On Painting: Talks by Day, Performances by Night

15:00 - Lecture by Lydia Yee
Lydia Yee, independent curator and curator of Radical Figures: Painting in the New Millennium (Whitechapel Gallery, London, 2020), will discuss her curatorial journey, including exhibitions such as Mary Heilmann: Looking at Pictures (2016), Radical Figures (2020), and Nature Painting Nature (2024).

16:00 - Panel Discussion
Discussion on the current state of painting – painting in relationship with technology and social media, the recurrence of the human figure, and the transformation of the medium – featuring Lydia Yee, Martin Herbert (independent writer and critic, Berlin), and Manuela Ammer (Head of Curatorial Department and Chief Curator at mumok, Vienna; co-curator of Painting 2.0: Painting in the Information Age, Brandhorst Museum, Munich, 2016). Moderated by Ben Luke, contributing editor and podcast host at The Art Newspaper.

18:00 - Artist Conversation
Che Go Eun, Melissa Gordon and Jannis Marwitz — three artists featured in Painting After Painting — will be joined by one of the exhibition’s curators for a discussion connecting the day’s themes, as elaborated by the previous panel, to their own artistic practices.

19:30 - Dieter Durinck, Jan Laroy and ijf Boullet – Solina Lapsus
Joining forces and synths, Solina Lapsus brings atmospheric and melodic sounds that are purely improvisational, yet transformative.

20:00-22:00 - Che Go Eun's nail salon

Transform your fingertips into little works of art.

20:00 - Victoria Palacios, Simon Joostens, Mathilde Chaize and Loverman — Double Contact
A collective performance exploring touch, precision, and disruption, using choreography inspired by the logic and terminology of carom billiards.

20:30 - Vincent Geyskens and Gerard Herman
A reading of poetry accompanied by sound interventions.

21:00 - William Ludwig Lutgens and Kaspars Groševs — A Joy Sauce in the Belly
A collaborative word and dance performance, combining grotesque imagery and absurd theatre to reflect on seduction, resistance, and the dynamics of ideology and fantasy.

21:30 - Matthieu Ronsse, Karel Thienpont en Louise Delanghe
These three artists, part of Painting After Painting, will be sharing their love for painting and sound in an experimental set that bundles their artistic styles.

Lydia Yee is a London-based curator, art historian, and museum consultant. She is currently director of Muara Arts, senior curatorial advisor to YDP, and a member of the external faculty for New Curators. Yee has held curatorial roles at the Whitechapel Gallery (chief curator), Barbican Art Gallery, and The Bronx Museum of the Arts. She is a recipient of the Asian Cultural Council Individual Fellowship (2024–25) and a member of the Turner Prize jury (2024). She co-curated Frieze Talks (2018–19) and the British Art Show 8 (2015–17).

Martin Herbert, based in Berlin, is an art critic and associate editor of ArtReview. He has written for Artforum, frieze, Art Monthly, Texte zur Kunst, Spike, and Mousse, among others. His catalogue essays have appeared in publications for MoMA, the Serpentine Gallery, Kunsthalle Basel, the Hayward Gallery, and the Venice Biennale. His books include The Uncertainty Principle (2014), Tell Them I Said No (2016), and Unfold This Moment (2020). In 2017, he was a Turner Prize juror and curated the 2019 group exhibition Slow Painting.

Manuela Ammer is chief curator at mumok – Museum moderner Kunst Stiftung Ludwig Wien, where she organized exhibitions such as Liliane Lijn: Arise Alive (2024), Benoît Piéron: Monstera Deliciosa (2023), The Animal Within: Creatures in (and outside) the mumok Collection (2022, together with Ulrike Müller), Steve Reinke: Butter (2020), Pattern and Decoration: Ornament as Promise (2019), Bruno Gironcoli: Shy at Work (2018), Painting 2.0: Expression in the Information Age (2016, together with Achim Hochdörfer, David Joselit and Tonio Kröner) and Ulrike Müller: The old expressions are with us always and there are always others (2015). Ammer has worked as a visiting professor and lecturer at the University of Applied Arts Vienna and the Berlin University of the Arts, has written for magazines such as Frieze, Texte zur Kunst and Parkett and edited numerous art-historical publications. At mumok, she is currently preparing an exhibition on the work of Austrian painter Tobias Pils.

