Tique, Antwerp (2025)

15/11/2025

Humans possess mountains. Mountains are possessed by humans. What curse is at work here? What symbolic, legal, material and historical forms of proprietary possession are there? What forms and histories of dispossession do they imply? And how can we succeed in emancipating landscapes from the curse of property?

Now on Tique: Possessed Mountains

Read the article here: https://tique.art/exhibitions/possessed-mountains

12/11/2025

I like to think of my work as homages – tributes to the peoples, places, things, and stories that have shaped who I am today. They’re also perhaps proxies, or escape routes, so I don’t always have to face the ghosts that haunt me head-on. Meandering searches and tracing nexus by association build worlds that help me interpret the haunting.

‘Ghost Eat Mud’ is a Cantonese expression vividly describing the incoherent way someone speaks. It was also the title of my 2022 project at Kunsthal Gent. In this context, the “ghost” points to a kind of storytelling that defies linear structure. That loops across multiple spaces and timelines, and features protagonists often omitted from dominant narratives – protagonists like ghosts or spirits, present yet hidden in plain sight.

Tique asks six questions to an artist about their work and inspiration.
This week: Pei-Hsuan Wang

Read the interview here: https://tique.art/interviews/six-questions/pei-hsuan-wang

10/11/2025

The research project ÎNTERZONE (architecture of the ritual space) by Bart Van Dijck is about exploring the transformative potential of art and rituals, focusing on how ritual spaces can foster empowerment, healing and growth.

"In my research, I explore how a ritual space and time can be constructed from my artistic practice. Drawing inspiration from anthropology, shamanism and animism, I established the platform Înterzone, where I developed a number of participatory projects. I involve spectators as active participants in these rituals, and place their experiences at the centre of my artistic practice.

I investigate how these Înterzone rituals can generate an empowering and transformative impact on the participants and how creative processes can contribute to this. I view the ritual not merely as a form, but as a catalyst for positive effects—such as channeling emotions, healing, connecting, inspiring wonder, transforming and community building."

Now on Tique: Bart Van Dijck – ÎNTERZONE (architecture of the ritual space)

Read the article here: https://tique.art/interviews/artistic-research/bart-van-dijck-interzone-architecture-of-the-ritual-space

22/10/2025

Which question or theme is central in your work?

Time, perishability of matter, and a human factor are quintessential.
I often transform my existing works by reusing their parts and materials or hardcore updating their shapes, meanings and contexts.
In Winter 2023 while working on installation 'Blueberry pie tectonic body xx' (2017-2023), I chopped off three slices (approx. 300 kg each) from 'no time' sculpture I made in 2018. Then I spread all the old and new pieces of stone, like mayonnaise around SINNE Gallery space.

Tique asks six questions to an artist about their work and inspiration.
This week: Kristina Sedlerova Villanen

Read the interview here: https://tique.art/interviews/six-questions/kristina-sedlerova-villanen

18/10/2025

When art meets the everyday, cooking exceeds its utilitarian function. It becomes a site of gathering, exchange, and creative possibility. The kitchen transforms from private necessity into communal studio, where the act of preparation holds equal value to any artistic medium.

This selection of five books examines culinary creation within artistic practice—ranging from food prepared in the solitude of the studio to the connective power of cooking and eating in community. With books by:

→ Fatboy Zine: Multi-Heritage. Together, Not Apart

→ Weekend Recipes. Joyful Plates of Food from my Edinburgh Studio by Jess Elliott Dennison

→ Studio Cookbook Volume Three

→ There Is in the Kitchen by Charlotte Koopman

→ Lentil Space. Recipes from Artists’ Homes

Plus Objects & Sounds put together a playlist for your time in the kitchen and around the table: the buzz of cooking, the joy of sharing a meal, and the moments when everyone comes together.

