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Four days back in Venice, and what a joy to experience the Biennale for a second time.

I was here in May for the opening, when everything felt intense, exciting and almost overwhelming. Returning a few months later offered something completely different: more time to look, to revisit some of the pavilions at the Giardini and the Arsenale, and to discover works and places I had missed the first time around.

There is something very special about seeing an exhibition twice. You look differently. Certain works reveal themselves in a new way, while others suddenly resonate much more deeply.

One of my most beautiful discoveries this time was the Holy See Pavilion and its Mystical Garden. A truly immersive and deeply moving experience. The place itself, the atmosphere, the music… everything comes together to create an almost spiritual space, a world apart. You slow down, you listen, you look, and gradually allow yourself to be transported somewhere else.

It resonated deeply with something that has become increasingly important in my own work at the gallery: the idea of Slow Art. Taking the time to truly be with an artwork, beyond the first impression, and allowing space for contemplation, emotion and discovery.

Perhaps that is also what made returning to the Biennale a second time so special: slowing down, looking again, and discovering differently.

And a very warm thank you to Chantal Pattyn @chantal_pattyn and Hubert d’Ursel @hubert.durs for bringing this wonderful group together and making these four days such a special experience.

#venicebiennale #slowart #artlover #estherverhaegheartconcepts
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Yesterday, my colleague @hubert.durs and I visited the studio of Mark Manders, stepping directly into an artwork that has been expanding for over three decades.

Since 1986, the Dutch artist has been developing a single, continuous project titled Self-Portrait as a Building. Every sculpture, installation, object, and architectural element he creates functions as a room or piece of furniture inside this imagined mind-structure. Instead of separate, unrelated works, his entire practice operates as one massive, interconnected puzzle of time and memory.

What makes encountering his work in person so striking is how completely it tricks the senses. What appears to be wet, freshly molded clay held together with scrap wood or rope is actually heavy, meticulously cast bronze. Painted surfaces disguise hard metal as soft earth or delicate paper, creating a feeling that the studio was abandoned mid-process just moments ago. Nothing is quite what it seems.

By freezing these raw, seemingly fragile moments in permanent bronze, Manders captures a state of permanent potential. It was an incredible experience to witness how every detail in his workspace feeds into this singular, lifelong vision. 🎨 ✨ 🏺

Massive thank you to @mark.manders , @xavierhufkens and @anazoez 🙏

#MarkManders #ContemporaryArt #StudioVisit #Sculpture #ContemporaryArt Wide angle shot of the studio of Mark Manders and my colleague and I
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