This page contains the info of all artists present in this room. This page will be updated during the opening of 'Vruchtbare grond'. The page you will be seeing on the printouts is the html page + some styling. At the end of the opening night their looks will be drastically different and special.
Welcome to Vruchtbare grond
Titus Tips
Brakke-BlogsBrakke Blogs is the brainchild of Titus Tips, the visual artist behind such works as:'laying in bed for one hour straight'. Their recent rejecting of the modern web sparked an idea for a collective blogmaking revival. This is why Titus is here now. Every two weeks ,on thursdays, Titus hosts the 'Brakke-Blog' workshop to teach everyone how to blog and claim some cyberspace for themselves.
Jana Mladenović
StrainWomen are expected to be primary caretakers of others, constantly giving support, time, and physical labor. Yet at the same time, they are often neglected, dismissed, or harmed by the very systems meant to care for them. The structure suggests both a body and a constraint, containing medical textiles within a frame built to my dimensions. Materials associated with care become instruments that also signal control, pressure, and endurance. Looking through a rigid patriarchal frame, I reflect on the limits imposed on the body and mind and its capacity to persist. I ask: how long can a body sustain the role of caregiver when it is not cared for in return. It is a gesture of tension, persistence, and quiet resistance.
COLLECTIEF VOGELVLUCHT (Sammuel Nijhuis & Lies Ooms)
DEEPWELL Waar de wind altijd ruist en het water soms stilstaat. Geïnspireerd door Pyramiden, een voormalige Russische mijnstad op Spitsbergen, vertrekt Deepwell vanuit een systeem dat ooit volledig functioneerde. Alles was gericht op werken, wonen, overleven. Wanneer die functie verdwijnt, blijft de infrastructuur achter. Een systeem dat niet meer wordt ingezet, maar ook niet verdwijnt. Deepwell toont een landschap in stilstand. Een ruimte zonder duidelijke bestemming. Het mystieke gevoel van ontdekking vermengt met de sombere desolaatheid van een aangetast en expansief landschap. Wat kan hier nog ontstaan? Hoe zou jij je hier bewegen, het landschap vormgeven, blijven? Wie bepaalt de vorm van onze wereld?
ELISE DEUBEL
—Dots, drawings on silk and wrapping paper stretched on wood. The drawings are depicting a pattern and the remains of a diagram based research. It can become a sculpture base or a bench depending on its arrangement. — 3 bronze nails, miniature bronze sculptures. Can be a proper piece, a detail, or even a support depending on the situation. A nod to a mouse that used to live in my dad’s basement and collected everything gold colored. — What Remained When No One Watched, Assemblage of shoebox, pictures, 5 cents, 2 cents, makeup tower, bells, pvc roll, plastic box, ring boxes, ribbons, glass frame tracing a line on the floor.
Anouk Ostyn
Textiles are deeply intertwined with the hands of women, in historical, social, and economic structures. In this work, I explore these structures through the hands of my mother. In the hands of care, passed down through generations. By using traditional crafts and natural materials, I seek to grasp and preserve the ancestral knowledge embedded in textiles. This work is woven out of handspun wool, as an important part of my work is using thread. A thread or string is the first recipient humans created to hold things together. Spinning your own thread brings you closer to the material and its history. These are acts of care who exist in the spaces between humans and nature. Let our hands carry this care inward and outward.
Ine Kools
Press. Mark. Touch. The installation ‘Press. Mark. Touch.’ invites visitors to interact and play. The work consists of small concrete sculptures, sand, and a metal structure with flexible yellow stripes. In the hand, each small sculpture becomes an instrument. By pressing, pulling, rolling, tilting, and scraping the objects through the sand, traces begin to emerge. The work explores how changes in an environment shape our movement choreography and how our actions are guided by curiosity. A non-verbal exchange unfolds between visitors as they leave their traces, anticipating and building upon the marks that remain. These residual fragments echo the subtle ways in which we are influenced by the traces others leave behind in everyday life.
