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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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Actions !
#14
Maxence Mathieu
Curator : Sophie Delhasse
33856 Rue Saint-Gilles
Maxence Mathieu addresses us by placing a book directly on the window. Tense, the cover of the book emphasizes the (un)crossable threshold of space and the starting point of an escape route that drags us inside, pushing the eye to the background, behind the scenes. Fluttering from a metal structure to the soft sparkle of neon, we are absorbed.
Upon closer inspection, the focal point leads us to surpass the breakthrough and question the visible but hidden background. One might wonder if, in attempting to guide our gaze, the artist is not enticing us to look aside or reconsider the entire scene unfolding before us. There is an ambiance, an atmosphere that nurtures the perception of a fictitious space, like an old memory, yet firmly rooted in reality as it is right in front of us. There are as well the details that the artist disperses as one constructs a score. The color of the neon, the tension of the plane, the position of the chromed structure, its appearance reminiscent of stage constructions in performances, and finally, there is this little book. A paperback authored by Erving Goffman, and its title may provoke a smile: The Presentation of Self in Everyday Life. Mirror effect, mise en abyme, projection; the scene gets populated by its actors. “The spectator hesitates to enter. In reality, he is already inside. […] the work requires his body. It urges him to take the stage too.”[1] So… Actions!
[1] Simon Brunfaut, Un paradis presque perdu, Edition du Secteur des Arts Plastiques du Hainaut, 2017.