TICK TACK

For the final week of STORAGE SPACE, we are showcasing some of the true gems from the collection of Kunsthalle Recklinghausen: an iconic masterpiece by Josef Albers, as well as evocative works by Jeewi Lee and Ayse Erkmen. These pieces explore the intimate imprints and unique markings we leave behind in the spaces that surround us.

STORAGE SPACE
The collection of Kunsthalle Recklinghausen in Antwerp.

Until November 9
At TICK TACK

WEEK 8 (6 – 9 Nov)
Jeewi Lee (1987, KR)
Ayse Erkmen (1949, TR) .ayse
Josef Albers (1888, DE; d. 1976)

Curated by
Assistant curator

Two absolute icons of kinetic and light art, presented in the basement.

Otto Piene’s ‘Sleepwalker’ (1966/67) and Heinz Mack’s ‘Hommage à Yves Klein’ (1965) create an interplay of light and shadow. Piene’s glowing sphere casts constellations across the walls, while Mack’s reflective surface shimmers in response, transforming the space into a meditative field where light becomes both substance and movement.

STORAGE SPACE
The collection of the Kunsthalle Recklinghausen
Until 9 November
TICK TACK

Curated by
Assistant curator

This week’s collection presentation addresses important aspects of modernity in architecture, painting, and photography, featuring works by Marta Dyachenko, Barbara Kasten, and Hans Werdehausen.

STORAGE SPACE
The collection of Kunsthalle Recklinghausen in Antwerp.

Until November 9
At TICK TACK

WEEK 7 (30 Oct – 2 Nov)
Barbara Kasten (1936, US)
Marta Dyachenko (1990, UA)
Hans Werdehausen (1910, DE; d. 1977)

Curated by
Assistant curator

Michael Sailstorfer did it again.

Sailstorfer is known for his sculptures that challenge cultural norms by redefining familiar objects of everyday life. Fascinated by the intersection of biology and mechanics, he takes materials - natural, industrial, or found - and reshapes them into striking settings.

In STREETSPACE BANGER we have a new piece, Tank 7 (2024), the empty fuel tank of a car, which takes on anthropomorphic, almost humanoid features and reminds us of artificial lungs. A breathing sound is emitted, filling the exhibition with an unsettling, almost lifelike presence.

On view until November 10

In the beginning of this year, Sailstorfer transformed TICK TACK with his bold ELEKTROSEX installation. Two streetlights met horizontally, producing high-voltage electricity which, exceeding 90 000, created sparks ⚡️.

We invited Marcus Jefferson to create an in-situ work.

His temporary piece, SINK & STOVE AIN’T ALL A BROTHER NOSE. (2024), spans the ground and first floor, becoming a quiet yet powerful intervention in the architecture. Using petroleum jelly, cling film, and wood—materials often associated with concealment and packaging—Marcus bridges his personal experiences from the streets of inner-city London with the formal structures of the museum.

On view during STREETSPACE BANGER until November 10.


Marcus Jefferson

SINK & STOVE AINT ALL A BROTHER NOSE., 2024, Petroleum jelly, clinging film, wood.

We replaced the Kunsthalle sign with Happy Sad, a neon piece by Daan Gielis.

This emblematic intervention reflects TICK TACK’s vision of reshaping urban space, transforming the facade into an invitation for nuanced exploration of both public and emotional spaces. Happy Sad hints at the spirit of the exhibition, embodying the spectrum of what lies within.

STREETSPACE BANGER
TICK TACK Museum Takeover
Finissage November 10


Daan Gielis
Happy Sad (2021)
200 x 300 cm

What a work by Frédéric Platéus.

Platéus‘ (b.1976 in Liège, BE) body of work is characterized by a well executed and clean precision. For his wall sculptures, he pulls various materials onto wooden frames, creating an aesthetic reminiscent of car, racing bike and motor sports. He experiments and researches with fake leather, neoprene, nylon and mesh materials, letting new forms constantly evolve through rough gestures and robotic patterns


MK13-205, 2023
plywood, upholstery foam, polyurethane leather, neoprene , 177 x 205 x 12 cm
Work and text courtesy

On view at STREETSPACE BANGER, TICK TACK’s institutional takeover until November 10

Storage Space is an unusual presentation of a public museum collection. Over eight weeks, different constellations of works from Kunsthalle Recklinghausen will unfold on the top floor of TICK TACK. While the ground floor functions as both an actual and symbolic storage space, the top floor presents a new arrangement from the collection each week.

STORAGE SPACE – The collection of Kunsthalle Recklinghausen in Antwerp.

Curated by 
Assistant curator

WEEK 6 (23 – 26 Oct)
Denise Werth (1988, DE)
Peter Piller (1968, DE)
Isabell Fürnkas (1988, JP)
Thomas Grochowiak (1914, DE; d. 2012)

Today marks the final day to experience week 5 of Storage Space, featuring the works of Ju Young Kim, Alicja Kwade, and Berit Schneidereit.

