27 October—10 December 2018


No Comment

ACHAA projects is pleased to present No Comment, recent work by Sacha Eckes. Brash, boldly executed and rife with contradictions, Eckes’ work takes on the history of art and the mechanisms of artistic celebrity with unapologetic brio. Her work embraces a variety of media, from posters and print advertisements to pages from books, canvas, found objects and more.

Language has always been important in Sacha Eckes’ oeuvre, and in No Comment word and image are deftly deployed to skewer the fraught relations of power, gender and creativity that traverse the art world. The weight of Western art history, largely a patriarchal affair, enters the picture in the form of proxies – mainly male artists – from Rubens and Rembrandt to Tuymans and Fabre, giving the exhibition a distinctly Antwerpian twist. Their presumed authority is shrugged off with a nudge and a wink – and an evil giggle that would make Beavis and Butthead proud. Though it is easy to be swept away by Eckes’ typically ribald humor – viewers are often surprised to discover that the artist is a woman – the salty crust conceals an immense vulnerability and a need to come to grips with a complex world whose contradictions are at times overwhelming.


Sacha Eckes (b. 1971, Bruges, Belgium) received a BA in printmaking from the Saint Lucas College of Art in Ghent in 1993 before heading west to San Francisco, where she worked as a freelance artist and curator before returning to Ghent for her MFA at Saint Lucas in 2010-2011. She has exhibited widely in San Francisco, Portland, Seattle, Detroit, Ghent, Antwerp and Waregem (BE). She is currently represented by Bruthaus Gallery in Waregem (


1 September—14 October 2018

ACHAA projects is delighted to present Diaries, recent work by Kim Kyoungae (SK) and Claire de Jong (SA). Kim Kyoungae’s striking organic forms are inspired by the inner workings of the body and the machinery of healing. Limited to the confines of the hospital where her mother was being treated for cancer, she took to her sketchbook as the only medium compact enough to work in such surroundings – with monumental results. Claire de Jong’s sculptural forms, by contrast, take cues from the likes of Barbara Hepworth to embody rare havens of peace and contentment encountered in a lifetime of wandering. Forced into a peripatetic existence at an early age by dissident parents, she became a connoisseur of cities and their psycho-geographies. These cities, their inhabitants and the impressions they left behind, are condensed in the sensual geometry of her sculptures.

Despite drawing on divergent traditions and different backgrounds, these artists share common ground in their quest for formal beauty and conceptual grace. Though intimate and quasi-autobiographical, their work is stripped of sentimentality, far removed from the kind of ego documentation that often finds critical favour. Foregoing the cult of the deskilled, both work from a finely honed sense of métier without preciousness or conceptual posturing. The viewer is granted the freedom to enter into the spaces they create – or not. But the distance invites approach.


Kim Kyoungae (°1966, Sunsan, Kumi, South Korea) lives and works in Vadodara, India. She studied traditional Oriental art at Andong National University (Andong City, South Korea) before earning a master’s degree in museology at the M.S. University of Baroda (Vadodara, India). She has exhibited widely in India and contributed work to the Ringland benefit auction ‘The city is not a road’ in Antwerp in 2016.

Claire de Jong (°1962, Cape Town, South Africa) lives and works in Antwerp, Belgium. She received her BFA from the University of the Witwatersrand (Johannesburg, South Africa) before moving to London in 1991, where she lived and worked until 2010. She has exhibited in London, Los Angeles, Brussels, Mechelen and Antwerp. Her work was featured in the Alentejo Triennial (Portugal) in 2013 and in 2016 she contributed work to the Ringland benefit auction ‘The city is not a road’ in Antwerp.

Dutch version available here.