Spaces of Possibility: The Urban Void
I am Shendy Gardin, an independent curator, researcher and writer based in Bruges, Belgium. In my practice, I explore the intersection between contemporary art and architecture by organising exhibitions and programmes that primarily take place outside of museum walls. I firmly believe in the ability of art to create new connections and shared experiences, foster dialogue and transform how we perceive and utilise our environment.
Previously, I was the co-curator and project manager of “Bruges Triennial 2024: Spaces of Possibility”, an exhibition featuring temporary art and architecture installations in the UNESCO World Heritage city. The exhibition explored urban transformation in cities defined by their heritage, using the city's layout as a testbed for new spatial imaginaries.
Over the years, I have worked on several publications focusing on contemporary art and architecture in the historical city. I have also actively participated in presentations in this area, and continue to do so. I regularly act as a jury member, guest speaker or advisor on commissioned art or architecture projects, and enjoy collaborating with other partners and organisations.
I hold a Master's degree in Journalism (thesis: The Image of Architecture in Belgian and Dutch Architecture Magazines) and a Master's in Interior Architecture, both from KU Leuven. Since 2010, I have collaborated with various cultural organisations and institutes, including A+ Architecture in Belgium, Archipel, BOZAR, BILDNIS_Forum voor Kunst, the University of Leuven - Faculty of Architecture and the Flemish Architecture Institute.
In recent years, my work has focused on the imaginative power of art and architecture, and on how these disciplines can pave the way for new forms of urban use. “Spaces of Possibility: The Urban Void” explores the potential of wanderspaces in this context. While such “empty” zones are often portrayed negatively, as deteriorating blights one should avoid, they can also be seen as areas brimming with potential, where their emptiness presents an opportunity for alternative narratives.
These “terrains vagues”, as described by architect-theorist Ignasi de Solà-Morales, provide an interesting tool for thinking about the future of a city. This applies not only to global cities, where these urban voids are more prevalent and evolve at a rapid pace, but also to smaller historic entities where such spaces may be smaller, but the stakes are all the more important.
In 2022, I used this approach as a starting point for the 2024 Bruges Triennial, inviting architectural offices to work with these terrains. The resulting spatial proposals brought people together in unexpected places, connected neighbourhoods, and reintroduced nature into the city. They created new possibilities and showed Bruges from another perspective, thereby adding value for every creature who lives in or visits it.
In addition to the temporary incentives, the exhibition also had a lasting impact. New physical connections have been established, people have gained a new appreciation of places and histories, and certain ideas have been incorporated into future master plans.
In the coming years, I would like to further explore, share and test the lessons I have learned from this process by conducting research and implementing it in other locations. Whether a modern metropolis or a historic settlement, each place faces similar challenges and can draw on the imaginative power of visual art and architecture to see, think and learn from one another.