In September 2024, the 32nd edition of the Sculpture Monumentale Exhibition unfolds in the lush heart of Brussels, at the Square Armand Steurs garden. This event is a significant occasion for promoting sculptural art in Belgium, as it is the only annual exhibition dedicated solely to sculpture. Initially launched in 1993 by Myriam Goeminne and Michel Delabaye, the event began on a modest scale but has since grown remarkably. This year, it showcases the work of 28 sculptors (21 men and 7 women), featuring a total of 33 sculptures, including 4 installations. The initiative also led to the establishment of the Square de la Sculpture non-profit association, further enhancing its impact in the art community.
The selection of artists is not bound by strict or imposed criteria; rather, as Myriam Goeminne herself puts it, it stems from “a passion: first for the person and then for the work.” Her goal is to bring art into public spaces. This initiative primarily aims to democratize art, allowing young people and children to engage with contemporary art in an open and playful setting. Acting as a concierge to the world of contemporary sculpture, the founder seeks to “open the door to art” for everyone.
The sensitivity of each artist shapes the works, which are initially developed in the studio and later refined on-site by Myriam. She carefully orchestrates the arrangement of the sculptures within the Square, fostering a dialogue between the space, the artworks, and the sculptures themselves. This thoughtful layout of Square Armand Steurs is intentional, creating a pathway that invites appreciation from multiple viewpoints throughout the garden. The curator, who considers herself “passionate about quality work,” chooses not to impose an official theme or predetermined subject. Instead, the heartfelt connections behind the selection naturally establish the coherence of the pieces and their intrinsic relationship with the location.
Like an initiatory rite, our journey through the garden serves as both an introduction to art and a deep introspection, even touching on existential questions. As we enter through the main gate, we are immediately greeted by Augure by Jean Canivet. This open door beckons us to explore the silent dialogues among the sculptures. We physically and visually cross the threshold into the future, heralded by Vent d’Ouest and Plume d’oie (Philippe Stevenart). Should we, with the lightness of a feather, allow ourselves to be swept away by this breeze of possibility? Beyond this opening lies the future, while behind us stands the door to the past. It becomes evident that the monumental arrangement embodies the concept of a cycle, an artistic reminder that every ending gives rise to a new beginning. As we continue our journey, on our left, we encounter Reflets d’Histoires (Jean Boghossian & Gilles Libert), prehistoric sculptures that rise from the lawn like echoes of Lascaux. This installation shares the space with Il y a des histoires qui durent longtemps (François Canart), featuring two intertwined circles that offer a simplified interpretation of the universe, alongside Nouvelles du front (Jean-François Diord), which resembles either a spacecraft from a primitive world or an inverted hut. We are immediately transported to a distant past that can only be grasped through our imagination.
Turning to the right, we discover Plan du Cosmos (Louise Brodsky): “I wanted to create a personal map of the universe” – Louise Brodsky. This interdisciplinary sculpture combines craftsmanship, mathematics, science, astronomy, and sculptural art. The artist’s love for metal arises from her interaction with this seemingly rigid material, which reveals its flexibility under pressure. This piece emphasizes Louise’s ambition to engage not only with the material that captivates her but also with a performance of engineering. Indeed, this sculpture is unique in that it rotates, embodying her belief that “it’s always more fascinating to have movement” – Louise Brodsky. As we retrace our steps, we are observed by Sangre Mía (Shankar Lestréhan), its watchful eyes scrutinizing us closely. Curious birds conceal a reclining caterpillar from Liaisons (Ramon Moreno), each segment evoking personal stories for the viewer, prompting a journey through their own memories, much like the rings of a tree. A mere glance can erase these reminiscences, paving the way for new narratives. Les Odeurs (Halinka Jakubowska) invade our thoughts, drawing our gaze to totems steeped in memories. Before us stand six monoliths, both hollow and solid, reminiscent of latent memories inscribed in stone. These sculptures capture suspended moments, transforming matter into scent: “There was the smell of rain, and it rained so much, and the sky was so gray that it left a mark, so I named it!” – Halinka Jakubowska. The intensity of this installation arises from the deep connection between the sculptor and the stone: “the man of my life”, as she describes it (since “stone” is masculine in Polish, her native language). For Jakubowska, scent transcends the moment, becoming inherent to the material and part of a dynamic exchange: “Every material we work with gives off a scent. When I strike, scales come off; the movement is so intense that pieces fall into my mouth: I crack them and swallow them.” As we walk along the fountain, we catch a glimpse of the myth of Narcissus. Facing the park’s water source, we confront our unfiltered reflection. A shattered mirror, Mosaïque (Turkan Eryoruk), reveals our ego, transforming us into the protagonists of our own internal drowning.
We ascend the stairs, and before us, Augure stands as we notice two pathways leading to the park’s secondary entrances. This elevated area explores the tension between earth and sky; yet, upon closer observation, we see that the upward movement is gradual. To the left, a human and earthly dimension unfolds, marked by an inverted Tree of Life (Antoine Leclercq), whose roots reach for the sky in a celebration of life. Following this is the sculpture Position of Yoga (Antoine Leclercq). We hold our breath, mirroring the pose of the artwork, and release it in harmony with the flowing curves of the composition: “It’s a challenge to gravity; it’s a metonymy of time”, says Antoine Leclercq, as we enter this state of meditation that intertwines physical and mental realms. Quête Double (Deborah Toussaint) similarly invites us to « explore oneself and the world,” according to Toussaint. This mirrored piece reflects the “inherent duality of human existence and the universe”.
The series concludes, or rather begins anew, with Chambre Sensorielle, colonne rouge (Jean-Bernard Métais, represented this year by Galerie La Forest Divonne). Captivated by this creation, we draw closer, step back, and circle around it to fully absorb its essence. In this interaction, the sculpture seems to move with us. The moiré technique (perforation) generates optical illusions and visual distortions that we experience as we engage with the work. Perfectly in tune with its surroundings, the sculpture provides a dual experience of observation: first, we admire it, and then we look through it. A line of ascending energy unfolds from left to right, enhanced by the sculptures that line the garden. We catch sight of a Kouros bust (Louis), remarkable for its lightness, accentuated by the horizontal cuts that run through it. In the darker corner of the garden, we glimpse Vitre sur un monde clos (Richard & Zéno Flament), crafted for “the shade of the great trees of Square Steurs”. “A transparent human presence… It illustrates that a light emerging from darkness casts no shadow…” (Zéno Flament).
The ascent toward the sky truly takes flight with Prince des nuées (Vincent Rousseau), which Antoine Leclercq describes as « a bird balancing between sheets of steel and its suspension ». A glance upward reveals L’élégance du papillon n°10 (Dominique Coutelle) fluttering nearby. This piece, both geometric and organic, presents only the wings soaring toward the azure expanse. This upward momentum is echoed in the dialogue with the lateral sculptures, such as Envol II (José Sahagun). The crescendo culminates with Triluce (Thierry Bontridder), facing the right exit. Here, three sails float in the sky, capturing the west wind and our future, inviting us to transcend our introspection and explore a deeper spirituality.
As you explore, you’ll also encounter the works of Bagherzadeh Noushin, Baudart Johan, Bol Jean-Paul, Delmotte Bruno, Roland Véronique, Sonville Paty, Van Der Auwera Bob, and Versaen Adrien, all on display until September 30th.
Article by Alice Ros, published in collaboration with That’s Nice.
