Earlier this month, Brussels held its annual Gallery Weekend, with programs and openings around the city. Below, we share a few highlights from shows at art spaces like the Charles Riva Collection, Fondation CAB, and Stems Gallery.
Frank Stella, “Lunna Wola II,” 1973 and Josh Sperling, “Oxymoron,” 2021, installation view from “Frank Stella / Josh Sperling” at Charles Riva Collection 2021, © HV Photography.
Charles Riva Collection
“STELLA / SPERLING”
September 8—November 20, 2021
The Charles Riva Collection presents “STELLA / SPERLING” through November 2. For the show, curator Matt Black has conceived a dialogue between the work of the late artist Frank Stella and new works by the American artist Josh Sperling. Exploring the crossroads of painting, sculpture, and shaped canvases, viewers will find works from Stella’s “Polish village” series from the 1970s alongside Sperling’s works, which are entirely unique, yet employ similar visual devices as their historical counterparts.
Installation view, “Fred Sandback,” courtesy of
Fondation CAB.
Fondation CAB
“Fred Sandback”
September 7, 2021—June 2022
Through June 2022, the Fondation CAB presents an exhibition of the late American artist Fred Sandback, featuring a series of reliefs and sculptures that have been shown in past presentations and some never-before-exhibited. Including works like Sandback’s linear sculptures made in acrylic yarn, steel rod, and elastic cord, the show surveys different periods of creation and the evolution of his artistic oeuvre, which is recognized for his connections made between physical sciences and concepts of space.
Installation view of Tyrell Winston’s “Family Values,” courtesy of the artist and Stems Gallery.
Stems Gallery
Tyrell Winston: Family Values
September 9—October 5, 2021
Stem Gallery’s presentation of the American artist Tyrell Winston, “Family Values” offers a dialogue on the false promises of American suburbia. Titled in reference to the angry parents of teens listening to metal and rap in the late 1990s and early 2000s (from which the “Explicit Content” label was born), Winston draws from his own upbringing in middle-class suburbia which appeared pristine within its gated neighborhoods but was really, as the artist states, a “silly little nightmare.” Often making works from found, forgotten, and discarded objects, the exhibition sees the gallery space transformed with an old Honda at its center, which has been crushed by a basketball hoop and is surrounded with wall-hanging creations like a work made from deflated basketballs, smudged chalkboard writing, and cut-outs of the graffiti-like “NY” logo.
