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Antennae by @valeriemannaerts
@m.leuven

For Valérie Mannaerts’ exhibition Antennae at @m.leuven, TheWorkshop constructed a modular circular steel support structure with a diameter of 7 metres, standing on five legs, to carry an installation of woven curtains.

In the same minimal language, we also built two accompanying podia in lacquered MDF on metal support structures.

Antennae is still on view at @m.leuven until 30 August 2026.

Photo 1–3: Exhibition view and vernissage, Antennae, Valérie Mannaerts, M Leuven, 2026, © the artist, photo: @eliasderboven for M Leuven.
Photo 4–6: Exhibition view, Antennae, Valérie Mannaerts, M Leuven, 2026, © the artist, photo: @filipdujardin for M Leuven.

#thwrkshp #TheWorkshop #ValerieMannaerts #Antennae #MLeuven #ContemporaryArt #ArtProduction #ArtInstallation #ExhibitionDesign #SteelStructure #ModularStructure #MDF #LacqueredMDF #BehindTheScenes #BelgianArt #Leuven #MuseumLeuven#BelgianArt #Leuven #MuseumLeuven

Antennae by @valeriemannaerts
@m.leuven

For Valérie Mannaerts’ exhibition Antennae at @m.leuven, TheWorkshop constructed a modular circular steel support structure with a diameter of 7 metres, standing on five legs, to carry an installation of woven curtains.

In the same minimal language, we also built two accompanying podia in lacquered MDF on metal support structures.

Antennae is still on view at @m.leuven until 30 August 2026.

Photo 1–3: Exhibition view and vernissage, Antennae, Valérie Mannaerts, M Leuven, 2026, © the artist, photo: @eliasderboven for M Leuven.
Photo 4–6: Exhibition view, Antennae, Valérie Mannaerts, M Leuven, 2026, © the artist, photo: @filipdujardin for M Leuven.

#thwrkshp #TheWorkshop #ValerieMannaerts #Antennae #MLeuven #ContemporaryArt #ArtProduction #ArtInstallation #ExhibitionDesign #SteelStructure #ModularStructure #MDF #LacqueredMDF #BehindTheScenes #BelgianArt #Leuven #MuseumLeuven#BelgianArt #Leuven #MuseumLeuven

Antennae by @valeriemannaerts
@m.leuven

For Valérie Mannaerts’ exhibition Antennae at @m.leuven, TheWorkshop constructed a modular circular steel support structure with a diameter of 7 metres, standing on five legs, to carry an installation of woven curtains.

In the same minimal language, we also built two accompanying podia in lacquered MDF on metal support structures.

Antennae is still on view at @m.leuven until 30 August 2026.

Photo 1–3: Exhibition view and vernissage, Antennae, Valérie Mannaerts, M Leuven, 2026, © the artist, photo: @eliasderboven for M Leuven.
Photo 4–6: Exhibition view, Antennae, Valérie Mannaerts, M Leuven, 2026, © the artist, photo: @filipdujardin for M Leuven.

#thwrkshp #TheWorkshop #ValerieMannaerts #Antennae #MLeuven #ContemporaryArt #ArtProduction #ArtInstallation #ExhibitionDesign #SteelStructure #ModularStructure #MDF #LacqueredMDF #BehindTheScenes #BelgianArt #Leuven #MuseumLeuven#BelgianArt #Leuven #MuseumLeuven

Antennae by @valeriemannaerts
@m.leuven

For Valérie Mannaerts’ exhibition Antennae at @m.leuven, TheWorkshop constructed a modular circular steel support structure with a diameter of 7 metres, standing on five legs, to carry an installation of woven curtains.

In the same minimal language, we also built two accompanying podia in lacquered MDF on metal support structures.

Antennae is still on view at @m.leuven until 30 August 2026.

Photo 1–3: Exhibition view and vernissage, Antennae, Valérie Mannaerts, M Leuven, 2026, © the artist, photo: @eliasderboven for M Leuven.
Photo 4–6: Exhibition view, Antennae, Valérie Mannaerts, M Leuven, 2026, © the artist, photo: @filipdujardin for M Leuven.

#thwrkshp #TheWorkshop #ValerieMannaerts #Antennae #MLeuven #ContemporaryArt #ArtProduction #ArtInstallation #ExhibitionDesign #SteelStructure #ModularStructure #MDF #LacqueredMDF #BehindTheScenes #BelgianArt #Leuven #MuseumLeuven#BelgianArt #Leuven #MuseumLeuven

Antennae by @valeriemannaerts
@m.leuven

For Valérie Mannaerts’ exhibition Antennae at @m.leuven, TheWorkshop constructed a modular circular steel support structure with a diameter of 7 metres, standing on five legs, to carry an installation of woven curtains.

In the same minimal language, we also built two accompanying podia in lacquered MDF on metal support structures.

Antennae is still on view at @m.leuven until 30 August 2026.

Photo 1–3: Exhibition view and vernissage, Antennae, Valérie Mannaerts, M Leuven, 2026, © the artist, photo: @eliasderboven for M Leuven.
Photo 4–6: Exhibition view, Antennae, Valérie Mannaerts, M Leuven, 2026, © the artist, photo: @filipdujardin for M Leuven.

#thwrkshp #TheWorkshop #ValerieMannaerts #Antennae #MLeuven #ContemporaryArt #ArtProduction #ArtInstallation #ExhibitionDesign #SteelStructure #ModularStructure #MDF #LacqueredMDF #BehindTheScenes #BelgianArt #Leuven #MuseumLeuven#BelgianArt #Leuven #MuseumLeuven

Antennae by @valeriemannaerts
@m.leuven

For Valérie Mannaerts’ exhibition Antennae at @m.leuven, TheWorkshop constructed a modular circular steel support structure with a diameter of 7 metres, standing on five legs, to carry an installation of woven curtains.

In the same minimal language, we also built two accompanying podia in lacquered MDF on metal support structures.

Antennae is still on view at @m.leuven until 30 August 2026.

Photo 1–3: Exhibition view and vernissage, Antennae, Valérie Mannaerts, M Leuven, 2026, © the artist, photo: @eliasderboven for M Leuven.
Photo 4–6: Exhibition view, Antennae, Valérie Mannaerts, M Leuven, 2026, © the artist, photo: @filipdujardin for M Leuven.

#thwrkshp #TheWorkshop #ValerieMannaerts #Antennae #MLeuven #ContemporaryArt #ArtProduction #ArtInstallation #ExhibitionDesign #SteelStructure #ModularStructure #MDF #LacqueredMDF #BehindTheScenes #BelgianArt #Leuven #MuseumLeuven#BelgianArt #Leuven #MuseumLeuven

⚡️Join us this Friday for the summer opening of three new exhibitions at NW. Fifty years after the first punk ruptures, the exhibitions explore sound as a social and political infrastructure. Across installations, moving image, sound and archival material, the exhibitions follow the afterlives of underground cultures and self-organised networks. During Kunstoevers, the programme continues with live bands, Young NW workshops and Dennis Tyfus’s No Choice Restaurant.

📣 OPENING 
>SONGS OF DISSENT
> DENNIS TYFUS: PATRONISING EXERCISES IN REASONING 
>SMURFPUNX AGAINST MILITARISM

Friday 22.05.2026
18:00: Doors open, Welcome!
18:30-21:00: No Choice Restaurant
19:30: Introductions

NL
⚡️Kom aanstaande vrijdag naar de zomeropening van drie nieuwe tentoonstellingen bij NW. Na vijftig jaar punk verkennen de tentoonstellingen geluid als sociale en politieke infrastructuur. Aan de hand van installaties, bewegend beeld, geluid en archiefmateriaal volgen de tentoonstellingen het voortbestaan van undergroundculturen en zelfgeorganiseerde netwerken. Tijdens Kunstoevers wordt het programma voortgezet met livebands, Young NW-workshops en Dennis Tyfus’ No Choice Restaurant.

Co-productions with Kunstenfestivaldesarts, Busan Biennale, Biennale Gherdëina, Museum of Contemporary Art Roskilde, and Moderna Museet Malmö. Supported by the Institut français de Belgique (Embassy of France in Belgium), Lithuanian Culture Institute and the National Lottery.

✨ Tien dagen lang stond het werk van 𝟏𝟎 𝐛𝐞𝐞𝐥𝐝𝐞𝐧𝐝𝐞 𝐤𝐮𝐧𝐬𝐭𝐞𝐧𝐚𝐚𝐫𝐬 te pronken op een unieke locatie tijdens de 𝐎𝐮𝐭𝐬𝐢𝐝𝐞 𝐈𝐧 𝐞𝐱𝐩𝐨. Van vernissage tot finissage; 't was 𝒁𝑨-𝑳𝑰𝑮!

Met dank aan onze partners: Kunsthal Mechelen, Cultuurcentrum Mechelen, RITCS en Bilt (een project van TheWorkshop).

Merci aan iedereen die de expo mee tot leven heeft gebracht. 𝑂𝑝 𝑛𝑎𝑎𝑟 𝑑𝑒 𝑣𝑜𝑙𝑔𝑒𝑛𝑑𝑒! 💖

@_entomo
@la_soldadera
@lafrikh
@trentebisous
@georgedhauw
@jos_pens
@mariafoulquie
@niek_vanoosterweyck
@_valeria_secchi

On view until 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In two rooms, a shifting universe unfolds where characters glide effortlessly across time, roles and bodies.

