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[Focus - Art Brussels] Last day to visit Booth 5B-41 with a solo show by Belgian artist Eva L’Hoest (@evalhoest), from 11 am to 6 pm (@artbrussels)

‘Palmless Manœuvres’ begins with an almost imperceptible shift: the moment when human agency begins to delegate not only gesture, but meaning itself, to the machine. A tipping point that does not manifest as rupture, but as a slow, almost eventless dispossession - a fatigue of attention, a silent redistribution of roles between bodies and the systems that surround them. Gesture does not disappear; it migrates into computational devices that precede and accompany us […]

Between palma (the palm, once a sign of destiny) and manœuvre (the operative hand), the exhibition traces a transformation: what orients us is no longer read in the lines of the skin, but in the opaque strata of calculation. In these computational spaces where gesture tends to dissolve, Eva L’Hoest’s work operates from within, engaging the intimacy of matter: melting, sculpting, transmuting—forming a body where something begins to slip away. 

______

📸
1-3: exhibition view ‘Palmless Manœuvres’, Art Brussells 2026 © Choreo (@choreo.info)
4: Cabinet with memory leak, 2025, Casino Luxembourg - Forum d’art contemporain, 2025 © Luk Vanderplaetse
5: The Inmost Cell, 2021 © We Document Art
6: After glow map 03, 2018 © Ludovic Beillard

[Focus - Art Brussels] Last day to visit Booth 5B-41 with a solo show by Belgian artist Eva L’Hoest (@evalhoest), from 11 am to 6 pm (@artbrussels)

‘Palmless Manœuvres’ begins with an almost imperceptible shift: the moment when human agency begins to delegate not only gesture, but meaning itself, to the machine. A tipping point that does not manifest as rupture, but as a slow, almost eventless dispossession - a fatigue of attention, a silent redistribution of roles between bodies and the systems that surround them. Gesture does not disappear; it migrates into computational devices that precede and accompany us […]

Between palma (the palm, once a sign of destiny) and manœuvre (the operative hand), the exhibition traces a transformation: what orients us is no longer read in the lines of the skin, but in the opaque strata of calculation. In these computational spaces where gesture tends to dissolve, Eva L’Hoest’s work operates from within, engaging the intimacy of matter: melting, sculpting, transmuting—forming a body where something begins to slip away. 

______

📸
1-3: exhibition view ‘Palmless Manœuvres’, Art Brussells 2026 © Choreo (@choreo.info)
4: Cabinet with memory leak, 2025, Casino Luxembourg - Forum d’art contemporain, 2025 © Luk Vanderplaetse
5: The Inmost Cell, 2021 © We Document Art
6: After glow map 03, 2018 © Ludovic Beillard

[Focus - Art Brussels] Last day to visit Booth 5B-41 with a solo show by Belgian artist Eva L’Hoest (@evalhoest), from 11 am to 6 pm (@artbrussels)

‘Palmless Manœuvres’ begins with an almost imperceptible shift: the moment when human agency begins to delegate not only gesture, but meaning itself, to the machine. A tipping point that does not manifest as rupture, but as a slow, almost eventless dispossession - a fatigue of attention, a silent redistribution of roles between bodies and the systems that surround them. Gesture does not disappear; it migrates into computational devices that precede and accompany us […]

Between palma (the palm, once a sign of destiny) and manœuvre (the operative hand), the exhibition traces a transformation: what orients us is no longer read in the lines of the skin, but in the opaque strata of calculation. In these computational spaces where gesture tends to dissolve, Eva L’Hoest’s work operates from within, engaging the intimacy of matter: melting, sculpting, transmuting—forming a body where something begins to slip away. 

______

📸
1-3: exhibition view ‘Palmless Manœuvres’, Art Brussells 2026 © Choreo (@choreo.info)
4: Cabinet with memory leak, 2025, Casino Luxembourg - Forum d’art contemporain, 2025 © Luk Vanderplaetse
5: The Inmost Cell, 2021 © We Document Art
6: After glow map 03, 2018 © Ludovic Beillard

[Focus - Art Brussels] Last day to visit Booth 5B-41 with a solo show by Belgian artist Eva L’Hoest (@evalhoest), from 11 am to 6 pm (@artbrussels)

‘Palmless Manœuvres’ begins with an almost imperceptible shift: the moment when human agency begins to delegate not only gesture, but meaning itself, to the machine. A tipping point that does not manifest as rupture, but as a slow, almost eventless dispossession - a fatigue of attention, a silent redistribution of roles between bodies and the systems that surround them. Gesture does not disappear; it migrates into computational devices that precede and accompany us […]

Between palma (the palm, once a sign of destiny) and manœuvre (the operative hand), the exhibition traces a transformation: what orients us is no longer read in the lines of the skin, but in the opaque strata of calculation. In these computational spaces where gesture tends to dissolve, Eva L’Hoest’s work operates from within, engaging the intimacy of matter: melting, sculpting, transmuting—forming a body where something begins to slip away. 

______

📸
1-3: exhibition view ‘Palmless Manœuvres’, Art Brussells 2026 © Choreo (@choreo.info)
4: Cabinet with memory leak, 2025, Casino Luxembourg - Forum d’art contemporain, 2025 © Luk Vanderplaetse
5: The Inmost Cell, 2021 © We Document Art
6: After glow map 03, 2018 © Ludovic Beillard

[Focus - Art Brussels] Last day to visit Booth 5B-41 with a solo show by Belgian artist Eva L’Hoest (@evalhoest), from 11 am to 6 pm (@artbrussels)

‘Palmless Manœuvres’ begins with an almost imperceptible shift: the moment when human agency begins to delegate not only gesture, but meaning itself, to the machine. A tipping point that does not manifest as rupture, but as a slow, almost eventless dispossession - a fatigue of attention, a silent redistribution of roles between bodies and the systems that surround them. Gesture does not disappear; it migrates into computational devices that precede and accompany us […]

Between palma (the palm, once a sign of destiny) and manœuvre (the operative hand), the exhibition traces a transformation: what orients us is no longer read in the lines of the skin, but in the opaque strata of calculation. In these computational spaces where gesture tends to dissolve, Eva L’Hoest’s work operates from within, engaging the intimacy of matter: melting, sculpting, transmuting—forming a body where something begins to slip away. 

______

📸
1-3: exhibition view ‘Palmless Manœuvres’, Art Brussells 2026 © Choreo (@choreo.info)
4: Cabinet with memory leak, 2025, Casino Luxembourg - Forum d’art contemporain, 2025 © Luk Vanderplaetse
5: The Inmost Cell, 2021 © We Document Art
6: After glow map 03, 2018 © Ludovic Beillard

[Focus - Art Brussels] Last day to visit Booth 5B-41 with a solo show by Belgian artist Eva L’Hoest (@evalhoest), from 11 am to 6 pm (@artbrussels)

‘Palmless Manœuvres’ begins with an almost imperceptible shift: the moment when human agency begins to delegate not only gesture, but meaning itself, to the machine. A tipping point that does not manifest as rupture, but as a slow, almost eventless dispossession - a fatigue of attention, a silent redistribution of roles between bodies and the systems that surround them. Gesture does not disappear; it migrates into computational devices that precede and accompany us […]

Between palma (the palm, once a sign of destiny) and manœuvre (the operative hand), the exhibition traces a transformation: what orients us is no longer read in the lines of the skin, but in the opaque strata of calculation. In these computational spaces where gesture tends to dissolve, Eva L’Hoest’s work operates from within, engaging the intimacy of matter: melting, sculpting, transmuting—forming a body where something begins to slip away. 

______

📸
1-3: exhibition view ‘Palmless Manœuvres’, Art Brussells 2026 © Choreo (@choreo.info)
4: Cabinet with memory leak, 2025, Casino Luxembourg - Forum d’art contemporain, 2025 © Luk Vanderplaetse
5: The Inmost Cell, 2021 © We Document Art
6: After glow map 03, 2018 © Ludovic Beillard

[Fair — Art Brussels 2026] Solo show by the Belgian artist Eva L’Hoest (@evalhoest) — Booth 5B-41 [Prime] • From April 23 to 26, 2026

On the occasion of @artbrussels, Galerie Eric Mouchet is delighted to present Eva L’Hoest first solo show ‘Palmless Manœuvres’ at Art Brussels taking over Hall 5 at the Heysel.

‘Palmless Manœuvres’ begins with an almost imperceptible shift: the moment when human agency begins to delegate not only gesture, but meaning itself, to the machine. A tipping point that does not manifest as rupture, but as a slow, almost eventless dispossession - a fatigue of attention, a silent redistribution of roles between bodies and the systems that surround them. Gesture does not disappear; it migrates into computational devices that precede and accompany us.

