Giulia Blasig is an Italian curator based in Brussels. After studying Art Management in Venice and working in museums and foundations in Italy and Paris — including Fondazione Prada (Venice) and Fondation Louis Vuitton (Paris) — she moved to Brussels, where she completed an MA in Curatorial Practices at the Royal Academy of Fine Arts.
Her curatorial research explores practices of the commons and the contamination between artistic mediums. From 2017 to 2023, she co-ran Cunst-link, a non-profit artist- and curator-run space in Brussels focused on communal practices and the crossings between dance, performance, and visual arts.
She has curated exhibitions in Brussels and abroad, co-produced the Belgian Pavilion Petticoat Government for the Venice Art Biennale in 2024, and has worked with galleries including Jan Mot and Nino Mier.
© Kristien Daem
26.05.2026 – 27.06.2026 · Avenue Louise 195, 1050 Bruxelles
Works
Aerts, Comune van Coppenolle, Deguislage, Dujourie, Gordon, Langa, Maximova, Nys, Sheikh Rezaei, Tsabar, Vahsen
Historical publications & references
Acconci, Andre, Art & Language, Beuys, Broodthaers, Buren, Flavin, Kawara, Kosuth, LeWitt, Manzoni, Nauman, Panamarenko, Penck, Weiner, and more
Galeries du Bailli, a shopping arcade on Avenue Louise 195, housed a number of avant-garde galleries between 1972 and 1975 — Wide White Space, MTL, Gallery D, Paul Maenz, and others — presenting a who's who of Conceptual art. In March 1973 alone, Marcel Broodthaers, Joseph Kosuth, and On Kawara exhibited alongside a performance by Vito Acconci.
Half a century later, What Did You Pass on to Me returns to this historic site to reconsider artistic inheritance. Rather than staging direct comparisons, the exhibition creates a network of ideas and forms that places contemporary practices in dialogue with the history of the space. Where Le Bailli once reflected a largely masculine, Eurocentric perspective, the works here both continue and challenge that lineage.
Across sculpture, installation, photography, textile, painting, and sound, the artists adopt and destabilize the formal structures of early Conceptualism. This exhibition is fuller, louder, and more tactile — through fabrics, thread, digital technologies, and domestic materials, inheritance is understood not through preservation, but through revision and reinvention.
Curated by
Frederick Gordts, Giulia Blasig, Charlotte Norwood, Nicole O'Rourke
Trees communicate with each other. Elephants navigate with empathy. Black holes are part of our reality. Our recognition is being tested — what is real? This exhibition is about altered perception, about seeing things for what they are and also what they are not. The artists build environments that make you notice what may have been overlooked.
With
Amélie Bouvier, Mirko Canesi, Victoria Iranzo, Lucian Moriyama, Sarah & Charles, Sophie Varin
Curated by
Giulia Blasig, Charlotte Norwood, Nicole O'Rourke (Triptych)
© Silvia Cappellari
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The third issue of The Volume Number opens its pages to contemporary art through a column conceived, curated, written, and conducted by Giulia Blasig. Three Brussels-based artists are visited in their studios for in-depth conversations about their practice, process, and vision — intimate portraits that move between the personal and the critical.
Giammarco Falcone
Italian painter based in Brussels, whose practice navigates between the Italian Baroque — particularly Neapolitan Caravaggism — and 20th-century Magic Realism. Working with oil on canvas through a subtraction technique rooted in bituminous black, Falcone builds a symbolic cosmogony of personal objects, still lifes, and intimate portraits suspended in undefined, timeless space.
Aisha Christison
British-Filipino painter based in Brussels whose works function as portraits of the human psyche — familiar interior environments disrupted by invasions of the irrational. Operating between dream imagery and the everyday, her paintings explore contrasts between the wild and the cultivated, the natural and the man-made, through a characteristically Northern European, twilight palette.
Sarah Caillard
French sculptor and visual artist based in Brussels working across sculpture, drawing, video, installation, and photography. Her practice investigates the body — particularly the female body — through archaic representations, drapery, retroreflective materials, and fragmented concrete figures that blur the boundaries between ruin and presence, the visible and the invisible. Creator of Tarah, a tarot-inspired game built on five personal archetypes.
Curated, written & interviewed by Giulia Blasig
thevolumenumber.com →
© Silvia Cappellari
Chunks of Lilith is the solo exhibition of painter Stefano Moras, organized by La Vallée in Brussels with the support of the Open Earth Foundation. The exhibition presents a selection of older and recent works, offering a comprehensive overview of the fundamental stages of his artistic research across more than fifteen years — from his residency in Finland, through his graduation from the Academy of Fine Arts in Venice, to his most recent works created in Brussels.
The title arises from an almost oxymoronic idea, bringing into dialogue two coexisting worlds. On one hand, the natural and cosmic element — omnipresent in Moras's work through celestial motifs, astral constellations, mineral stratifications, and dreamlike landscapes. It is here that Lilith emerges: the "black moon," a mythical and rebellious figure, Adam's first wife who left the Garden of Eden to avoid submitting to divine will. Lilith embodies a primordial, feminine, natural, and creative force — free, instinctive, experimental, and rebellious.
On the other hand, the concept of the chunk — a fragment separated from a whole — evokes decomposition, metamorphosis, and recomposition. Through oil, acrylic, and hybrid techniques, Moras composes works from fragments: sections removed from canvas, materials applied and torn away, decalcomania leaving unpredictable painterly traces. His more recent sculptural works rework canvas remnants and paint fragments into new forms — time capsules of matter, memory, and colour.
Approximately 50 works are arranged not chronologically but according to subjective associations and formal affinities, creating an immersive and open journey where connections arise fluidly — much like the artist's own creative process.
morasstefano.com →
For inquiries, collaborations or press:
blasig.giulia@gmail.com