-
À la loupe
Werner Moron
7 Rue de l'Official
-
Cloakroom
Charlotte Delval
37 Rue Souverain Pont
-
Biospheric City
Xavier Mary
25 Rue Saint Paul
-
This Is Not a Theory
Giuseppe Arnone
40 Rue Hors-Château
-
Barbaro after the hunt
Andréa Le Guellec
56 Rue Saint-Gilles
-
Nos lieux de bonheur
Benjamin Hollebeke
141 Féronstrée
-
Between Two
Adrien Milon
31b Rue de la Cathédrale
-
Your Parcel Is Coming
Aurelien Lacroix
5 Rue Saint-Michel
-
Marcher, cueillir, jardiner, teindre
Benjamin Huynh
32 Rue de la Madeleine
-
À nos jours heureux
DIAAAne (Diane Stordiau)
28 - 30 Boulevard d'Avroy
-
One Loft Race — Pigeon Paradise
Lucas Castel
20 Rue de la Sirène
-
Les envahisseurs
Dimitri Autin
85 Rue de la Cathédrale
-
Vous êtes toustes flou·e·s
Marcelle Germaine
107 - 109 Rue de la Cathédrale
-
Le jeu d’un destin
Mikaïl Koçak
52 En Neuvice
-
Rue Monrose, 62 : La chambre L’enfant Le train
Paul Gérard
180 Rue Saint-Gilles
-
Peek
Raphaël Meng WU
75 Rue Hors-Château
-
Un buisson de clés (Sleutelbos)
Amber Roucourt
16 Rue du Palais
-
Brownfields
Cesare Botti
108 Féronstrée
-
Never Finished
Dirk Bours
84 Féronstrée
-
Empty Reflections
Jason Slabbynck
21 Pont d'Île
-
On « Sexy Magico »
Louis Gahide
7 Rue Lambert Lombard
-
Opalima Kupina: Liège episode A Stop Pavilion: On the Soft Underbelly of Europe.
Nikolay Karabinovych
1 Féronstrée
-
Untitled
Reza Kianpour
14 Rue de la Populaire
-
Angle Mort
VIVONS CACHÉ·ES
31a Rue de la Cathédrale
-
Haya al salat, haya ala falah*
Sarah Van Melick
4 Rue de la Cathédrale
Warning: Undefined array key "current_expo" in /var/www/clients/client3/web4/web/wp-content/themes/artaucentre/loop/vitrine.php on line 25
Desunsthétics
#4
Zorg Aourir
Curator : Maxime Moinet
6931b Rue de la Cathédrale
Indefatigable dabbler driven by a desire to see things and bodies move, Zorg Aourir is driven by an artistic fire that can take very different forms : music, painting, drawing, silk-screen printing, 3D animation, video game… He also regularly organizes collective exhibitions and musical events.
Zorg Aourir discovers painting with his grandfather, artist Fernand Flausch, with whom he learns painting and pictorial composition. He tries his hand at other computer graphic methods that progressively take an important place in his work. Nonetheless paper remain his preferred medium. At the Royal Academy of Fine Arts of Brussels, he trains to master silk-screen printing, encouraging him to experiment. Since then, he has been multiplying his research and collaborations, adding new strings to his bow.
His very rich graphic universe thrived over time on countless influences, absorbed then digested. The most obvious ones are the pop reminiscences of his grandfather in his colors and the reminders of the 80s-90s video games in certain textures. In the artwork that he presents for Art au Centre, he makes the transition from digital to analogical. He uses several software to create new forms that he animates afterwards before transposing his composition on paper and including it into a larger decor. The spectator is plunged into a three-dimensional cosmic world located on the dividing line between graphic arts and animation.

