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Art is Slow Attention www.glean.art

GLEAN is a Brussels based Quarterly for Contemporary Art The Magazine embraces the practice of ‘gleaning,’ the activity at the centre of Les glaneurs et la glaneuse, a 2000 documentary by the Brussels-born filmmaker Agnès Varda. GLEAN aims to unearth deeper stories from the contemporary art field, eschewing dominant models of fast-paced, profit- and sensation-driven journalism in favor of a reflexive and context-sensitive approach that leaves no stone unturned.

‘Building a house demands countless decisions and endless consultation and compromise. How do you do that? And how do yo...
24/03/2026

‘Building a house demands countless decisions and endless consultation and compromise. How do you do that? And how do you ensure that your house acquires a soul, that it becomes an open house, a place where people can be together and creative.’

— Els Roelandt

Read Els Roelandt’s article about Crac Alsace on our website now!

1. Entrance to *CRAC Alsace*, flags designed by Charles Mazé & Coline Sunier, photo. A. Mole
2. Quote by
3. Katja Mater, Clare Noonan, Jessica Gysel, Marnie Slater, Robin Brettar, Matilda Çobanli, *Swingers*, 2025, keys to the building where the group lives in Molenbeek, chain, string, recycled copper, bamboo, various dimensions, courtesy the artists, production *CRAC Alsace*, photo. A. Mole
4. Quote by
5. Ot Lemmens, *Samplers (Charlotte, Susanne, and Sarah’s atelier)*, 2025, polyester and cotton thread, appr. 15 × 30 cm each, courtesy the artist, photo A. Mole
6. Quote by
7. Subscribe now!





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For the tenth edition of the PhotoBrussels Festival, Sanne De Wilde takes part in the group exhibition ‘Family Stories’ ...
30/01/2026

For the tenth edition of the PhotoBrussels Festival, Sanne De Wilde takes part in the group exhibition ‘Family Stories’ at Hangar. In this conversation, the photographer looks back on her nomadic life, her cautious relationship with books and publications, and the ways in which personal experiences shape her work. She speaks about intimacy and family, but also about migration, motherhood, neocolonial structures, and the responsibility of the artist. From Lagos to Antwerp, a practice unfolds in which photography functions as a form of research, and moments of presentation are meant to enable immersive experience. Sanne De Wilde emerges as an artist engaged in a persistent search for new ways of seeing, connecting, and imagining.

This is Sanne De Wilde’s The Artist’s Library, written by Els Roelandt. ✨

Read more on our website: glean.art

1. Sanne De Wilde, 2025. Photo by Ilvy Njokiktjien
2. Quote by Sanne De Wilde
3. Photo by Sanne De Wilde
4. Quote by Sanne De Wilde
5. Cover of the Book
6. Quote by Sanne De Wilde
7. Subcribe now!

‘Valkenburg – Willem de Rooij,’ Centraal Museum Utrecht, on view through 25 January 2026.This exhibition is accompanied ...
15/01/2026

‘Valkenburg – Willem de Rooij,’ Centraal Museum Utrecht, on view through 25 January 2026.
This exhibition is accompanied by the first comprehensive Dirk Valkenburg’s first ever catalogue raisonné, a collaboration with RKD Research, the Netherlands Institute for Art History, and edited by Willem de Rooij and Karwan Fatah-Black, an historian and expert in Dutch colonial history. It includes essays by international scholars and thinkers from various disciplines, including art history, anthropology, postcolonial and q***r studies.

From January 17-19, there will be several lectures related to the exhibition. For more information, check .de.rooij

✨Read the full article, ‘To See a Hare Die’ by Wolfram Vandenbergen now on our website!

1. Dirk Valkenburg, Hunting Still Life, ca. 1700, Collection Centraal Museum, Utrecht
2.Quote by Wolfram Vandenbergen
3. Jan Weenix, A Dog Guarding a Guinea Fowl, ca. 1680, Collection Centraal Museum, Utrecht
4.Quote by Wolfram Vandenbergen
5. Hall overview, Willem de Rooij, Valkenburg, 2025, Jens Ziehe
6.Quote by Wolfram Vandenbergen
7.Subcribe now!

