“A la belle vue de l’abattoir” group show in La Grande Halle of the old slaughterhouses of Mons, Belgium, March 8->May 24, 2026

 

This European collective exhibition celebrates the association’s 20 years on the site and explores the imagination, history and contemporary issues surrounding slaughterhouses.

Whether through denunciation, memory, poetry or critical analysis, the works invite us to take a sensitive and informed look at these places of passage, abandonment, production, transformation and, to this day, heritage. The exhibition thus aims to open up a space for reflection on what slaughterhouses say about our societies: our relationship with living beings, with the acts of production, with traces, with disappearance.

The dialogue between the works, archival documents and life stories allows for a complete immersion into a theme rarely explored in the field of applied arts. It pays tribute to the power of craftsmanship in shaping our view of the world.

 

 

 

 

 

 

 

Catch, play, forget?

This former slaughterhouse, where an anonymous stream of animals met their end now houses a claw machine.

No more sounds of
metal hooks and heavy breathing, but the soft thud of an object to be won. A surprise wrapped in a playful way.
Here, you won’t find stuffed animals, but unique works of art, wrapped like sweets and steeped in history. A place with a past. This place exudes history. Where animals breathed their last breath, something new emerges: an art installation that plays on transformation, impermanence and rebirth. The smell of blood and steel has given way to colour and a certain sense of wonder.

 

How does it work?
Let the claw machine do its job and discover what
awaits you. Each “package” contains a piece of art
made by hand (along with a QR code). Scan it and
immerse yourself in the stories behind this place. An
encounter with as sweet as can(dy)be, symbolizing both the
past and renewal.
Do you dare to take it?

The mascot as a mask.
[as sweet as can(dy)be] laughs, dances, draws you into the game.
But behind this playful façade lies something else.
A memory. A question. How do we view
animals? If we no longer eat them, do we consume them
differently?

“Les Fleurs du mal”, group show, Galerie 10a, Belgium, February 27-> March 29, 2026

With the exhibition Les Fleurs du Mal, running from February 28 to March 29,  ceramic sculptures by Anne Marie Laureys  go in dialogue with paintings by four artists: Julius Stibbe (NL), Nico Vaerewijck, Jan Vindevogel, and Ronald Zuurmond (NL).

The title refers to Charles Baudelaire’s famous collection of poems (1857), in which beauty and darkness are inextricably linked. Surprisingly, images of great intensity and beauty can arise from the broken and the uncomfortable.

The work of these artists can not only seduce, but also unsettle. The paintings and ceramic sculptures show how aesthetics can emerge from tension, distortion, and vulnerability.

 

 

 

 

 

 

 

“Where do we go from here #2?” group show CC De Ververij, Ronse, Belgium, January 24->February 8, 2026

 

 

With this group exhibition, CC De Ververij once again aims to bring together visual artists who have a connection to Ronse and are building an intriguing body of work. This time, their artistic practices are linked by narrative perspectives and expressed in various disciplines.

Exhibition open on Wednesdays from 1 p.m. to 4.30 p.m., on Saturdays and Sundays from 2 p.m. to 5.30 p.m.

Opening on Friday 23 January at 8 p.m. with performance ‘Swan Lake’ by Karel Thienpont & Laura

Location: Wolvestraat 37, Ronse

 

 

 

 

 

 

ALTERED STATES Anne Marie Laureys & Costanza Gastaldi at TASTE contemporary, Geneva, Switzerland, November 13, 2025 – January 14, 2026

 

Taste Contemporary presents Altered States, a poetic encounter between the Belgian ceramic artist Anne Marie Laureys and Italian fine art photographer Costanza Gastaldi.

In this exhibition, clay and image converse in a realm where form is never fixed. Both artists draw us into a shifting landscape — a place where matter breathes, dissolves, and reforms in endless transformation. What appears still is, in truth, alive with motion and metamorphosis.

At the core of this dialogue lies Anne Marie Laureys’ ceramic practice: vessels that seem to inhale and exhale, their surfaces folding, twisting, and blooming into unexpected shapes. Familiar yet strange, her sculptures capture the very moment when clay transcends its own weight — soft, supple, and charged with emotion.

Beside them, Costanza Gastaldi’s photographs unfold like fragments of dreams — shadowed reflections where perception and memory gently entwine. Her images hover between waking and reverie, mirroring the fluid, uncertain beauty of Laureys’ forms.

Together, their works open a space of quiet transformation — an invitation to linger where the solid turns liquid, and the seen becomes felt.

