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Opening Sunday 15 Februari 2026

Marc Vanderleenen

Inhabitance

Inhabitance is Marc Vanderleenen’s seventh exhibition at our gallery, featuring a series of singerie paintings. The singerie theme was first introduced by Pieter Van der Borcht around 1575 and later adapted by Jean-Baptiste Chardin in his 1739 painting The Monkey Painter. Vanderleenen’s singeries are reinterpretations of Chardin’s work.

A new development in the artist’s practice is the series Nudes on a Coach (after Walter Sickert), in which Vanderleenen adopts a more “open” painting style than usual.

Vanderleenen has succeeded in giving his color palette a highly distinctive, almost trademarked signature, consisting of a mixture of brown-grey and ochre-like tones. By incorporating abundant yellow-a color considered one of the most psychologically intense according to the color spectrum—he achieves a unique chromatic identity. This instantly recognizable palette functions as an overarching stylistic strategy, unifying a wide range of thematic and emotional content.
(Thibaut Verhoeven, in: “Fifty Shades of the Most Self-Relativising Grey – Aboutness – Marc Vanderleenen”)

Marc Vanderleenen was born in Mechelen in 1952 and currently lives and works in Antwerp.

The exhibition “Inhabitance, a solo presentation by Marc Vanderleenen runs on the first floor of the gallery until 29 March.

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Current Exhibition

Opening Sunday 15 Februari 2026

Marie Cloquet

Inhabitance

Marie Cloquet presents a cohesive body of work that unfolds from a single overarching theme: ultraviolence. This visual response to violence and vulnerability examines how we relate to horror, powerlessness, and the need for protection in a world that continuously produces and consumes images of conflict.

Cloquet works with existing visual material depicting war, invasions, and bombardments, sourced from news and media reports. These confronting testimonies of our time are translated into layered silkscreen prints, in which painted fragments and interventions partially obscure and restructure the original imagery. What emerges is a new, seemingly coherent whole that raises questions about fabrication, truth, and perception, and about the ways in which violence is graphically shaped and commodified. The title Ultraviolence explicitly references both pop culture and the gaming world, where brutality is aestheticized, and shock becomes a marketable product.