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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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Firn – Magnified
#5
Dina Dressen
Open call
1024 Rue du Rêwe
Dina Dressen is a visual artist based in Maastricht, working between drawing, print, and installation. Using simple means : Indian ink, water, paper, and canvas, Dressen creates her complex visual universe. She tends to deploy techniques which mimic chemical and geological processes, such as absorption, sedimentation, and surface runoff. They resound in the titles and account for the natural textures of her works : the coarseness of the stone, the grittiness of sand, the smoothness of water.
In her early practice, Dressen was exploring analogue photography, and its influence can still be seen today, in her fascination with fluidity as well as in the black and white palette, strong contrasts, and grainy quality of her works. Akin to a photographer, Dressen allows her work to emerge out of the darkness, but instead of submerging the film in the photographic developer, she immerses her materials in the mixture of ink and water.
Dressen’s studio is a space for unbounded experimentation with different variables : material, time, space, and chance. She lets her work be led by these variables and develop itself organically through repetition and layering but also deviation. To her, making is first and foremost an experiment, without an end in sight. In this experiment, intention and serendipity play an equal part, accounting for the uniqueness of each work and, at the same time, a sense of unity.
