REBOOTING

Rebooting is a group exhibition featuring the work of Guillermo Ros, Jack Jubb, and Thom Trojanowski. The proposals of the three artists—comprising paintings and sculptures—are presented as artistic remnants, testimonies of a catastrophe unknown to us as visitors. The exhibition begins from point zero, from a tabula rasa, and from the need to deconstruct the works as the only way to return to the immediate past, to a previous state, to something we have yet to identify. The gallery becomes a space for restarting, for beginning again—a space of possibility. The calm after the storm.

Degradation, nostalgia, and the vestiges of a recent past shape the gallery space, conceived as a microcosm with specific spatio-temporal coordinates, distinct from reality. This creates a dialogue between fiction and reality that is central to the project. As we move through the space, we encounter signs of decay: smoke envelops the room, fumes linger, and stone remnants lead us to a giant rose bush, devouring the architecture and feeding on what little remains. This sculpture by Guillermo Ros places violence at the forefront—the violence inherent to catastrophe, to ruins, to a post-apocalyptic world. Translated into artistic practice, the artist—like a rat—becomes a creature consumed by self-exploitation, acting through a cruel, aggressive, and destructive gesture. A gesture of destruction that has led to both individual and collective collapse.

As we progress through the exhibition, Jack Jubb’s works appear as premonitions—paintings rooted in a distant vision of the environment that has now become a reality. Working conceptually, the artist brings post-production image techniques to the canvas, influenced by low-resolution imagery. The result is a series of blurred, uncanny works. The pieces presented here are based on images drawn from aquatic life, merging the digital process of liquefaction—common in photography—with the optical qualities of water.

From the strangeness of Jubb’s work, we transition to images that evoke a primitive state, where nature and mysticism engage in a vital dialogue within the work of Thom Trojanowski. His paintings transport us to a space of harmony between the human and the natural world. His practice stems from personal experience in the landscape, acting as a reminder of what is essential—and what has been lost—in the microcosm we inhabit. These works sincerely depict Trojanowski’s everyday surroundings in the Bokrijk nature reserve. Here, the protagonists are trees, earth, water, fungi, and the sensations of magic, mystery, and emotion that have been—and continue to be—felt in that environment.