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À la loupe
Werner Moron
7 Rue de l'Official
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Cloakroom
Charlotte Delval
37 Rue Souverain Pont
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Biospheric City
Xavier Mary
25 Rue Saint Paul
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This Is Not a Theory
Giuseppe Arnone
40 Rue Hors-Château
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Barbaro after the hunt
Andréa Le Guellec
56 Rue Saint-Gilles
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Nos lieux de bonheur
Benjamin Hollebeke
141 Féronstrée
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Between Two
Adrien Milon
31b Rue de la Cathédrale
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Your Parcel Is Coming
Aurelien Lacroix
5 Rue Saint-Michel
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Marcher, cueillir, jardiner, teindre
Benjamin Huynh
32 Rue de la Madeleine
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À nos jours heureux
DIAAAne (Diane Stordiau)
28 - 30 Boulevard d'Avroy
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One Loft Race — Pigeon Paradise
Lucas Castel
20 Rue de la Sirène
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Les envahisseurs
Dimitri Autin
85 Rue de la Cathédrale
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Vous êtes toustes flou·e·s
Marcelle Germaine
107 - 109 Rue de la Cathédrale
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Le jeu d’un destin
Mikaïl Koçak
52 En Neuvice
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Rue Monrose, 62 : La chambre L’enfant Le train
Paul Gérard
180 Rue Saint-Gilles
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Peek
Raphaël Meng WU
75 Rue Hors-Château
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Un buisson de clés (Sleutelbos)
Amber Roucourt
16 Rue du Palais
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Brownfields
Cesare Botti
108 Féronstrée
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Never Finished
Dirk Bours
84 Féronstrée
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Empty Reflections
Jason Slabbynck
21 Pont d'Île
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On « Sexy Magico »
Louis Gahide
7 Rue Lambert Lombard
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Opalima Kupina: Liège episode A Stop Pavilion: On the Soft Underbelly of Europe.
Nikolay Karabinovych
1 Féronstrée
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Untitled
Reza Kianpour
14 Rue de la Populaire
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Angle Mort
VIVONS CACHÉ·ES
31a Rue de la Cathédrale
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Haya al salat, haya ala falah*
Sarah Van Melick
4 Rue de la Cathédrale
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Work, Comfort, Home
#3
Michael Mönnich
Curator : Arthur Cordier
5740 Rue Léopold
Michael Mönnich is a photographer and video-maker based in Munich. His works explore the hidden world of Data-generated content and the human workforce sustaining it. Who trains algorithms in the first place ? Humans do. The workforce is recruited through different platforms, in order to perform « discrete on-demand tasks that computers are currently unable to do ».
In Work, Comfort, Home (2020) Michael dealt with a data set of 68.8 hours of video material. In his own words « the visual archive was produced entirely by internet workers across the globe in order to train algorithms ». Within this set of visual documentation he selected those made by one family of workers. He reaches out to a pool of anonymous workers willing to contribute to his films.
He recurrently asks them to perform certain sets of actions, such as in the installation work On-Demand Workforce (2018) previously exhibited at The Balcony, The Hague, and the Galerie Der Künstlerinnen, Munich. Thus perverting neo-liberal systems to his own artistic goals Michael Mönnich invites us to reflect upon the shaping of labor in our data-oriented society as well as the new forms of « on-demand » labor.

