Location:  Rue Saint-Georges 9 Sint-Jorisstraat, 1050 Brussels

By appointment only via office@collectible.design

COLLECTIBLE will inaugurate its new permanent space with an exhibition that celebrates collectible tableware, under the direction of Laurine Abrieu, editor-in-chief of MilK Decoration magazine. Tablescapes brings together a selection of pieces created by around 25 contemporary designers. Works combine functionality and art, exploring the limits of tableware, cutlery, and decorative elements. Beyond their utility, these pieces question our relationship with the act of eating and the conviviality that surrounds it. They capture the very essence of human sharing and exchange, engaging our senses and emotions into an immersive experience.

The exhibition will unfold around several staged tables, each embodying a unique universe and distinctive scenography. These tables invite visitors to discover a diversity of proposals, each capturing the essence of the art of the table through the prism of contemporary creativity.

Tablescapes offers an immersive and inspiring experience, where design, tableware, and emotions all come together.

WITH

Aleksandra Zawistowska (Poland)

Alice Trescarte (France)

Ali Shah Gallefoss (Norway)

Anna Airoldi (France)

Anne Sophie Ricco (France)

Bernard Heesen (The Netherlands)

Capucine Guhur (France)

Clara Valdes (France)

Davide Ronco (Italy)

Diego Sanchez Barcelo (Spain)

Dirk Duif (The Netherlands)

Hugo Matha (France)

Hyunseog Oh (South Korea)

Jenna Kaës (France)

Julie Boucherat (France)

Krystel Cárdenas (Ecuador)

Lilli Malou Weinhold (Germany)

Lucie Claudia Podrabska (Czech Republic)

Maddalena Selvini (Italy)

Margot Courgeon (France)

Martin Kullik (Germany)

Nathalie Guihaume (France)

Nienke Sikkema (Germany)

Octave Rimbert-Rivière (France)

Xaver Kuster (Austria)

Yasmin Bawa (UK)

Scenography by 
— Anne Bo Vis, Yoko Negi & Roos Schneijderberg

In a fusion of temporal contrasts, the forthcoming exhibition of contemporary collectible tableware promises an immersive journey through time and design. Set against a backdrop of antiquity and subtle decay, the scenography stands as a testament to the beauty found in imperfection. While the objects on display epitomize modern craftsmanship and innovation, the scenography, crafted entirely from aged, found materials, exudes an aura of history and ruination. Composed solely of existing, weathered materials—never plastic, often salvaged construction remnants—the setting evokes an ambiance of ancient ruins and composition. The deliberate juxtaposition creates a perfect harmony, enhancing the allure and sophistication of the ultra-contemporary pieces showcased. Prepare to be transported as this exhibition challenges perceptions and celebrates the timeless allure of design in its many forms.

— Anne Bo Vis

Anne Bo Vis is a dedicated tablescaper with a passion for antique tableware from 1880-1930. She scours flea markets in Belgium, France, and Sweden to find the finest pieces. With a decade of experience in high-level restaurants and five years of owning her shop, Anne now specialises in creating captivating table settings for chefs, restaurants, and foodies. Her blend of antique charm and contemporary style enhances dining experiences, bringing a touch of elegance to every occasion.

— Yoko Negi

Yoko Negi is a Japanese flower stylist based in Rotterdam after a long floral experience in Paris. She creates stunning and unique floral scenography for shops, showrooms, editorials and weddings. She also organizes inspiring flower workshops in Paris, Tokyo and Rotterdam on a regular basis and lately with Finish table ware brand Iittala in Antwerp and Amsterdam. Her clientele extends worldwide as Louis Vuitton, Dior, Maison Trudon, Dries van Noten and others.

— Roos Schneijderberg

Roos Schneijderberg is a self-taught multidisciplinary artist, designer and stylist. Her work includes among other things mixed media objects, video installations, sculptures, paintings, and conceptual furniture. Her background in brand strategy and psychological economy paved the way for her conceptual thinking and emotion based - subliminal - messages in her work. Introspection, femininity, and a refined abrasive interaction between imperfection and aestheticism are recurring themes often found in her work. She uses mirror shards as symbols for inner brokenness and self-reflection, while piercing through the picture of false perfection.