Music, Poetry, Drawing and Discussion at the Royal Museum of Fine Arts in Antwerp

For Slow Art Day 2025, the Royal Museum of Fine Arts Antwerp (KMSKA) in Belgium invited visitors to slow down and engage deeply with art through a series of thoughtfully designed experiences across the museum’s exhibitions.

KMSKA has been an important participant in the Slow Art Day movement for nearly a decade and was notably the first museum in Belgium to organize a Slow Art Day event in 2016. For the 2025 edition, the museum expanded its program with several creative formats designed to help visitors observe more carefully and reflect more deeply.

One of the highlights was an experimental program called “Slow Looking with Music.” Visitors spent an hour focusing on a monumental triptych by the 15th-century Flemish painter Hans Memling, while a live soundtrack was performed by the Belgian experimental band Monnik. The musicians performed from behind the audience so that all attention remained directed toward the artwork (note: we at Slow Art Day HQ wish we could have been there).

Electric guitars, analog synthesizers, effect pedals, and layered vocal sounds created an immersive soundscape that encouraged visitors to observe the painting slowly and thoughtfully. Participants were given printed prompts to guide their reflections, including questions such as: What do you see? What do you hear? What thoughts or feelings arise? slow_looking_prompts_music_KMSKA

After the musical performance, a museum guide facilitated a group discussion where visitors shared their interpretations and experiences.

In addition to this musical slow looking experiment, KMSKA organized several other Slow Art Day activities throughout the museum.

During “In Dialogue,” visitors sat together in front of a selected artwork by Belgian contemporary artist Hans Op de Beeck, guided by a museum educator who helped participants observe closely and discuss their impressions.

Another activity invited visitors to participate in a drawing tour through the exhibition spaces. With drawing prompts provided by a museum guide, participants of all skill levels used sketching as a way to slow down and connect with the artworks.

A literary component was also included. Museum staff member Sophie led a poetry session, reading selected poems alongside artworks and encouraging visitors to reflect on how language and visual art interact.

Finally, visitors could participate in Radio Bart, a special conversational format led by art lovers who are blind. Through discussion and thoughtful questioning, the Radio Bart hosts helped visitors experience artworks from new perspectives and notice details they might otherwise overlook.

Together, these varied programs demonstrated how many different paths can lead to slow looking. Whether through music, drawing, poetry, or spoken word and conversation (especially awesome for blind participants), visitors were encouraged to pause, reflect, and engage more deeply with the artworks around them.

We at Slow Art Day HQ are deeply grateful to the team at KMSKA for continuing to innovate around slow looking and for being such a long-standing leaders in our movement.

We look forward to what amazing design they come up with for Slow Art Day 2026.

— Ashley, Johanna, Jessica Jane, and Phyl

Multisensory Slow Art Day at the House of European History

For Slow Art Day 2025, the House of European History in Brussels, Belgium, launched a new program called “Slow Looking Saturday,” a guided series designed to accompany the museum’s temporary exhibition Presence of the Past: A European Album, which explores documentary photography and how Europeans engage with memory, history, and the legacy of the past.

The inaugural session, held on April 5 for Slow Art Day, focused on a single photographic project: “Our Family Garden” by Bosnian artist Smirna Kulenović. Participants gathered for a one-hour facilitated slow looking experience led by Pauline Gault, Informal Learning Project Manager at the museum. The session was designed to help visitors deeply explore one image and its many layers of meaning.

“Our Family Garden” documents a remarkable act of healing through nature. In the project, calendula flowers are planted in former trenches used during the Siege of Sarajevo, transforming spaces once associated with violence into places of growth and remembrance. The Slow Art Day session took place just one day before Sarajevo’s city day, when people now gather to care for these gardens.

Drone view of the calendula-planting performance ‘Our Family Garden’ organized by Smirna Kulenovic and filmed by Jasmina Omerika, Bosnia and Herzegovina, 2021.
Smirna Kulenović, A grandmother, mother and daughter prepare to plant flowers in the former trenches from which Sarajevo was besieged between 1992 and 1996, Bosnia and Herzegovina, 2023.

To guide the slow looking experience, Gault incorporated educational frameworks including Project Zero Visible Thinking routines from the Harvard Graduate School of Education and the Thinking Museum® Approach developed by museum educator Claire Bown, author of The Art Engager: Reimagining Guided Experiences in Museums. Participants engaged in several structured activities including Memory Draw, Engage & Imagine, and 3–2–1 Reflection, each designed to deepen observation, interpretation, and conversation.

