Spazio Nobile Gallery

Spazio Nobile Gallery Founded in 2016 by Lise Coirier and Gian Giuseppe Simeone, Spazio Nobile Gallery has promoted Contemporary Applied & Fine Art.

Visit our Gallery & Studiolos in Brussels and Villa Spazio Nobile in Tervuren.
Contemporary Applied Arts, Design and Photography

03/09/2026

Art Director Es Devlin, illuminating the beauty of Making at HOMO FABER, Isola di San Giorgio Maggiore, Venice where Didi NG Wing Yin exhibits his Pleats Vessel inside The Rainbow of Forms. Homo Faber is also in the City: Fondazione Dries Van Noten is part of it with two of our artists, Pao Hui Kao and Isaac Monté, within a programme of more than 20 handpicked exhibitions, talks and concerts celebrating Venice and its rich craft heritage, staged in beautiful locations across the city – from mosaic art and student showcases to site-specific photography in newly restored gardens.
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Every object carries a story. As Artistic Director of Homo Faber 2026, Es Devlin invites us to pause, look closer and discover the human hands, knowledge and imagination woven into the art of making — transforming craftsmanship into a deeper encounter with beauty, meaning and connection.
 
Homo Faber 2026
An Island of Light
Artistic Direction by Es Devlin, curated by the Michelangelo Foundation
1 – 30 September 2026
Venice, Fondazione Giorgio Cini

In partnership with and

03/09/2026

Spazio Nobile presents Chisato Yasui’s first solo show at Spazio Nobile Studiolo from 11-15.11.2026 — Opening on 10.9.2026 18-21:00, in the presence of the Artist
Rendez-Vous Brussels Art Week as part of Spazio Nobile - The Asian Season .brussels
VIdeo Osamu Tanba — directed by Toru Katori
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Born in Aichi, Japan in 1984, Chisato Yasui began her artistic path in oil painting, drawn to the tactile depth of pigment and the intimacy of gesture. Over time, the two-dimensional plane of the canvas began to feel limiting. Seeking a more embodied medium, she turned intuitively to ceramics, where thought, emotion and hand could move freely through form. Clay offered what painting could not: an inner space, a body that breathes. During her graduate studies, the experience of pregnancy profoundly shifted her understanding of creation. In ceramics, the vessel—shaped between interior and exterior—became for her a metaphor for life itself: unseen, yet undeniably present. Rooted in physical intuition but guided by philosophy, her practice engages with Kitaro Nishida’s concepts of “place” (Basho) and “mirror” (Kagami), exploring where consciousness and matter converge..
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Each work undergoes multiple firings at distinct temperatures, with glazes applied at each stage, producing layered, luminous color that transcends the clay’s physical mass and captures temporal traces of making. Post-firing, aluminium and gold leaf enhance reflection and depth, completing a synthesis of technical mastery and expressive nuance. Finger marks, brushstrokes, and layered color remain as traces of this intimate dialogue between hand, material, and feeling. By combining porcelain and stoneware, glazes and pigments, Yasui expands the expressive potential of ceramics while reflecting on memory, identity, and the embodied experience of being. Color acts as a language of emotion, resonating across and within each sculptural form, uniting technical innovation with spiritual and emotional depth.
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Contact us in DM for the catalogue and by email: [email protected]

Spazio Nobile presents Didi Ng Wing Yin, Pleats Vase No.19, 2026, 36,5x25x56,5cm, pine wood, Indian ink, shellacHomo Fab...
02/09/2026

Spazio Nobile presents Didi Ng Wing Yin, Pleats Vase No.19, 2026, 36,5x25x56,5cm, pine wood, Indian ink, shellac
Homo Faber, An Island of Light
Art directed by Es Devlin & Curated by the Michelangelo Foundation
Fondazione Giorgio Cini
Isola di San Giorgio Maggiore, Venice, Italy
1 – 30 September 2026
In partnership with Fondazione Cologni and Fondazione Giorgio Cini
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Spazio Nobile presents Didi Ng Wing Yin at Homo Faber in Venice. The Helsinki-based wood artist originally from Hong Kong has a practice bridging sculpture, furniture, and craft. Working by hand, he creates sculptural furniture and artworks distinguished by his innovative carving techniques. His creative process reveals the innate beauty of wood, balancing the material’s essence with the intuitive nature of craftsmanship and conceptual exploration. His work has gained wide international recognition, being a finalist for the LOEWE FOUNDATION Craft Prize 2025 (Spain), winner of the Rising Star of the Year Award at the Scandinavian Design Awards 2024 (Sweden), and recipient of Dezeen’s Emerging Designer of the Year Award 2024 (UK).
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Inspired by artisans and the islands of Venice, Es Devlin Es Devlin, the Artistic Director of Homo Faber 2026, creates 15 immersive installations at Fondazione Giorgio Cini, uniting craft artists from across the globe. With An Island of Light, her vision gives voice to the makers and shines a light on objects and making – from shadow sculptures and kinetic structures to a moonlit reflecting pool – inviting viewers to shift their perspective, understand the origins of objects and to value the language of the hand.

