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SECONDroom Antwerpen

@secondroom_antwerp

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One day expo space curated by @tamara.beheydt & @christophe_flore

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20Y of Life at The Arts Institute, 5 JAAR FAAR, an emerging temporary landscape with Kristel Van Ballaer at SECONDroom, drawings turned to tattoos* with Manon De Bruyn at Helder, and Blancooo will function as a centrally located information and gathering point.

Just the first reveal of a program full of happenings, performances and exhibitions. Stay tuned for much more.

Our nightly stroll is planned for next week, Friday, October 30th.

*Tattoos at Studio Helder will be executed by @brikje_tattoo

For a detailed overview of each space’s individual program, visit their pages:

@the_arts_institute
@atelier_faar
@secondroom_antwerp
@studiohelder
@blancooo.ruimte.object

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Random

#belgrado
#beograd

Rondom

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Random

👀

Rondom

#belgrado
#belgrade
#beograd

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Announcing the season 26/27 participants:

0.25, Base-Alpha Gallery, Beamstreet Studio, Blancooo, Boutros Gallery, DMW Gallery, Édition Populaire, Eva Steynen Gallery, FAAR, From Me To You Space, Galerie S&S, Kunsthal Extra City, L’art 54 Kunstplatform, Melis & Piron Living Room, Out of Sight x Morpho, Pizza Gallery, Ruimte34, Secondroom, Studio Helder, The Arts Institute, Window

21 art spaces, galleries and institutes, all opening their doors for a communal evening stroll, our nightly gathering, the Borger Nocturne, happening Friday October 30th.

New exhibitions, performances and other happenings are part of the program. And who knows what else the night may bring…

@0.25_antwerp
@basealphagallery
@beamstreetstudio
@blancooo.ruimte.object
@boutros_gallery
@dmwgalleryantwerp
@edition_populaire_antwerp
@evasteynengallery
@atelier_faar
@frommetoyouspace
@galerie_sns
@extra_city
@lart54antwerpen
@melispiron
@out___of___sight
@morphoantwerp
@pizzagalleryspace
@ruimte34
@secondroom_antwerp
@studiohelder
@the_arts_institute
@twipantwerp

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Belgrado

Random

🌞🌞🌞

Rondom

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Few frames from latest Know Thyself?!
expo at SECONDroom
Antwerp, 3 October
@secondroom_antwerp

Browse to find the cutest friend that came visiting

Know Thyself, inscribed at the Temple of Apollo in Delphi, in times of Socrates, these words have carried meaning for a very long time now. While the meaning of it has constantly shifted, as societies were changing, what can be the meaning of it in our society nowadays?
This series of paintings references the practice of therapy in our times. Is therapy a trend nowadays that people follow, like so many others, or are they genuinely interested in discovering themselves -know thyself- through dialogue?

Artist: @tania_simonca

Performance: @andreitpa
Writer:G.H.G van Mil for a two-page text
(edition of 60)
Surprise performer: @helenmusicofficial

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expo 393
Karolina Szwed

26.09.2026
SECONDroom Antwerp

@k.arolinaszwed @secondroom_antwerp

“He didn’t cry on a safari
In over his knees
He couldn’t leave the finer life
Always hugging the ground
But crying out for me

He didn’t cry on a safari
In over his knees
He couldn’t leave the flock, he couldn’t leave
Always hugging the man
But crying out for me”

– lyrics from “Safari” by the Breeders

In the exhibition, Karolina Szwed explores repetition, gesture, and visual perception through three horizontal pairs of companion paintings. Drawing inspiration from stereoscopic vision and the limits of muscle memory, each pair investigates how intuitive, impulse-driven brushwork shifts when attempting to recreate an image. The works, displayed side by side, invite viewers into direct comparison, allowing a meaning to stem from the subtle, accidental or conscious variations of the human hand. In the single “Safari” Kim Deal invited her twin sister to join the band for the first time.

