Amélie Bouvier, The Sun Conspiracy, instillation view, 2018

The Sun Conspiracy

January 11 - March 3

Amélie Bouvier


Models, predictions, errors and the unknown, informed by astronomy, aerial imaging techniques and the history of science, Amélie Bouvier works between material and metaphysical modes of perception. Through pictures, astronomers try to give form to what is visible only through calculation and deduction. Bouvier deconstructs and distorts this visual narrative by adopting strategies that mimic mechanical repetitions and mutate grids to magnify moments in science where error is unavoidable and often invisible. With the cosmos in consideration, works in this exhibition deal with problems of knowledge and how to know what is not known, cannot be known or has been forgotten. Drawings in “The Sun Conspiracy” build on previous series of work such as “Small Accidents” and “Place it High for More Impact,” commemorating historical information, events and ways of looking while transforming them. These are complimented by two sculptures and a single work with research documentation.

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Jordan Seiler, Civilian, installation view, 2017


November 16 – December 16, 2017

Jordan Seiler


A RISD graduate, Jordan Seiler is a New York-based artist and activist working with issues of advertising and collective agency in public space. Since the early 2000s, Seiler has coopted billboards and advertising spaces to display his own work, and has notoriously orchestrated large-scale ‘takeovers’ to draw attention to the overwhelming amount of advertising in public space as well as bring into question the ownership of that space. His work has been an inspiration for global activist projects like Art in Ad Places, Brandalism, No Ad Day, and included in exhibitions around the world such as the U.S. pavilion at the Venice Architecture Biennale, Austin Museum of Digital Art and International Poster Biennale in Warsaw.

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Marcin Dudek, Steps and Marches, installation view, 2017

Steps and Marches

September 7 – October 28, 2017

Marcin Dudek


During the 10th edition of the Brussels Gallery Weekend, Harlan Levey Projects is pleased to present our 3rd solo exhibition with Marcin Dudek, “Steps & Marches.” This is a collaborative exhibition with Chapter I taking place in Brussels and Chapter II in London at Edel Assanti Gallery. Each exhibition begins with the artist retracing his steps as a teenage member of the Cracovia football fan club. A framed thumbnail-sized photograph from Dudek’s personal archive is part of a sequence of events in the lead-up to a violent stadium riot. At Harlan Levey Projects, this small image is juxtaposed with a scaled up scene from the field that pulls visitors into a stadium like installation where the terraces act as pedestals for a series of sculptures. Research and works in the exhibition, go beyond personal narrative to explore the materials, messages and political contexts of the stadium in an ongoing investigation of group behavior, crowd control, violence and spectacle.

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Hardscrabbled, Installation view, 2017

Hardscrabbled / From One Moment to Another


08 June - 15 July, 2017

Zach Bruder


“Get your facts first. Then you can distort them as you please.” – Mark Twain

“Hardscrabbled” is the first exhibition in Belgium of Cleveland-born, New York-based painter Zach Bruder. Through a direct and graphic style, Bruder depicts intertwining religious, social, and often tragic narratives that are cribbed from an extensive archive of historic imagery and cultural myth. Trauma and anxiety run through the works, with various personal and civic fears enacted in delusional pasts and failed futures. The source material is that of circular occurrences, but the works deny a singular reading of either the source material or of the artist’s intentions.

Throughout the works of the exhibition, Bruder imbues his motifs and references with a wry humor, turning assumptions and resonances back on themselves. In one series of paintings, Bruder depicts tightly-cropped solitary figures, each surrounded by a murky haze. The men assume a range of positions and roles: a backwards-looking figure sporting a red tuque, a silhouette in a trench coat bent forwards, a reclined demon with horns and pointed tail. The lone, wandering figure appears over and over again, its ambivalent references shooting back and forth: from Mark Twain, to Job, to the laborers of the contemporary workforce. In one work, Crouching Figure, an ape-like figure sits pensively, its inclusion simultaneously invited and challenged by its alien countenance.

A number of Bruder’s recurring motifs are present within the exhibition, with many of them pointing towards relentless expansion. In Filling In, the outline of a simple house is reimposed upon itself, spreading outwards on the surface of the canvas. In another, Western Pleasure, a desert landscape is rendered in a verdant green, suggesting mankind’s aspirations to colonize and terraform distant planets. Previous Universal Moment shows stars and orbs springing forth from a mountain range, pulling from an ancient, contested flat earth. These conquests are not without cost, though. In Bad News Itself, industrial structures appear in flames, and in Departure, two riders circle a blood-red lake. Remove Doubt and Only Handle It Once both show Casper-like ghosts carrying packages to be delivered, straddling the line between cute and horrifying.

Steeped within an endless stream of coded images, Bruder’s paintings struggle with the worry that Groundhog Day is here again (and again) (and again) (and).

