Oscar Jespers - De kapmantel (1922)

He was a friend of the Belgian painter Paul Joostens and of the poet Paul Van Ostaijen. He made his first direct carvings in 1917 in a tentative Cubist style. His Constructivism began to assert itself in 1921, while he was finding a balance between material and technique, but later in the decade he moved towards Expressionism.

Rein Dufait - Peleus (2011)

Like a beachcomber he takes what the sea washes up at high tide and gives the discarded objects a new life: a bunch of plastic cords becomes a hanging sculpture; a shoe, a pedestal; a ping-pong pallet with perforated holes, a stylized bonsai; a rubber toy fish, a shuttle in space; a deflated balloon, an eerie signal of impermanence.

(Galerie Tatjana Pieters)

Sozyone Gonzalez - The Artists (2012)

Born in Brussels, Sozyone has lived through decades saturated in culture: the break-dancing of the 80s, the graffiti of the 90s, the gallery crawl of the 00s. Somewhere in between forging Belgian francs in 1982 and recording albums, Sozyone has amassed a great oeuvre. Sozyone is the real deal.

(Evan Pricco - Juxtapoz)

(Alice Gallery)

Jos de Gruyter & Harald Thys - Johannes, painter 1947 † 2010 (2011)

There was this scene, the final scene in ‘Händler der vier Jahreszeiten’ by Fassbinder where the main character Hans Epp is sitting at the head of a table in a bar surrounded by some ‘friends’ and his wife Frau Epp. After drinking 20 schnapps he falls dead with his head on the table. It is an extremely German scene and the monologue in this scene by Hans Epp has worked like a mantra for us for 25 years. Then during boring trips to Germany and France we encountered these characters (people, architecture, puppets) in remote cities that we got obsessed and traumatised by, and then slowly developed them into main characters. You know that these characters or strange situations will never leave our minds.

(moussemagazine)

Steve Van den Bosch - Selfportrait with gallery property (2011)

Steve Van den Bosch produces conceptual, self-reflexive works, in which the resulting object or installation is entangled in its own emergence and interpretation within the context in which it is exhibited. Slight, nearly imperceptible, but no less present, the perceptual process is thereby heightened and the ostensibly distinct moments of production and display are critically conflated.

(artistkukunuut)

Giambologna (Jean Boulogne) - Appennino (1581)

He was the greatest sculptor of the age of Mannerism and for about two centuries after his death his reputation was almost equal to that of Michelangelo.

It was for the Medici also that Giambologna made his largest work—the colossal (about 10 m high) figure of the mountain god Appennino in the gardens of the family’s villa at Pratolino. Constructed of brick and stone, the god crouches above a pool and seems to have emerged from the earth.

(The Oxford Dictionary of Art and Artists)

Stief Desmet - Monument for Mieke Maake (2012)

When he recreates or combines, or cuts – seemingly at random but in reality very purposefully – they become strangely monumental and turn into local variations of follies and ruins, Greek temples or pantheons that were installed in the gardens of 18th century noblemen.

(site)

Vic Gentils - Black Hole in Space (1989)

Gert Robijns - Immo (2011)

(site)

Vincent Meessen - My Last Life (2011)