Everyday Gallery

🍎 Idle hands, 2024

Oil on quilt
H110 x W81 x D2,5 cm

🍭 Starting from the left:

“The well”, 2023
Oil and collage on wood
H154 x W142 x D4 cm

Seeds, 2024
Oil on cotton
H115 x W116 x D3 cm

Sans sens, 2022
Oil, papier-mâché
H73 x W50 x D50 cm

The young American, 2023

Oil and collage on wood
H 154 x W 142 x D 5 cm

❔Question mask, 2024

Oil, papier-mâché
H44 x W37 x D72 cm

Installation views

Sentinela, 2023
Oil, papier-mâché

“Rum, So**my and the lash”, 2023
Oil on cotton

🌺🌼🌸 Tapada, 2024

Oil on cotton
H142 x W138 x D3 cm

💐 Sans sens, 2022

Oil, papier-mâché
H73 x W50 x D50 cm

Moment of Zen

Oil on cotton
H30 x W40 cm

Opening Today
Until 9 pm

‘Backpack Almenac’

Many of the works on display in Backpack Almanac depict people gathered around a table or another type of square-like shape. The activities they undertake vary both in type and tone. Some works, like The New Hollywood, captures the scene of a cocktail party. You would expect such a scene to be pleasant and light-hearted. People are gathered around a table drinking wine and eating cake. But Mendes Moreira blends these happy scenes with darker, more ominous overtones. In The Sybil, one person has passed out on the table. His body is only partially inside of the circle of glaring light that shines harshly on the table. In Closing Time, a distressed figure lying flat on the table is calmly observed by a person whose head is an enormous skull. In Seance, the figures are engaged in a seance that is both hilariously funny and deeply disconcerting. 
The creatures that populate Mendes Moreiras’s work are perhaps only partly human. The scenes in which they appear and the landscapes and objects that Mendes Moreira develops, are elements in a world that is beginning to morph into a dream. Neither almanac nor backpack, these figures and objects are stuck somewhere in between reality and illusion. Embracing that dreamlike 
state, Mendes Moreira’s work encourages us to use our illusion, as the title of one of his paintings in this show suggests.

FMM

‘Cruz’

Oil on canvas

160 x 200 cm

Our new show is ready!

Can’t wait to see you all on the opening day of “Backpack Almanac”

This Thursday 16.05 12-9 PM

The paintings and sculptures that Francisco Mendes Moreira (1984) presents in his new show with Everyday Gallery, take inspiration from this difference and overlap. Moreira’s works creates an ingenious mix between an organized and spontaneous engagement with the reality all around us. They are almanacs of chaos - vernacular objects, emblems, and symbols are scattered about - and contemplative landscapes which we can gaze upon with the eyes of a backpacker. While reveling rich textures and colors, Moreira invites us to reconsider the way we map, order, and ultimately interpret the world.

Amazing studio visit with in Lisbon.

We are very happy to announce that Francisco will have his solo show at Everyday gallery.

Opening May 16th during Antwerp Art Weekend
1-9 pm

Open today 1-6 pm
From next week onwards we’ll be open from tuesday till saturday.

Detail shots from ongoing solo exhibition
‘Light at the end’

1st weekend after the opening of Bram Kinsbergen’s solo exhibition
LIGHT AT THE END

First installation shots releases
See you today or tomorrow 1-6pm

Opening today

Bram Kinsbergen
‘Light at the end’