Zach Bruder (b. 1984) received his BFA from the University of Wisconsin-Madison in 2006. Recent exhibitions include “The Present Tense” at Ratio 3, “Monument Around” at Galerie l’inlassable, “Record Lines this Summer” at Magenta Plains, “Plant in Repair” at Gregory Lind Gallery, and “Unwelcome Guest” at LaMaMa Galleria, New York, NY. Bruder lives and works in New York, NY. This is the artist’s first exhibition at Harlan Levey Projects.

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→ Download Zach Bruder's CV

From One Moment to Another

08 June - 15 July, 2017

Anouk Ines


The images in the series “From One Moment To Another,” offer a complex weave of colors and rhythm, a dialogue between chaos and calm set to a fleeting, fickle and momentarily fierce breeze. These are original images with no after the fact manipulation, overprinting or layering; only raw energy cooled off on fragile soft mat paper. They literally illustrate a split second in the hazy stroll of time as life sprints by.

From Monet to the so-called Post Internet movement, photography has informed painting and painting has likewise influenced photography. If it could be possible to reverse the relationship between the two, where is the camera’s position to the brush? In her seminal work “On Photography,” Susan Sontag offered her observation that “The painter constructs,” while “the photographer discloses.” If a photographer treats her camera like a brush, can she do both? Can photography paint with light and without long exposure? These are questions that come up in the striking series by Anouk Ines. Having spent decades refining her trade as a photographer, Ines takes a painterly approach to framing the anxiety of loss and connection familiar to so many of us. Meaning builds from emotional experience that challenges physical reality. There is also action and the realization of image through gesture. Hand movements, not digital post-production, call attention to the process of creating. It was a process of isolation, silence and introspection. Before building her images, the artist stayed for alone in the woods for several days, returning to primal impulses to approach an uncluttered state of mind. Not a heroic journey, but a healthy one that provides a momentarily clear perspective.

When photographers paint with light, this tends to mean using long exposure. Ines takes a more immediate approach, treating the camera as if it were a brush lingering on the overlap before jumping from one moment to another. This perpetual movement appears as a metaphor for the gap between the perspective of a phenomenon and the phenomenon itself. “A photograph never comes out as you expect or intend. It’s always just slightly different due to technology, technique, environment, the unforeseen, etc. Outside of the studio, surroundings are something you can’t control. You can only control yourself.”

Anouk Ines is an art academy graduate and mother of two children. After graduating from school, she
has continued to make, but not exhibit art. Decades later, this is her first public exhibition.

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Petr Davydtchenko, Ascension, 6 source video Installation, 2016


21 April - 27 May, 2017

Petr Davytdchenko




Petr Davydtchenko presents his third solo show at the gallery with two works.

Romantic of Terror
Fire, Electric Cables, Battery parts, 412cm x 232cm, 2017

8 make-shift canvases total one large painting that repeats the phrase Romantic of Terror. Created through the technique and material of burning rubber, the physical act of protest references the revolutionary notion whereby terror becomes the desired tool used to maintain a new socio-political reality. The electricity is intentionally cut. Technological, political and personal anxieties drive the work through flames. The painting is accompanied by a mixed-media archival piece that confronts the viewer with evidence of events that occurred in the process of making “Romantic of Terror.” It unveils the raw and unpleasant matter that embodies the realness of protesting as opposed to its various simulacrum. The skin of the artist, which was removed from his hands after a painful accident, stands for the actual flesh that is neglected in the neoliberal outlook on resistance as weekend fair activity (hello “Pepsi” ads and impotent acts of opposition that tend to only further enforce the structures they criticize). It is presented as a conscious choice to be unpleasant rather than spare an audience from the actuality of things. The work consists of photographs, video, used bandages, human skin and an accompanying text that embodies the artist’s struggle to accept practical guidance through sentiments of impossibility and the identification of the hypocrisy bound to systemic criticism.

6 source video Installation, 2016

“Ascension” is a comprehensive 6-screen installation that amplifies focus on the ephemeral moment of desired escape from the depths of a darkening socio-political totality. It was presented at V Moscow Biennale for Young Art in 2016 and received overall critical acclaim as one of the best works in the exhibition. The main character’s past, future and present intentions are unclear as time after time he pulls himself out of the boiling sewage in a ubiquitous ascension.

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Foundland Collective, Scenarios for Failed Futures, 2015, Still frame

A basement in the attic

March 9 - April 8, 2017

Foundland Collective

Sol LeWitt

Shahar Marcus


The exhibition presents a thin red line from conceptual art to performance art to research based art, unraveling knots of success, failure, romance and tragedy; treasures lost in a basement, the bottom of top aspirations and boundaries between success and failure. Featuring works from the Foundland Collective, Sol Lewitt and Shahar Marcus. The exhibition opens March 9 th and runs until April 8 th . It will include an artist talk and screening of additional works by visiting artist Shahar Marcus.

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Emmanuel Van der Auwera, Videosculpture XII, 2017

Everything Now is Measured by After

January 12 – March 4, 2017

Emmanuel Van der Auwera


Everything Now Is Measured By After” is Emmanuel Van der Auwera’s first solo exhibition at Harlan Levey Projects. Works to be shown include those presented at the Biennale d’Image Possible and build from his work “A Certain Amount of Clarity” (first presented at the Young Belgian Art Prize) and innovative “Video Sculptures,” which were developed during his residency at the HISK.

