FINIS TERRAE

Too good not to (also) share today 😄

It truly was a MEMORABLE ending. Thanks to !!🙏🥁🎺

Photos by

Getting closer to the end.
LAST DAYS TO VISIT FINIS TERRAE !
End of the exhibition > this Sunday 26/02 👀

Last week of FINIS TERRAE !! 🤸🏻‍♀️

Don’t forget to pass by before February 26!
This Sunday, we close the expo with a musical intervention by ‘De Trommelaars’ at Geukens & De Vil at 3:30 pm.

Opening hours this week: Wednesday - Sunday, 11am - 5pm
Exceptions: Nottebohm (Wed-Sun: 1-5pm) and Ackermans & van Haaren (Mon-Fri: 11am - 5pm)

The Urganic Alchemist Kitchen - great performance yesterday by and his Ur Gerausch Kammer Ensemble at ! 🔥

Sunday 19/02 at 4pm we’ll have our LAST side-event at with -> Van d’Moortel Tarot incomplet comme couplet (Tarot session by the artist).
Subscribe via our website or

Loïc van Zeebroek, Els Dietvorst and Arpaïs Du Bois reflect about the ambiguous relationship between mankind and the earth - ‘our home’.

One thing is certain: if we continue to pollute and over-exploit this home, it will only be a matter of time before it all implodes.

Images:
Loïc Van Zeebroek, Untitled. Courtesy of Dauwens & Beernaert Gallery, Brussels.
Els Dietvorst, Windswept. Courtesy of Otty Park, Antwerp
Arpaïs Du Bois, En guerre avec la terre. Courtesy of Fifty One Gallery, Antwerp.

These works are presented at Gallery Geukens & De Vil.

Gideon Kiefer and Jeffe de Brabandere present new work for which they were both inspired by the location on the one hand, and St. John's Revelation (The Apocalypse) on the other. Both, each in their own way, encourage the viewer to reflect on the temporality of our existence and the finitude of our planet.

On view in Heritage Library Hendrik Conscience (Nottebohm)

Our intern took the third grade of primary school on an interactive walk through Finis Terrae.

Together, they searched for Pandora's jar, experienced a selection of artworks and installations, made mobiles and enjoyed tulip scents in the Hortus Conlusus garden.

Many thanks for your enthusiasm and interest 🙏

The monumental painting ‘Mer du Nord, N°9’ by Thierry De Cordier shows 'Finis Terrae' in the classic sense: a rather savage sea, functioning as the ultimate end of the world. Turning his back on the land - the inhabited world and mankind - the viewer faces a dark pool of infinity.

On show at Snijders&Rockox House until the 26th of February.

Thierry De Cordier, Mer du Nord, N°9. Courtesy of Xavier Hufkens, Brussels.

Like many of the Old Masters, Sanam Khatibi and Jan Van Imschoot incorporate Vanitas symbols in their paintings. In dialogue with the collection of Snijders&Rockox, their work reminds of the transience and relative values of earthly concerns and achievements.

FINIS TERRAE > Sunday 26 February

Images:
- Sanam Khatibi, Please forgive me if I have been too blunt & A great Rush of Blood. Courtesy of Rodolphe Janssen, Brussels.
- Jan Van Imschoot, La Déménagement des Temps. Courtesy of the artist and Galerie Templon, Brussels.

           

Happy visitors = happy organisers 💚

Thank you all for visiting us in such great numbers 🙏

For those who haven't had a chance to visit the exhibition, FINIS TERRAE still runs until 26 February!

Throwback to an amazing FINIS TERRAE/HUMAN RIGHTS WATCH summit in Antwerp 🙏

Thank you for a shared commitment to Human Rights Watch and the environment. And thank you for a shared passion for art!

📗 SIDE EVENT 📗

(English version below)

"Elk van mijn boeken is op een bepaalde manier het begin van een ander boek dat nooit geschreven zal worden," schreef Edmond Jabès. "Je begint iets te vertellen en raakt voordat je het weet in een ander verhaal terecht."

