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Sid Dankers

@siddankers

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Upcoming:
25.09 @platform.ufo
10.10 - 15.11 @barbegallery
26.11 - 28.11 @atelier_arthur_rogiers

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Met ‘They (The Hours) 50° 57’ 37’’ N 03° 29’ 06’’ E’ transformeerde Katja Mater het Roger Raveel Museum naar aanleiding van de Biënnale van de Schilderkunst tot een kloklichaam. Verspreid over het gebouw verschijnen uurlijnen, cijfers, schaduwen en reflecties die samen een alternatieve manier van tijd meten vormen. Het werk richt zich niet alleen tot museumbezoekers, maar ook tot dorpsbewoners en passanten.

Licht is het belangrijkste materiaal in dit werk: het verandert voortdurend, is onzichtbaar tot het ergens op weerkaatst. Mater gebruikt verschillende zonnewijzertechnieken, gnomons en spiegelreflecties om zichtbaar te maken hoe tijd altijd verbonden is met plaats, oriëntatie en de beweging van de zon.

Het werk kan worden gelezen als een ‘exploded view’ van een klok of zonnewijzer. De verschillende onderdelen worden uit elkaar getrokken en verspreid over de architectuur van het museum. Zo wordt duidelijk dat tijd geen vaststaand gegeven is, maar iets relationeels: afhankelijk van waar je staat, hoe het licht valt en op welk moment je kijkt.

Waar schaduwen vaak worden geassocieerd met het onbekende, zijn ze hier de dragers van kennis. Op een zonnewijzer vertelt de schaduw ons immers hoe laat het is. Door zonnetijd, kloktijd en zomer- en wintertijd naast elkaar te laten bestaan, bevraagt Mater de tijdssystemen die ons dagelijks leven structureren en hoe we ons daar toe verhouden.

De met de hand gemaakte cijfers en pijlen, gegoten in aluminium en brons, voegen verschillende informatielagen toe aan het werk. Zo ontstaan meerdere manieren om dezelfde klok af te lezen. In de nacht van 24 op 25 oktober hebben we afgesproken om de kloktijd een uur achteruit te zetten, we gaan van zomertijd naar wintertijd — They (The Hours) toont altijd beide tijden. Zomeruur wordt gevat in de bronzen deel van de cijfers, het winteruur in aluminium.
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10/9 uur

Om 10 uur zomertijd (messing) en 9 uur wintertijd (aluminium) raakt de schaduw van de linkerbovenhoek van de Paal van het Onbeperkte (2014) van Roger Raveel de diagonale streep over de voorgevel van het museum, gemarkeerd door 9/10.
Stop-motion gemaakt op 15 September 2026 tussen 8u50 en 11u10

Video: Sid Dankers

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ON VIEW: ‘Friends with Benefits’ brings together all of our represented artists, each invited to bring in one artist from outside the gallery.

Discover more about the exhibition and participating artists via link in bio. We present works by Francesco Arena | Nout Bodyn | Willem Boel | Maxime Brigou | Thibault Carlier | Nelleke Cloosterman | Sid Dankers | Thomas Decuypere | Adelheid De Witte | Charlie De Voet | Eva Dixon | Carole Ebtinger | Clem Edwards | Zoro Feigl | Flexboj & LA | Katrien Hoffman | Gideon Kiefer | Jens Kothe | Nokukhanya Langa | Kris Martin | Hilde Overbergh | Joost Pauwaert | Thomas Renwart | Bruno Roels | Lukas Städler | Hammzat Tahabsim | Alice Vanderschoot | Marlon Wobst.

‘Friends with Benefits’ will be on view across both our spaces in Ghent. The two locations are just around the corner from each other. On view until 15 November 2026.

Contact us for a preview catalogue or more information.
+32 (0)9 391 39 13
desk@barbegallery.be
⸻
BARBÉ – Baudelostraat 23 / Penitentenstraat 29, 9000 Gent

#friendswithbenefits #barbegallery #contemporaryart #contemporaryartist #kunst

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Earlier this year, we asked Sofia how she imagined our shared photo archive taking on new shapes in the future. She answered with a vivid idea: to weave it and place us inside the pictures themselves.

From a dense, digital database to a warm, tactile art piece. We’re excited to see it unfold.

The Weaved Archive will present photographs by Rafael Dimioniatis, Sid Dankers, Frankie Casillo, Cameron Forkes and Sofia Lambrou, all taken during Draaimolen Festival.

Track - Life by Sandrien, released on her new label inspi.

