GIMME SHELTER III
LAGE EGAL CURATORIAL PROJECTS #248
TOM FRÜCHTL
ASTRID KÖPPE
FRANZISKA REINBOTHE
GONZALO REYES ARAOS
and VINCENT DE RODER
OPENING
SUNDAY, JUNE 14, 2026, 11am—6pm
EXHIBITIONS DATES
JUNE 14 — JULY 4, 2026
Open hours
SAT—SUN, 2pm — 6pm
LAGE EGAL [LOODS 12]
Koophandelstraat 12
9230 Wetteren, Belgium
www.lage-egal.net
www.loods12.be
Echoing the famous song by The Rolling Stones, the off-site group exhibition GIMME SHELTER III resonates with the selection of works presented by LAGE EGAL (trans. location doesn’t matter), a nomadic gallery based between Berlin and Brussels.
Vincent de Roder’s invitation for this third edition extends the gallery’s fluid identity: a practice of displacement, relocation and the circulation of works rooted in the dynamics of contemporary art.
The selected works display their colours and abandon figuration to surrender to their own visual languages, inviting the viewer to enter the artists’ unique worlds. TOM FRÜCHTL’s raw gradients bleed into one another as if colour itself were under pressure; FRANZISKA REINBOTHE’s distorted frames warp the familiar until recognition gives way to unease; ASTRID KÖPPE’s strange metallic compositions hold light hostage in surfaces that feel both ancient and alien; GONZALO REYES-ARAOS’s deliberately “glitchy” visions short-circuit the image, exposing the fractures beneath; and VINCENT DE RODER’s silent bands and blocks accumulate with a quiet precision that makes the void feel densely inhabited. Together they form a body of work permeated by the tension of an angry world, where everything seems within striking distance — It’s just a shot away, it’s just a shot away. On the verge of collapse.
GIMME, GIMME SHELTER OR I’M GONNA FADE AWAY
Here, the artists breathe life into ways of thinking and approaches that question both painting and the world they inhabit. This temporary shelter thus becomes a place of refuge, a place to protect oneself from latent danger. The works open up escape routes, journeys where the gaze is no longer saturated by the imperatives of the dominant figurative tradition. The materials then seek to engage with the eye, so that they too can tell stories, convey tensions and express utopian poetry.