In the space, galvanised rails trace out a trajectory. These steel lines, at body height—recalling museum handrails or airport corridors—echo the silent, algorithmic infrastructures that, without apparent constraint, guide bodies, channel desires, and organise attention. The forms that compose the exhibition appear as enigmatic vestiges, fragments caught in light, like archaeological objects from a domesticity absorbed by the machine. Anatomical archives, metals permeated by computation, volumes extracted from the moving image—forms in which the living recomposes itself, caught within calculation.

Art Brussels | Booth 5B-41
➞ Preview: Thursday 23 April from 11 am to 4 pm
➞ Vernissage: Thursday 23 April from 4 to 9 pm
➞ Public Days: Friday 24 to Sunday 26 from 11 am to 7 pm

📸 Choreo (@choreo.info)

[Fair — Art Brussels 2026] Solo show by the Belgian artist Eva L’Hoest (@evalhoest) — Booth 5B-41 [Prime] • From April 23 to 26, 2026

On the occasion of @artbrussels, Galerie Eric Mouchet is delighted to present Eva L’Hoest first solo show ‘Palmless Manœuvres’ at Art Brussels taking over Hall 5 at the Heysel.

‘Palmless Manœuvres’ begins with an almost imperceptible shift: the moment when human agency begins to delegate not only gesture, but meaning itself, to the machine. A tipping point that does not manifest as rupture, but as a slow, almost eventless dispossession - a fatigue of attention, a silent redistribution of roles between bodies and the systems that surround them. Gesture does not disappear; it migrates into computational devices that precede and accompany us.

In the space, galvanised rails trace out a trajectory. These steel lines, at body height—recalling museum handrails or airport corridors—echo the silent, algorithmic infrastructures that, without apparent constraint, guide bodies, channel desires, and organise attention. The forms that compose the exhibition appear as enigmatic vestiges, fragments caught in light, like archaeological objects from a domesticity absorbed by the machine. Anatomical archives, metals permeated by computation, volumes extracted from the moving image—forms in which the living recomposes itself, caught within calculation.

Art Brussels | Booth 5B-41
➞ Preview: Thursday 23 April from 11 am to 4 pm
➞ Vernissage: Thursday 23 April from 4 to 9 pm
➞ Public Days: Friday 24 to Sunday 26 from 11 am to 7 pm

📸 Choreo (@choreo.info)

[Fair — Art Brussels 2026] Solo show by the Belgian artist Eva L’Hoest (@evalhoest) — Booth 5B-41 [Prime] • From April 23 to 26, 2026

On the occasion of @artbrussels, Galerie Eric Mouchet is delighted to present Eva L’Hoest first solo show ‘Palmless Manœuvres’ at Art Brussels taking over Hall 5 at the Heysel.

‘Palmless Manœuvres’ begins with an almost imperceptible shift: the moment when human agency begins to delegate not only gesture, but meaning itself, to the machine. A tipping point that does not manifest as rupture, but as a slow, almost eventless dispossession - a fatigue of attention, a silent redistribution of roles between bodies and the systems that surround them. Gesture does not disappear; it migrates into computational devices that precede and accompany us.

In the space, galvanised rails trace out a trajectory. These steel lines, at body height—recalling museum handrails or airport corridors—echo the silent, algorithmic infrastructures that, without apparent constraint, guide bodies, channel desires, and organise attention. The forms that compose the exhibition appear as enigmatic vestiges, fragments caught in light, like archaeological objects from a domesticity absorbed by the machine. Anatomical archives, metals permeated by computation, volumes extracted from the moving image—forms in which the living recomposes itself, caught within calculation.

Art Brussels | Booth 5B-41
➞ Preview: Thursday 23 April from 11 am to 4 pm
➞ Vernissage: Thursday 23 April from 4 to 9 pm
➞ Public Days: Friday 24 to Sunday 26 from 11 am to 7 pm

📸 Choreo (@choreo.info)

[Video - Artist Focus] Eva L’Hoest and Galerie Eric Mouchet are pleased to present ‘Palmless Manœuvres’, her first immersive solo show at @artbrussels, taking place from Thursday 23 to Sunday 26 April 2026 in Hall 5 at the Heysel.

‘Palmless Manœuvres’ begins with an almost imperceptible shift: the moment when human agency begins to delegate not only gesture, but meaning itself, to the machine. A tipping point that does not manifest as rupture, but as a slow, almost eventless dispossession - a fatigue of attention, a silent redistribution of roles between bodies and the systems that surround them. Gesture does not disappear; it migrates into computational devices that precede and accompany us. […]

Between palma (the palm, once a sign of destiny) and manœuvre (the operative hand), the exhibition traces a transformation: what orients us is no longer read in the lines of the skin, but in the opaque strata of calculation. In these computational spaces where gesture tends to dissolve, Eva L’Hoest’s work operates from within, engaging the intimacy of matter: melting, sculpting, transmuting—forming a body where something begins to slip away.

Art Brussels | Booth 5B-41
➞ Preview: Thursday 23 April from 11 am to 4 pm
➞ Vernissage: Thursday 23 April from 4 to 9 pm
➞ Public Days: Friday 24 to Sunday 26 from 11 am to 7 pm

📍Brussels Expo – Entrance Hall 5, Place de la Belgique 1, 1020 Brussels.

[News] Galerie Eric Mouchet is thrilled to announce its representation of Belgian artist Eva L’Hoest (@evalhoest) — and to present her first solo show at Art Brussels 2026, with an immersive installation taking over Hall 5 at the Heysel from Thursday 23 to Sunday 26 April 2026.

Eva L’Hoest (b. 1991, Liège) is a Belgian artist who approaches digital technologies as an archaeological tool to explore questions of origin, memory and perception. Combining sculpture, moving image and audiovisual installations, her work investigates how computational systems reshape collective imaginaries and structures of belief. Her first institutional monograph, ‘The Mindful Hand’, was presented at Casino Luxembourg in 2025.

Recent exhibitions include Friche la Belle de Mai, Marseille (2025), KANAL-Centre Pompidou, Brussels (2023), the 23rd Biennale of Sydney – rīvus (2022), WIELS, Brussels (2021), Riga Biennial RIBOCA2 (2020), the Lyon Biennale (2019), and the Okayama Art Summit (2019). Her work has also been presented as performances at BOZAR (Henry Le Bœuf Hall, Brussels) and at the International Film Festival Rotterdam. L’Hoest was artist-in-residence at ISCP, New York (2024), and participated in the Biennale College of Art in Venice (2023). She received the Edward Steichen Prize (Luxembourg) in 2023. Her work is held in the collections of Lafayette Anticipations (Paris) and has recently entered the Royal Museum of Fine Arts of Belgium.

Art Brussels | Booth 5B-41 (@artbrussels)
➞ Preview: Thursday 23 April from 11 am to 4 pm
➞ Vernissage: Thursday 23 April from 4 to 9 pm
➞ Public Days: Friday 24 to Sunday 26 from 11 am to 7 pm

📍Brussels Expo – Entrance Hall 5
Place de la Belgique 1
1020 Brussels

📸
1.⁠ ⁠Portrait Eva L’Hoest © @raquelechevarria_
2-5. Exhibition view ‘The Mindful Hand’, Casino Luxembourg, Luxembourg, 2025 © Luk Vander Plaetse
3-4. Exhibition view ‘Là où les eaux se mêlent’, Biennale de Lyon, France, 2019 © Ludovic Beillard

[News] Galerie Eric Mouchet is thrilled to announce its representation of Belgian artist Eva L’Hoest (@evalhoest) — and to present her first solo show at Art Brussels 2026, with an immersive installation taking over Hall 5 at the Heysel from Thursday 23 to Sunday 26 April 2026.

Eva L’Hoest (b. 1991, Liège) is a Belgian artist who approaches digital technologies as an archaeological tool to explore questions of origin, memory and perception. Combining sculpture, moving image and audiovisual installations, her work investigates how computational systems reshape collective imaginaries and structures of belief. Her first institutional monograph, ‘The Mindful Hand’, was presented at Casino Luxembourg in 2025.

Recent exhibitions include Friche la Belle de Mai, Marseille (2025), KANAL-Centre Pompidou, Brussels (2023), the 23rd Biennale of Sydney – rīvus (2022), WIELS, Brussels (2021), Riga Biennial RIBOCA2 (2020), the Lyon Biennale (2019), and the Okayama Art Summit (2019). Her work has also been presented as performances at BOZAR (Henry Le Bœuf Hall, Brussels) and at the International Film Festival Rotterdam. L’Hoest was artist-in-residence at ISCP, New York (2024), and participated in the Biennale College of Art in Venice (2023). She received the Edward Steichen Prize (Luxembourg) in 2023. Her work is held in the collections of Lafayette Anticipations (Paris) and has recently entered the Royal Museum of Fine Arts of Belgium.