As part of finalising this body of work, Baldi presents the exhibition ‘Sea Through Skin’, currently on view at Kunsthal...
12/01/2026

As part of finalising this body of work, Baldi presents the exhibition ‘Sea Through Skin’, currently on view at Kunsthal Extra City until January 25. This solo exhibition brings together pieces that offer an overview of the breadth of this endeavour. A protagonist in this research is found in the figure of the cuttlefish, a cephalopod capable of changing its skin in response to its surroundings. The cuttlefish becomes a metaphor for passing. This metaphor was prompted by her personal history.

— Febe Lamiroy

Read more on our website glean.art

See link in bio ✨

1. Bianca Baldi, photo by Tom Vanhee
2. Bianca Baldi, Sea Through Skin, Kunsthal Extra City, September 2025 - January 2026, © We Document Art
3. Bianca Baldi, Sicomoro Centenario, 2025 Bianca Baldi, Sicomoro Centenario, 2025
4. Bianca Baldi, Sea Through Skin, Kunsthal Extra City, September 2025 - January 2026, © We Document Art
5. Quote by Bianca Baldi
6. Bianca Baldi, Sea Through Skin, Kunsthal Extra City, September 2025 - January 2026, © We Document Art
7. Quote by Bianca Baldi
8. Subcribe now, Link in bio

through skin

His Parangolés, made from various pride flags, colourfully activate a broad spectrum of identities, inviting spectators ...
10/12/2025

His Parangolés, made from various pride flags, colourfully activate a broad spectrum of identities, inviting spectators to participate in the unfixing of the binary. This inclusive ethos continues in his book Breaking Free: Q***r Temporality and Collaborative Art, in which instructions are provided for making the garments and performing the piece. During these performances, Lieven De Boeck extends the invitation to participate collectively by inviting bystanders to join in.

— Seraphine Verstraete

‘Breaking Free’ is a solo exhibition by Lieven De Boeck, on display at the Centre de Création Contemporaine Olivier Debré (CCCOD) in Tours from November 7 2025 to May 31 2026. Curated by Isabelle Reiher. The exhibition is open from Wednesday to Sunday, 11 a.m.–6 p.m.

1. Exhibition view from the exit of the artist atelier, photos by Vincent Royer
2. Quote by Seraphine Verstraete
3. Exhibition overview from exit artist atelier
4. Quote by Seraphine Verstraete
5. Exhibition view detail Foreground Becoming (Devenir), on the wall Gathering (se rassembler)
6. Quote by Seraphine Verstraete

Read the article, Another Choreography Awaits by Seraphine Verstraete on our website!

🔗See Link in Bio

What is happening now, with the government silencing any public dialogue even before it arises, is deadly to democracy. ...
08/12/2025

What is happening now, with the government silencing any public dialogue even before it arises, is deadly to democracy. The very policy makers who value contemporary art value the people who think critically about the world today. Limiting contemporary art limits the critical conversation.

— Tamara Beheydt

Tamara Beheydt in conversation with Nadia Bijl, Dora Brams, and Vedran Kopljar. Read the full article on our website, see link in bio!

On November 23 from 11 a.m. to 6 p.m., there will be lectures in the M HKA reading room.
1:30 p.m.: Hands Against the Wall, based on a performance by Ben Benaouisse

Follow to stay informed, and support them via https://museumatrisk.be/en/help-us/

1. Nadia Bijl photos by Christine Clinckx and Johan Pas
2. Quote by Nadia Bijl
3. 24h manifest, Musem at Risk
4. Quote by Dora Brams
5. Vedran Kopljar, photos by Marc Tops
6. Quote by Vedran Kopljar

Jacob Lawrence (1917–2000) was one of the first African-American artists to gain national recognition. In 1941, aged jus...
03/12/2025

Jacob Lawrence (1917–2000) was one of the first African-American artists to gain national recognition. In 1941, aged just twenty-four, he exhibited his complete Migration Series at Edith Halpert’s Downtown Gallery in New York. This was a groundbreaking moment, as Halpert was one of the first gallerists in the city to represent an African-American artist. 

— Benedicte Goesaert

Jacob Lawrence | African American Modernist, on display at Kunsthal Kade until January 4, 2026.

