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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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IKARIA WARIOOTIA
#5
Esther Babulik
Open call
9528 Rue Pont d'Avroy
« The rotting carcass is my starting point. It refers to a term of decomposing and thus transforming body, soft body becoming hard, animal or human body, body source of life but dead. It is a matter of describing a movement towards a metamorphosis. The body is not body anymore and became a faceless pile, a thing that we can’t qualify, the flesh gets mixed up with the hair. Thanks to the wax, it seems to breathe. Its unrecognizable shape contrasts with its living aspect, as if to reverse the process, sometimes birth, sometimes death, the reading can be done both ways. The birth, namely the creation, the generation, would respond complementarily to the decomposition. These two movements would respond to each other symmetrically.
The body is a living matter that is going to be recycled, redistributed. So, if we consider each entity with its environment, considering it as being part of a whole, we could thus imagine that any life is made of a single matter that changes its appearance freely like a wax that we would melt endlessly.
I like the idea that the body is not cultural nor natural, the idea that it becomes both and that from now on our relationship with nature comes down to forced and repressed drives. I try to wonder about these states of limit, these zones where the boundaries seem to disappear. Ambivalences converge and a transformation will originate from that.
This sculpture is inspired by the Ikaria wariootia, a vermiform animal that seems to be the oldest example of bilateria, the body shape shared by the vast majority of animals since then. It is perhaps the ancestor of the animal kingdom, including humans. »