Karel Op ‘t EyndeAbout

Karel Op ‘t Eynde (he/him) is a curator 
and designer based in Brussels, Belgium.














  • Grains of Sand Like Mountains
2024
  • Co-curation
  • at Kunsthal, Gent

Artists: Noor Abed, Dis­ar­ming Design, Ali­ce Diop, Nina Jaya­su­riya, Sep­pe-Hazel Lae­re­mans, Seul­gi Lee, Renée Lorie, Miche­li­ne Nah­ra, Ben de Raes, Hus­sein Shik­ha, Stef Van Looveren

Special thanks to Lau­ra Her­man, Valen­tijn Goet­hals, Isa­bel Van Bos, Sonia D’Alto, Marij­ke Van Eeck­haut, Gale­rie Jous­se Entre­pri­se, argos cen­tre for audio­vi­su­al arts, Totem Films, Kunst­hal Gent Team, Design Muse­um Gent, S.M.A.K., Ghent Uni­ver­si­ty, KASK & Conservatorium.

  • Views by Michiel De Cleene


Grains of Sand Like Moun­tains is a group exhi­bi­ti­on and a public pro­gram­me cura­ted by the Cura­to­ri­al Stu­dies class of 2023 – 2024. 

Taking our own expe­rien­ces in cura­ting this show together as a star­ting point, we rai­se ques­ti­ons about how mul­ti­ple ​‘I’s’ can work, live, belong and orga­ni­se as an ​‘us’. Col­lec­ti­vi­ty, howe­ver, is mul­ti-lay­e­red and com­plex; it can mani­fest as cele­bra­ti­on, play, deba­te, assem­bly but also refusal. 

The exhi­bi­ti­on unfolds through a con­stel­la­ti­on of works inclu­ding video, sculp­tu­re, pho­to­grap­hy, and per­for­man­ce, explo­ring how we can live together. It invi­tes vie­wers to co-con­tem­pla­te the trans­for­ma­ti­on from ​‘I’ to ​‘us’ within diver­se socie­tal con­texts. The­se mani­fe­sta­ti­ons of col­lec­ti­vi­ty take various forms, from the for­ced gathering of undo­cu­men­ted wor­kers in Brus­sels, as wit­nes­sed by Ben de Raes in Wai­ting Wor­king Hours (2019), to the elu­si­ve ora­li­ty of folk cul­tu­re in Brit­ta­ny port­ray­ed through Seul­gi Lee’s video ÎLES AUX FEM­MES (2019).
Grains of Sand Like Moun­tains is appro­a­ched as an archi­pe­la­go, allo­wing the encoun­ter of col­lec­ti­ve prac­ti­ces within inter­sec­ting cul­tu­res. This is made tan­gi­ble in the cere­mo­ni­al gathering within the Pales­ti­ni­an com­mu­ni­ty depic­ted in the video work Out of Joint (2018) by Noor Abed, as well as in Miche­li­ne Nahra’s sculp­tu­ral work A Din­ner for One (2019) in which she port­rays the las­ting effects of war, dis­pla­ce­ment, and soli­tu­de in Leb­a­non. Fur­ther­mo­re, alter­na­ti­ve per­spec­ti­ves on the dis­cour­se sur­roun­ding sha­red and mixed-up heri­ta­ges are explo­red by Nina Jaya­su­riya in magē gear magē pan­sa­la (2023) and Hus­sein Shik­ha looks into the sym­bo­lism and his­to­ry of motifs within Sou­t­hern Ira­qi car­pet tra­di­ti­ons in his video instal­la­ti­on GARDEN_OF_EDEN.ISO (2023). Final­ly, whi­le tou­ching on the noti­ons of gen­der, gen­der­les­s­ness and per­so­nas, Stef Van Loveren’s film Radi­cal Hope (2018) looks into dif­fe­rent sta­ges of life, all lin­ked to emo­ti­ons of sad­ness, anger, desi­re, hap­pi­ness, resent­ment and ter­ror, whe­re at the end, indi­vi­du­als mer­ge into one.