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Donderdag 13:00 - 18:00 Vrijdag 13:00 - 18:00 Zaterdag 13:00 - 18:00

Newchild Gallery

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België
Antwerp
Newchild Gallery

Newchild is also open by appointment.

Newchild gallery serves as a physical and digital platform for both established and emerging artists by creating offbeat exhibitions, participating in international art fairs, and collaborating regularly with museums and other galleries.

22/05/2026

DALTON GATA: CRIATURA EN CALOR

Dalton Gata’s ‘Fire Wets, Water Burns’ is now on view through June 18th.

In Gata’s painting ‘Criatura en calor’, the work unfolds like a fever dream suspended between seduction and combustion. A hybrid creature — part diva, part animal, part apparition — stretches across the canvas in waves of golden hair while flames erupt from its body like an emotional aura made physical. Dalton Gata transforms fire into something ambiguous: not only destruction, but glamour, desire, excess, and self-invention.

The figure exists in a state of theatrical becoming. Its hyper-stylized femininity, lacquered lips, and impossibly flowing body resist fixed identity, instead embracing transformation as performance. Beauty here is unstable — sensual yet feral, alluring yet faintly ominous. The surrounding landscape mirrors this tension: darkened skies, scattered stones, and sparse desert growth create a world that feels psychological rather than real, as though the environment itself were charged by the creature’s internal heat.

Like the larger universe of ‘Fire Wets, Water Burns’, the work refuses resolution. Opposites coexist without canceling one another: glamour and monstrosity, elegance and volatility, spectacle and stillness. In ‘Criatura en calor’, Gata offers the portrait not as a stable likeness, but as a site of fantasy, contradiction, and liberation.
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20/05/2026

NEWCHILD VOICES: BERNADETTE DESPUJOLS

In this edition of Newchild Voices, Venezuelan artist Bernadette Despujols offers deeper insight into her practice, discussing several previously on view in her recent solo exhibition, ‘The Brighter The Light’.

“[In the tropics,] the brightness is overwhelming,” the artist writes, “and the shadows it casts are dramatic, almost absolute.”

She recalls a moment during her architectural studies in Caracas when architect Jesús Tenreiro Degwitz described the difficulty of photographing outdoors in Venezuela. The sun was so strong that shadows collapsed into pure black, leaving only brief hours at dawn and dusk when the full range of tonal gradation could be captured. For Despujols, this optical phenomenon became a metaphor for the country itself: a place of extraordinary vitality where darker forces—political tension, censorship, rising violence—were steadily deepening.

This language of contrast underpins the paintings in her Belgian debut solo exhibition, ‘The Brighter The Light’. Despujols works with thickly layered surfaces in earthy tones—burnt sienna, umber, rust—interrupted by moments of luminous color. Figures emerge from these grounds with a quiet intensity. Their gazes rarely avert themselves; instead they meet the viewer directly, as if asking to be read beyond the visible.

🔗Link to full video in bio

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17/05/2026

DALTON GATA: LA RUTA DE LA LUNA

In La Ruta De La Luna, Dalton Gata leans further into surrealism, constructing a mysterious and almost devotional image in which portrait and landscape merge into a single psychological space. A luminous moon rests at the figure’s brow, casting a path of light across the sea that aligns with the lips, suggesting an interior route made visible — a spiritual and emotional journey unfolding through the body itself.

Luscious, flowing hair frames the composition like a living border, heightening the sense of enclosure, reverie, and transformation. The figure’s features feel suspended and slightly dislocated, reinforcing a fantastical, assembled presence less concerned with likeness than with perception, self-invention, and becoming.

Throughout ‘Fire Wets, Water Burns’, Gata constructs a universe where contradiction becomes atmosphere and beauty remains unstable, excessive, and charged with tension. Here, identity is not fixed or inherited, but composed through theatricality, desire, and transformation.
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15/05/2026

NOW ON VIEW: DALTON GATA

Dalton Gata’s solo exhibition ‘Fire Wets, Water Burn’s — the artist’s first solo exhibition in Belgium — is now on view at Newchild through June 18.

Throughout the exhibition, figures drift through states of glamour, fantasy, exhaustion, and combustion. Fire and smoke recur not simply as visual motifs, but as emotional and symbolic forces—extensions of desire, performance, and inner volatility. Flames do not merely destroy; they illuminate, adorn, and transform, while smoke moves through the works as something sensual and elusive, suspended between seduction and disappearance. In Gata’s universe, identity is never fixed, but continually composed through atmosphere, theatricality, and contradiction.

