Time Suspended

Het nieuwe winternummer van GLEAN is er. We gaan in gesprek met Sharon Van Overmeiren, Mostafa Saifi Rahmouni, Willem Oorebeek en Paule Josephe; staan stil bij de indrukwekkende carrière van Luc Deleu, de 'radicaalste urbanistische denker die België ooit heeft voortgebracht'; tippen expo's van Luc Tuymans in Beijing en Pieter Vermeersch in New York; duiken in het archief van Pieter Van Bogaert en een merkwaardige fotoboek van de Nederlandse filmmaker en fotograaf Johan van der Keuken; bezoeken de tentoonstelling 'The Last Place They Thought Of' in Kunsthal Mechelen; en veel meer...

Fort Beau – verhalen van beginnen en eindes, een nieuw boek van kunstcriticus en curator Pieter Van Bogaert ontstaan aan zee, is het eerste in de Bibliotheek van de Noordzee: een nieuwe reeks van Kunstencentrum KAAP over kunst en samenleving.

Fort Beau heeft twee beginnen en eindes: één van elk op de linkerpagina’s en nog eens hetzelfde maar anders – als een vage kopie – rechts. Van de kunst van het lopen gaat het naar lopen als kunst. Van het strand in Oostende gaat het naar het Kaaitheater in Brussel. Van de huiskamer naar de wereld. Van de Palestijnen naar de sans-papiers. Twee boeken naast elkaar die zich in een gedurfde vormgeving van Maaike Beuten ontwikkelen en besmetten tot één verhaal.

Art is slow attention. 

With Contributions from: Rosana Paulino, City Report São Paulo, Bonaventure Soh Bejeng Ndikung, Bruno Baptistelli, Françoise Schein, Anna Maria Maiolino, Rubem Valentim, Els Opsomer, Elen Braga, Julien Creuzet and Lieven De Boeck. 

Guest Editor: Jota Mombaça 

GLEAN is a Brussels-based magazine for contemporary art with quarterly publications in both English and Dutch.

Bibliographic Performances & Surrogate Readings delves into the imaginative realm of books and libraries and the interpretive structures of subject bibliographies.

It is the first monograph of its kind to historicize, theorize, and survey two decades of what the author refers to as contemporary visual bibliography or experimental subject bibliography—artistic and poetic projects that explore artifactual, intellectual, spatial, and design possibilities.

Ranging from artists’ books and web data-bases to stack interventions and reading room installations, Bibliographic Performances & Surrogate Readings reviews over fifty compelling visio-bibliographic examples created by diverse, international cultural workers.

Exhibiting for Multiple Senses looks into artistic and curatorial research practices that emphasize the multisensory character of the human body in the encounter with artworks. For some time now, numerous contemporary artists and curators have moved beyond the primacy of the visual in the experience of art exhibitions. The book discusses this shift by bringing together experimental exhibition-making, curatorial theory, art, design, and museum research, disability activism and crip theory. Its intent is to demonstrate resonances between curatorial theory and practice and between disability and crip art activism. While the latter is still often regarded as relevant for only small portions of visibly disabled people, in recent years neurodiversity and invisible disabilities have proven to be relevant for the sensory experiences of much larger parts of exhibition audiences.

Exhibiting for Multiple Senses shares famous and lesser-known examples of experimental exhibitions as well as of artistic practices linked to exhibitions. By mobilizing the senses of touch, smell, taste, and hearing, as well as applications of multimodal technologies and insights from neuroscience, these examples all explore abilities and possibilities of the complex and diverse sensory apparatus that is the human body.

Contributors: David Bobier, Luca M. Damiani, Stephanie Farmer & Hettie James, Eva Fotiadi, David Gissen & Georgina Kleege, Adi Hollander, Lilian Korner, Elke Krasny, Renata Pękowska, Caro Verbeek

Publié en 2025 dans le cadre du projet d'art public The River as Habitat installé dans le Lycée Edward Steichen, Clervaux et commandité par l'administration des bâtiments publics, Luxembourg.

The Hortus  project is an open investigation into the nature of seemingly common objects through 'Floriography', urban gardens, and the history of female rights. Hortus was inspired by urban gardens in West Amsterdam and created with its plants by Lilia Luganskaia. 

Joanna Cresswell about the 'Hortus':

History teaches us that a language of flowers can communicate endless things about the culture in which it emerged, and herein lies Lilia Luganskaia's interest. Taking inspiration from the world of 19th Century sentimental flower books, Hortus presents itself as a set of notes towards a modern handbook for contemporary floriography, considering what the discipline might look like today. By collecting common flora across one year in the urban gardens around her home in Amsterdam and cross-referencing their meanings with publications from the past, Luganskaia reflects on their natures, their roles, and the symbolic familiarity they might hold for the communities living with them. A female artist and reader of the twenty-first century, she seeks out the essence of modern life through her lens, and through flowers, just like the women who came before her. 

Lilia Luganskaia (1990) Russian - Dutch multidisciplinary artist and author, based in Amsterdam. In her artistic practice, Lilia uses her background in documentary techniques to focus on what she calls ‘investigating reality’.  Her practice is research-based, Lilia decodes abstract notions such as love, tourism, bureaucracy, politics, and feminism through the use of constructed images, sculptures, videos, and installations. One of the key elements of her work is to understand multiple aspects of the photographic image.

Sasha Phyars-Burgess’ first monograph, Untitled. Spanning three bodies of work, this 200-plus page monograph includes poems by Ser Alida and Aurora Masum-Javed, a conversation between Sasha Phyars-Burgess, Juliana Huxtable and Carolyn Lazard, and essay by Bill Gaskins. Designed by Studio Lin.

As recipient of the second annual Capricious Photo Award, Sasha is a vital, emerging voice in contemporary photography, engaging the charged line between documentary and fine art. Her work ranges from affecting studies on diaspora, family and place to revolving social phenomenons in which energy, beauty and power meet.

The second annual jury panel was helmed by Capricious Founder and Publisher Sophie Mörner and Associate Publisher Anika Sabin alongside Lauren Cornell, Katherine Hubbard, JOFF, Matt Keegan, Guadalupe Rosales, Ka-Man Tse, and Lyndsy Welgos.