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Donderdag 13:00 - 18:00 Vrijdag 13:00 - 18:00 Zaterdag 13:00 - 18:00

Newchild Gallery

Name: Newchild Gallery
Address: Antwerp, BE
Telephone: +32456180824

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Newchild Gallery

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Newchild is also open by appointment.

Newchild gallery serves as a physical and digital platform for both established and emerging artists by creating offbeat exhibitions, participating in international art fairs, and collaborating regularly with museums and other galleries.

16/10/2026

OPENING TODAY: CALEB HAHNE QUINTANA

Newchild is pleased to present ‘Don’t Get Lost in Heaven’, Caleb Hahne Quintana’s first solo exhibition with the gallery, opening today in Antwerp.

In ‘Equus Eternal’ (2026), a solitary horse emerges from an almost impenetrable darkness, its form partially illuminated and its reflection dissolving into the water below. Suspended within an indeterminate pictorial space, the subject occupies an ambiguous threshold between the familiar and the uncanny, presence and apparition. The painting’s restrained composition and subtle treatment of light evoke a sense of temporal dislocation, reflecting the exhibition’s broader engagement with memory, transience, and the instability of perception.

Moving between portraiture, landscape, still life, and scenes of collective experience, ‘Don’t Get Lost in Heaven’ examines youth as a liminal condition in which vulnerability and perceived invincibility coexist. Drawing upon personal experience, inherited histories, and imagined recollections, Quintana approaches memory not as a fixed record of the past, but as a mutable space in which lived experience and imagination continually intersect. His subjects inhabit psychologically charged intervals, moments suspended between recollection and anticipation, where narrative remains deliberately unresolved.

Presented in dialogue with a selection of Old Master works, the exhibition establishes a conversation across historical periods, foregrounding enduring pictorial concerns surrounding luminosity and darkness, psychological interiority, and the capacity of painting to articulate the complexities of human experience.

The exhibition will be on view through November 19.
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Artwork:
Caleb Hahne Quintana
‘Equus Eternal’, 2026
Oil on linen
153 × 122.3 cm

Photos: Newchild
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22/05/2026

DALTON GATA: CRIATURA EN CALOR

Dalton Gata’s ‘Fire Wets, Water Burns’ is now on view through June 18th.

In Gata’s painting ‘Criatura en calor’, the work unfolds like a fever dream suspended between seduction and combustion. A hybrid creature — part diva, part animal, part apparition — stretches across the canvas in waves of golden hair while flames erupt from its body like an emotional aura made physical. Dalton Gata transforms fire into something ambiguous: not only destruction, but glamour, desire, excess, and self-invention.

The figure exists in a state of theatrical becoming. Its hyper-stylized femininity, lacquered lips, and impossibly flowing body resist fixed identity, instead embracing transformation as performance. Beauty here is unstable — sensual yet feral, alluring yet faintly ominous. The surrounding landscape mirrors this tension: darkened skies, scattered stones, and sparse desert growth create a world that feels psychological rather than real, as though the environment itself were charged by the creature’s internal heat.

Like the larger universe of ‘Fire Wets, Water Burns’, the work refuses resolution. Opposites coexist without canceling one another: glamour and monstrosity, elegance and volatility, spectacle and stillness. In ‘Criatura en calor’, Gata offers the portrait not as a stable likeness, but as a site of fantasy, contradiction, and liberation.
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20/05/2026

NEWCHILD VOICES: BERNADETTE DESPUJOLS

In this edition of Newchild Voices, Venezuelan artist Bernadette Despujols offers deeper insight into her practice, discussing several previously on view in her recent solo exhibition, ‘The Brighter The Light’.

“[In the tropics,] the brightness is overwhelming,” the artist writes, “and the shadows it casts are dramatic, almost absolute.”

She recalls a moment during her architectural studies in Caracas when architect Jesús Tenreiro Degwitz described the difficulty of photographing outdoors in Venezuela. The sun was so strong that shadows collapsed into pure black, leaving only brief hours at dawn and dusk when the full range of tonal gradation could be captured. For Despujols, this optical phenomenon became a metaphor for the country itself: a place of extraordinary vitality where darker forces—political tension, censorship, rising violence—were steadily deepening.

