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MARUANI MERCIER Gallery

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België
Brussels
MARUANI MERCIER Gallery

Representing 20 artists, MARUANI MERCIER is a contemporary art gallery. Representing over 20 artists, MARUANI MERCIER is a contemporary art gallery.

Since opening its doors in 1995 it has focused on established American artist from the ‘80’s. The gallery has maintained long-term representation of influential artists like Donald Baechler, Ross Bleckner, Peter Halley, Jonathan Lasker, McDermott & McGough, Philip Taaffe and Sue Williams. The gallery’s presence in Belgium, the heart of Europe, through multiple locations in Brussels and Knokke has

allowed it to have simultaneous full-scale exhibitions. Along with its support in the production of their works, the gallery aims to promote the artists it represents by publishing catalogues or monographic documents, by participating in fairs, and above all, by helping with the organization of important museum retrospectives. At the turn of the new century, the gallery has developed its program with emerging artists such as Lyle Ashton Harris, David Lachapelle, Paul Morrison, George Shaw and Wendy White. The gallery is also known for working directly with the Estates or Associations to set-up museum quality shows like for Hans Hartung and Man Ray in 2012. After 28 years of gallery activities in Köln, Berlin and Zurich; Jablonka Galerie decided to transfer its activities to Maruani & Mercier Gallery.

07/09/2026

Wishing Gavin Turk a very happy 59th birthday!!

Featured:

Gavin Turk
“Ovum Black Umber”, 2019
bronze
58 x 58 x 80 cm
22 13/16 x 22 13/16 x 31 7/16 in
plinth H80 x 85 x 85 cm
total dimensions H138 x 85 x 85 cm

Gavin Turk
“Holy Egg (Pale Pink)”, 2022
Signed, titled and dated on the back
acrylic paint on canvas
173 x 122 x 4 cm
68 1/8 x 48 x 1 5/8 in

06/09/2026

Yesterday we celebrated Tony Matelli’s 55th birthday!

Featured:

Tony Matelli
Sleepwalker Male, 2014
painted bronze
170.2 x 109.2 x 66 cm
67 x 43 x 26 in

Nearly n**e with arms outstretched, the true-to-life Sleepwalker is exemplary of Tony Matelli’s ethos as an artist and is one of his most iconic pieces to date. Portrayed in a vulnerable state, the bronze sculpture is characterised by its hyperrealism, and straddles the boundaries of absurdity and humour while raising broader existential questions.

Sleepwalker had several “controversial” appearances, including its debut at the Davis Museum at Wellesley College in 2014 which sparked a heated debate among the student body. It was also featured in the group show ‘Unrealism’ presented by Larry Gagosian and Jeffrey Deitch in Miami, and
at The High Line in New York as part of the group show Wanderlust in 2016, amassing thousands of social media reactions. This edition was being exhibited in a group exhibition at the KunsthalKade Amersfoort in The Netherlands and lately at the Abby Museum in Kortrijk Belgium.

AP2 presents the last of the available work in the edition, all the rest of which are held in private collecitons throughout the United States. It has been extensively profiled in over 96 countries, with over 5,000 media mentions across digital and print publications.

02/09/2026

Congratulations to Ross Bleckner for his solo exhibition at the Guild Hall in East Hampton, US.

Ross Bleckner emerged as a leading artist in New York during the AIDS crisis of the 1980s, creating paintings that explore change, loss, memory, and the human body. A central figure in the decade’s revival of painting, he developed a practice that merges psychological, social, and political themes within a strong conceptual framework. In 1995, the Solomon R. Guggenheim Museum in New York presented a mid-career retrospective of his work, underscoring his importance in contemporary art.

NEVER THE LESS will highlight a lesser-known part of Bleckner’s process, offering new insight into one of the most prolific painters of our time. Bleckner begins by making his own paint and testing it on black paper, where the experimental brushwork often produces striking results. From there, he creates a series of small canvases that gradually increase in scale, leading to the large paintings for which he is best known.

Over decades, this approach has yielded hundreds—if not thousands—of works. Guild Hall presents a selection of these rarely seen studies alongside major large-scale paintings. While rooted in process, the smaller works stand powerfully on their own. Together, they reveal the breadth of Bleckner’s artistic vision, offering an expansive view of his practice across time—an illustrated timeline through painting.

This exhibition is organized by Melanie Crader, museum director and curator of visual arts, with support from Brianna Hernández, museum registrar and Claire Hunter, museum coordinator and curatorial associate.

