There is time


The work of Liesbeth Marit (b. 1979) develops out of the tension between stillness and movement. This is not only true of the photographs that she mounts on small light boxes – they are screens, suggesting movement, where only stasis reigns. We can see interiors, rooms and other strange spaces that could just as easily be film sets or maquettes.  Do these places actually exist, or are they Marit’s own carefully lit constructions? With such a hypothesis, one is closer to the truth. The woman behind the camera studied painting, but is today working with video and film. No doubt she looks at her surroundings in relation to the scenarios that she wishes to film, searching for locations – landscapes and interiors – that can play a role in a story. The photographs on the light boxes are thus stills, in every sense of the word.


In the two short film clips presented in the gallery, it appears as though very little, or almost nothing, happens. This initial impression would not, however, be correct, since there is a lot to see in these ‘motionless images’. Things change almost imperceptibly, or something occurs at the very edge of the frame, like a phase shift in minimal music. As autonomous images, they are extraordinarily powerful, and their introspective, even meditative silence and stillness offers up a number of unexpected details: the subtle play of light, or a running dog. The image in which the latter appears is a scene from Marit’s narrative short film YURI and the frustration of our ponies (2012). The light slowly follows its path, but the soundtrack is also deeply penetrative. Thus attention becomes illusion and, at the same time, concentration. Marit thus reveals the flow of time, but also how it condenses and solidifies. Until it appears to stand still.


Eric Min, August 2015

(exhibition / TWH Gallery)



NL 1


Liesbeth Marit (°1979, Halle), regisseuse en fotografe, werkt met een gestileerde beeldtaal, in een associatieve en raadselachtige vertelstijl.

Oorspronkelijk startte ze met schilderkunst aan de Hogeschool Sint-Lukas te Brussel. In haar verdere opleiding aan het HISK (Hoger Instituut voor Schone Kunsten, Gent) week het stilstaande beeld uit de schildersstudie voor zintuiglijke installaties, waar de beleving van de toeschouwer centraal stond.

Deze studies schemeren door in haar latere werk, dat zich hoofdzakelijk richt op film en fotografie.

Marit maakt films en foto’s met aandacht, ook voor het minimale en het alledaagse. Zo zou de kijker ze ook moeten benaderen, zodat hij het verhaal ontdekt en zich ermee kan verbinden. Kijken als een introspectieve handeling.

De twee media verglijden: tot filmische foto’s en fotografische films.

In haar vierde productie 'YURI and the frustration of our ponies' treden ook het gesproken woord en het verhaal an sich naar de voorgrond. Momenteel schrijft ze aan het scenario van haar eerste langspeelfilm 'Descansos'.

Haar werken werden o.a. getoond in WORM (Rotterdam), Centrale for Contemporary Art (Brussel), Museum M (Leuven), Vooruit (Gent), De Brakke Grond (Amsterdam) en Centrale Montemartini (Rome).
Ze was artist in residence in Recyclart, WIELS en Isola Comacina (Italië).



Liesbeth Marit (° 1979, Halle), director and photographer, works with a stylized visual language, in an associative and enigmatic narrative style.

She originally started painting at the Sint-Lukas University College of Art and Design in Brussels. In her further education at the HISK (Higher Institute for Fine Arts, Ghent) she moved from the still images of the paintings to sensory installations, where the perception of the viewer played a central role.

These studies shine through in her later work, which focuses primarily on film and photography.

Marit makes movies and photos with attention, even for the minimum and the everyday. This is also how the viewer should approach them, in order to discover the story and connect to it. Watching is an introspective act.

The two media intertwine: to cinematic photographs and photographic films.

In her fourth production "YURI and the frustration of our ponies' the spoken word and the story itself become more important. Currently she is writing the script of her first feature film 'Descansos.’

Her works have been shown in WORM (Rotterdam), the Centrale for Contemporary Art (Brussels), Museum M (Leuven), Vooruit (Ghent), De Brakke Grond (Amsterdam) and Centrale Montemartini (Rome).
She was artist in residence at Recyclart, Wiels and Isola Comacina (Italy).





I am always on the hunt, looking for the right sets and situations. During those location huntings, I take photos. They help me to determine the atmosphere of my future films.
At first, the pictures were strongly linked to my filmprojects. Gradually they have become works themselves, and the collection is growing.
My first training in painting, is felt in the choice of slowly accumulated scenes, composed like paintings.
There is a focus on tactility, and alienating still lifes.They represent almost a ritual context.
It is about the sacrifices for the invisible and unspeakable.





- New Flemish artists - Liesbeth Marit, Unexpected encounters at the gate of our world (by Robert Muis) Interview / GONZO Circus Magazine 121, May-June 2014, p.55-57



- Open M, Flemish talent, interview with Liesbeth Marit and Thomas Min (by Bart Persoons) UIT in Leuven, June 2013



- Art'Contest -review- (by Michel Verlinden) Focus Vif, 12th October 2012



- Contemporary vulnerabilities. Twenty artists, nominated for the Médiatine award, exhibit in Brussels (by Dominique Legrand) Le Soir, 08th March 2008



- A promising future ahead for Belgian art (by Nica Broucke/ photo: Jimmy Kets) De Morgen, 05th December 2005



- Ready for the art world. Hisk, college of art, presents a new generation of artists (by Lars Kwakkenbos) De Standaard, 12th December 2005



- Select a score out of 10. Sculptural ceramics, engravings, drawings, paintings and videos of ten artists at the Cultural Centre 'De Markten' in Brussels (by Claude Lorent) La Libre Belgique, 29th December 2004



- Neighborhood of Ghent donates socks for colourful artwork. Living together is reflected in washing lines with socks ( by Ben Bleys / photo: Gert Jochems) De Morgen, 24th December 2001