outside of WIELS Idiolect, Brugge (2010), Growth and Form at Lhoist, It’s Obvious at Vanmoerkeke Art Collection.(2015), Jef Geys’ exhibition at the Belgian Pavilion at the 53rd Venice Biennial 2009, ‘Atopolis’ for Mons 2015 European Cultural Capital, Thomas Hirschhorn ‘Pixel-Collages’ at the National Museum of Modern Art Prishtina, Kosovo (2018), Convex & Concave for the TANK Museum Shanghai and Andro Wekua for Europalia Georgia MRAH_KMKG BRU. Anne Mie Van Kerckhoven, Bruno Serralongue, Luc Tuymans, Andro Wekua, Francis Alÿs, David Claerbout, Sven Augustijnen, Rosemarie Trockel, Joëlle Tuerlinkx, Walter Swennen, Jef Geys & Monir Farmanfarmaian, Ana Torfs, Edith Dekyndt, Evelyne Axell, Rossella Biscotti, Akram Zaatari, Duncan Campbell, Ellen Gallagher with Edgar Cleijne , Marcel Broodthaers, Jef Geys with Charlotte Friling Wolfgang Tillmans – RH Quaytman with Devrim Bayar, Thea Djrodjadze with Pauline Hatzigeorgiou and thematic exhibitions Expats & Clandestines (2007), Rehabilitation (2010), Residue, The Absent Museum, Unexchangeable, « Risquons-Tout. MAMCO, under Bovier’s direction, has in fact examined the various returns of expressivity since the 1970s questioned the circulation of images and the different strategies that led to their transformation into an informational surface in the 2000s analyzed the role of narrativity in the visual arts experienced de-centering and the emergence of a world art history envisioned decoration as a true repressed of modernism and, lastly, explored a dialectic between how the figurative image can also question representative form, and how an abstract image may also derive from sensory experience (demanding a phenomenological response).įor WIELS, he has (co)-curated exhibitons a.o.

In 2004, he cofounded the publishing house JRP|Ringier, quickly establishing it as an essential platform weighing in the cultural debate, by allowing exchanges of ideas between major participants of the international art world.īy postulating MAMCO as a laboratory and ambitioning to a collective rewriting of the history of the short period of time envisioned, Lionel Bovier somehow found a way to prolong his editorial activity in a museum. Lionel Bovier has previously worked as an art critic and curator, starting his career by laying the foundation of an independent art space in Geneva in the 1990s (Forde) and curating in various institutions (notably Le Magasin in Grenoble and the Musée des Beaux-Arts in Lausanne).

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