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.

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 (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.  

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).

"I am Justine Cappelle, and I began my journey as a documentary filmmaker. Over time, my focus shifted toward the boundary between fiction and documentary—how stories are constructed, which elements are included or omitted, and how this influences our understanding of truth.

My practice has since evolved into a search for ways to break open the boundaries between art and reality. I blend documentary strategies with installation, collage, and performance to explore how the building blocks of storytelling can be reshaped—challenging and reconstructing our perception of what is real. I often work with found materials.

I see them as silent witnesses, carrying traces of places, people, weather, and time. These materials aren’t just remnants; they become proof of expanding realities, reflecting the complexities of the world around us"


Justine invites her Friends in Grief


Blanket:

After loving each other for 7 years their bumpy road to love has come to an end. Or maybe it didn’t. Lauranne and Jasper won’t settle for simply being ex-lovers and are determined to explore their relationship in a way that is not romantic anymore. But how to call someone who is your ex but also quite isn’t? On the duvet cover, a poem is embroidered, written by Jasper at the moment they decided to take distance from each other and their romantic relationship. The raw emotion of that moment remains visible in the words and the shaky and chaotic handwriting.

Sydney Burgstra is a visual artist based in Haarlem, The Netherlands. She completed her Master’s in Photography at KASK School of Arts in Ghent. Her work arises from encounters with people and places, exploring how connections are formed, sustained, and why they matter in everyday life.

Working with both analogue and digital photography, Burgstra develops projects that unfold over time and are rooted in attentiveness and shared presence. She often collaborates with the people she photographs, creating space for exchange, trust, and reflection. Her practice addresses social themes and taboos, including loneliness, human connection, and lived experiences, approaching the photographic relationship with care and contemplation.

On Loneliness 

This project is dedicated to the theme of loneliness, a subject that has fascinated me for some time and a feeling that I, like many others, have occasionally experienced myself. I was curious about people who experience loneliness on a daily basis, and through a Facebook group for lonely individuals in Belgium, I connected with ten open-hearted, generous people. I greatly admire them for sharing their stories, given the taboo and stigma surrounding the topic. There could have been many more, as loneliness is a tremendously large but often invisible issue in society. Each person had their own story and circumstances that led to their loneliness, but what they shared in common was the grief it brings. In an era with countless ways to stay connected, genuine connection between people has never felt so rare, and personally, I find that quite frightening. By sharing this work, I hope to encourage reflection on the ways we connect and, at times, fall short in our everyday lives. 

Arthur Dufoor’s practice unfolds around moments of rupture and transition. Rather than offering resolution, his work inhabits spaces of suspension where perception is slowed and form is reconsidered. Painting becomes one element among others, embedded within constructions of glass and steel that disrupt flatness and transparency. Through obstruction and reconfiguration, Dufoor challenges the two-dimensional image, opening his work to transformation and renewal.