- Following 2.9K
- Followers 11.7K
- Engagement 1.3%
- Avg likes 147
- Avg comments 3
About Belenius
Belenius (@gallerybelenius) is a Compras y ventas al por menor creator on Instagram, also filed under Personal Goods & General Merchandise Stores and eCommerce/DTC. The account has 11,656 followers and 530 published posts. Recent posts average 147 likes and 3 comments, an engagement rate of 1.3%.
With 11.7K followers, Belenius is a micro creator by the common 10,000 to 100,000 definition. Belenius follows 2,926 accounts, so the audience is roughly 4 times the size of the list followed. Belenius is set up as an Instagram business account. Flinque files Belenius under 3 categories, led by Compras y ventas al por menor and followed by Personal Goods & General Merchandise Stores and eCommerce/DTC.
The Instagram bio for Belenius runs to 12 words across 4 lines. The latest activity Flinque has on record for Belenius dates from January 1970.
Story Highlights
Unlocking shows the title and cover image of every story highlight this creator keeps pinned to the profile.
530 Posts
Belenius has built a substantial archive of 530 posts. Against the audience, that is roughly 22 followers for each post published. Belenius also keeps 8 story highlights on the profile. 9 of those 10 carry captions, averaging 105 words each. The captions are written mainly in English. Words that recur across them include kazemi, veisari, silica, which and laleh. The captions tag #juliabondesson, #lalehkazemiveisari, #inezjönsson, #baertling and #modernamuseetmalmö.
Awarded with Olle Baertling scholarship 2021
Inez Jönsson receives the Bærtling scholarship in 2021 for her consistent and meticulously executed paintings, where motifs and materials are literally intertwined. Horsehair, linen, cotton fabric and self-made tension frames are joined together in strictly geometric shapes. Together they create works of art that can be described as both paintings and objects.
Like Olle Bærtling, Inez Jönsson seeks different boundaries. Bærtling sought an open form, where the paintings increasingly became sections of a larger environment, while Jönsson balances between painting and objects. In both cases, the possibilities of art are expanded through a concentrated and rigorous design language.
#inezjönsson
#baertling
The Wave, 2020
parts of chairs and burls, casted aluminium
95x195x90 cm
In the collection of
13.11—
In the gallery room at Ulrikagatan are two reconstructed divans. Allochthonous, taken out of their original context and set in an opposite fashion, these sculptural pieces are in dialogue with one another. The velvet fabric enhances the scenic and the theatrical; the constructed environment. A shrewd eye suddenly becomes aware of the reference to Vienna and the city’s essential role in the history of psychoanalysis. In this way, the divan is emblematic of the conversation. Or perhaps rather for the act of listening. What is it to listen? Listening is a facilitator for communication and conversation. To rest on the divan is to listen. The divan as reflection. It is a piece of furniture for conversation, for exchange and for discussion: the very image of the question. A prefiguration of listening. The exhibition also displays a suite of eight paintings entitled Manquent, which are abstractions of the philosopher Walter Benjamin’s (1892–1940) theses on the philosophy of history which he composed during his forced exile in Paris. The title of the work series, which roughly means “missing something” or “feeling the absence of someone”, alludes to the title of an index card with unwritten and unfinished fragments on light brown paper. The work with Walter Benjamin’s fragments is set on an abstract level and is covered not in words, but in colour. The text is evidently gone, transformed into a painting in what appears to be a symbolic palimpsest. An unwritten text is still a text. An empty surface is exposed where the text is located and from it the abstraction transpires. Kazemi Veisari has for some time immersed herself in archives linked to this specific work and studied it for a time in a lingering way that is characterized by a practice of introspection and retrospective. The exhibitions allochthonous theme of movement and removal is also conveyed in a painting depicting an empty pedestal. The pedestal may reasonably embody the contemporary discourse on the public monument and its transformation, the vacuous pedestals’ manifesto of negative spatiality that takes its starting point in the city and public space.
