Today, in the heart of the Hof ter Saksen nature reserve, the history of the folly comes to life in the contemporary art exhibition Follies. Under the guidance of curator Jonas Vansteenkiste, the nooks and crannies of this park are transformed into a stage for modern interpretations of the folly. Vansteenkiste, fascinated by the psychology of spaces and the mechanics of amusement parks, explores how spaces influence our experiences and emotions.

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His interest lies in how the staged space, the theatrical nature of the folly, challenges our concept of reality and stimulates our imagination. Just as the follies at Hof ter Saksen once provided a playground for the imagination, this exhibition invites visitors to reflect on the role of spaces in our everyday experience.

The concept of the folly originated in the 18th century, when English garden architecture embraced these imaginative, often bizarre structures as a way to glorify nature without the constraints of functionality. These "architectural follies" – in the form of ruins, temples, caves, or even aqueducts – served no practical purpose but were artistic and symbolic expressions that sparked the imagination. The Hof ter Saksen estate, with its rich history and impressive garden architecture, provides the perfect setting to explore these themes, a place where the folly continues to exert its magic.

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Hof ter Saksen, originally built in the second half of the 18th century, was a beloved summer residence of the Versmessen family. After the death of J.B. Versmessen in 1815, his son Antoine inherited the castle and used the estate not only as a private residence but also as a means of enhancing his social status, as evidenced by his appointment as mayor of Haasdonk in 1824. In the following years, the estate was expanded with beautiful gardens and remarkable architectural features, including the striking follies. These form the artistic backbone of Hof ter Saksen, which continued to influence the design of the gardens until the late 19th century.

The oldest images of the castle and its surrounding garden, published in 1825, depict the romantic garden designed by Antoine Versmessen. The park was enclosed by a continuous fence, with a tree-lined avenue on the left and a landscape garden on the right. Towering above the lawn stood a round temple in classical style, a prominent folly on a hill. This temple, though merely a decorative element, reflected the owner's desire to combine nature with the grandeur of classical architectural styles. The castle park also contained two other follies, including an ice cellar, further illustrating the aesthetic power of the folly.

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In Follies, artworks are presented that explore the magic of unused space. Artists and audiences come together in an artistic exploration of the folly as both an art form and a concept. Each artist creates work that touches the essence of the folly: playfulness, the desire for beauty without function, and the play with the boundaries of what space can be. It is an invitation to see space not just as a physical entity, but as a psychological and emotional landscape that is constantly in motion.

When the artworks come together in the landscape of Hof ter Saksen, a magical symbiosis is created. The playful spirit of the folly, which once adorned the gardens of the castle, takes on a contemporary meaning, and visitors are invited not only to look but to experience, enter, and explore. The Follies exhibition offers a unique opportunity to understand the power of space, extending a centuries-old tradition of imagination and art.

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Jonas Vansteenkiste sees follies and useless buildings as a powerful counter-movement to contemporary society, in which almost everything must fulfill a functional role. In an era where efficiency and pragmatism dominate, follies offer a welcome break from the drive for

utility and purpose. These "useless" buildings, which have no concrete or practical function, are valuable because they create space for free imagination, reflection, and escapism.

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Vansteenkiste views follies as heterotopic spaces – terms derived from the French philosopher Michel Foucault. Heterotopia refers to physical spaces that lie outside the usual social and cultural norms, where different rules apply. They can be seen as ‘counter- spaces’, places where the everyday logic of function and productivity is temporarily suspended. Foucault described heterotopias as spaces that are both real, tangible places but that simultaneously evoke other meanings and experiences, often in contrast to the society around them.

In this view, the folly provides space for people to think, dream, and simply be, free from the pressure of reality and the constant demand for utility. It is an invitation to break away from the rushed, focused world and find a moment of stillness and reflection. The folly becomes a place where time and space are not only measured by productivity but by the value of the moment itself. Here, ideas can unfold, dreams can emerge, and imagination can be set free—something often lost in many modern spaces and structures due to the emphasis on efficiency and functionality.

Vansteenkiste believes that these kinds of spaces are essential in today's society – as a way to give thinking, creativity, and the freedom of the mind space again, without the constant weight of ‘usefulness’. In a world focused on results, the folly provides a necessary pause.

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