The plastic arts offer more latitude for creation than architecture, which is forced to concretize its projects; in other words, the architecture of theory allows all aberrations, can tend towards excess and, further still, reaches different forms of madness, such as that of Corbusier cleaning up Paris with bars or that of the filmmaker Stanley Kubrick in The Shining (1980). This reflection on architecture paraphrases Ecclesiastes and concludes with the vanity and disappearance of everything. This is an opportunity to further develop the system of grouping works from all periods and schools, which has been experimented with, less radically, in the permanent collections. The exhibition thus opens with a Belgian "grand écart" where Jan Gossaert, known as Mabuse, not quite the Romanist of his career, confronts Wim Delvoye for a gothic joust that goes into overdrive with extravagance. Pinnacles, cabbages, phylacteries of feigned stones for a festival of difficult, grating splendors in Delvoye (Suppo, 2012), where anamorphic bays thunder like Memento Mori; without net, nor contingency of gravity for Mabuse.

Extract from the article by Vincent Quéau published in the N°104 de la revue Art Absolument. Published February 3, 2023

exhibition's website