Welcome to The fifth season, the new solo show of Anneke Eussen, starting from June 14 to September 07, 2025.

Anneke Eussen is known for glass sculptures made from recycled glass from various sources, including buildings and cars. Usually, these materials are discarded when their original use has ended. In Eussen’s hands, they form the starting point for her carefully composed wall sculptures. Eussen uses the recycled glass sheets in their original dimensions and conditions, choosing to preserve rust, dust and stains to create minimalist but painterly compositions reminiscent of colourless flags or fictional maps, as well as the borders and fenced environments they contain. Through a process of arranging and assembling found materials to create translucent sculptures, Eussen explores the sensory connection between past, present and future, and our relationship with built environments. Eussen’s works have many art historical precedents, from the ready-made sculptures of Marcel Duchamp to the use of typical disposable materials by Arte Povera artists. Eussen adds a formalism to the work of these predecessors. The result is elegant sculptures that oscillate between a modernist aesthetic and an unconventional materiality.

“It is all about the time we have, the time we waste, the time we wish we had, the time we remember, the time we feel, the time we spend.”

Those who have followed Anneke Eussen’s work throughout the years know that she works around systems of evaluation and has identified “time-passing” as the biggest impact on how these systems can change. She questions these systems, but also questions time as a concept itself.

Years ago, in a conversation with a close friend, Eussen explored the question of what art should be in a time where all big [major] ideologies have failed. Is there space and a visionary quality for new ideologies? This question has remained with her ever since.

Scattered ideas and believes, turning into new ideologies—where to start?

If “not belonging” is in fact a form of freedom we have been fighting for, then we should stop drawing distinctions between ourselves. The visionary goes beyond comparison and judgment. The visionary enbodies anything that opens our gaze. In Eussen’s view, the artistic action should be visionary. To add a new page—a transcendent space beyond the confinements of time and space—a fifth season—could be nice.

In this new selection of works, recovered shards and materials from various sources have guided Eussen’s actions. She draws attention to the cracks and inconsistencies within these materials, looking beyond their surface and purpose. Her attempts to smooth out these fractures, while knowing they can never be completely erased, reflect the [a] desire to achieve a sense of unity—even though such unity remains, by its nature, remains elusive.