The first room, 'My Own Private Bedroom', focuses on the intensely personal, imaginary world of the teenage bedroom: a space where identity, desire, and media culture intersect. At its center stands the character Crywanker. Moving between shame and desire, fantasy and experimentation, Crywanker embodies a queer sensibility suspended between autobiography and fiction: “a melancholic teen angel, forever doomed.”

The second room, 'Maturation Station', shifts from the personal to the realm of labor, concluding a multi-year research trajectory. It began as a research project paired with a performative lecture, evolved into a short film, and here manifests as a spatial installation. The fictional environment of a shrimp farm—a place both absurd and meticulously ordered—becomes a lens to examine labor, care, and the socially mediated understandings of maturation.

Open Sat—Sun from 13:00 to 18:00.
And Thu—Fri on appointment (mail to info@nw-aalst.be)

I’M FINE, MATURING
Melissa Mabesoone
📆28.2—26.4.2026

NL
Nog tot 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In twee kamers ontvouwt zich een veranderlijk universum waarin personages moeiteloos door tijdlagen, rollen en lichamen muteren.

'My Own Private Bedroom', richt zich op de intens persoonlijke, imaginaire wereld van de tienerkamer: een plek waar identiteit, verlangen en mediacultuur samenkomen.

'Maturation Station', verschuift van een persoonlijke sfeer naar een wereld van arbeid en sluit een meerjarig onderzoeksproject af. Het onderzoek gekoppeld aan een performatieve lezing groeide uit tot een kortfilm en krijgt hier zijn vorm als ruimtelijke installatie.

Open op zat—zon van 13.00—18.00 uur.
En don—vrij op afspraak. Boek je tijdstip via info@nw-aalst.be.

📸 @lola.pertsowsky

@natasja.mabesoone @tom_berge @truivanlanduyt @lisavlaemminck @barbaradebeuckelaere @anaischabeur @sara_thewissen @goldscammer @chloe_opdebeeck @innekevw @___fariiiiiiiida @am_j_v @mattijsdriesen @thwrkshp @kringwinkelstroom 🤍Louise Delanghe

On view until 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In two rooms, a shifting universe unfolds where characters glide effortlessly across time, roles and bodies.

The first room, 'My Own Private Bedroom', focuses on the intensely personal, imaginary world of the teenage bedroom: a space where identity, desire, and media culture intersect. At its center stands the character Crywanker. Moving between shame and desire, fantasy and experimentation, Crywanker embodies a queer sensibility suspended between autobiography and fiction: “a melancholic teen angel, forever doomed.”

The second room, 'Maturation Station', shifts from the personal to the realm of labor, concluding a multi-year research trajectory. It began as a research project paired with a performative lecture, evolved into a short film, and here manifests as a spatial installation. The fictional environment of a shrimp farm—a place both absurd and meticulously ordered—becomes a lens to examine labor, care, and the socially mediated understandings of maturation.

Open Sat—Sun from 13:00 to 18:00.
And Thu—Fri on appointment (mail to info@nw-aalst.be)

I’M FINE, MATURING
Melissa Mabesoone
📆28.2—26.4.2026

NL
Nog tot 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In twee kamers ontvouwt zich een veranderlijk universum waarin personages moeiteloos door tijdlagen, rollen en lichamen muteren.

'My Own Private Bedroom', richt zich op de intens persoonlijke, imaginaire wereld van de tienerkamer: een plek waar identiteit, verlangen en mediacultuur samenkomen.

'Maturation Station', verschuift van een persoonlijke sfeer naar een wereld van arbeid en sluit een meerjarig onderzoeksproject af. Het onderzoek gekoppeld aan een performatieve lezing groeide uit tot een kortfilm en krijgt hier zijn vorm als ruimtelijke installatie.

Open op zat—zon van 13.00—18.00 uur.
En don—vrij op afspraak. Boek je tijdstip via info@nw-aalst.be.

📸 @lola.pertsowsky

@natasja.mabesoone @tom_berge @truivanlanduyt @lisavlaemminck @barbaradebeuckelaere @anaischabeur @sara_thewissen @goldscammer @chloe_opdebeeck @innekevw @___fariiiiiiiida @am_j_v @mattijsdriesen @thwrkshp @kringwinkelstroom 🤍Louise Delanghe

On view until 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In two rooms, a shifting universe unfolds where characters glide effortlessly across time, roles and bodies.

The first room, 'My Own Private Bedroom', focuses on the intensely personal, imaginary world of the teenage bedroom: a space where identity, desire, and media culture intersect. At its center stands the character Crywanker. Moving between shame and desire, fantasy and experimentation, Crywanker embodies a queer sensibility suspended between autobiography and fiction: “a melancholic teen angel, forever doomed.”

The second room, 'Maturation Station', shifts from the personal to the realm of labor, concluding a multi-year research trajectory. It began as a research project paired with a performative lecture, evolved into a short film, and here manifests as a spatial installation. The fictional environment of a shrimp farm—a place both absurd and meticulously ordered—becomes a lens to examine labor, care, and the socially mediated understandings of maturation.

Open Sat—Sun from 13:00 to 18:00.
And Thu—Fri on appointment (mail to info@nw-aalst.be)

I’M FINE, MATURING
Melissa Mabesoone
📆28.2—26.4.2026

NL
Nog tot 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In twee kamers ontvouwt zich een veranderlijk universum waarin personages moeiteloos door tijdlagen, rollen en lichamen muteren.

'My Own Private Bedroom', richt zich op de intens persoonlijke, imaginaire wereld van de tienerkamer: een plek waar identiteit, verlangen en mediacultuur samenkomen.

'Maturation Station', verschuift van een persoonlijke sfeer naar een wereld van arbeid en sluit een meerjarig onderzoeksproject af. Het onderzoek gekoppeld aan een performatieve lezing groeide uit tot een kortfilm en krijgt hier zijn vorm als ruimtelijke installatie.

Open op zat—zon van 13.00—18.00 uur.
En don—vrij op afspraak. Boek je tijdstip via info@nw-aalst.be.

📸 @lola.pertsowsky

@natasja.mabesoone @tom_berge @truivanlanduyt @lisavlaemminck @barbaradebeuckelaere @anaischabeur @sara_thewissen @goldscammer @chloe_opdebeeck @innekevw @___fariiiiiiiida @am_j_v @mattijsdriesen @thwrkshp @kringwinkelstroom 🤍Louise Delanghe

On view until 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In two rooms, a shifting universe unfolds where characters glide effortlessly across time, roles and bodies.

The first room, 'My Own Private Bedroom', focuses on the intensely personal, imaginary world of the teenage bedroom: a space where identity, desire, and media culture intersect. At its center stands the character Crywanker. Moving between shame and desire, fantasy and experimentation, Crywanker embodies a queer sensibility suspended between autobiography and fiction: “a melancholic teen angel, forever doomed.”

The second room, 'Maturation Station', shifts from the personal to the realm of labor, concluding a multi-year research trajectory. It began as a research project paired with a performative lecture, evolved into a short film, and here manifests as a spatial installation. The fictional environment of a shrimp farm—a place both absurd and meticulously ordered—becomes a lens to examine labor, care, and the socially mediated understandings of maturation.

Open Sat—Sun from 13:00 to 18:00.
And Thu—Fri on appointment (mail to info@nw-aalst.be)

I’M FINE, MATURING
Melissa Mabesoone
📆28.2—26.4.2026

NL
Nog tot 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In twee kamers ontvouwt zich een veranderlijk universum waarin personages moeiteloos door tijdlagen, rollen en lichamen muteren.

'My Own Private Bedroom', richt zich op de intens persoonlijke, imaginaire wereld van de tienerkamer: een plek waar identiteit, verlangen en mediacultuur samenkomen.

'Maturation Station', verschuift van een persoonlijke sfeer naar een wereld van arbeid en sluit een meerjarig onderzoeksproject af. Het onderzoek gekoppeld aan een performatieve lezing groeide uit tot een kortfilm en krijgt hier zijn vorm als ruimtelijke installatie.

Open op zat—zon van 13.00—18.00 uur.
En don—vrij op afspraak. Boek je tijdstip via info@nw-aalst.be.

📸 @lola.pertsowsky

@natasja.mabesoone @tom_berge @truivanlanduyt @lisavlaemminck @barbaradebeuckelaere @anaischabeur @sara_thewissen @goldscammer @chloe_opdebeeck @innekevw @___fariiiiiiiida @am_j_v @mattijsdriesen @thwrkshp @kringwinkelstroom 🤍Louise Delanghe

On view until 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In two rooms, a shifting universe unfolds where characters glide effortlessly across time, roles and bodies.

The first room, 'My Own Private Bedroom', focuses on the intensely personal, imaginary world of the teenage bedroom: a space where identity, desire, and media culture intersect. At its center stands the character Crywanker. Moving between shame and desire, fantasy and experimentation, Crywanker embodies a queer sensibility suspended between autobiography and fiction: “a melancholic teen angel, forever doomed.”

The second room, 'Maturation Station', shifts from the personal to the realm of labor, concluding a multi-year research trajectory. It began as a research project paired with a performative lecture, evolved into a short film, and here manifests as a spatial installation. The fictional environment of a shrimp farm—a place both absurd and meticulously ordered—becomes a lens to examine labor, care, and the socially mediated understandings of maturation.

