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Galila's POC, Brussels (2026)

12/03/2026

Happy to share some installation views of the exhibition ‘Sexisme pépouze’, curated by Myriam Leroy au Delta à Namur (Belgique)
An exhibition that brings together twenty two artists who confront online harassment, drawing on real messages sent by conspiracy theorists and far-right extremists. Among the powerful artworks showcased in the exhibition, ‘4267/50’ (2024) is part of our collection.

A collective artwork created by Jeanne Champenois-Masset, Roxane Daguet, Angeline Guzman , Sarah Juin , Anna Marguier , Lola Roy-Cassayre and Dunya Savilova , members of the Book Design Workshop at ENSAV - La Cambre (Brussels).

‘Sexisme pépouze’ - On view until 29.03.2026
📍Delta Namur - Av. Fernand Golenvaux 18, 5000 Namur, BE.

📸 1. 4267/50, 2024, Jeanne Champenois-Masset, Roxane Daguet, Angeline Guzman , Sarah Juin , Anna Marguier , Lola Roy-Cassayre and Dunya Savilova & Gargouilles, Agnese Rosano ©Le delta Namur
2. C’était le bon temps le sexisme pépouze, Elyse Galiano, 2025 ©Le delta Namur
3. Je me souviens, Loïs Soleil ©Le delta Namur

13/02/2026

Our Collection Travels to Namur 🇧🇪

We’re excited to share that “4267/50” (2024), a collective artwork from our collection, will be presented in the group exhibition ‘Sexisme pépouze’ , that opens today.

Curated by Myriam Leroy - Belgian journalist, columnist, documentary filmmaker and novelist - ‘Sexisme pépouze’ brings together twenty two artists who confront online harassment, drawing on real messages sent by conspiracy theorists and far-right extremists. Anonymised, archived, and transformed, these violent digital traces take shape as paintings, sculptures, books, performances, and more.

New to our collection, 4267/50 (2024) was created by fourteen hands: Jeanne Champenois-Masset, Roxane Daguet, Angeline Guzman , Sarah Juin , Anna Marguier , Lola Roy-Cassayre and Dunya Savilova , members of the Book Design Workshop at ENSAV - La Cambre (Brussels).

The piece gathers all the hate correspondence that Myriam Leroy was the victim of - a total of 4.300 messages. These messages become a monumental book, 85 cm tall, so heavy and high that it requires a pulley system to be handled. By putting one message per page, the collective highlights the immense volume of bullying and perversity, turning invisible online violence into a physical, overwhelming presence.

‘Sexisme pépouze’
14.02 > 29.03.2026
📍Delta Namur - Av. Fernand Golenvaux 18, 5000 Namur, Belgium.

📸 1,2 & 3. ‘4267/50’, 2024. ©Lola Roy-Cassayre

13/02/2026

Our Collection Travels to Namur 🇧🇪

We’re excited to share that “4267/50” (2024), a collective artwork from our collection, will be presented in the group exhibition ‘Sexisme pépouze’ , that opens today.💥

Curated by Myriam Leroy - Belgian journalist, columnist, documentary filmmaker and novelist - ‘Sexisme pépouze’ brings together twenty two artists who confront online harassment, drawing on real messages sent by conspiracy theorists and far-right extremists. Anonymised, archived, and transformed, these violent digital traces take shape as paintings, sculptures, books, performances, and more.

New to our collection, 4267/50 (2024) was created by fourteen hands: Jeanne Champenois-Masset, Roxane Daguet, Angeline Guzman , Sarah Juin , Anna Marguier , Lola Roy-Cassayre and Dunya Savilova , members of the Book Design Workshop at ENSAV - La Cambre (Brussels).

The piece gathers all the hate correspondence that Myriam Leroy was the victim of - a total of 4.300 messages. These messages become a monumental book, 85 cm tall, so heavy and high that it requires a pulley system to be handled. By putting one message per page, the collective highlights the immense volume of bullying and perversity, turning invisible online violence into a physical, overwhelming presence.

‘Sexisme pépouze’
14.02 > 29.03.2026
📍Delta Namur - Av. Fernand Golenvaux 18, 5000 Namur, Belgium

📸 1,2 & 3. ‘4267/50’, 2024. ©Lola Roy-Cassayre

21/01/2026

🩶 Ceramic Stories 🩶

Paloma De La Cruz (°1991, Spain) lives and works in Madrid.
Her work unfolds as a deep meditation on memory, cultural narratives, and transmission. Through ceramics and installation, she transforms fragile materials into poetic, living forms standing like emotional archives or vessels of resilience.