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On July 3rd, we held our very first screening night at @cinema.aventure.

It was a special evening. Five artists, five different practices, five passion projects brought into the same room. We took the time to get closer to the ways these artists work and explore their habits,and ideas. Thanks to @siddankers, @sara.sam.hamedi, @nebilaphoto, @carlito.rec , @kaz_mose for trusting us with their works.

Our goal with Interzone is to create a space for independent artists and filmmakers in Brussels, and to give their work a place to be seen and experienced together.

And we’re doing it again.

Our next screening night is just around the corner, once again in collaboration with Cinema Aventure.

Come discover what’s being made in Brussels.

See you at the next one.

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I was invited by @idfxbreda for a two-week working period, during which I developed a new body of work, The Authoritarian Personality.

A huge thank you to @idfxbreda for the invitation and amazing support, to @brynverbeken for acting in the videos, and to @siddankers for both acting and making the photographs.

Thank you all for being part of this project. ❤️

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Un an d’amour 💗👹💐

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Okily-dokily! A very very good friend of the label made a handful of special editions of RESLP039 and RESLP043. We've just added the last remaining copies to our Bandcamp for those interested... 🕳️

📸 @siddankers

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RESLP043 by Oren Ambarchi & Will Guthrie is finally HERE!! And already almost GONE again!! 📦☀️

All orders have now been shipped; just in time for the summer break! 🍹

Below a few kind words from the press...

“Ambarchi does literally everything with his instrument. Everything.”
— Stefano I. Bianchi, BLOW UP

“As if trying to tune an inner tuning fork.”
— Mixmag España

“Sending back transmissions to Earth in an intense and thrilling future code.”
— John Robinson, Uncut

“The hum of a rotating Leslie cabinet circles with moth-like obsession.”
— Abi Bliss, The Wire

“It doesn't offer sweeping fireworks of sound, but rather micro-shifts, resonances, vibrations and sonic experiments.”
— Marcin "Guliwer" Zawadzki, Anxious Magazine

“Time simply hangs in suspension… and gradually flakes into pieces.”
— Christopher Nosnibor, Aural Aggravation

“Heavy, heady biz from the best of the best.”
— Boomkat

“The album as a whole moves laterally as much as it does forward.”
— Colin Lang, MusiqueMachine

📸 @siddankers
🎨 @turndady 💜

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03/07/2026 link in bio

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Double Minutes Afterwork

This wednesday 24/06 we’re organizing a special edition of Double Minutes at Parc du Cinquantenaire.

Since the project’s early editions, we’ve often talked about how much we’d like to stay connected with the artists who have been part of it. At the same time, we’ve been wanting to create a more festive summer gathering.

With the project’s fourth anniversary, it felt like the right occasion to bring back five participants from some of the earliest editions for an afterwork drink. For this celebration we invited Coraline Guilbeau, Doris Hardeman, Koi Persyn, Natajsa Mabesoone and Roel Kerkhofs.

We hope to develop more special formats in the future and keep connected to everyone who have helped shape the project over the years.

Thank you @kerkhofsroel @koi_persyn @shervinsheikhrezaei @emmavanderput @deborahbowmann @hugodiner @niels_poiz @yliamsk7 @natasja.mabesoone @francisco_p_c_ @diorishardeman @siddankers @merzzedes21 Ferre Marnef @coralineguilbeau @evagiolo @tomhallet @lukasdeclerckck Francesca Hawker @odedekort @remievanderhaegen @dagmardirkx @aernoudtceline @niznke @jointintelligence Pia Louwerens @aninacmueller @_yappy @jonasdehnen @nicholasgoudket @hrefnahorn @important_fan @nykolaes @tavolo_1973 for joining Double Minutes.

Meeting at La Tour de Tournai (Parc du Cinquantenaire) Av. des Nerviens, 1040 Etterbeek, Brussels.

19:00

With the support of VGC

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As part of our upcoming screening at @cinema.aventure Interzone presents « How do I get to Carnegie Hall » by @siddankers

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As part of our upcoming screening at @cinema.aventure, Interzone presents "How do i get to Carnegie Hall" a video work by @siddankers

An essential difference that distinguishes Purgatory from other unearthly places, such as heaven and hell, is that it is not an end point. Purgatory is like a passage, though it has no course. People find themselves in a state of repetition in which a permanent choice is always postponed. It doesn’t hurt here in purgatory, but it gives no real pleasure either. For most of the time, the echoing is just a bit annoying.

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