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The price is worth it
Acher
Boulevard d'Avroy 28-30
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TO DO
Hilal Aydoğdu
100 Rue Saint-Gilles
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V – 150360/1 p. 204, 265, 266
Dóra Benyó
1 Féronstrée
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Fausse bonne nouvelle
Juan d’Oultremont
31b Rue de la Cathédrale
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Et fouisse toujours on trouvera bien
Gaspard Husson
18 Rue de l'Etuve
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La constellation du navire Argo
Sarah Illouz & Marius Escande
Hôtel de la Cour de Londres 40 Rue Hors-Château
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One Line (… Better Than On – line!)
Marin Kasimir
31a Rue de la Cathédrale
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Cityscape
Sarah Lauwers
29 Rue de l'Université
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Traversées
Alexiane Le Roy
3 Rue de la Cathédrale
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Mécanique d’un mur
Raphaël Maman
9 Passage Lemonnier
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Vapeurs
Eva Mancuso
5 Rue Chéravoie
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Don’t cry over spilllllled tears anymore
Francisca Markus
7 Rue Saint-Remy
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Actions !
Maxence Mathieu
56 Rue Saint-Gilles
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On ne peut rien faire d’autre que tenir debout
Élodie Merland
113 Rue de la Cathédrale
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Travel Local, Buy Local
Oya
107 Féronstrée
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Le vestiaire
Camille Peyré
85 Rue de la Cathédrale
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22 empans et 1 palme
Leïla Pile
75 Rue Hors-Château
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Chronique florale
Ionut Popa
101 Féronstrée
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The Sunken Place
Louise Rauschenbach
4 Rue de la Cathédrale
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Le temps d’une trace / La trace du temps
Florian Schaff Marvyn Brusson
1 Rue Courtois
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Open closet archive 1995/2021/2023/2024
Bo Stokkermans
Passage Lemonnier, 37-39
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Mutations x Urbaines
Adrien Mans Benjamin Ooms
17 Rue des Croisiers
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Je m’organise…
Leen Vandierendonck
159 Féronstrée
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Wer rettet die Welt
Paul Waak
16 Rue du Palais
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Regarde… ce qu’il se passe à côté
Sculpture/Peinture B3 ESA Liège Melissa Andreia Alves ...
137-139 Féronstrée
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Pauvre petit belge qui tremble
Paolo Gasparotto
25 Rue Saint Paul
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CULTURAL ISOLATION
#5
Christy Westhovens
Curator : Alicja Melzacka
11931a Rue de la Cathédrale
The first iteration of this work was made invisible, working silently in an underground gallery. Like hidden-away hardware of the many data centres popping up across Europe, just beyond the reach of the collective imagination, it was relentlessly working, documenting, processing data. Capturing the movements of all the potential guests, and quantifying them. Cataloguing unfulfilled encounters.
It is legal to photograph or videotape anything and anyone on any public property, within reasonable community standards. But where does the private space end and the public begin ? And what is reasonable ? Museums mine for data to sustain themselves ; to track visitors’ patterns, to turn visitors’ numbers into currency. Do customers of the gift shop and cafe count amongst visitors ? When does a passer-by become a visitor ? A viewer ? An image ? A number ?
Art viewing in vitrines. Window-shopping in museums. Momentary encounters mediated through glass – an obvious corona reference ? Think pre-corona : this phenomenon dates back much earlier. Unused tickets, unclaimed booked seats, ghost visitors, hundreds of unseen objects. All this invisible labour.
Now it is out, in the light, but not in the spotlight. It keeps on working, running background tasks. It transforms movement into light into code into image. It performs. And, perhaps unawares, you are part of this performance. The material proof is piling up, curling like a snake across the space. Perhaps you passed by without noticing it. But it noticed you.