Open Sat—Sun from 13:00 to 18:00.
And Thu—Fri on appointment (mail to info@nw-aalst.be)

I’M FINE, MATURING
Melissa Mabesoone
📆28.2—26.4.2026

NL
Nog tot 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In twee kamers ontvouwt zich een veranderlijk universum waarin personages moeiteloos door tijdlagen, rollen en lichamen muteren.

'My Own Private Bedroom', richt zich op de intens persoonlijke, imaginaire wereld van de tienerkamer: een plek waar identiteit, verlangen en mediacultuur samenkomen.

'Maturation Station', verschuift van een persoonlijke sfeer naar een wereld van arbeid en sluit een meerjarig onderzoeksproject af. Het onderzoek gekoppeld aan een performatieve lezing groeide uit tot een kortfilm en krijgt hier zijn vorm als ruimtelijke installatie.

Open op zat—zon van 13.00—18.00 uur.
En don—vrij op afspraak. Boek je tijdstip via info@nw-aalst.be.

📸 @lola.pertsowsky

@natasja.mabesoone @tom_berge @truivanlanduyt @lisavlaemminck @barbaradebeuckelaere @anaischabeur @sara_thewissen @goldscammer @chloe_opdebeeck @innekevw @___fariiiiiiiida @am_j_v @mattijsdriesen @thwrkshp @kringwinkelstroom 🤍Louise Delanghe

On view until 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In two rooms, a shifting universe unfolds where characters glide effortlessly across time, roles and bodies.

The first room, 'My Own Private Bedroom', focuses on the intensely personal, imaginary world of the teenage bedroom: a space where identity, desire, and media culture intersect. At its center stands the character Crywanker. Moving between shame and desire, fantasy and experimentation, Crywanker embodies a queer sensibility suspended between autobiography and fiction: “a melancholic teen angel, forever doomed.”

The second room, 'Maturation Station', shifts from the personal to the realm of labor, concluding a multi-year research trajectory. It began as a research project paired with a performative lecture, evolved into a short film, and here manifests as a spatial installation. The fictional environment of a shrimp farm—a place both absurd and meticulously ordered—becomes a lens to examine labor, care, and the socially mediated understandings of maturation.

Open Sat—Sun from 13:00 to 18:00.
And Thu—Fri on appointment (mail to info@nw-aalst.be)

I’M FINE, MATURING
Melissa Mabesoone
📆28.2—26.4.2026

NL
Nog tot 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In twee kamers ontvouwt zich een veranderlijk universum waarin personages moeiteloos door tijdlagen, rollen en lichamen muteren.

'My Own Private Bedroom', richt zich op de intens persoonlijke, imaginaire wereld van de tienerkamer: een plek waar identiteit, verlangen en mediacultuur samenkomen.

'Maturation Station', verschuift van een persoonlijke sfeer naar een wereld van arbeid en sluit een meerjarig onderzoeksproject af. Het onderzoek gekoppeld aan een performatieve lezing groeide uit tot een kortfilm en krijgt hier zijn vorm als ruimtelijke installatie.

Open op zat—zon van 13.00—18.00 uur.
En don—vrij op afspraak. Boek je tijdstip via info@nw-aalst.be.

📸 @lola.pertsowsky

@natasja.mabesoone @tom_berge @truivanlanduyt @lisavlaemminck @barbaradebeuckelaere @anaischabeur @sara_thewissen @goldscammer @chloe_opdebeeck @innekevw @___fariiiiiiiida @am_j_v @mattijsdriesen @thwrkshp @kringwinkelstroom 🤍Louise Delanghe

On view until 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In two rooms, a shifting universe unfolds where characters glide effortlessly across time, roles and bodies.

The first room, 'My Own Private Bedroom', focuses on the intensely personal, imaginary world of the teenage bedroom: a space where identity, desire, and media culture intersect. At its center stands the character Crywanker. Moving between shame and desire, fantasy and experimentation, Crywanker embodies a queer sensibility suspended between autobiography and fiction: “a melancholic teen angel, forever doomed.”

The second room, 'Maturation Station', shifts from the personal to the realm of labor, concluding a multi-year research trajectory. It began as a research project paired with a performative lecture, evolved into a short film, and here manifests as a spatial installation. The fictional environment of a shrimp farm—a place both absurd and meticulously ordered—becomes a lens to examine labor, care, and the socially mediated understandings of maturation.

Open Sat—Sun from 13:00 to 18:00.
And Thu—Fri on appointment (mail to info@nw-aalst.be)

I’M FINE, MATURING
Melissa Mabesoone
📆28.2—26.4.2026

NL
Nog tot 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In twee kamers ontvouwt zich een veranderlijk universum waarin personages moeiteloos door tijdlagen, rollen en lichamen muteren.

'My Own Private Bedroom', richt zich op de intens persoonlijke, imaginaire wereld van de tienerkamer: een plek waar identiteit, verlangen en mediacultuur samenkomen.

'Maturation Station', verschuift van een persoonlijke sfeer naar een wereld van arbeid en sluit een meerjarig onderzoeksproject af. Het onderzoek gekoppeld aan een performatieve lezing groeide uit tot een kortfilm en krijgt hier zijn vorm als ruimtelijke installatie.

Open op zat—zon van 13.00—18.00 uur.
En don—vrij op afspraak. Boek je tijdstip via info@nw-aalst.be.

📸 @lola.pertsowsky

@natasja.mabesoone @tom_berge @truivanlanduyt @lisavlaemminck @barbaradebeuckelaere @anaischabeur @sara_thewissen @goldscammer @chloe_opdebeeck @innekevw @___fariiiiiiiida @am_j_v @mattijsdriesen @thwrkshp @kringwinkelstroom 🤍Louise Delanghe

On view until 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In two rooms, a shifting universe unfolds where characters glide effortlessly across time, roles and bodies.

The first room, 'My Own Private Bedroom', focuses on the intensely personal, imaginary world of the teenage bedroom: a space where identity, desire, and media culture intersect. At its center stands the character Crywanker. Moving between shame and desire, fantasy and experimentation, Crywanker embodies a queer sensibility suspended between autobiography and fiction: “a melancholic teen angel, forever doomed.”

The second room, 'Maturation Station', shifts from the personal to the realm of labor, concluding a multi-year research trajectory. It began as a research project paired with a performative lecture, evolved into a short film, and here manifests as a spatial installation. The fictional environment of a shrimp farm—a place both absurd and meticulously ordered—becomes a lens to examine labor, care, and the socially mediated understandings of maturation.

Open Sat—Sun from 13:00 to 18:00.
And Thu—Fri on appointment (mail to info@nw-aalst.be)

I’M FINE, MATURING
Melissa Mabesoone
📆28.2—26.4.2026

NL
Nog tot 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In twee kamers ontvouwt zich een veranderlijk universum waarin personages moeiteloos door tijdlagen, rollen en lichamen muteren.

'My Own Private Bedroom', richt zich op de intens persoonlijke, imaginaire wereld van de tienerkamer: een plek waar identiteit, verlangen en mediacultuur samenkomen.

'Maturation Station', verschuift van een persoonlijke sfeer naar een wereld van arbeid en sluit een meerjarig onderzoeksproject af. Het onderzoek gekoppeld aan een performatieve lezing groeide uit tot een kortfilm en krijgt hier zijn vorm als ruimtelijke installatie.

Open op zat—zon van 13.00—18.00 uur.
En don—vrij op afspraak. Boek je tijdstip via info@nw-aalst.be.

📸 @lola.pertsowsky

@natasja.mabesoone @tom_berge @truivanlanduyt @lisavlaemminck @barbaradebeuckelaere @anaischabeur @sara_thewissen @goldscammer @chloe_opdebeeck @innekevw @___fariiiiiiiida @am_j_v @mattijsdriesen @thwrkshp @kringwinkelstroom 🤍Louise Delanghe

On view until 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In two rooms, a shifting universe unfolds where characters glide effortlessly across time, roles and bodies.

The first room, 'My Own Private Bedroom', focuses on the intensely personal, imaginary world of the teenage bedroom: a space where identity, desire, and media culture intersect. At its center stands the character Crywanker. Moving between shame and desire, fantasy and experimentation, Crywanker embodies a queer sensibility suspended between autobiography and fiction: “a melancholic teen angel, forever doomed.”

The second room, 'Maturation Station', shifts from the personal to the realm of labor, concluding a multi-year research trajectory. It began as a research project paired with a performative lecture, evolved into a short film, and here manifests as a spatial installation. The fictional environment of a shrimp farm—a place both absurd and meticulously ordered—becomes a lens to examine labor, care, and the socially mediated understandings of maturation.

Open Sat—Sun from 13:00 to 18:00.
And Thu—Fri on appointment (mail to info@nw-aalst.be)

I’M FINE, MATURING
Melissa Mabesoone
📆28.2—26.4.2026

NL
Nog tot 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In twee kamers ontvouwt zich een veranderlijk universum waarin personages moeiteloos door tijdlagen, rollen en lichamen muteren.

'My Own Private Bedroom', richt zich op de intens persoonlijke, imaginaire wereld van de tienerkamer: een plek waar identiteit, verlangen en mediacultuur samenkomen.

'Maturation Station', verschuift van een persoonlijke sfeer naar een wereld van arbeid en sluit een meerjarig onderzoeksproject af. Het onderzoek gekoppeld aan een performatieve lezing groeide uit tot een kortfilm en krijgt hier zijn vorm als ruimtelijke installatie.

