Offspace 1

Offspace – solo projects – 2016

5 artists from Belgium or working in Belgium were invited to participate in an experimental way of showing their work, through online streaming. It opened up the possibilities for these artists to show their work in NY while not having to travel. The work was instruction based and played into the way we communicate in todays world. Meetings  were held on Skype and Facetime before dawn and after dusk, having the time difference regulate the work flow. In addition to the online exhibition and the physical space in New York, the work of these artists was broadcasted over the whole world.

Olga Fedorova (RUS, 1980, lives and works in Brussels)

Olga Fedorova works in a variety of media such as painting, photograms, sculpture and digital installations. Her work has been shown in a vast array of both physical and online exhibition spaces. Fedorova is an active participant and exhibited artist in different pavilions of The Wrong, the new digital art biennale created in 2013.

Currently she focuses on digital installations of ready-made 3D-imagery positioned within renders of architectural space. Recreating familiar domestic spaces, Fedorova’s fictions disrupt our apprehension of reality. The imbued narrative in her work leaves the viewer puzzled, needing to grasp the presented as science fiction, a distant future or an alternate dimension. Fedorova appropriates 3D-objects. By giving them an oddness and dreamlike interpretation, she explores the boundaries of the real and the unreal.

Fedorova’s use of the scale of the body to present her work online and in an actual space, transforms not only the perception of the viewer but also its sense of space. Often presented as murals, the digital installations present a alternate dimension in existence in the infinite space between two particles.

a fish a wall     a projectionfish, salmon, dove, architectural space, ice, melting              air & light 

the temperature                           on ice                                 

 the real   rendered

from within to without

Peter Depelchin (BE, 1985, lives and works in Brussels & New York)

Peter Depelchin grew up by the Western Flemish sea side. It is a place battered flat by the cold Northern wind and the air is filled by the smell and spray of the sea so often found in ancient masterpieces. Here lies the cradle of his mentality, art and work. Depelchin creates a new reality containing a symbiosis of art history and topicality. His oeuvre (drawing, printmaking, installation,…) pounds into the subconscious of the spectator and explores collective archetypes.  He accomplishes a universal imagery that draws from the past and reflects on the present.

For, Peter Depelchin turns to the online community for prayer, offerings and sacrifice. Sanctuary is an online shrine devoted to New York in the form of a deity in the fashion of the ancient Greeks and Romans. It serves as a personal praying salon available to all no matter which religion. The online presence of the sanctuary permits the deity to penetrate the daily life as a spectator. The viewer, however, can contribute to the devotion of the deity.

Sanctuary functions as a spiritual hideaway but can also be consulted as oracle. An online Sibyl will answer your questions at  and offerings can be sent to 195 Chrystie Street, 403D, NY-10002, New York. The offerings will be displayed in the space and perceivable online.

Sanctuary reflects on the possibility of an online celebration of a deity and a new experience of the spiritual. The viewer chooses the intensity of its implication and is able to consult the deity at any time and any place, no need to find a house of prayer. deity, drawing, painting, fruit

This online divine gesture makes religion and spirituality highly personal and extremely non-violent.

Jorden Boulet (BE, 1990, lives and works in Hasselt).

Jorden Boulet, a current grad student of the MFA program at PXL under the guidance of Koen van den Broek, is expanding his practice of painting into multidisciplinary work. Boulet reflects to the experience economy, our individualistic and insatisfiable quest for paradise, and the social issues of our post-global society.

For, Boulet turns to the branding of the artist in today’s art world. With the transformation of the bohemian genius into the astute businessman, the artist has become more a marketeer than a producer of work. The creation of the work has been outsourced and the work itself is a repetive formulation of the brand Jorden Boulet and his website 

Jorden Boulet’s Exchange Promotion, a performance based inshuman, website, text, technicolortallation that plays on the maniacal self-promotion of artists and their brand rather than on the art work it self. The self-promotional performance is not executed by the artist but through an intermediary, enhancing the distance between the work and the artist and repositioning the artist as a manager rather than the romanticized idea of the bohemian artist.

Hedwig Brouckaert (CL, 1973, lives and works in New York and Ghent).

Hedwig Brouckaert’s works with advertising images of magazines and mail order catalogues that she transfers until they become abstracted lines and forms. She uses these transfers in her drawings, installations and animation videos. 

For, Brouckaert presents In The Presence of Absence:

“A photograph of a space that my father just left to never physically return, his office space, an ‘empty’ space, although his presence is still strongly there.

I will show this photograph in an ’empty’ space (, an office of sorts, of someone else who is not physically present at the moment. We can’t physically enter the space; we are removed from that direct experience and can only watch the photograph through the image of four cameras on a digital screen.

The layering of the installation which will unfold over time, questions the experience of presence and absence, and moves in between physical, virtual and perhaps spiritual spaces too.”

light, office, emptyBrouckaert’s work will be presented over a number days with intervals that evoke the effect of remembering. The initial photograph Illus
ive Flesh of Light and its placement in the space will serve as an iterative process of reflection that is present and absent at the same time. 

Vadim Vosters (FR, 1979, lives and works in Brussels).

Vadim Vosters works in diverse media, such as painting, sculpture, photography, video and performance. In his oeuvre Vosters reflects on the perception and identity of images, how they construct meaning and context in the eyes of the beholder. He veils his images in darkness creating a dual relationship to the illuminated parts of the picture. The viewer deconstructs the pictorial scenery using imagination, fantasy, and intuition, allowing Vosters to imbue references to the unconscious and the inexplicable in his work and letting the audience fantasies about what is in front of them.

Vosters uses socio-political and art historical references to question the essence of an image. The layering of the image as one can see in his paintings, both mystifies and obscures the imagery. The opaqueness pushes the mind to find the balance between the visible and the invisible.

Vosters transforms his ‘paintings’ into encompassing environments. Reminiscent of German Expressionist cinema, the world of light and shadow, Vosters turns the position of the viewer and the source of light into an intricate play betVadim Vosters NY Mussels 2016ween revealing and suggesting. His visual language pierces through the cracks of human conscience, society’s morals and values, and the occult.

Vosters studied Mixed Media at the LUCA School of Arts (Ghent) and at the Academy of Fine Arts (Helsinki). He has exhibited at the Hermitage (Amsterdam), S.M.A.K. (Ghent), Mu.ZEE (Ostend), MOCA (Shanghai), Osaka Contemporary Art Center (Osaka), and at Performa (New York). Vosters work is included in many private and public collections in Europe, such as Mu.Zee, Verbeke Foundation, and PAK.