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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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CE QUE L’ON ENTEND DES CRATÈRES
#7
Maxime Vernédal
Curator : Arthur Cordier
17129 Rue de l'Université
Maxime Vernédal is a French artist based in Brussels. He holds a Master’s Degree in Urban Space (ENSAV La Cambre). Maxime Vernédal’s practice is multidisciplinary.
The selection of the material is the start of his approach : it is the first interpretation level of his expression. The clay, glass, sound material, written material, pictures, memories are objects that he presents as a constellation.
As he was adopted, the notions of places, origins and identity are the starting point of his thoughts. This latitude of thoughts is always in motion between construction and deconstruction. In Ce que l’on entend des cratères, the approach of using the clay of Verdun battlefields goes into this perpetual movement of construction and deconstruction. It is the basis of this desire of legitimation, of belonging to this land, the land of his childhood, one of the constructions of his identity. This land has a dual use and a dual language : it is also tinged with a more global story. This tension between his story and our story is deliberate. In his approach, glass is a flash of energy and also a craft industry anchored in French Great East region.
The clash of these two materials – clay and glass – is described in breath, in high intensity of heat, and in a limited time. The printing, made with acetone and then goffered, is a reflection on destroying to rebuild. The artwork talks about palimpsest, memory and occasionally erroneous perceptions of past elements. It is a short story about an interpretation mistake by the artist. It yet led to this whole approach around clay and its asperities (scars, craters).