Open op zat—zon van 13.00—18.00 uur.
En don—vrij op afspraak. Boek je tijdstip via info@nw-aalst.be.

📸 @lola.pertsowsky

@natasja.mabesoone @tom_berge @truivanlanduyt @lisavlaemminck @barbaradebeuckelaere @anaischabeur @sara_thewissen @goldscammer @chloe_opdebeeck @innekevw @___fariiiiiiiida @am_j_v @mattijsdriesen @thwrkshp @kringwinkelstroom 🤍Louise Delanghe

On view until 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In two rooms, a shifting universe unfolds where characters glide effortlessly across time, roles and bodies.

The first room, 'My Own Private Bedroom', focuses on the intensely personal, imaginary world of the teenage bedroom: a space where identity, desire, and media culture intersect. At its center stands the character Crywanker. Moving between shame and desire, fantasy and experimentation, Crywanker embodies a queer sensibility suspended between autobiography and fiction: “a melancholic teen angel, forever doomed.”

The second room, 'Maturation Station', shifts from the personal to the realm of labor, concluding a multi-year research trajectory. It began as a research project paired with a performative lecture, evolved into a short film, and here manifests as a spatial installation. The fictional environment of a shrimp farm—a place both absurd and meticulously ordered—becomes a lens to examine labor, care, and the socially mediated understandings of maturation.

Open Sat—Sun from 13:00 to 18:00.
And Thu—Fri on appointment (mail to info@nw-aalst.be)

I’M FINE, MATURING
Melissa Mabesoone
📆28.2—26.4.2026

NL
Nog tot 26 April: Melissa Mabesoone’s I’M FINE, MATURING. In twee kamers ontvouwt zich een veranderlijk universum waarin personages moeiteloos door tijdlagen, rollen en lichamen muteren.

'My Own Private Bedroom', richt zich op de intens persoonlijke, imaginaire wereld van de tienerkamer: een plek waar identiteit, verlangen en mediacultuur samenkomen.

'Maturation Station', verschuift van een persoonlijke sfeer naar een wereld van arbeid en sluit een meerjarig onderzoeksproject af. Het onderzoek gekoppeld aan een performatieve lezing groeide uit tot een kortfilm en krijgt hier zijn vorm als ruimtelijke installatie.

Open op zat—zon van 13.00—18.00 uur.
En don—vrij op afspraak. Boek je tijdstip via info@nw-aalst.be.

📸 @lola.pertsowsky

@natasja.mabesoone @tom_berge @truivanlanduyt @lisavlaemminck @barbaradebeuckelaere @anaischabeur @sara_thewissen @goldscammer @chloe_opdebeeck @innekevw @___fariiiiiiiida @am_j_v @mattijsdriesen @thwrkshp @kringwinkelstroom 🤍Louise Delanghe

BiLT is a two-year project through which TheWorkshop opens its studio and expertise to a rotating group of artists.

For one week each month, artists affiliated with our partner organisations are invited to book a slot in the studio. This gives them access to the workshop and its machines. They can receive advice from our specialists, meet other artists, and use the studio for anything from a short consultation or feedback session to a full day of technical and artistic support. TheWorkshop accommodates approximately five to six artists per day.

Building on TheWorkshop’s existing infrastructure at Asiat Park in Vilvoorde, BiLT aims to broaden access to production facilities and specialised artistic and technical guidance, while continuing to develop its practice through dialogue, experimentation, and co-creation with artists.

BiLT was developed together with a broad network of partners:

@wiels_brussels @globearoma @wpzimmer @nw_aalst @horstartsandmusic @levelfive.brussels @cascoleuven @cinemaximiliaan @musicaimpulscentrum @m.leuven @radar.mechelen @moussem_nomadic_arts_centre @q_o2werkplaats

The goal of BiLT is to develop, test, and refine a model for shared production infrastructure and specialised artistic and technical guidance for artists in transition. Through this partner network, BiLT explores how access to equipment, expertise, and tailored support can be organised in a more inclusive and sustainable way. In doing so, BiLT supports individual artistic development while also contributing to network building, knowledge sharing, and the long-term embedding of this model within the wider arts ecosystem.

BiLT is supported through a Flemish supra-local funding programme.

BiLT is a two-year project through which TheWorkshop opens its studio and expertise to a rotating group of artists.

For one week each month, artists affiliated with our partner organisations are invited to book a slot in the studio. This gives them access to the workshop and its machines. They can receive advice from our specialists, meet other artists, and use the studio for anything from a short consultation or feedback session to a full day of technical and artistic support. TheWorkshop accommodates approximately five to six artists per day.

Building on TheWorkshop’s existing infrastructure at Asiat Park in Vilvoorde, BiLT aims to broaden access to production facilities and specialised artistic and technical guidance, while continuing to develop its practice through dialogue, experimentation, and co-creation with artists.

BiLT was developed together with a broad network of partners:

@wiels_brussels @globearoma @wpzimmer @nw_aalst @horstartsandmusic @levelfive.brussels @cascoleuven @cinemaximiliaan @musicaimpulscentrum @m.leuven @radar.mechelen @moussem_nomadic_arts_centre @q_o2werkplaats

The goal of BiLT is to develop, test, and refine a model for shared production infrastructure and specialised artistic and technical guidance for artists in transition. Through this partner network, BiLT explores how access to equipment, expertise, and tailored support can be organised in a more inclusive and sustainable way. In doing so, BiLT supports individual artistic development while also contributing to network building, knowledge sharing, and the long-term embedding of this model within the wider arts ecosystem.

BiLT is supported through a Flemish supra-local funding programme.

BiLT is a two-year project through which TheWorkshop opens its studio and expertise to a rotating group of artists.

For one week each month, artists affiliated with our partner organisations are invited to book a slot in the studio. This gives them access to the workshop and its machines. They can receive advice from our specialists, meet other artists, and use the studio for anything from a short consultation or feedback session to a full day of technical and artistic support. TheWorkshop accommodates approximately five to six artists per day.

Building on TheWorkshop’s existing infrastructure at Asiat Park in Vilvoorde, BiLT aims to broaden access to production facilities and specialised artistic and technical guidance, while continuing to develop its practice through dialogue, experimentation, and co-creation with artists.

BiLT was developed together with a broad network of partners:

@wiels_brussels @globearoma @wpzimmer @nw_aalst @horstartsandmusic @levelfive.brussels @cascoleuven @cinemaximiliaan @musicaimpulscentrum @m.leuven @radar.mechelen @moussem_nomadic_arts_centre @q_o2werkplaats

The goal of BiLT is to develop, test, and refine a model for shared production infrastructure and specialised artistic and technical guidance for artists in transition. Through this partner network, BiLT explores how access to equipment, expertise, and tailored support can be organised in a more inclusive and sustainable way. In doing so, BiLT supports individual artistic development while also contributing to network building, knowledge sharing, and the long-term embedding of this model within the wider arts ecosystem.

BiLT is supported through a Flemish supra-local funding programme.

BiLT is a two-year project through which TheWorkshop opens its studio and expertise to a rotating group of artists.

For one week each month, artists affiliated with our partner organisations are invited to book a slot in the studio. This gives them access to the workshop and its machines. They can receive advice from our specialists, meet other artists, and use the studio for anything from a short consultation or feedback session to a full day of technical and artistic support. TheWorkshop accommodates approximately five to six artists per day.

Building on TheWorkshop’s existing infrastructure at Asiat Park in Vilvoorde, BiLT aims to broaden access to production facilities and specialised artistic and technical guidance, while continuing to develop its practice through dialogue, experimentation, and co-creation with artists.

BiLT was developed together with a broad network of partners:

@wiels_brussels @globearoma @wpzimmer @nw_aalst @horstartsandmusic @levelfive.brussels @cascoleuven @cinemaximiliaan @musicaimpulscentrum @m.leuven @radar.mechelen @moussem_nomadic_arts_centre @q_o2werkplaats

The goal of BiLT is to develop, test, and refine a model for shared production infrastructure and specialised artistic and technical guidance for artists in transition. Through this partner network, BiLT explores how access to equipment, expertise, and tailored support can be organised in a more inclusive and sustainable way. In doing so, BiLT supports individual artistic development while also contributing to network building, knowledge sharing, and the long-term embedding of this model within the wider arts ecosystem.

BiLT is supported through a Flemish supra-local funding programme.

BiLT is a two-year project through which TheWorkshop opens its studio and expertise to a rotating group of artists.

For one week each month, artists affiliated with our partner organisations are invited to book a slot in the studio. This gives them access to the workshop and its machines. They can receive advice from our specialists, meet other artists, and use the studio for anything from a short consultation or feedback session to a full day of technical and artistic support. TheWorkshop accommodates approximately five to six artists per day.

Building on TheWorkshop’s existing infrastructure at Asiat Park in Vilvoorde, BiLT aims to broaden access to production facilities and specialised artistic and technical guidance, while continuing to develop its practice through dialogue, experimentation, and co-creation with artists.