This language of contrast underpins the paintings in her Belgian debut solo exhibition, ‘The Brighter The Light’. Despujols works with thickly layered surfaces in earthy tones—burnt sienna, umber, rust—interrupted by moments of luminous color. Figures emerge from these grounds with a quiet intensity. Their gazes rarely avert themselves; instead they meet the viewer directly, as if asking to be read beyond the visible.

🔗Link to full video in bio

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Video:

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17/05/2026

DALTON GATA: LA RUTA DE LA LUNA

In La Ruta De La Luna, Dalton Gata leans further into surrealism, constructing a mysterious and almost devotional image in which portrait and landscape merge into a single psychological space. A luminous moon rests at the figure’s brow, casting a path of light across the sea that aligns with the lips, suggesting an interior route made visible — a spiritual and emotional journey unfolding through the body itself.

Luscious, flowing hair frames the composition like a living border, heightening the sense of enclosure, reverie, and transformation. The figure’s features feel suspended and slightly dislocated, reinforcing a fantastical, assembled presence less concerned with likeness than with perception, self-invention, and becoming.

Throughout ‘Fire Wets, Water Burns’, Gata constructs a universe where contradiction becomes atmosphere and beauty remains unstable, excessive, and charged with tension. Here, identity is not fixed or inherited, but composed through theatricality, desire, and transformation.
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15/05/2026

NOW ON VIEW: DALTON GATA

Dalton Gata’s solo exhibition ‘Fire Wets, Water Burn’s — the artist’s first solo exhibition in Belgium — is now on view at Newchild through June 18.

Throughout the exhibition, figures drift through states of glamour, fantasy, exhaustion, and combustion. Fire and smoke recur not simply as visual motifs, but as emotional and symbolic forces—extensions of desire, performance, and inner volatility. Flames do not merely destroy; they illuminate, adorn, and transform, while smoke moves through the works as something sensual and elusive, suspended between seduction and disappearance. In Gata’s universe, identity is never fixed, but continually composed through atmosphere, theatricality, and contradiction.

Across the works, opposites remain held in unstable proximity: stillness and spectacle, intimacy and artifice, serenity and unrest. Figures meet the viewer with calm, unwavering gazes even as their surroundings dissolve into smoke, light, or flame. Beauty here is not passive or reassuring, but heightened, performative, and charged with tension. Rather than resolving contradiction, Gata allows it to linger, creating a world where transformation itself becomes the dominant condition.
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13/05/2026

OPENING TOMORROW: DALTON GATA

Newchild is delighted to announce the opening tomorrow of Dalton Gata’s solo exhibition, ‘Fire Wets, Water Burns’. The Newchild team warmly invites you to join us for the opening on Thursday, May 14th, from 12–21h.

In ‘Fire Wets, Water Burns’, fire does not simply consume and water does not merely soothe; instead, each element trespasses into the territory of the other. Things behave badly, beautifully. The world of the exhibition is governed not by natural law but by a more sensuous, unstable logic, where contradiction becomes atmosphere and paradox becomes form. Gata, a Cuban-born artist living in Puerto Rico, has long cultivated a visual language in which the marvelous is not an escape from reality, but one of its most exacting expressions.

Working across painting, drawing, sculpture, and photography, Gata builds images that move between stylized realism and surrealism, between seduction and unease. His figures are meticulously staged yet never fixed; they seem to arrive before us in the act of becoming, as if identity itself were a performative medium—composed, worn, exaggerated, and reclaimed. In this sense, Gata’s paintings do not merely picture bodies; they choreograph presence. Artifice is not treated as falsity, but as a strategy of survival, glamour, and self-invention.

The exhibition will remain on view through June 18th, 2026, including during this year’s Antwerp Art Weekend.
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06/05/2026

LAST DAY TO VIEW: BERNADETTE DESPUJOLS

Newchild invites you to discover ‘The Brighter The Light’, a solo exhibition by Bernadette Despujols, on its final day tomorrow, Thursday, May 7th.

The exhibition takes its title from a Jungian proposition: the brighter the light, the darker the shadow. Despujols understands this not only as a psychological truth, but also as a literal condition of tropical geography.