Art Brussels | Booth 5B-41 (@artbrussels)
➞ Preview: Thursday 23 April from 11 am to 4 pm
➞ Vernissage: Thursday 23 April from 4 to 9 pm
➞ Public Days: Friday 24 to Sunday 26 from 11 am to 7 pm

📍Brussels Expo – Entrance Hall 5
Place de la Belgique 1
1020 Brussels

📸
1.⁠ ⁠Portrait Eva L’Hoest © @raquelechevarria_
2-5. Exhibition view ‘The Mindful Hand’, Casino Luxembourg, Luxembourg, 2025 © Luk Vander Plaetse
3-4. Exhibition view ‘Là où les eaux se mêlent’, Biennale de Lyon, France, 2019 © Ludovic Beillard

[News] Galerie Eric Mouchet is thrilled to announce its representation of Belgian artist Eva L’Hoest (@evalhoest) — and to present her first solo show at Art Brussels 2026, with an immersive installation taking over Hall 5 at the Heysel from Thursday 23 to Sunday 26 April 2026.

Eva L’Hoest (b. 1991, Liège) is a Belgian artist who approaches digital technologies as an archaeological tool to explore questions of origin, memory and perception. Combining sculpture, moving image and audiovisual installations, her work investigates how computational systems reshape collective imaginaries and structures of belief. Her first institutional monograph, ‘The Mindful Hand’, was presented at Casino Luxembourg in 2025.

Recent exhibitions include Friche la Belle de Mai, Marseille (2025), KANAL-Centre Pompidou, Brussels (2023), the 23rd Biennale of Sydney – rīvus (2022), WIELS, Brussels (2021), Riga Biennial RIBOCA2 (2020), the Lyon Biennale (2019), and the Okayama Art Summit (2019). Her work has also been presented as performances at BOZAR (Henry Le Bœuf Hall, Brussels) and at the International Film Festival Rotterdam. L’Hoest was artist-in-residence at ISCP, New York (2024), and participated in the Biennale College of Art in Venice (2023). She received the Edward Steichen Prize (Luxembourg) in 2023. Her work is held in the collections of Lafayette Anticipations (Paris) and has recently entered the Royal Museum of Fine Arts of Belgium.

Art Brussels | Booth 5B-41 (@artbrussels)
➞ Preview: Thursday 23 April from 11 am to 4 pm
➞ Vernissage: Thursday 23 April from 4 to 9 pm
➞ Public Days: Friday 24 to Sunday 26 from 11 am to 7 pm

📍Brussels Expo – Entrance Hall 5
Place de la Belgique 1
1020 Brussels

📸
1.⁠ ⁠Portrait Eva L’Hoest © @raquelechevarria_
2-5. Exhibition view ‘The Mindful Hand’, Casino Luxembourg, Luxembourg, 2025 © Luk Vander Plaetse
3-4. Exhibition view ‘Là où les eaux se mêlent’, Biennale de Lyon, France, 2019 © Ludovic Beillard

[News] Galerie Eric Mouchet is thrilled to announce its representation of Belgian artist Eva L’Hoest (@evalhoest) — and to present her first solo show at Art Brussels 2026, with an immersive installation taking over Hall 5 at the Heysel from Thursday 23 to Sunday 26 April 2026.

Eva L’Hoest (b. 1991, Liège) is a Belgian artist who approaches digital technologies as an archaeological tool to explore questions of origin, memory and perception. Combining sculpture, moving image and audiovisual installations, her work investigates how computational systems reshape collective imaginaries and structures of belief. Her first institutional monograph, ‘The Mindful Hand’, was presented at Casino Luxembourg in 2025.

Recent exhibitions include Friche la Belle de Mai, Marseille (2025), KANAL-Centre Pompidou, Brussels (2023), the 23rd Biennale of Sydney – rīvus (2022), WIELS, Brussels (2021), Riga Biennial RIBOCA2 (2020), the Lyon Biennale (2019), and the Okayama Art Summit (2019). Her work has also been presented as performances at BOZAR (Henry Le Bœuf Hall, Brussels) and at the International Film Festival Rotterdam. L’Hoest was artist-in-residence at ISCP, New York (2024), and participated in the Biennale College of Art in Venice (2023). She received the Edward Steichen Prize (Luxembourg) in 2023. Her work is held in the collections of Lafayette Anticipations (Paris) and has recently entered the Royal Museum of Fine Arts of Belgium.

Art Brussels | Booth 5B-41 (@artbrussels)
➞ Preview: Thursday 23 April from 11 am to 4 pm
➞ Vernissage: Thursday 23 April from 4 to 9 pm
➞ Public Days: Friday 24 to Sunday 26 from 11 am to 7 pm

📍Brussels Expo – Entrance Hall 5
Place de la Belgique 1
1020 Brussels

📸
1.⁠ ⁠Portrait Eva L’Hoest © @raquelechevarria_
2-5. Exhibition view ‘The Mindful Hand’, Casino Luxembourg, Luxembourg, 2025 © Luk Vander Plaetse
3-4. Exhibition view ‘Là où les eaux se mêlent’, Biennale de Lyon, France, 2019 © Ludovic Beillard

[News] Galerie Eric Mouchet is thrilled to announce its representation of Belgian artist Eva L’Hoest (@evalhoest) — and to present her first solo show at Art Brussels 2026, with an immersive installation taking over Hall 5 at the Heysel from Thursday 23 to Sunday 26 April 2026.

Eva L’Hoest (b. 1991, Liège) is a Belgian artist who approaches digital technologies as an archaeological tool to explore questions of origin, memory and perception. Combining sculpture, moving image and audiovisual installations, her work investigates how computational systems reshape collective imaginaries and structures of belief. Her first institutional monograph, ‘The Mindful Hand’, was presented at Casino Luxembourg in 2025.

Recent exhibitions include Friche la Belle de Mai, Marseille (2025), KANAL-Centre Pompidou, Brussels (2023), the 23rd Biennale of Sydney – rīvus (2022), WIELS, Brussels (2021), Riga Biennial RIBOCA2 (2020), the Lyon Biennale (2019), and the Okayama Art Summit (2019). Her work has also been presented as performances at BOZAR (Henry Le Bœuf Hall, Brussels) and at the International Film Festival Rotterdam. L’Hoest was artist-in-residence at ISCP, New York (2024), and participated in the Biennale College of Art in Venice (2023). She received the Edward Steichen Prize (Luxembourg) in 2023. Her work is held in the collections of Lafayette Anticipations (Paris) and has recently entered the Royal Museum of Fine Arts of Belgium.

Art Brussels | Booth 5B-41 (@artbrussels)
➞ Preview: Thursday 23 April from 11 am to 4 pm
➞ Vernissage: Thursday 23 April from 4 to 9 pm
➞ Public Days: Friday 24 to Sunday 26 from 11 am to 7 pm

📍Brussels Expo – Entrance Hall 5
Place de la Belgique 1
1020 Brussels

📸
1.⁠ ⁠Portrait Eva L’Hoest © @raquelechevarria_
2-5. Exhibition view ‘The Mindful Hand’, Casino Luxembourg, Luxembourg, 2025 © Luk Vander Plaetse
3-4. Exhibition view ‘Là où les eaux se mêlent’, Biennale de Lyon, France, 2019 © Ludovic Beillard

[Rendez-vous] Christmas party on Friday 19 December from 15:00 to 20:00 • Galerie Eric Mouchet Brussels

→ On view « inkstand – fragments of intent » new solo exhibition by Eva L’Hoest (@evalhoest)

«Engraved within blocks of crystal, figures from the film « The Inmost Cell » appear as suspended fragments—liquid architectures floating in a gravity-free space. The central figure derives from a 3D scan of a fragment of the Staburadze cliff, a Latvian legend of a young girl turned to stone by her tears, now partly submerged beneath the waters of the Riga dam. At the heart of the invisible materiality of our screens and digital memories, the crystal becomes a receptacle for frozen flows—tears, currents, data. The work preserves the trace of an intermediate space, where human memory, myth, and digital matter converge.

