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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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Du béton du métal dont sont faites vos parois
#13
Anaïs Lapel
Artist selected as part of the open call
3141 En Féronstrée
“To build our house, let’s choose a hill. The Japanese have always built at the foot of mountains or at the bottom of valleys. They like low places.
– It’s true, dad. You’re right. It’s true that in the pictures, the foreigners’ houses are always high up. However, those of the Japanese are less visible.
– There is a reason for that. Japan experiences earthquakes and typhoons. Wooden houses would not withstand winds and tremors. This is why they are built in places that are less exposed to these risks. But it is not the only reason.
The Japanese, you know, prefer soft clarity to bright light. They curl up in the darkness. They like to live in contact with nature. This is why they could never get used to stone houses.
– I understand. I don’t like stone houses either. It’s cold. I do not like.
– Yes, but we need to qualify a bit. The wooden house certainly suits the Japanese. But when an entire people adopt it, it can make us weak and fickle. The character and strength of foreigners are nourished by stones, iron and concrete of which their homes are made.”
Excerpt of a dialogue from the movie Dodes’ka-den, Akira Kurosawa, 1970.