INFO ABOUT THE ARTWORKS
The House Remains - Group Exhibition (18/06 - 21/06/2026).
If you are interested in an artwork please contact Giovana Töws via giovana.tows@gmail.com or personally during the event.
The paintings featured on this page may have already been sold or reserved.
Oblivion, 2026
Giovana Töws
Acrylic on canvas
(100 x 100cm)
Part of Fragments series
€1,000.00
Identity Crisis, 2026
Giovana Töws
Acrylic on canvas
(100 x 58cm)
Part of Fragments series
€700.00
Foreign Land, 2026
Giovana Töws
Acrylic on canvas
(60 x 74cm)
Part of Fragments series
€600.00
Lingering Between Past and Future, 2026
Giovana Töws
Acrylic on canvas
(100 x 150cm)
Part of Fragments series
€1,100.00
Straining, 2026
Giovana Töws
Acrylic on canvas
(40 x 30cm)
Part of Fragments series
€400.00
The Race, 2026
Giovana Töws
Oil on linen
(90 x 160cm)
Part of The Race series
€700.00
Threshold, 2026
Giovana Töws
Oil on linen
(66 x 100cm)
Part of The Race series
€500.00
Ugly Dog, 2026
Giovana Töws
Oil on wooden panel
(61.8 x 59.5cm)
Part of The Race series
€300.00
Blast, 2026
Giovana Töws
Oil on canvas
(80 x 50cm)
€600.00
Hallo, Dear Friend, 2025
Giovana Töws
Oil on canvas
(45 x 45cm)
€550.00
The Vase, 2025
Giovana Töws
Oil on linen
(50 x 40cm)
€550.00
About the Exhibition - The House Remains, 2026
It is about this house, about your house - about living, residing (wohnen) and displacement, about rebuilding and decay, about war, despair and hope. The Villa Hof ter Schriek has a long history: from being one of Antwerp's four castles, to being bombed in the Second World War, to being rebuilt smaller and now decaying again. We touch on aristocracy and wealth, the history of Antwerp, WW2, and, with that, the current conflicts in Ukraine and Palestine.
The 14 artists each have their own relations and associations emerging from this house. Some think about their childhood families as they walk through the rooms. Others think of war-torn countries when they see the rubble and dust. Personally, I am reminded of the privilege and responsibility that come along with being an artist in today's age. It becomes the artist's responsibility to hold a mirror up to society, to reflect and show.
As you wander through the house with its nooks and crannies, I ask you to stay attentive and ask questions about what you see. In the days leading up to this show, we made many decisions about what to keep and what to take away from the rooms of the house. Being confronted with a location this big and abandoned, we had to face many unique decisions for each space. Many things found in the house were left in place to come into dialogue with our art, or to stand alone as ready-mades.
It was not our goal to dominate the house, restore it, and present it as a white cube, but to use the house's specific charm to our advantage, to enter a symbiotic state in which the house and the art remain equal. Each in function of the other.
About Fragments Series
Villa Hof ter Schriek has witnessed many transformations. Built before the World Wars, damaged by bombing during the Second World War, and later rebuilt in a reduced form, the house today stands in a state of gradual decay. Marked by destruction, repair, and the passage of time, it exists between what it once was and what it might still become.
Giovana Töws’ Fragments series relate to the house through a similar process of construction and erosion. Beginning with collages assembled from magazine fragments, she develops her paintings through layering, scraping, washing out, and dripping paint. Images emerge, dissolve, and reappear, creating scenes that feel both familiar and uncertain - like fragments of a dream, a memory, or a place that cannot be fully recalled.
Walking through the villa, the viewer may encounter a similar sensation. Traces of former lives remain visible, yet their stories are incomplete. The house becomes a space where imagination fills the gaps left by time.
Although no longer inhabited, Villa Hof ter Schriek remains open to possibility. It could become a home again, a cultural space, a museum, or something entirely unforeseen. In the same way, Töws’ paintings resist fixed interpretations. Rather than offering a
single narrative, they invite viewers to construct their own meanings and connections, allowing new stories to emerge from what remains.
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