av. Van Volxem 295, 1190 Forest, Belgium

8. 𝐋𝐚 𝐕𝐞𝐫𝐫𝐢è𝐫𝐞
‘Elle/Terre/Chaude’
“Île/Mer/Froid” Group Exhibition
📍Bd de Waterloo 50, 1000 Bruxelles, Belgium

9. 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐞 𝐕𝐚𝐧𝐝𝐞𝐧𝐛𝐞𝐫𝐠 𝐅𝐨𝐮𝐧𝐝𝐚𝐭𝐢𝐨𝐧
‘VISITE’ by Philippe Vandenberg and Carole Vanderlinden
📍Vanderstichelenstraat 68A, 1080 Brussel

10. 𝐏𝐈𝐂𝐌𝐎𝐋
Solo Exhibition by Josafá Neves
📍Av. Molière 245, 1050 Ixelles, Belgium

11. 𝐒𝐞𝐫𝐯𝐚𝐢𝐬 𝐅𝐚𝐦𝐢𝐥𝐲 𝐂𝐨𝐥𝐥𝐞𝐜𝐭𝐢𝐨𝐧
‘hear/here’
Group Exhibition
📍Rue des Ailes 10, 1030 Bruxelles

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HOW TO CHOOSE YOUR FIRST ARTWORK? 🫣

At the last fair, we asked our guests and gallerists to share their advice for young art collectors buying their first artwork.

▶ ArtVilnius’25 guest, Belgian collector and financier Alain Servais @collectionservais , is known for his outspoken views on the art market and his sharp reflections on the role of collecting today.

Over the past two decades, he has built one of Europe’s most thought-provoking private collections, emphasising socially engaged, time-based, and conceptual art.

According to Alain, for young collectors, the most important thing is to step outside their comfort zone and open themselves to different realities.

📣SAVE THE DATE

The 17th Contemporary
Art Fair ArtVilnius’26
DATE: October 1-4

-—
- ArtVilnius is financed by Lietuvos kultūros taryba
- Under the patronage of Vilnius City Municipality
- Maecenas Law Firm COBALT.Legal
- General Partner Eika Group

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RdV! Announcing the Events at our Participating Venues! 
Swipe to discover all the events taking place this Saturday 12 Sept. in 𝓓𝓸𝔀𝓷𝓽𝓸𝔀𝓷 (Centre and Sablon)

Visit our website to book to your events in advance and for the latest updates. Link in bio!

Photo by @sander_h_sander

𝟏𝟎–𝟏𝟑 𝐒𝐞𝐩𝐭𝐞𝐦𝐛𝐞𝐫 𝟐𝟎𝟐𝟔 Over 100 locations across Brussels

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MEET THE ARTISTS / EXPLORE THE ARTWORKS
DANH VO

📨A letter within the LETTER: The “Letter of J. Théophane Vénard, 2009-” is Danish-Vietnamese artist Danh Vo’s participation in the exhibition, presented through DEO’s collaboration with the Servais Family Collection.

✍️Danh Vo asked his father to copy the final letter written by French missionary Jean-Théophane Vénard to his own father, shortly before Vénard’s father was executed in Vietnam. Phung Vo learned the art of calligraphy in Vietnam, a form of education that remains a legacy of the country’s French colonial past. Although he cannot read French or understand the letter, he continues to copy it each time the work is exhibited or sold.

👥Vo’s artwork brings into dialogue relationships between fathers and sons in different contexts and remains a work in progress -much like our own relationship with the “father”- until Vo’s father is no longer able to write.

✉️✉️✉️✉️✉️✉️✉️✉️✉️

ΓΝΩΡΙΣΤΕ ΤΟΥΣ ΚΑΛΛΙΤΕΧΝΕΣ / ΑΝΑΚΑΛΥΨΤΕ ΤΑ ΕΡΓΑ ΤΟΥΣ
ΓΙΑΝ ΒΟ

📨Ένα γράμμα μέσα στο ΓΡΑΜΜΑ: Η “Επιστολή του Ζ. Τεοφάν Βενάρντ, 2009-” είναι η συμμετοχή του Δανο-Βιετναμέζου εικαστικού Γιαν Βο, μέσω της συνεργασίας της DEO με την Οικογενειακή Συλλογή Servais.

