For the 10th edition of ArtOnPaper Brussels, IN-GATE Gallery brings together three distinctive contemporary practices that explore how places, objects and images become carriers of memory. Anne Marie Finné, Semyon Agroskin and Vladimir Logutov approach the relationship between art, memory and space through radically different visual languages, yet share an interest in the transformation of everyday experience into an image.
Presented from 2 to 4 October 2026 at Tour & Taxis, the selection highlights the expressive possibilities of works on paper—not simply as works made on a particular support, but as spaces in which perception, recollection and imagination intersect.
For Semyon Agroskin, memory takes the form of accumulation. His recent works depicting bookshelves and libraries transform familiar domestic and cultural environments into contemplative images of knowledge, order and remembrance. Rows of books become both physical objects and repositories of experience. Through repetition, muted colours and a restrained pictorial language, Agroskin turns the seemingly ordinary into a meditation on what we choose to preserve and what remains in our memory.
In Vladimir Logutov’s Meetings series, space itself becomes the subject. At first glance, the works appear as geometric abstractions composed of overlapping colour fields and architectural forms. Gradually, however, fragments of the exhibition environment emerge: walls, display structures, lighting and artworks seem to be incorporated into the composition. The image thus moves between abstraction and representation, reflecting on the conditions of looking and on the way an artwork is experienced within a particular space.
Anne Marie Finné approaches memory through the landscape. Her meticulously executed pencil drawings transform fields, paths, vegetation and nocturnal environments into intensely detailed and atmospheric spaces. Working through an accumulation of minute marks, Finné creates landscapes that feel simultaneously observed and remembered. Her works invite a slower form of looking, in which details gradually reveal themselves and the familiar landscape becomes strangely elusive.
Despite their differences, the three artists share an interest in the fragile passage between observation and recollection. Agroskin constructs memory through objects; Logutov through the perception of architectural and exhibition space; Finné through the patient reconstruction of landscape. In each case, the visible world becomes a starting point for something less tangible.