Op 05/02 gaat Joke J. Hermsen dieper in op "het einde, een begin." De mens wordt nl getypeerd door ons vermogen steeds opnieuw te beginnen (Hannah Arendt).

Schrijf je in voor de lezing 'Verlangen naar een aanvang, Vrees voor een enkel einde' van Joke J. Hermsen (NL), op zondag 5 februari, van 16 tot 17 uur in , via link in bio/side-events.

---------------------------------------------------
"Each of my books is in some way the beginning of another book that will never be written," Edmond Jabès wrote. "You start to tell something and before you know it you get into another story."

On 05/02, Joke J. Hermsen elaborates on "the end, a beginning." Indeed, human beings are typified by our ability to begin again and again (Hannah Arendt).

Register for the lecture 'Longing for a beginning, Fearing a single end' by Joke J. Hermsen (NL), on Sunday 5 February, from 4-5pm at , via link in bio/side-events.

FINIS TERRAE Organised by
Curated by

Deze zondag 22/2 om 16u ☘️!

Een bloemen- en plantenparadijs in 't midden van de stad! 🌸
Ontdek nu zondag om 16u alles over de Hortus Conclusus tijdens de derde Finis Terrae Salon Sessie met Ronald van der Hilst.

Nadien nodigt Ronald jullie uit om de Hortus Conclusus bij avond te beleven. Geniet met een drankje in de hand van de infusies van de planten uit de tuin.

Info en tickets op destudio.com

Appropriating grey arreas in the public space as his canvas, Frederik Lizen's work is in constant flux. Throughout the expo, his painting has been subject to elements of the city (vandalism, rain,..) as well as alterations of the artist himself. Central in the work is 'Cape Finisterre' (endpoint Santiago De Compostela), pilgrim rituals and apocalyptic maritime expressions.

First images = now (January 2023)
Last images = start expo (November 2022)

Location: Pandstraat, Antwerpen

FINIS TERRAE Organised by
Curated by

When entering "'T Groot Salet" (Nicolaas Rockox' art chamber), you'll see 'The Aviary', a cabinet by Charles Degeyter, showing colourful birds of all kinds, embedded in small sarcophagi.

The series depicts the artist's search for alternative rituals to grapple with the transcendent. Despite the rapid social upheavals of our time, our rituals for coping with loss remains almost unchanged. Starting from a childhood memory - the death of his pet - Degeyter explores new rituals: keeping the animal in a toy sarcophagus. Instead of burying the animal, a physical relic is created to cherish the memory.

In the lower left corner of Frans Snijders' painting 'Still Life' (1616), one also discerns a bird lying on its back with its legs crossed. Snijders wanted to draw more attention to our nature and the unnecessary slaughter of beautiful species like these birds.

If you look closely at the 'Art Cabinet of Eden' (see image 1), one will also notice little birds in a paradisiacal garden

Images:
1. Charles Degeyter, The Aviary. On show at the Snijders & Rockox House. Courtesy of Tatjana Pieters Gallery.
2. Frans Snijders, Still Life (detail). Courtesy of Snijders & Rockox House.

FINIS TERRAE Organised by
Curated by

organises for Finis Terrae a unique afternoon tour (1-5pm) on the 4th of February.
Guide Nikki takes you along the highlights of the exhibition.

Interested to join this group? Mail to [email protected]
only 12 spots available, so be quick!

Price: 20 euros.
Combi-tickets are offered by Gallery Geukens & De Vil.

FINIS TERRAE Organised by
Curated by

SIDE EVENT

What does a bold vision for tackling climate change look like?
Please join Human Rights Watch’s Environment and Human Rights Director Richard Pearshouse for an exclusive briefing discussing a new agenda for climate justice. In the context of COP27 in Egypt and global attention being at a fever pitch, Human Rights Watch and their partners plan to advocate for the right to a clean, healthy, and sustainable environment as part of the new strategic three-year vision for their Environment and Human Rights Division. Richard Pearshouse will take a world view on how these proposals can have a positive impact on people living on the frontlines of environmental degradation and the worst environmental disasters of our time.

