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The exhibition took place from 5-22 April 2019 and opened with a reception on 5 April 2019.

Participating artists were from Colombia, Belgium and the UK.


The following texts of the exhibition are a mix of the own words of the artists and the words of Parce. Therefore, they include individual appreciations of every artist and the perspective, thoughts and dialogues that the Parce Director found while organizing and creating this exhibtion.

Leyla Cárdenas (COL)

Title: Interpretation of Deep Time. (first try)

Year: 2017

Technique: Mono-canal projection. Blue ray, sound. 6 min.  

Format: Variable

Sound Composition: Melissa Vargas 
Camera: Juan Carlos Pilonieta, Bárbara Santos
Post-production: Bárbara Santos, Laura Imery
Thanks to: Clemencia Echeverri, Andrés Gaitán, Guillermo Santos, Ramón Villamarín, Ingrid Raymond.

The notion of deep time confirms that it is in the space where the value of time is stored. The beautiful quote: “In the presence of eternity, the mountains are as transient as the clouds” attributed to Ralph Ingersoll, well known public speaker of the 1930’s.  The essence of this quote is found in the Qur’an, (Sura 27, Aya 88). Using the antipode as a geographical metaphor the camera "reads" slowly through the stratigraphy of an eroded mountain, making a parallel between a "geological construction" and a "human construction". What you see upside down is a rammed earth wall found in a state of ruin near the outskirts of Bogotá. The second text as we go across the ground: "this world with all its details has been elaborated and annihilated, and will be elaborated and annihilated: infinitely" comes from Borges quoting Hume.

Title: Re:weave (white ghost)

Year: 2017

Technique: Unweaved dye-sublimated polyester silk

Format: variable

The images on the fabrics, document some of the traces left by old buildings that the artists documents from different places she visits, in this case there are some details of the quarry of Maastricht. The intention is to un-weave a specific space which depicts as well different temporalities and states of the matter.  The process pretends to unweave or unravel accumulated layers of time in a non-linear way. Somehow the image and its ghostly materiality becomes a palimpsest that superimposes and blends past, present and future of that space transferred in to the veil.

Cárdenas installation, sculpture, mixed-media work delves into urban ruins and cities landscapes as indications of social transformation, loss and historical memory. Remains, fragments, discarded structures, are used as material for her work, with a sculptural strategy that is as much destructive as constructive.

Recent projects include: Cuenca Bienal in Ecuador: Estructuras Vivientes in 2018. In 2017 her work Excision was part of the exhibition Home-So different, So appealing; shown at LACMA as part of Pacific Standard Time: LA/LA del Getty and at Museum of Fine Arts Houston (MFAH). As well in 2017 she participated in the California Pacific Trienal -Building as Ever- at OCMA (Orange County Museum of Art).

Cárdenas work can be found in public and private collections in Colombia, South America , Europe and throughout the States.

Sonja Geens (BEL)

Title: Frozen Memory

Year: 2019

Technique: 7 Painted portraits cast in resin

Format: A4

The painted portraits are cast in resin, as if they were frozen. The work originated from a desire to save, to preserve. To not forget. The inspiration for the paintings came from weathered and faded gravestone photos.

Sonja is a visual artist. She paints with acrylic paint and adapts skinny paint layers with water, sandpaper and resin. She also works with fragile materials such as beeswax, old paper, gauze and antique textiles.

She finds her inspiration in the small and in coincidence, from which she filters images of a shaky reality or of a place in the memory. Her work is sober, monochrome ,vulnerable and dubitable.

Gert van Dessel (BEL)

Title:  Kodak Track

Year:   2019

Technique: Series of manipulated photos from 1879, conserved in 12 units

Format: multiple


Series of manipulated photos from 1879, seemingly frozen and conserved in 12 units


Title:  Melting Project

Year:   2019

Technique: Wax object melting by warmth, on statue Format: Multiple


Wax object melting by warmth

Gert is a lighting designer and visual artist. He works with synthetic resin and found objects. His nomadic search provides an archive of weathered materials. He manipulates the old findings and combines them with new materials through which he connects past and present. His traditional method of working and extensive material research gives unexpected textures and connections.