All That Was Left The Was Ache
Thu 05 Mar — Thu 02 Apr 2026Price
Free
Location
Pilar Expo (First & Second Floor)
Triomflaan, Entrance 6
Triomflaan, Entrance 6
The exhibition explores the notion of heartbreak not always literally (such as a broken relationship), but approaches it through feelings like melancholy, loneliness, alienation, grief, longing, and existential doubt.
The presented works invite reflection on loss, connection, and reconstruction.
The emotional landscapes of a broken heart.
From the shock of the ending, when everything still feels frozen,
to anger and confusion, where forms crack and images collide.
In negotiating with the past, rituals emerge — repetitions, fragments of text or sound.
Sadness settles over life like a shadow — slow, heavy, and sometimes unexpectedly tender.
And then, sometimes, a form of acceptance: open space, breath, a tentative new beginning.
The artists depict heartbreak not merely as a moment, but as a trajectory: a physical, mental, and spiritual experience that demands its own language.
The imprint of a touch that disappears.
A confrontation with what it means to be human, to lose, and to love.
The presented works invite reflection on loss, connection, and reconstruction.
The emotional landscapes of a broken heart.
From the shock of the ending, when everything still feels frozen,
to anger and confusion, where forms crack and images collide.
In negotiating with the past, rituals emerge — repetitions, fragments of text or sound.
Sadness settles over life like a shadow — slow, heavy, and sometimes unexpectedly tender.
And then, sometimes, a form of acceptance: open space, breath, a tentative new beginning.
The artists depict heartbreak not merely as a moment, but as a trajectory: a physical, mental, and spiritual experience that demands its own language.
The imprint of a touch that disappears.
A confrontation with what it means to be human, to lose, and to love.
Julie Vanlook
Julie Vanlook is an olfactory artist based in Brussels. Her work stems from research into the ways scent engages the body and brings emotions to the surface. In her installations, scent becomes an active, spatial element that guides the audience’s presence and experience. During performances, she works with scent as a living material that continually changes and therefore shapes the unfolding of the work. Scent also holds a central place in her objects, both as a carrier of meaning and as an invitation to a direct, physical encounter with the work.
Aurélie Bayad
With a raw imagery, a bit of leg hair and a strong taste for the strange and disturbing, Aurélie Bayad models and shapes bodies in front of the camera. Hers, or those of other people. With her, everything is a pretext for a new shoot: a song, the discovery of an incongruous place, or even a new accessory. She just manages to catch the attention of the viewer in a round-trip between voyeurism, exhibitionism and intimacy in the age of the internet.
Manon Teirlynck
Manon Teirlynck (2002, Bruges) is a visual artist and musician based in Brussels. She completed a master’s degree in visual arts - photography at LUCA School of Arts. Her practice moves between photography, experimental film, video installation, and sound, exploring the interplay between image and sound. She reflects on themes such as impermanence and loss, and investigates how sound contributes to atmosphere, meaning, and narrative within her film and video work.
Dust Bunnies reflects on the impermanence of our connections, both with the people around us and with our environment. Just like dust bunnies slowly gather in the smallest corners of a room, quiet and unnoticed, relationships and places can shift, fade, or suddenly disappear.Dust Bunnies embodies this fragility and transience, reflecting the dualism in which both beauty and pain coexist.The work explores the tension between fragility and stability, between beauty and threat. The images function more as mental spaces than physical landscapes.
Nature appears here as a symbolic space - a place that carries both healing and vulnerability, and bears its own scars.The installation plays with time in a non-linear, slightly distorted way, inspired by the experience of loss, in which time seems to slow down or feel different while daily life continues. Images and sounds constantly shift, creating a sense of fragility and uncertainty.
Sound forms an essential layer that enhances the atmosphere and meaning, while the two screens open a dialogue in which images can take on different meanings depending on their context. In this way, the work creates a space where viewers are invited to bring their own memories, associations, and interpretations.
Dust Bunnies reflects on the impermanence of our connections, both with the people around us and with our environment. Just like dust bunnies slowly gather in the smallest corners of a room, quiet and unnoticed, relationships and places can shift, fade, or suddenly disappear.Dust Bunnies embodies this fragility and transience, reflecting the dualism in which both beauty and pain coexist.The work explores the tension between fragility and stability, between beauty and threat. The images function more as mental spaces than physical landscapes.
Nature appears here as a symbolic space - a place that carries both healing and vulnerability, and bears its own scars.The installation plays with time in a non-linear, slightly distorted way, inspired by the experience of loss, in which time seems to slow down or feel different while daily life continues. Images and sounds constantly shift, creating a sense of fragility and uncertainty.
Sound forms an essential layer that enhances the atmosphere and meaning, while the two screens open a dialogue in which images can take on different meanings depending on their context. In this way, the work creates a space where viewers are invited to bring their own memories, associations, and interpretations.
Hanne Hoebeke
Hannah Hoebeke is an artist from Ghent, Belgium, whose sculptures play with the dialogue between artist and sitter. She reanimates traditional studio sitting by relocating the encounter from the exclusive space of the studio into a social environment.
With its strong physical presence, sculpture offers a unique way to foster interaction. Its ability to occupy space invites engagement, creates shared experiences, and brings people together. The sculpting process itself becomes a way to slow down and create space for deeper conversations. It’s not just about the outcome, but about the shared time and presence that clay allows.
Hoebeke’s artistic practice takes place in a community setting: a queer hairdressers school in Argentina, a community centre in a diverse neighbourhood in Belgium, a public school in the countryside in Nepal,…
In these communities, she uses sculpting both as a method of encounter and as a way to create a space for meeting within an environment.
In today’s society, she observes that people are becoming disconnected from their surroundings and from one another, a tendency fostered by neoliberal values. Her emphasis on the relationship between artist and sitter combats these tendencies and reconnects.
Hoebeke graduated from the Royal Academy of Fine Arts in Ghent (2022) and graduated from an MA in Sculpture at the Royal College of Art in London (2025).
Price
Free
Location
Pilar Expo (First & Second Floor)
Triomflaan, Entrance 6
Triomflaan, Entrance 6
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