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Edith Dekyndt

© Barthélémy Decobecq

Year of birth, place



By focusing on the sculptural and painterly qualities of the mundane using time-based processes that activate change and decay, Dekyndt brings traditional formal concerns of artistic autonomy 'down to earth'. The consequences are profound, focusing on questions of knowledge, perception, and reality by engaging the fascination and empathy of the viewer rather than 'objective' analysis. If her minimal style, that isolates materials subjected to chemical and physical transformations, begs comparison to scientific procedures, her aim is thoroughly 'subjective', orientated not to results but towards mysterious occurrence. In her work, objects come alive in a way that breaks down typical subject-object debates.

Recent solo exhibitions include: Specific Moments, Walter and Nicole Leblanc Foundation, Brussels (2024); Specifics Subjects, CAB Foundation, St Paul de Vence, (2024); Song for the Siren, Forum of the Teatrino, Pallazzo Grassi,Venice, (2024); Chronology of Tears, Mukha, Antwerpen, (2024); Ne pas laver le sable jaune, Greta Meert Gallery, Brussels, (2023); Paradise Syndrome, KunstMuseum Lichtenstein, Vaduz, March 2023; L'Origine des choses, Bourse de Commerce, Pinault Collection, Paris, (2023-2024), Organ, De Singel, Antwerpen and Le Fresnoy, Tourcoing, (2022), Aria For Inertia, Chapelle de Laennec, Paris, (2022); The Memory Of Everything In The World, Karin Guenther Gallery, Hamburg, (2022); Concentrated Form of Non-Material Energy, St Matthaüs Church, Berlin, (2022) Broken Drawings, Greta Meert Gallery, Brussels, (2021-2022).


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