Medusa is a non-profit nomadic collective that aims to stimulate cultural exchanges and promote new emerging artists. Serving as a platform, Medusa’s main objective is to provide the fertile soil upon which new conceptions within the current cultural landscape can flourish. As Medusa strongly believes that artistic innovations emerge through dialogue, it places an emphasis on collaboration as a means to constantly evolve the discourse of artistic and cultural engagements.


Av. Raymond Vander Bruggen 8, 1070 Brussels (Available for rent)


A Regular Day Elsewhere
Now I Can Play Louder
Table d’hôtes
My Homies
Indigo Deijmann Loves Robert Pattinson
The Future in a Fossil
State of Flux
𝓘n the Cold Breeze of a New Earth
Hoogte Lengte Breedte (w/ Lina Ejdaa)
Gather Like Dust (w/ BOX22)


Rundgang Curator Picks: Medusa
Emergent Magazine (w/ Rinus Van de Velde)
Cendar Brussels by Galerie Zotto (w/ Sam Evers)


Tim Evers
Saskia Smith
Lisa De Meyer
Egon Moles Le Bailly
Anna De Wandeler


Sacha Verleyen 
Noa Verkeyn


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©Saskia Smith


MEDUSA OFF SPACE VZWBurgemeester J-L Thysplein 2/4 te 1090 Jette
Ondernemingsnummer 0787.962.276 RPR Brussel

WEBSITE ©Saskia Smith

A Regular Day Elsewhere

    Collaboration with Studio Hanniball Berlin

Studio Hanniball, Berlin

Angélique Aubrit & Ludovic Beillard
Gaspar De Geyndt
Jef Roels
Annefloor Arsonne
Lars Duchateau
Linus Berg

Characters, props, backdrops, or puppets – the composition of these elements determines what narrative gets told. The selected artists’ practices prioritize these foundational components, rather than the plots they may discern. With figures orphaned from a scene and backdrops brought to the forefront, “A Regular Day Elsewhere” embraces the fragmented ambiguity that emerges when these elements, typically domesticated within an established narrative, offer their own autonomous point of view in retelling.

Made possible by Flanders State of the Art

Angélique Aubrit & Ludovic Beillard

At the crossroad of sculpture, installation, video, performance and drawing, artist duo Angélique Aubrit and Ludovic Beillard build environments inhabited by anthropomorphic figures in which burlesque narratives and absurd theatre  unite. With wearable costumes of self-sewn clothes and wooden helmets that imitate anthropomorphic faces, these characters set off as the protagonists of performances. Representing minorities marginalised by society, they often find themselves stuck in impossible communication, narratives that emulate the human condition, reflecting the brutal and nebulous aspects of our present day. For Aubrit and Beillard, however, it is less about presenting a pessimistic view of the world than it is about establishing a state of civilisation, highlighting its relations of domination and order, and (re)writing a new form of collective venting.

Annefloor Arsonne

With profound awe for sound rooted in history, Annefloor Arsonne searches for the creaking, the screeching, the triumphant, the rustling, and the lamenting — a sensation that can only be envisioned as one marches through pitch-black mud in a marching band uniform, proudly raising a fist in the air. This mindset is reflected in the perseverance of her investigation across three components: challenging traditions in painting, such as the spatial use of paint on wood; pairing aesthetics as a complement to mechatronics; and striving for a direct dialogue between the observer and the artwork. With a ludic seriousness, Annefloor Arsonne's visual decisions allude to an unsettling nostalgia.

Gaspar De Geyndt

With drawing and painting as a mode of research, Gaspar dives into detail and returns by bringing a binocular-like vision to the fore. His paintings resurface transformed perspectives, where borders become tangible, lines turn into substantial shapes, trees or legs are rendered as abstract blobs rather than their conventional forms. Gaspar draws the reality out of his drawing, revealing the artifice and playfully exposing the trickster within. All the while he effortlessly conveys that –like a child pronouncing a word without fully understanding its meaning– expressions need not be overly literal to be felt.

Lars Duchateau

Lars’ Instagram ● Lars’ website

Linus Berg

Working with sculpture, writing and video, the juggler is Linus Berg’s current research subject. He looks at ideas of art, magic, work and their theoretic and biographical relations. Wondering where true knowledge lies, in experience or one’s own booksmartification, research and folly are his preferred devices. Across different historic and cultural contexts, the juggler had manifold reputations: Sometimes they were seen as skilled artists, sometimes as a magicians and other times as a tricksters not to be trusted. Today, if not an amateur or a circus person, the juggler is seen at red traffic lights hoping for some change from those on their way to the office. In many disciplines the showcase of mastery is important, a single ball drop ruins the act. Other rather comedic disciplines welcome practice and failure into the act, completing the trick only after the third attempt. Is the value in art that we can read it in terms of the labour and time invested in it or is it rather the making unrecognizable of these exact traits? In what seems like an effortless maneuver at first, the affair of play and work becomes more complex, seeing the balls in the air are corporate stress balls with the imprint “Curious? Squeeze & wait”, replicas of objects produced decades ago for a family member’s eventually failed product launch. Spheres beyond what is commonly called production are conjured through broken plates dropped on the floor, wondering about a more domestic reading of juggling while also second-guessing the legitimacy of fears of what really happens after a mishap, be it due to lack of skill or will.

Jef Roels

Jef Roels’ practice involves installation, painting, image making, composing and writing. His work deals with questions of storytelling, fantasy and viewer participation. Through the combined use of text and image or text and object, Roels attempts to guide the viewer in an imagination-fulled dialogue.
    His recent work researches the visual and narrative potential of mapping textures and sprites (computer-generated graphics) forgathered on the internet in texture folders of fifth generation 3D games like Super Mario 64 or Sonic Adventure.
    Considering their digital nature, Roels questions the role and function of these textures as they are brought to a physical condition through UV printing. The textures usually serve as backdrops for game design, but become tangible fragments of a virtual environment, remnants of a storyline.
    Guided by a text that fluctuates between script, poem and computing language, these textures serve as footing for one to construct an alternate play.

This is a beta.
Agent spawns, outside of the clipping region.
There’s something off, or Agent isn’t properly.

Start looking.
Properly what now?
isn’t fully loaded, maybe hasn’t been at all.

The sky is not multicolored.
Start looking.
Agent moves up to the water ripple FX and it’s silent.
The mountains are blurry.
Start looking.
There’s nothing comforting about it, it’s a beta.
Perhaps you aren’t supposed to be.
A what now?

Oh Four…
It all seems conceivably hard to debug.
The sky,
but more importantly the sprites are missing.

Agent can only see that it’s neutral, and the mountains are blurry.
Start looking.
how does Agent defrost?
Squeeze hard try to spawn harder.
Could defrost you too, I don’t know.

Oh Four…
I hope there’s some kind of
data thinner within.
Inner data.
It’s all awfully blend, neutral, neutral grey, not meaning, no sprites.
In here
The sky is still.
Still, no sky means no raytracing.
Everything is equally saturated.
This beta is shy.
Start looking.
Shy of everything living, GameObject, but multiplatform.

Shy of any controls.

I feel like.


I feel like we should try and find your vertex.
Go back to your hitbox.
Try to prevent collision detection.

See Agent,
A system sighs when it’s overloading.

That’s all it’s doing right now.