Ives Maes (°1976, Hasselt, Belgium) is a multidisciplinary visual artist who lives and works in Antwerp, Belgium. He studied sculpture at the Royal Academy of Fine Arts in Ghent, Belgium and a post-graduate program at HISK, Antwerp. In 2008 he was a resident at Künstlerhaus Bethanien in Berlin. From 2012 to 2018 he was working on a Ph.D. in the Arts at KASK School of Arts / University Ghent.


In 2004 he started working on the RECYCLABLE REFUGEE CAMP project, which is an ironic proposal for a biodegradable living unit. It consists of biodegradable, temporary structures such as shelters, latrines and fountains that are built in conformity with the regulations of the U.N.H.C.R. But rather than being a worthy solution for grave matters it tackles the ethical imperative that encourages art to intervene in the world. This investigation has led to several specific projects and exhibitions in contemporary art centers such as the SMAK in Ghent, Yerba Buena Center in San Francisco, Ludwig Forum in Aachen, MuHKA Museum in Antwerp, the Museo de arte Carillo y Gil in Mexico City and the Museum Angewandte Kunst Frankfurt. In 2008 the project came to an end with a publication by Mer Paper Kunsthalle: 



From 2008 to 2012 he worked on a photographic series about World’s Fairs: THE FUTURE OF YESTERDAY. For this project Ives Maes travelled throughout the world to photograph remnants of these temporary pavilions and monuments. The utopian visions of the future that were projected during these fairs are often in strong contrast with the heritage of poorly conserved architecture and neglected monuments. It is this fringe between utopia and dystopia that the artist captured in his series. Since 2008 these photographs have been exhibited amongst others in Z33 Art Center Hasselt, the Photo Museum in Antwerp, KIT / Kunsthalle Düsseldorf, Void+ in Tokyo, the National Museum in Beijing, STAM City Museum in Ghent, the Nelson-Atkins Museum of Art in Kansas City, and the 6th Moscow Biennial. In 2013 an extensive book was published by LUDION:



From 2013 to 2018 Ives Maes was working on a third large-scale project named SUNVILLE. Sunville is a translation of the name of his native village Zonhoven in Belgium. The photographic series was a personal quest into his memories around specific locations in his hometown. These recordings were symbolically ended in March 2015 after a partial solar eclipse over the area. Since then, he has been editing the images into photographic installations. These works have been shown at the Museum Dhondt-Dhaenens in Deurle, Palazzo De’ Toschi in Bologna, Sofie Van De Velde Gallery Antwerp, Johannesburg University Art Gallery, and the Prada Foundation Milan. On another level this series was part of his Ph.D. in the arts research at KASK School of Arts / University Ghent concerning the physical, sculptural and architectural aspects of photography. In 2018, the book SUNVILLE was published by LUDION:  



Ives Maes is represented by Sofie Van De Velde Gallery.


Selected Exhibitions


  • 'Watou 2021', Kunstenfestival Watou, Watou, Belgium
  • 'Promesa', Royal Academy of Fine Arts, Ghent, Belgium (solo)


  • 'END', Empirical Nonsense Gallery, New York, USA
  • 'L’heure bleue', Sofie Van De Velde Gallery, Antwerp, Belgium


  • 'Harbinger II: Subtle Collisions', Ghent University Museum, Ghent, Belgium & CERN, Genève, Switzerland 
  • 'Photo Book Belge 1854 – Now', FOMU Photo Museum, Antwerp, Belgium
  • 'Looking at the World through Rose Colored Glasses', Sofie Van De Velde Gallery, Antwerp, Belgium


  • 'Sanguine', Prada Foundation, Milan, Italy
  • 'Trans', Johannesburg University Art Gallery, Johannesburg, South Africa
  • 'Sunville', Museum Dhondt-Dhaenens, Deurle, Belgium (solo)
  • 'Photo Friction', Cultuurcentrum Mechelen, Belgium 


  • 'Hololool', Sofie Van De Velde Gallery, Antwerp, Belgium (solo)


  • ‘Unter Waffen/Fire and Forget 2’, Museum Angewandte Kunst, Frankfurt, Germany
  • ‘Imagine Europe: In Search of New Narratives’, BOZAR – Palais des Beaux-Arts, Brussels, Belgium
  • ‘Heath (Calluna Vulgaris)’, Parapet/Real Humans, Saint-Louis, USA (solo)
  • ‘The Camera’s Blind Spot III: La Camera - On the Materiality of Photography’, Palazzo De’ Toschi, Bologna, Italy


  • ‘How to gather? Acting in a Center in a City in the Heart of the Island of Eurasia’, 6th Moscow Biennial, Moscow, Russia
  • ‘Ab Hier Ist Schluss Mit Lustig’, Villa van Wassenhove, Museum Dhondt-Dhaenens, Deurle, Belgium (solo)
  • ‘DIS---PLAY’, Panache Towers, Antwerp, Belgium


