September 28, 2025–February 22, 2026
Taliswoman
September 28–December 14, 2025
Hasselt Limburg 3500
Belgium
Hours: Wednesday–Sunday 11am–5pm
Z33 is pleased to announce two new solo exhibitions by Michael Beutler and Mounir Eddib.
Michael Beutler
Vleugel 19
Z33 presents the first major solo exhibition in Belgium by German artist Michael Beutler. In his most expansive presentation in a decade, he transforms the galleries with a combination of new and existing works.
Beutler is known for creating monumental installations using simple, recyclable materials. He designs and builds his own tools to transform paper, cardboard and textiles into sculptural elements, which in turn become the building blocks of his expansive, space-filling installations.
For Beutler, an exhibition space is a public atelier. His art doesn’t originate in the studio but evolves in dialogue with the museum’s architecture and with the help of a large team. More than fifty assistants, students and volunteers contributed to this exhibition. Beutler approaches each project as a learning process, where participants explore the possibilities of materials together. The exchange of knowledge and skills is as important as the final result.
Beutler shows that with limited means and collective effort, something significant can be achieved. His work invites both physical engagement and critical reflection. How can we actively shape the world around us and our relationships with others? What tools do we need to do so?
Curator: Tim Roerig
Mounir Eddib: Taliswoman
Vleugel 58
In his first institutional exhibition, Mounir Eddib invites us to descend into a layered landscape of memory and myth. The exhibition reimagines the coal mines of Genk not as a closed chapter, but as haunted sites filled with stories from the past that have yet to be told.
As the grandson of a miner who arrived in Belgium in the 1970s as a so-called “guest worker,” and born to Moroccan parents from the Western Saharan borderlands, Eddib’s art is deeply connected to histories of migration and labor that continue to shape the region. While official accounts of the mines have often foregrounded economic development, Eddib looks elsewhere—to the unseen, the mystical, the intimate.
Taliswoman highlights the strength and significance of feminized spaces and practices, such as protective folk rituals carried out at home by women from ethnic and Muslim minorities. However, Eddib resists the production of mere depictions or biographical documents. Much like the fragmentation experienced through migration, we navigate Eddib’s works by looking at absence as much as presence—by what is lost, and what remains.
Curator: Kevin Gallagher