🎤 Join us this afternoon for a special talk between Kunsthalle Recklinghausen director Nico Anklam and artist Berit Schneidereit. Together, they’ll dive into artistic and curatorial practices in the conversation, “Spatial containers or how to fill boxes with meaning and light.”



🗓️ Saturday, 19 October
🕒 3-4 PM
📍 TICK TACK

When you enter the exhibition, the first corridor draws you into a dialogue with works by , , , , , , , , and

At the end of this passage, Narcisse Tordoir’s ‘The Absent Present’ commands your attention: an image of a woman struggling under an overload of vegetables on a donkey, symbolizing the burden of survival. A mechanical opens and closes, revealing a space filled with speakers reproducing the manipulated sound of the door itself. In today’s context, The Absent Present feels even more poignant, reflecting on themes of displacement, restricted movement, and the human cost of conflict.

Narcisse Tordoir, In collaboration with James Beckett, The absent present (2004)
Mixed Media, 235 X 350 x 125 cm, Courtesy Museumcollection

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STREETSPACE BANGER
TICK TACK’s Museum Takeover.

📅Finissage event
Sunday Nov 10

Patrick Vanden Eynde’s crystal paintings and Sally von Rosen’s sculpture create a cosmic dialogue. The refracted light in Vanden Eynde’s works evokes starbursts, while von Rosen’s creature seems otherworldly, as if emerging from deep space. Together, they explore the tension between the ethereal and the material, grounding their cosmic allure in the dark space of Streetspace Banger.

All of these works were especially commissioned for this exhibition.
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⚡️STREETSPACE BANGER
TICK TACK Museum take-over
Until 10 November

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Patrick Vanden Eynde
THE PERFECT SPARKLING NOTHING, 2024
Oil on canvasvandeneynde

Sally von Rosen
Miss Universe, 2024
Styrofoam, metal, wood, fiberglass, acrylic resin, epoxy clay, epoxy putty, epoxy, aluminium.

In this setup, Tom Volkaert’s palm tree sculpture is a tribute to the late Daan Gielis, whose towering speaker sculpture on the right was also used for playing music while working. The speaker, a personal object tied to Gielis’ creative process, serves as a symbol of his presence.



Sarah Slappey’s sensual painting in the center acts as a bridge between the two, connecting Volkaert’s organic homage to Gielis’ practice, weaving a narrative of memory, material, and the body. Together, the works form a dialogue on legacy, fragility, and resilience.

Tonight, we wish the best of luck with the opening of her soloshow ‘Bloodline’ in London.

STREETSPACE BANGERbe taking over
On view until 10 November

Storage Space is an unusual presentation of a public museum collection.

Over the course of eight weeks, eight different constellations of works from the Kunsthalle Recklinghausen will appear on the top floor of TICK TACK. While the ground floor functions as both an actual storage space and a representation of one, the top floor will showcase a new arrangement of 29 artists in total from the collection each week. With a collection encompassing nearly 5,000 works, this presentation offers just a glimpse into the Kunsthalle’s holdings, where world-famous names and younger artists are presented side by side. Some of the exhibited works entered the collection as early as the 1950s, while others were acquired as recently as this year.

Curated by
Assistant curator

STORAGE SPACE
The collection of Kunsthalle Recklinghausen .be

Guy Van Bossche’s ‘The Ventriloquist IV’ and Celia Hempton’s ‘Yekaterinburg, Russia, 14th May 2024’, both delve into themes of presence and absence, with Van Bossche’s veiled figure hinting at hidden realities and Hempton’s shadowy staircase evoking fleeting human encounters. While Van Bossche uses muted tones to create a sense of mystery, Hempton’s brushstrokes capture the transitory nature of modern life.

Notably, The Ventriloquist IV is the only work in STREETSPACE BANGER that TICK TACK previously presented, during Guy Van Bossche’s ‘Checkpoint Charlie Forever’ book presentation in 2021. van.bossche


STREETSPACE BANGERbe taking over
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Guy Van Bossche The Ventriloquist IV, 2020, Oil on canvas, 180 x 125 cm, Courtesy

Celia Hempton Yekaterinburg, Russia, 14th May 2024, 2024, Oil on canvas, 30 x 40 cm, Courtesy
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Virtual absurdity colliding with post-apocalyptic remnants in space.

Theo Triantafyllidis’ Ork Haus presents a satirical, yet empathetic, take on orcs, casting them as clumsy misfits struggling to navigate the high-tech world. Far from Tolkien’s malevolent beings, they symbolize the alienation of those left behind in a digital landscape where the promise of the metaverse has devolved into a dystopian farce.
René Spitzer’s sculptures, by contrast, evoke a post-apocalyptic future of crumbling technology and DIY survival, where spaceships and remnants of a failed technological utopia lie grounded. Together, they critique the fractured promises of modernity, where both virtual and physical realms are riddled with instability and displacement.trian spitzer

🔭Currently on view during STREETSPACE BANGER, .be taking over
Until 10 November
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Theo Triantafyllidis
Ork Haus (2022), Live Simulation, 4x4K 55 inch Display (16:9 Aspect Ratio), Gaming PC, Motion Capture Performance by Rachel Ho, Music by Daniel Burley & Gobby

Rene Spitzer
Idiolect BLPK (2020), Fine Art Print, Installed with Spaceship 3G YG.
Spaceship 2G Extended (2020-2024), Paper, Spray Paint, Color Pencil, Metal, Glue
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For week two of Storage Space, the spotlight is on four captivating works from the Kunsthalle Recklinghausen collection, each exploring the powerful intersection of nature and humanity. From the depths of the Earth (Ferreira) to cloud-covered peaks (Trojnarski, Sailstorfer) and even outer space (Schulzek), these pieces reflect on how human actions shape our planet’s future.

