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Around The Corner
Zena Van den Block
35 Rue Souverain Pont
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VMC gargouilles
Thomas Sindicas
31b Rue de la Cathédrale
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Kodomo No Kuni
Mey Semtati
18 Rue de l'Etuve
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The Faces Collection
Anna Safiatou Touré
16 Rue du Palais
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QuickSnap
Camille Poitevin
40 Rue Hors-Château
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P.O.F
Ronan Marret
75 Rue Hors-Château
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Belles récompenses
Mathilde Manka
159 Féronstrée
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Quatre Mains / Zonder Handen
Stephanie Lamoline
107 Féronstrée
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Anatomie du vivant / Life
Sophie Keraudren-Hartenberger
98 Rue de la Cathédrale
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À mon seul désir
Gral
32 Rue de la Cathédrale
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Rain Bow
Guillaume Gouerou
4 Rue de la Cathédrale
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Knock me !
Garage de Recherches Graphiques
85 Rue de la Cathédrale
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Double Bind
Jane Denizeau & Pauline Flajolet
1 Féronstrée
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Pie in the sky
Justine Corrijn
20 Rue de la Sirène
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Parking Cathédrale
Elias Cafmeyer
31a Rue de la Cathédrale
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Dés-Affectations
Elie Bolard
84 Féronstrée
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Kader / Cadre
Doris Boerman
29 Rue de l'Université
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Fatigue
Camille Bleker & Luna Pittau
3 Place des Déportés
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Si tu me vois
Aurélie Belair
56 Rue Saint-Gilles
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Terres battantes
Camille Barbet
100 Rue de la Cathédrale
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The end–promise on packaging
Pharaz Azimi
23 Rue Saint-Michel
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J’ai déclaré ma flamme
Artik
25 Rue Saint Paul
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my belongings
Celine Aernoudt
5 Rue Chéravoie
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Chakra #4 & Chakra #5
#15
Xavier Mary
Curator : Jean Housen – Musée d’art contemporain en plein air du Sart Tilman
359159 Féronstrée
Xavier Mary’s work has been part of the Sart-Tilman Open Air Museum’s collection for several years: his sculpture titled Harry was installed near the Sports Centers in 2018. In 2019, Mary presented Λαβύρινθος (2014), a relief sculpture, and finally, in 2022, Digital monolithe blanc (acrylic on panel, 2009) was added to the Museum’s collection (donation AAP).
The three works showcase the relentless poetic coherence of Xavier Mary: the repertoire includes car showrooms and their accessories and options (preferably “full”), their symbolism marking the consumerist unconscious of industrialized Western society for the past hundred years, the grand spectacle of auto shows like those in Paris or Geneva (in Europe), and the ingenuity of these firms in imposing their brand. Mary also embraces an aesthetic of large wholesale halls: hardware stores, wholesalers of spare parts and construction materials… all these vast commercial warehouses that have inhabited urban outskirts for the past fifty years. There is also a clear fascination with what ordinary people discard, both literally and figuratively: waste, the powerful and indescribable awe that can grip one when contemplating a car graveyard, a metal crushing site, aircraft cemeteries that are more numerous than the hypothetical elephant graveyards…
From this strange and very coherent imaginary repertoire, Xavier Mary extracts singular objects whose strong connotations are self-sufficient. The constant flirtation with aesthetic temptation leads to no conclusion other than the amorality of objects.