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


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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

Imagined and construed as a habitation, Arnaud Eubelen’s installation My Homies questions what the essence of a household is.
Text by Jeanne Mouffe

The variety of words that designate a living space indicate its polymorphic nature: house, home, habitat, residence, “my place”, domicile, household, shelter. The living space acts as a differentiator between the exterior and the interior, the familiar and the unknown. Referring to a ‘place where fire is made’, the hearth emphasises the warmth and familiarity of the living space: far from being a transient shelter, the home is a space that is being turned to time and again. This sense of mutual belonging between the home and its occupant is underlined in the distinction the English language makes between a house and a home.
    With My Homies, Arnaud Eubelen suggests that the home can be defined by the sharing of a space with the inanimate cohabitants that are the furniture - or even more broadly, the objects that occupy it. Homies are not only close friends but also the objects around which we gather. In other words, the home is less about the walls that delimit the space than the objects that occupy it.
    As a symbolic reproduction of the artist’s flat in Brussels, My Homies creates a singular space that could serve s an ideal home in a dystopian future. It invites the visitor into a new experience, in which he or she is the inhabitant of a space that is as aesthetic as it appears hostile to life. Objects with industrial materials and sharp shapes stand in categorical opposition to any attempt at organic development. The particular scenography of My Homies also makes it an immersive work, an installation whose elements extend to the surface of the walls, the colour of the ceiling.
    The mirror placed at the entrance inaugurates the journey between light and darkness, clear reflection and indiscernible figure. Through the efficiency of the method and the authenticity of the material - a waste product, recovered from the street and barely transformed, now an essential component of the home - Arnaud Eubelen invites the visitor to question all the possible combinations between the inside, the familiar, the outside, and the strange.

Enveloped with a poem by Romain Beaudot, the new publication, intended to complement the exhibition, traces Arnaud’s footsteps to the conception of his trash-to-treasure practice. Arnaud Eubelen and Jeanne Mouffe created this publication together with Birthday, Felony & Fuss, a Brussels-based publishing house that aims to restore relevance of artists’ books and multiples among young and emerging artists and writers.

Medusa also invited Brussels-based music label Slagwerk to animate the exhibition with a curation of local dj's.

    Performing a set inside the intimate domestic scenography of Arnaud Eubelen’s solo show: Atopos, Camille Keller, Lili Molli Shina, Moogy Maserati and authentic ny cap.