Making an image of an important moment allows us to preserve our experience. Long after the moment has passed, we look at the image. Once again we experience what we felt in that moment. But there is also less of a danger here. Today, everyone has a digital camera with almost endless storage capacity, we are faced with a proliferation of images. We no longer experience the moment, we only capture it and never look back. The experience is gone; everyone makes the same meaningless images.
Bram Kinsbergen (b. 1984, Belgium) works intuitively, he paints what touches him and is driven by the desire for something original. Sometimes this leads to carefully constructed compositions, with views and a subtle play between the front, middle, and back plan in which imagination and experience intertwine. But he also paints portraits of the people dear to him, at a moment of the day that is dear to him. In Light at the end, we see examples of both. What unites these works, besides a smooth mastery of the medium of painting, is the careful attention to the power of an image.
Kinsbergen knows how ambivalent that power can be. Many paintings in this exhibition show a landscape that feels exotic. There are palm trees, tropical plants, waterways, and canoes. In a world permeated by digital images, and in which everything and everyone has been captured on screen a thousand times, we long for something original, something pristine and away from the digital. That desire is depicted in these paintings, but it is not innocent…
In a sense, we are being fooled. Kinsbergen based his compositions on existing images, on photos from tourist brochures and reports. This is not a coincidence. An image can retain and recall an original experience, but too many images can destroy the experience. Instead of paying attention to our surroundings, we endlessly scroll past the images on our smartphones. Instead of capturing the original moments in our day, we hunger for faraway places. The tourism industry and lifestyle bloggers cleverly respond to this desire, which may not be as far removed from the colonial gaze…

Final weekend to see this beautiful exhibition by

‘Blind Sun Rests in desire’

Do you still remember: falling stars, how they leapt slantwise through the sky like horses over suddenly held-out hurdles of our wishes—did we have so many?— for stars, innumerable, leapt everywhere; almost every gaze upward became wedded to the swift hazard of their play, and our heart felt like a single thing beneath that vast disintegration of their brilliance— and was whole, as if it would survive them! – Rainer Maria Rilke

Coming soon:

Bram Kinsbergen solo show
‘LIGHT AT THE END’

Opening Saturday 28-10 at 1pm

Making an image of an important moment allows us to preserve our experience. Long after the moment has passed, we look at the image. Once again we experience what we felt in that moment. But there is also les a danger here. Today, everyone has a digital camera with almost endless storage capacity, we are faced with a proliferation of images. We no longer experience the moment, we only capture it and never look back. The experience is gone; everyone makes the same meaningless images.
Bram Kinsbergen works intuitively, he paints what touches him and is driven by the desire for something original. Sometimes this leads to carefully constructed compositions, with views and a subtle play between the front, middle and back plan in which imagination and experience intertwine. But he also paints portraits of the people dear to him, at a moment of the day that is dear to him. In Light at the End we see examples of both. What unites these works, besides a smooth mastery of the medium of painting, is the careful attention to the power of an image.

Today is the birthday of
our beloved friend and artist. He couldn’t be more present in the gallery on his birthday through Tom Volkaert’s hommage towards Gielis. One of the central works in the current exhibition is ‘Can’t See You Through The Dark Forest My Friend’, a clear reference to the Tintin’s jungles by Gielis. These jungles are small and intimate islands covered with an arrangement of wilting palm trees. A thick wall surrounds the complete island and shields these trees from external influence, protecting them in their brittle state. While they seem to hang low, the palm trees are searching for internal energy.
Volkaert created his own version in memory of Daan: a large-scale island inhabited by palm trees, poppy flowers, and carnivorous plants in poisonous water. In this hommage piece, there are clear signs of decay and death but at the same time life. Almost like the plants are fighting against their own wilting. It is a tribute to Daan Gielis and his neverending lust for life.

WHAT AN OPENING !!

Still amazed by your support
Thanks for showing up in huuuge numbers.
This means a lot to all of us
I even counted 24 dogs at one point

A Romantic Weekend at Freeman Ranch
by Tom Volkaert

We are thrilled to announce ASMA’s first European solo exhibition
OPENING TOMORROW

‘Blind Sun Rests In Desire’

Invited by Everyday Gallery, Matias Armendaris (b. 1990, Ecuador) and Hanya Beliá (b. 1994, México) create a scenographic exhibition where they let their artistic mind wonder about art, history, and cultural phenomenons.

Their first solo exhibition at the gallery exists out of three elements: large-scale litho-crayon drawings on raw linen stretched on the wall, silicone star-shaped relief paintings and the exhibition text written as a diary entry. This operates as a narrative that guides as a rhetorical thinking of the artist duo, reflecting on the romantic idea of creativity and the contemporary construction of identity and selfhood. 