The session also activated the sense of smell: dried calendula flowers were present in the room, allowing participants to connect physically with the plant at the center of the artwork. During the closing reflection exercise, visitors wrote their thoughts on the back of specially designed postcards featuring the artwork. These served both as reflection tools and souvenirs for participants to take home.

Feedback from participants was very positive. Many remarked that focusing on a single photograph allowed them to notice details and meanings they would have otherwise overlooked.

We at Slow Art Day HQ are delighted to see the House of European History launch an entire learning series from their Slow Art Day program. Special thanks to Pauline Gault and the Learning & Outreach team for developing this thoughtful approach, and we look forward to hearing about their event for Slow Art Day 2026.

— Ashley, Johanna, Jessica Jane, and Phyl

Cross-Exhibition Design at Mildura in Australia

For their fifth Slow Art Day, the Mildura Arts Centre invited visitors to slow down and explore artworks across several of the gallery’s current exhibitions. Rather than focusing on a single piece, participants were encouraged to choose a work from each exhibition and spend five to ten minutes observing it carefully.

The selected exhibitions included: Time and Place by Bruce Munro, Chapter 5 (Mallee Parley) by Aaron Bailey, Alight by Nicola McClelland, and works from the Mildura Arts Centre Collection. This approach allowed participants to experience a variety of artistic styles and perspectives while practicing slow looking.

Chapter 5 (Mallee Parley) by Aaron Bailey. Photo courtesy of Mildura Arts Centre.

Visitors were encouraged to bring a journal and pencil to jot down thoughts and questions while observing the artworks. Others attended with friends and discussed their reflections together afterward. The experience often continued beyond the gallery walls, with participants gathering for refreshments at the Vista Café Bar onsite to continue their conversations.

Slow Art Day also connected naturally with other events happening at the centre that day. Visitors were invited to attend artist talks and exhibition openings, including a presentation by Nicola McClelland, where they could share their observations and continue engaging with the art and artists.

The city of Mildura is known as a cultural hub in regional Australia – Mildura itself is located far north-western Victoria, Australia, on the banks of the Murray River near the New South Wales border.

We at Slow Art Day HQ love the simple cross-exhibition design of their Slow Art Day and would love ourselves to someday visit this wonderful center for art and theater (they have a 500 seat theater) and we look forward to what they come up with for Slow Art Day 2026.

– Ashley, Jessica Jane, Johanna, and Phyl

P.S. – Visit them on Facebook and Instagram.

MASS MoCA: Looking Beyond 21 Seconds

For their seventh Slow Art Day, Massachusetts Museum of Contemporary Art (MASS MoCA) in North Adams, Massachusetts invited visitors to focus on large-scale contemporary installations throughout the museum’s campus, with attention to:

  • Immersive, room-sized installations
  • Light-based and spatial works
  • Sound-producing pieces integrated into gallery environments

Throughout the day, guided slow-looking tours were offered and visitors could also explore independently using prompts provided by museum staff.

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MASS MoCA’s programming leaned into the strengths of its unique setting — a converted 19th-century factory campus now housing some of the world’s largest contemporary installations. Rather than focusing on a single object, participants were encouraged to slow down within immersive spaces.

Prompts invited visitors to consider:

  • What exactly are you seeing?
  • How does light shape your perception of depth and space?
  • What happens if you close your eyes and listen to the sounds produced by the installation?
  • How does your body feel in relation to the work — your feet on the ground, your breathing, your position in space?

In some installations, guests were encouraged to observe subtle blinking sequences of light or shifts in projected imagery. In others, the focus turned toward sound — noticing how ambient or intentional audio elements changed the experience of the visual field.

The museum also incorporated simple mindfulness techniques before viewing: deep breathing, grounding awareness, and a moment of stillness. These small pauses helped participants transition from walking through galleries to inhabiting them more fully.

The event was designed for all ages, and Spanish-language itineraries were typically available, reinforcing MASS MoCA’s commitment to accessibility.

At Slow Art Day HQ, we love MASS MoCA and have spent time there and apprecaite what they did this year to help visitors learn to slow down in immersive spaces and how that can present a different kind of challenge than focusing on a single painting .

We look forward to seeing what MASS MoCA comes up with for Slow Art Day 2026.

– Ashley, Johanna, Jessica Jane, and Phyl

P.S. You can learn more about MASS MoCA’s exhibitions and programming at https://massmoca.org.

