What forces, ideals and dreams determine the place that nature occupies in a city? The exhibition Tamed Nature offers a unique perspective on the roots and future of urban greenery through the lens of Antwerp. Curator and researcher Bart Tritsmans: “For many, greenery in the city is a valuable bonus. Everyone takes it for granted, but in reality it often falls victim to multiple other interests.”
Opening lecture and vernissage| on 16.09.2025 at 20:00
Exhibition | from 17 September 2025 to 1 February 2026
VAi in De Singel, Antwerp
The exhibition focuses on the complex relationship between nature and the built environment. It opens with a historical overview from 1860 to the present day, showing that the tension between humans and nature is centuries old and still unresolved. Tamed Nature offers a unique perspective on how architects and urban planners have, over time, devised solutions and experiments in response to all manner of social challenges. Tritsmans: “Today’s climate crisis is having a major impact on metropolitan life. Whereas in the nineteenth century, it was the burgeoning population that led to urban expansion.” The year 1860 marked the start of what was then called modern urban planning, in which green spaces became part of urban planning and development for the first time. “The focus back then was on taming nature so that it could be integrated into the cityscape,” explains Tritsmans. Towards the end of the nineteenth century, nature was often feared – seen as a source of pests and disease – and therefore had to be controlled. To combat vandalism and undesirable behaviour, the authorities sought to inform people about how to conduct themselves in natural surroundings. As a result, urban greenery was strictly regulated. Many residents consequently sought out vacant lots beyond Antwerp’s walls, appropriating them for activities that were prohibited in the city. The exhibition reveals today’s debates are part of, and a consequence of, tensions that have long existed between the various users of public space. The curators are critical of how green spaces are currently managed in the city, yet they remain hopeful for change.
“You can clearly deduce what is happening in a society by looking at its green spaces.”
One of the exhibition’s propositions is that nature should be a determining factor in how we shape and experience our cities and surroundings. Tamed Nature is a call to change our perspective on the living world. “We need to move away from the romanticized view of green spaces, where humans determine the ideal image, and instead look at what nature needs,” says Pohl. The exhibition shows how citizens are advocating for green spaces, thereby giving agency to nature – something that has always been the case. “Throughout history, people have taken to the streets to defend green spaces,” notes Tritsmans. “A prime example is the construction of Antwerp’s Stadspark in 1860, when a large promenade had to be removed. The city council received a petition from 6,000 Antwerp residents demanding that the promenade on the city ramparts be preserved. It shows that activism is nothing new and that people feel emotionally attached to public green spaces.”
“Architecture exhibitions almost always focus on the built environment. This exhibition is a plea to look instead at places where nothing is being built. By focusing on open spaces, you begin to see your surroundings differently.”
From the first city parks in the nineteenth century to the rise of climate activism in the second half of the twentieth, Antwerp’s transformation reflects global shifts in power relations, spatial and social ideals, and attitudes to nature and ecology. Antwerp serves as an ideal case study. “By taking a closer look at Antwerp’s history, we get a fascinating cross-section of how nineteenth- and twentieth-century European cities dealt with green spaces,” says Tritsmans. “In the nineteenth century, there was even a network of European cities that influenced each other in the construction of parks. A number of exhibits refer to exchanges between London, Paris and Antwerp, for example.” Hülya Ertas notes the parallels between the evolution of Antwerp’s historic city walls and those of Paris: “In both cities, the surrounding walls were transformed into what later became the green slabs, the canal and the ring road.” The exhibition also examines the influence of colonialism on urban greenery. “Many exotic plants were introduced to the city via the port of Antwerp,” Pohl explains. “This had a major impact on the composition of the vegetation.”
The curators have invited six contemporary artists to present new work reflecting on historical events or artefacts in the city.
“The exhibition is not a nostalgic return to a greener past, but a way to understand the present—shaped by decisions made by various actors in power. Central themes include the tension between wilderness and control, speculation, the conflict between preserving nature and exploiting it, and the instrumentalization of “green” as a tool for image-making.”
Contemporary interventions in the exhibition bridge the gap to the theme of activism. “Take Mirja Busch’s research into the state of pond water, for example. In the nineteenth century, park ponds became polluted, posing a major risk for various diseases,” explains Tritsmans. “The city council decided to clean them up. The conclusion at the time was that wild nature is dangerous and must be strictly regulated and contained in an urban context.”
