During a one-year period, Jef Geys created a room in the basement of the gallery in which he  showed a selection of old and new works. A “Retrospective-Introspection,” in the words of the artist, Geys’ “chambre” is conceived as a shifting solo exhibition, an opportunity to reflect on past productions while proposing and experimenting with new ideas. The room was approximately 3 x 4 meters with a door-sized opening, at the back of the space. Around every two months Geys presented a different arrangement of works.

For his second “chambre”, Geys revisited themes of identity and geography from the 3 June 1988 edition of his newpaper Kempens Informatieblad, with the cover image of a “cow passport” (in the mid-sixties Geys had visited cattle auctions with his father-in-law, and came across these cow identity papers detailing the animal’s name, sex, birthdate, and vaccination history). Together with the cow passport were presented drawings of contours of human figures, recalling the tracings at crime scenes. “Drawings on the wall, painting on the floor, traces in the sand, all suggest temporality: the time that remains of the impression one has of things, the impression that everything passes very quickly.”