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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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Dés-Affectations
#16
Elie Bolard
Artist selected as part of the open call | Winner of the open call "Arts numériques 2024" of the city of Liège
37984 Féronstrée
Dés-Affectations is an installation featuring three robots that draw on a window. The drawings take shape in the same way as those traced with fingertips on a misted-up window, capturing this spontaneous act. Dés-Affectations is the automation of this act.
The robots move across the glass, leaving marks behind. These marks are randomly selected from a collection of fingertip-drawn images gathered in abandoned places, on dusty surfaces, car windshields, or any other medium where messages can be inscribed with an index finger. The robots move slowly. The “bestial” nature of the installation makes the scene resemble a zoo or aquarium display. It is a space where the creation of a kind of robotic species is being explored.
The window serves as a boundary between two worlds, an interface where machines try to communicate with the outside world through a gesture. Touch evokes a sensual quality, inviting the audience to follow the robots with their eyes and perhaps even attempt to interact or communicate with them.
The installation questions technological mysticism. We often see marks in the dust, on windows, or in the snow, but we rarely witness the moment they are created. This fictional element is at the heart of the artwork. The project playfully addresses the idea that overestimated robots may ultimately serve only to play and pretend to be animal-humans.