Across the works, opposites remain held in unstable proximity: stillness and spectacle, intimacy and artifice, serenity and unrest. Figures meet the viewer with calm, unwavering gazes even as their surroundings dissolve into smoke, light, or flame. Beauty here is not passive or reassuring, but heightened, performative, and charged with tension. Rather than resolving contradiction, Gata allows it to linger, creating a world where transformation itself becomes the dominant condition.
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13/05/2026

OPENING TOMORROW: DALTON GATA

Newchild is delighted to announce the opening tomorrow of Dalton Gata’s solo exhibition, ‘Fire Wets, Water Burns’. The Newchild team warmly invites you to join us for the opening on Thursday, May 14th, from 12–21h.

In ‘Fire Wets, Water Burns’, fire does not simply consume and water does not merely soothe; instead, each element trespasses into the territory of the other. Things behave badly, beautifully. The world of the exhibition is governed not by natural law but by a more sensuous, unstable logic, where contradiction becomes atmosphere and paradox becomes form. Gata, a Cuban-born artist living in Puerto Rico, has long cultivated a visual language in which the marvelous is not an escape from reality, but one of its most exacting expressions.

Working across painting, drawing, sculpture, and photography, Gata builds images that move between stylized realism and surrealism, between seduction and unease. His figures are meticulously staged yet never fixed; they seem to arrive before us in the act of becoming, as if identity itself were a performative medium—composed, worn, exaggerated, and reclaimed. In this sense, Gata’s paintings do not merely picture bodies; they choreograph presence. Artifice is not treated as falsity, but as a strategy of survival, glamour, and self-invention.

The exhibition will remain on view through June 18th, 2026, including during this year’s Antwerp Art Weekend.
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06/05/2026

LAST DAY TO VIEW: BERNADETTE DESPUJOLS

Newchild invites you to discover ‘The Brighter The Light’, a solo exhibition by Bernadette Despujols, on its final day tomorrow, Thursday, May 7th.

The exhibition takes its title from a Jungian proposition: the brighter the light, the darker the shadow. Despujols understands this not only as a psychological truth, but also as a literal condition of tropical geography.

“The brightness is overwhelming,” the artist writes, “and the shadows it casts are dramatic, almost absolute.”

She recalls a moment during her architectural studies in Caracas when architect Jesús Tenreiro Degwitz described the difficulty of photographing outdoors in Venezuela. The sun was so intense that shadows collapsed into pure black, leaving only brief moments at dawn and dusk when the full range of tonal gradation could be captured. For Despujols, this optical phenomenon became a metaphor for the country itself: a place of extraordinary vitality where darker forces—political tension, censorship, and rising violence—were steadily deepening.

This language of contrast underpins the paintings in her Belgian debut solo exhibition, ‘The Brighter The Light’. Despujols works with thickly layered surfaces in earthy tones—burnt sienna, umber, rust—interrupted by moments of luminous color. Figures emerge from these grounds with a quiet intensity. Their gazes rarely avert themselves; instead, they meet the viewer directly, as if asking to be read beyond the visible.

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Bernadette Despujols
Mi hermana y su hija mayor, 2026
Oil on linen
101.6 × 76.5 cm

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04/05/2026

NEWCHILD BOOK: CHEUNG TSZ HIN

“Emotions evoked by memories or encounters are fragile and fragmented. Over time, they’re fabricated, reconstructed, and sometimes inverted.” — Cheung Tsz Hin

Newchild is pleased to announce the launch of ‘Starlight Beneath the Wavy Leaves’, published on the occasion of Cheung Tsz Hin’s first solo exhibition with the gallery, now concluded.

‘Starlight Beneath the Wavy Leaves’, marks Cheung’s first solo presentation at Newchild and brought together a focused survey of recent works. Working across painting and photography, Cheung constructs images that hover between memory and invention—where forms feel both intimate and estranged, and perception itself becomes unstable. His compositions often unfold as quiet, staged encounters, shaped by shifting light, layered surfaces, and a sensitivity to atmosphere that resists fixed interpretation.

The accompanying hardcover monograph—Newchild’s second publication—offers an in-depth view of this evolving practice, bringing together paintings, photographs, installation views, and portraits of the artist, alongside a series of handwritten poems. Its intimate format and full-bleed imagery echo the tension in Cheung’s work between precision and dissolution, where details emerge and recede within a fluid visual field.

