Charline Tyberghein

Biography

°1993, Antwerp, BE
Lives and works in Antwerp

Graduated from the Royal Academy of Fine Arts Antwerp in 2018.

°1993, Antwerp, BE
Lives and works in Antwerp

Graduated from the Royal Academy of Fine Arts Antwerp in 2018.

Solo Exhibitions

2021

Solo exhibition, L21 Gallery, Palma de Mallorca, ES
Worrier Princess, Gallery Sofie Van de Velde, Antwerp, BE
Born on the wrong side of the bed, Rotterdam, NL

2020

Many drops make a puddle, Castor Gallery, London, UK

2019

Born to be mild, Gallery Sofie Van de Velde, Nieuw-Zuid, Antwerp, BE
Soft News | Beursschouwburg, Brussel, BE

2018

One Trick Phony, Next Door| Keteleer Gallery, Antwerp Belgium

2017

ABC Lounge Klub, ABC Klubhuis, Antwerp Belgium Jacques et Charline, Souterrain, Antwerp, BE

Group Exhibitions

2021

Booth ARCO Madrid, L21 Gallery, Madrid, ES
Imagining Reality, Future Gallery, Berlin, DE
Nature morte, The Hole, New York, USA
Lipstick and Gas Masks, M HKA, Antwerp, BE
Affiniteiten#3, LLS Paleis, Anwterp, BE

2020

L'heure bleue, PLUS-ONE Gallery & Gallery Sofie Van de Velde, Antwerp, BE
SECOND SMILE, The Hole, New York City, USA
Cigarettes & Cookies, Martin Van Zomeren, Amsterdam, NL
Art Rotterdam, Gallery Sofie Van de Velde & PLUS-ONE Gallery, Rotterdam, NL

My biggest small | Showhouse JayJay, Antwerp, BE
Figuration Vs. Abstraction | Gallery Sofie Van de Velde & Plus One Gallery, Art Brussels, BE
Looking at the world through rose coloured glasses | Gallery Sofie Van de Velde & Plus One Gallery, Antwerp, BE

2018

Cook it, boil it, bake it, or forget it, Graduation Show KaskA and Sint Lucas, curated by Nadia Bijl, Zuiderpershuis, Antwerp, BE
European Masters Salon Painting, Royal Academy of Fine Arts Antwerp, Antwerp, BE
From The Closet, ABC Klubuis, Antwerp, BE
Schilderwerken, Souterrain, Antwerp, BE
10 Years Base-Alpha: Part III Prospects, Base-Alpha, Antwerp, BE
20 years NICC – Jubilee, NICC Antwerp, Antwerp, BE
The Girls Next Door, curated by Nadia Bijl, Next Door| Keteleer Gallery, Antwerp, BE

Prizes

2021

Acquisition for the Museum of Contemporary Art Antwerp, M HKA, BE

2019

Acquisition for the Belfius collection
Acquisition for the collection of De Vlaamse Gemeenschap

2018

KOMASK prize, best young European Painter

Artworks

Charline Tyberghein
Yellow bellied buddies, 2021
Oil and acrylic on canvas
160 x 140 cm

Charline Tyberghein
Tardy to the party, 2021
Oil and acrylic on panel
40 x 60 cm

Charline Tyberghein
In my defence, I have none, 2021
Oil and acrylic on panel
40 x 60 cm

Charline Tyberghein
(Get on) Like a house on fire, 2021
Oil and acrylic on canvas
160 x 140 cm

Charline Tyberghein
Proper sorry frown, 2021
Oil and acrylic on canvas
160 x 140 cm

Charline Tyberghein
"I'll hold my own hand", 2020
Acrylic on wood
40 x 30 x 2,5 cm

Charline Tyberghein
"Ah! A fluke", 2020
Acrylic on wood
40 x 30 x 2,5 cm

Charline Tyberghein
Key me, 2020
Acrylic on wood
40 x 30 x 2,5 cm

Charline Tyberghein
henry of henry and ottis, 2020
acrylic on wood
122 x 100 cm

Charline Tyberghein
Annoyed Grunt, 2019
Acryl on wood
100 X 122 cm

Charline Tyberghein
WOE IS ME!, 2019
Acryl on panel
122 x 150 cm

News

Pompidou Charline Tyberghein
Klara

Jonge schilderes Charline Tyberghein heeft een solo expo bij Sofie Van de Velde Gallery. Ze werd gekozen als beste jonge, Europese schilder van 2019.

Press

2019

The paintings of Charline Tyberghein are witty, disrupted interventions. They are a joy to look at, playful in their simplicity, but her kind of humor is never without obligations. Her paintings are, as it were, crafted.

She cherishes the belgitude. While painting in the wake of the Brussels surrealists her work is visually very pleasing, but there is an edge. She strives to tilt this aesthetic by confusing her paintings with common themes. They are populated by daily objects and symbols. In this way she generates a shift from art object to object of use. They hold ground between the everyday and the unattainable. You could best describe them as reading exercises: the surfaces of her paintings wrestle with the meaning underneath. Object and language, the material and the mental, intertwine and become confused. They are complex while looking dumbly simple.

While exhibiting, Charline seeks a connection with the surrounding space. Her paintings refer to the old trompe l’oeil techniques; they are often misleading optical illusions of space and perspective, but the actual surface is flat. She seeks for a way to inject sculptural elements into the two-dimensional paintings, to literally give them a new dimension.