Open on
Saturday 4 and Sunday 5 October from 2 to 6 pm.
Saturday 11 and Sunday 12 October from 2 to 6 pm. Saturday 18 and Sunday 19 October from 2 to 6 pm.
Talk between Samuel Saelemakers & Roeland Tweelinckx on Sunday 12 October at 3 pm.
A world governed by alternating rules of reality and illusion comes to life in Future Sculptures of a Recent Past, a solo exhibition by Roeland Tweelinckx. The exhibition space of Ontsteking becomes a landscape of familiar visual elements — objects and forms typically tied to functionality and utility.
Through subtle anomalies in scale and positioning, these usually mundane, everyday objects lose their conventional role and acquire a new presence. The result is an environment that unsettles our expectations and invites viewers to reconsider their own spatial orientation and physical positioning within the space.
As visitors, we encounter Tweelinckx’s humorous and curious creative approach, while the placement of his objects guides both movement and sight. A familiar element in this context — a central structure composed of white walls — invites us to interact as the first point of contact. Instead of functioning merely as a carrier or bearer of the exhibition’s subjects, it presents itself as a spatial intervention, providing guidance and a frame of reference while also shaping the act of observation.
The process ignited by this dynamic prompts double-takes and evokes the sensation of a virtual glitch that seems to overwrite the laws of physics. The all-encompassing yet faint dissonance is heightened by the intentional placement of objects that seem marginally out of place: lemons, waffles, and the emblematic form of a Coke bottle. Their presence requires no elaborate justification — in this universe, things are worthy of display simply by virtue of their existence. The tension generated by their positioning becomes the focal point, grasping our attention.
The ideas brought to life reveal a curious approach marked by a strong dedication to craft. The works span a wide period of the artist’s career, yet remain unified and consistent through deeply personal insights. Many of the works bear visible signs of their making — fingerprints, dust, or even the residue of spiderwebs. Far from diminishing their status, these marks serve as proof of the artist’s intentionality.
They testify that the works are not found objects but crafted ones — interventions rather than incidental discoveries. Each piece stands as a tangible manifestation of an idea: a generous offer to find joy in the sheer possibility of having a clear vision and the ability to execute it.
— Hanna Júlia Erdősi