Disseminated throughout the space, the series of pendants « Spectio (False North) » continues Eva L’Hoest’s reflection on technical expertise — from the Roman groma to contemporary algorithms — and its power of legitimization. In Antiquity, only the augurs, often drawn from the ranks of magistrates, were authorized to read the signs of the sky and determine the course of collective destiny. Today, predictive technologies extend this gesture, shaping new forms of power under the guise of scientific knowledge. Suspended in the air, the sculptures recall those measuring instruments once used to delineate the foundations of cities, linked to spectio — the ritual observation of the sky — in which the gaze itself becomes an instrument of order. Spectio thus acts as a meditation on the fragility of our points of reference, and on how faith, knowledge, and the desire for measurement shift and intertwine within a world saturated by multiple fields of attraction. »

Exhibition on view until 20.12.25 (Re-opening 06.01.26)

📸
1. The Inmost Cell, 2021. Gravure 3D dans du crystal K7 (3D engraving in crystal k7), 155 x 23 x 33 cm
4. Spectio (False North), 2024. Sculptures d’alliage d’étain de bismuth (Sculptures in cast tin and bismuth). h = 12 cm

[Rendez-vous] Christmas party on Friday 19 December from 15:00 to 20:00 • Galerie Eric Mouchet Brussels

→ On view « inkstand – fragments of intent » new solo exhibition by Eva L’Hoest (@evalhoest)

«Engraved within blocks of crystal, figures from the film « The Inmost Cell » appear as suspended fragments—liquid architectures floating in a gravity-free space. The central figure derives from a 3D scan of a fragment of the Staburadze cliff, a Latvian legend of a young girl turned to stone by her tears, now partly submerged beneath the waters of the Riga dam. At the heart of the invisible materiality of our screens and digital memories, the crystal becomes a receptacle for frozen flows—tears, currents, data. The work preserves the trace of an intermediate space, where human memory, myth, and digital matter converge.

Disseminated throughout the space, the series of pendants « Spectio (False North) » continues Eva L’Hoest’s reflection on technical expertise — from the Roman groma to contemporary algorithms — and its power of legitimization. In Antiquity, only the augurs, often drawn from the ranks of magistrates, were authorized to read the signs of the sky and determine the course of collective destiny. Today, predictive technologies extend this gesture, shaping new forms of power under the guise of scientific knowledge. Suspended in the air, the sculptures recall those measuring instruments once used to delineate the foundations of cities, linked to spectio — the ritual observation of the sky — in which the gaze itself becomes an instrument of order. Spectio thus acts as a meditation on the fragility of our points of reference, and on how faith, knowledge, and the desire for measurement shift and intertwine within a world saturated by multiple fields of attraction. »

Exhibition on view until 20.12.25 (Re-opening 06.01.26)

📸
1. The Inmost Cell, 2021. Gravure 3D dans du crystal K7 (3D engraving in crystal k7), 155 x 23 x 33 cm
4. Spectio (False North), 2024. Sculptures d’alliage d’étain de bismuth (Sculptures in cast tin and bismuth). h = 12 cm

[Rendez-vous] Christmas party on Friday 19 December from 15:00 to 20:00 • Galerie Eric Mouchet Brussels

→ On view « inkstand – fragments of intent » new solo exhibition by Eva L’Hoest (@evalhoest)

«Engraved within blocks of crystal, figures from the film « The Inmost Cell » appear as suspended fragments—liquid architectures floating in a gravity-free space. The central figure derives from a 3D scan of a fragment of the Staburadze cliff, a Latvian legend of a young girl turned to stone by her tears, now partly submerged beneath the waters of the Riga dam. At the heart of the invisible materiality of our screens and digital memories, the crystal becomes a receptacle for frozen flows—tears, currents, data. The work preserves the trace of an intermediate space, where human memory, myth, and digital matter converge.

Disseminated throughout the space, the series of pendants « Spectio (False North) » continues Eva L’Hoest’s reflection on technical expertise — from the Roman groma to contemporary algorithms — and its power of legitimization. In Antiquity, only the augurs, often drawn from the ranks of magistrates, were authorized to read the signs of the sky and determine the course of collective destiny. Today, predictive technologies extend this gesture, shaping new forms of power under the guise of scientific knowledge. Suspended in the air, the sculptures recall those measuring instruments once used to delineate the foundations of cities, linked to spectio — the ritual observation of the sky — in which the gaze itself becomes an instrument of order. Spectio thus acts as a meditation on the fragility of our points of reference, and on how faith, knowledge, and the desire for measurement shift and intertwine within a world saturated by multiple fields of attraction. »

Exhibition on view until 20.12.25 (Re-opening 06.01.26)

📸
1. The Inmost Cell, 2021. Gravure 3D dans du crystal K7 (3D engraving in crystal k7), 155 x 23 x 33 cm
4. Spectio (False North), 2024. Sculptures d’alliage d’étain de bismuth (Sculptures in cast tin and bismuth). h = 12 cm

[Rendez-vous] Christmas party on Friday 19 December from 15:00 to 20:00 • Galerie Eric Mouchet Brussels

→ On view « inkstand – fragments of intent » new solo exhibition by Eva L’Hoest (@evalhoest)

«Engraved within blocks of crystal, figures from the film « The Inmost Cell » appear as suspended fragments—liquid architectures floating in a gravity-free space. The central figure derives from a 3D scan of a fragment of the Staburadze cliff, a Latvian legend of a young girl turned to stone by her tears, now partly submerged beneath the waters of the Riga dam. At the heart of the invisible materiality of our screens and digital memories, the crystal becomes a receptacle for frozen flows—tears, currents, data. The work preserves the trace of an intermediate space, where human memory, myth, and digital matter converge.

Disseminated throughout the space, the series of pendants « Spectio (False North) » continues Eva L’Hoest’s reflection on technical expertise — from the Roman groma to contemporary algorithms — and its power of legitimization. In Antiquity, only the augurs, often drawn from the ranks of magistrates, were authorized to read the signs of the sky and determine the course of collective destiny. Today, predictive technologies extend this gesture, shaping new forms of power under the guise of scientific knowledge. Suspended in the air, the sculptures recall those measuring instruments once used to delineate the foundations of cities, linked to spectio — the ritual observation of the sky — in which the gaze itself becomes an instrument of order. Spectio thus acts as a meditation on the fragility of our points of reference, and on how faith, knowledge, and the desire for measurement shift and intertwine within a world saturated by multiple fields of attraction. »

Exhibition on view until 20.12.25 (Re-opening 06.01.26)

📸
1. The Inmost Cell, 2021. Gravure 3D dans du crystal K7 (3D engraving in crystal k7), 155 x 23 x 33 cm
4. Spectio (False North), 2024. Sculptures d’alliage d’étain de bismuth (Sculptures in cast tin and bismuth). h = 12 cm

[Rendez-vous] Christmas party on Friday 19 December from 15:00 to 20:00 • Galerie Eric Mouchet Brussels

→ On view « inkstand – fragments of intent » new solo exhibition by Eva L’Hoest (@evalhoest)

«Engraved within blocks of crystal, figures from the film « The Inmost Cell » appear as suspended fragments—liquid architectures floating in a gravity-free space. The central figure derives from a 3D scan of a fragment of the Staburadze cliff, a Latvian legend of a young girl turned to stone by her tears, now partly submerged beneath the waters of the Riga dam. At the heart of the invisible materiality of our screens and digital memories, the crystal becomes a receptacle for frozen flows—tears, currents, data. The work preserves the trace of an intermediate space, where human memory, myth, and digital matter converge.

Disseminated throughout the space, the series of pendants « Spectio (False North) » continues Eva L’Hoest’s reflection on technical expertise — from the Roman groma to contemporary algorithms — and its power of legitimization. In Antiquity, only the augurs, often drawn from the ranks of magistrates, were authorized to read the signs of the sky and determine the course of collective destiny. Today, predictive technologies extend this gesture, shaping new forms of power under the guise of scientific knowledge. Suspended in the air, the sculptures recall those measuring instruments once used to delineate the foundations of cities, linked to spectio — the ritual observation of the sky — in which the gaze itself becomes an instrument of order. Spectio thus acts as a meditation on the fragility of our points of reference, and on how faith, knowledge, and the desire for measurement shift and intertwine within a world saturated by multiple fields of attraction. »

Exhibition on view until 20.12.25 (Re-opening 06.01.26)

📸
1. The Inmost Cell, 2021. Gravure 3D dans du crystal K7 (3D engraving in crystal k7), 155 x 23 x 33 cm
4. Spectio (False North), 2024. Sculptures d’alliage d’étain de bismuth (Sculptures in cast tin and bismuth). h = 12 cm

[Rendez-vous] Christmas party on Friday 19 December from 15:00 to 20:00 • Galerie Eric Mouchet Brussels

→ On view « inkstand – fragments of intent » new solo exhibition by Eva L’Hoest (@evalhoest)

«Engraved within blocks of crystal, figures from the film « The Inmost Cell » appear as suspended fragments—liquid architectures floating in a gravity-free space. The central figure derives from a 3D scan of a fragment of the Staburadze cliff, a Latvian legend of a young girl turned to stone by her tears, now partly submerged beneath the waters of the Riga dam. At the heart of the invisible materiality of our screens and digital memories, the crystal becomes a receptacle for frozen flows—tears, currents, data. The work preserves the trace of an intermediate space, where human memory, myth, and digital matter converge.

