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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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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.