Lucie Renneboog, obsessed with ideas but clearly rejecting theoretical guidelines, attempts a cheerful crossover. Her "mini-installations", "arena architectures", "impishly staged model construction", "anarchy", and her "chairoplane ballads" painted with the digital camera are renewed evidence of a general "loss of the middle".

But this does not stop the artist from circling the void with a tremendous amount of creative energy or from celebrating it disharmoniously, free of portentous attitudes of providing meaning. What arises as a mixture of neoromanticism, unbridled decorating frenzy, and snapshots describes a real space of freedom and passion (without shyness about borrowing)!