“Every green space in the city is the result of a decision or a power struggle – whether politically, ideologically or economically driven. Tamed Nature reveals these underlying stories and mechanisms for the first time.”
In his book Bomen zijn waardevolle bijkomstigheden [Trees Are Valuable Extras], which inspired this exhibition, Bart Tritsmans argues that while everyone takes green spaces for granted, other interests tend to have the upper hand. “Throughout history, interests change,” he says, “but one constant, unfortunately, is the continual sacrifice of green spaces for other purposes.”
The curators point out that green spaces are often politically charged due to the presence of statues or other symbols, and that their meaning or value can change over time. “In Antwerp’s Stadspark, there is still a column that celebrates colonial trade. Today, its appropriateness can be called into question,” Tritsmans notes. How should we address the shifting meanings of politically charged symbols in our green spaces? How can we give them a more inclusive interpretation? Tamed Nature seeks to open this discussion.
Architect Aslı Çiçek created the scenography, designing it as a meandering walk. Visitors move through the exhibition as if following a winding path in a park. The route is chronological, guiding them through the history of greenery in the city. At the centre of the gallery is a space to sit and relax, much like resting on a park bench. In the section entitled Wild Growth, visitors can reflect on the exhibition’s themes and displays in a more interactive way. “The layout contains elements of landscape design, such as ‘rooms’ or ‘vistas’ that offer a view, just as you would find in a park,” says Tritsmans.
Getemde Natuur / Tamed Nature
From 17 September 2025 to 1 February 2026
DE SINGEL exhibition space
Desguinlei 25, 2018 Antwerp (BE)
Open Wednesday to Sunday
From 14:00 to 19:00, for evening performances until 22:00
€5 (tickets online and on site)
€0 (students, under 19, reduced rate/OMNIO and ICOM, tickets only available at the venue)
Getemde Natuur / Tamed Nature
With a lecture by Eva Pfannes, OOOZE architects & urbanist
On 16.09.2025 at 20:00
DE SINGEL, Blue Hall
Desguinlei 25, 2018 Antwerp (BE)
€0 (registration required)
The Sound of Tamed Nature
Esohe Weyden, Antwerp city poet
Maarten Buyl and Raphael Malfliet, sound artists
On 09.10.2025 at 20:00
DE SINGEL, Music Studio
Desguinlei 25, 2018 Antwerp (BE)
€0 (registration required)
Organisation and production Flanders Architecture Institute & DE SINGEL
Curator and historical research Bart Tritsmans
Co-curators Hülya Ertas and Dennis Pohl
Scenografie Aslı Çiçek, Francesca Desantis (project leader)
With work by Maria Thereza Alves, Mirja Busch, Maarten Buyl & Raphael Malfliet, TAKK, Dieter Van Caneghem, and Feifei Zhou
Project coordinator VAi Hülya Ertas
Production management Nino Goyvaerts and Eva Pot
Production Assistant Charlotte Possemiers
Production management De Singel Jessie Bervoets
Technical production coordination Guy Anthoni
Construction and technology Chloroform, Casimir Franken and Lorenzo De Brabandere
Translation and final editing Maxime Schouppe (EN-NL) and Helen Simpson (NL-EN)
Public programme Mie Berens
Press and communication Egon Verleye
Director VAi Dennis Pohl
Thanks to the following lenders and archive institutions:
Archief KC Peeters/Kazerne Dossin, Bibliotheek Universiteit Antwerpen, CegeSoma – Studiecentrum Oorlog en Maatschappij, Cité de l'architecture et du patrimoine, Erfgoedbibliotheek Hendrik Conscience, FelixArchief, Fondation Le Corbusier, MAS – Museum Aan de Stroom Antwerpen, Middelheimmuseum, Nationaal Archief Nederland, Rijksarchief Antwerpen, Universiteitsbibliotheek Gent, Vlaams Architectuurinstituut – collectie Vlaamse Gemeenschap en privéarchieven
The Flanders Architecture Institute is funded by the Flemish Government.
The programme in 2025-2026 is made possible in part by our structural partners: Reynaers Aluminium, Forster, Febelcem, wienerberger, Stone and Cosentino
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Egon Verleye
Press & Communication Officer
Flanders Architecture Institute
T +32 (0)3 242 89 73
E egon.verleye@vai.be