→  Download the full Catalogue and the texts

Roopa Vasudevan, Bellwether, 2016, Installation view

Star Spangled

November 10 - December 17, 2016

Brad Feuerhelm

Jeroen Jongeleen

Doug Rickard

Roopa Vasudevan


In the aftermath of the US elections, this group exhibition deals with repetition, gaze, technology and public perception of political discourse.

In the front room of the gallery, three works will be displayed including videos from Doug Rickard’s acclaimed project “National Anthem” and Jeroen Jongeleen’s ephemeral land artwork “Running Shapes.” Images from Brad Feuerhelm’s new book “Goodbye America” will also be shown parallel to its release at Paris Photo.

In the back room of the gallery is #bellwether by Roopa Vasudevan, which was originally commissioned by SPACES (cleveland, OH), as part of the SWAP (SPACES world artists program) residency (May 20-July 29, 2016).

#bellwether is a data collection project designed to dig deeper into the true political desires of the voting population of Ohio, a state that is regarded as vital to the endgame of both parties.

Outcomes manifest as campaign merchandise that co-opts the design language of the presidential campaigns, but instead of reflecting the candidates’ curated messages, the artifacts created will represent how Ohio residents perceive them. They will be exhibited in a monthly timeline, displaying how perceptions of each presidential candidate shift and change over the course of primary season—just like the content, positions, and tones presented by the campaigns themselves.

Wird, Installation View


September 8 - October 29, 2016

Haseeb Ahmed


Following his acclaimed Wind Egg experiment, Haseeb Ahmed presents "Wird".

On May 4th, the Wind Egg experiment was revealed at the NATO von Karman Institute for Fluid Dynamics (VKI) just outside of Brussels. The Wind and a Vulture met to realise an ancient Greek theory that the wind could fertilise animals and people as it does plants. Using modern wind tunnel technology the face of the Wind was conjured and communicated with before being introduced to Sparta, a female African-Vulture.

Five months later, the result is Wird, the home made for this inter-natural pair to co-inhabitate at Harlan Levey Projects. This exhibition marks the second instalment of an unfolding trilogy, which began at the VKI. The final episode will be held at M HKA in 2018 in collaboration with Senior Curator Nav Haq.

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Imprints, Installation view



In “The Human Condition,” political theorist Hanna Arendt speaks about “vita contemplativa” (contemplative, passive life) as the condition of Western society. It is a condition that opposes “vita active,” or dynamic living, where the subject produces reality, instead of passively consuming its established narratives. This dynamism can be seen as one of the grey lines connecting works in this exhibition. One recent video and an object or drawing was selected from 5 of our represented artists to shape an accidental exhibition built on a series of coincidences and the bonds that grew out of them. Other lines appear in what can be seen and what cannot. Presence is given to the invisible ashes, traumas and concerns that shape each piece in the show.

«Maybe it’s not metaphysics. Maybe it’s existential. I’m talking about the individual US citizen’s deep fear, the same basic fear that you and I have and that everybody has except nobody ever talks about it except existentialists in convoluted French prose. Or Pascal. Our smallness, our insignificance and mortality, yours and mine, the thing that we all spend all our time not thinking about directly, that we are tiny and at the mercy of large forces and that time is always passing and that every day we’ve lost one more day that will never come back and our childhoods are over and our adolescence and the vigor of youth and soon our adulthood, that everything we see around us all the time is decaying and passing, it’s all passing away, and so are we, so am I, and given how fast the first forty-two years have shot by it’s not going to be long before I too pass away, whoever imagined that there was a more truthful way to put it than «die,» «pass away,» the very sound of it makes me feel the way I feel at dusk on a wintry Sunday–… And not only that, but everybody who knows me or even knows I exist will die, and then everybody who knows those people and might even conceivably have even heard of me will die, and so on, and the gravestones and monuments we spend money to have pour in to make sure we’re remembered, these’ll last what– a hundred years? two hundred?– and they’ll crumble, and the grass and insects my decomposition will go to feed will die, and their offspring, or if I’m cremated the trees that are nourished by my windblown ash will die or get cut down and decay, and my urn will decay, and that before maybe three of four generations it will be like I never existed, not only will I have passed away but it will be like I was never here, and people in 2104 or whatever will no more think of Stuart A. Nichols Jr. than you or I think of John T. Smith, 1790 to 1864, of Livingston, Virginia, or some such. That everything is on fire, slow fire, and we’re all less than a million breaths away from an oblivion more total than we can even bring ourselves to even try to imagine, in fact, probably that’s why the manic US obsession with production, produce, produce, impact the world, contribute, shape things, to help distract us from how little and totally insignificant and temporary we are… The post-production capitalist has something to do with the death of civics. But so does fear of smallness and death and everything being on fire.»

-David Foster Wallace