Bachelor Social-Cultural work (2007-2010)

Master Visual arts, St. Lucas Ghent (2005-2007 and 2010-2012)

Bachelor Teaching, St. Lucas Ghent (2012-2014)

Summer academy AFFECT, ‘Exploring the endotic’, Agoracollective, Berlin, Germany, June 1 - 28 (2015)

Dutch Art Institute, Roaming academy, Artez institute of the arts, Arnhem, The Netherlands (2017-2019)



Frans Masereelcentrum, Kasterlee, Belgium, July 2 – July 27 (2012)

D’CLINICstudios, TRACTOR, Lendava, Slovenia, March 30– April 28 (2014)

Das Weisse Haus, Vienna, Austria, March 1 - May 1 (2015)

Pair, Pier-2 artcenter, Kaohsiung, Taiwan, July 20 - October 20 (2015)

Digital Art Studios, Belfast, Northern-Ireland, October 10 - December 2 (2016)

De Koer residentie, Ghent, Belgium (2017-2018)

Zarya - Center for Contemporary art, Vladivostok, Russia (2018)


Exhibitions (selection)

Soloexhibition, ‘Elien Ronse’, CC Gildhof, Tielt, Belgium (2011)

Nomination KBC-price for Young artists, De Canvascollectie, Bozar, Brussels, Belgium (2012)

Soloexhibition, Elien Ronse, ‘Will be replaced’, CC De Beuk, Kortemark, Belgium (2012)

Elien Ronse and Brooke Sanderson, ‘Memory’, D'CLINICstudios, Lendava, Slovenia (2014)

Elien Ronse and Melissa Verschelde, ‘Surrounded by many’, gallery NVT, Ghent, Belgium (2014)

Vibrations Off, Honoré d'O, gallery Kristof Declercq, Ghent, Belgium (2014)

Interlaced Structures, Destination Wien, Vienna, Austria (2015)

Alphabetical cooking, Elien Ronse and Pepe Dayaw, Exploring the endotic, Berlin, Germany (2015)

Performance at Homecomings, Projective space, Berlin, Germany (2015)

The Living-Room, Exploring the endotic, Agora Collective, Berlin, Germany (2015)

A walk elsewhere, Pier 2 Artcenter, Kaohsiung, Taiwan (2015)

Soloexhibition, CTRL+T, metamatic:taf, Athens, Greece (2015-2016)

Letters to the mayor: Athens, metamatic:taf, Athens, Greece (2016)

B-Cone, Elien Ronse, Gaain Bahc and HASC, Barimart gallery, Gwangju, South-Korea (2016)

'A Sudden and Wonderful Brightening', Duncairn Centre, Belfast, Northern-Ireland (2017)

Soloexhibition, From home to marble (try-out), BLANCO, Ghent, Belgium (2017)

'There is no place like home', space Idiot, Turin, Italy (2017)

'Tot in de stad', De Koer, Gent, Belgium (2018)

'How it comes to matter', Hotwheels, Athens, Greece (2018)

Soloexhibition, 'исчезать', Zarya - Center for Contemporary art, Vladivostok, Russia (2018)

'Coup de koer', De Koer, Gent, Belgium (2018)

'All you need is the lavatory', Croxhapox, Gent, Belgium (November 2018)


Workshops, lectures and other

Cultural worker, Kunstwerkt, Belgium (2011-2014)

Teacher, WISPER, Ghent, Belgium (2014-2015)

Teacher, DKO Waasmunster, Belgium (2015)

Mentor, project Artknights, CC Belgica Dendermonde, Belgium (2015)

Artist talk, Pier-2 art center, Kaohsiung, Taiwan (2015)

Mentor and developer, workshop ‘I’m home’, Pier-2 art center, Kaohsiung, Taiwan (2015)

Lecture, ‘Can a microwave tell us something about its owner?’, Ulster University, Belfast, Northern-Ireland (2016)

Coordinator, festival Drawing Days, Belgium (2017)

Artist in residence, Manoeuvre, Ghent/Dendermonde, Belgium (2018)

Lecture, 'That day my brother brought home a MELODI', Zarya - Center for Contemporary art, Vladivostok, Russia (2018)


Interviews, publication and grant

'Leben ist kein stilleben', by Frederik Van Laere (2011)

'Further into banality', by Maria Martens, for Artdependence (2016)

‘Report 07032015-17052016 audio’ for BLATT 3000, a paper for exchange and critical discussion on contemporary music (June 2016)

'In the studio with Elien Ronse', by Dorothy Hunter, for International Sculpture Center re:sculpt (2017)

Kortlopende beurs, Kunstendecreet, Flemish government (2018-2019)



Studio Nucleo, Lindenlei 38, Ghent, Belgium





Centrally in the work from Elien Ronse (°Belgium, 1987) is the object in its domestic surrounding. Commodities often reveal the homogenising effects within private sphere formed by the consumerist and individualistic context we live in. Ronse collects observations while visiting different homes in order to document the continual contradiction between the intimate versus ordinary existence of things. The act of sharing a drink in the kitchen and seeing a bedroom explores disclosure that is not accessible in public space. A house holds the most intimate aspects of a person’s life, while at the same time is filled with commonly available things. In a systematic way Ronse observes domestic life, the gathered documents are reused to emphasise the beautiful as well ridicule structures that mostly seem invisible caused by their permanent presence. While applying rules to organise her own life, she as well enlarges the absurdity of mundane systems. Ronse uses the documents to make installations, games, audio- and videowork.