  • ‘Rockshow’, De Unie Hasselt Genk, Emile van Doren Museum, Genk, Belgium


  • ‘Afterimages’, STAM Museum, Ghent, Belgium (solo)
  • ‘The Hanover Suite’, C-Mine, Genk, Belgium (solo)
  • ‘In-Discipline’, Bonnefanten Museum / ECI Cultuurfabriek, Roermond, The Netherlands


  • ‘Stay Time Extended’, Galerie Christian Nagel, Berlin, Germany (solo)
  • ‘The Future of Yesterday’, The Nelson-Atkins Museum of Art, Kansas City, USA (solo)


  • ‘Message to Youth’, MuNo / Museo Agrabado, Zacatecas, Mexico (solo)
  • ‘Von Dort Aus’, Auktionshaus Lempertz, Berlin, Germany
  • ‘Crossroads’, KIT / Kunsthalle Düsseldorf, Düsseldorf, Germany
  • ‘Finisterre’, Photo Museum Antwerp, Antwerp, Belgium


  • ‘Progress’, VOID+, Tokyo, Japan (solo)
  • ‘Transient Spaces – The Tourist Syndrome’, NGBK Neue Gesellschaft für Bildende Kunst / Kunstraum Kreuzberg, Berlin, Germany
  • ‘Speedbump, Works from the collection of Frans Oomen’, Kunstfort, Vijfhuizen, The Netherlands
  • ‘Into the woods that see and hear’, Stichting Dertien Hectare, St-Hertogensbosch, The Netherlands
  • ‘Unification’, Uqbar, Berlin, Germany (solo)
  • ‘The State of Things’, National Museum of China, Beijing, China


  • ‘The State of Things’, BOZAR – Palais des Beaux-Arts, Brussels, Belgium
  • ‘Images Recalled, 3rd Biennial of Photography’, Kunsthalle Ludwigshafen, Mannheim, Heidelberg, Germany
  • ‘For Humankind’, Koraalberg Gallery, Antwerp, Belgium (solo)
  • ‘Broken Vision – Aspekte des Realismus in Malerei, Fotografie und Plastik’, Mannheimer Kunstverein, Mannheim, Germany
  • ‘Open Space’, Art Cologne, Cologne, Germany (solo)
  • ‘Colossal’, Landschaftsverband Osnabrücker land, Osnabrück, Germany
  • ‘Die Stadt von Morgen’, Künstlerhaus Bethanien, Berlin, Germany (solo)


  • ‘The Great Exhibition’, Z33, Hasselt, Belgium (solo)


  • ‘Emergency Biennale, Stop 9, Istanbul Biennial, Istanbul, Turkey
  • ‘Tourism’, M HKA Museum of Contemporary Art, Antwerp, Belgium (solo)
  • ‘Reduce, Recycle and Recreate’, De Brakke Grond, Amsterdam, The Netherlands
  • ‘Tourism’, 03one, Belgrade, Serbia (solo)
  • ‘Commitment’, bkSM, De Garage, Mechelen, Belgium
  • ‘Roofing’, Koraalberg Gallery, Antwerp, Belgium (solo)


  • ‘Simon’, Brigitte Weiss Galerie, Zürich, Switzerland (solo)
  • ‘After Cage, 24 Sammlungen in Bewegung’, Ludwig Forum, Aachen, Germany
  • ‘Jahresgaben’, NAK Neuer Aachner Kunstverein, Aachen, Germany
  • ‘Adjustments & Errors’, Bagfactory, Johannesburg, South Africa
  • ‘The Greenery Line’, SMAK City Museum of Contemporary Art, Ghent, Belgium (solo)


  • ‘Fundraising appeal’, CIAP, Hasselt, Belgium (solo)
  • ‘Frontera, a proposal for a futuristic society’, Laboratorio 060, Frontera, Mexico
  • ‘SUPER!’, Triennale Hasselt, Hasselt, Belgium


  • ‘Enduring Freedom’, Museo Carillo Gil, Mexico D.F., Mexico
  • ‘Localismos’, Mexico D.F., Mexico
  • ‘Alien 3 / a project by Heidrun Holzfeind’, W139 /SKOR, Amsterdam, The Netherlands
  • ‘Yellow Pages et autre projects du Team 404’, MAMCO Musée d’art moderne et contemporain, Genève, Switzerland
  • ‘Il Giardino Segreto’, FLACc, Genk, Belgium (solo)
  • ‘Recyclable Refugee Camp’, Brigitte Weiss Gallery, Zürich, Switzerland (solo)


  • ‘Guide to Trust N°2’, Yerba Buena Center for the Arts, San Francisco, USA


  • ‘Youthquake II’, W139, Amsterdam, The Netherlands
  • ‘Pentagon’, STUK Center for the Arts, Leuven, Belgium
  • ‘Fingerspitsengefühl’, HISK Higher Institute of Fine Arts, Antwerp, Belgium