Disseminated throughout the space, the series of pendants « Spectio (False North) » continues Eva L’Hoest’s reflection on technical expertise — from the Roman groma to contemporary algorithms — and its power of legitimization. In Antiquity, only the augurs, often drawn from the ranks of magistrates, were authorized to read the signs of the sky and determine the course of collective destiny. Today, predictive technologies extend this gesture, shaping new forms of power under the guise of scientific knowledge. Suspended in the air, the sculptures recall those measuring instruments once used to delineate the foundations of cities, linked to spectio — the ritual observation of the sky — in which the gaze itself becomes an instrument of order. Spectio thus acts as a meditation on the fragility of our points of reference, and on how faith, knowledge, and the desire for measurement shift and intertwine within a world saturated by multiple fields of attraction. »

Exhibition on view until 20.12.25 (Re-opening 06.01.26)

📸
1. The Inmost Cell, 2021. Gravure 3D dans du crystal K7 (3D engraving in crystal k7), 155 x 23 x 33 cm
4. Spectio (False North), 2024. Sculptures d’alliage d’étain de bismuth (Sculptures in cast tin and bismuth). h = 12 cm

[Vernissage — «inkstand – fragments of intent »] First solo exhibition by Eva L’Hoest (@evalhoest) at Galerie Eric Mouchet Brussels • Opening 13.11, 17h-21h

The exhibition features « Inkstand – Fragments of Intents », « Ne pas réveiller les chiens qui dorment », and « The Inmost Cell » — three recent bodies of work by Eva L’Hoest that reflect on how technologies shape our gestures, behaviors, and imaginaries. By reinterpreting the lost-wax casting technique through a digital process, Eva L’Hoest brings fire and code into dialogue, merging the fusion of metal with that of data. Her works emerge as remnants of an archaeology of the future — forms in which the memory of gestures and the traces of the codes that have passed through them continue to resonate.

Winner of the Edward Steichen Award (2023), Eva L’Hoest recently presented her first institutional solo exhibition, « The Mindful Hand », at Casino Luxembourg (2025). Through her works, Eva L’Hoest develops a visual language that bridges craftsmanship and contemporary technologies, where memory, myth, and matter intertwine. Since the beginning of her career, she has participated in numerous major exhibitions in Belgium and abroad, including at La Friche la Belle de Mai (Marseille, 2025), KANAL – Centre Pompidou, the Biennale of Sydney (2022), WIELS (Brussels, 2021), the Riga Biennale (2020), the Lyon Biennale (2019), and the Okayama Art Summit Triennale (Japan, 2019).

📸 @evalhoest
1. Inkstand - Fragments of Intent, 2024 @casinoluxembourg
6. Matières insulaires, 2025 @llspaleis

[Vernissage — «inkstand – fragments of intent »] First solo exhibition by Eva L’Hoest (@evalhoest) at Galerie Eric Mouchet Brussels • Opening 13.11, 17h-21h

The exhibition features « Inkstand – Fragments of Intents », « Ne pas réveiller les chiens qui dorment », and « The Inmost Cell » — three recent bodies of work by Eva L’Hoest that reflect on how technologies shape our gestures, behaviors, and imaginaries. By reinterpreting the lost-wax casting technique through a digital process, Eva L’Hoest brings fire and code into dialogue, merging the fusion of metal with that of data. Her works emerge as remnants of an archaeology of the future — forms in which the memory of gestures and the traces of the codes that have passed through them continue to resonate.

Winner of the Edward Steichen Award (2023), Eva L’Hoest recently presented her first institutional solo exhibition, « The Mindful Hand », at Casino Luxembourg (2025). Through her works, Eva L’Hoest develops a visual language that bridges craftsmanship and contemporary technologies, where memory, myth, and matter intertwine. Since the beginning of her career, she has participated in numerous major exhibitions in Belgium and abroad, including at La Friche la Belle de Mai (Marseille, 2025), KANAL – Centre Pompidou, the Biennale of Sydney (2022), WIELS (Brussels, 2021), the Riga Biennale (2020), the Lyon Biennale (2019), and the Okayama Art Summit Triennale (Japan, 2019).

📸 @evalhoest
1. Inkstand - Fragments of Intent, 2024 @casinoluxembourg
6. Matières insulaires, 2025 @llspaleis

[Vernissage — «inkstand – fragments of intent »] First solo exhibition by Eva L’Hoest (@evalhoest) at Galerie Eric Mouchet Brussels • Opening 13.11, 17h-21h

The exhibition features « Inkstand – Fragments of Intents », « Ne pas réveiller les chiens qui dorment », and « The Inmost Cell » — three recent bodies of work by Eva L’Hoest that reflect on how technologies shape our gestures, behaviors, and imaginaries. By reinterpreting the lost-wax casting technique through a digital process, Eva L’Hoest brings fire and code into dialogue, merging the fusion of metal with that of data. Her works emerge as remnants of an archaeology of the future — forms in which the memory of gestures and the traces of the codes that have passed through them continue to resonate.

Winner of the Edward Steichen Award (2023), Eva L’Hoest recently presented her first institutional solo exhibition, « The Mindful Hand », at Casino Luxembourg (2025). Through her works, Eva L’Hoest develops a visual language that bridges craftsmanship and contemporary technologies, where memory, myth, and matter intertwine. Since the beginning of her career, she has participated in numerous major exhibitions in Belgium and abroad, including at La Friche la Belle de Mai (Marseille, 2025), KANAL – Centre Pompidou, the Biennale of Sydney (2022), WIELS (Brussels, 2021), the Riga Biennale (2020), the Lyon Biennale (2019), and the Okayama Art Summit Triennale (Japan, 2019).

📸 @evalhoest
1. Inkstand - Fragments of Intent, 2024 @casinoluxembourg
6. Matières insulaires, 2025 @llspaleis

[Vernissage — «inkstand – fragments of intent »] First solo exhibition by Eva L’Hoest (@evalhoest) at Galerie Eric Mouchet Brussels • Opening 13.11, 17h-21h

The exhibition features « Inkstand – Fragments of Intents », « Ne pas réveiller les chiens qui dorment », and « The Inmost Cell » — three recent bodies of work by Eva L’Hoest that reflect on how technologies shape our gestures, behaviors, and imaginaries. By reinterpreting the lost-wax casting technique through a digital process, Eva L’Hoest brings fire and code into dialogue, merging the fusion of metal with that of data. Her works emerge as remnants of an archaeology of the future — forms in which the memory of gestures and the traces of the codes that have passed through them continue to resonate.

Winner of the Edward Steichen Award (2023), Eva L’Hoest recently presented her first institutional solo exhibition, « The Mindful Hand », at Casino Luxembourg (2025). Through her works, Eva L’Hoest develops a visual language that bridges craftsmanship and contemporary technologies, where memory, myth, and matter intertwine. Since the beginning of her career, she has participated in numerous major exhibitions in Belgium and abroad, including at La Friche la Belle de Mai (Marseille, 2025), KANAL – Centre Pompidou, the Biennale of Sydney (2022), WIELS (Brussels, 2021), the Riga Biennale (2020), the Lyon Biennale (2019), and the Okayama Art Summit Triennale (Japan, 2019).

📸 @evalhoest
1. Inkstand - Fragments of Intent, 2024 @casinoluxembourg
6. Matières insulaires, 2025 @llspaleis

[Vernissage — «inkstand – fragments of intent »] First solo exhibition by Eva L’Hoest (@evalhoest) at Galerie Eric Mouchet Brussels • Opening 13.11, 17h-21h

The exhibition features « Inkstand – Fragments of Intents », « Ne pas réveiller les chiens qui dorment », and « The Inmost Cell » — three recent bodies of work by Eva L’Hoest that reflect on how technologies shape our gestures, behaviors, and imaginaries. By reinterpreting the lost-wax casting technique through a digital process, Eva L’Hoest brings fire and code into dialogue, merging the fusion of metal with that of data. Her works emerge as remnants of an archaeology of the future — forms in which the memory of gestures and the traces of the codes that have passed through them continue to resonate.

Winner of the Edward Steichen Award (2023), Eva L’Hoest recently presented her first institutional solo exhibition, « The Mindful Hand », at Casino Luxembourg (2025). Through her works, Eva L’Hoest develops a visual language that bridges craftsmanship and contemporary technologies, where memory, myth, and matter intertwine. Since the beginning of her career, she has participated in numerous major exhibitions in Belgium and abroad, including at La Friche la Belle de Mai (Marseille, 2025), KANAL – Centre Pompidou, the Biennale of Sydney (2022), WIELS (Brussels, 2021), the Riga Biennale (2020), the Lyon Biennale (2019), and the Okayama Art Summit Triennale (Japan, 2019).

