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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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Cheratte 10
#8
Laura De Jaeger
Open call
182Rue de la Sirène, 4
A collection of interventions. Every piece is a part of the former coal mine of Hasard de Cheratte. The main colliery of the Société anonyme des Charbonnages du Hasard is located in the province of Liège. Sold and currently under construction, the space is in a limbo state. It gives us a glimpse of both past and future.
In the city of Liège, two plaster pieces stretch out the measurement of the Cheratte 10’s entrance bridge. To measure with thread allows the space to be placed in my pocket, rolled up and out, again and again rediscovering itself. The plaques start a dialogue on the common ground of plexiglass, transparent, catching every trace. A collection of speculative, mobile, conservation.
By gathering, moulding, play with measurements and rephrasing, Laura De Jaeger’s practise revolves around the notion of in-between, local histories and quotidian practises. Processes of casting, doubling, shifts and repetition are steered, which manifest themselves as reinterpretations of an object or space. A form of experimental, autobiographical, and material writing. De Jaeger tends to adapt to particular spaces, taking them as both her subject and setting, for material and spatial research.

