Exhibitions

The project Friendship of Nations: Polish Shi'ite Showbiz (2011) by the artist collective Slavs and Tatars reveals the connection between Polish and Iranian heritage, more specifically that between the Islamic Revolution of 1979 and the Polish trade union movement Solidarność of the 1980s. Both events encapsulate a major geopolitical narrative of the recent past: Islamic modernism and communism.

Under the moniker of Tenant of Culture, Hendrickje Schimmel works with fashion as a trained fashion and textile practitioner, but does so from the perspective of the field of contemporary art.

The lemniscate: a hanging rope representing infinity. An object taken out of its everyday context and sublimated into a lofty symbol.

In ancient Greece, “Pharmakos” was a chosen individual, who was selected through common consensus by its community. The person was either sacrificed as a means of purification for the city, or it was ostracized away from the region.

As the Flemish fine arts collection finally regains its place in the extensively renovated KMSKA (Royal Museum of Fine Arts), the Flemish Community is also getting ready for the next infrastructural leap further raising the Flemish museum landscape to an international level.

Gordon Matta-Clark (1943–1978) described his activities as 'anarchitecture' – a synthesis of the concepts of anarchy and architecture.

Tarik Kiswanson is a visual artist and a poet. His various bodies of work engage with subjects related to rootlessness, memory, learning, heritage and ultimately identity development. Always operating at the intersection of different cultural contexts, traditions and languages, his work poses fundamental questions such as: What is heritage? What is the body? How does memory operate? How are these notions affected by displacement and time?

In recent weeks, the space on the top floor of the museum has been transformed in line with the Superhost project Where Should We Begin?  created by Falke Pisano.

Superhost is a programme that invests in a year-long relationship between an artist or a collective practice, the museum and its participating communities, and supports the production of artworks, performative or discursive creations.

Don’t You Know Who I Am? – Art after identity politics brought together emerging talent from around the world. In recent decades, various social groups have defined themselves according to political, economic or social categories, such as race, ethnicity, gender or sexuality to increase their visibility and counter marginalisation.