Reservoir (2026)
Antari Z-800 III, aluminum tube, LED, cotton fabric, transparent foil, sulfur, distilled water, g.ZV.09 scent composition, air, DEH3, wood, condensation, AXEO 10A
variable dimensions
audio 08’00”
at St.Souci, Brussels (BE)
Part of Brussels Art Week with RendezVous 2026.
With works by:
Adèle Sweetlove
Iana De Rop
Julie Vanlook
Curated by Lorenzo Csontos
Installation views by Silvia Cappellari
The body is washed because it is dirty, because it might become dirty, because there is no certainty that it is clean. The desire for cleanliness remains bound to the possibility of dirt, until the distinction between the two begins to dissolve. Washing becomes a repeated gesture, caught between reassurance and the persistent suspicion that the body is never entirely clean.
The installation takes the bathhouse as its starting point, a space where bodily care unfolds alongside exposure to others. Heat, moisture, scent and residue give form to a presence that is not always visible. The architecture becomes part of the work, shaped by the gestures and conditions associated with washing, waiting and being together.
Water fills the basins, condensation gathers on the windows, and a trace of perspiration lingers in the room. Steps suggest a place to sit, to wait, to sweat. A shower curtain divides the space, obscuring what lies behind it while leaving open the possibility of something taking place. Wooden grids open towards the basement, allowing sounds from below to enter the space above, connecting the visible interior to what remains out of sight.
The familiar setting shifts between intimacy and exposure. Gestures usually confined to the private sphere take place within a shared space, where the body is both subject to its own rituals and exposed to others.
Zoete Inval (2026)
cast glass, sirop
variable dimensions
at Kassé, Brussels (BE)
Curated by Karel Op ‘t Eynde
Installation views by Silvia Cappellari“What appears as care for the domestic environment may also contain a violence toward everything that disturbs it. 𝘡𝘰𝘦𝘵𝘦 𝘐𝘯𝘷𝘢𝘭 (2026) reinterprets improvised insect traps made from plastic soda bottles, inverted and filled with sweet liquid to lure insects inside. This ordinary device is translated into cast glass, holding on to recongnizable logic of the trap, but making its surface slightly frosted and translucent. Placed on a marble mantelpiece and one of the windowsills, the objects no longer look like traps at first. They resemble perfume bottles, cosmetic containers or decorative vessels. Here, violence is not hidden; rather, it shows how easily it can be aestheticised and celebrated, how seductive it can become.”
Text fragment written by Karel Op ‘t Eynde
Honeysuckle & Tulip (1876) (2026)
perforated acrylic
112,5 x 178 cm
at Kassé, Brussels (BE)
Curated by Karel Op ‘t Eynde
Installation views by Silvia Cappellari“William Morris’s 1876 wallpaper motif Honeysuckle & Tulip is reinterpreted, a decorative pattern popularized in the Victorian interior, where floral wallpaper hid arsenic within the home.
The florals are translated into a system of perforations cut into metallic acrylic; an image of nature, but in a way that has been flattened, repeated and technically processed. The outside is welcomed on the condition that it no longer behaves like itself. The perforations are based on the exterior filter of a Dyson air purifier. Through these, air can move between the exhibition space and an adjacent enclosed room. On the other side, the collaborative work of the three artists 𝘋𝘺𝘴𝘰𝘯 𝘗𝘶𝘳𝘪𝘧𝘪𝘦𝘳 𝘏𝘰𝘵+𝘊𝘰𝘰𝘭 𝘏𝘗𝘐 (2026) continuously filters the air in a space where mold has permanently infested the walls.”
Text fragment written by Karel Op ‘t Eynde
Solid Air (2026)
at Kassé, Brussels (BE)
Curated by Karel Op ‘t Eynde
With works by:
Adèle Sweetlove
Iana De Rop
Leto Keunen
Installation views by Silvia Cappellari
Solid Air is an exhibition by Leto Keunen, Adèle Sweetlove and Iana De Rop, presenting a joint installation, individual works and an edition. Although air might often appear as the most neutral condition of a room, this exhibition approaches it as a system that is shared, but never equally distributed. The spaces in between become a way of reading this condition, asking how the interior becomes desirable, and at what cost. What has to be filtered, or even decimated in the process?
Even the most domestic spaces are organised by powers that dictate who or what may enter, what must be kept out, what deserves attention and what should remain unnoticed. They are shaped by a choreography of permissions and exclusions. They teach us where to stand and what to look at, how to move and what to ignore. They enact a politics of attention in which some presences are welcomed and others deemed intolerable.
Solid Air asks what kinds of environments we learn to want, and what forms of life, labour and attention are displaced in order to sustain them. To breathe is shared, but the conditions of breathing are not. Air as pleasure, air as infrastructure, air as commodity, air as a fragile common condition that is continuously claimed, but also withheld.
Altering Functions, Altering Spaces, Altering Meanings (2026)
as part of ‘Return To Sender’
curated by
Kassé (Brussels, BE)
In collaboration with
Adèle Sweetlove
Iana De Rop
Niel Schuerman
Eva De Vilder
Eline Vertommen
Installation views by Sid Dankers
mixed media (wood boxes, glass, objects, steel, video, plaster)
9’25’’
altering functions,
Our building is about to begin a new life. Our presence has always been temporary, continuously extended, never fully secured. This uncertainty of departure forms an underlying condition of the installation, caught between what it once was and what it is about to become.
altering spaces,
Located at Quai du Commerce 26 in Brussels, the former Art Deco apartment block exists in suspension between domestic past and imminent renovation. Temporarily occupied yet unfinished, it is a space in transition. From this instability, we began to focus on moving and to the most stable element of the home: the floor. Rooted in a Belgian architectural context, the installation draws on domestic traditions in which floors define space and function.
altering meanings.