✍️Ο Γιαν Βο ζήτησε από τον πατέρα του να αντιγράψει την τελευταία επιστολή του Γάλλου ιεραπόστολου Ζαν-Τεοφάν Βενάρντ προς τον δικό του πατέρα, λίγο πριν ο πρώτος εκτελεστεί στο Βιετνάμ. Ο Πουνγκ Βο έμαθε στο Βιετνάμ την τέχνη της καλλιγραφίας, μια μορφή εκπαίδευσης-κατάλοιπο του γαλλικού αποικιοκρατικού παρελθόντος της χώρας, και, παρ’ όλο που δεν μπορεί να διαβάσει γαλλικά και να κατανοήσει το γράμμα, συνεχίζει να το αντιγράφει κάθε φορά που εκτίθεται ή πωλείται.

👥Το γράμμα του Βο θέτει σε αλληλεπίδραση σχέσεις πατεράδων και γιων σε διαφορετικά συγκείμενα και παραμένει ένα έργο σε εξέλιξη - όπως ακριβώς και η σχέση μας με τον “πατέρα” - μέχρι ο πατέρας του Βο να πάψει να είναι πλέον σε θέση να γράψει.

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MEET THE ARTISTS / EXPLORE THE ARTWORKS
CINDY SHERMAN

📷Challenging conventional ideas of portraiture, American photographer Cindy Sherman often works with her own face, staging scenes that evoke feelings of unease or even horror.

😱In Untitled #174, a horned creature emerges from an almost tomb-like bed of stones, appearing to gaze at the viewer through an ominous blue light. Could it be a prophecy of a dystopian future?

🔬For LETTER TO AN AILING FATHER, the work is strategically placed in the school laboratory, where its unsettling presence, among experimental equipment and anatomical skeleton models, evokes visions of dystopian worlds and raises questions about humanity’s place within them.

🫶🏻Sherman’s work is presented through DEO’s collaboration with the Servais Family Collection.

✉️✉️✉️✉️✉️✉️✉️✉️✉️

ΓΝΩΡΙΣΤΕ ΤΗΝ ΚΑΛΛΙΤΕΧΝΙΔΑ / ΑΝΑΚΑΛΥΨΤΕ ΤΟ ΕΡΓΟ
ΣΙΝΤΥ ΣΕΡΜΑΝ

📷Αμφισβητώντας τις συμβατικές ιδέες της προσωπογραφίας, η Αμερικανίδα φωτογράφος Σίντυ Σέρμαν δουλεύει συχνά με το ίδιο το πρόσωπό της, σκηνοθετώντας λήψεις που δημιουργούν αισθήματα δυσφορίας ή και τρόμου.

😱Στο “Άτιτλο #174”, ένα κερασφόρο πλάσμα αναδύεται μέσα από ένα σχεδόν ταφικό στρώμα από πέτρες και μοιάζει να κοιτάζει τον θεατή μέσα από ένα δυσοίωνο μπλε φως. Πρόκειται άραγε για προφητεία κάποιου σκοτεινού μέλλοντος;

🔬Για την έκθεση ΓΡΑΜΜΑ Σ’ ΕΝΑΝ ΙΣΧΝΟ ΠΑΤΕΡΑ το έργο τοποθετείται στρατηγικά στο Εργαστήριο Φυσικής του Σχολείου Βολισσού, ανάμεσα σε όργανα για πειράματα και σκελετούς βιολογίας, εντείνοντας έτσι την ατμόσφαιρα ανησυχίας και τους υπαινιγμούς για δυστοπικά ανθρώπινα μέλλοντα.

🫶🏻Η φωτογραφία της Σέρμαν παρουσιάζεται μέσω της συνεργασίας της DEO με την Οικογενειακή Συλλογή Servais.

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🧡🔥Présentation des artistes suite : 🤩Grayson PERRY (UK) apportera une relecture déjantée de l’art de la tapisserie 💥 et de l’histoire des classes sociales dans les écuries du Parc d'Enghien. ❤️📷 Images courtesy of Servais Family Collection 🙏@collectionservais , Ville d'Enghien @visit.enghien #graysonperry

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