Cradle my bones
#juliabondesson
Of Silica
13.11—
The exhibition title Of Silica, which plainly hints to the chemical element silica, leads the mind to the earth’s crust and its constitution. As Sand, silica is the primary constituent of glass which forms the transparent body of the display case. Abundantly used in museum vitrines, glass is enclosing and delimiting of its content. In the exhibition, the artist has worked with allochthon as a method. The word is formed from the Greek állos ἄλλος “different” and chthṓn χθών “of the earth”. Allochthon is a geological term that refers to rock and sediment that has been removed from the place where it was formed to a foreign environment through various events of tectonic movement. In an ethnographic context, the adjective form of the word also denotes individuals and societies with a non-resident social origin or descent. In her debut at Gallery Belenius, allochthonous displacements, consolidations and removals are leitmotifs in Laleh Kazemi Veisari’s installation.
#lalehkazemiveisari
13.11—
During a stay in Vienna, Laleh Kazemi Veisari (b. 1983) turns into an ardent museum visitor. Several days and countless hours are spent in the city’s many museums. One of these days, Kazemi Veisari is in a room filled with ivory miniatures and other ethnographic objects that carry neither titles nor attributions. A feeling of ailment afflicts the artist. This is clearly some sort of history processing vis-à-vis the museum, but in what way? Toward the centre of the peculiar room a pair of divans are set. A feeling of ambivalence arises. The feeling manifolds and reproduces in both physical form and on an intuitive plane. The viewer herself is abruptly and unexpectedly observed by numerous masks and figures in display cases; looking back at the spectator as they lie in a huddle. All the while the divans rest directed towards the display cases. Acoustic feedback emerges in the room. By all means, lie down on the divan. See and listen to the objects that have been taken from every conceivable place on earth. Listen to the dispossessed. Has anyone listened to them? The museum is a regime. The objects tell a story of separation and disembodiment. Here the visitor is led to listen to the objects. Perhaps there is a listening practice that can go beyond the museum regime. But there is also a deprivation, a transfer, a looting; which makes them bereaved of their physicality. Their status as objects is dependent on their disappearance from elsewhere.
#lalehkazemiveisari
Family album
2021
Drawing on linoleum
200 x 163 cm
In the collection of
Yellow and Black
1977-83
Part of the collection of
Cradle my bones
Moderna Museet Malmö
#juliabondesson
#modernamuseetmalmö
Thumbnails are unavailable for 10 of these 10 posts. Open a tile to view the post on Instagram.
Belenius's engagement
Belenius's engagement rate on Instagram is 1.3%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 77 followers. An average post collects 147 likes and 3 comments, close to 49 likes for each comment.
Engagement rate
1.3%
- Avg likes
- 147
- Avg comments
- 3
- Interactions : followers
- 1 : 77
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Frequently asked questions
These answers about Belenius are generated from the Instagram profile data Flinque holds for the account.
Who is Belenius?
Belenius (@gallerybelenius) is a Compras y ventas al por menor creator on Instagram, also filed under Personal Goods & General Merchandise Stores and eCommerce/DTC. Belenius is set up as an Instagram business account. The Instagram bio for Belenius runs to 12 words across 4 lines.
How many followers does Belenius have?
Belenius has 11,656 followers on Instagram (11.7K). Belenius follows 2,926 accounts, so the audience is roughly 4 times the size of the list followed. Belenius has built a substantial archive of 530 posts.
What is Belenius's engagement rate?
Belenius's engagement rate on Instagram is 1.3%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 77 followers. An average post collects 147 likes and 3 comments, close to 49 likes for each comment.
What does Belenius post about on Instagram?
Flinque files Belenius under 3 categories, led by Compras y ventas al por menor and followed by Personal Goods & General Merchandise Stores and eCommerce/DTC. The 9 recent Instagram captions Flinque holds for Belenius repeatedly use the words kazemi, veisari, silica, which and laleh. Belenius's captions carry hashtags such as #juliabondesson, #lalehkazemiveisari and #inezjönsson. Belenius writes those captions mainly in English. Belenius keeps 8 story highlights, which open with a free Flinque account.
How do I contact Belenius for a collaboration?
Belenius's contact details are not published on Flinque's public profile. The Instagram bio links to 1 external site, and a free Flinque account opens that link. The account is registered as an Instagram business account. Brands with a free Flinque account can shortlist Belenius and use Flinque's outreach tools wherever a contact route is on file.
Links
Belenius's own Instagram profile is the one outbound link Flinque publishes for the account, and the bio link opens after signing up.
Public profile data sourced from Instagram. Flinque is not affiliated with Belenius.