Drawing from Andalusian decorative traditions such as embroidery, lace, and tiles, the artist creates sculptural narratives that bridge the personal and the collective. Paloma de la Cruz pays tribute to lineage and matriarchy - echoing the linen works of her grandmother and honoring the women who carry memory through their hands.

In ‘’De aquella masa corporal’’(2025), clay is patiently woven until it resembles fabric, blurring the boundaries between robustness and fragility. The feminine, the ancestral, and the communal converge in delicate structures where memory is preserved and transformed.

✨ Tonight is the opening of the Ceramic Art Fair in Brussels .brussels! Don’t miss the chance to immerse yourself in a world of contemporary ceramics.

📷 1 & 2. Paloma de la Cruz, “De aquella masa corporal”, 2025

27/11/2025

✨ Stories Edged in Fragility

Arpy Gokceyan (°Lebanon, 1988) is currently based in Belgium and holds a Master’s degree in Ceramics from ENSAV, La Cambre, Brussels.
Her artistic practice explores themes such as diaspora, memory and identity within today’s global socio-political landscape. Her installations function as living archives of collective memory.
“In my recent works, I’ve felt a strong urge to revive the traditional crafts that helped my ancestors survive - sewing, hand-crocheting, marquetry, cane weaving, brass crafts-manship, and more. I find a compelling harmony in reinterpreting these Mediterranean crafts through contemporary porcelain, blending history with modernity to honor a legacy that refuses to fade.”

‘Assises fragiles’ are chairs with traditional cane weaving but rendered in porcelain.
Porcelain is known to be an unforgiving material: every detail it endures during shaping - cracks, handling marks, tension - becomes magnified after firing, revealing its fragile journey.
“Being Lebanese of Armenian descent, I belong to a lineage marked by war, genocide, and forced displacement. Through my installations, I sought to create a suspended space, where memories are kept alive through sound and light, offering a reflection on resilience and survival through the fragile but enduring nature of porcelain.”
The story behind the ‘Assises fragiles’ pieces showcased at Galila’s P.O.C. is emblematic of Galila’s unique connection with contemporary artists. When she visited Gokceyan’s exhibition, someone had sat on one of the chairs and broken it. Galila was thrilled to acquire the broken chair because, beyond its captivating aesthetic, the “brokenness” reinforces the artist’s exploration of what is remembered, what is lost, and what is transformed.

👀Gokceyan is currently having a solo exhibition at TAMAT (Tournai, Belgium) ‘Les fils invisibles de la mémoire’ until the 01.03.2026.
📷 1. 2. 3. Arpy Gokceyan, ‘Assises fragiles’, 2024

10/11/2025

𝑷𝒐𝒆𝒕𝒊𝒄 𝑴𝒆𝒂𝒔𝒖𝒓𝒆𝒔 📐✨

As many of you know, Galila’s collection is an ‘assemblage of collections’ – a mezze of her obsessions: eyes, books, chairs, trompe l’oeil, watermelons, etc. Among these, a quieter yet insistent theme emerges: ‘Instruments of Measure’.

How do we make sense of the world around us?
Through numbers, scales, rulers, these are the apparatuses we trust to fix reality in place. They promise precision, certainty, control. But what happens when artists appropriate these tools, turning them to measure not length or weight, but imagination, irony, emotion?
In Galila’s collection, the instruments repurpose and revolt. Measure becomes both inquiry and poetry: a ruler that refuses to rule; a clock that tells time sideways; a scale that weighs the invisible.
Each piece upends the logic of quantification, reminding us – with imperfect precision – that not everything that counts can be counted.

📷 1 & 2. D.D. Trans, ‘32 cm’, 2019. .d.trans
3 & 4. Steve McPherson, ‘28 Objects That Measure The World’, 2009-2010.
5. D.D. Trans, ‘The Architect’, 2019. .d.trans
6. Kim Seungjoo, ‘Ruboto W’, 2017
7. Ignacio Uriarte, ‘Ruler Square Space #1’, 2024.

