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is an exhibition space founded in 2019 by Sandra Meilūnaitė & Dilum Coppens, and joined in 2022 by Yannick Marien. After opening up their studio and adjoining space for an exhibition under the name "BETWEEN (STAGE)", they decided to keep the ball rolling, renovate the room and use it as an artist-run exhibition space for young and emerging artists. By hosting regular exhibitions for artists trying to do what they love, they hope to show Brussels the fresh young faces of promising creators, and broaden both the artists’ as their own network. 

Upcoming exhibitions


Past exhibitions

Avant la lettre, November 2022

DEMOLUTION, April 2022

BruocsellA, November 2021

SEA BREEZE, August 2021

An Exhibition by Ines Thora, August 2021

State of Things, May 2021

beauty/?, July 2020

BETWEEN (STAGE), August 2019

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DEADLINE: 31 January 2023

For our upcoming group exhibition, K.L.8 is looking for visual artists whose work actively reflects on the concept of ‘value’ in art. In what sense can you say that an artwork possesses worth? And does this need to be limited to monetary and material value, or can art have other kinds of value, such as social value, spiritual value, emotional value, ...?


For over a century, the boundaries of this concept have been investigated by a diverse array of artists. Duchamp started out by using an industrially manufactured object for his Fountain instead of creating a traditional, unique art object. Conceptual artists Sol LeWitt and Lawrence Weiner sold written instructions to gallerists and institutions, and considered the physical execution of these instructions to be of secondary importance. With Merda d’Artista, Manzoni sold his own tinned excrement at the gold price, while recently Maurizio Cattelan had a golden toilet plumbed into Blenheim palace and managed to generate an inordinate amount of attention for a banana he duct-taped to the wall at an art fair.  


Historically, there have always been gatekeepers with the power to determine the value of an artwork—from the wealthy patrons in ancient Greece and Rome, the Catholic Church, over Renaissance aristocracy, to feudal rulers and emperors. Today might not be that different: those with capital exercise considerable influence in the contemporary art world, and established commercial galleries and well-funded museums govern the market.


Despite such confinements, modern and contemporary artists have widely experimented with value in their works, challenging the conditions that can decide the nature of value, still eliciting discussion and outrage. We are curious what the new generation of artists has to add to the conversation. Surely they are met with the same problem as ever: the possibility that their work is ignored or deemed worthless by the current gatekeepers. In our modern economy, raw materials are usually transformed, through labour and engineering, into products that are more valuable than the sum of their components, yet many artists buy their art supplies and transform them into something that loses almost all of its original economic value.


We are looking for works by artists that engage with this complex and elusive notion of value in art, and that contribute an unexpected point of view to an over-used question: ‘In the end, what is it worth?’.


To participate in our open call, you can fill out our form via following link: 

Alongside general information, we ask for a proposal of max. 5 works or 2 series, a portfolio, an artist statement of max. 1 A4 and an artistic cv of max. 1 A4. All documents are to be submitted in PDF-format.


For any further questions, you can reach us at


Avant la lettre

29 October - 6 November 2022

Written Word and Image: these are two fundamental components of the known history of art. Both possess different powers, connotations, impediments, advantages, and have different ways of establishing meaning. Whenever they are brought together in a work of art, tension is inevitable, and throughout various cultures their relationship has taken on surprising shapes.


For our newest exhibition, Avant la lettre, we will show the work of 19 artists who incorporate (hand)writing / type / text into their practice, and who explore the interaction between the written word and visual art.


The Image came first, without a doubt. Our ancestors left paintings on cave walls, carved animal bone into effigies, thousands of years before the invention of the first writing systems. But writing got the upper hand, myths and holy Scripture came to determine how human beings related to their surroundings and to each other. We explored the world and aimed to capture all of creation in taxonomies, botanical treatises, laws of physics. Only the supposed truth was ever written down.


In the Modern age however, the power balance started to shift. The written word no longer maintained its precedence over other modes of representation, and the author (who was of course white and male) was  no longer accepted as the all-determining voice, whether in academia, film or journalism. Now, under the aegis of new media like television and the internet, the Image appears to have emancipated itself, and has gained an unprecedented ubiquity in all parts of the cultural landscape.


None of us have been taught as children how to interpret images, but reading and writing on the other hand are acquired skills. Does this mean that looking at a painting requires more spontaneity? Is reading more challenging? Can written words offer more meaning than images? We are curious what associations or prejudices contemporary artists have about these two extraordinary human devices. What are their respective powers and shortcomings? And what processes are set in motion when the two are combined into one single piece of art?