FLUX , Tatjana Pieters Gallery, Ghent, Belgium, January 12 til February 23, 2025

FLUX duo tentoonstelling Tatjana Pieters Gallery Ghent, Belgium Matthijs Kimpe & anne MarieLaureys installation view ©joosjoostens

FLUX, Tatjana Pieters Gallery Ghent, Belgium
Matthijs Kimpe & Anne Marie Laureys
installation view ©joosjoostens

                             THE_HELMET_SETTLING_IDEAS, ceramics, 2024, H152 x 48 Øcm,  ©peterclaeys

 

                             LA_JOIE_À_LA_CHOSE, ceramics, 2024, OPUS#3 H40 x 28 x 25cm, ©peterclaeys

 

                              STOP_NONSTOP_SAVING_NONSENSE, ceramics, 2024, H154 x 70 x 60 Øcm, ©peterclaeys

FLUX_THE_PROCES_BECOMING_ONE_IN_ETERNAL_MOVEMENT, ceramics, 2024, H56 x 50 x 50cm, ©peterclaeys

FLUX, Tatjana Pieters Gallery Ghent, Belgium
Matthijs Kimpe & Anne Marie Laureys
installation view ©joosjoostens

FLUX, Tatjana Pieters Gallery Ghent, Belgium
Matthijs Kimpe & Anne Marie Laureys
installation view ©joosjoostens

FLUX, Tatjana Pieters Gallery Ghent, Belgium
Matthijs Kimpe & Anne Marie Laureys
installation view ©joosjoostens

FLUX, Tatjana Pieters Gallery Ghent, Belgium
Matthijs Kimpe & Anne Marie Laureys
installation view ©joosjoostens

FLUX, Tatjana Pieters Gallery Ghent, Belgium
Matthijs Kimpe & Anne Marie Laureys
installation view ©joosjoostens

FLUX, Tatjana Pieters Gallery Ghent, Belgium
Matthijs Kimpe & Anne Marie Laureys
installation view ©joosjoostens

FLUX, Tatjana Pieters Gallery Ghent, Belgium
Matthijs Kimpe & Anne Marie Laureys
installation view ©joosjoostens

FLUX, Tatjana Pieters Gallery Ghent, Belgium
Matthijs Kimpe & Anne Marie Laureys
installation view ©joosjoostens FLUX , Tatjana Pieters Gallery, Ghent, Belgium, January 12 til February 23, 2025

A duoshow with Matthijs Kimpe, paintings

FLUX symbolises the ongoing change and fusion of materials and ideas.
FLUX challenges to see the world not as something fixed, but as a constant source of change and inspiration.

In the art world, the term FLUX conjures up images of movement, transformation and the constant interplay between form and content. It refers to a dynamic state in which nothing is fixed and everything is constantly evolving.
Artists inspired by flux often explore the boundaries of tradition, medium and time.

We would be happy to see you soon in Ghent for the duo show FLUX.

 

 

FUGA’S EN PIMPELMEZEN, Museumhuis Lucien De Gheus, Poperinge, Belgium June 8- September 29, 2024

Exhibition
‘Fuga’s en Pimpelmezen’
Curator : Compagnon d’art, Els Vermeersch

Groupshow

Saturday 8 June – Sunday 29 SeptemberJune open : Saturday and Sunday : 2pm -> 6pm
July and  August open : Friday Saturday and Sunday: 2pm-> 6 pm

Contemporary art nestles in the intimacy of the Museum House and enters into dialogue with the location and oeuvre of Lucien De Gheus and his passion for music, dance and movement.

More info and full programm on events ->site Museumhuis Lucien De Gheus

 

EARTHLY BODIES, Sarah Myerscough Gallery, London, UK, April 24 – June 1, 2024

EARTHLY BODIES: To bind body and clay feels intuitive; each conjure promethean themes of softness, curved lines and creation stories. Amongst the fleshy textures of leather-hard clays, or a shapely Amphora vessel, there’s a craving to consider ceramic practices as informed by traces of the living body. Indeed, references to the human form have long been used within the language of ceramics – ritualistic ancient pots with sensuous curves, their features bearing anatomical namesakes. 

 

The body appears through clay as both an expressive and abstracted entity, as a material rendering of the maker’s own presence. 

The figure of the vessel lingers and informs ceramicists who push these enduring themes from functional and domestic, to figurative and conceptual.

Earthly Bodies is the third major ceramic exhibition at Sarah Myerscough Gallery. Developing from its forebears, Random Growth [2015-2016] and Tectonics [2019] which explored geological themes in contemporary ceramics, this upcoming show considers corporeal and topographical sensibilities.