Second Slow Art Day at Sint-Andrieskerk in Antwerp, Belgium

For Slow Art Day 2025, Sint-Andrieskerk (Saint Andrew’s Church) in Antwerp, Belgium hosted a small and intimate gathering centered on slow looking, reflection, and shared meaning. The event was coordinated by Viviane Vandenbroucke and thoughtfully led by members of the church community.

The experience embodied the core spirit of Slow Art Day: slowing down, looking closely, and engaging in meaningful dialogue.

For adult visitors, the session was led by Father Rudi Mannaerts, priest of Sint-Andrieskerk. Participants were guided in slow looking at the modello of the Crucifixion of Saint Andrew.

Under Father Mannaerts’ leadership, visitors were encouraged to take time with the work, observing details, reflecting on its symbolism, and discussing how the artwork connects visual form and spiritual meaning.

Interestingly, the painter of this modello – Otto van Veen – was not only the most celebrated painter in Antwerp in the late 16th century, he was also Peter Paul Rubens’ *teacher*. So when the Slow Art Day participants looked slowly at this painting, they were also seeing some of what Rubens’ himself saw centuries ago.

For children, guide Wiske Claus led a parallel experience in the Sacristy. Young participants were introduced to the garments worn by priests and learned about their meanings and uses within the church year.

By engaging directly with these objects, children were invited to look carefully, ask questions, and connect visual elements with deeper significance — a hands-on approach aligned with Slow Art Day’s emphasis on attentive observation.

Sint-Andrieskerk demonstrated how Slow Art Day can thrive in intimate, religious settings as well museums and galleries. The church is already planning its 2026 event, where visitors will gather to slowly contemplate What is the truth? (2012), a contemporary painting by French artist Alain Senez. Inspired by Pontius Pilate’s famous question before the death sentence of Jesus, the work reflects on how media and perception shape what we believe to be true. Led once again by Father Rudi Mannaerts, the church will host multiple sessions throughout the afternoon, continuing its thoughtful approach of connecting historical faith spaces with modern artistic questions.

We are especially grateful to Viviane Vandenbroucke, Father Rudi Mannaerts, and Wiske Claus for continuing to support Slow Art Day within the church community. Sint-Andrieskerk has been an important participant in bringing Slow Art Day into sacred spaces, helping inspire the growing church movement within our global network.

We hope that more churches and sacred spaces join our movement in 2026, and we certainly look forward to hearing about Sint-Andrieskerk’s event on April 11th.

— Ashley, Johanna, Jessica Jane, and Phyl

Eighth Slow Art Day at Habitat for the Arts, Jasper, Alberta, Canada

On April 5, 2025, Habitat for the Arts in Jasper, Alberta, Canada hosted another meaningful Slow Art Day at the Jasper Museum, continuing a tradition they have explored over eight years. Each year is different, and this year’s gathering centered on heritage photography and the way art captures and stills time.

The focus of the day was a photography exhibition featuring the work of Harry Rowed — images of people and places in Jasper National Park from the 1940s through the 1960s. The black-and-white still images offered participants a window into earlier generations, inviting them to consider memory, place, and continuity.

The morning program began with a dedicated half hour of slow viewing inside the exhibition. Participants were given a small piece of paper to carry with them as they moved through the gallery. They were invited to reflect on a simple but powerful question: Which image captured you? Which image made you stop and truly spend time with it?

After the quiet viewing period, guests gathered for tea and cookies — and even chocolate — creating a relaxed and welcoming atmosphere for conversation. The structure of the hour allowed for both solitude and shared reflection. The museum space, with comfortable seating placed among the historic images, encouraged visitors to linger.

Photography proved to be an especially fitting medium for Slow Art Day. As Habitat for the Arts shared, still images are perfect for capturing a piece of time. The photographs of Harry Rowed moved beyond documentation into storytelling. They carried gestures, landscapes, family groupings, and expressions that bridged generations.

Two reflections stood out from the discussion.

One participant shared, “It struck me witnessing the ties of family and how the love of nature and exploration crossed generations.”

Another reflected, “There is something so exact and familiar in spending time with the person in the photo. You feel almost as if you might know them, or have met them somewhere before despite the division of time.”

According to the Habitat for the Arts team, these responses captured the essence of the day.

We are grateful to Habitat for the Arts for continuing to celebrate Slow Art Day in Jasper and look forward to what they come up with for 2026.

– Ashley, Johanna, Jessica Jane, and Phyl

Test Kitchen at the Gardiner Museum, Toronto

On April 5, 2025, the Gardiner Museum in Toronto, Ontario participated in Slow Art Day for the sixth time — this year embedding the experience within their major exhibition Test Kitchen: A Museum Project.