SUNDAY, AUGUST 9, 2026 TO SUNDAY, OCTOBER 25, 2026

Photography credit: Francine Fleischer

19/08/2026

MARUANI MERCIER is delighted to present Tony Matelli: Sideways Dinner, the second solo exhibition of the artist, opening in our Knokke gallery on 8 August 2026.

Presenting a series of new sculptures, from an extraordinary life-size self-portrait to his iconic series of Weeds and Arrangements of inverted flowers painstakingly executed in painted bronze, the works in Sideways Dinner reorient one’s perception of the everyday and upend the ordinary angle of visual and social experience.

The exhibition takes its title from a new sculptural work that stages an upright arrangement of dinner plates, bottles, and glasses in a humorous take on the iconography of still-life painting. Forming a kind of pictorial plane or relief, the traces of human gathering in Sideways Dinner are at once resolutely familiar and uncanny in their defiance of the laws of physics and time. Drawing on readymade objects, the artist employs a wide range of techniques and materials, such as bronze, silicone and resin, to achieve exacting recreations that separate the trompe l’oeil realism of the surface from the object’s intended function. The works in the exhibition thus hover between the opposites of immediacy and reflection, the permanence and transience of both objects and human relations.

Featured:

Tony Matelli
Arrangement (584), 2022
silicone, epoxy, urethane, hair, clothing
170.2 x 88.9 x 61 cm - 67 x 35 x 24 in

11/08/2026

Wishing Kasper Sonne a very Happy 52nd Birthday.

And the perfect moment to announce his second solo exhibition with the gallery, “Kasper Sonne: People Are Strange”, opening on 10 September 2026 in Brussels.

Elegant and upright, the figures in this new body of work appear at once in harmony with and disassociation from lucid planes of water and sky in the landscape. Looking away in quiet contemplation, the elongated human presence in each work projects an almost mythic quality, as if traversing the space in solitude that feels timeless rather than incidental.

The paradox of iconic contemporary outfits in natural settings, together with the spectral light and the luminous palette in this new body of work projects a powerful sense of the instability of the human condition and questions the possibility of connection with another. As the artist notes, “For me, it’s always this conflict – it’s about displacement. I create these characters that have no obvious reason to be in these environments.”

Featured:

Kasper Sonne
“Skull Earring”, 2026
oil on linen
200 x 150 cm - 78 3/4 x 59 in

07/08/2026

03/08/2026

MARUANI MERCIER is delighted to present Tony Matelli: Sideways Dinner, the second solo exhibition of the artist, opening in our Knokke gallery on 8 August 2026.

Presenting a series of new sculptures, from an extraordinary life-size self-portrait to his iconic series of Weeds and Arrangements of inverted flowers painstakingly executed in painted bronze, the works in Sideways Dinner reorient one’s perception of the everyday and upend the ordinary angle of visual and social experience.

The exhibition takes its title from a new sculptural work that stages an upright arrangement of dinner plates, bottles, and glasses in a humorous take on the iconography of still-life painting. Forming a kind of pictorial plane or relief, the traces of human gathering in Sideways Dinner are at once resolutely familiar and uncanny in their defiance of the laws of physics and time. Drawing on readymade objects, the artist employs a wide range of techniques and materials, such as bronze, silicone and resin, to achieve exacting recreations that separate the trompe l’oeil realism of the surface from the object’s intended function. The works in the exhibition thus hover between the opposites of immediacy and reflection, the permanence and transience of both objects and human relations.

Featured:

Tony Matelli
Sideways Dinner, 2026
unique work
Painted bronze, polyurethane, stainless steel, epoxy
111.8 x 116.8 x 31.8 cm
44 x 46 x 12 1/2 in

30/07/2026

MARUANI MERCIER wishes Jonathan Lasker a wonderful 78th birthday and is delighted to announce his upcoming solo exhibition “A Survey of the Maquettes 1986-2026”, a selection of important works in oil on paper spanning nearly four decades of the artist’s practice. Invariably executed on a small scale with painstaking precision, Lasker’s earliest fully rendered ‘maquettes’ or ‘studies’ date from 1986 and have since occupied an essential place in his process. Underpinning some of the key large-scale paintings, the studies in the exhibition form a standalone body of work and offer insight into the dialectic of planning and spontaneity inherent to Lasker’s artistic production.