Register for the open conference 'a new agenda for climate justice: around the world with Human Rights Watch, on Thursday 26 January, from 7-8pm, at Botanic Sanctuary Hotel, via link in bio/side events.

FINIS TERRAE Organised by
Curated by

🏠ISOLATION 🏠

Social distance, isolation and loneliness characterised the Covid-19 pandemic of 2020/2021. But also housing took on a double meaning. Protective and safe on the one hand, but isolating or on the other. In addition, the focus on one's home made the inequality between rich and poor even more visible.

Images:
1. Francis Alÿs, Untitled (Bird House Painting). On show at Gallery Geukens & De Vil. Courtesy of David Zwirner, New York.
2. Walter Swennen, Huispijn. On show at Gallery Geukens & De Vil. Courtesy of Xavier Hufkens, Brussels.
3. Luc Tuymans, Social Distance. On show at Gallery Geukens & De Vil. Courtesy of Zeno X Gallery, Antwerp.
4. Rubben Bellinkx, Design for a raw iron fence, version 4 (detail). On show at Gallery Geukens & De Vil. Courtesy of the artist and Geukens & De Vil, Antwerp.

FINIS TERRAE Organised by
Curated by

✨Some impressions of yesterday’s Artist Talk ‘Hey Sugar’✨

Thank you Lisa Ijeoma, Sam Druant and Nina Van Denbempt for sharing your thoughts!
Special thanks to co-curator Lien Craps for all the hard work she has put in this talk 💪💪

FINIS TERRAE Organised by
Curated by

🍀 SIDE EVENT 🍀

(English version below)

De ‘hortus conclusus’ is een plaats van paradoxen en contradicties. Is het architectuur, een tuin, een buitenkamer of eerder een binnentuin? Het is een landschap zonder horizon maar met de oneindigheid van het universum, het evoceert het landschap maar het ontkent zijn omgeving, het is een zoektocht naar natuur maar in de stedelijke woestijn. Het is zowel christelijk, Islamitisch als zen: een plaats van contemplatie. Dit conceptuele landschap – waar de landschapsarchitectuur uit is ontstaan – is een plek die herontdekt verdiend te worden: een oase als tegenpool voor het verstedelijkte landschap.

Schrijf je in voor de lezing 'Hortus Conlusus, herontdekking van het paradijs in het stedelijk landschap' (NL), op zondag 22 januari, van 16-17u in , via link in bio/side-events.
--------------------------------------------------------------------------------------
The 'hortus conclusus' is a place of paradoxes and contradictions. Is it architecture, a garden, an outdoor room or rather an indoor garden? It is a landscape without a horizon but with the infinity of the universe, it evokes the landscape but denies its surroundings, it is a search for nature but in the urban desert. It is both Christian, Islamic and Zen: a place of contemplation. This conceptual landscape - from which landscape architecture emerged - is a place that deserves to be rediscovered: an oasis as a counterpoint to the urbanised landscape.

Register for the lecture 'Hortus Conlusus, rediscovering paradise in the urban landscape' (NL), on Sunday 22 January, from 4-5pm at , via link in bio/side-events.

MECHELSESTEENWEG 8
Part 2 (Room 2/2)

In the adjacent redbrick space, a dialogue is created between three works, each of which, in its own way, reflects on the notion of identity.

In 'Wild at heart' Joëlle Dubois sheds light on a gender concept that goes beyond binary (male/female) thinking.

Marilou van Lierop plays with representations of a parallel artificial world, in which objects made by human hands have the illusion of reality, but never fully succeed in becoming so. 'Troop of Princesses beneath our feet' shows women as sexualized objects, without face or identity.

The middle of the room is dominated by the sculpture 'Rosewater Sun-King’s Delight' by Nadia Naveau. In dialogue with the works of van Lierop and Dubois, elements as the absence of a face, the reference to Louis XIV and the pink color, misguide the viewer, who remains clueless about the identity of the character.

