View of “John Cornu and Peter Downsbrough,” 2018. Photo: Gilles Ribero.

View of “John Cornu and Peter Downsbrough,” 2018. Photo: Gilles Ribero.

John Cornu and Peter Downsbrough


If many alternative art venues are tucked away in backyards or basements, attic, as the name suggests, sits at the other end of the spectrum—it occupies the top floor of a building that used to be home to a publishing company. The floor has recently been taken over by several galleries and transformed into one of the Belgian capital’s contemporary art hubs. After entering the imposing edifice and climbing the stairs, the visitor found herself not in a refined white cube but in a kind of garret room, where it quickly became clear that this dual presentation of works by John Cornu and Peter Downsbrough also revolved around questions of time and space.

The walls exhibit the layered traces of the past lives of the room—yellowed paint and perfunctorily spackled holes on one side; remnants of wallpaper with maroon-and-pink floral patterns on the other. The most recent and conspicuous

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