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The

Artist

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Photographer

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Writer

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Film Director

Bo Vloors

Nominated in
2025
By
FOMU
Lives and Works in
Brussels
Bo Vloors (she/her) is a visual artist, writer, photographer and filmmaker based in Brussels. Using image and text, her work revolves around human relations, within and with their surroundings, and the influential power of images. The Image stands central in her practice. Inspired by natural cycles and symbiotic arrangements, her work finds its origins in the repeated consultation of an ever-expanding archive built up over the past decade. Exploring her role as an image-maker (both in images and words), she defines her writings as The Missing Image, serving a complementary, affirmative or rhetorical purpose in relation to the actual image. Striving to balance aesthetics and content, the formats she uses may vary from publications, spatial installations, audio-visual to audio-performative. Still, The Image remains rooted in the core of her artistic practice, both as subject and material. Her work has been exhibited at Beursschouwburg (BE), Z33 (BE), Argos (BE), Art au Centre (BE), Decoratelier (BE), SB34 (BE), De Studio (BE), Het Bos (BE), OFFoff cinema (BE), CinemaTEK (BE), Bizet Bizar (BE), Radio Panik (BE), RAVI (BE), Folle Béton film festival (FR), Lateral film Festival (IT), San Sebastian film Festival (ES), Cashmere Radio (DE) and Dublin Digital Radio (IE).
Projects
2025

The (ab)Use of Beauty, Chapter One

Visually situated in the French Alps, The (ab)Use of Beauty, Chapter One is a personal testimony of life in the mountains, while critically examining the desire for beauty in life, the use of aesthetics in photography, and the medium’s limited representation of reality. In this work, composed of image and text, the external movement of registration (the image) and the internal movement of analysis (the word) are indispensable to each other. By approaching the texts as ‘The Missing Image’, they can be seen as a mediator between ‘the image’ and ‘the real’, addressing the image’s limited representation of reality, emphasizing the image-maker’s responsibility and questioning the romanticized nature of images. The (ab)Use of Beauty, Chapter One was exhibited in 2022 after an eight-month mentorship at BREEDBEELD, but continues to be a work in progress; expanding, intertwining and polishing both image and text into a photo/text book. (Text and word are often activated during the exhibition, either as a live reading, audio performance, recorded voice-over or private reading. Rarely offered as a tangible object or printed version, text and word, performed in their originally intended vocal intonations, are therefore only available as audio recordings. Act of Reading The (ab)Use of Beauty, Chapter One : https://soundcloud.com/bovloors/theabuse-of-beauty)
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2023

Collecting Time

Collecting Time is a vitrine installation that aims to reorientate our collective responsibility for rhythm, perception of time and progress by activating our collective awareness for a slower but more stable pace as a form of care. In a world where confidence in progress is a must, the speed of this progress is often regarded as the measure of success. Time became twice as precious and slowness is often perceived as counterproductive. While the rhythm of the city often jumps back and forth between fast and slow; open or closed; in motion or paused (which requires endless resilience that determines the life and well-being of its citizens), the cycle of nature embodies a much slower and steadier pace. The snail - one of nature’s many performers to embody this slow but steady pace - stands central in this vitrine installation and can as well be found across the urban landscape of Brussels, faithful to the animal's invasive nature.
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Bo Vloors
was nominated by
FOMU
in
2025
Show all projects
Each year every member of the FUTURES European Photography Platform nominates a set of artists and projects to become part of the FUTURES network.

FOMU invites three external jurors to help select the artists. This year’s jury consisted of Laure Cottin Stefanelli (artist and .tiff 2019 participant), Bindi Vora (curator, Autograph in London) and Koi Persyn (curator and artistic director at Jester in Genk).

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The jury made the selection based on the Fomu criteria:

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1. Contemporary relevance
Everything we do is topical and relevant to modern society. We deliberately choose historical and contemporary subjects and projects that are interesting and relatable to a modern audience. We encourage reflection on societal issues and contribute to the prevailing social discourse.

2. Multivocality
We opt for subjects and projects that offer a multifaceted perspective on photographic imagery and the world. We also actively seek out and hold space for different views and perspectives and encourage the representation and involvement of creators from underrepresented communities and backgrounds.

3. Critical reflection on the medium and its evolution
Photography and reality have a multifaceted relationship. We are interested in the mechanisms of photography and deliberately work with photographers who critically engage with the medium or its history and are aware of artistic-conceptual positions and visual language.

4. Ethical position
Due to its complex relationship with reality, photography inevitably raises ethical questions. We are keenly aware of the context in which images emerge and exist. As a result, we always consider the intention and impact of images. We approach all images with the necessary caution and contextualise them within their historical context.

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Fomu invited fellow Futures members to be part of the jury that would pick four artists from ten to join the Futures program. The jury consisted of Angel Luis Gonzales & Julia Gelezova of Photo Ireland and Daria Tuminas & Yusser al Obaidi of Fotodok.

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