📸 @evalhoest
1. Inkstand - Fragments of Intent, 2024 @casinoluxembourg
6. Matières insulaires, 2025 @llspaleis

[Vernissage — «inkstand – fragments of intent »] First solo exhibition by Eva L’Hoest (@evalhoest) at Galerie Eric Mouchet Brussels • Opening 13.11, 17h-21h

The exhibition features « Inkstand – Fragments of Intents », « Ne pas réveiller les chiens qui dorment », and « The Inmost Cell » — three recent bodies of work by Eva L’Hoest that reflect on how technologies shape our gestures, behaviors, and imaginaries. By reinterpreting the lost-wax casting technique through a digital process, Eva L’Hoest brings fire and code into dialogue, merging the fusion of metal with that of data. Her works emerge as remnants of an archaeology of the future — forms in which the memory of gestures and the traces of the codes that have passed through them continue to resonate.

Winner of the Edward Steichen Award (2023), Eva L’Hoest recently presented her first institutional solo exhibition, « The Mindful Hand », at Casino Luxembourg (2025). Through her works, Eva L’Hoest develops a visual language that bridges craftsmanship and contemporary technologies, where memory, myth, and matter intertwine. Since the beginning of her career, she has participated in numerous major exhibitions in Belgium and abroad, including at La Friche la Belle de Mai (Marseille, 2025), KANAL – Centre Pompidou, the Biennale of Sydney (2022), WIELS (Brussels, 2021), the Riga Biennale (2020), the Lyon Biennale (2019), and the Okayama Art Summit Triennale (Japan, 2019).

📸 @evalhoest
1. Inkstand - Fragments of Intent, 2024 @casinoluxembourg
6. Matières insulaires, 2025 @llspaleis

[Vernissage — «inkstand – fragments of intent »] First solo exhibition by Eva L’Hoest (@evalhoest) at Galerie Eric Mouchet Brussels • Opening 13.11, 17h-21h

The exhibition features « Inkstand – Fragments of Intents », « Ne pas réveiller les chiens qui dorment », and « The Inmost Cell » — three recent bodies of work by Eva L’Hoest that reflect on how technologies shape our gestures, behaviors, and imaginaries. By reinterpreting the lost-wax casting technique through a digital process, Eva L’Hoest brings fire and code into dialogue, merging the fusion of metal with that of data. Her works emerge as remnants of an archaeology of the future — forms in which the memory of gestures and the traces of the codes that have passed through them continue to resonate.

Winner of the Edward Steichen Award (2023), Eva L’Hoest recently presented her first institutional solo exhibition, « The Mindful Hand », at Casino Luxembourg (2025). Through her works, Eva L’Hoest develops a visual language that bridges craftsmanship and contemporary technologies, where memory, myth, and matter intertwine. Since the beginning of her career, she has participated in numerous major exhibitions in Belgium and abroad, including at La Friche la Belle de Mai (Marseille, 2025), KANAL – Centre Pompidou, the Biennale of Sydney (2022), WIELS (Brussels, 2021), the Riga Biennale (2020), the Lyon Biennale (2019), and the Okayama Art Summit Triennale (Japan, 2019).

📸 @evalhoest
1. Inkstand - Fragments of Intent, 2024 @casinoluxembourg
6. Matières insulaires, 2025 @llspaleis

[Vernissage — «inkstand – fragments of intent »] First solo exhibition by Eva L’Hoest (@evalhoest) at Galerie Eric Mouchet Brussels • Opening 13.11, 17h-21h

The exhibition features « Inkstand – Fragments of Intents », « Ne pas réveiller les chiens qui dorment », and « The Inmost Cell » — three recent bodies of work by Eva L’Hoest that reflect on how technologies shape our gestures, behaviors, and imaginaries. By reinterpreting the lost-wax casting technique through a digital process, Eva L’Hoest brings fire and code into dialogue, merging the fusion of metal with that of data. Her works emerge as remnants of an archaeology of the future — forms in which the memory of gestures and the traces of the codes that have passed through them continue to resonate.

Winner of the Edward Steichen Award (2023), Eva L’Hoest recently presented her first institutional solo exhibition, « The Mindful Hand », at Casino Luxembourg (2025). Through her works, Eva L’Hoest develops a visual language that bridges craftsmanship and contemporary technologies, where memory, myth, and matter intertwine. Since the beginning of her career, she has participated in numerous major exhibitions in Belgium and abroad, including at La Friche la Belle de Mai (Marseille, 2025), KANAL – Centre Pompidou, the Biennale of Sydney (2022), WIELS (Brussels, 2021), the Riga Biennale (2020), the Lyon Biennale (2019), and the Okayama Art Summit Triennale (Japan, 2019).

📸 @evalhoest
1. Inkstand - Fragments of Intent, 2024 @casinoluxembourg
6. Matières insulaires, 2025 @llspaleis

[Vernissage — Rendez-vous jeudi 13 novembre de 17h à 21h avec Pierre Gaignard (@pierreg666) et Eva L’Hoest (@evalhoest) • Galerie Eric Mouchet Brussels

➞ « latent_breath_() » de Pierre Gaignard

«L’univers de Pierre Gaignard est une aventure intellectuelle et sensorielle, une traversée entre art, technologie et poésie où chaque œuvre devient le prolongement d’une recherche en mouvement. À travers son œuvre, l’artiste interroge la matière, le langage et la mémoire — et par là, notre manière même de percevoir le monde. Entrer dans l’atelier de Pierre, c’est pénétrer dans un monde parallèle, en constante expansion. Sa capacité à « inventer » semble sans limites : elle naît d’une curiosité insatiable, d’une propension naturelle à la recherche, qui le pousse à questionner, déconstruire, réinventer. Le processus d’exploration devient pour lui un espace d’expérimentation féconde, où la genèse d’une idée en engendre d’autres, nourrissant sans cesse son œuvre — infinie, mouvante, ouverte. […] » Isabella Vitale

➞ « inkstand – fragments of intent » de Eva L’Hoest

L’exposition présente Inkstand – Fragments of Intents, Ne pas réveiller les chiens qui dorment et The Inmost Cell, trois ensembles d’œuvres récentes d’Eva L’Hoest qui illustrent sa réflexion sur la manière dont les technologies façonnent nos gestes, nos comportements et nos imaginaires. En détournant la technique de la cire perdue à travers un processus numérique, Eva L’Hoest fait dialoguer le feu et le code, la fusion du métal et celle des données. Ses œuvres apparaissent comme les vestiges d’une archéologie du futur – des formes où persiste la mémoire des gestes et celle des codes qui les ont traversées.

📸 Eva L’Hoest, « Matières insulaires », 2025 (détail)

Eva L’Hoest at Casino Luxembourg
“The Mindful Hand”
Curated by Vincent Crapon and Stilbé Schroeder
February 1 – May 11, 2025
Photos: Eva L’Hoest, The Mindful Hand, exhibition view © Casino Luxembourg – Forum d’art contemporain, 2025
@evalhoest @casinoluxembourg @vincentcrapon @stilb.s #evalhoest #casinoluxembourg #vincentcrapon #stilbéschroeder

Eva L’Hoest at Casino Luxembourg
“The Mindful Hand”
Curated by Vincent Crapon and Stilbé Schroeder
February 1 – May 11, 2025
Photos: Eva L’Hoest, The Mindful Hand, exhibition view © Casino Luxembourg – Forum d’art contemporain, 2025
@evalhoest @casinoluxembourg @vincentcrapon @stilb.s #evalhoest #casinoluxembourg #vincentcrapon #stilbéschroeder

Eva L’Hoest at Casino Luxembourg
“The Mindful Hand”
Curated by Vincent Crapon and Stilbé Schroeder
February 1 – May 11, 2025
Photos: Eva L’Hoest, The Mindful Hand, exhibition view © Casino Luxembourg – Forum d’art contemporain, 2025
@evalhoest @casinoluxembourg @vincentcrapon @stilb.s #evalhoest #casinoluxembourg #vincentcrapon #stilbéschroeder

Eva L’Hoest at Casino Luxembourg
“The Mindful Hand”
Curated by Vincent Crapon and Stilbé Schroeder
February 1 – May 11, 2025
Photos: Eva L’Hoest, The Mindful Hand, exhibition view © Casino Luxembourg – Forum d’art contemporain, 2025
@evalhoest @casinoluxembourg @vincentcrapon @stilb.s #evalhoest #casinoluxembourg #vincentcrapon #stilbéschroeder

Eva L’Hoest at Casino Luxembourg
“The Mindful Hand”
Curated by Vincent Crapon and Stilbé Schroeder
February 1 – May 11, 2025
Photos: Eva L’Hoest, The Mindful Hand, exhibition view © Casino Luxembourg – Forum d’art contemporain, 2025
@evalhoest @casinoluxembourg @vincentcrapon @stilb.s #evalhoest #casinoluxembourg #vincentcrapon #stilbéschroeder

Eva L’Hoest at Casino Luxembourg
“The Mindful Hand”
Curated by Vincent Crapon and Stilbé Schroeder
February 1 – May 11, 2025
Photos: Eva L’Hoest, The Mindful Hand, exhibition view © Casino Luxembourg – Forum d’art contemporain, 2025
@evalhoest @casinoluxembourg @vincentcrapon @stilb.s #evalhoest #casinoluxembourg #vincentcrapon #stilbéschroeder

It’s happening in two weeks! The Mindful Hand opens on January 31st at @casinoluxembourg, curated by @stilb.s and @vincentcrapon.