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06/10/2025

𝑻𝒆𝒏𝒅𝒆𝒓 𝑳𝒐𝒗𝒆 𝑨𝒎𝒐𝒏𝒈 𝒕𝒉𝒆 𝑱𝒖𝒏𝒌 💚

This title, which echoes like a melancholic vintage rock ballad, was that of his solo exhibition at MoMA PS1 in 2012. It perfectly encapsulates the world of American artist Thomas Lanigan-Schmidt, whose constructions, collages, and mixed-media installations are defined by a kitsch opulence patiently crafted from household objects and items scavenged from dollar stores.

Evoking Byzantine splendor with cellophane, aluminum foil, tinsel, and glitter, Thomas Lanigan-Schmidt (°1948, United States) was among the pioneers of a maximalist aesthetic in the late 1960s. His work explores the tensions between gay sexuality, religion, and class struggle, freely intertwining high and low, sacred and profane. In defiance of the austere canons of conceptualism and minimalism that dominated his generation, he developed a radically decorative practice - excessive, spiritual, and deeply human - an approach still too rarely acknowledged in the history of American art.

Welcome to the collection to this sublime, trashy shoe, ‘Untitled (High Heel)’ (2003), born from the improbable assemblage of a plastic bottle, beads, tinsel, staples, a pipe cleaner, and a handful of other unidentified found fragments. Fragile yet flamboyant, it stands as a glittering relic, a high-heeled witness to a night once spent on the dance floor.

📷 Thomas Lanigan-Schmidt, ‘Untitled (High Heel)’, 2003.

01/10/2025

Join us tomorrow 💫

Galila’s P.O.C will be open to the public exclusively for the Gallery Night organized by ‘Parcours 1190’. On this special occasion, you can take a free sneak peek to our collection on Thursday, October 2nd, from 17:00 to 22:00.

Come with friends and family, enjoy an inspiring art walk through Forest, and let yourself be surprised by the many discoveries that await you. 🌟 Our team will be there to welcome you.

‘Parcours 1190’ is a wonderful initiative - in which we are thrilled to take part for the second time - launched by the Forest commune to highlight our vibrant and dynamic neighborhood. Artists studios, art spaces, and private collections will open their doors to the public during the first weekend of October. Discover the full program on their website (link in bio).

📆 Thursday 02.10.2025 🕰️ From 17:00 to 22:00
📍Galila’s P.O.C – Avenue Van Volxem 295

18/09/2025

👁️ 𝑩𝒐𝒐𝒌 𝒚𝒐𝒖𝒓 𝒗𝒊𝒔𝒊𝒕 𝒘𝒊𝒕𝒉 𝑮𝒂𝒍𝒊𝒍𝒂

Turning leaves in the autumn means getting rid of those lingering post-summer blues. What better way to chase those doldrums out than taking in an inspiring Sunday afternoon surrounded by art!

Join us on Sunday, September 28 at 14:30 for a guided tour of Galila’s P.O.C., led by Galila Barzilai herself – a colorful, story-filled tour through our ever-evolving exhibition ‘Overdose’.

📍 Galila’s P.O.C., Avenue Van Volxem 295 – 1190 Brussels.
📅 Sunday 28.09.2025 at 14:30
🎟 Only by reservation via Billetweb (link in bio)

📸 Portrait of Galila

08/09/2025

𝗪𝗲𝗹𝗰𝗼𝗺𝗲 𝗯𝗮𝗰𝗸 🩵
We hope your summer has been filled with light, inspiring encounters, and sparks of creativity. It is with great joy that we welcome you back for a new season at Galila’s P.O.C, still driven by the desire to share with you the energy and boldness that have been at the heart of the collection for 20 years.

Discover our program for this fall with our upcoming visits, our latest news, and a focus on newcomers in our family. We can’t wait to see you soon!

𝗕𝗼𝗼𝗸 𝘆𝗼𝘂𝗿 𝘃𝗶𝘀𝗶𝘁 𝘄𝗶𝘁𝗵 𝗚𝗮𝗹𝗶𝗹𝗮
Sunday 28.09 at 2.30pm or Saturday 11.10 at 10.30am. 🎟 Only by reservation via Billetweb (link in bio).

𝗛𝗮𝘃𝗲 𝗮 𝗴𝗹𝗶𝗺𝗽𝘀𝗲 𝗮𝘁 𝗣.𝗢.𝗖 𝗱𝘂𝗿𝗶𝗻𝗴 𝗣𝗮𝗿𝗰𝗼𝘂𝗿𝘀 𝟭𝟭𝟵𝟬!
We are happy to announce our participation in the next edition of Parcours 1190. A section of our ground floor will be accessible during the Gallery Night on Thursday 02.10, from 5pm till 10pm. Our team will be there to welcome you (no reservation needed).

