Group show

Glitch on Paper

 

10.04.2026 - 19.04.2026

 

Glitch on Paper is a collective and collaborative exhibition bringing together artists Benjamin De Backer, Lucien Raes, Bruno Vandeberghe, and Sophie Vanhomwegen. This project offers a curatorial response directly aligned with the theme « I.A. Intelligence Artistique » put forward by « Parcours d'Artistes de Saint-Gilles 2026 ». At a time when artificial intelligence is redefining our interactions, an essential question emerges: what is the role of art, if not to reaffirm the value of human exchange? The exhibition thus goes beyond a simple presentation of works to propose a true cartography of interaction. Here, AI is not a technological endpoint, but a dialogue partner, a mirror that invites us to name what constitutes the essence of humanity in the artistic gesture.

 

The project is built on a threefold creative dynamic, uniting human experience, the rigor of the graphic system, and the power of the digital algorithm. This dialogue transforms mechanical repetition into a sensitive ritualization: each digital error, once fixed on paper, becomes a unique plastic language where the hand captures and metamorphoses the "bug" into poetry. This approach is part of an inclusive and horizontal dimension within the Espace Vanhomwegen, transformed for the occasion into a living laboratory and a catalyst for encounters between generations and diverse horizons.

 

The project's common thread took shape during residencies where, in a spirit of total sharing, the artists made their materials, images, and paintings available to one another. Each artist appropriated the other's material, creating a playground where individual boundaries fade in favor of a deliberately uncontrolled process. Some artists had never met before working together, placing uncertainty at the heart of creation. Will the outcome of this encounter result in a coherent whole? No one knows in advance, and this is precisely the necessary risk the artist takes when engaging in discovery, experimentation, and the unpredictable.

The exhibition thus bears witness to a deep hybridization of know-how, bringing academic and contemporary techniques into dialogue. The manual line of drawing and painting anchors the image in the long term, while the cutting and assembly of collage transform paper into human-scale sculptures, restoring a physical presence to evanescent images. In parallel, digital experimentation becomes a generator of patterns and textures, systematically reinterpreted by the artisanal gesture. By seizing these elements to reintegrate them into the physical world, the artists forge a common visual language where the digital becomes the raw material for tactile and inhabited creations.

 

In conclusion, Glitch on Paper demonstrates that manual art is not the enemy of the algorithm, but its vital partner. By using a technological language as a tool for collective expression, the four artists affirm that true "Artistic Intelligence" lies in our capacity to create connection. It is in the fold of the paper, the cutting and manual collage, that humanity reclaims its rights, transforming the digital unforeseen into a collective and tangible memory.

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