Read the full review by Benedicte Goesaert on our website: glean.art ✨

🔗See link in bio

1. Jacob Lawrence-Vaudeville, 1951, Eitempera op hardboard, 75,9 x 50,6 cm, Hirshhorn Museum of American Art, Washington DC
2. Quote by Benedite Goesaert
3. Jacob Lawrence, Migration Series Panel 1, During World War I there was a great migration north by southern African Americans
4. Quote by Benedite Goesaert
5. Jacob Lawrence, Northbound, 1962. Eitempera op hardboard, 61 x 101,6 cm. Private Collection
6. Quote by Benedite Goesaert

Jacob Lawrence (1917–2000) was one of the first African-American artists to gain national recognition. In 1941, aged jus...
03/12/2025

Jacob Lawrence (1917–2000) was one of the first African-American artists to gain national recognition. In 1941, aged just twenty-four, he exhibited his complete Migration Series at Edith Halpert’s Downtown Gallery in New York. This was a groundbreaking moment, as Halpert was one of the first gallerists in the city to represent an African-American artist. 

— Benedicte Goesaert

Jacob Lawrence | African American Modernist, on display at Kunsthal Kade until January 4, 2026.

Read the full review by Benedicte Goesaert on our website: glean.art ✨

🔗See link in bio

1.Jacob Lawrence-Vaudeville, 1951, Eitempera op hardboard, 75,9 x 50,6 cm, Hirshhorn Museum of American Art, Washington DC
2. Quote by Benedite Goesaert
3. Jacob Lawrence, Migration Series Panel 1, During World War I there was a great migration north by southern African Americans
4. Quote by Benedite Goesaert
5. Jacob Lawrence, Northbound, 1962. Eitempera op hardboard, 61 x 101,6 cm. Private Collection
6. Quote by Benedite Goesaert

Nina Beier’s newest exhibition takes place in the antechambers of Bozar which is comprised of four rooms that radiate ou...
27/11/2025

Nina Beier’s newest exhibition takes place in the antechambers of Bozar which is comprised of four rooms that radiate out from a central rotunda – an architectural layout recently used to host compact, mid-scale solo shows by both emerging and established artists. Nina Beier titled her exhibition ‘Real Estate’, borrowing the name from one of her works – fittingly so, since the sculptures latch onto and infiltrate the symbolic ‘entrée’ to one of Brussels’ most prestigious properties and art institutions with precision.

— Michaela Schweighofer

Nina Beier’s solo exhibition ‘Real Estate’ is now on view at Bozar until January 4, 2026.

Read our article; Pressing Matters: Nina Beier Investigates Form, Labor, and Power. Written by Michaela Schweighofer on our website: glean.art ✨

🔗See link in bio

Celebrate the season with a GLEAN Artist Edition by Lafleur & Bogaert, Maryam Najd, Kendell Geers, Bénédicte Lobelle, Ce...
19/11/2025

Celebrate the season with a GLEAN Artist Edition by Lafleur & Bogaert, Maryam Najd, Kendell Geers, Bénédicte Lobelle, Ced’art Tamasala, Hana Miletić, Marie José Burki, Nel Aerts, or Shirley Villavicencio Pizango!

Explore the full collection and discover your favorite Artist Edition. ❄️

14/11/2025

GLEAN podcast alert!🔔

Barbara Vanderlinden in conversation with artist Rirkrit Tiravanija.

At Gladstone Gallery, Brussels, Tiravanija presents (the intellects take leave) - on view until December 20, 2025. In this new body of work, he shows paintings of newspaper, layering reflections on global crisis, American political unrest, and the power of the image to shape our shared perception of the world. Drawing on the legacy of Philip Guston, Tiravanija continues to question how art confronts social and political realities through materials drawn from everyday life.

In conversation with curator and art historian Barbara Vanderlinden, Tiravanija reflects on his trajectory from his student years in Chicago (in 1987) to the present, tracing a shift from object-based art toward a more relational practice: filling the white cubes with life, often taking the form of places to eat, sleep, share, and gather.

Throughout his career, Tiravanija has sought to create spaces where art and life intertwine, resisting both commodification and intellectual detachment. The conversation closes with a question that remains urgent: What is art today, and how can it still be relevant artistically, politically, socially, and poetically?

📸 © Rirkrit Tiravanija. Courtesy of the artist and Gladstone

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