During the months of February and March of 2006, W139 exhibited, in the underground rooms of Post CS, two concurrent projects in which the notions of object, sculpture and spaciousness were approached in an indirect fashion. ‘What is/ What could be’ was a group exhibition put together by Kristof Van Gestel and it was presented concurrently with ‘Short Stories’, a solo presentation by Matthijs Bosman.

Ex W139 director, Ann Demeester about 'Short stories’:
Matthijs Bosman has an interest in urban legends and Chinese whispers, stories which seem to propagate themselves and multilply, but he likewise characterises himself as a ‘constructeur' with a fondness for physical building, and he has a refined sense of visual expression at his disposal. He is as much ‘image-maker’ annex sculptor, as ‘raconteur’. Bosman ‘brings about’ situations, in the form of three-dimensional images or in the form of concepts that, via diverse channels of communication – such as fictional texts, newspaper articles or rumours – are set loose on the world. In the context of his exhibition at W139 Bosman utilises both strategies. The work ‘Anecdote' for instance spreads like a virus throughout the duration of the exhibition and functions merely as a spoken declaration to individual visitors. The installations ‘Souvenir' and 'Scene at Izanour’s house' are essentially locations, stages for events that will never take place. They form the framework for a story that remains inexplicit. The meaning of the ‘settings’ or assemblages that Bosman executes, does not lie in their form or material embodiment, but in the unwritten script that underlies them, and in the web of associated stories which the work summons up in the viewer. In ‘Scene by Izanour’s house' Bosman conjures with references to Hemingway, life in the deep South of the USA, the legendary wolf Izengrin, the entomology of the name Eisenhouwer and so forth, but primarily he evokes a loaded (ominous) atmosphere, creating a sort of suspense. ‘Souvenir' – an installation that is vaguely reminiscent of the ‘environments' of Kienholz and represents a sort of abstract 'snack bar’ alongside an anonymous motorway – seems to be a tangible memento of a typical transit site where travellers temporarily sojourn but which they never really fully experience. Bosman juggles with associations, suspicions and (collective) memories and manifests himself in this exhibition as a masterful storyteller.