We are pleased to announce the first solo exhibition of French artist Laurence Aëgerter at the gallery Bildhalle in Amsterdam where we will be featuring an exciting selection of both existing and new works. Aëgerter’s art is represented in renowned collections such as the Paul Getty Center in Los Angeles and The Nederlands Fotomuseum in Rotterdam.
The exhibition invites reflection on our perception of the world, our experiences, and the traces they leave behind. It can be interpreted as a memento mori or as a portrait of a life in absence – a poignant reminder of what has been lost or is no longer present.
“Le Miroir aveugle” references 17th-century Dutch paintings, in which painted curtains often partially concealed the main scene. This technique, creating an illusionary effect, allowed viewers to uncover interior scenes, religious motifs, or church interiors, while also protecting the artwork from light. Through this, Aëgerter’s work explores the themes of memory and the reflection of past experiences.
What sets Aëgerter’s practice apart is her use of appropriation and deep knowledge of art history, which she uses to forge connections between past and present. Her works offer new perspectives, suggesting potential futures while reflecting on the history they evoke. Some of her pieces function as mirrors, not only reflecting the past but also uncovering new meanings and pathways for tomorrow.
Laurence Aëgerter’s practice spans photography, tapestry, and collaborative projects, all focused on the creation, dissemination, and consumption of images and information. She often manipulates and reinterprets historical and archival materials – particularly photographs – deconstructing or remixing them to reveal hidden or overlooked narratives. Through this, she challenges viewers to question the authenticity of what they see and reconsider historical narratives.
Her work is both intellectually rigorous and visually compelling, urging audiences to rethink the nature of reality, memory, and the ways we interpret the world.
