Wouter Davidts

  • Joëlle Tuerlinckx

    A robust building designed by the late Leon Stynen, one of Belgium’s few modernist architects, deSingel doesn’t include a proper exhibition space. It was conceived first and foremost as a cultural center with a concert hall and a theater. Its solid program of architectural exhibitions over the last two decades has been forced to occupy the circulation spaces that lead to and around these halls, resulting in a highly diverse range of display strategies developed by the selected architects. Since the appointment of Swiss curator Moritz Küng in 2003, each year a contemporary artist—always with an

  • Willem Oorebeek

    Only the most attentive readers of the Belgian art journal De Witte Raaf might have noticed something odd about its November-December 2002 issue. By manipulating the printing process of four pages, including the cover, Brussels-based artist Willem Oorebeek made the black text gain in intensity. Virtually imperceptibly, the magazine’s bare graphic design and stark layout, which incidentally hasn’t changed for thirteen years, was granted a certain added brilliance. The by now iconic look of a magazine broadly perceived as highly theoretical was highlighted and suddenly made to appear as an image

  • Gert Robijns

    An amusing double-sided poster announced Belgian artist Gert Robijns’s first large solo exhibition, “Never Left Right.” The front showed a young boy winking with his right eye; the back, the same boy winking with his left eye. The poster played on one of the strongest binary oppositions that structure our daily existence: the difference between left and right. But this was just one of many elementary opposites, such as above/below, front/back, and inside/outside, as well as more coded dichotomies such as original/ replica, true/false, and real/unreal, played out in the show.

    Robijns subtly