Fondazione Dries Van Noten presents the publication of ‘The Only True Protest is Beauty’, its first editorial project, p...
26/08/2026

Fondazione Dries Van Noten presents the publication of ‘The Only True Protest is Beauty’, its first editorial project, published by Marsilio Arte. The book documents and expands the Fondazione’s inaugural Presentation in Venice, exploring the increasingly fluid boundaries between creative disciplines.
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Three opening essays provide the publication’s conceptual framework. Design historian, curator and writer Glenn Adamson revisits The Stones of Venice, tracing a lineage between John Ruskin’s understanding of craftsmanship and the Fondazione’s vision of making as a dynamic cultural force, with Venice as the intellectual point of departure. Fashion journalist, author and critic Alexander Fury examines the intersections between fashion, craftsmanship, identity, memory and artistic expression. Lastly, writer and curator Ezra Babski reflects on the increasingly porous boundaries between art, craft and design, advocating for a more open understanding of making based on dialogue, hybridity and exchange.
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Designed by Sebastiano Girardi Studio, which also conceived the visual identity of the Fondazione Dries Van Noten and its inaugural Presentation, the book combines newly commissioned essays, extensive visual documentation and in-depth explorations of the works, artists and making processes within a distinctive editorial language.
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Available through the Fondazione’s website and store, the volume will also be distributed across selected museum stores and bookshops in Italy, before reaching international audiences later in the year through a curated network of retail partners.

Spazio Nobile will present Chisato Yasui’s first solo show at Spazio Nobile Studiolo in September 2026 during Rendez-Vou...
22/08/2026

Spazio Nobile will present Chisato Yasui’s first solo show at Spazio Nobile Studiolo in September 2026 during Rendez-Vous Brussels Art Week RendezVous - Brussels Art Week 160th anniversary between Japan and Belgium
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Born in Aichi, Japan in 1984, Chisato Yasui began her artistic path in oil painting, drawn to the tactile depth of pigment and the intimacy of gesture. Over time, the two-dimensional plane of the canvas began to feel limiting. Seeking a more embodied medium, she turned intuitively to ceramics, where thought, emotion and hand could move freely through form. Clay offered what painting could not: an inner space, a body that breathes. During her graduate studies, the experience of pregnancy profoundly shifted her understanding of creation. In ceramics, the vessel—shaped between interior and exterior—became for her a metaphor for life itself: unseen, yet undeniably present. Rooted in physical intuition but guided by philosophy, her practice engages with Kitaro Nishida’s concepts of “place” (Basho) and “mirror” (Kagami), exploring where consciousness and matter converge. Yasui’s work has received international recognition, including Honorable Mentions at the Grottaglie Contemporary Ceramic Prize (Italy) and the Aveiro International Artistic Ceramics Biennale (Portugal).

Each work undergoes multiple firings at distinct temperatures, with glazes applied at each stage, producing layered, luminous color that transcends the clay’s physical mass and captures temporal traces of making. Post-firing, aluminium and gold leaf enhance reflection and depth, completing a synthesis of technical mastery and expressive nuance. Finger marks, brushstrokes, and layered color remain as traces of this intimate dialogue between hand, material, and feeling. By combining porcelain and stoneware, glazes and pigments, Yasui expands the expressive potential of ceramics while reflecting on memory, identity, and the embodied experience of being. Color acts as a language of emotion, resonating across and within each sculptural form, uniting technical innovation with spiritual and emotional depth.

Join the opening of Åsa Jungnelius, Solo Show, The Bittersweet, this Saturday, August 22nd, 11:00AM-6:00PM at Kungliga K...
20/08/2026

Join the opening of Åsa Jungnelius, Solo Show, The Bittersweet, this Saturday, August 22nd, 11:00AM-6:00PM at Kungliga Konstakademien (The Royal Academy of Fine Arts) in Stockholm, Sweden. Founded in the 18th century, this historic institution stands as one of the most prestigious pillars of the Scandinavian art scene.
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At Galleri West, 2:30PM: Åsa Jungnelius will be in conversation with Lena From, Permanent Secretary of Konstakademien.
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Questions of desire, care and materiality run like a common thread through Åsa Jungnelius’s artistic work. Central to her work is how the body and the material are continuously renegotiated throughout human history. Using objects of use as a starting point, she has explored how aesthetics, among other things, is a universal human driving force. By refusing to categorize art and objects of use, her work expresses a belief in design and materiality. The practice rests on an understanding of the world, where the vessel, the stone and the body exist on the same ontological basis.In the exhibition The Bittersweet, Jungnelius continues her exploration of cavities, containers and systems. In her intuitive working method, she lets the inherent properties of the materials guide her ex*****on. In working with glass, the process is allowed to remain uncontrolled – an approach in which she relies on gravity and the unpredictability that occurs when heated glass mass is shaped by its own weight. In sharp contrast to the consistent work with glass, the stone requires enormous physical effort and control.Text by Olga Krzeszowiec

On the pictures: Bittersweet, 2024. Glass and steel, 165 x 26 x 35 cm.Photos: Peo Olsson Margaux Nieto and thanks to alphazero_

16/08/2026

Belgian ceramicist Piet Stockmans has spent over six decades pushing the conceptual and physical boundaries of hard-paste porcelain. Best known for his signature "Stockmans Blue" glaze, his free artistic practice explores the tension between industrial precision and tactile vulnerability. The physical ritual of pouring slip that captivated audiences at the Belfius Art Gallery is the exact same lineage of performance Stockmans brought to the International Academy of Ceramics (IAC) Congress in Jingdezhen. Whether pooling over a gallery floor in Brussels or taking shape in China’s historical porcelain capital, Stockmans’ liquid clay acts as a universal language. It strips porcelain of its industrial utility and transforms it into a profound meditation on time, gravity, and raw elementals. Let’s have a look at the behind-the-scenes of the installation of Belgian master ceramicist Piet Stockmans during the International Academy of Ceramics (IAC) Congress in Jingdezhen, China. Together with and
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Belgian ceramicist Piet Stockmans explores the tension between precision and raw material, that American art critic Glenn Adamson describes in TLmag as "the collision between order and turbulence, strength and fragility". Stockmans conducts his work at the edge, utilizing liquid porcelain to capture the intersection of structured design and uncontrolled material behavior. Read more at Spazio Nobile and on TLmag.

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