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The price is worth it
Acher
Boulevard d'Avroy 28-30
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TO DO
Hilal Aydoğdu
100 Rue Saint-Gilles
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V – 150360/1 p. 204, 265, 266
Dóra Benyó
1 Féronstrée
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Fausse bonne nouvelle
Juan d’Oultremont
31b Rue de la Cathédrale
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Et fouisse toujours on trouvera bien
Gaspard Husson
18 Rue de l'Etuve
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La constellation du navire Argo
Sarah Illouz & Marius Escande
Hôtel de la Cour de Londres 40 Rue Hors-Château
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One Line (… Better Than On – line!)
Marin Kasimir
31a Rue de la Cathédrale
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Cityscape
Sarah Lauwers
29 Rue de l'Université
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Traversées
Alexiane Le Roy
3 Rue de la Cathédrale
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Mécanique d’un mur
Raphaël Maman
9 Passage Lemonnier
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Vapeurs
Eva Mancuso
5 Rue Chéravoie
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Don’t cry over spilllllled tears anymore
Francisca Markus
7 Rue Saint-Remy
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Actions !
Maxence Mathieu
56 Rue Saint-Gilles
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On ne peut rien faire d’autre que tenir debout
Élodie Merland
113 Rue de la Cathédrale
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Travel Local, Buy Local
Oya
107 Féronstrée
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Le vestiaire
Camille Peyré
85 Rue de la Cathédrale
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22 empans et 1 palme
Leïla Pile
75 Rue Hors-Château
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Chronique florale
Ionut Popa
101 Féronstrée
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The Sunken Place
Louise Rauschenbach
4 Rue de la Cathédrale
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Le temps d’une trace / La trace du temps
Florian Schaff Marvyn Brusson
1 Rue Courtois
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Open closet archive 1995/2021/2023/2024
Bo Stokkermans
Passage Lemonnier, 37-39
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Mutations x Urbaines
Adrien Mans Benjamin Ooms
17 Rue des Croisiers
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Je m’organise…
Leen Vandierendonck
159 Féronstrée
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Wer rettet die Welt
Paul Waak
16 Rue du Palais
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Regarde… ce qu’il se passe à côté
Sculpture/Peinture B3 ESA Liège Melissa Andreia Alves ...
137-139 Féronstrée
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Pauvre petit belge qui tremble
Paolo Gasparotto
25 Rue Saint Paul
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ÉVEILLE MOI CRÉPUSCULE SUBLUNAIRE
#5
Camille Tsvetoukhine
Curator : Sophie Delhasse
11720 Rue du Pot d'Or
A short while ago, I came across, by chance – if chance really exists – , a small book entitled The Carrier Bag Theory of Fiction written by Ursula K. Le Guin and prefaced by Donna Haraway. This « Carrier Bag », this container that Le Guin places at the heart of the history of humanity as the first artefact created by humans – in opposition to the sharp tool or the deadly army – puts in perspective another history that brings an entirely transcended vision of our place in the world, our evolution and our ability to transform reality. This metaphor of the receptacle, the container, the bag that overflows with elements and alternative histories seems relevant to me to describe Camille Tsvetoukhine’s work. Indeed, the artworks of the artist spread out like a constellation of fragments, signs or symbols. Each of them are the gateway to a narrative or discursive universe whose story creation would be the final form. Each drawing, each painting, each ceramic, each textile, each text would become the container of a new history, a dimension both fictive and real that is able to reveal « our ability to invent myths to comprehend the world in which we live. » (Ursula K. Le Guin, Le Langage de la nuit, p. 92.).
The artworks presented in the display window drag us into another dimension through a Carroll-like layout, a dimension full of levitating capes, esoteric ceramics and an outsize paintbrush. Using organic materials such as textile or clay and the figuration of landscape and natural ornaments, the artist reclaims with humor and diversion the emblematic figure of the witch, a figure of emancipation and subversion that has been allowing an ecofeminist questioning of our society since the 1960s. It might be a matter of detecting a metaphor of the artist in the alterity of the witch, the ritual making room for the artwork and its potential of transformation and the reappropriation of our view of the world.