BiLT was developed together with a broad network of partners:

@wiels_brussels @globearoma @wpzimmer @nw_aalst @horstartsandmusic @levelfive.brussels @cascoleuven @cinemaximiliaan @musicaimpulscentrum @m.leuven @radar.mechelen @moussem_nomadic_arts_centre @q_o2werkplaats

The goal of BiLT is to develop, test, and refine a model for shared production infrastructure and specialised artistic and technical guidance for artists in transition. Through this partner network, BiLT explores how access to equipment, expertise, and tailored support can be organised in a more inclusive and sustainable way. In doing so, BiLT supports individual artistic development while also contributing to network building, knowledge sharing, and the long-term embedding of this model within the wider arts ecosystem.

BiLT is supported through a Flemish supra-local funding programme.

BiLT is a two-year project through which TheWorkshop opens its studio and expertise to a rotating group of artists.

For one week each month, artists affiliated with our partner organisations are invited to book a slot in the studio. This gives them access to the workshop and its machines. They can receive advice from our specialists, meet other artists, and use the studio for anything from a short consultation or feedback session to a full day of technical and artistic support. TheWorkshop accommodates approximately five to six artists per day.

Building on TheWorkshop’s existing infrastructure at Asiat Park in Vilvoorde, BiLT aims to broaden access to production facilities and specialised artistic and technical guidance, while continuing to develop its practice through dialogue, experimentation, and co-creation with artists.

BiLT was developed together with a broad network of partners:

@wiels_brussels @globearoma @wpzimmer @nw_aalst @horstartsandmusic @levelfive.brussels @cascoleuven @cinemaximiliaan @musicaimpulscentrum @m.leuven @radar.mechelen @moussem_nomadic_arts_centre @q_o2werkplaats

The goal of BiLT is to develop, test, and refine a model for shared production infrastructure and specialised artistic and technical guidance for artists in transition. Through this partner network, BiLT explores how access to equipment, expertise, and tailored support can be organised in a more inclusive and sustainable way. In doing so, BiLT supports individual artistic development while also contributing to network building, knowledge sharing, and the long-term embedding of this model within the wider arts ecosystem.

BiLT is supported through a Flemish supra-local funding programme.

🎉𝐎𝐔𝐓𝐒𝐈𝐃𝐄 𝐈𝐍 – 𝐰𝐨𝐫𝐤 𝐢𝐧 𝐩𝐫𝐨𝐠𝐫𝐞𝐬𝐬 𝐟𝐞𝐬𝐭𝐢𝐯𝐚𝐥 𝐢𝐬 𝐁𝐀𝐂𝐊!

Vanaf 𝟏𝟓 𝐚𝐩𝐫𝐢𝐥 barst het 𝑶𝒖𝒕𝒔𝒊𝒅𝒆 𝑰𝒏 Festival weer los. 𝐓𝐨𝐭 𝐞𝐧 𝐦𝐞𝐭 𝟐𝟔 𝐚𝐩𝐫𝐢𝐥 ontdek je 13 𝑝𝑟𝑜𝑗𝑒𝑐𝑡𝑒𝑛 𝑖𝑛 𝑑𝑒 𝑝𝑜𝑑𝑖𝑢𝑚𝑘𝑢𝑛𝑠𝑡𝑒𝑛 en het werk van 10 𝑏𝑒𝑒𝑙𝑑𝑒𝑛𝑑 𝑘𝑢𝑛𝑠𝑡𝑒𝑛𝑎𝑎𝑟𝑠. Benieuwd naar wat er op het programma staat? Neem een kijkje op de 𝐰𝐞𝐛𝐬𝐢𝐭𝐞 𝐯𝐚𝐧 𝐎𝐮𝐭𝐬𝐢𝐝𝐞 𝐈𝐧. #𝐥𝐢𝐧𝐤𝐢𝐧𝐛𝐢𝐨

In de tussentijd: duik nog even in de sfeer met de 𝐚𝐟𝐭𝐞𝐫𝐦𝐨𝐯𝐢𝐞 van vorige editie. 🎬

👉𝟏𝟓 𝐭.𝐞.𝐦. 𝟐𝟔 𝐚𝐩𝐫𝐢𝐥
📍𝐭𝐡𝐞𝐚𝐭𝐞𝐫 𝐚𝐫𝐬𝐞𝐧𝐚𝐚𝐥, 𝐃𝐞 𝐙𝐞𝐞𝐫𝐢𝐝𝐝𝐞𝐫

𝐸𝑒𝑛 𝑖𝑛𝑖𝑡𝑖𝑎𝑡𝑖𝑒𝑓 𝑣𝑎𝑛 𝑅𝐴𝐷𝐴𝑅 𝑒𝑛 𝑡ℎ𝑒𝑎𝑡𝑒𝑟 𝑎𝑟𝑠𝑒𝑛𝑎𝑎𝑙 𝑖.𝑠.𝑚. 𝐾𝑢𝑛𝑠𝑡ℎ𝑎𝑙 𝑀𝑒𝑐ℎ𝑒𝑙𝑒𝑛, 𝐶𝑢𝑙𝑡𝑢𝑢𝑟𝑐𝑒𝑛𝑡𝑟𝑢𝑚 𝑀𝑒𝑐ℎ𝑒𝑙𝑒𝑛, 𝑅𝐼𝑇𝐶𝑆 𝑒𝑛 𝐵𝑖𝐿𝑇 𝑒𝑒𝑛 𝑝𝑟𝑜𝑗𝑒𝑐𝑡 𝑣𝑎𝑛 𝑇ℎ𝑒𝑊𝑜𝑟𝑘𝑠ℎ𝑜𝑝.

#2800 #outsidein #radarmechelen #festival #makers

@riphaai @ivn00000 @arnomoens @_entomo @erisabakalli @lafrikh @chilledmilk @trentebisous @georgedhauw @jos_pens @tanzerli13 @heyzo_ @tramp___o___lina @maartieruts @lindsydias @lisahones @margherita_dellosbarba @niek_vanoosterweyck @lemmens_ray @duboisdante @ellenvervaet_ @gitan_eeckhout @suzanneceulemans @salmonella_duo @_valeria_secchi @zach_swagga

This one came our way right at the end of 2025.
Glad we could make it happen for last Friday’s opening.

CNC woodwork, spray-painted lacquer, aluminium, and electrical installation.
Light signage for Wish You Were Here by @banks_violette_616

23.01 — 21.03.2026 @ticktack.be Antwerp

Sound composition by @stephenomalley74
Curated by @mariabramenko

Fabricated in our workshop in Vilvoorde.
Installed by the TICK TACK team.

This one came our way right at the end of 2025.
Glad we could make it happen for last Friday’s opening.

CNC woodwork, spray-painted lacquer, aluminium, and electrical installation.
Light signage for Wish You Were Here by @banks_violette_616

23.01 — 21.03.2026 @ticktack.be Antwerp

Sound composition by @stephenomalley74
Curated by @mariabramenko

Fabricated in our workshop in Vilvoorde.
Installed by the TICK TACK team.

This one came our way right at the end of 2025.
Glad we could make it happen for last Friday’s opening.

CNC woodwork, spray-painted lacquer, aluminium, and electrical installation.
Light signage for Wish You Were Here by @banks_violette_616

23.01 — 21.03.2026 @ticktack.be Antwerp

Sound composition by @stephenomalley74
Curated by @mariabramenko

Fabricated in our workshop in Vilvoorde.
Installed by the TICK TACK team.

This one came our way right at the end of 2025.
Glad we could make it happen for last Friday’s opening.

CNC woodwork, spray-painted lacquer, aluminium, and electrical installation.
Light signage for Wish You Were Here by @banks_violette_616

23.01 — 21.03.2026 @ticktack.be Antwerp

Sound composition by @stephenomalley74
Curated by @mariabramenko

Fabricated in our workshop in Vilvoorde.
Installed by the TICK TACK team.

This one came our way right at the end of 2025.
Glad we could make it happen for last Friday’s opening.

CNC woodwork, spray-painted lacquer, aluminium, and electrical installation.
Light signage for Wish You Were Here by @banks_violette_616

23.01 — 21.03.2026 @ticktack.be Antwerp

Sound composition by @stephenomalley74
Curated by @mariabramenko

Fabricated in our workshop in Vilvoorde.
Installed by the TICK TACK team.

This one came our way right at the end of 2025.
Glad we could make it happen for last Friday’s opening.

CNC woodwork, spray-painted lacquer, aluminium, and electrical installation.
Light signage for Wish You Were Here by @banks_violette_616

23.01 — 21.03.2026 @ticktack.be Antwerp

Sound composition by @stephenomalley74
Curated by @mariabramenko

Fabricated in our workshop in Vilvoorde.
Installed by the TICK TACK team.

This one came our way right at the end of 2025.
Glad we could make it happen for last Friday’s opening.

CNC woodwork, spray-painted lacquer, aluminium, and electrical installation.
Light signage for Wish You Were Here by @banks_violette_616

23.01 — 21.03.2026 @ticktack.be Antwerp

Sound composition by @stephenomalley74
Curated by @mariabramenko

Fabricated in our workshop in Vilvoorde.
Installed by the TICK TACK team.

This one came our way right at the end of 2025.
Glad we could make it happen for last Friday’s opening.

CNC woodwork, spray-painted lacquer, aluminium, and electrical installation.
Light signage for Wish You Were Here by @banks_violette_616

23.01 — 21.03.2026 @ticktack.be Antwerp

Sound composition by @stephenomalley74
Curated by @mariabramenko

Fabricated in our workshop in Vilvoorde.
Installed by the TICK TACK team.

