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During Antwerp Art Weekend we organise a concert

with Giovanni Barcella and his music group on the 19 th May around 3PM. We welcome you.

Exhibition extended until June 17th 2023



‘Limbo’ entitles a new room-filling installation for the ground floor of Annie Gentils Gallery.

Limbo can refer to a dance or game where participants try to pass under a horizontal bar without touching it. The bar is gradually lowered after each round, making it increasingly difficult to pass under without falling or touching the bar.

This exhibition will further testify to a shift within the artist’s attention: from objects, installations and video works with modernist, conceptual overtones to a more concrete 'ontology' of objects and instruments relating to the active body. And paradoxically, biographical, anecdotal footnotes - on Africa, the sea, rhythm, family, engagement, and disappearance - work their way up.

Dheedene’s works are not material ideals as such, but rather the expression of an end.

The search-modus is abolished. What is found here was not to be searched for, is not an invention nor a discovery, but a finding, re-organized and displayed.

This exhibition is (like most exhibitions) about waiting, waiting for something that could never happen. It’s keeping things in a state we might call desire, simply keeping it there, that yearning, that uncertainty, keeping things poised in just that place.


Each exhibition is a limbo, a tangible proposal to arrive at a highly charged and ambivalent mood.




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In the early 1990s, Jacqueline Peeters started making invitation cards and posters for fictitious exhibitions of unsold paintings in non-existent galleries – a cry for attention and an attempt to get her career off the ground. This marketing offensive became the subject of her work. Under the name of Madame de Parme, Peeters made bold paintings with the text Unsold Painting no. 41, no. 42, et cetera, and painted price lists of her unsold works.

In her recent paintings, Peeters imagines the herringbone parquet floors of her dream galleries. Some have English words on them, such as browned, foxed, torn, or burnt, qualifications which are used in old master auction catalogues. They refer to the hundreds of paintings and drawings that Peeters has been storing in an old shed near her house for years and to the poor state in which they would undoubtedly have been found if her oeuvre had not emerged from oblivion.

Some of her unsold paintings have been painted over to create small windows offering glimpses of the underlying painting. Her playing with the past and the present is also visible in the paintings about her Dutch-Indo family tree which are both a playful nod at the identity debate and a tribute to her ancestors. Names play an important role in Peeters’s paintings. For example, she makes a connection between her family tree and the titles of works by Édouard Manet (La Brune) and Henri Matisse (La Mulâtresse). In other paintings she combines her first name with the names of men who loved a woman named Jacqueline (John F. Kennedy, Pablo Picasso). The result is both a light-hearted and dramatic poem-painting with Boolean operators.


Jacqueline Peeters (b. 1961, Eindhoven) lives and works in Geraardsbergen, Belgium. She studied at the Academie voor Beeldende Vorming in Tilburg and was a resident at Ateliers 63 in Haarlem from 1984 to 1986. In 1987 she won the Royal Award for Modern Painting. She had solo exhibitions at Motta Art Books in Eindhoven (1991), Kabinett in Bern (1998), Galerie van het Rhok in Brussels (Ballad of Supply and Demand,1999), Zazà Ramen in Milan (Unsold Paintings, 2020) and Gerhard Hofland Gallery in Amsterdam (Eat the heart gently, 2022).

Jacqueline Peeters, Eat the heart gently, 60 pages, ca. 40 illustrations, published by Motta Art Books on the occasion of the exhibition Eat the heart gently at Gerhard Hofland Gallery in Amsterdam, with an introduction by Dominic van den Boogerd, art critic and former director of De Ateliers, Amsterdam. Design: OnckWest, isbn 978-90-807520-0-9 Dutch/English.



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