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) an address that sounds familiar? Chantal Akerman’s film was shot three houses down the same street. The film renders domestic routine and the strict division of space tangible through duration and gesture. Each movement unfolds on and across the floor, revealing it as a silent carrier of daily life and time.
boxes filled, plates empty, curtains closed
we have to go, time passed
By interweaving our collective move-out, the building’s transitional state, and the cinematic language of Jeanne Dielman, the work reflects on an absurd yet familiar state of dwelling.
touch the floor,
one last time,
This Username Is Already In Use (2025)
videoinstallation, steel, stained glass
220 x 48 x 220 cm
9’25’’
There is something radical in the work of Adèle Sweetlove, something that resonates with well-known avant-garde traditions, yet takes shape through the most contemporary lens. For the work ‘This Username Is Already In Use’ (2025), she downloaded all available data that applications had stored about her -a right enshrined in the GDPR legislation of 2018. Using this digital self-portrait as a souce, she asked AI sources to create a character. The resulting identity is fragmented and layered, intimate, at times generic.
In a video, an artificial voice describes the generated personality, while Sweetlove plays an unspoken game against herself. She switches roles, as both protagonist and antagonist, at a kind of checkboard, where she slides pieces of glass across a larger stained-glass window in light-and dark green. The act is one of introspection: she analyzes her own steps, choices, and doubts.
The setting is her grandfather’s studio, where he taught her the stained-glass technique. In this way, a dialogue arises between craftsmanship and artificial intelligence, between family history and digital projection.
‘This Username Is Already In Use’ (2025) also includes a stained-glass construction, a stage that cannot be stepped on, embodying the fragility of thought and the delicate nature of online presence. At the same time, Sweetlove raises questions that go beyond the character she (and AI) created. What is the impact of the often euphoric language used by chatbots? What does it mean that digital personalities can, in theory, exist forever, detached from the bodies that generated them? The stage seems set for this “state of constant visibility in which we ourselves also actively participate.”
— text written by art historian Sander Bortier for Metropolis M issue n° 04 (aug - sep 2025)
I Shall be Late! (2024)
videoinstallation, steel, stained glass,
chalk paper, pingpong ball
50 x 50 cm each
13’55’’
Three videos played simultaneously within an installation made out of stained glass, accompanied by sound and by text.
In the old tale of Alice in Wonderland, Alice follows a white rabbit out of curiosity to its rabbit hole. Eventually Alice falls into the rabbit hole and ends up into an absurd dream world. Today, ‘rabbit holes’ describe virtual spaces designed to captivate and hold our attention, drawing us in with constant, rapid stimuli. Like their namesake, they pull us deeper, blurring our sense of time and making it harder to disconnect.
The way a rabbit hole behaves reminded Adèle Sweetlove of the motion-sensor light in her apartment haway. In most of these buildings there’s a light that activates when we enter a room, responding to our movement and presence in the space. The light stays on as long as we’re moving, fading only when we leave the room.
Server Rack (2024)
server rack, steel, glass, red wine, white wine
213 x 80 x 90 cm
A collaboration between Adèle Sweetlove and Iana De Rop created during their residency week in March 2024 in Anderlecht, Brussels. This week was led by artist Laurent Dupont.
While visiting the old Glico building in Anderlecht, Sweetlove and De Rop came across this rack. It was orginally designed to function as a server rack for data storage.
‘Server Rack’ (2024) is a work that embodies both stillness and motion. Visitors become participants in the performance by taking a glass and filling it with their choice of red or white wine. There’s a tradition of serving drinks at vernissages, as it celebrates the opening of the exhibition and enhances a sociable atmosphere.
It’s a piece that serves its audience, redefining the vernissage itself as an integral part of the exhibition experience.
Who is serving who?
SEA-ME-WE3 (2024)
steel, watertubes, pumpes, UV-print on plexi, transparant sheets
‘SEA-ME-WE3’ (2024) is an installation about the hidden material infrastructures of the internet. It reveals how something we often imagine as abstract and weightless—“the cloud,” “data flow,” or the color blue—is in fact dependent on physical systems: undersea cables, data centers, electricity, and vast amounts of water.
At its core, the work reimagines the SEA-ME-WE3 cable, the world’s longest submarine internet cable, as a flowing water-filled tube connecting three vases. The circulating water echoes both the invisible movement of global data and the environmental cost of cooling digital servers.
By tracing the digital journey of a single photo and transforming personal data into physical weight, the work materializes the abstract into something tangible. ‘SEA-ME-WE3’ (2024) asks us to reconsider how we perceive the digital world: not as immaterial, but as deeply rooted in matter, energy, and the environment.
Motion/lessness (2023)
steel, glass, textile, water, borax
Hot Air (2023)
slide projector, steel, printed confetti, found plastic
150 x 100 x 120 cm
UNWRAPPED (2022)
steel, wool, stone, print in glass frame
21 x 29,7 cm
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