Featured Ceramcists include:Ken Eastman, Luke Fuller, Yoshimi Futumura, Tomonari Hashimoto, Jonathan Keep, Anne Marie Laureys, Janet Lines, Nuala O’Donovan, Jiwon Park, Aneta Regel, Mella Shaw + Julian Stair

HOW TO DO THINGS WITH COLOUR, LUCA Baudelostraat 23, Ghent, Belgium, March 29 – April 7, 2024

HOW TO DO THINGS WITH COLOUR an exhibition resulting from an investigation into the use of colour in sculptures from the studio Sculpture, Glass & Ceramics, Luca school of Art, Ghent by Barbara Vandecauter.

In the exhibition “How to Do Things with Colour”, we invite visitors to explore the deeper meaning and influence of colour in sculptures. The philosopher Ludwich Feuerbach once remarked that “sense cannot be reduced to concepts”.
This thought underpins this project, which examines the complexity and subjectivity of colour. We often use words like ‘colour’ without considering the personal interpretation and connotations each of us gives to it.
In developing the Impulse project ‘Coloured Matter’ at Luca, which began as a renewal of the glaze archive of the Sculpture, Glass & Ceramics studio in collaboration with workshop manager Sabine De Roo, the question arose as to how we can enrich and deepen our experience of colour in sculpture.
As part of the fascinating search for the multifaceted interpretations and applications of colour in sculptural work, I invited the artists involved to give lectures at Luca during the academic year on the interpretation of colour in their artistic practice.
This exhibition, the conclusion of the lecture series, far from being an explosion of splashes of colour, highlights the diversity of approaches to colour and emphasises the integrity in the relationship between artist and use of colour.
The title “How to Do Things with Colour” is a reference to “How to Do Things with Words”, the book by philosopher J.L. Austin, in which he argues that performative expressions of language, as opposed to descriptive statements, imply actions that alter reality.
In a similar way, this exhibition goes beyond the idea of colour as an aesthetic in sculptures. It highlights how colour is an experience that affects our perception and emotions, often in ways that are elusive in words, just like Austin’s performative statements.
This exhibition is an invitation to dialogue about how colour, similar to words, can be an active and transformative force in our experience of reality. It is an exploration of colour as a means of creating meaning and experience, challenging and redefining the view of colour in sculpture as a mere aesthetic addition.
With “How to Do Things with Colour”, we provide a platform for this unique and often unspoken dialogue.

 

In de tentoonstelling “How to Do Things with Colour” nodigen we de bezoeker uit om de diepere betekenis en invloed van kleur in sculpturen te verkennen. De filosoof Ludwich Feuerbach merkte ooit op dat “zintuigelijkheid niet te reduceren valt tot concepten”.

Deze gedachte ligt aan de basis van dit project, waarbij de complexiteit en subjectiviteit van kleur onder de loep wordt genomen. Vaak gebruiken we woorden als ‘kleur’ zonder stil te staan bij de persoonlijke invulling en connotaties die ieder van ons eraan geeft.

Bij het ontwikkelen van het Impulsproject ‘Gekleurde materie’ in Luca, dat begon als een vernieuwing van het glazuurarchief van het atelier Sculptuur, Glas & Keramiek in samenwerking met werkplaatsverantwoordelijke Sabine De Roo, rees de vraag hoe we onze ervaring van kleur in sculpturen kunnen verrijken en verdiepen.

In het kader van de boeiende zoektocht naar de veelzijdige interpretaties en toepassingen van kleur in sculpturaal werk, heb ik de betrokken kunstenaars uitgenodigd om gedurende het academiejaar lezingen te geven op Luca over de invulling van kleur in hun artistieke praktijk.

Deze tentoonstelling, de afronding van de lezingenreeks, verre van een explosie van kleurspetters, belicht de diversiteit in de benadering van kleur en benadrukt de integriteit in de relatie tussen kunstenaar en kleurgebruik.

De titel “How to Do Things with Colour” is een verwijzing naar “How to Do Things with Words”, het boek van de filosoof J.L. Austin, waarin hij stelt dat performatieve taaluitingen, in tegenstelling tot beschrijvende uitspraken, handelingen impliceren die de realiteit veranderen.

Op een soortgelijke manier gaat deze tentoonstelling verder dan het idee van kleur als een esthetisch aspect in sculpturen. Het onderstreept hoe kleur een ervaring is die onze perceptie en emoties beïnvloedt, vaak op manieren die ongrijpbaar zijn in woorden, net als Austin’s performatieve uitspraken.

Deze tentoonstelling is een uitnodiging tot dialoog over hoe kleur, vergelijkbaar met woorden, een actieve en transformerende kracht kan zijn in onze beleving van de werkelijkheid. Het is een exploratie van kleur als een middel om betekenis en ervaring te creëren, die de kijk op kleur in sculpturen als louter esthetische toevoeging uitdaagt en herdefinieert.

Met “How to Do Things with Colour” bieden we een podium voor deze unieke en vaak onuitgesproken dialoog.