Pilvi Takala's posters and a sound work on the notion of ‘lost pigeons’.


 Lara Almarcegui's 700m3 "Concrete Mountain" in the Tondelier cluster.
The artist speaks about her work in this video.


 Pascale Marthine-Tayou, "Le défi" (2012).



 Teresa Margolles' Mesa y dos bancos (Table and Two Benches), 2012 in the Tondelier cluster.

 "For TRACK [Margolles] had a public picnic bench cast in cement. She mixes this neutral substance with the water extracted from cloths that had been used to clean up the blood of victims of the Mexican drug war from the streets."
 Mekhitar Garabedian's work against the Butcher’s Hall façade.

[from the website] "‘Search and Destroy’ is not only the title of a hit by the 70s nihilistic American punk band The Stooges, but also a military strategy first employed in the Vietnam War. To Garabedian, this phrase refers to the way the history of a place is handled and the way a fracture in the past continues to torment the present."

S.M.A.K. museum façade, turned into TRACK.

The ‘Museum Graveyard’ project at Citadel Park by Leo Copers.

Due to safety reasons Danh Vo's work ‘WE THE PEOPLE’ was moved to the nearby Museum of Fine Arts, opposite S.M.A.K.

Sven Augustijnen, 'Spectres' in Citadel Park.

 Entrance to Galerie Tatjana Pieters at Nieuwevaart 124, Ghent

Entrance to the show.

(...) "David Jablonowski's sculptures [photo above and below] awkwardly materialize and juxtapose processes of scanning with generic computer visualization, digitized archival imagery as well as what look like casts spat out by 3-D printers."



(...) "Rey Akdogan's gathering of packed and piled light filters remind of the mass-produced products that are supposedly applicable anywhere and that continue to shape our mode of perception."

"Batia Suter's enlarged and superposed scans of found printed matter turn the offset image into a sculptural object, and equally obstruct indexical readings of the photographic material."

[Floor] "Asha Schechter's sculptures (belated puns to Duchamp) take stock imagery or common designs into a formal non-communicative context that prioritizes relations between infinite background and foreground." (Background, hanging) Lorea Alfaro and (right, wall) Kiko Pérez.


(left and opposite wall) June Crespo and (right, wall) Lisa Oppenheim.

"Equally focused on intermediary material components and backgrounds in the process of photography, Lisa Oppenheim's unique photograms resemble digitally designed patterns while being the repositories of a darkroom interpretation of Victorian flower arrangements."

"The other strand insists on specificity of materials and imagery. June Crespo's precise scans provide the source material for layered sculptures that force the object-image into three-dimensionality and volume."

June Crespo, "Plegada", 2010.
Lambda print on PVC, metal rivets, plastic and spray, textile. 100x70cm.

Asha Schechter (left, floor) and (right, hanging) Lorea Alfaro.

"Kiko Pérez's murals, specifically made for this occasion and interpunctuating the entire gallery space, as well as his stacked works on paper ambiguously refer to a language of branding and re-introduce the notion of gesture within this landscape."

"Lorea Alfaro's hanging paintings stem from non-descript backdrops used in portrait photography in China."

"Taking a distinctly wide-angle, associative approach, Rubén Grilo's voracious online search for 'Hobbes' gave for a randomized PowerPoint presentation of the comic strip hero, seen from two vantage points, with excerpts from Leviathan."

"Daniel Steegmann-Mangrané's slide projection installation, born from a reprise of a Jan Dibbets photo, thrives because of the confusion between surface, depth and viewpoint inherent within the photographic image."

"Philippe van Snick's Kleurmachine, though made in the 1970s, foreshadows a similar language of generic abstraction. (...) Van Snick's photography simultaneously fuses object and processed image, similarly collapsing two- and three-dimensionality."  
Catedral of Sint–Jan in the center of Ghent.