This exhibition comprises five series of photos by the German photographer Thomas Ruff (°1958, Zell am Harmersbach) ranging from the start of his artistic career in the late 1970s to recent work in 2014.
Richard Jackson: Ain’t Painting a Pain is the first retrospective devoted to one of the most radical artists of the last 40 years.
The ground floor at the S.M.A.K. is devoted to paintings from the museum's collection, highlighting not only the special characteristics and background to the collection but also the painting medium in relation to its current status in the arts.
Dirk Braeckman offers a contemporary interpretation of the Great War in a series of photos first shown in Namur in autumn 2013.
While the first part of Upside Down focused on the radical developments in sculpture in the 1960s and 1970s, the second part Let's Dance will include mainly new, contemporary productions transforming the exhibition into a lively/living ...
The largest survey of his work today, Praise of Folly throws a spotlight on most of Javier Téllez' (1969, Valencia, Venezuela) major films and installations of the last ten years.
The work of the Brussels-based artist Richard Venlet (1964) combines sculpture, art history research, exhibition design and architecture.
Traditionally earmarked for young talent, the KunstNu room is occupied this time by an installation custom-made by the German artist Florian Auer (°1984, Augsburg).
The exhibition Upside Down, in collaboration with the Museum of Contemporary Art, S.M.A.K. in Ghent, deals with the formal and conceptual developments in, as well as the relationships between, sculpture and dance in the 1960s and 1970s.