Happy New Year!
☃️# ❄️ #🏂

Happy to see Belgian snow covering my sculptures, and grateful for all the people and things that made this possible.
🤍

“A Short History of Unresolved Spaces Caused by Attempting a Greater Speed I–III”, 2024
Site-specific installation produced by @thwrkshp
Commissioned by @borderbuda
Curated by Anna Laganovska @samulsu and Koi Persyn @koi_persyn

Dream team!

Happy New Year!
☃️# ❄️ #🏂

Happy to see Belgian snow covering my sculptures, and grateful for all the people and things that made this possible.
🤍

“A Short History of Unresolved Spaces Caused by Attempting a Greater Speed I–III”, 2024
Site-specific installation produced by @thwrkshp
Commissioned by @borderbuda
Curated by Anna Laganovska @samulsu and Koi Persyn @koi_persyn

Dream team!

Happy New Year!
☃️# ❄️ #🏂

Happy to see Belgian snow covering my sculptures, and grateful for all the people and things that made this possible.
🤍

“A Short History of Unresolved Spaces Caused by Attempting a Greater Speed I–III”, 2024
Site-specific installation produced by @thwrkshp
Commissioned by @borderbuda
Curated by Anna Laganovska @samulsu and Koi Persyn @koi_persyn

Dream team!

Happy New Year!
☃️# ❄️ #🏂

Happy to see Belgian snow covering my sculptures, and grateful for all the people and things that made this possible.
🤍

“A Short History of Unresolved Spaces Caused by Attempting a Greater Speed I–III”, 2024
Site-specific installation produced by @thwrkshp
Commissioned by @borderbuda
Curated by Anna Laganovska @samulsu and Koi Persyn @koi_persyn

Dream team!

Happy New Year!
☃️# ❄️ #🏂

Happy to see Belgian snow covering my sculptures, and grateful for all the people and things that made this possible.
🤍

“A Short History of Unresolved Spaces Caused by Attempting a Greater Speed I–III”, 2024
Site-specific installation produced by @thwrkshp
Commissioned by @borderbuda
Curated by Anna Laganovska @samulsu and Koi Persyn @koi_persyn

Dream team!

Happy New Year!
☃️# ❄️ #🏂

Happy to see Belgian snow covering my sculptures, and grateful for all the people and things that made this possible.
🤍

“A Short History of Unresolved Spaces Caused by Attempting a Greater Speed I–III”, 2024
Site-specific installation produced by @thwrkshp
Commissioned by @borderbuda
Curated by Anna Laganovska @samulsu and Koi Persyn @koi_persyn

Dream team!

Happy New Year!
☃️# ❄️ #🏂

Happy to see Belgian snow covering my sculptures, and grateful for all the people and things that made this possible.
🤍

“A Short History of Unresolved Spaces Caused by Attempting a Greater Speed I–III”, 2024
Site-specific installation produced by @thwrkshp
Commissioned by @borderbuda
Curated by Anna Laganovska @samulsu and Koi Persyn @koi_persyn

Dream team!

Between 2017 and 2024, I traveled back and forth between Japan and Belgium in search of a sense of belonging. Along the way, I photographed, gathered flowers, made drawings, and wrote diary entries. These objects and fragments became the foundation of my archive ‘mou ichido, mou sukoshi’ (once again, a little more). 💘

made possible with the support of @hisk_belgium
thanks to @thwrkshp , @hemelbreker & @dezilverbeek_limited

Between 2017 and 2024, I traveled back and forth between Japan and Belgium in search of a sense of belonging. Along the way, I photographed, gathered flowers, made drawings, and wrote diary entries. These objects and fragments became the foundation of my archive ‘mou ichido, mou sukoshi’ (once again, a little more). 💘

made possible with the support of @hisk_belgium
thanks to @thwrkshp , @hemelbreker & @dezilverbeek_limited

Between 2017 and 2024, I traveled back and forth between Japan and Belgium in search of a sense of belonging. Along the way, I photographed, gathered flowers, made drawings, and wrote diary entries. These objects and fragments became the foundation of my archive ‘mou ichido, mou sukoshi’ (once again, a little more). 💘

made possible with the support of @hisk_belgium
thanks to @thwrkshp , @hemelbreker & @dezilverbeek_limited

Between 2017 and 2024, I traveled back and forth between Japan and Belgium in search of a sense of belonging. Along the way, I photographed, gathered flowers, made drawings, and wrote diary entries. These objects and fragments became the foundation of my archive ‘mou ichido, mou sukoshi’ (once again, a little more). 💘

made possible with the support of @hisk_belgium
thanks to @thwrkshp , @hemelbreker & @dezilverbeek_limited

Between 2017 and 2024, I traveled back and forth between Japan and Belgium in search of a sense of belonging. Along the way, I photographed, gathered flowers, made drawings, and wrote diary entries. These objects and fragments became the foundation of my archive ‘mou ichido, mou sukoshi’ (once again, a little more). 💘

made possible with the support of @hisk_belgium
thanks to @thwrkshp , @hemelbreker & @dezilverbeek_limited

Techniek en creativiteit gaan hand in hand achter de muren van de Ateliers in Asiat Park, en zeker bij het team van @thwrkshp. Daar sleutelen Gert Aertsen, Wannes Goetschalckx en Werner Musenbrock dagelijks aan de werken van kunstenaars die niet over de nodige technische vaardigheden beschikken.

Of zoals Gert het verwoordt: “We zijn een kunstenwerkplaats en productiestudio die zich toelegt op de ondersteuning van artistieke creatie.”

Lees hun volledige verhaal via de link in onze bio.

Techniek en creativiteit gaan hand in hand achter de muren van de Ateliers in Asiat Park, en zeker bij het team van @thwrkshp. Daar sleutelen Gert Aertsen, Wannes Goetschalckx en Werner Musenbrock dagelijks aan de werken van kunstenaars die niet over de nodige technische vaardigheden beschikken.

Of zoals Gert het verwoordt: “We zijn een kunstenwerkplaats en productiestudio die zich toelegt op de ondersteuning van artistieke creatie.”

Lees hun volledige verhaal via de link in onze bio.

Techniek en creativiteit gaan hand in hand achter de muren van de Ateliers in Asiat Park, en zeker bij het team van @thwrkshp. Daar sleutelen Gert Aertsen, Wannes Goetschalckx en Werner Musenbrock dagelijks aan de werken van kunstenaars die niet over de nodige technische vaardigheden beschikken.

Of zoals Gert het verwoordt: “We zijn een kunstenwerkplaats en productiestudio die zich toelegt op de ondersteuning van artistieke creatie.”

Lees hun volledige verhaal via de link in onze bio.

Techniek en creativiteit gaan hand in hand achter de muren van de Ateliers in Asiat Park, en zeker bij het team van @thwrkshp. Daar sleutelen Gert Aertsen, Wannes Goetschalckx en Werner Musenbrock dagelijks aan de werken van kunstenaars die niet over de nodige technische vaardigheden beschikken.

Of zoals Gert het verwoordt: “We zijn een kunstenwerkplaats en productiestudio die zich toelegt op de ondersteuning van artistieke creatie.”

Lees hun volledige verhaal via de link in onze bio.

Techniek en creativiteit gaan hand in hand achter de muren van de Ateliers in Asiat Park, en zeker bij het team van @thwrkshp. Daar sleutelen Gert Aertsen, Wannes Goetschalckx en Werner Musenbrock dagelijks aan de werken van kunstenaars die niet over de nodige technische vaardigheden beschikken.

Of zoals Gert het verwoordt: “We zijn een kunstenwerkplaats en productiestudio die zich toelegt op de ondersteuning van artistieke creatie.”

Lees hun volledige verhaal via de link in onze bio.

Techniek en creativiteit gaan hand in hand achter de muren van de Ateliers in Asiat Park, en zeker bij het team van @thwrkshp. Daar sleutelen Gert Aertsen, Wannes Goetschalckx en Werner Musenbrock dagelijks aan de werken van kunstenaars die niet over de nodige technische vaardigheden beschikken.

Of zoals Gert het verwoordt: “We zijn een kunstenwerkplaats en productiestudio die zich toelegt op de ondersteuning van artistieke creatie.”

Lees hun volledige verhaal via de link in onze bio.

Techniek en creativiteit gaan hand in hand achter de muren van de Ateliers in Asiat Park, en zeker bij het team van @thwrkshp. Daar sleutelen Gert Aertsen, Wannes Goetschalckx en Werner Musenbrock dagelijks aan de werken van kunstenaars die niet over de nodige technische vaardigheden beschikken.

Of zoals Gert het verwoordt: “We zijn een kunstenwerkplaats en productiestudio die zich toelegt op de ondersteuning van artistieke creatie.”

Lees hun volledige verhaal via de link in onze bio.

EN | Presented for the first time in Belgium, Pauline Curnier Jardin’s ‘Tunnel of Love’ (2024) rises as an overturned bouquet of giant flowers, their crooked Valentine-red petals forming an intimate grotto. Inside plays ‘Qu’un Sang Impur’ (2019), her unruly remake of Jean Genet’s ‘Un Chant d’amour’ (1950), where the prisoners are no longer taut young men but a chorus of post-menopausal women. Their presence short-circuits the patriarchal script that defines ageing as decline, reclaiming eroticism and solidarity in bodies cast as “off the market,” to borrow Virginie Despentes’ phrase. 