Ben Luke is a critic and broadcaster. He is a contributing editor of The Art Newspaper, and presents its podcasts A brush with…, of which there are now more than 100 episodes, and The Week in Art, of which there are now more than 300 episodes. From 2009 to 2024 he was an art critic at the London Evening Standard. He is a regular guest on BBC Radio 4’s Front Row and Monocle 24’s The Globalist. Ben has contributed to books on artists as diverse as Phyllida Barlow, Mark Dion and Matthew Krishanu. He was selected in the Critics’ Critics section of Artforum’s Best of 2024 issue. Ben’s book, What is art for? Contemporary artists on their influences, inspirations and disciplines, featuring 25 interviews from the A brush with… series along with new texts, is out now and published by HENI.

Che Go Eun (b. 1988, Seoul, South Korea) lives and works between Seoul and Brussels. Originally trained in traditional Korean painting, she integrates digital collages, drawings, printings, 3D models, AI and XR to explore human relationships through old and new technology. She earned her BA in Visual Arts from Sejong University in Seoul and her MA in Fine Art from the HKU University of the Arts Utrecht. She was also a 2018 laureate of HISK (Ghent). Inspired by a variety of sources (traditional stories, folklore, animé, video games, religious iconography…), she investigates themes like gender, cultural diversity, and morality.

Melissa Gordon (°1981, Cambridge, MA, VS) is an American artist based in Brussels, known for her work as a painter and printmaker exploring the relationship between abstraction and representation. Gordon often combines painting and screen printing to reveal the underlying structures of images and text, as seen in her series ‘Material Evidence’. Her work includes references to art history, notably modernist painting, through the use of grid structures. Themes of feminism and authorship are prominent throughout her practice. Gordon is also a co-founder of LABOUR, a feminist art magazine. Gordon studied at the Rhode Island School of Design and completed residencies at De Ateliers (Amsterdam) and WIELS (Brussels). She has exhibited internationally, with shows at Towner Gallery (Eastborne), Spike Island (Bristol), Kunsthall Oslo, and Marianne Boesky Gallery (New York).

Jannis Marwitz (b. 1985, Nürnberg, Germany) is a painter who seamlessly blends European artistic traditions—from Antiquity via the Renaissance, the Baroque and the Old Masters, to expressionism and surrealism—with contemporary elements. He studied at the Hochschule für Bildende Künste in Hamburg and at Städelschule in Frankfurt. Marwitz’s creative process involves an in-depth exploration of European art and literature, from which he draws inspiration for his distinctive works. He meticulously searches through books for paint recipes and delves into the stories and characters of the European canon. However, his deep respect for historical craftsmanship is always balanced by his desire to create something fresh and original. By dissecting and reassembling elements from art history, Marwitz crafts a unique visual language that bridges the old and the new, resulting in works that resonate with both tradition and modernity. Work by Marwitz was on view at the Dortmunder Kunstverein (Dortmund), A Tale of A Tub (Rotterdam), Museum Dhondt-Dhaenens (Deurle), Ludwig Forum (Aken) and several other venues throughout Europe and North America.

Vincent Geyskens (b. 1971, Lier, Belgium) is a versatile artist investigating the status of painting in an image-overloaded society. He studied at the Royal Academy of Fine Arts Antwerp, HISK (Antwerp), Rijksakademie (Amsterdam), and KU Leuven. Since 2008, Geyskens has been a professor at the Royal Academy of Fine Arts Ghent. His oeuvre includes paintings, collages, and drawings ranging from figuration to abstraction. His work has been exhibited at S.M.A.K., M Leuven, BOZAR (Brussels), and Thomas Erben Gallery (New York).

William Ludwig Lutgens (b. 1991, Turnhout, Belgium) is known for bold and provocative works combining painting, drawing, and installation. He studied at Sint Lucas Antwerp and developed a distinctive visual language characterized by a sharp, satirical undertone. Lutgens often explores social and political themes with humor and critical reflection. His work has been exhibited at M HKA (Antwerp), De Warande (Turnhout), De Garage (Mechelen), and CIAP (Hasselt).

Victoria Palacios invited Simon Joostens, Mathilde Chaize, and Loverman to conceive and create a performance together with her. It brings together the work of four agents: a visual artist, performers, and musicians. The group is formed by a shared desire for abstraction, body and sonorous mythologies. Experimentation and attention to the in situ are part of the group's research approach, eager to conceive a mutation and an original creation for each performance; with the four bodies unfolding into incarnations and variations of the bodies, becoming characters.

Solina Lapsus is Dieter Durinck, Jan Laroy and ijf Boullet. Joining forces and synths, they bring atmospheric and meldodic sounds. All recordings they make are purely improvisational, "we can not write, read, or recreate the music we play", yet transformative. "Solina is the brand of the electric organ I play and lapsus has a few meanings but for me it means getting lost in exploration. But more importantly, Solina Lapsus is fun to pronounce".