In a new four-channel installation, there will be words written by @eva_mancuso_ 🖤 , 16mm footage shot by @florianberutti blended with CGI, and compositions by @claralev.y 🎻 & @johnalsobennett

A big thank you already to @stilb.s and @vincentcrapon for the invitation and all the support, as well as to all the friends, creative minds, and technical experts who helped bring this exhibition to life! @skan_designjourney @chloearwy, @lisadellu, @schmitt.nika, @jac_n_family, @fabriceortogni , @lehner.moritz, @jorisvandemoortel,
@kunstgiesserei_sg, @pascalebirchler, @thibaultwalckiers. Your help was invaluable (-:

image 1 : Ragdoll, PMMA , 2025
📸 @kunstgiesserei_sg

It’s happening in two weeks! The Mindful Hand opens on January 31st at @casinoluxembourg, curated by @stilb.s and @vincentcrapon.

In a new four-channel installation, there will be words written by @eva_mancuso_ 🖤 , 16mm footage shot by @florianberutti blended with CGI, and compositions by @claralev.y 🎻 & @johnalsobennett

A big thank you already to @stilb.s and @vincentcrapon for the invitation and all the support, as well as to all the friends, creative minds, and technical experts who helped bring this exhibition to life! @skan_designjourney @chloearwy, @lisadellu, @schmitt.nika, @jac_n_family, @fabriceortogni , @lehner.moritz, @jorisvandemoortel,
@kunstgiesserei_sg, @pascalebirchler, @thibaultwalckiers. Your help was invaluable (-:

image 1 : Ragdoll, PMMA , 2025
📸 @kunstgiesserei_sg

It’s happening in two weeks! The Mindful Hand opens on January 31st at @casinoluxembourg, curated by @stilb.s and @vincentcrapon.

In a new four-channel installation, there will be words written by @eva_mancuso_ 🖤 , 16mm footage shot by @florianberutti blended with CGI, and compositions by @claralev.y 🎻 & @johnalsobennett

A big thank you already to @stilb.s and @vincentcrapon for the invitation and all the support, as well as to all the friends, creative minds, and technical experts who helped bring this exhibition to life! @skan_designjourney @chloearwy, @lisadellu, @schmitt.nika, @jac_n_family, @fabriceortogni , @lehner.moritz, @jorisvandemoortel,
@kunstgiesserei_sg, @pascalebirchler, @thibaultwalckiers. Your help was invaluable (-:

image 1 : Ragdoll, PMMA , 2025
📸 @kunstgiesserei_sg

It’s happening in two weeks! The Mindful Hand opens on January 31st at @casinoluxembourg, curated by @stilb.s and @vincentcrapon.

In a new four-channel installation, there will be words written by @eva_mancuso_ 🖤 , 16mm footage shot by @florianberutti blended with CGI, and compositions by @claralev.y 🎻 & @johnalsobennett

A big thank you already to @stilb.s and @vincentcrapon for the invitation and all the support, as well as to all the friends, creative minds, and technical experts who helped bring this exhibition to life! @skan_designjourney @chloearwy, @lisadellu, @schmitt.nika, @jac_n_family, @fabriceortogni , @lehner.moritz, @jorisvandemoortel,
@kunstgiesserei_sg, @pascalebirchler, @thibaultwalckiers. Your help was invaluable (-:

image 1 : Ragdoll, PMMA , 2025
📸 @kunstgiesserei_sg

It’s happening in two weeks! The Mindful Hand opens on January 31st at @casinoluxembourg, curated by @stilb.s and @vincentcrapon.

In a new four-channel installation, there will be words written by @eva_mancuso_ 🖤 , 16mm footage shot by @florianberutti blended with CGI, and compositions by @claralev.y 🎻 & @johnalsobennett

A big thank you already to @stilb.s and @vincentcrapon for the invitation and all the support, as well as to all the friends, creative minds, and technical experts who helped bring this exhibition to life! @skan_designjourney @chloearwy, @lisadellu, @schmitt.nika, @jac_n_family, @fabriceortogni , @lehner.moritz, @jorisvandemoortel,
@kunstgiesserei_sg, @pascalebirchler, @thibaultwalckiers. Your help was invaluable (-:

image 1 : Ragdoll, PMMA , 2025
📸 @kunstgiesserei_sg

It’s happening in two weeks! The Mindful Hand opens on January 31st at @casinoluxembourg, curated by @stilb.s and @vincentcrapon.

In a new four-channel installation, there will be words written by @eva_mancuso_ 🖤 , 16mm footage shot by @florianberutti blended with CGI, and compositions by @claralev.y 🎻 & @johnalsobennett

A big thank you already to @stilb.s and @vincentcrapon for the invitation and all the support, as well as to all the friends, creative minds, and technical experts who helped bring this exhibition to life! @skan_designjourney @chloearwy, @lisadellu, @schmitt.nika, @jac_n_family, @fabriceortogni , @lehner.moritz, @jorisvandemoortel,
@kunstgiesserei_sg, @pascalebirchler, @thibaultwalckiers. Your help was invaluable (-:

image 1 : Ragdoll, PMMA , 2025
📸 @kunstgiesserei_sg

It’s happening in two weeks! The Mindful Hand opens on January 31st at @casinoluxembourg, curated by @stilb.s and @vincentcrapon.

In a new four-channel installation, there will be words written by @eva_mancuso_ 🖤 , 16mm footage shot by @florianberutti blended with CGI, and compositions by @claralev.y 🎻 & @johnalsobennett

A big thank you already to @stilb.s and @vincentcrapon for the invitation and all the support, as well as to all the friends, creative minds, and technical experts who helped bring this exhibition to life! @skan_designjourney @chloearwy, @lisadellu, @schmitt.nika, @jac_n_family, @fabriceortogni , @lehner.moritz, @jorisvandemoortel,
@kunstgiesserei_sg, @pascalebirchler, @thibaultwalckiers. Your help was invaluable (-:

image 1 : Ragdoll, PMMA , 2025
📸 @kunstgiesserei_sg

It’s happening in two weeks! The Mindful Hand opens on January 31st at @casinoluxembourg, curated by @stilb.s and @vincentcrapon.

In a new four-channel installation, there will be words written by @eva_mancuso_ 🖤 , 16mm footage shot by @florianberutti blended with CGI, and compositions by @claralev.y 🎻 & @johnalsobennett

A big thank you already to @stilb.s and @vincentcrapon for the invitation and all the support, as well as to all the friends, creative minds, and technical experts who helped bring this exhibition to life! @skan_designjourney @chloearwy, @lisadellu, @schmitt.nika, @jac_n_family, @fabriceortogni , @lehner.moritz, @jorisvandemoortel,
@kunstgiesserei_sg, @pascalebirchler, @thibaultwalckiers. Your help was invaluable (-:

image 1 : Ragdoll, PMMA , 2025
📸 @kunstgiesserei_sg

It’s happening in two weeks! The Mindful Hand opens on January 31st at @casinoluxembourg, curated by @stilb.s and @vincentcrapon.

In a new four-channel installation, there will be words written by @eva_mancuso_ 🖤 , 16mm footage shot by @florianberutti blended with CGI, and compositions by @claralev.y 🎻 & @johnalsobennett

A big thank you already to @stilb.s and @vincentcrapon for the invitation and all the support, as well as to all the friends, creative minds, and technical experts who helped bring this exhibition to life! @skan_designjourney @chloearwy, @lisadellu, @schmitt.nika, @jac_n_family, @fabriceortogni , @lehner.moritz, @jorisvandemoortel,
@kunstgiesserei_sg, @pascalebirchler, @thibaultwalckiers. Your help was invaluable (-:

image 1 : Ragdoll, PMMA , 2025
📸 @kunstgiesserei_sg

Last days to see Path Dependency @artopia__gallery in Milan !

A big thank you to @artopia__gallery for the invitation and to those who helped along the way @arechi.invernizzi @jac_n_family @cecigeta @fabriceortogni @juliecalbert . Special thanks to the amazing collaborators on WHGW - James Vaughan @tertiarygirl , John Also Bennett @johnalsobennett, Dimitri Zaunders @base.plus.fog and Juliet Darling.

