Leto Erin KeunenAbout
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Leto Erin Keunen (b. 2000)is a Brussels-based visual artist and designer. Her practice explores gender narratives, domestic rituals, and embodied infrastructures within normative cultural frameworks.

Her work collects fragments, relations and stories from everyday life. She combines and restructures these elements to present them as speculative interpretations that challenge our perspective on power relations and the gestures that perpetuate them.

Everyday habits are turned inside out until they become vulnerable, relational and permeable. Her handmade objects and installations bring together sculptural forms and fluid materials that possess a performative potential. The resulting deconstructions of social conditioning and gender identity translate into spatial interventions suspended in states of liminality.


Solid Air (2026)
at Kassé, Brussels (BE)

Curated by Karel Op ‘t Eynde


With works by:
Adèle Sweetlove
Iana De Rop
Leto Keunen


Installation views by Silvia CapellariSolid Air is an exhibition by Leto Keunen, Adèle Sweetlove and Iana De Rop, presenting a joint installation, individual works and an edition. Although air might often appear as the most neutral condition of a room, this exhibition approaches it as a system that is shared, but never equally distributed. The spaces in between become a way of reading this condition, asking how the interior becomes desirable, and at what cost. What has to be filtered, or even decimated in the process? 

Even the most domestic spaces are organised by powers that dictate who or what may enter, what must be kept out, what deserves attention and what should remain unnoticed. They are shaped by a choreography of permissions and exclusions. They teach us where to stand and what to look at, how to move and what to ignore. They enact a politics of attention in which some presences are welcomed and others deemed intolerable.

Solid Air asks what kinds of environments we learn to want, and what forms of life, labour and attention are displaced in order to sustain them. To breathe is shared, but the conditions of breathing are not. Air as pleasure, air as infrastructure, air as commodity, air as a fragile common condition that is continuously claimed, but also withheld.


Exhibition text from Solid Air by Karel Op ‘t Eynde (2026).



 Wire rack for mounting an iron, 2026
Sculpture
wood, steel; paper, ink
149x50x21cm; 5,7x18cm

Sleeve board, 2026
Wall drawing
pencil on wall
29,7x40cmIn (1) Wire rack for mounting an iron (2026), and (5) Sleeve Board (2026) by Leto Keunen, the artist presents a wooden ironing board hanging on a steel structure, a small printed patent fragment, and a pencil drawing made directly on the space’s wall. Patent drawings isolate objects in order to define them. They tell us what an object is, what it does, how its parts relate, but never in relation to the environments they are intended for. 

They become hermetically isolated in order to understand and capture them to the fullest extent, but fail to do so while trying. In this case, it describes the rack in a similar way as a body. It speaks of a torso, arms and legs, a structure that supports another structure. A simple household aid is given anatomy. It does not explain how to iron. It explains how ironing equipment is held in a state of non-use.

Exhibition text from Solid Air by Karel Op ‘t Eynde (2026).