Mia Dang
Last Dance In "Last Dance", Mia Dang explores the image of an explosion suspended in time as something weightless, fleeting, yet impossible to fully erase. Hand-sewn pearl-beaded structures are frozen in motion within an ice cube, fluctuating like rising columns of smoke the moment an explosion occurs. As the ice gradually melts and releases the pearls, this sculpture unfolds as a temporary performance where a scene of rupture is captured just before disappearance. Existing between monumentality and vanishing, "Last Dance" reflects on the lasting impact of what cannot be held. Like smoke that lingers in the air long after the event itself, certain emotions, traumas and histories do not simply vanish. They sting the eyes and burn the lungs, subtly yet persistently
Amira Bongho-Nouarra
Close Quarters"Close Quarters" is an audiovisual installation that unfolds as a living archive of gestures, centering hands as carriers of memory, rhythm, and knowledge within Afrodiasporic contexts. Filmed in black and white, the work isolates and magnifies everyday movements until they become sculptural. Hands become sites of inheritance: of labor, care, ritual, and expression. The visuals are accompanied by a layered soundscape composed of ambient sounds and a voice that drifts in and out of focus. This voice moves alongside the images, introducing another register of intimacy. In this disjunction between what is seen and what is heard, meaning remains open and relational. The installation unfolds as a space of attention, where repetition becomes a form of remembering.
Juliet Jespers
AfzetpaalThis work is part of my exploration of how to present a painting in a way that occupies more space than a flat, stretched canvas against a wall. In this case, the viewer is forced to remain at a certain distance from the work and to walk around it—something you constantly have to do while living in Antwerp, as a result of the endless, relentless construction sites that keep appearing everywhere. The painting is a literal representation of what surrounds and protects it: flimsy plastic poles. As a viewer, you can decide for yourself what came first—the idea to place poles around a painting, or the act of painting a pole and then deciding to install them around it. The painting is made with oil paint and measures 180 × 125 cm.
Charlotte Verhaeghe
My work operates through tension. Different materials are brought into proximity, forming a structure that almost holds, but never fully settles. It moves around community, belonging, and not belonging. Some elements connect, others resist or remain out of place. That condition is not resolved, it’s kept present. I work with recurring contrasts: soft and hard, clean and messy, natural and artificial, ecological and industrial, precise and intuitive. These oppositions are not solved, they coexist. There is a constant push to organize and make sense, and at the same time a resistance to that. Something feels constructed, but also unstable. The work sits between fitting in and standing apart. Between holding together and falling apart.
Lisa Wolfs
Florecere 1,2 en 3In deze werken onderzocht ik hoe de verschillende media waarmee ik werk met elkaar communiceren. Ik stond stil bij de verbindingen tussen deze materialen en werkwijzen: hoe ze elkaar beïnvloeden, aanvullen en versterken. In de getoonde werken staat dualiteit centraal. Geïnspireerd door onbestaande, gefantaseerde bloemen verbeelden ze groei, strijd en samenwerking. In these works, I explored how the different media I use communicate with one another. I reflected on the connections between materials and processes: how they influence, complement, and strengthen each other. Duality is central to this series. Inspired by imaginary, non-existent flowers, the works evoke growth, struggle, and collaboration.
Dani Santander
The work is presented as an installation that recreates a sobremesa, a post-dinner gathering, using existing everyday elements tied to collective memory and social encounters such as a central table and plastic chairs to evoke a familiar atmosphere. With the aim to activate an expanded zine in its center table with paper tablecloth format that when opened, reveals loose pages with fragments of popular Latin American songs. The installation invites participants to activate it through our voice in an a cappella karaoke dynamic where sound is produced entirely by participants. Through this process, the work creates a situation where voices get amplified and fill the whole space. Responding to the silence that often shapes the migratory experience in a context like Belgium.
Contact page
Here you can find the contact info of the wonderfull artists.
- Jana: @goisuhana
- Titus: https://tpt27.neocities.org/, tpt2001@proton.me
- Anouk: anouk.ost@gmail.com, @anoukostyn
- Ine: inekools@telenet.be, @inekools
- Vogelvlucht: www.vogelvluchtfilms.com
- Mia: dangmiamia@gmail.com, @miamiadang
- Amira: @amirabngs
- Lisa: lisa.wolfs@hotmail.com, @lisawolfs, @wolfs_tt
- Charlotte: @sjarel_art
- Juliet: julietjespers@gmail.com, @juliet_atelier_jespers
- And of course our wise guide/mentor: Marijke Respeel from Galerijkemarijke fame. (galerijkemarijke@gmail.com)