Last days to see Path Dependency @artopia__gallery in Milan !

A big thank you to @artopia__gallery for the invitation and to those who helped along the way @arechi.invernizzi @jac_n_family @cecigeta @fabriceortogni @juliecalbert . Special thanks to the amazing collaborators on WHGW - James Vaughan @tertiarygirl , John Also Bennett @johnalsobennett, Dimitri Zaunders @base.plus.fog and Juliet Darling.

Last days to see Path Dependency @artopia__gallery in Milan !

A big thank you to @artopia__gallery for the invitation and to those who helped along the way @arechi.invernizzi @jac_n_family @cecigeta @fabriceortogni @juliecalbert . Special thanks to the amazing collaborators on WHGW - James Vaughan @tertiarygirl , John Also Bennett @johnalsobennett, Dimitri Zaunders @base.plus.fog and Juliet Darling.

Last days to see Path Dependency @artopia__gallery in Milan !

A big thank you to @artopia__gallery for the invitation and to those who helped along the way @arechi.invernizzi @jac_n_family @cecigeta @fabriceortogni @juliecalbert . Special thanks to the amazing collaborators on WHGW - James Vaughan @tertiarygirl , John Also Bennett @johnalsobennett, Dimitri Zaunders @base.plus.fog and Juliet Darling.

Last days to see Path Dependency @artopia__gallery in Milan !

A big thank you to @artopia__gallery for the invitation and to those who helped along the way @arechi.invernizzi @jac_n_family @cecigeta @fabriceortogni @juliecalbert . Special thanks to the amazing collaborators on WHGW - James Vaughan @tertiarygirl , John Also Bennett @johnalsobennett, Dimitri Zaunders @base.plus.fog and Juliet Darling.

Last days to see Path Dependency @artopia__gallery in Milan !

A big thank you to @artopia__gallery for the invitation and to those who helped along the way @arechi.invernizzi @jac_n_family @cecigeta @fabriceortogni @juliecalbert . Special thanks to the amazing collaborators on WHGW - James Vaughan @tertiarygirl , John Also Bennett @johnalsobennett, Dimitri Zaunders @base.plus.fog and Juliet Darling.

Last days to see Path Dependency @artopia__gallery in Milan !

A big thank you to @artopia__gallery for the invitation and to those who helped along the way @arechi.invernizzi @jac_n_family @cecigeta @fabriceortogni @juliecalbert . Special thanks to the amazing collaborators on WHGW - James Vaughan @tertiarygirl , John Also Bennett @johnalsobennett, Dimitri Zaunders @base.plus.fog and Juliet Darling.

Last days to see Path Dependency @artopia__gallery in Milan !

A big thank you to @artopia__gallery for the invitation and to those who helped along the way @arechi.invernizzi @jac_n_family @cecigeta @fabriceortogni @juliecalbert . Special thanks to the amazing collaborators on WHGW - James Vaughan @tertiarygirl , John Also Bennett @johnalsobennett, Dimitri Zaunders @base.plus.fog and Juliet Darling.

Last year we made What Hath God Wrought?, a visual essay set in the Northern Territory of Australia and Singapore's cityscape, blending together CGI and 16mm footage to unravel the submerged history of the undersea network. It was written, directed and edited together with James Vaughan @tertiarygirl , with the eyes of cinematographer Dimitri Zaunders @base.plus.fog , brought to life with a soundtrack composed and performed by John Also Bennett @johnalsobennett , and a voice narrated by the artist and filmmaker Juliet Darling - recorded by @paulalkhallaf ’s studio.

WHGW was commissioned by @kanal.centrepompidou as part of the group exhibition Connecting, curated by Bas Hendrikx and Barbara Cueto. A site intervention and companion work of that piece was also present in the exhibition at K1 @kanal.centrepompidou . Big thank you to @hasbendrikx and @barbaracueto for the invitation and all the trust .

Both pieces will be part of my solo show 'Path Dependency' at @artopia__gallery in Milan, opening this May 9th, together with another solo show of @giacomosegantin and a text by curator Giovanni Paolin . Hope to see you there if you can make it!

Last year we made What Hath God Wrought?, a visual essay set in the Northern Territory of Australia and Singapore's cityscape, blending together CGI and 16mm footage to unravel the submerged history of the undersea network. It was written, directed and edited together with James Vaughan @tertiarygirl , with the eyes of cinematographer Dimitri Zaunders @base.plus.fog , brought to life with a soundtrack composed and performed by John Also Bennett @johnalsobennett , and a voice narrated by the artist and filmmaker Juliet Darling - recorded by @paulalkhallaf ’s studio.

WHGW was commissioned by @kanal.centrepompidou as part of the group exhibition Connecting, curated by Bas Hendrikx and Barbara Cueto. A site intervention and companion work of that piece was also present in the exhibition at K1 @kanal.centrepompidou . Big thank you to @hasbendrikx and @barbaracueto for the invitation and all the trust .

Both pieces will be part of my solo show 'Path Dependency' at @artopia__gallery in Milan, opening this May 9th, together with another solo show of @giacomosegantin and a text by curator Giovanni Paolin . Hope to see you there if you can make it!

Last year we made What Hath God Wrought?, a visual essay set in the Northern Territory of Australia and Singapore's cityscape, blending together CGI and 16mm footage to unravel the submerged history of the undersea network. It was written, directed and edited together with James Vaughan @tertiarygirl , with the eyes of cinematographer Dimitri Zaunders @base.plus.fog , brought to life with a soundtrack composed and performed by John Also Bennett @johnalsobennett , and a voice narrated by the artist and filmmaker Juliet Darling - recorded by @paulalkhallaf ’s studio.

WHGW was commissioned by @kanal.centrepompidou as part of the group exhibition Connecting, curated by Bas Hendrikx and Barbara Cueto. A site intervention and companion work of that piece was also present in the exhibition at K1 @kanal.centrepompidou . Big thank you to @hasbendrikx and @barbaracueto for the invitation and all the trust .

Both pieces will be part of my solo show 'Path Dependency' at @artopia__gallery in Milan, opening this May 9th, together with another solo show of @giacomosegantin and a text by curator Giovanni Paolin . Hope to see you there if you can make it!

Last year we made What Hath God Wrought?, a visual essay set in the Northern Territory of Australia and Singapore's cityscape, blending together CGI and 16mm footage to unravel the submerged history of the undersea network. It was written, directed and edited together with James Vaughan @tertiarygirl , with the eyes of cinematographer Dimitri Zaunders @base.plus.fog , brought to life with a soundtrack composed and performed by John Also Bennett @johnalsobennett , and a voice narrated by the artist and filmmaker Juliet Darling - recorded by @paulalkhallaf ’s studio.

WHGW was commissioned by @kanal.centrepompidou as part of the group exhibition Connecting, curated by Bas Hendrikx and Barbara Cueto. A site intervention and companion work of that piece was also present in the exhibition at K1 @kanal.centrepompidou . Big thank you to @hasbendrikx and @barbaracueto for the invitation and all the trust .

Both pieces will be part of my solo show 'Path Dependency' at @artopia__gallery in Milan, opening this May 9th, together with another solo show of @giacomosegantin and a text by curator Giovanni Paolin . Hope to see you there if you can make it!

‘I see glitches as a form of resistance zone between two worlds, extracting elements from the typical fiction assigned to them’

Artist Eva L’Hoest is in K1 Kanal Centre Pompidou's group show 'Connecting', running until 06.12 (& free for DC members!). Read her interview on our website now 💗

Text by @_annzzi & photos by @raquelechevarria_ ✨

Photos developed by @morifilmlab 🫶

‘I see glitches as a form of resistance zone between two worlds, extracting elements from the typical fiction assigned to them’

Artist Eva L’Hoest is in K1 Kanal Centre Pompidou's group show 'Connecting', running until 06.12 (& free for DC members!). Read her interview on our website now 💗

Text by @_annzzi & photos by @raquelechevarria_ ✨

Photos developed by @morifilmlab 🫶

‘I see glitches as a form of resistance zone between two worlds, extracting elements from the typical fiction assigned to them’

Artist Eva L’Hoest is in K1 Kanal Centre Pompidou's group show 'Connecting', running until 06.12 (& free for DC members!). Read her interview on our website now 💗

Text by @_annzzi & photos by @raquelechevarria_ ✨

Photos developed by @morifilmlab 🫶

‘I see glitches as a form of resistance zone between two worlds, extracting elements from the typical fiction assigned to them’

Artist Eva L’Hoest is in K1 Kanal Centre Pompidou's group show 'Connecting', running until 06.12 (& free for DC members!). Read her interview on our website now 💗

Text by @_annzzi & photos by @raquelechevarria_ ✨

Photos developed by @morifilmlab 🫶