‘Dress to Kill’ brings together recent works in which clothing, appearance and masquerade appear as lenses through which to understand how societies regulate and contest who may appear, and how. The title cites Brian De Palma’s Dressed to Kill (1980), a baroque homage to Hitchcock’s Psycho. Where De Palma heightened suspense through looking and gender performance, Curnier Jardin repositions the phrase in the realm of ritual and spectacle, where desire and violence intertwine.

NL | Voor het eerst in België te zien: Tunnel of Love (2024) van Pauline Curnier Jardin. Het werk verschijnt als een omgekeerd boeket reusachtige bloemen, waarvan de knalrode bloemblaadjes een kleine, intieme grot vormen. Binnenin speelt Qu’un Sang Impur (2019), Curnier Jardins eigenzinnige remake van Jean Genets Un Chant d’amour (1950). In haar versie zijn de gevangenen geen jonge mannen meer, maar een groep postmenopauzale vrouwen. Hun aanwezigheid doorbreekt het traditionele idee dat ouder worden gelijkstaat aan achteruitgang, en toont hoe erotiek en solidariteit blijven bestaan in lichamen die volgens Virginie Despentes zogezegd “niet meer meetellen”.

@pauline_curnier_jardin
@rachel.g.arcia
@edbprojects
@chertluedde
@mhkamuseum
@laurammherman #godartbakkers
@thwrkshp

Images by @elinewillaert & @annelien_vermeir

EN | Presented for the first time in Belgium, Pauline Curnier Jardin’s ‘Tunnel of Love’ (2024) rises as an overturned bouquet of giant flowers, their crooked Valentine-red petals forming an intimate grotto. Inside plays ‘Qu’un Sang Impur’ (2019), her unruly remake of Jean Genet’s ‘Un Chant d’amour’ (1950), where the prisoners are no longer taut young men but a chorus of post-menopausal women. Their presence short-circuits the patriarchal script that defines ageing as decline, reclaiming eroticism and solidarity in bodies cast as “off the market,” to borrow Virginie Despentes’ phrase. 

‘Dress to Kill’ brings together recent works in which clothing, appearance and masquerade appear as lenses through which to understand how societies regulate and contest who may appear, and how. The title cites Brian De Palma’s Dressed to Kill (1980), a baroque homage to Hitchcock’s Psycho. Where De Palma heightened suspense through looking and gender performance, Curnier Jardin repositions the phrase in the realm of ritual and spectacle, where desire and violence intertwine.

NL | Voor het eerst in België te zien: Tunnel of Love (2024) van Pauline Curnier Jardin. Het werk verschijnt als een omgekeerd boeket reusachtige bloemen, waarvan de knalrode bloemblaadjes een kleine, intieme grot vormen. Binnenin speelt Qu’un Sang Impur (2019), Curnier Jardins eigenzinnige remake van Jean Genets Un Chant d’amour (1950). In haar versie zijn de gevangenen geen jonge mannen meer, maar een groep postmenopauzale vrouwen. Hun aanwezigheid doorbreekt het traditionele idee dat ouder worden gelijkstaat aan achteruitgang, en toont hoe erotiek en solidariteit blijven bestaan in lichamen die volgens Virginie Despentes zogezegd “niet meer meetellen”.

@pauline_curnier_jardin
@rachel.g.arcia
@edbprojects
@chertluedde
@mhkamuseum
@laurammherman #godartbakkers
@thwrkshp

Images by @elinewillaert & @annelien_vermeir

EN | Presented for the first time in Belgium, Pauline Curnier Jardin’s ‘Tunnel of Love’ (2024) rises as an overturned bouquet of giant flowers, their crooked Valentine-red petals forming an intimate grotto. Inside plays ‘Qu’un Sang Impur’ (2019), her unruly remake of Jean Genet’s ‘Un Chant d’amour’ (1950), where the prisoners are no longer taut young men but a chorus of post-menopausal women. Their presence short-circuits the patriarchal script that defines ageing as decline, reclaiming eroticism and solidarity in bodies cast as “off the market,” to borrow Virginie Despentes’ phrase. 

‘Dress to Kill’ brings together recent works in which clothing, appearance and masquerade appear as lenses through which to understand how societies regulate and contest who may appear, and how. The title cites Brian De Palma’s Dressed to Kill (1980), a baroque homage to Hitchcock’s Psycho. Where De Palma heightened suspense through looking and gender performance, Curnier Jardin repositions the phrase in the realm of ritual and spectacle, where desire and violence intertwine.

NL | Voor het eerst in België te zien: Tunnel of Love (2024) van Pauline Curnier Jardin. Het werk verschijnt als een omgekeerd boeket reusachtige bloemen, waarvan de knalrode bloemblaadjes een kleine, intieme grot vormen. Binnenin speelt Qu’un Sang Impur (2019), Curnier Jardins eigenzinnige remake van Jean Genets Un Chant d’amour (1950). In haar versie zijn de gevangenen geen jonge mannen meer, maar een groep postmenopauzale vrouwen. Hun aanwezigheid doorbreekt het traditionele idee dat ouder worden gelijkstaat aan achteruitgang, en toont hoe erotiek en solidariteit blijven bestaan in lichamen die volgens Virginie Despentes zogezegd “niet meer meetellen”.

@pauline_curnier_jardin
@rachel.g.arcia
@edbprojects
@chertluedde
@mhkamuseum
@laurammherman #godartbakkers
@thwrkshp

Images by @elinewillaert & @annelien_vermeir

EN | Presented for the first time in Belgium, Pauline Curnier Jardin’s ‘Tunnel of Love’ (2024) rises as an overturned bouquet of giant flowers, their crooked Valentine-red petals forming an intimate grotto. Inside plays ‘Qu’un Sang Impur’ (2019), her unruly remake of Jean Genet’s ‘Un Chant d’amour’ (1950), where the prisoners are no longer taut young men but a chorus of post-menopausal women. Their presence short-circuits the patriarchal script that defines ageing as decline, reclaiming eroticism and solidarity in bodies cast as “off the market,” to borrow Virginie Despentes’ phrase. 

‘Dress to Kill’ brings together recent works in which clothing, appearance and masquerade appear as lenses through which to understand how societies regulate and contest who may appear, and how. The title cites Brian De Palma’s Dressed to Kill (1980), a baroque homage to Hitchcock’s Psycho. Where De Palma heightened suspense through looking and gender performance, Curnier Jardin repositions the phrase in the realm of ritual and spectacle, where desire and violence intertwine.

NL | Voor het eerst in België te zien: Tunnel of Love (2024) van Pauline Curnier Jardin. Het werk verschijnt als een omgekeerd boeket reusachtige bloemen, waarvan de knalrode bloemblaadjes een kleine, intieme grot vormen. Binnenin speelt Qu’un Sang Impur (2019), Curnier Jardins eigenzinnige remake van Jean Genets Un Chant d’amour (1950). In haar versie zijn de gevangenen geen jonge mannen meer, maar een groep postmenopauzale vrouwen. Hun aanwezigheid doorbreekt het traditionele idee dat ouder worden gelijkstaat aan achteruitgang, en toont hoe erotiek en solidariteit blijven bestaan in lichamen die volgens Virginie Despentes zogezegd “niet meer meetellen”.

@pauline_curnier_jardin
@rachel.g.arcia
@edbprojects
@chertluedde
@mhkamuseum
@laurammherman #godartbakkers
@thwrkshp

Images by @elinewillaert & @annelien_vermeir

EN | Presented for the first time in Belgium, Pauline Curnier Jardin’s ‘Tunnel of Love’ (2024) rises as an overturned bouquet of giant flowers, their crooked Valentine-red petals forming an intimate grotto. Inside plays ‘Qu’un Sang Impur’ (2019), her unruly remake of Jean Genet’s ‘Un Chant d’amour’ (1950), where the prisoners are no longer taut young men but a chorus of post-menopausal women. Their presence short-circuits the patriarchal script that defines ageing as decline, reclaiming eroticism and solidarity in bodies cast as “off the market,” to borrow Virginie Despentes’ phrase. 

‘Dress to Kill’ brings together recent works in which clothing, appearance and masquerade appear as lenses through which to understand how societies regulate and contest who may appear, and how. The title cites Brian De Palma’s Dressed to Kill (1980), a baroque homage to Hitchcock’s Psycho. Where De Palma heightened suspense through looking and gender performance, Curnier Jardin repositions the phrase in the realm of ritual and spectacle, where desire and violence intertwine.

NL | Voor het eerst in België te zien: Tunnel of Love (2024) van Pauline Curnier Jardin. Het werk verschijnt als een omgekeerd boeket reusachtige bloemen, waarvan de knalrode bloemblaadjes een kleine, intieme grot vormen. Binnenin speelt Qu’un Sang Impur (2019), Curnier Jardins eigenzinnige remake van Jean Genets Un Chant d’amour (1950). In haar versie zijn de gevangenen geen jonge mannen meer, maar een groep postmenopauzale vrouwen. Hun aanwezigheid doorbreekt het traditionele idee dat ouder worden gelijkstaat aan achteruitgang, en toont hoe erotiek en solidariteit blijven bestaan in lichamen die volgens Virginie Despentes zogezegd “niet meer meetellen”.

