from 'Antiek in Nederland, 1450 -1829', dr. Anne Berendsen, Arnhem, 1962


Wine barrel, Annibale Fontana, ca. 1575 - 1600

Wine barrel from the Wijnkoopersgildehuis ('Wine buyers' guildhall') in Amsterdam


spill milk

Szpilman Award 2013 winnerLuuk Schröder, 'Untitled', 2013
"Luuk Schröder posed in front of the officially required neutral white background for his new passport photograph. He changed just one thing: His picture is taken in front of a pool of milk. So whenever he has to identify himself, he shows a beautifully sublime work of art to the authorities."




- all postcards from the Royal Museum for Central Africa -



Visited the Royal Museum for Central Africa in Brussels last weekend. The museum will close its doors for restoration after December 1st 2013 and will never look the same again afterwards. More photos soon from my 10 pound catch at the museum shop (total liquidation sale!)

life-time quality

some of my grandfather's socks, hand-knitted by my grandmother



Claude Viallat, 'Peinture', 1973

Claude Rutault; 'Gamma van 26 kleuren', 1978

Daniël Dezeuze, 'Colombage', 1977

Niele Toroni, 'Travail/peinture'

Philippe van Snick, 'Eclips II', 1978

Royden Rabinowitch, 'Barrel construction double curvature at right angles 16', 1964 & '7 left limits added to a developed seven manifold', 1983

from 'Museum voor Schone Kunsten Gent. Catalogus van de Collectie'


poster image

rené daniels, Van Abbemuseum
sophie nys, 'exhibition', MOREpublishers


for sale



here and there

mickey drawing by sarah h when she was young


Patterns for (re)cognition

Djilatendo, 'Untitled', 1929, Collection Pierre Loos, Brussels
Tshyela Ntendu, 'Abstractie', ca 1928-1933, Collection Pierre Loos, Brussels

I was very happy with the duo show 'Patterns for (re)cognition' we had on show in KIOSK the past two months!  
During his current research on colonial psychology, Belgian artist Vincent Meessen was intrigued by the relation between the formal abstraction of certain cognitive tests and Western geometrical abstract art. By displaying a curated section of abstract paintings from the late 1920s by one of the two so-called first modern Congolese artists, the pioneer Tshyela Ntendu (aka Djilatendo), Meessen proposed a ‘constructivist scenario’ that problematizes the Western narrative of abstraction in regard to so-called primitive ornament.