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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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Fausse bonne nouvelle
#14
Juan d’Oultremont
Artist selected as part of the open call
32931b Rue de la Cathédrale
I lie. I have always lied a lot. One of those compromises with reality of which my mother was already the queen, and which has become for me a way of preaching the false to make the true even truer.
As I am also a collector, I believe I can say that I collect lies.
This inclination to tell “fibs” explains the jubilation that Robert Doisneau’s Tout est factice arouses in me. This is a photo he took in 1942 (a period of war and restriction) in which a couple of grocers pose in their shop in front of shelves full of products clearly announced as fake.
80 years later, without having lost any of its relevance, this Tout est factice directly refers to the paradox of art: a perfectly crafted lie that makes you dream. A reason that seemed sufficient to me to revive a shop window in Liège and display objects that question the imperative to “bring back unfamiliar elements onto the art scene.” In this case, bringing a set of toy clubs (Inflatable Caveman Club collection), mostly made of plastic or fabric, back “into the art window”, coexisting with their wood or plaster replicas produced in my studio.
After having made an initial shift from the cave to the toy store, the exhibited clubs perform a second shift, from the toy store to the art scene. A series of movements that are “accelerated” by the potential violence of the initial object (the club, the puzzle) and that of the context of the photo (war and the risk of being robbed of rare commodities).
Avowed objective: to produce an installation that, beyond a first reading, resists interpretations and sows doubt about its true stakes. What are we looking at? A grocery store? an armory? a joke shop?
While I was designing this installation, I couldn’t help but think of Joseph Beuys’ Wirtschaftswerte social sculpture (1980 SMAK Gent), and the fact that a confessed fake news is halfway forgiven.