Images:
1. Joëlle Dubois, Wild at Heart. Courtesy of Keteleer Gallery, Antwerp.
2. Marilou Van Lierop, A Troop of Princesses beneath our Feet. Courtesy of the artist.
3. Nadia Naveau, Rose-Water Sun-King's Delight. Courtesy of Base-Alpha Gallery, Antwerp.

FINIS TERRAE Organised by
Curated by

MECHELSESTEENWEG 8
Part 1 (Room 1/2)

Over the last decades, there have been positive developments in the field of equality. Yet, recent activities show how fragile these established rights are. In addition, these positive developments do not exclude certain structural inequalities. Often, these anchored structures remain unnoticed by people at large. Continuous vigilance for equality is a necessity.

FINIS TERRAE looks at the boundaries in our society. Which boundaries do we shift, and which boundaries do we overstep? This dialogue takes place in an empty apartment, stripped of its history and function, as the setting for a fresh start.

This weekend (Sunday 08/01), artists Sam Druant, Nina Van Denbempt and Lisa Ijeoma, will talk with co-curator Lien Craps about feminism today, (in)equality, discrimination and the relationship between their personal experiences and artistic oeuvre.

ARTIST TALK: HEY SUGAR
Sunday 08/01, from 4-5 pm
Location: (Salon)

Register for this artist talk via link in bio/side-events.

Images:
1. Pélagie Gbaguidi, All Languages Speak. Courtesy of Zeno X Gallery, Antwerp.
2. Sam Druant, I will hunt you. Courtesy of the artist and Gallery Geukens & De Vil, Antwerp
3. Nina Van Denbempt, Matrescence Diptych. Courtesy of Bruthaus Gallery, Waregem.
4. Lisa Ijeoma, Please talk softly. Courtesy of the artist.
5. Stevie Dix, Beside Ourselves. Courtesy of Otty Park, Antwerp.

FINIS TERRAE Organised by
Curated by

'(Casse-toi alors) Pauvre Canard’ by Sven ’t Jolle correlates beautifully with the 16th-century ‘Proverbs’ of Pieter Brueghel II. Like Brueghel, Sven 't Jolle pokes fun at humanity – via the iconic Disney character of the miserly Uncle Scrooge Duck – and in this case capitalism. The work is full of political (Cf. the title of the work refers to “Casse-toi, pauv' con”, an unfortunate statement by Nicolas Sarkozy), artistic (Cf. the iconic 1932 photograph 'Lunch on top of a skyscraper' by Charles Clyde Ebbets) and social references.

Both works are full of references (100+ in the work of Pieter Brueghel II!), holding up a mirror to the viewer in order for one to reflect on the character flaws inherent to man.

Images:
Sven ‘t Jolle, (Casse-toi alors) Pauvre Canard. On show at Snijders&Rockox House. Courtesy of Gallery Laurent Godin, Paris.
Pieter II Brueghel (ca. 1564 - 1638), Proverbs (1595). Courtesy of Snijders & Rockox House, Antwerp.

FINIS TERRAE Organised by
Curated by

In Snijders&Rockoxhouse, the work of Maarten Van den Eynde enters into dialogue with the permanent collection of the Museum, more specifically, 'St. Jerome as a Monk’ by Jan van Hemessen. In Van den Eynde's work the skull (pierced with silicium chips) represents the last representative of a bygone human species. In the painting of van Hemessen, it serves as a Vanitas symbol. Subsequently, both works emphasize transience in their own way.

Images:
1. Maarten Van den Eynde, The last Human (skull). On show in Snijders&Rockoxhouse. Courtesy of Meessen Declercq, Brussels.
2. Jan van Hemessen, Saint Jerome as a Monk. Collection Snijders&Rockoxhouse, Antwerp. Courtesy of Snijders&Rockoxhouse.

FINIS TERRAE Organised by
Curated by