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    • Agenda

    NovDecJan
    Events — Other

    CaccHho CucchhA: A solo exhibition for Children and Adults by Mercedes Azpilicueta

    CaccHho CucchhA will be activated through children’s free play and a series of artist-led playshops. These sessions are facilitated by Mercedes Azpilicueta herself, Antonella Fittipaldi, Anna Klas, Lina Bravo Mora, Raoni Muzho Saleh, Gļeb(s) Maiboroda and Vere van der Veen, and will explore the exhibition through storytelling, dwelling-making, weaving, sound-making, and planting. Since this is a child centered exhibition, rather than being guided or instructed, children will be accompanied, with activities adapted to their collective rhythms, needs, and desires. The playshops are open to children aged 4–12. Adults are expected to participate in the play activities.

    25 Oct up to 22 Nov — De Appel
    Events — Other

    CaccHho CucchhA Playshops

    CaccHho CucchhA will be activated through children’s free play and a series of artist-led playshops. These sessions are facilitated by Mercedes Azpilicueta herself, Antonella Fittipaldi, Anna Klas, Lina Bravo Mora, Raoni Muzho Saleh, Gļeb(s) Maiboroda and Vere van der Veen, and will explore the exhibition through storytelling, dwelling-making, weaving, sound-making, and planting. Since this is a child centered exhibition, rather than being guided or instructed, children will be accompanied, with activities adapted to their collective rhythms, needs, and desires. The playshops are open to children aged 4–12. Adults are expected to participate in the play activities.

    25 Oct up to 22 Nov — De Appel
    Exhibitions — Ceramics, Painting, Sculpture

    IN THE DEPTHS OF BLUE THERE IS YELLOW

    In the exhibition In the Depths of Blue there is Yellow, Kristoffer Zeiner brings together the work of Kim Wawer and Philip Coyne. In preparation for the exhibition, both artists read Gaston Bachelard’s essay Reveries of Material Interiority, in which he argues that objects possess inner worlds — endless repositories of ideas, associations, and connections, accessible through reverie and reflection.

    17 Oct up to 22 Nov — m.simons
    Exhibitions — Other

    CaccHho CucchhA: A solo exhibition for Children and Adults | Mercedes Azpilicueta

    de Appel presents CaccHho CucchhA, a scenographic exhibition by Mercedes Azpilicueta that treats play as invention, disobedience, and commons making. Commissioned by de Appel, the project unfolds as an immersive ecosystem of modular sculptural costumes, play platforms and a large tapestry, activated through an ongoing series of workshops with children, families, and invited collaborators. CaccHho CucchhA is part of de Appel’s long-term commitment to embedded art and mutual learning, as well as hosting children and caregivers into the centre of artistic life and rethinking what behaviors, and whose tempos are supported in cultural spaces.

    13 Sep up to 23 Nov — De Appel
    Exhibitions — Installation, Photography, Sculpture, Video | Film

    STILL LIFE BABEL | Imogen Stidworthy

    AKINCI is proud to present the solo exhibition STILL LIFE BABEL by Imogen Stidworthy (1963, London). Her sculptural installations and films are shaped by verbal and non-verbal forms of voicing, happening through sound, body, spatial and temporal relationships. Through being with, listening, participating in and sometimes staging situations with others, she traces different registers of communication between the individual and the many, self and others.