As the museum underwent a full-scale reimagining of its ground floor and reinstallation of significant parts of its collection, Test Kitchen created a space of experimentation, collaboration, and participation. The exhibition functioned as part exhibition, part workshop, and part ideas generator. Visitors were encouraged not just to observe, but to question, respond, and contribute.

For Slow Art Day, participants were invited to closely engage with four collection-based “episodes” within the gallery:

  • Connected Worlds
  • Modern and Contemporary Ceramics
  • Ancestral Abiyalas
  • Indigenous Immemorial

Featured works included:

  • Two-handled vase with palmette motif, Deruta, Umbria, Italy, c.1500–1550
  • Ewer, silver mounts with German coin dated 1626, Jingdezhen, Jiangxi, China, 1635–1640
  • Posset pot with chinoiseries, possibly Brislington, Bristol, England, 1687
  • An Odyssey, Artist: Pamela Cevallos (Ecuadorian, born 1984), Collaborator: Guillermo Quijije, Quito, Ecuador, 2022
Two-handled vase with palmette motif, Deruta, Umbria, Italy, c.1500–1550
Ewer, silver mounts with German coin dated 1626, Jingdezhen, Jiangxi, China, 1635–1640
Posset pot with chinoiseries, possibly Brislington, Bristol, England, 1687
An Odyssey, Artist: Pamela Cevallos (Ecuadorian, born 1984), Collaborator: Guillermo Quijije, Quito, Ecuador, 2022

Participants navigated the exhibition using a self-guided Slow Art Day activity sheet created specifically for the program (below). The prompts encouraged close looking, sketching, reflective writing, and imaginative engagement.

In Connected Worlds, visitors searched for ceramics that visually embodied global exchange: an English pot with Chinese dragons, a Chinese jug with Dutch designs and a German coin, and an Italian vase made using a technique from Iraq. In Indigenous Immemorial, participants compared two works by John Kurok, reflecting on form, design, colour, and emotional tone.

In Modern and Contemporary Ceramics, guests identified works connected to myth or magic, considering how contemporary artists draw from narrative and symbolism.

In Ancestral Abiyalas, participants looked closely at An Odyssey, imagining themselves within its scenes — listening for sounds, sensing scents, and noticing what surprised them.

After completing their exploration, visitors were invited to participate in the exhibition’s interactive “Befriend an Object” activity, further reinforcing the exhibition’s collaborative spirit.

We are grateful to Sofia Flores-Ledesma and the team at the Gardiner Museum for continuing to champion Slow Art Day and for integrating it so thoughtfully into their institutional transformation, and look forward to seeing what they come up with for Slow Art Day 2026.

– Ashley, Johanna, Jessica Jane, and Phyl

P.S. View them on Instagram and Facebook

Klimt, Turtles, AI & Art at Deutsches Museum Bonn

On April 5, 2025, the Deutsches Museum Bonn in Bonn, Germany participated in Slow Art Day and focused on the exhibition KI-Update: Deep Dive – Ist das Kunst? (“AI Update: Deep Dive – Is It Art?”).

The exhibition explored artificial intelligence and its growing role in creativity, authorship, and perception.

For Slow Art Day, the museum centered the experience around a set of connected questions: “Can we recognize AI-generated art? And when we look closely at AI-generated content, do we discover the same feelings, surprises, and emotions as we do when we spend a long time looking at human-made art?”

Displayed throughout the gallery were pairs of artworks inviting comparison and contemplation — classical works alongside AI-generated interpretations, including images inspired by Gustav Klimt’s Der Kuss and other well-known masterpieces. Through activating and participatory stations, visitors were encouraged to look carefully, question assumptions, and examine their own emotional responses.

The format followed a simple but powerful structure:

  • First, slow down upon entering.
  • Second, engage deeply with the works and prompts.
  • Finally, reflect on whether the experience of looking at AI-generated imagery felt different from looking at traditionally created art.

One unexpected outcome of the day was the shared feeling of becoming “turtles.” As visitors slowed their pace and extended their viewing time, the metaphor stuck. To celebrate the theme, a volunteer led a hands-on crafting station where participants created multicolored turtles using potato starch material. The playful activity reinforced the central message of the day: slow down, take your time, and carry curiosity with you.

By blending philosophical inquiry, technology, and participatory creativity, Deutsches Museum Bonn created a Slow Art Day that felt both timely and joyful.

Warm thanks to Tanja Löschner and the entire education and engagement team for bringing Slow Art Day into the evolving conversation around AI and art. We look forward to seeing what they come up with for Slow Art Day 2026.

