Free entry
Gasfabriek 3a, NRE-terrein, Eindhoven
21, 22 & 28, 29 June
Saturday and Sunday 14.00 – 19.00
Vernissage: 21 June
Finissage: 29 June
*T-shape designed by Marie Caye
Our final exhibition at NUL ZES (Gasfabriek 3a) before we move back to our old location!
Vernissage
We warmly invite you to join us on 21 June to celebrate the opening of our midsummer exhibition Overgrown — a day full of summery vibes!
- Stroll with an ice cream from Uomini di Gelato or a drink past the works of nine artists
- Watch a performance by Anna Kudryashova
- Enjoy a delicious hope’s pizza of Jess Oberlin
- Listen to laid-back summer music by DJ Hooke & de man
EXHIBITING ARTISTS
- Anna Kudryashova
- Ellen-Rose Wallace
- Gloriya Avgust
- Leonie Schneider
- Marie Caye
- Maya Stimpfl
- Steven Pul
- Suelae Robinson
- Tehani Amarasuriya & Bel McLaughlin
PROGRAMME
Vernissage
Saturday 21 June 14.00 – 19.00
14.00 | Uomini di Gelato
15.00 | Opening & performance by Anna Kudryashova
16.00 | Hope’s pizza by Jess Oberlin
17.00 | DJ Hooke & de man
Finissage
Sunday 29 June 14.00 – 19.00
15.00 | Performance by Bel McLaughlin & Tehani Amarasuriya
*times may vary
About the expo
Overgrown is a call to step outside, but also an invitation to reconnect with the raw, untamed, and essential, both around us and within. This is not nostalgia, but remembering.
In a time when artificial rhythms shape our days: what have we forgotten? What have we overwritten with convenience, speed, and distraction? Through works that echo textures, slowness, colours, and harmony, Overgrown opens a space to succumb to our desire of merging back into the world. Let a vine grow off the saliva of your tongue, let your toes swell into slugs, let yourself dissolve into the landscape.
Overgrown is to realign, to re-enter a dialogue—with the world, with our body, with instinct.
Not a place we visit, but a place we belong.
Curator TAC: Urša Prek
Co-curator: Marie Caye
ANNA KUDRYASHOVA | BREAKABLE WORLDS | EXPO | PERFORMANCE
Opening performance
Saturday 21 June
15.00
Sometimes our reality breaks into pieces, and we find ourselves losing trust in the world. This project was born during a self-organized research residency where I hitchhiked toward Georgia, searching for that trust again. Along the way, I realized how many ideas about ourselves and the world we carry—and how quickly they can break when we encounter other people and other realities. It also revealed how deeply we are shaped by our cultural identities and how painful it can be to confront them.
The project explores personal bubbles, comfort zones, and informational bubbles, and how they get destroyed through personal change or external forces, as well as how we try to rebuild them. Set in nature, it highlights how natural environments support transformation. Nature becomes both witness and guide, showing that change, though unsettling, is a natural and necessary process.
ELLEN-ROSE WALLECE | A CHRONOLOGICAL MIDDLE | TAIRSEACH/AISTREACH | EXPO
In “a chronological middle” a door hangs from a frame, half submerged in a body of water. Throughout the course of the day, the door opens slightly and closes with the rhythm of the water. An island in the background emerges from and recedes into the fog. Filmed during the winter solstice of 2020, the work reflects on a contradictory sense of simultaneous transition and stasis during the pandemic.
“Tairseach/Aistreach” reflects on ideas of intergenerational care and connection to the land. In the work, a shadow passes through an agricultural field. A figure walks, tracing the line of the shadow, as though protecting themself from the sun. The movement of the shadow is interrupted by footage of the artist brushing, cutting and burying her father’s hair as he sits outside their family home.
GLORIYA AVGUST | WITH EACH WORD SPOKEN, A FIRE IS SET | EXPO
A three-meter-high mural relief composed of a vertical arrangement of words distilled from writing done in situ from my mother’s garden following her passing. The work positions the garden as a liminal space, connecting the subconscious, the ancestral, and the terrestrial, while exploring the kinship that can emerge between human and non-human encounters.
