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Cristina Mirabilis
Academy of Fine Arts of Catane
137-139 En Féronstrée
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SpringMerz
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31a Rue de la Cathédrale
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6 Rue Gérardrie
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A Fragile Relationship In A Sturdy Façade
Jeannette Slütter
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14 Rue de la Sirène
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Midnight Leaves
Bettina Marx
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Gravats
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107 En Féronstrée
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Ambient, Aberrant
Sonia Mangiapane
7b Rue des Carmes
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Camille Lemille
159 En Féronstrée
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An Enchanted Break
Cristina Lavosi
9 Rue de la Violette
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Du béton du métal dont sont faites vos parois
Anaïs Lapel
1 En Féronstrée
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Cathédrale
Axel Janssen
16 Rue du Palais
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Always Stuff, Four Blue Office Chairs
Gilles Hellemans
32 Rue de la Régence
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Figure
Bruce Formanoie
100 Rue de la Cathédrale
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Étendue 02
Elisa Florimond
85 Rue de la Cathédrale
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L’été sera brûlant
Sarah Feuillas
3 Rue de la Cathédrale
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No, no ! Only as fast as possible without stress
Jan Duerinck
44 Rue Saint-Gilles
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Carpeaux
Patrick Corillon
25 Rue Saint Paul
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Traveling Tales
Tamuna Chabashvili
40 Rue Hors-Château
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Double exposition
Bertrand Cavalier & Fabien Silvestre Suzor
31b Rue de la Cathédrale
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WELCOMCOM
Ondine Bertin
4 Rue de la Cathédrale
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Leakage
Yasmina Assbane
5 Rue Chéravoie
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Onsite Website : The Official Emoji Shop
Éloïse Alliguié
29 Rue de l'Université
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An Enchanted Break
#13
Cristina Lavosi
Artist selected as part of the open call
3159 Rue de la Violette
Inviting to look though a lifeless, sterile reproduction of a dry-stone wall, the work offers a glimpse of a magic-realist scene set in an uncanny community kitchen. Three characters cooking cheese together, with odd tools and eccentric clothing, appear not to belong to a precise time. These otherworldly images hint at a proposed strategy for refusing capitalist production systems and challenging neoliberal isolation. Home-cheesemaking transforms into a collective practice of resistance, fostering communalisation of everyday production work. Looking at cooking as a quotidian labour of production and at eating as an act of breaking the boundaries between human and more-than-human world, the work wants to articulate the urgency of overcoming the separation between political practice and the acts of production of life. A metaphorical boundary is also quite literally broken by cutting a hole into the dry-stone wall, a structure used, particularly in the Mediterranean area, to delimit private property. The installation aims at suggesting the role that conviviality and work-sharing—as opposed to isolation and private property—must have in the construction of a desirable common futurity. A collective endeavour in which the more-than-human, like cheese and its bacteria, becomes an active agent for multiplicity and contamination. Milk flows through political life, its technological processing an emblem of modern ideas of separation and purity, ultimately mirroring visions on how we ought to live with one another.
The production of the artwork unfolded through a series of collaborations with: Chongjin Chen for the dry-stone wall, Cristiana Vignatelli Bruni for ceramic props, Esther van der Heijden for costumes, Lu Lin, Yusser Salih, and Ulufer Çelik for the performance.