@pauline_curnier_jardin
@rachel.g.arcia
@edbprojects
@chertluedde
@mhkamuseum
@laurammherman #godartbakkers
@thwrkshp

Images by @elinewillaert & @annelien_vermeir

EN | Presented for the first time in Belgium, Pauline Curnier Jardin’s ‘Tunnel of Love’ (2024) rises as an overturned bouquet of giant flowers, their crooked Valentine-red petals forming an intimate grotto. Inside plays ‘Qu’un Sang Impur’ (2019), her unruly remake of Jean Genet’s ‘Un Chant d’amour’ (1950), where the prisoners are no longer taut young men but a chorus of post-menopausal women. Their presence short-circuits the patriarchal script that defines ageing as decline, reclaiming eroticism and solidarity in bodies cast as “off the market,” to borrow Virginie Despentes’ phrase. 

‘Dress to Kill’ brings together recent works in which clothing, appearance and masquerade appear as lenses through which to understand how societies regulate and contest who may appear, and how. The title cites Brian De Palma’s Dressed to Kill (1980), a baroque homage to Hitchcock’s Psycho. Where De Palma heightened suspense through looking and gender performance, Curnier Jardin repositions the phrase in the realm of ritual and spectacle, where desire and violence intertwine.

NL | Voor het eerst in België te zien: Tunnel of Love (2024) van Pauline Curnier Jardin. Het werk verschijnt als een omgekeerd boeket reusachtige bloemen, waarvan de knalrode bloemblaadjes een kleine, intieme grot vormen. Binnenin speelt Qu’un Sang Impur (2019), Curnier Jardins eigenzinnige remake van Jean Genets Un Chant d’amour (1950). In haar versie zijn de gevangenen geen jonge mannen meer, maar een groep postmenopauzale vrouwen. Hun aanwezigheid doorbreekt het traditionele idee dat ouder worden gelijkstaat aan achteruitgang, en toont hoe erotiek en solidariteit blijven bestaan in lichamen die volgens Virginie Despentes zogezegd “niet meer meetellen”.

@pauline_curnier_jardin
@rachel.g.arcia
@edbprojects
@chertluedde
@mhkamuseum
@laurammherman #godartbakkers
@thwrkshp

Images by @elinewillaert & @annelien_vermeir

EN | Presented for the first time in Belgium, Pauline Curnier Jardin’s ‘Tunnel of Love’ (2024) rises as an overturned bouquet of giant flowers, their crooked Valentine-red petals forming an intimate grotto. Inside plays ‘Qu’un Sang Impur’ (2019), her unruly remake of Jean Genet’s ‘Un Chant d’amour’ (1950), where the prisoners are no longer taut young men but a chorus of post-menopausal women. Their presence short-circuits the patriarchal script that defines ageing as decline, reclaiming eroticism and solidarity in bodies cast as “off the market,” to borrow Virginie Despentes’ phrase. 

‘Dress to Kill’ brings together recent works in which clothing, appearance and masquerade appear as lenses through which to understand how societies regulate and contest who may appear, and how. The title cites Brian De Palma’s Dressed to Kill (1980), a baroque homage to Hitchcock’s Psycho. Where De Palma heightened suspense through looking and gender performance, Curnier Jardin repositions the phrase in the realm of ritual and spectacle, where desire and violence intertwine.

NL | Voor het eerst in België te zien: Tunnel of Love (2024) van Pauline Curnier Jardin. Het werk verschijnt als een omgekeerd boeket reusachtige bloemen, waarvan de knalrode bloemblaadjes een kleine, intieme grot vormen. Binnenin speelt Qu’un Sang Impur (2019), Curnier Jardins eigenzinnige remake van Jean Genets Un Chant d’amour (1950). In haar versie zijn de gevangenen geen jonge mannen meer, maar een groep postmenopauzale vrouwen. Hun aanwezigheid doorbreekt het traditionele idee dat ouder worden gelijkstaat aan achteruitgang, en toont hoe erotiek en solidariteit blijven bestaan in lichamen die volgens Virginie Despentes zogezegd “niet meer meetellen”.

@pauline_curnier_jardin
@rachel.g.arcia
@edbprojects
@chertluedde
@mhkamuseum
@laurammherman #godartbakkers
@thwrkshp

Images by @elinewillaert & @annelien_vermeir

EN | Presented for the first time in Belgium, Pauline Curnier Jardin’s ‘Tunnel of Love’ (2024) rises as an overturned bouquet of giant flowers, their crooked Valentine-red petals forming an intimate grotto. Inside plays ‘Qu’un Sang Impur’ (2019), her unruly remake of Jean Genet’s ‘Un Chant d’amour’ (1950), where the prisoners are no longer taut young men but a chorus of post-menopausal women. Their presence short-circuits the patriarchal script that defines ageing as decline, reclaiming eroticism and solidarity in bodies cast as “off the market,” to borrow Virginie Despentes’ phrase. 

‘Dress to Kill’ brings together recent works in which clothing, appearance and masquerade appear as lenses through which to understand how societies regulate and contest who may appear, and how. The title cites Brian De Palma’s Dressed to Kill (1980), a baroque homage to Hitchcock’s Psycho. Where De Palma heightened suspense through looking and gender performance, Curnier Jardin repositions the phrase in the realm of ritual and spectacle, where desire and violence intertwine.

NL | Voor het eerst in België te zien: Tunnel of Love (2024) van Pauline Curnier Jardin. Het werk verschijnt als een omgekeerd boeket reusachtige bloemen, waarvan de knalrode bloemblaadjes een kleine, intieme grot vormen. Binnenin speelt Qu’un Sang Impur (2019), Curnier Jardins eigenzinnige remake van Jean Genets Un Chant d’amour (1950). In haar versie zijn de gevangenen geen jonge mannen meer, maar een groep postmenopauzale vrouwen. Hun aanwezigheid doorbreekt het traditionele idee dat ouder worden gelijkstaat aan achteruitgang, en toont hoe erotiek en solidariteit blijven bestaan in lichamen die volgens Virginie Despentes zogezegd “niet meer meetellen”.

@pauline_curnier_jardin
@rachel.g.arcia
@edbprojects
@chertluedde
@mhkamuseum
@laurammherman #godartbakkers
@thwrkshp

Images by @elinewillaert & @annelien_vermeir

EN | Presented for the first time in Belgium, Pauline Curnier Jardin’s ‘Tunnel of Love’ (2024) rises as an overturned bouquet of giant flowers, their crooked Valentine-red petals forming an intimate grotto. Inside plays ‘Qu’un Sang Impur’ (2019), her unruly remake of Jean Genet’s ‘Un Chant d’amour’ (1950), where the prisoners are no longer taut young men but a chorus of post-menopausal women. Their presence short-circuits the patriarchal script that defines ageing as decline, reclaiming eroticism and solidarity in bodies cast as “off the market,” to borrow Virginie Despentes’ phrase. 

‘Dress to Kill’ brings together recent works in which clothing, appearance and masquerade appear as lenses through which to understand how societies regulate and contest who may appear, and how. The title cites Brian De Palma’s Dressed to Kill (1980), a baroque homage to Hitchcock’s Psycho. Where De Palma heightened suspense through looking and gender performance, Curnier Jardin repositions the phrase in the realm of ritual and spectacle, where desire and violence intertwine.

NL | Voor het eerst in België te zien: Tunnel of Love (2024) van Pauline Curnier Jardin. Het werk verschijnt als een omgekeerd boeket reusachtige bloemen, waarvan de knalrode bloemblaadjes een kleine, intieme grot vormen. Binnenin speelt Qu’un Sang Impur (2019), Curnier Jardins eigenzinnige remake van Jean Genets Un Chant d’amour (1950). In haar versie zijn de gevangenen geen jonge mannen meer, maar een groep postmenopauzale vrouwen. Hun aanwezigheid doorbreekt het traditionele idee dat ouder worden gelijkstaat aan achteruitgang, en toont hoe erotiek en solidariteit blijven bestaan in lichamen die volgens Virginie Despentes zogezegd “niet meer meetellen”.

@pauline_curnier_jardin
@rachel.g.arcia
@edbprojects
@chertluedde
@mhkamuseum
@laurammherman #godartbakkers
@thwrkshp

Images by @elinewillaert & @annelien_vermeir

Sunday, 7 December, from 3:00 to 7:00 pm, we will open the doors of our workshop in Hall 03 in @asiatpark.

#### We will present some of our projects, and you will have the opportunity to meet the team and the board. #### we will share our future plans and ambitions, introduce Onderstroom (Horst Arts & Music) as the first partner on the site, and highlight some of our other collaborations #### You will also get a preview of our supra-local project BILT, which will be launched in 2026. #### And finally, you will discover how we can contribute to your practice or organisation.

A brief presentation is scheduled at 4:00 PM.

Please let us know if you will be attending by emailing hello@thwrkshp.org.

On 7 December, the annual Winter Festival will also take place in @asiatpark , with activities and events across the entire site.

TheWorkshop is an artists’ workshop offering facilities, technical expertise, and guidance — from idea to realization. We support artists and organisations in concept development, material choice, budget management, technical training, and presentation. 

Rooted in the former @hisk_belgium production studio and connected to a wide network of partners, we collaborate with artists and art organizations across disciplines to deepen artistic practice and strengthen the arts field.

Since April 2024, we have been based in Asiat park, Vilvoorde. In a short time, TheWorkshop has grown into a vibrant place where artists can explore, experiment, and bring their ideas to life. More and more artists and organizations are finding their way to our workspace.