The introduction of oil studies in the mid-1980s coincided with the consolidation of Lasker’s highly reflective conceptual approach to painting. Whilst the artist had previously used only a preparatory sketch in pencil on paper, he now began to introduce complete and detailed oil studies for future paintings, which were subsequently enlarged and translated onto canvas. Despite their visual synchronicity, the study and the painting embodied two directly opposing modes of making a mark: the former operated as a site of intuitive and rapid gesture, rooted in Lasker’s longstanding interest in Surrealist automatic drawing; the latter slowly retraced each element with precision and control, as if delineating a quote from the subconscious mind. Exporting all intuition and compositional iterations to the oil studies, the iconic marks in Lasker’s paintings attained a degree of autonomy and inevitability that came to define his singular artistic language.

Featured:

Jonathan Lasker, Study for “Full Understanding”, 2009
oil and pigment pen on paper
15 x 20 cm | 6 x 8 in

Jonathan Lasker, Study for “The Inability to Sublimate”, 2007
oil and pigment pen on paper
15 x 20 cm | 6 x 8 in

Jonathan Lasker, Study for “Look Alike”, 1986
oil on paper
13 x 17 cm | 5 x 7 in

September 10 – October 31, 2026
Rue Saint-Georges, Brussels 1050

Public Opening: September 10, 2026 from 4 to 9pm.

20/07/2026

New works by Peter Halley.

Sector 5, 2026
50 x 41.75 in (127 x 106 cm)
Acrylic, fluorescent acrylic, and Roll-a-Tex on canvas

Blue Prison, 2026
46.5 x 40 in (118 x 101.5 cm)
Acrylic, fluorescent acrylic, and Roll-a-Tex on canvas

Red Cell with Conduit, 2026
40.5 x 41 in (103 x 104 cm)
Acrylic, fluorescent acrylic, and Roll-a-Tex on canvas

Peter Halley was born in New York in 1953. He received his BA from Yale University and his MFA from the University of New Orleans in 1978. Moving back to New York City had big influence on Halley’s painting style. Its three-dimensional urban grid led to geometric paintings that engage in a play of relationships between so-called “prisons” and “cells” – icons that reflect the increasing geometricization of social space in the world. Halley began to use colors and materials with specific connotations, such as fluorescent Day-Glo paint, mimicking the eerie glow of artificial lighting and reflective clothing and signs, as well as Roll-a-Tex, a texture additive used as surfacing in suburban buildings.  Halley is part of a generation of neo-conceptualist artists that first exhibited in New York’s East Village. This group includes Jeff Koons, Haim Steinbach, Mayier Vaisman, and Ashley Bickerton. These artists became identified on a wider scale with the labels neo-geo and neo-conceptualism, an art practice deriving from the conceptual art movement of the 1960s and 1970s. Focusing on the commodification of art and its relation to gender, race, and class, neo-conceptualists question art and art institutions with irony and pastiche.

26/06/2026

Summer Museum Shows | Arne Quinze, Jaclyn Conley, Hermann Nitsch & Peter Halley

ARNE QUINZE & JOANA VASCONCELOS AT VILLEFRANCHE-SUR-MER
L’ABSURDE ET LE RÊVE
Ongoing until October 31, 2026
La Citadelle, Villefranche-sur-Mer, France

JACLYN CONLEY AT SAATCHI GALLERY
THE SUN AND THE MOON: ART INSPIRED BY THE CELESTIAL
Ongoing until September 8, 2026
Saatchi Gallery, London, UK

HERMANN NITSCH AT SERRALVES FOUNDATION
VEXATION OF SPIRIT: THE DUERCKHEIM COLLECTION
Ongoing until November 1, 2026
Fundação de Serralves, Porto, Portugal

PETER HALLEY AT MUDAM LUXEMBOURG
VIDEO KILLED THE RADIO STAR: THE 1980’S AND THEIR CULTURAL EXHOES
Ongoing until October 10, 2026
MUDAM, Luxembourg, Grand Duchy of Luxembourg

Featured:

Arne Quinze, Dance of Dissonance, 2026. Installation view at La Citadelle, Villefranche-sur-mer. Photography by Dave Bruel

Jaclyn Conley, Crescent Moon, 2024. Installation view at Saatchi Gallery, London. Photography by David Owens

Hermann Nitsch, Grazer Raum, 1987. Installation view at Serralves Foundation, Porto

Peter Halley, Yesterday, Today, Tomorrow, 1987. Installation view at Mudam Luxembourg. Photography by Mareike Tocha © Mudam Luxembourg

Adresse

Avenue Louise 430
Brussels
1000

Heures d'ouverture

Lundi	10:00 - 18:00
Mardi	10:00 - 18:00
Mercredi	10:00 - 18:00
Jeudi	10:00 - 18:00
Vendredi	10:00 - 18:00
Samedi	11:00 - 18:00

Téléphone

+3225125010

Site Web

http://www.maruanimercier.com/

Notifications

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