Klaas Op De Beéck (°1990 Leuven) lives and works in Gent, Belgium. In 2013, he completed his MFA in fine arts, painting at St Lucas, Gent, with an exchange at Ed- inburgh College of Arts. Since then, he has participated in national and international exhibitions, including MSK Remastered (2016, Museum of Fine Arts, Gent), and En Piste! (2019, Musée La Boverie, Liège). In an age dominated by mass media and digital communication, Klaas Op De Beéck chooses to slow down and explore the subtleties of daily life and the importance of human connection through painting. His work emerges from time spent with people in his studio—friends, neighbors, and loved ones—who appear informally in his paintings, often absorbed in simple, everyday moments. This studio becomes a heterotopic space where themes like intimacy, identity, and the passage of time are deeply researched.

Morales Leiva’s artistic work emerges from a personal approach titled “Method- ology to transit from the surface to the body through the materiality of drawing”. Based on physical improvisation processes, and meditation, it explores subjective states where the capacity of response is materialized in sculptural objects, draw- ings, videos and photographs. This work takes place both inside and outside his studio, alone or with an audience that he chooses to call community. The actions are assembled using mainly his body as a conductor of a personal language that connects his own experiences with Latin American history, fiction and poetry, in- forming through memory and haptic perception, rather than conceptual invention. His creations blur disciplinary boundaries, giving rise to installations that project his multisensory and collective perspective of art, establishing affective and political relationships with the specific contextual realities of the moment of its creation.

We as a society love boxes and we love it even more when you fit inside of one We like to create a new one if you don’t fit in any of the existing ones. As long as you fit in. Personally I like to use boxes purely for communication purposes but I don’t see them as strictly defined or definite. On my personal journey of self discovery, I real- ised that I didn’t fit into any of the standard categories. As a queer gender fluid artist, I pursue to find a middle ground where, what’s considered hyper feminine and hy- per masculine can meet. Outside of the traditional boundaries that we hold so dear.

For the 30x40 exhibition Ken Verhoeven and Ena Podgorac combined two boxes, creating a toolbox for telepathic exercises. The object is activated when two individuals partake in a search for higher communication.

This sculpture explores the concepts of structure, replication, and materiality through the use of wood, latex, plastic and fabric. The wooden frame functions as both a boundary and a framework,containing and defining the forms within. While the latex, traditionally used for replicating forms, is employed here in a non-tradi- tional manner. Rejecting the uniformity inherent in traditional mold-based casting, each form is manually created, resulting in unique, non-identical repetitions. The frame houses six globes, their segmented arrangement and quantity evoking the anatomy of a mammalian’s abdomen. This organic division gestures toward repro- duction, expansion, and fertility,invoking biological processes while challenging the classical ideals of perfect replication in an artificial sense. Deviating from classical casting methods with a deliberate departure from uniformity the work emphasizes the tension between replication and variation, reinforcing the idea of multiplicity and growth.

“...What strikes me, time and again, about your work, is the apparently complete absence of the artist. the paintings are like samples, cryptic samplings of indeterminable complex visual structures. There is almost no pictorial touch or form of action. There is only the suspicion that an articulated choice was made in favor of an almost mechanical process. The works result from a complex process, a lapse of time in which chance and irregularities are incorporated as cognitive factors... I feel it must be almost impossible to decide when a work is finished. There is no time or final touch upon which the painting comes together as a whole.? Every work is as it were finished before it started. And yet, the work is not a mathematical formula put into practice. As an artist, you define the aberrations in the image with a particular attitude toward form and image creation. As an artist, you try to create work that not only finds its place in art history, but equally in a context in which images are produced faster than they can be viewed. In a cultural environment in which, to most, pictorial pleasure coincides with the dictates of figuration, your work provides an accurate answer of the diagnosis described above. Your work is a not-knowing and not-signifying, set within the conventional agenda of viewing, and opens up the act of perception in a way that forces the viewer to dismantle every possible pictorial bias.” -Philippe Van Cauteren

Missing is a piece on remembering moments gone by and yet to arrive. It exists as a precocious spiritual heart, encompassing the multilayered worlds that live within a multiethnic woman. This hybrid box is meant to hold letters close to my inner child, a protector forever invoking the missing ones. This way the read words live inside my memories and the written ones remain locked inside my fur lined material heart. The purpose of this is as abstract as illustrative, an act of keeping memories from escaping my cloudy mind.

This artwork is part of "30x40", a group exhibition presented by Life Is Art Gallery together with Kalkman Gallery. The Exhibition is hosted by Life Is Art Gallery in Antwerp, Belgium, from Oct 24 until Nov 23

This artwork is part of "30x40", a group exhibition presented by Life Is Art Gallery together with Kalkman Gallery. The Exhibition is hosted by Life Is Art Gallery in Antwerp, Belgium, from Oct 24 until Nov 23

This artwork is part of "30x40", a group exhibition presented by Life Is Art Gallery together with Kalkman Gallery. The Exhibition is hosted by Life Is Art Gallery in Antwerp, Belgium, from Oct 24 until Nov 23

This artwork is part of "30x40", a group exhibition presented by Life Is Art Gallery together with Kalkman Gallery. The Exhibition is hosted by Life Is Art Gallery in Antwerp, Belgium, from Oct 24 until Nov 23

This artwork is part of "40x30", a group exhibition presented by Life Is Art Gallery together with Kalkman Gallery. The Exhibition is hosted by Life Is Art Gallery in Antwerp, Belgium, from Oct 24 until Nov 23

This artwork is part of "30x40", a group exhibition presented by Life Is Art Gallery together with Kalkman Gallery. The Exhibition is hosted by Life Is Art Gallery in Antwerp, Belgium, from Oct 24 until Nov 23

This artwork is part of "30x40", a group exhibition presented by Life Is Art Gallery together with Kalkman Gallery. The Exhibition is hosted by Life Is Art Gallery in Antwerp, Belgium, from Oct 24 until Nov 23

This artwork is part of "30x40", a group exhibition presented by Life Is Art Gallery together with Kalkman Gallery. The Exhibition is hosted by Life Is Art Gallery in Antwerp, Belgium, from Oct 24 until Nov 23

The artist use of circles and holes is a reference to entrances/exits to bodies/ spaces. Through his practice, he reflects on the relationship between his body and the environment around him. The materiality of things is meshed with the experience of flesh. Ragno looks for signs of his queerness outside of his body, in objects, materials and selected spaces.

This work is a portfolio created by Jiyoung Chu using prototypes that emerged while producing her past works. It began with a sense of skepticism toward the format of aportfolio that presents and explains the artist. The artist reflects on the gap between the internal identity of the artist and the externally presented identity. Through this work, she contemplates how the process of creating art and the pro- totypes produced in that process are understood in the realm of art. Additionally, she attempts to reflect on how she will live and create as an artist in the future.

Derived from the lively, often grimy streets of Antwerp, my inspiration materializes from encounters, banal scenes, and oddities. Fueled by a vivid imagination, I translate ideas into unfiltered images, often on discarded objects. The tactile allure of these finds can spark immediate ideas. Despite repurposing street-found objects, I try to continue treating them as mere trash, fostering a self-critical approach. A constant visual exploration, blending imagination with surroundings, drives each creation. I prioritize spontaneity, avoiding preconceived notions, welcoming coincidences and intuitive impulses. A continuous thematic thread, humor weaves through my work, often targeting taboos and human vulgarity. These ‘adult’ themes are in high contrast with a childlike expression which allows me to explore the raw form of individuality that I try to obtain in my work.