Presence of Liquid Passage, Passage of Solid Presence
Bo Vloors
Nominated by
Bo Vloors

"Presence of Liquid Passage, Passage of Solid Presence" draws a parallel between human transformation and the geological cycle of erosion. Drawing attention to the curves of slow spiraling, cyclical time, this image-text-based work guides us deeper into the realms of human tolerance and resilience, potential and persistence, longing and belonging, the communal and the individual, and the power to reclaim narratives. By incorporating a vocabulary related to natural phenomena into linguistic and lyrical arrangements, Vloors establishes analogies between the ambiguity of the human condition and the descending movement of water, the erosion of stone and the silence of caves, where ancient whispers of gentle resistance resonate.
Installation view .tiff Emerging Belgian Photography, FOMU, Antwerp (2025) and Brakke Grond, Amsterdam (2025). UV-print on wall paper (200 x 130 cm), UV-print on dibond (80 x 60 cm), UV-print on dibond (15 x 80 cm), glass, wooden frame (black, boite americaine)
The Artist

Bo Vloors
Nominated in
2025
By
Bo Vloors
Lives and Works in
Brussels / Liège
Bo Vloors (she/her b. 1993, Belgium) is a visual artist, writer, photographer and filmmaker living and working between Brussels and Liège. Her artistic work hovers between the complex yet fascinating realms of image and language, exploring human relations in association with and within their surroundings, and the influential power of images.
Drawing analogies between human experiences, natural cycles and symbiotic arrangements, she explores the ambiguity of the human condition, while simultaneously questioning the influence of images on our collective and personal intersection of reality and memory.
For several years now, she has been practicing the artistic pollination between the audiovisual art, photography and writing by maintaining an archive with her own photographs, written texts, audiovisual and field recording. In 2022, she returned more explicitly to photography which eventually led her to a growing interest in the dynamic between image and text, as she started approaching her writings not only as an essayistic, but as material, printed matter, linguistic and lyrical vocal arrangements, all within the broader sense of “image-making”.
The formats she uses may vary from publications, spatial installations, audio-visual to audio-performative. Her work has been exhibited in several cinemas, institutes, galeries, theaters and off spaces, both nationally and internationally. Since 2019, she is an active member of the Paris-based art collective SPASS and co-founder of the revue Voyons Voir.
More projects by this artist
2023
Collecting Time
Collecting Time is a vitrine installation that aims to reorientate our collective responsibility for rhythm, perception of time and progress by activating our collective awareness for a slower but more stable pace as a form of care.
In a world where confidence in progress is a must, the speed of this progress is often regarded as the measure of success. Time became twice as precious and slowness is often perceived as counterproductive. While the rhythm of the city often jumps back and forth between fast and slow; open or closed; in motion or paused (which requires endless resilience that determines the life and well-being of its citizens), the cycle of nature embodies a much slower and steadier pace.
The snail - one of nature’s many performers to embody this slow but steady pace - stands central in this vitrine installation and can as well be found across the urban landscape of Brussels, faithful to the animal's invasive nature.
2025
The (ab)Use of Beauty, Chapter One
At first glance, "The (ab)Use of Beauty" may be perceived as a personal testimony of life at higher altitude in the mountains. However, when diving deeper into its content, the work takes a critically look at our desire for beauty, the use of applied aesthetics in photography and the medium’s limited representation of reality. In this work, which consists of both images and texts, registration and analysis are indispensable to one another. By presenting the written texts as The Missing Image, they become a mediator between ‘the image’ and ‘the real’, addressing the image’s limited representation of reality, the image-maker’s responsibility in relation to these representation, and the romanticized translation of reality that we often attribute to the photographic medium through the use of applied aesthetics. The (ab)Use of Beauty, Chapter One is the first chapter of an ongoing image–text book publication. The (ab)Use of Beauty is Vloors’ most ambitious project to date.
Act of Reading The (ab)Use of Beauty, Chapter One : https://soundcloud.com/bovloors/theabuse-of-beauty)
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