Gloriya Avgust (b.1993) is a Bulgarian multidisciplinary artist based in Amsterdam.
Her practice blurs memoir, fiction, and feminist history to channel corporeal and semantic notions of womanhood. Engaging with the materiality of writing, she twists and morphs her subjects in a speculative entanglement of possibilities, exploring gender, ancestry, the psychic, and the erotic as political tools for affirming one’s life force in the world.
LEONIE SCHNEIDER | MUSHROOM CHILDREN | EXPO
This is Robert, Wilda, and Franni. They are leavers. Leavers look at restoration and learn how to help the ground, the plants, waters, and animals. They live a nomadic life outdoors in constant search for remaining fertile land to replant the good earth. They are handy, possess skills, use their abilities, their bodies to move, and their hands to build.
The three paintings are born out of a series of works made from fabric, natural pigment, and myth. The works belong to a larger narrative around ecological urgency. They listen to the natural world and become its voice. They are entangled and talk about what’s alive and what could be.
MARIE CAYE | MICHELIN 2000 | EXPO
The wheel turns, le serpent se mord la queue.
A melted, fused knot of symbols emerges from a tire. Figures and lines slip in and out
of the object. The symbols are inherited from ancient iconography of the mountainous
Auvergne in France and put against objects of industrialisation, in particular, from the
local mega-company Michelin. The work is a hybrid that attempts to hold these opposites and
dualities together.
MAYA STIMPFL | LIFTING UP A ROCK | EXPO
While hiking, you li. up a rock – a piece of the mountain you wish to keep. In your hands, in your
pocket, it stays close to you. The mountain holds you just as tightly too.
[ PDO-20250511-20250531-001 ] and [ MD-20250509-20250601-002 ] are two such rocks, found in Puy de l’Ouire and Mount Sancy (FR). Each is enveloped in knotted brass wire – a delicate yet resilient receptacle that both holds and is held by the rock.
The gesture of carrying a rock is an attempt to hold onto a piece of the natural world. It speaks to care and possession and to the fragile reciprocity between holding and being held, reminding us that even in our smallest gestures, we are participants in the vast, ongoing dialogue between human longing and the land’s enduring memory.
STEVEN PUL | THE ENDLESS CIRCLING OF TRAGEDY AND FARCE | EXPO
In small ceramic sculptures allegories of play between the artificial and the natural are explored. Theater-like settings form the backdrop of spectacles just for us to observe, but within them there are no participants, just bystanders. Static, with a trace of longing a lost desire of connectedness.
SUELAE ROBINSON | YEMAYA WAVES | YEMAYA MOON | YEMAYA SHELLS | EXPO
Yemaya watches over all her children.
Even if we have forgotten about her.
Even if we extract, pollute and neglect her.
Like wire, she is malleable, resilient.
Reminding us to always return to our roots,
There you will find the way forward.
These three textile collages honour Yemaya, the Yoruban Goddess of oceans and waters. Often symbolised by the moon, cowrie shells, and the number seven, she is the guardian of women and children, embodying love, healing, and fertility. In the midst of a global climate crisis, these works remind us to not forget our oceans and all the life they breathe into us. And perhaps solutions can be found by adapting mythological wisdom with new technologies.
TEHANI AMARASURIYA | BEL MCLAUGHLIN | JUICY CRUST | PERFORMANCE
Closing performance
Sunday 29 June
15.00
Juicy Crust: an ongoing and adaptive collaboration between Tehani Amarasuriya and Bel McLaughlin. A multi-media sound performance, an exercise in listening, an ode to the microcosmos, to the crust that surrounds us and the juice within us.
“sky to water
earth to dust
we are one surface
of juice
and crust”
We search for connection to earthly matter through queer play, movement, and instrumentation.
Supported by
TAC
At TAC, we showcase the latest, coolest, funniest, and most sincere emerging art from the TAC community. We’ve always done this, but now we do it several times a year. TAC in full splendour. Fully connected.
You are warmly welcome!
