Ensemble
Olga Tobreluts, Modernisation (Part II), 2002-2003. Photography, c-print, 120 x 150 cm.
Nikita Kadan / Нікіта Кадан, The Chronicle / Хроніка, 2016. Drawing, ink on paper, 18 x (15 x 20 cm)/(20 x 15 cm) .
Jacques Charlier, Zonder titel, 2013. Installation.
Johan Tahon, Strobe, 1997. Sculpture, plaster, clay, 155 x 120 x 125 cm.
It's a crazy story, that of Dymphna, and a story full of madness. The devil lurks around every corner. But what is the core of the madness he
Dymphna is interwoven with Christianity, from her secret baptism by her confessor and confidant Gerebernus, to the care for the poor and need
It seems clear that in the case of Dymphna, the sting – t.i., the violence – is in the tail of her story, in the beheadings and the flickerin
Dymphna escaping over sea with her confidant Gerebernus to mainland Europe is a key example of migration, a story in which many refugees will