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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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Firn – Magnified
#5
Dina Dressen
Open call
1024 Rue du Rêwe
Dina Dressen is a visual artist based in Maastricht, working between drawing, print, and installation. Using simple means : Indian ink, water, paper, and canvas, Dressen creates her complex visual universe. She tends to deploy techniques which mimic chemical and geological processes, such as absorption, sedimentation, and surface runoff. They resound in the titles and account for the natural textures of her works : the coarseness of the stone, the grittiness of sand, the smoothness of water.
In her early practice, Dressen was exploring analogue photography, and its influence can still be seen today, in her fascination with fluidity as well as in the black and white palette, strong contrasts, and grainy quality of her works. Akin to a photographer, Dressen allows her work to emerge out of the darkness, but instead of submerging the film in the photographic developer, she immerses her materials in the mixture of ink and water.
Dressen’s studio is a space for unbounded experimentation with different variables : material, time, space, and chance. She lets her work be led by these variables and develop itself organically through repetition and layering but also deviation. To her, making is first and foremost an experiment, without an end in sight. In this experiment, intention and serendipity play an equal part, accounting for the uniqueness of each work and, at the same time, a sense of unity.