Medusa is a non-profit nomadic collective based in Brussels that aims to stimulate cultural exchanges and promote new emerging artists. Serving as a platform, Medusa’s main objective is to provide the means upon which new conceptions within the current cultural landscape can flourish. Medusa strongly believes that artistic innovations emerge through dialogue, cross-over and collaboration.

 
    TEAM
Medusa is currently run by Tim Evers, Saskia Smith, Egon Moles Le Bailly & Lisa De Meyer. Anna De Wandeler is their legal advisor. Medusa was founded by Sacha Verleyen & Noa Verkeyn.

    EXHIBITIONS & PROJECTS
    REGISTERED OFFICE 
Medusa Offspace VZW Michel Zwabstraat 20 (7) 1080 Sint-Jans-Molenbeek registration number 0787.962.276 RPR Brussel

Website ©Saskia Smith
A true child of the information age, Mathias Mu ‘MMU’ (BE, 1991) filters through the data overload, trying to distill a reality that is ever changing. His influences range from video games and anime to Zen and Schopenhauer, from artificial intelligence and quantum technology to science fiction and archeology. MMU’s work reflects this by posing open questions. Questions that don’t seek answers but aim to broaden the viewer’s perspective and invite them to contemplate and participate in alternate realities. To challenge both history and the present and probe into the future, in search of a synergetic wave of the old and the new that transcends classical subjective perception and dualistic thinking. A place where subject and object are interchangeable and the distinction between fiction and non-fiction, function and non-function dissolves in order to create space for the unknown to flourish.
‘Oribe Doro’ (2021) refers to a type of historical Japanese lantern or shrine made out of stone and named after a tea master who designed these lanterns for Japanese tea gardens. It is part of a new body of work that is created digitally and 3D-printed in PLA. The pedestal it rests on consists of a mixture of concrete and recycled PLA which was used to print the supportive parts of the piece itself. Oribe Doro has the allure of a relic, like the artefact of an object that never existed. Playing with natural forms and industrial materials which aims to drive up the conceptual tension within the object itself. Although the name implies a functionality, Oribe Doro takes the role of an abstract entity floating between past and future, covering itself with ornaments as a way of expression, in search of a personality.