Curated by Nicola Lees and Asad Raza, Rèpètition was conceived as a circulatory system by which images, objects and bodies moved through the Villa Empain. 

Taking as a starting point the accident encountered by Robert Rauschenberg when his printing stone cracked while experimenting with printing techniques resulting in the now famous print Accident; and building on Over you / you, the 31st Ljubljana Biennial of Graphic Art (2015), Rèpètition traced the distribution of graphic art across national and ideological boundaries with a specific focus on the productive power of accidents. Hazewinkel's contribution to the exhibition was a single cast produced as part of (but not publicly presented in) his project Studies in Collective Anxiety commissioned by the 31st Ljubljana Biennial.

A historic collection of works from the Ljubljana International Centre of Graphic Arts and Moderna Galerija Slovenia, including Rauschenberg's lithograph Accident, were selected by artist Giles Round and bought to Belgium for the first time. The collection, along with works by Sophia Al-Maria, Becky Beasley, Will Benedict, Andrea Büttner, Shannon Ebner, Andrew Hazewinkel, Konstantin Grcic, Joana Hadjithomas & Khalil Jorgeige, Sanya Kantarovsky, Heinz Peter Knes, David Maljkovic, Radenko Milak, Anna Ostoya and Roman Uranjek, were periodically reinstalled by the exhibition’s hosts, leading to unpredictable collisions and juxtapositions. These moving works travelled within a mise-en-scene of sculptural and cinema­tic contributions by Abbas Akhavan, Nairy Baghramian, castillo/cor­rales, Mike Cooter, Dexter Sinister, Latifa Echakhch, Deanna Havas, Ištvan Išt Huzjan, Hilary Lloyd, Jumana Manna, Otobong Nkanga, Lydia Ourahmane, Zin Taylor, and Erika Vogt, extending the exhibition’s range of sensory experiences.

The journey from the studio to the exhibition space is a movement that allows artworks to gain a public reception but, as has often been noted, comes at the cost of uprooting them from a living context. Répétition attempts, not to recreate the studio in the museum, but to create a living context in which works circulate, furnishing the Villa Empain through a process of continual renovation.

In the image above Hazewinkel’s work is presented on Giles Rounds’ commission, which included a library and modular structures.