Artists

Marie Cloquet (b. 1976, Ghent, Belgium) works at the intersection of photography, painting and collage. Using photographs taken on her travels as sketches, she manipulates, tears and reassembles printed fragments, combining them with watercolour to create new landscapes. These images retain traces of real places while unsettling their scale, perspective and continuity. In her spatial works, photographic surfaces become free-standing panels that respond to the surrounding architecture.

Natural landscapes and man-made environments meet as parts of a shared, fragile world. Ruins, worn surfaces and discarded sights become material for reconstruction, bringing different places and times together. Between recognition and estrangement, beauty and decay, Cloquet's work explores how images can hold memory while exposing its gaps and fractures.

Carole Ebtinger (b. 1995, Vietnam) lives and works in Brussels, Belgium. Her practice is one of a painter, building each work layer by layer without knowing in advance when it will be finished. She uses pure ink, pastel and adds a combination of pure pigment, glue and water directly into the paper. Dry pastel is added to refine the vague, nature-inspired forms. The movements and intensity of these shapes reflect the different periods she navigates in life, where emotional awareness becomes an important influence among various personal and contextual forces. Some titles refer to conversations with loved ones and other social relationships, while others are drawn from literature that speaks to her during the creation process. The emotional freedom she has experienced in recent years is clearly visible in the increasingly expressive gestures that emerge in her recent work. They reveal this newly found, ecstatic sense of freedom and happiness through captivating colours, movement and layered materiality.

Carole Ebtinger graduated with a Masters in Drawing from La Cambre (Brussels, 2018) and was awarded the Eeckman Art Prize by Art on Paper, Brussels (2021). This year she finished her residency at The Fores Project in London (UK) and has had a solo in London (UK) (South Parade in 2023) and Los Angeles (USA) (Sarah Brook gallery in 2023 and 2025) and Nino Mier gallery (Brussels, BE) followed by a participation at MIART (Milano, IT) in 2026 and at Art Brussels (Brussels) with BARBÉ. In the past years she also participated in several group shows at BARBÉ and had her first solo 'Ma Première Extase Était Bleue' in 2026 as a represented artist of the gallery.

Gideon Kiefer (b. 1970, Neerpelt, Belgium) works and lives in Sint-Martens-Latem, Belgium. Gideon Kiefer delves into memories from his childhood and youth. He poses the question to what extent these recollections are truly representative of reality, while allowing the romanticization and imagination, so characteristic of such retrospection to unfold freely. In doing so, multiple readings of these memories emerge, as though they are being carefully unearthed from beneath the surface.

Over the past years, Gideon Kiefer has exhibited in numerous international solo and group shows in galleries, art fairs, and institutional venues. His work is part of institutional collections such as Museum Dr. Guislain (B), Bank Delen (B), the Metzler Collection (LU), the Belgian Ministry of Foreign Affairs (B), Museum Voorlinden (NL), and Collection Guerlain (FR). In 2025 he has been nominated for Le Prix de dessin de la Fondation d’Art Contemporain Daniel et Florence Guerlain 2025 followed by an acquisition given in loan to the collection Museum Centre Pompidou in Paris (FR). Recently the Flemish Community acquired one of his works for the contemporary art collection of the Flemish Community. In October 2026 he will participate in 'After Nature. Beauty and Decay, from Savery to Today' at ABBY museum, Kortrijk (BE).

Štefan Papčo (b. 1983, Ruzomberok, Slovakia) lives and works in Bratislava, Slovakia. His sculptural practice is intimately connected to mountaineering, which he has been practicing for many years. He is an experienced climber, and his direct knowledge of climbing as mental and physical discipline, body language, and choreography, constitutes an integral part of his work.

Climbing is not about visual paradigms; it is performative and deeply grounded in the body, movement, and gravity and the sculptural objects Papčo creates introduce his stark experience and the vocabulary of mountaineering into art. Entangled with the mountains’ environment and their ecology, Papčo’s practice also revisits the history of alpinism and its ambiguous status within discussion on modernity.

Officially “invented” in 1760, alpinism went hand in hand with the logic of colonisation and conquest of the summits. At the same time, it was embracing an anti-technological stance and engaging into an early promotion of the nature conservation. Štefan Papčo’s work is situated in the latter approach, embracing the ethics of fair play between the body and the Nature. He takes a non-technological and non-mediated view of the human–Nature relationship, based on solidarity rather then domination. (Courtesy Galerie Poggi)

INSTALLATION VIEWS