Brussels (BE)
iana.derop@telenet.be
Instagram: @ianaderop
variable dimensions
audio 08’00”
2026
Adèle Sweetlove
Julie Vanlook
This work was part of group exhibition dead salt sea (2026),
with Adèle Sweetlove and Julie Vanlook
curated by Lorenzo Csontos
at St.Souci, Brussels (BE)
as part of Brussels Art Week 2026 with RendezVous.
Installation views by Silvia Cappelari
The installation takes the bathhouse as its starting point, a space where bodily care unfolds alongside exposure to others. Heat, moisture, scent and residue give form to a presence that is not always visible. The architecture becomes part of the work, shaped by the gestures and conditions associated with washing, waiting and being together.
Water fills the basins, condensation gathers on the windows, and a trace of perspiration lingers in the room. Steps suggest a place to sit, to wait, to sweat. A shower curtain divides the space, obscuring what lies behind it while leaving open the possibility of something taking place. Wooden grids open towards the basement, allowing sounds from below to enter the space above, connecting the visible interior to what remains out of sight.
The familiar setting shifts between intimacy and exposure. Gestures usually confined to the private sphere take place within a shared space, where the body is both subject to its own rituals and exposed to others.
Dyson Purifier Hot+Cool HP1
300 x 300 x 280 cm
Dyson air purifier
77 x 30 x 30 cm
2026
Adèle Sweetlove
Leto Keunen
These works were part of group exhibition Solid Air (2026),
with Leto Keunen and Adèle Sweetlove
curated by Karel Op ‘t Eynde
at Kassé Collective, Quai du Commerce, Brussels (BE).
with Leto Keunen and Adèle Sweetlove
curated by Karel Op ‘t Eynde
at Kassé Collective, Quai du Commerce, Brussels (BE).
Installation views by Silvia Cappelari
Even the most domestic spaces are organised by powers that dictate who or what may enter, what must be kept out, what deserves attention and what should remain unnoticed. They are shaped by a choreography of permissions and exclusions. They teach us where to stand and what to look at, how to move and what to ignore. They enact a politics of attention in which some presences are welcomed and others deemed intolerable.
Solid Air (2026) asks what kinds of environments we learn to want, and what forms of life, labour and attention are displaced in order to sustain them. To breathe is shared, but the conditions of breathing are not. Air as pleasure, air as infrastructure, air as commodity, air as a fragile common condition that is continuously claimed, but also withheld.
Exhibition text from Solid Air by Karel Op ‘t Eynde (2026)
10 x 7 x 7 cm
2026
with Leto Keunen and Adèle Sweetlove
curated by Karel Op ‘t Eynde
at Kassé Collective, Quai du Commerce, Brussels (BE).
Installation views by Silvia Cappelari
Video footage by Sebastian Schaevers
Video editing by Tom Van der Beken
In 24/7: Late Capitalism and the Ends of Sleep (2013), Jonathan Crary describes a culture in which bodies are kept available through continuous signals and stimulation. Yves Citton’s The Ecology of Attention (2017) shifts this notion away from the individual and toward the environments that organise what can be perceived. The work makes this environmental production of attention tangible. The viewer has no choice, the room modulates the available supply.
Exhibition text from Solid Air by Karel Op ‘t Eynde (2026)
9’25’’
2026
Adèle Sweetlove
Niel Schuerman
Eva De Vilder
Eline Vertommen
This work was part of event Return to sender (2026),
curated by Kassé Collective
at Kassé Collective, Quai du Commerce, Brussels (BE).
This work was also shown at group exhibition Fields of Vision (2026)
curated by MDD’s youth collective at Museum Dhondt-Dhaenens, Sint-Martens-Latem (BE)
curated by Kassé Collective
at Kassé Collective, Quai du Commerce, Brussels (BE).
This work was also shown at group exhibition Fields of Vision (2026)
curated by MDD’s youth collective at Museum Dhondt-Dhaenens, Sint-Martens-Latem (BE)
Installation views by Sid Dankers
Our building is about to begin a new life. Our presence has always been temporary, continuously extended, never fully secured. This uncertainty of departure forms an underlying condition of the installation, caught between what it once was and what it is about to become.
altering spaces,
Located at Quai du Commerce 26 in Brussels, the former Art Deco apartment block exists in suspension between domestic past and imminent renovation. Temporarily occupied yet unfinished, it is a space in transition. From this instability, we began to focus on moving and to the most stable element of the home: the floor. Rooted in a Belgian architectural context, the installation draws on domestic traditions in which floors define space and function.
altering meanings.
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) an address that sounds familiar? Chantal Akerman’s film was shot three houses down the same street. The film renders domestic routine and the strict division of space tangible through duration and gesture. Each movement unfolds on and across the floor, revealing it as a silent carrier of daily life and time.
boxes filled, plates empty, curtains closed
we have to go, time passed
By interweaving our collective move-out, the building’s transitional state, and the cinematic language of Jeanne Dielman, the work reflects on an absurd yet familiar state of dwelling.
touch the floor,
one last time,
set of 6 (dimensions variable)
2025
curated by W.I.P. Collective and Agnes Offshore Gallery
at Agnes Offshore Gallery at Quai du Commerce, Brussels (BE).
Installation views by Sid Dankers
The mold appears not as a tool of repetition but as a remnant: witnesses of shifting functions, time, and collective memory.