With works by Algolit, Andrey Rylov and Maxim Mezentsev, Ash Bowland, Christina Mitrentse, Christine van Poucke, Daniel Arthuus, Daniëlle Raspé, Éanna Mac Cana, Gabriel René Franjou, Hyunbok Lee, Jing Wang, Laurence Petrone, Laurent Fiorentino, Leda Woloshyn, Maarten Inghels, Marija Rinkevičiūtė, Martina Stella, Oliver Doe & Teresa Weißert.

Avant la lettre


23 April - 1 May 2022

The collapse at the end of the Late Bronze Age, of the Akkadian Empire, the Roman Empires, the Maya, and Easter Island. All of them are examples that we could study and show us the harbingers of ruination. These histories show many signals that our global society is close to coming apart. 


This statement can seem rash, and we might think that our society is too global and anchored to completely collapse. And yet … our forebears neither foresaw their end. They were sure of their power and stability. 


We cannot deny that more and more social unrest rising to the surface. Manifestations, political polarization, and revolutions have appeared more and more frequently over the last decades. But might it be nothing more than logical that these historical phenomena increase their frequency in a society that keeps evolving and communicating more and more rapidly?


While a collapse often carries a negative connotation, revolution is often desirable, a sign of the fall of an oppressive regime. Yet both of them end in something inevitable: change. 

Here, we would like to approach two kinds of societal change.


Firstly, a society can chance through revolutions, such as the French Revolution and the Arab Spring. The people rise up against societal or political systems to tear them down and construct new ones. There are parts that continue to exist, but others are completely destroyed. Although destruction is part of a revolution’s identity, this destruction is conscious and organized to some degree. The people gradually change their systems, identities, their society to a chosen vision. 


Secondly, we have the phenomenon of societal collapse, such as the fall of the Roman Empires and the Maya. These destructions aren’t supported or consciously put into motion by these society’s people. They are catastrophes that tumble entire worlds. Undoubtedly, it is a destruction of a greater magnitude. It causes greater and deeper traumas. More of the identity, stability, and systems disappears, if they aren't completely wiped off the map.


The goal of revolution is to bring change through destruction, while a societal collapse is destruction that leads to change. 

Our Western society, which celebrated the turn of the last century in a daze of unprecedented stability and prosperity, is experiencing increasing tensions and volatility. Population shifts, outside aggression, untrustworthy leaders, and ecological disaster - Edward Gibbon wrote about these phenomena in his historical analysis of the fall of The Western Roman Empire, and today they are once again part of our topicality.


Artists stand on the fortress walls, they watch and describe what they see. In the steadfast 50s and 60s, their gaze could wander inwardly. They fell back on their own world, making minimal and conceptual art. In turbulent times they expressed fragmentation, confusion.


So they do today. Yet again, something slouches towards Bethlehem. Today's art world is highly individualized, but young artists are once again turning their gaze ever more outwards, to the disturbing circumstances that are advancing towards us. We find their work, their view, their anticipation important. It must therefore be shown.


“Those who cannot remember the past are condemned to repeat it.”

    - George Santayana

With work by Aathmigan, Davide Zulli, Denys Shantar, Dilum Coppens, Ernest Bessems

Florian Model, George Stamenov, Justine Cappelle, Katya Granova, Luis Chenche, Matthias De Wolf, Paulius Sliaupa & Penny Hallas.

Music by Mike Frison.




31 October - 5 November 2021

11% of art acquired by the top museums for their permanent collections was by women. 78% of galleries represent more men than women. 27% of living contemporary artists in the Tate Collection are women. 


In 2021, women’s voices are still underrepresented. 


This issue is felt further than simple statistics. Sandra Meilunaite, curator of and artist in our new exhibition BruocsellA, saw that the Fine Arts department she studied at was filled with mostly women students when she started out. But when it became time to graduate, the ratio of men was higher than ever. And even after attaining a degree, women are pushed to the sidelines.


K.L.8 has always striven for an equal approach to their representation of artists. But we have to go further and work towards an equitable approach. 

BruocsellA will give a voice solely to women working and/or living in Brussels. The original name of Brussels, namely Bruocsella, proves with its -a declension that Brussels was female from the beginning. 


But BruocsellA wants to go beyond the idea of women's rights. It is not meant to show that women are forgotten or “in a weaker position”. Women are more than social issues. BruocsellA focuses on the quality and subject of the artists, which goes beyond one issue. The curation leaves gender aside and focuses on the work itself and its strength in any capacity or context. Women are more than the obstacles they overcome. They are as complete as any human being, and their strength shows in the caliber and diversity of their work.

With work by Bo Vloors, Chloé Van Oost, Ilke Cop, Ines Thora, Justine Cappelle, Luth Lea Rose, Marjolein Guldentops, Mariia Dergacheva, Set Chevallier, Sofia Druzhinina, Sandra Meilūnaitė & Yasmine Jai.