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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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Quatre Mains / Zonder Handen
#16
Stephanie Lamoline
Artist selected as part of the open call.
387107 Féronstrée
Stephanie Lamoline’s Quatre Mains/Zonder Handen is a deeply personal project inspired by the sudden loss of her father. It explores a complex relationship, reflecting on memory, grief, and transformation through the items and photographs he left behind.
The project began when Stephanie discovered a box of Polaroids while clearing out her father’s house. Taken in the 1990s, these photographs captured railway sites where he had worked as an engineer. Moved by these images, she began to create her own photographs using belongings she found in his home. These new constructions were deliberately simple and unmanipulated, allowing the materials to maintain their raw integrity.
The series was eventually published as a two-volume book, combining her father’s Polaroids with her own small-scale installations. This juxtaposition created a subtle conversation between father and daughter. The title of the book, Quatre Mains/Zonder Handen, reflects this relationship. The first part evokes the idea of a four-handed piano duet asking whether it is possible to create harmony with someone who is no longer there. The second part, “Zonder Handen” (Hands Free), recalls the independence of a child declaring, “Look, I can do it without hands!”
The two prints on display, Subtle Recollections of a Joyful Delight and Domino Dancing, are part of this larger series. They showcase Stephanie’s tactile, hands-on approach to photography. In Domino Dancing, rocks illuminated by construction site traffic lights take on vibrant hues of red and green,giving the ordinary a new, unexpected quality. In Subtle Recollections of a Joyful Delight, the dusty reflections of a skylight fall over a flip-flop suspended between a wall and nylon thread, creating a moment of quiet suspension and reflection.
These works highlight the physicality of Stephanie’s process while remaining deeply connected to the themes explored in the book. Quatre Mains/Zonder Handen bridges two lives, two ways of seeing, and creates a unique, transcendent exchange between father and daughter.