Now on Tique: Alimentary Imagination: five books on culinary creation within the artistic practice

Read the article here: https://tique.art/printed-matter/collection/alimentary-imagination-five-books-on-culinary-creation-within-the-artistic-practice

15/10/2025

I continuously operate on the brink of the disciplines of art and craft, and as much as related - they are not the same. I work as a sculptor and as a carpenter. These two domains have their own particular rules, rhythms, methods and perspectives. So I let them feed each other. I used to think that I would have to choose one or the other, but after having functioned in this hybridised way for a while, I see that it is not necessary and that I would never want to limit myself to one of them. It is that combination that allows me for a very prolific way to be, to travel, to think. This niche in between establishes who I am and how I enter the conversation.

Tique asks six questions to an artist about their work and inspiration.
This week: Olga Micińska

Read the interview here: https://tique.art/interviews/six-questions/olga-micinska

12/10/2025

The exhibition Slime by Joanna Fluder presents a selection of 140 recent gouaches on paper or canvas, and premiere installations created especially for the space of Zachęta. Fluder has developed her own artistic language that combines surrealism, personal mythology, humour, and a vivid imagination. In her works, she talks about women’s everyday experiences, motherhood, neurodivergence, creative work, the social role of care, and the relationship with the surroundings, especially nature.

Now on Tique: Joanna Fluder – Slime

Read the article here: https://tique.art/exhibitions/joanna-fluder-slime

08/10/2025

I do not conceive of my practice as a succession of linear and ordered projects, but rather as an open network in which ideas circulate, contaminate one another, transform, and are constantly redefined. My work can be understood as a living archive of speculative exercises and conceptual tools that activate different systems of thought. I could describe my practice as a fragmented intertwining of knowledge and materials that connects the natural and the cultural through ambiguous encounters, where intuition, chance, and reasoning coexist and generate their own logic.

Tique asks six questions to an artist about their work and inspiration.
This week: Nicolás Lamas

Read the interview here: https://tique.art/interviews/six-questions/nicolas-lamas-2

08/10/2025

I do not conceive of my practice as a succession of linear and ordered projects, but rather as an open network in which ideas circulate, contaminate one another, transform, and are constantly redefined. My work can be understood as a living archive of speculative exercises and conceptual tools that activate different systems of thought. I could describe my practice as a fragmented intertwining of knowledge and materials that connects the natural and the cultural through ambiguous encounters, where intuition, chance, and reasoning coexist and generate their own logic.

Tique asks six questions to an artist about their work and inspiration.
This week: Nicolás Lamas

Read the interview here: https://tique.art/interviews/six-questions/nicolas-lamas-2

06/10/2025

HARD TIMES GOOD TIMES is a multidisciplinary performance project rooted in dance and choreography with a focus on improvisation and instant composition, experimentation, fragmentation and writing practices. Starting from the body and the Freudian notion of sublimation, this project was formulated by a strenuous question Sophia Danae Vorvila has been investigating over the past five years: how can we transform the discomfort and uneasiness of daily life into artistic creation via our moving bodies? How can all these neglected, unwanted feelings give their space to creativity, relief, playfulness, pleasure, intimacy? Could we possibly feel less lonely when we are coming together? Is the vastness of our feelings enough for us to make art with?

Now on Tique: Sophia Danae Vorvila – HARD TIMES GOOD TIMES

Read the article here: https://tique.art/interviews/artistic-research/sophia-danae-vorvila-hard-times-good-times

04/10/2025

The exhibition Magical Rage by Clara Bahlsen at Villa Heike e.V. Berlin, consists of a series of photographic still lifes and an accompanying text work. Much like sublimation in the psychoanalytic sense, Clara Bahlsen transforms in these works intense affects into culturally legible and socially recognized forms. It is the feeling of rage – along with its control or suppression – that she translates into precisely constructed still lifes, in which everyday objects form a web of artistic, biographical, and cultural references.

Now on Tique: Clara Bahlsen – Magical Rage

Read the article here: https://tique.art/exhibitions/clara-bahlsen-magical-rage

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