Hangar Gallery is delighted to take part in Art Rotterdam / Unseen 2026 with Sylvie Bonnot, Antoine De Winter, Lior Gal & Luc Praet.
Hangar Gallery presents at Art Rotterdam/Unseen a selection composed exclusively of unique works, weaving links between visual arts and photography, pushing the boundaries of creation and promoting dialogue between past and present.
- Sylvie Bonnot is known for her ‘mues' (moults), removing the silver-based membrane from her photographic prints and repositioning it onto various supports, where the crystallized creases carry intertwined narratives of forests and human presence.
- Antoine De Winter works with glass, combining early photographic techniques and gold leaf to create photographic relics. Like fragments of memory, his works summon the very material of their subjects, whether AI-modified portraits or the salt and earth of Cadaqués.
- Lior Gal blends photography and weaving from fragments of analogue landscapes, whose obscured surfaces evoke time and meditation in the face of mechanical immediacy.
- Luc Praet visits museums around the world to photograph the floral paintings of the Flemish masters. By intervening on his prints, he reveals the passage of time and the alterations of memory.
Prices including 6% VAT
Info and availabilities
Paul de La Marandais
paul.delamarandais@hangar.art0032 455 18 15 29
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SYLVIE BONNOT
FR - 1982
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She is a laureate of the Elles & Cité program at the Cité Internationale des Arts, 2025, Paris, the ECPAD X ADAGP residency, 2024, and the Grande Commande Photo piloted by the Bibliothèque nationale de France (BnF) 2021-2023.
Sylvie Bonnot's exhibitions include: NEO-ANALOG 2025/2026, Le Royaume des moustiques / Vol. 1, Cité internationale des Arts, Paris and Paris Photo 2025 X Hangar Gallery ; Photo Hanoï 2025 ; Rethinking photography, EMoP Lux, 2025; Décoller-Atterrir, solo show at the Château de Tours, 2024; Un monde en mue, solo show Approche x Réseau Lux, 2024; UNIQUE, Hangar, Brussels, 2024; La France sous leurs yeux and Épreuves de la matière, BnF, 2023-24; Rencontres photographiques de Guyane, 2023; Géographies d’une fusée, solo show, CNES, 2023; Le sens de la pente, solo show, Centre d’Art d’Ugine, 2022; Baïkonour Tour, Interface, 2022; a ppr oc he, 2021; Mobile/Immobile, Musée des Archives Nationales, 2019; Le Baïkal Intérieur, solo show, le Bleu du Ciel, 2018; Contre-Courants, solo show, Musée de La Roche-surYon, 2018; Nuit Blanche 2017, Cnes, Paris.
Sylvie Bonnot's works are in public collections, including: BnF, Musée Nicéphore Nièpce, Cnes, Les Abattoirs, Fmac Gentilly, Musée de La Roche-sur-Yon, BM de Lyon, as well as in private col- lections: Hangar, ADHEX, Collection Meeschaert, Normec Group...
Her work has been the subject of monographic publications such as Rethinking Photography by Sylvie Bonnot, EMoP Lux, 2025; L'Arbre-machine, un monde en mue, Loco, Paris, 2024; Derrière la retenue, Actes Sud, 2017; and Contre-Courants, Nouvelles éditions Place, 2016.
The skin of the world
"Sylvie Bonnot is a traveling artist. Her work has taken her from the density and hustle and bustle of Tokyo to the isolated and rugged areas of the Spitsbergen archipelago, the Australian desert, and the Guiana Amazon. For several years now, thanks to a partnership with the French National Center for Space Studies, she has been exploring space and its conquest. But each time, she returns to the countryside and forests of Burgundy, where she now lives, which form the “geographical meeting point” of these contrasting territories. To reflect the diversity of her experiences and her view of the world, Sylvie Bonnot uses a variety of approaches, processes, and photographic techniques. She may adopt a strictly documentary approach or favor expe- rimentation which, without ever questioning the representational power of the image, increases its evocative power. She then resorts to burning the negative, making incisions in the print, cru- mpling or peeling it by detaching the thin silver gelatin film and transposing this “molting” onto other media, whether fabric, a volume, or the very walls of the exhibition. The pieces, in which organic and technical images coexist, reflect the richness of her experimental practice, which, literally and figuratively, reveals the skin of the world."
Étienne Hatt, Artpress
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Exhibition view Le Royaume des moustiques - Solo show Sylvie Bonnot 23 January - 22 February 2026 HANGAR (BE), 2026
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ANTOINE DE WINTER
BE - 1985
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Salt collected by the sea, local rock, and glacial soot become the photographic agents that bring forth what has been seen. The photographed place thus becomes the image itself: what he calls "geological photography."
What interests him is not the simple capture of a moment, but the moment of the image's emergence-that fragile instant when it is constructed in the encounter between captured light and collected matter, when it is not yet fully there. In the face of the contemporary dematerialization of the image, he affirms a slowness of gesture, a search for essentiality, an acceptance of imperfection and impermanence.
His works, unique and fragile, reveal themselves slowly, under certain angles of light, inviting an attentive experience where the gaze can rest, linger, and meditate.