Published by Newchild Books in collaboration with Hopper & Fuchs, the publication includes a text by Diego Castaño, one of the gallery’s founders, alongside an essay by Chloe Chow and a dialogue with the artist conducted by Jims Lam.
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02/05/2026

FORTHCOMING: DALTON GATA
 ‘Fire Wets, Water Burns’
Opening: Thursday, May 14, 12:00–21:00

Antwerp Art Weekend Friday, May 30–Sunday, June 1, 12:00–18:00

Newchild is delighted to announce ‘Fire Wets, Water Burns’, Dalton Gata’s first solo exhibition in Belgium.

In ‘Fire Wets, Water Burns’, the laws of matter lose their manners. Fire does not simply consume, and water does not merely soothe; each element trespasses into the territory of the other. Across painting, drawing, sculpture, and photography, Gata builds a world governed by a sensuous, unstable logic, where contradiction becomes atmosphere and paradox becomes form.

A Cuban-born artist living in Puerto Rico, Gata moves between stylized realism and surrealism, seduction and unease, theatrical invention and psychological charge. His figures are meticulously staged yet never fixed, appearing in states of becoming, as if identity itself were a performative medium: composed, worn, exaggerated, and reclaimed.

Throughout the exhibition, surreal personae move through lush and estranged landscapes of botanical mutations, gleaming objects, and theatrical architectures. These spaces become psychic stages where longing, instability, fantasy, and memory gather.

‘Fire Wets, Water Burns’ will be on view at Newchild from May 14 to June 18, 2026.
— Dalton Gata García Muchacho de espaldas al mar, 2026 Acrylic on linen 120 × 120 cm

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14/04/2026

FORTHCOMING: ART BRUSSELS

Art Brussels
23–26 April 2026
Brussels Expo, Belgium
Booths 5E-27 & 5E-31

Newchild is pleased to announce its participation in the 42nd edition of Art Brussels, taking place from April 23 to April 26, 2026, at Brussels Expo. Newchild is proud to present a group exhibition with works by Madeleine Bialke, Cheung Tsz Hin, Adriaan Marin, Chris Oh, and Andrew Sendor at booth 5E-31, alongside a solo exhibition by Xi’an Kim at booth 5E-27.

Celebrated as one of Europe’s most significant contemporary art fairs, Art Brussels has maintained its central role in the international art calendar since its founding in 1968. This year’s edition will bring together 165 galleries from around the world, set within the historic Art Deco halls originally constructed for the 1935 Brussels International Exposition.

Should you wish to secure entrance tickets, please do not hesitate to contact us. We look forward to welcoming you at Art Brussels.
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BrusselsExpo

08/04/2026

THE MORGAN LIBRARY & MUSEUM: ANDREW SENDOR

Newchild is thrilled to announce that Andrew Sendor is participating in the group exhibition ‘Come Together: 3,000 Years of Stories and Storytelling’ at The Morgan Library & Museum in New York City.

A museum and independent research library located in the heart of New York City, the Morgan Library & Museum began as the personal library of financier, collector, and cultural benefactor Pierpont Morgan. As early as 1890 Morgan had begun to assemble a collection of illuminated, literary, and historical manuscripts, early printed books, and old master drawings and prints. The largest expansion in the Morgan’s history, adding 75,000 square feet to the campus, was completed in 2006. Designed by Pritzker Prize–winning architect Renzo Piano. Included in the collection are works by Leonardo DaVinci, Albrecht Dürer, Hans Memling, Rembrandt van Rijn, Jean Auguste Dominique Ingres, among many others.

This exhibition brings together over 140 works, including those by Francisco Goya, Philip Guston, Keith Haring, Peter Hujar, Nancy Spero, Salmon Toor, Kara Walker, and others, exploring how stories shape our understanding of the world across time. Andrew Sendor presents his drawing, Four replicas of stills from the documentary “Interview Sessions with Francis Gray: On Encoding, Storage, and Retrieval” (2014), as part of the exhibition. This work on paper is also held in the permanent collection of The Morgan Library & Museum.

We are proud to see Andrew Sendor makes a meaningful contribution to this timely dialogue. Come Together will be on view through May 3, 2026.
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Andrew Sendor
Four replicas of stills from the documentary “Interview Sessions with Francis Gray: On Encoding, Storage, and Retrieval”
2014
Graphite on paper
43.2 x 33 cm

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Vrijdag	13:00 - 18:00
Zaterdag	13:00 - 18:00

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