𝗢𝘂𝗿 𝗰𝗼𝗹𝗹𝗲𝗰𝘁𝗶𝗼𝗻 𝗹𝗶𝗸𝗲𝘀 𝘁𝗼 𝘁𝗿𝗮𝘃𝗲𝗹
The incredible piece « Cloud II » by Bouke de Vries will be presented by The National Museum in Oslo (NO) as part of the collective exhibition « ART·HAND·WORK » (19.09.2025 - 01.02.2026).

Two works by Tayeba Begum Lipi and Monica Bonvicini are now featured in the exhibition « ENGAGÉES » at the Fondation Villa Datris in L’Isle-sur-la-Sorgue (FR) until 02.11.2025.

𝗡𝗲𝘄 𝘁𝗿𝗲𝗮𝘀𝘂𝗿𝗲𝘀 𝗶𝗻 𝘁𝗵𝗲 𝗰𝗼𝗹𝗹𝗲𝗰𝘁𝗶𝗼𝗻
We’re thrilled to introduce you to 3 wonderful additions to our collection. Shake off those post-holiday blues and immerse yourself in the inspiring worlds of Romeo Gomez Lopez , Keita Miyazaki .miyazaki.722 and Maria Saygua André .art (link in bio for a short article).

📸1 & 4. Bouke de Vries, (Detail) « Cloud II », 2018, photo credit: Bouke de Vries.
2. Galila’s Portrait by Sam Gilbert .
3. P.O.C. general view, photo credit: Damon de Backer .
5. Romeo Gomez Lopez, « Les futurmis », 2025 (DM for photo credit).

14/07/2025

𝑯𝒂𝒗𝒆 𝒂 𝒈𝒐𝒐𝒅 𝒔𝒖𝒎𝒎𝒆𝒓💦

As another remarkable year draws to a close, we want to extend our heartfelt thanks to all our enthusiastic visitors! This past season was filled with memorable highlights, among them, the privilege of showcasing our collection at the beautiful MAD Brussels .brussels, and the incredible energy of VOLXEM .

Our team wishes you a wonderful and relaxing summer! We’ll be back to welcome you starting Thursday 14 August, as we continue to celebrate the twentieth anniversary of the collection.

Until then, if you’d like to explore pieces from our collection, you can visit one of these exhibitions:
~ ‘ENGAGÉES’, Fondation Villa Datris, L’Isle-sur-la-Sorgue, France (until 2.11.2025)
~ ‘Uncensored. Annegret Soltau – A Retrospective’, Städel Museum, Frankfurt, Germany (until 17.08.2025) ,
~ National Museum of Art, Architecture and Design, Oslo, Norway

To illustrate this post, a small selection of our most beautiful suitcases, ready to follow you wherever summer takes you!

🧳

25/06/2025

🌱𝑾𝒆𝒍𝒄𝒐𝒎𝒆 𝒊𝒏 𝒕𝒉𝒆 𝑪𝒐𝒍𝒍𝒆𝒄𝒕𝒊𝒐𝒏 🌱

Guy Larramé (°1972, Argentina) works across sculpture, painting and installation to probe the life cycle of cultures - how they arise, decay and disappear. Over the past 25 years, their poetic assemblages and carved volumes meditate on our obsession with “progress” and the tension between analytical knowledge and the intuitive pulse beneath it all.

“Dedo de Dios - Finger of God” (2019) made of carved books, embodies both ruin and reverence. Larramé invites us to contemplate what remains sacred when the edifices of knowledge crumble. By eroding encyclopedias into rolling hills and draping them in mist, the work asks: if the library is finished, what happens when we let go of the idea that knowing equals power? In this “Finger of God,” divinity emerges not as an all-powerful force but as the quiet residue of our shared stories.

“I carve landscapes out of books and I paint romantic landscapes. Mountains of disused knowledge return to what they really are: mountains. They erode a bit more and they become hills. Then they flatten and become fields where apparently nothing is happening. Piles of obsolete encyclopedias return to that which does not need to say anything, that which simply is!”

👁 Come discover this new artwork and much more during our monthly public visits. Our next visit, after the summer break, is scheduled on Saturday 20.09.2025 at 14:30.
🎟 Only by reservation via Billetweb (link in bio)

📷 Guy Laramée, “Dedo de Dios (Finger of God)”, 2019. Photos credits: Guy Laramée.
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