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Histoires simples
Léopold Mottet 1 students
107 Féronstrée
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Qu’est-ce-qui se trame ici ?
Centre André Baillon
1 Féronstrée
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Night Walk
Maria Chiara Ziosi
85 Rue de la Cathédrale
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Thy Cities Shall With Commerce Shine — Part II
Hattie Wade
35 Rue Souverain Pont
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La Maison Panure – Fève des rois
JJ von Panure
21 Pont d'Île
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MANTERO
Santiago Vélez
4 Rue de la Cathédrale
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Mobile Écriture Automatique
Philippe José Tonnard
109 rue de la Cathédrale
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ST END
Pablo Perez
10 Rue Nagelmackers
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ALREADYMADE n° 3 : Empty Cart or Cardboard Cybertruck
M.Eugène Pereira Tamayo
18 Rue de l'Etuve
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Centre de remise en forme (économie de guerre)
Werner Moron
7 Rue de l'Official (Îlot Saint-Michel)
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Sun(set)(Seed)
Matthieu Michaut
56 Rue Saint-Gilles
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precarity of non-human entities
Gérard Meurant
23 Rue Saint-Michel
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S’aligne, l’inconnue sans lecture
Julia Kremer
40 Rue Hors-Château
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Autumn Collages
Ívar Glói Gunnarsson Breiðfjörð
30 Rue de la Cathédrale
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Rōt Rot Rôt
Janina Fritz
28 Rue des Carmes
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Pierre ventilée
Daniel Dutrieux
14 Rue de la Populaire (Îlot Saint-Michel)
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Peephole
Jacques Di Piazza
31a Rue de la Cathédrale
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Room Eater
Jorge de la Cruz
5 Rue Saint-Michel (Îlot Saint-Michel)
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Behind the Curtain
Francesca Comune
31b Rue de la Cathédrale
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COMMENT
Kim Bradford
16 Rue du Palais
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Pedro Camejo (série Diaspora)
Omar Victor Diop
25 Rue Saint Paul
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L’impasse de la vignette, dans le temps et dans l’espace
Michel Bart and Mathias Vancoppenolle
75 Rue Hors-Château
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Opéra-savon, épisode 1 : L’ Aquarium-Museum
Clara Agnus
20 Rue de la Sirène
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Cheratte 10
#8
Laura De Jaeger
Open call
182Rue de la Sirène, 4
A collection of interventions. Every piece is a part of the former coal mine of Hasard de Cheratte. The main colliery of the Société anonyme des Charbonnages du Hasard is located in the province of Liège. Sold and currently under construction, the space is in a limbo state. It gives us a glimpse of both past and future.
In the city of Liège, two plaster pieces stretch out the measurement of the Cheratte 10’s entrance bridge. To measure with thread allows the space to be placed in my pocket, rolled up and out, again and again rediscovering itself. The plaques start a dialogue on the common ground of plexiglass, transparent, catching every trace. A collection of speculative, mobile, conservation.
By gathering, moulding, play with measurements and rephrasing, Laura De Jaeger’s practise revolves around the notion of in-between, local histories and quotidian practises. Processes of casting, doubling, shifts and repetition are steered, which manifest themselves as reinterpretations of an object or space. A form of experimental, autobiographical, and material writing. De Jaeger tends to adapt to particular spaces, taking them as both her subject and setting, for material and spatial research.