Ângela Ferreira’s “Untitled (Série Stone Free)” (2018, acquired 2024) delves into colonialism and Africa’s exploited resources, centering on a diamond now part of the British Crown Jewels—symbolizing Europe’s enduring colonial legacy.

Mona Schulzek’s meteorite works forge a connection between Earth’s core and the cosmos, using rigid metal structures to capture the tension between the terrestrial and celestial.

Michael Sailstorfer’s “Clouds (05)” (2010) transforms tires into dark clouds, blending industrial and natural imagery, while Angelika J. Trojnarski’s “Warm Breath IV” (2022) hauntingly portrays the Anthropocene through images of melting ice caps and burning forests.


Curated by
Assistant curator

STORAGE SPACE – The collection of Kunsthalle Recklinghausen in Antwerp

WEEK 2
Mona Schulzek (1992, DE)
Ângela Ferreira (1958, MZ)
Angelika J. Trojnarski (1979, PL)
Michael Sailstorfer (1979, DE)

Ending tomorrow SAT September 28!be

Last chance.
Today marks the final day to see three remarkable works from the Kunsthalle Recklinghausen collection before they go back into Storage

Gerhard Richter’s “Küchenstuhl” (1965) is one of his early masterpieces. This seemingly simple painting of a kitchen chair captures a haunting unease, reflecting the weight of post-war history and the tension between the mundane and the profound. Known for exploring memory and the human experience, Richter’s legacy continues to shape contemporary art.

Marianne Berenhaut’s installation “S’en va en guerre – Fer à repasser” (1996) transforms everyday household items into something extraordinary. Irons and other metal objects come to life, arranged as if they were animated beings. Berenhaut’s work invites reflection on domestic labor and the hidden narratives within everyday objects, bridging the personal and collective past.

Noémi Barbaglia’s “Untitled” (2021) explores materiality in flux. This sculptural bell, crafted from glass fiber and epoxy resin, dissolves and frays, held together only by small magnets. The piece seems to question its own existence, resonating with themes of absence and instability, as if it belongs to both the distant past and the future.

STORAGE SPACE – The collection of Kunsthalle Recklinghausen in Antwerp

This first out of of eight collection exhibitions ends today at 6PM. A new selection of works will emerge from STORAGE for WEEK 2 at TICK TACK

WEEK 2 (25 – 28 Sep)
Mona Schulzek (1992, DE)
Ângela Ferreira (1958, MZ)
Angelika J. Trojnarski (1979, PL)
Michael Sailstorfer (1979, DE)


Curated by
Curatorial assistant

For the first week of Storage Space, one of the most iconic works from the collection is on display: Gerhard Richter’s “Küchenstuhl” from 1965 (acquired 1967). Richter (*1932) received the “junger westen” prize at Kunsthalle Recklinghausen in 1967, Germany’s oldest art award after WWII. One of his earliest works, the mundane motif of a simple chair continues to convey a certain uncanniness that reflects German post-war society, imbued with emptiness, suppressed guilt, and a retreat into the domestic sphere to block out the horrors of the past.

The kitchen chair is paired with Marianne Berenhaut’s (*1934) installation “S’en va en guerre – Fer à repasser (Vie privée series)” (1996, acquired 2024) which explores the artistic potential of the everyday in similar yet distinct ways. Berenhaut, an artist of the same generation with a completely different background than Richter, arranges here historical and more recent found kitchen and household objects made of metal. She refers equally to domestic labor and the way seemingly innocent objects almost come to life, forming groups and, like animated beings, start behaving like a pack of animals. Berenhaut’s playfulness and aesthetic depth with the everyday are exceptional and unparalleled.

These works are joined by an unexpected bell “Untitled” (2021, acquired 2024) by Noémi Barbaglia (*1993). Her objects, made of glass fiber and epoxy resin, are constantly dissolving and fraying. While the original bell was supposedly made of metal—resonating with Berenhaut’s materiality and Richter’s sense of absence—the negative form we see lying on the floor is soft and unstable, apart from the small magnets one discovers at second glance. Her objects seem to perpetually question their own shape and existence. As such, Barbaglia’s works appear to stem from both a distant past and a yet-to-come future.

Altogether, this first of eight shows brings together a bell, pans, irons, and a kitchen chair by artists whose lives and artistic practices span almost an entire century.

On view until 21 September!

Storage Space presents weekly new exhibitions from Kunsthalle Recklinghausen’s collection.