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TO DO
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V – 150360/1 p. 204, 265, 266
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1 Féronstrée
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Hôtel de la Cour de Londres 40 Rue Hors-Château
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31a Rue de la Cathédrale
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29 Rue de l'Université
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3 Rue de la Cathédrale
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9 Passage Lemonnier
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5 Rue Chéravoie
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Francisca Markus
7 Rue Saint-Remy
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56 Rue Saint-Gilles
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113 Rue de la Cathédrale
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107 Féronstrée
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85 Rue de la Cathédrale
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75 Rue Hors-Château
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101 Féronstrée
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4 Rue de la Cathédrale
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1 Rue Courtois
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Passage Lemonnier, 37-39
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Adrien Mans Benjamin Ooms
17 Rue des Croisiers
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Je m’organise…
Leen Vandierendonck
159 Féronstrée
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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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Paolo Gasparotto
25 Rue Saint Paul
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Je m’organise…
#14
Leen Vandierendonck
Curator : Philippe Braem
348159 Féronstrée
The installation Je m’organise… combines 2 worlds that appear frequently in Leen Vandierendonck’s work : a world full of rigour and structure, of knowledge and of knowing, ‘in which reality, rather than challenging and inspiring us, is replaced by bite-sized schemes from which our vulnerability and autonomy are systematically excluded’.
On the other hand, the tablecloth in the video refers to her grandmother’s tablecloth, to the table as a place of togetherness, intimacy, conviviality, in short, to everything that generates emotion and feelings.
The checked pattern, in turn, is a reference to a 70,000-year-old ochre stone, found in South Africa and what is considered the first sign of cognitive thinking.
In the video, caressing hands provide human warmth and evoke universal recognition.
At first glance, those emotive images contrast sharply with the arrangement on the other side.
But there, too, the rigour and orderliness of the work table is undercut not only by the placement of angled or leaning objects around and on the table, but also by the construction of the table itself , as an open structure and with open drawer.
The table also partly rests on a drawing referring to the carpet. The carpet as the primal form of the table and which still has that function in many non-Western areas, but again evokes an image of cosy chaos.
Through her playful approach, Leen Van Dierendonck breaks through the omnipresent order and gently derails reality.