We collectively long in our late capitalistic environment towards individualism. While we experience this as a comfortable desire, we haven’t overcome the associated alienation or despair. It is the question of the idea of authorship and originality that is at stake in the exhibition. To translate this cultural desire into a conversation, ASMA materialized the ‘star’ object. It is a symbol with multiple meanings, from a “movie star” to a symbol of unification as used in flags. A cultural symbol that is full of meaning and at the same time vacant due to its familiarity. 

The materialized stars work as a poetic rhetoric that questions uniqueness, difference, and cartoonish self-mockery. The artists comment on our longing for a goal while being completely absorbed by individuality during the search. Symbolizing the need for attention which is a heavy burden in contemporary life. Like a ‘blind sun’, a star that can no longer contemplate its own light. Not being able to see your own light, you rest in a state of desire.

WELCOME TO MY GARDEN

Last week to catch Marria Pratts solo show in the gallery!

Still on until sunday july 9th

Coming Soon
a solo exhibition by FLORIAN HETZ
‘Unusual Experiences’
hetz

Florian Hetz's practice emphasises sensuality and tactility, in 'unusual experiences' he seeks to further explore these themes. This appeal to the senses is thematically recurring in Hetz's body of work, stating that viewers should be able to feel as though they could almost touch and smell the subjects of his photographs. The intimate manner in which subjects are depicted extends beyond the photographs of bodies, Hetz draws similarities between his human and non-human subjects through compositional and stylistic consistency, allowing these non-human subjects the same tenderness and tactility.
curated by

Opening:
Friday July 7
6 – 8.30 PM

Great news:
‘Welcome to my Garden’
by Marria Pratts
will be extended until July 8th
Sharing some of my favourite paintings from the show here
1. Self-portrait with my cat and his imaginary friends
2. 2 chairs talking Big Orange Nose
3. Big Poppy Field
4. 3 Ghosts on sunrise (from my car)
5. Pink Clock - Today I’m Rich

Fountain by

3537 Dover Street Market Paris
group show

Dawa exhibition

Courtesy of the artist and Galerie Mitterand

Opening next Saturday june 17
Jean-Baptiste Janisset curated by Emmanuel Morin
‘Dressing a hay cart with lead casts reproducing decorations taken from the site of the Abbey.´
Jean-Baptiste Janisset imagines a vehicle intended to travel to the beyond, halfway between a medieval carriage and a futuristic car.

Discussing future events

Stay tuned !hetz

Installation views
‘Welcome to my Garden’



We’re going into the first regular weekend after opening.
Open 1-6 pm

A garden is not something you clean. Rather, it is something you take care of, lovingly, allowing living things to grow. In Marria Pratts’ new show for Everyday Gallery, painting is envisioned along these lines. The artist has broken with the idea of the studio as a clinical white cube; instead, she treats it like a garden. Moving away from painting as a promethean confrontation between the empty canvas and the creative originality of the painter, Pratt’s creative work is aimed at allowing things to develop naturally, attuned to the small ecosystem of her studio.Some of the canvases and painterly objects presented in WELCOME TO MY GARDEN further develop the expressive style and iconography that has made Pratts one of the rising stars of contemporary European painting. In these canvases, the eerie ghosts are starring in a leading role. They are embedded within brightly lit pink and yellow colorfields. But the new developments in Pratts’ work are just as interesting. They allow the viewer to unwrap the metaphor of the garden as a way to understand Pratt’s approach to painting, and also tell us something about how the painter’s work critically engages with the world we are living in.

Open today 1-6

Welcome to my Garden

Opening today :

Marria Pratts

´Welcome to my Garden ´

Welcome to my Garden

In Marria Pratts 2nd solo exhibition these objects play a vital role

One of the painterly objects on display is a pair of trodden-down Nike’s that Pratts would wear when painting. The shoes are full of paint drips and spatters, mostly in yellow and white but with an occasional touch of blue. Like the flattened, rusted paint can and heavily used spatula, these shoes are part of the ecosystem of Pratt’s studio. It is from that ecosystem that painterly work emerges, and the different elements in that system are all dependent upon each other.
Look for the dialogues between painting and object in the exhibition
Opening Tomorrow 1 - 9