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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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Sh :ow d’hier
#10
Elsa Fauconnet & Antoine Liebaert
Artists selected as part of the open call
2364 Rue de la Cathédrale
Sh:ow D’hier, a store fantasized by Elsa Fauconnet and Antoine Liebaert, offers to see an absurd best of souvenir objects from their previous artistic projects (solo and duo), here stocked in a “baz’art” mode.
Placed under glass, they are exhibited to strollers like products adrift, using the chaotic and poetic codes of these e-shops that are now doomed to disappear from public spaces.
The window unfolds a landscape in the form of an “idiorama”, in which poetic artefacts confront the domestication of forms, a notable fact of our modern era.
“D&ko en €co”, between loops and hypnotic spirals, this closed universe, moved by a strange serpentine energy, oscillates between two and three dimensions, as well as a few constantly repeated commercial gestures.
Its occupants, mannequins-displays accompanied by their silly pig-piggy bank, evolve there to the rhythm of the wheel of fortune and their misfortunes.
When night comes, they sometimes speculate in their melancholy dreams on the idea of bartering their purchasing power for some magical powers (and other working fetishes), to finally leave this “trime-life” at all costs.