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The price is worth it
Acher
9 Rue de la Violette, 4000 Liège
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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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Fenêtre sur rue
#8
Gaëtane Verbruggen
19628 Rue Pont d'Avroy
All memories are faithful to us, in principle. We become attached to a place, a person, an object, or even a futile detail. We vaguely remember certain things, just as we can remember the most precise details of an object, a decor, a feeling. Our thoughts can be deformed over time, we eventually do not distinguish the true from the false and convince ourselves of one thing when it is another, to make fictitious a part of the memory.
I seek to exteriorize untranslatable and fragile moments, a little blurry. I enjoy capturing the soul of everyday moments, transcribing the emotion facing the banalities of ordinary life, and accepting their simplicity. My works are therefore the testimony of various sensations that are anchored in my mind, whether they are duped by time or not.
I was interested in forgotten places, these sites filled with stories, to which no one pays attention, these figureless places, endowed with diffuse and intimate lights, capable of reminding us of an anecdote. We have the means to imagine a past, a fictional history in a few seconds. Different stories for each place, different emotions at each moment. We advance afterwards in the fiction that we create for ourselves and we thus seize unreal moments.
According to Alberti, the painting would be like an open window. Where is then, if only it exists, the limit between reality and imagination? Can we juggle with the visible and the invisible produced by natural light? Unconsciously, we are generally able to build a mental image hidden behind the openings of these interior landscapes, until perhaps feeling the desire to penetrate them, as if a new world was taking shape behind the support. Here I choose to use the window to reveal several contradictory propositions; the intimate and the public, the perceptible and the imperceptible.