The forms float between strength and fragility, between body and object, presence and disappearance, carrying a suggestion of something bodily.
It invites us to reconsider how architecture, temporality, and production intermingle, how structures and meanings never stay fixed.
scans of a selection from an ongoing inventory
2023-25
hosted by FRIS at CC Westrand, Dilbeek (BE).
This work was also shown at group exhibition Portes Ouvertes (2025),
curated by Kassé Collective
at Kassé Collective, Quai du Commerce, Brussels (BE).
What was designed as an ornament to protect bears traces of distance.
Notes as fragments, silent observations of how structures give shape to fear, order and proximity.
The transparency of the material reveals the tension between function and meaning.
Four images, as an intersection of the earthly, the ritual human urge for segregation.
set of 3 (⌀ 35cm; 2 x 1 m, 1 x 2 m)
2025
This work was created for solo exhibition Steel Orbit (2025),
hosted by FRIS
at CC Westrand, Dilbeek (BE).
hosted by FRIS
at CC Westrand, Dilbeek (BE).
An intervention that enters into dialogue with the architecture of CC Westrand, designed by Alfons Hoppenbrouwers, which carries a brutalist character. The steel bands clasp around the columns, with foam placed in between, forming an hourglass figure: a subtle reference to time, the body, and transformation.
By enclosing the architectural elements with a steel corset and deforming them, the intervention raises questions about the rigidity of social constructs, such as those surrounding gender and identity. The column, traditionally a symbol of stability and power, is reimagined as something malleable and changeable.
Inviting the viewer to reconsider the relationship between architecture, temporality, and the body, revealing how structures and meanings are always in motion.
By enclosing the architectural elements with a steel corset and deforming them, the intervention raises questions about the rigidity of social constructs, such as those surrounding gender and identity. The column, traditionally a symbol of stability and power, is reimagined as something malleable and changeable.
Inviting the viewer to reconsider the relationship between architecture, temporality, and the body, revealing how structures and meanings are always in motion.
213 x 80 x 90 cm
2024
Iana De Rop
Adèle Sweetlove
This work was created during a residency week in Anderlecht, Brussels (BE),
led by artist Laurent Dupont-Garitte and first activated in the residency exhibition Coming Soon to Botanic Tower (2024),
organised by Laurent Dupont-Garitte
at the Glico Center, Brussels (BE).
This work was also activated in From Tower to Townhouse (2024),
at Rue de l’Autonomie, Brussels (BE).
This work was presented in group exhibition Verha/olen (2024),
curated by Kobe Aerts, Birgit Lesage and Victor Almeida
at Zsenne Art Lab, Brussels (BE).
This work was presented in the opening of solo exhibition Steel Orbit (2025),
hosted by FRIS
at CC Westrand, Dilbeek (BE).
This work was presented in group exhibition How Many Edges Has A Place? (2025),
curated by W.I.P. Collective and Agnes Offshore Gallery
at Agnes Offshore Gallery, Brussels (BE).
Server Rack (2024) is a work that embodies both stillness and motion. Visitors become participants in the performance by taking a glass and filling it with their choice of red or white wine. There’s a tradition of serving drinks at vernissages, as it celebrates the opening of the exhibition and enhances a sociable atmosphere.
It’s a piece that serves its audience, redefining the vernissage itself as an integral part of the exhibition experience.
Who is serving who?
2024
This work was made for group exhibition From Tower to Townhouse (2024)
at Rue de l’ Autonomie, Brussels (BE).
This work was also shown at group exhibition Portes Ouvertes (2025),
curated by Kassé Collective
at Kassé Collective, Quai du Commerce, Brussels (BE).
at Rue de l’ Autonomie, Brussels (BE).
This work was also shown at group exhibition Portes Ouvertes (2025),
curated by Kassé Collective
at Kassé Collective, Quai du Commerce, Brussels (BE).
2023
This work was presented at solo exhibition Steel Orbit (2025),
hosted by FRIS
at CC Westrand, Dilbeek (BE).
This work was also shown at group exhibition From Tower to Townhouse (2024)
at Rue de l’ Autonomie, Brussels (BE).
hosted by FRIS
at CC Westrand, Dilbeek (BE).
This work was also shown at group exhibition From Tower to Townhouse (2024)
at Rue de l’ Autonomie, Brussels (BE).
Steel construction derived from the form of a candle holder,
where devotion and restraint meet.
What once carried light as an offering now bears the outline of enclosure.
Lines meant to support begin to resemble defense,
traces of a structure suspended between forgiveness and refusal.
The object reflects a quiet economy of time
paying for a flame that is already disappearing.
A brief light, purchased for a moment of hope,
while its extinction remains part of the gesture.
The openness of the form reveals the tension
between warmth and distance,
between ritual and control,
between what is held and what is kept away.
where devotion and restraint meet.
What once carried light as an offering now bears the outline of enclosure.
Lines meant to support begin to resemble defense,
traces of a structure suspended between forgiveness and refusal.
The object reflects a quiet economy of time
paying for a flame that is already disappearing.
A brief light, purchased for a moment of hope,
while its extinction remains part of the gesture.
The openness of the form reveals the tension
between warmth and distance,
between ritual and control,
between what is held and what is kept away.
2022
a personal inventory:
traces of habitation, of distance, of time.
What remains is arranged, photographed, becoming a quiet record.
A space where loss is tangible, without being spoken.
A book as a form of farewell, where collecting and looking converge.