Björn Wandels (Ghent) employs a wide spectrum of media in a hybrid practice. His work ironically questions the premises of both analog and digital media by decoupling them from their traditional context or function.
He paints photographs from the darkroom, photographs drawings, and gives sound a cinematic form. Through short videos and collage loops, he builds installations that also incorporate poetry and typography.
Wandels does not aspire to scientific objectivity; his oeuvre is rather a personal translation dictated by the logic and boundaries of the artistic material. The result is inherently ambiguous: a body of work that constantly moves between the tragic and the absurd.
Björn Wandels studied photography at KASK in Ghent, but soon turned the camera on himself and his intimate surroundings: the kitchen, his parents, the bedroom. The family album — that "mendacious family archive" — became his starting point for introducing the error into his practice as a collector of images: ordering, reordering, deliberately disordering, against chronology. The album, after all, is physical proof that memory is not to be trusted.
After a window presentation at DeNode (2024), his solo exhibition allesgut follows in the autumn of 2026, with a monograph of the same name published by MER Books.