    31 Oct up to 13 Dec — AKINCI
    Events, Exhibitions — Installation, Photography, Work on paper

    Between Seeing and Saying I Marc Nagtzaam & Marike Schuurman

    Bradwolff & Partners wamly invites you to “Between Seeing and Saying”, where two ways of looking come together: the quiet systematics of Marc Nagtzaam alongside the exploratory gaze of Marike Schuurman. Pencil and camera. Two distinct media, one question: how do images acquire meaning, and what remains beyond view?Marc Nagtzaam creates drawings in which reduction and excess exist in a delicate balance. Grids, patterns and fragments of language emerge intuitively and are layered repeatedly until a structure or composition presents itself. Out of a series of lines emerges an almost architectural pattern — at once rigorous and personal. The work bears the traces of concentrated labour: marks in the margins, repetition, nuance, subtle shifts. Those who look closely can see the artist’s hand in minute variations — a line that grows slightly thicker, or a corner that doesn’t quite meet. In this process, Nagtzaam constantly engages with opposites – order and chance, abstraction and gesture – which at times cancel each other out, at others reinforce one another. The result is a space that continually reshapes itself, yet never closes. A rhythm without closure, unfolding as a visual line of thought.Marike Schuurman’s photographic practice examines the often absurd relationship between humans and their environment. She interrogates the ambiguities of human-made spaces and landscapes, where boundaries are in constant flux. What at first appears natural often turns out to be carefully constructed; what seems orderly reveals itself, upon closer look, as chaotic. Her photographs explore not only what is visible, but also what escapes the eye, probing the limits of perception, imagination and representation. Schuurman experiments with specific photographic techniques, shaped and informed by her subjects, through which she renders the spatial experience and context of each location tangible, infusing familiar situations with an unexpected charge.Together, Nagtzaam and Schuurman show that images are never neutral. Between seeing and recording, between showing and concealing, a tension emerges that sustains their work. What do you reveal, what do you withhold, and what does that tell us about how we understand the world? Abstraction and conceptual enquiry do not oppose one another, but rather reinforce each other. In an age when images circulate faster than ever and meaning erodes in the flow, the work of Nagtzaam and Schuurman establishes a different rhythm: slower, more attentive. It invites the viewer to look again – at order and chance, at what is revealed and what remains hidden.Marc Nagtzaam (1968, Helmond, Netherlands) studied at the Academie St. Joost in Breda and at the Hoger Instituut voor Schone Kunsten (HISK), Antwerp, Belgium. He has had solo exhibitions at De Vleeshal (Middelburg), Barbara Seiler Galerie and Archiv (Zürich), art3 (Valence), Kajetan, Raum für Kunst (Berlin), ProjecteSD (Barcelona), and Umbrella (Denmark, 2024), as well as duo and group exhibitions including Regular Features with Mark Manders at Enter Enter, Amsterdam and Borrowed Space with Hans Demeulenaere at Emergent, Veurne. He regularly publishes artist books featuring his drawing practice in collaboration with Roma Publications.His work is included in public collections such as the Centraal Museum (Utrecht), S.M.A.K. (Ghent), Kadist Art Foundation (Paris), FRAC Bourgogne (Dijon), MuZEE (Ostend), LiMAC (Lima), Museum Jan Cunen (Oss), Teylers Museum (Haarlem), Stedelijk Museum Schiedam, Frans Hals Museum (Haarlem), and SBKM / De Vleeshal (Middelburg), as well as in corporate and municipal collections such as the ABN AMRO, Rabobank, and Océ Art Collections, the Leiden University Medical Center, and the Municipal Collection of Breda. He lives and works in the Netherlands.Marike Schuurman (1964, Groningen, the Netherlands) studied photography at the Gerrit Rietveld Academie and was artist-in-residence at the Rijksakademie van Beeldende Kunsten, both in Amsterdam. She has also held residencies at Künstlerhaus Bethanien, Berlin (2003); Beijing, China (2008); São Paulo, Brazil (2009); and CEAC, Xiamen, China (2020). She lives and works in Berlin.Her work has been exhibited at institutions such as the the Stedelijk Museum Amsterdam, FOAM Photography Museum, Amsterdam, Haus der Kulturen der Welt, Berlin, Helmhaus Zürich en KINDL – Centre for Contemporary Art, Berlin. Recent exhibitions include TERRA DIASPORA – Actives Terrain N°2, Kunstverein Göttingen (2025); Polaroids, Helmut Newton Foundation, Berlin (2025); Below the Surface, Het Archief, Rotterdam (2024); and Demain est annulé, Fondation EDF, Paris (2024).Her work is held in a number of public and private collections, including Sammlung Hoffmann, Berlin; Sammlung Hackelsberger, Berlin; Achmea Art Collection; FOAM Photography Museum, Amsterdam; KPN Art Collection; the Dutch Ministry of Foreign Affairs; and Stichting Océ.

    31 Oct up to 20 Dec — Bradwolff & Partners
    Exhibitions — Painting

    CLICK CLICK CLICK | Group Exhibition

    CLICK CLICK CLICK brings together the work of Camille Theodet, Anja Rausch, and Jingyan Ding, three artists whose practices navigate the porous boundary between the digital and the physical. In a time defined by the continuous gesture of clicking, scrolling, capturing, and reproducing, the exhibition examines how images, forms, and selves are constructed, fragmented, and reconfigured across virtual and material realities. Through painting, the artists examine the tension between proximity and mediation, between the tactile texture of paint and the immaterial flow of data. The act of clicking, whether the mechanical press of a mouse or the instant of a camera shutter, becomes both a means of contact and a point of departure, a repetition that distances as much as it connects.

    31 Oct up to 21 Dec — Enari Gallery
    Exhibitions — Ceramics, Mixed Media, Painting, Photography, Sculpture, Video | Film, Work on paper

    Interrupted Whispers | Group Show

    The eye glides along, literally from one statue to the next, until it remains still at the back of a bronze sculpture. This is a statue of a woman who wears a long, pleated head covering and, with her back facing the camera, looks out at the immense bluish glass wall of a modern office tower. We circulate throughout the Botanique, the Botanical Gardens of Brussels, created in the nineteenth century. Here Emma van der Put made video recordings of the sculptures that are still standing in the botanical garden today. In her video work Project Panorama, 2025, they are the protagonists who, from their anchored position in history, witness the city’s rapid development. With their tranquil drama the group of statues contrasts with an environment full of anonymous, geometrically designed architectural giants. The park is a time capsule, as it were, but what information does it contain? And what does it say about us, as humanity? Past, present and future seem to be in suspended animation here. The work of Emma van der Put is suffused with suggestiveness. The human figure in all its physicality is portrayed in her Project Panorama as an autonomous presentation, a body both monumental and fragile. On the basis of that ambiguity, the sculptures reach out to the world. But will the body hold up?

    1 Nov up to 10 Jan — tegenboschvanvreden