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Vertical environnement
François Winants
27 Rue de la Casquette
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Censorship
Bram Van Meervelde
44 Rue Saint-Gilles
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The Poetics of Space
Ariane Toussaint
29 Rue de l'Université
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PRIVACY’S ARCHEOLOGY
Niels-Jan Tavernier
Place de la République Française, 23
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Braced under the heating sun
Melissa Ryke
5 Rue Chéravoie
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Modèles réels, arrangements accidentels
Griet Moors
14 Rue de la Sirène
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Lion #15 (Melancholy Baby)
Daisy Madden-Wells
100 Rue Saint-Gilles
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VOUS ÊTES ICI
Les Rayons
Interventions visibles sur des vitres de voiture
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In exile
Guda Koster
1 En Féronstrée
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Icing
Sanne Kabalt
Rue Matrognard, 2
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Un paysage inconnu mais familier
Dayoung Jeong
5 Place des Déportés
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URBAN RHYTHMS
Marjolein Guldentops
129 Rue Saint-Gilles
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À propos
Johan Gelper
41 Passage Lemonnier
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Support Vitrine
Bart Geerts
11 Rue de Bex
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La dernière pluie
Julia Gault
9 Passage Lemonnier
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CAMO
Lionel Estève
25 Rue Saint Paul
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STATIONS
Apolline Ducrocq
50 En Féronstrée
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Zoning gris, glaner la ville, vivre le bois
Jonathan De Winter
31B Rue de la Cathédrale
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Trophée
Estelle Deschamp
137 En Féronstrée
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Debt Ceiling
Bob Demper
4 Rue de la Cathédrale
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LOG 1 : SAUVE-GARDES
Paul Cottet
15 Rue Saint-Gilles
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Pluie N20, depuis la terre…
Collectif Nuiits Delphine Dubois and Juliane Lavis
Hôtel de la Cour de Londres 40 Rue Hors-Château
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SANS TITRE
Olivier Bovy
85 Rue de la Cathédrale
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a l é a s
Jérôme Bouchard
31A Rue de la Cathédrale
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Please like me #1
Margaux Blanchart
6 Rue Saint-Adalbert
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antizenithale
Marc Angeli and Ronald Dagonnier
16 Rue du Palais

Braced under the heating sun
#9
Melissa Ryke
Curator: Mikail Koçak
2195 Rue Chéravoie
Melissa Ryke is an Australian artist currently based in Brussels. She studied Fine Arts in both Australia and France and has recently completed the European Postgraduate in Art in Sound at KASK, Ghent. Ryke’s practice-led research focuses on a critical and playful investigation of the quotidian and experimentation with installation and time based media.
Braced under the heating sun is centred around listening to and documenting her childhood home in Queensland Australia. The recordings were taken during a three-week stay in February-March 2020, between the waning Black Summer bushfires and the cusp of the coronavirus pandemic. Inspired by the open architecture of the wooden house, where nature (a wild exterior) pushes against and blurs into the home (an organised interior), the audiovisual installation includes five chapters that focus on: the cracking of the house adjusting to the sun heating the roof, the subtly changing cicada songs from dusk to dawn, the path being taken to mow the lawn, the texture of voices (human and other), and rain.
Ryke focused on these particular moments because they offered a way to reflect on ideas of porosity, natural polyrhythms, non-hierarchical listening and recording strategies, ecology, and everyday rhythms and cycles that happen in contingency with the world rather than being isolated from it. In this work, Ryke explores how the porosity of architecture offered moments where boundaries broke and the lives of different beings crossed, where there was a constant push and pull between the ‘other’ and the ‘human’. In this house the rhythms and cycles of the living and the immediate needs of every living being are highlighted and played out. “[I]t is where intensities proliferate themselves, where forces are expressed for their own sake, where sensation lives and experiments, where the future is affectively and perceptually anticipated” (Elizabeth Grosz, 2008).