“The brightness is overwhelming,” the artist writes, “and the shadows it casts are dramatic, almost absolute.”

She recalls a moment during her architectural studies in Caracas when architect Jesús Tenreiro Degwitz described the difficulty of photographing outdoors in Venezuela. The sun was so intense that shadows collapsed into pure black, leaving only brief moments at dawn and dusk when the full range of tonal gradation could be captured. For Despujols, this optical phenomenon became a metaphor for the country itself: a place of extraordinary vitality where darker forces—political tension, censorship, and rising violence—were steadily deepening.

This language of contrast underpins the paintings in her Belgian debut solo exhibition, ‘The Brighter The Light’. Despujols works with thickly layered surfaces in earthy tones—burnt sienna, umber, rust—interrupted by moments of luminous color. Figures emerge from these grounds with a quiet intensity. Their gazes rarely avert themselves; instead, they meet the viewer directly, as if asking to be read beyond the visible.

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Bernadette Despujols
Mi hermana y su hija mayor, 2026
Oil on linen
101.6 × 76.5 cm

Photos:
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04/05/2026

NEWCHILD BOOK: CHEUNG TSZ HIN

“Emotions evoked by memories or encounters are fragile and fragmented. Over time, they’re fabricated, reconstructed, and sometimes inverted.” — Cheung Tsz Hin

Newchild is pleased to announce the launch of ‘Starlight Beneath the Wavy Leaves’, published on the occasion of Cheung Tsz Hin’s first solo exhibition with the gallery, now concluded.

‘Starlight Beneath the Wavy Leaves’, marks Cheung’s first solo presentation at Newchild and brought together a focused survey of recent works. Working across painting and photography, Cheung constructs images that hover between memory and invention—where forms feel both intimate and estranged, and perception itself becomes unstable. His compositions often unfold as quiet, staged encounters, shaped by shifting light, layered surfaces, and a sensitivity to atmosphere that resists fixed interpretation.

The accompanying hardcover monograph—Newchild’s second publication—offers an in-depth view of this evolving practice, bringing together paintings, photographs, installation views, and portraits of the artist, alongside a series of handwritten poems. Its intimate format and full-bleed imagery echo the tension in Cheung’s work between precision and dissolution, where details emerge and recede within a fluid visual field.

Published by Newchild Books in collaboration with Hopper & Fuchs, the publication includes a text by Diego Castaño, one of the gallery’s founders, alongside an essay by Chloe Chow and a dialogue with the artist conducted by Jims Lam.
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02/05/2026

FORTHCOMING: DALTON GATA
 ‘Fire Wets, Water Burns’
Opening: Thursday, May 14, 12:00–21:00

Antwerp Art Weekend Friday, May 30–Sunday, June 1, 12:00–18:00

Newchild is delighted to announce ‘Fire Wets, Water Burns’, Dalton Gata’s first solo exhibition in Belgium.

In ‘Fire Wets, Water Burns’, the laws of matter lose their manners. Fire does not simply consume, and water does not merely soothe; each element trespasses into the territory of the other. Across painting, drawing, sculpture, and photography, Gata builds a world governed by a sensuous, unstable logic, where contradiction becomes atmosphere and paradox becomes form.

A Cuban-born artist living in Puerto Rico, Gata moves between stylized realism and surrealism, seduction and unease, theatrical invention and psychological charge. His figures are meticulously staged yet never fixed, appearing in states of becoming, as if identity itself were a performative medium: composed, worn, exaggerated, and reclaimed.

Throughout the exhibition, surreal personae move through lush and estranged landscapes of botanical mutations, gleaming objects, and theatrical architectures. These spaces become psychic stages where longing, instability, fantasy, and memory gather.

‘Fire Wets, Water Burns’ will be on view at Newchild from May 14 to June 18, 2026.
— Dalton Gata García Muchacho de espaldas al mar, 2026 Acrylic on linen 120 × 120 cm

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Openingstijden

Donderdag	13:00 - 18:00
Vrijdag	13:00 - 18:00
Zaterdag	13:00 - 18:00

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+32456180824

Website

http://newchildgallery.com/

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