Booth B29
https://art-antwerp.com/
Andre Cadere radically reimagined the parameters of Conceptual Art through a methodology grounded in repetition, error and mobility. From 1969 onwards, he began attaching polychrome half-rods to the surface of his paintings, an experiment that later evolved into his iconic barres de bois rond. Determined for his work to exist outside the traditional circuits of contemporary art, Cadere carried these bars with him through daily life, presenting them, invited or uninvited, in museums and galleries. This display includes Barres de bois rond (1975), the sole work in his lifetime exhibition entitled 26.02.1975 – 26.02.1976, held at ICC in Anvers, Belgium.
Barry Flanagan is recognised for his dynamic bronze hare sculptures that occupy public and private spaces worldwide, including Hospitality in Knokke-Heist, Belgium. Equally iconic, but less well-known, are his early ground-breaking sculptures made with non-traditional materials such as hessian, rope and sand. These experimental works aligned him with avant-garde contemporaries of the period, including Carl Andre and Robert Smithson. Flanagan’s work was exhibited at S.M.A.K in Ghent (2005) and is held in the permanent collection of the Royal Museums of Fine Arts of Belgium.
Jacqueline Poncelet, born in Liège, resists easy categorisation through a practice spanning textiles, ceramics, watercolour, painting, and clothing design. Initially recognised for her delicate bone china ceramics, her work was later influenced by the patterns and artificial colours of New York’s urban landscape. Although loosely associated with the New British Sculpture movement, her use of craft materials and anthropomorphic forms stands in stark contrast to the conceptual and minimal approaches of her male contemporaries, including Tony Cragg and Anish Kapoor. Poncelet is represented in important public collections throughout the world, including Tate Modern in London; the Stedelijk Museum in Amsterdam; and the Museum of Modern Art, New York.
Belgian artist, Ria Verhaeghe, explores images of death and tragedy found in newspapers that are often discarded and quickly forgotten. She classifies, categorises and reorientates these images vertically, a gesture that evokes a form of pictorial ‘resurrection’. Reminiscent of the visual language of Flemish Primitives, these Verticals are affixed to wooden panels and are spiritually suggestive through Verhaeghe’s use of gold leaf. These works were central to a five-year installation in the Medieval Art galleries of MSK in Ghent (2017–2020), curated by Catherine de Zegher.
Antwerp Expo
Jan van Rijswijcklaan 191
2020, Antwerp
OPENING DAY
Thursday 11 December 2025
Preview | 11am – 4pm
Vernissage | 4pm – 9pm
PUBLIC DAYS | 11am – 7pm
Friday 12 December 2025
Saturday 13 December 2025
Sunday 14 December 2025
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