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Histoires simples
Léopold Mottet 1 students
107 Féronstrée
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Qu’est-ce-qui se trame ici ?
Centre André Baillon
1 Féronstrée
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Night Walk
Maria Chiara Ziosi
85 Rue de la Cathédrale
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Thy Cities Shall With Commerce Shine — Part II
Hattie Wade
35 Rue Souverain Pont
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La Maison Panure – Fève des rois
JJ von Panure
21 Pont d'Île
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MANTERO
Santiago Vélez
4 Rue de la Cathédrale
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Mobile Écriture Automatique
Philippe José Tonnard
109 rue de la Cathédrale
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ST END
Pablo Perez
10 Rue Nagelmackers
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ALREADYMADE n° 3 : Empty Cart or Cardboard Cybertruck
M.Eugène Pereira Tamayo
18 Rue de l'Etuve
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Centre de remise en forme (économie de guerre)
Werner Moron
7 Rue de l'Official (Îlot Saint-Michel)
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Sun(set)(Seed)
Matthieu Michaut
56 Rue Saint-Gilles
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precarity of non-human entities
Gérard Meurant
23 Rue Saint-Michel
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S’aligne, l’inconnue sans lecture
Julia Kremer
40 Rue Hors-Château
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Autumn Collages
Ívar Glói Gunnarsson Breiðfjörð
30 Rue de la Cathédrale
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Rōt Rot Rôt
Janina Fritz
28 Rue des Carmes
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Pierre ventilée
Daniel Dutrieux
14 Rue de la Populaire (Îlot Saint-Michel)
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Peephole
Jacques Di Piazza
31a Rue de la Cathédrale
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Room Eater
Jorge de la Cruz
5 Rue Saint-Michel (Îlot Saint-Michel)
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Behind the Curtain
Francesca Comune
31b Rue de la Cathédrale
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COMMENT
Kim Bradford
16 Rue du Palais
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Pedro Camejo (série Diaspora)
Omar Victor Diop
25 Rue Saint Paul
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L’impasse de la vignette, dans le temps et dans l’espace
Michel Bart and Mathias Vancoppenolle
75 Rue Hors-Château
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Opéra-savon, épisode 1 : L’ Aquarium-Museum
Clara Agnus
20 Rue de la Sirène
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MANGER AVEC LES YEUX
#4
Lisa Sudhibhasilp
Open call
926 Rue Gérardrie
In recent years, I developed my work around the presentation modes (display). By studying the mechanisms of exposure and arrangement of museums and stores, I gradually extracted strategies of presentation that fed my work process. I enjoy observing how products, objects or artworks are shown, exploring and revealing the underlying methods that are used to value them, sometimes even by fetishizing them. I distort the aesthetics borrowed from design to question the status and the hierarchy of the shown object, sometimes creating in this way a confusion of roles between the presented object and the display as an object.
« Magritte goes to a grocer’s shop near his house to buy Dutch cheese. The merchant leans towards her stall to pick up a started piece but has her movement almost directly stopped by the painter :
– No, madam. Not this one. I’d rather buy this other one.
And he points at a second piece, started as well, placed a bit on the side, on a shelf.
– But it’s the same cheese ! The merchant shouts.
– No, madam, Magritte objects again. The one on the stall has been observed by the passersby all day long. »
(Mariën Marcel, Suivre à Magritte, dans L’Art Belge, January 1968.)
Manger avec les yeux is an installation that hinges on this anecdote told by Marcel Mariën. Here in the window, the cheese is replaced by a turning cake tray, without cake. I invite the passersby to contemplate this object of presentation stripped of its function and to « consume » it with their eyes.
Hand-painted text by Miles Signs.