Selected exhbitions :2025 - All the places and the places between, solo show Hangar gallery; Incadaques, soloshow ; Dans tes brumes, group show galerie Les Filles du Calvaire, Paris
2024 - Apparition, Hangar Gallery, Bruxelles ; A PPR OCHE, Paris ; Unique, Hangar, Bruxelles; Biennale de l’image du tangible, Paris; Down by the sea engine, Bruxelles ; Private Views, Musée de la Boverie, Liège
2023 - Chataigneraie, group show, Liège ; TI-PI, solo, Gand, Art Brussels ; Exposition Centre Wallon d’art contemporrain ; Art en scène, Solo, Bruxelles
2022 - Art au centre, Liège ; Memories of water, Festival photographique de Vendôme, France
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All the places and the places between
2025A place begins where the map ends. Behind the name that designates it lies a tangible reality, made up of shifting light, salt crystals, and time accumulating in layers— just as geology writes its memory.
This work explores territory as lived experience and photographic memory. Between the map that claims to say it all and the place that eludes us, a third space opens up: one where matter carries memory, where the image becomes the place itself. Salt collected at the seashore crystallizes in the mountains on the emulsion. Local rock brings the sea to life within the image. These inversions are the secret correspondences between the elements—what the place carries of the mountain, what the mountain retains of the sea. The photographic image becomes the very site of this encounter. In this alchemy of materials—salt crystals, stone, light—a cartography of metamorphoses takes shape, that of a landscape that remembers.Photography ceases to be an instrument of capture to become a territory of appearance. A place where memory is mineral, saline, luminous. A place between places.
This series was created during a residendy for InCadaques festival. -
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Followers
2024 - 2025Followers explores the production of images and their emotional resonance in the age of AI. The project questions the sacralization of the image and self-representation by creating a dialogue between the photographic past and present.
Each face is generated by artificial intelligence using fake online profiles. These portraits exist only within a fabricated matrix, a digital counter-space. Phantom followers, algorithms of an absent sociability. These virtual identities are then transposed using traditional silver-based processes— cyanotypes on cotton paper shaped with beeswax, ambrotypes, anthracotypes. The digital image becomes a tangible photographic object. It is not the initial capture that creates the image, but its repeated passage from one medium to another.
Each step transforms the portrait: from algorithmic data, it becomes photographic matter, a tactile relic. The digital becomes film, the virtual becomes glass, cotton, gold. These relic-images evoke a unsettling sensation: looking while being observed. Their physical existence challenges our viewing habits, as if the image could only be twodimensional, confined to the screen. They awaken the echo of a fragile humanity, a memory of a reality that is nonetheless absent. -
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LIOR GAL
FR/IS - 1977
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«Lior Gal’s work... stems from traversals long walks in and places, during which left or found imprints in the landscape are being photographed in black & white. Then the photographic residue is attached to an image of a nocturnal skyscape taken in a different location...The collage-like appearance conveys a duality of night and day, high and low, inner and outer, here and there... The picture is further sophisticated when a thread is being coiled around the wedded photographic appearance. During a slow monotonic activity, the thread screens the imagery, implements a visual impairment that goes against the immediacy of the mechanized photographic recording, while reverberating the original traversal with its challenging visibility and slowed temporality. The threaded screen veils the image, but, at the same time, points to the crack therein.»
Ory Dessau
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LUC PRAET
BE - 1966
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Consisting of an endless series of photographs captured in museums around the world, primarily working from works dating from the Renaissance to the early 20th century, Luc Praet then moves away from the standard reproduction process, each image undergoing deliberate alterations. This approach goes beyond conventional norms of photographic editing, creating works where each image transcends the simple notion of a copy to become a unique and singular piece.
Several chapters from the ALTERED series have been exhibited in Brussels since 2020, notably at ELEVENSTEENS (Brussels) in 2020 and 2023, as well as at the 7th edition of the PhotoBrussels Festival, at the Galerie La Patinoire Royale Bach (Brussels) in 2022 and at the Hangar in 2024.
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ALTERED / Flowers
2025/2026Luc Praet unveils his new series ALTERED/Flowers specially for Art Rotterdam / UNSEEN 2026.
Continuing his meticulous exploration of the world’s greatest museums, Luc Praet turns his attention in this new chapter of ALTERED / Flowers to floral motifs in the paintings of the greatest masters.
From Copenhagen to New York, from Vienna to Amsterdam, he seeks to capture the beauty of flowers and the artists who have celebrated them before him. Viewers may recognize certain still lifes by the Flemish Masters, when the flower became a subject in its own right and a metaphor for life. Sometimes it is simply a tiny detail that Luc Praet’s eye has managed to catch.
After taking the photograph, the meticulous work of altering his prints begins, to make them unique. The alteration of forms and colors functions as a pictorial representation of the mechanisms of memory and the passage of time, while celebrating the creative richness of the artists who came before us.
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Prices including 6% VAT
Info and availabilities :
Paul de La Marandais
paul.delamarandais@hangar.art0032 455 18 15 29