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BETWEEN THE LINES
a meeting through writing in dialogue with @antoonvandenbraembussche

Between the Lines emerged from an encounter between image and word.
A series of 35 drawings forms the starting point. The drawings were not made with a poem in mind. It was only through looking that a second movement emerged: Antoon Van den Braembussche responded in writing to what he saw.
The writing become a new layer. A dialogue emerges in which meaning is not fixed, but continuously takes new shape.
This movement continues into the physical space. The poem is written in clay on the floor as one continuous text. The clay comes from Boom (BE) earth carrying its own history and sense of place. A material that so often serves as a carrier within my practice becomes here a carrier of language as well.
The words are not placed on paper, but on the ground. They become part of the space, temporary and embodied. Reading becomes movement. Writing becomes a spatial gesture. Language becomes matter.

Earth is never merely a material from which to create something permanent. It carries time, place and memory, but it can also return to the earth from which it came. This work, too, is not conceived as a permanent object. What is written appears as a temporary trace: present, tangible and at the same time vulnerable.
The text can be read, but it will also disappear. The clay can be moved, absorbed into the space, returned to the earth. What remains is not necessarily the physical work, but the encounter that has taken place.

The line, a recurring element within my practice, takes on another form here. Where a line can suggest movement, a boundary or a connection, it is now carried by words. The earth becomes a page, writing becomes a sculptural gesture, and the poem becomes a trace within the space.

Between the Lines exists literally and metaphorically between the lines: between drawing and poem, between image and language, between writing and drawing, between human being and earth, between presence and disappearance.

Thank you @secondroom_antwerp for having me
Special thanks @erikhaemers

📷 @nathaliedouxfils.coaching, @erikhaemers

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In exactly one month.

From living room to gallery, to the streets we take. Meet and greets and spectate.

The next Borger Nocturne befalls October 30th.

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this is @an_roovers at #antwerpartbox on view till end of october AND this was #anroovers @secondroom_antwerp

DRAWING THE LANDSCAPE
& BETWEEN THE LINES

An & I were part of @warp_art artist village in the summer of 2024.
Now she is here showcasing at my antwerp art project for the next six weeks AND at my artneighbours SECONDroom for a one day only exhibition!

An's work will also be on view at @4n20kunstruimte in Kortrijk from 16/10 where I am curating the art + design exhibition THE BODY IS A STRANGE THING

#artwindow #artistrunspace #kunstvitrine #belgianart #wheninantwerp #groenkwartier #artinstallation #installation #windowproject #artantwerp #antwerpart #antwerpartbox #publicart #hedendaagsekunst #contemporaryart #sculpture #architecture #design #landscape #stillness
#lightandspace #erikhaemerscurator

photos by @erikhaemers , @nathaliedouxfils.studio + @alain.vandenbroecke

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@allstarsocool !

what people have to say about ALLSTAR :

★★★★★
« Sweet yet intense »

★★★★★
« Their name doesn’t disappoint, 5 stars for a terrific live. »

★★★★★
« It gave me goosebumps »

——

curation and sceno of the show SERIOUSLY ?

happening at @secondroom_antwerp april 26

alongside the artists and performers @artistgirl1994, @lazza__gio + @tiliaweevers

video + pic @eve.herry

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Around 2008, I began a series of drawings titled A.N.D.Y. — a body of work centred on architecture and destruction, conceived as a kind of memento mori. Everything ends.

It began with buildings from my own surroundings: a petrol station, a supermarket, a school. Ordinary structures, without any particular significance, yet so familiar that they seemed permanent — simply part of the world as we knew it.

I drew them ruined, abandoned, destroyed. At the time, these images felt almost like imagined futures. Today, they have taken on another meaning. Every day, we see buildings disappear from the world: through war, demolition, disaster, development. Places that seemed fixed and familiar are suddenly gone.

Architecture does not have a conscience, but it does have a memory. It carries the traces of what happens to it. Buildings become silent witnesses to the lives, violence and histories that pass through them.

Perhaps this is what the drawings have become for me: not only images of destruction, but reminders of impermanence. A memento mori in architectural form. They ask us to look at the built world around us differently — to realise that what appears solid, permanent and given is, in fact, temporary.

A.N.D.Y.
How dare you…
A4 / 2009

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