– Ashley, Johanna, Jessica Jane, and Phyl

P.S. View them on Instagram and Facebook

Contemporary Art at Wardong Gallery

On April 5, 2025, Walyalup Fremantle Arts Centre (WFAC) in Western Australia held their first Slow Art Day during the Perth Festival exhibition season and focused on four contemporary works presented in the Wardong Gallery.

Kate Mitchell, Prompts for Idea Induction 2024, HD video, 16:9, silent. 38 minutes, 58 seconds.
Photographer: Shannon Lyons


Before the slow looking began, Shannon Lyons, Engagement and Public Programs Coordinator, welcomed participants and acknowledged the Whadjuk people as the traditional custodians of the land.

Shannon outlined a self-directed structure for the morning and invited participants to spend approximately 15 minutes with each of the four mapped artworks, choosing their own order. They were encouraged to unplug, remain quiet, and refrain from reading the gallery texts, focusing instead on what they could see and experience directly. Notepaper, pencils, and clipboards were offered for those who wished to write or draw, and stools were available for seated viewing.

After an hour of slow looking, the group reconvened in the center of the gallery for a relaxed discussion. Conversation prompts invited participants to share one word to describe an artwork, reflect on details noticed, and consider what it felt like to look slowly.

For many attendees, this was a new experience. Most had never spent sustained time with an artwork before. The extended encounter with Mitchell’s video work encouraged careful observation and personal interpretation.

We look forward to seeing what the WFAC comes up with for Slow Art Day 2026.

– Ashley, Johanna, Jessica Jane, and Phyl

Third Place Making at the Marjorie Barrick Museum of Art

On April 5, 2025, the Marjorie Barrick Museum of Art at the University of Nevada, Las Vegas hosted their fifth Slow Art Day with a thoughtful and community-centered program grounded in the theme “Slow Looking as Community Third Place Making.”

Facilitated by Dr. Zida Wang, Manager of Community Engagement and Outreach, the day invited participants to consider how an art museum can function as a “third place” — a welcoming social environment beyond home and work where reflection and connection can unfold naturally. Throughout the day, participants including UNLV students, local artists, and families, moved through the galleries at their own pace.

The featured works for slow looking were paintings by Japanese-American artist Yoko Kondo Konopik:

  • Play with Blue and Two Yellow (2004)
  • Sunny Beach (2019)
  • Las Vegas Lullaby (2021)
Yoko Kondo Konopik: Play with blue and Two Yellow (2004)
Yoko Kondo Konopik: Sunny Beach (2019)
Yoko Kondo Konopik: Las Vegas Lullaby (2021

These bold, geometric compositions — with their intersecting planes of color, stripes, arcs, and spatial tension — offered rich opportunities for observation and interpretation.

After introducing the selected works, visitors were encouraged to engage in self-guided slow looking supported by printed prompts developed by the museum. These prompts invited participants to reflect not only on what they saw, but also on their own physical presence in the gallery.

They were asked to consider the size and dimensionality of the artwork, notice unexpected details, reflect on how their body was positioned in front of the work, and even become aware of sound and air temperature. Additional prompts invited visitors to find artworks connected to values such as compassion, courage, joy, or personal growth.

Influenced by Third Place Theory, constructivist museum approaches, and other approaches like visual thinking, the program blended independent reflection with facilitated dialogue. Participants journaled quietly, then gathered for informal conversations to share interpretations. The tone was open, exploratory, and welcoming. There was no pressure to “get it right.” Instead, the emphasis was on slowing down and discovering meaning collectively.

We love the flyer they created. As you can see below, it used oversized, rounded outline lettering with playful cutout details and a cool blue palette that gave it a distinctly 1960s modernist poster vibe. The bold typography, clean sans-serif subtext, and simple graphic shapes also created a retro feel that was both groovy *and* approachable.

According to visitors, the Slow Art Day experience made the galleries felt less like formal exhibition spaces and more like living rooms for communal viewing. Some returned to the same painting multiple times. Others compared how their perceptions shifted after hearing a peer’s insight.

By the end of the day, the event affirmed the Barrick Museum’s belief that art museums can serve as inclusive third space for reflection, empathy, and connection. In other words, Slow Art Day did not simply encourage looking; it encouraged belonging.

We are grateful to Dr. Zida Wang and the team at the Marjorie Barrick Museum of Art and look forward to what they come up with for 2026!

– Ashley, Johanna, Jessica Jane, and Phyl