Two framed images measuring 8x6 centimeters. Shown on the occasion of the photography Masters exhibition at Fondation A Stichting and the LUCA Graduation Show 25’ Brussels.
Converted swamp (2025)
We’re looking at a concrete, bunker-like structure, the lower-ground floor of KANAL, a new museum for modern and contemporary art in Brussels. As emblematic and controversial as the centuries-old Museum of Fine Arts of Belgium, this still very young institute will soon be joining the museological landscape of the city. Here, a newly assembled collection of modern and contemporary art, owned by the Brussels region, will be exhibited. A permanently exhibited collection of modern and contemporary art is something that has been missing for a long time in Brussels. In contrast, the federal collection of modern and contemporary art, which is stored in the Fine Arts Museum of Belgium, still awaits a permanent home.
Converted swamp (2025)
We’re looking at a concrete, bunker-like structure, the lower-ground floor of KANAL, a new museum for modern and contemporary art in Brussels. As emblematic and controversial as the centuries-old Museum of Fine Arts of Belgium, this still very young institute will soon be joining the museological landscape of the city. Here, a newly assembled collection of modern and contemporary art, owned by the Brussels region, will be exhibited. A permanently exhibited collection of modern and contemporary art is something that has been missing for a long time in Brussels. In contrast, the federal collection of modern and contemporary art, which is stored in the Fine Arts Museum of Belgium, still awaits a permanent home.
Inbetween shows: maquette (2025)
We see a classical exhibition infrastructure, devoid of artworks. As the title suggests, the image was taken in a transitional moment (between two exhibitions) when the previous works have left the room, and the new ones have yet to arrive. The only visible elements are the spatial structures of the National Museum of Fine Arts Belgium. National museums practice a particular form of power by presenting prestigious collections. Not exhibiting them can be an equally forceful gesture. In Brussels, the federal collection of modern art has not been on public display for over 14 years. These works remain in waiting, ready to make us gnash, think, and wonder.
Both images depict an empty exhibition space. They are presented in heavy, traditional museum frames. Sten’s practice consistently explores the context in which culture is presented. The passe-partout usually serves to emphasize the work itself. In this case the exaggerated passe-partout is extremely emphasized.
Both images depict an empty exhibition space. They are presented in heavy, traditional museum frames. Sten’s practice consistently explores the context in which culture is presented. The passe-partout usually serves to emphasize the work itself. In this case the exaggerated passe-partout is extremely emphasized.
