-
Vertical environnement
François Winants
27 Rue de la Casquette
-
Censorship
Bram Van Meervelde
44 Rue Saint-Gilles
-
The Poetics of Space
Ariane Toussaint
29 Rue de l'Université
-
PRIVACY’S ARCHEOLOGY
Niels-Jan Tavernier
Place de la République Française, 23
-
Braced under the heating sun
Melissa Ryke
5 Rue Chéravoie
-
Modèles réels, arrangements accidentels
Griet Moors
14 Rue de la Sirène
-
Lion #15 (Melancholy Baby)
Daisy Madden-Wells
100 Rue Saint-Gilles
-
VOUS ÊTES ICI
Les Rayons
Interventions visibles sur des vitres de voiture
-
In exile
Guda Koster
1 En Féronstrée
-
Icing
Sanne Kabalt
Rue Matrognard, 2
-
Un paysage inconnu mais familier
Dayoung Jeong
5 Place des Déportés
-
URBAN RHYTHMS
Marjolein Guldentops
129 Rue Saint-Gilles
-
À propos
Johan Gelper
41 Passage Lemonnier
-
Support Vitrine
Bart Geerts
11 Rue de Bex
-
La dernière pluie
Julia Gault
9 Passage Lemonnier
-
CAMO
Lionel Estève
25 Rue Saint Paul
-
STATIONS
Apolline Ducrocq
50 En Féronstrée
-
Zoning gris, glaner la ville, vivre le bois
Jonathan De Winter
31B Rue de la Cathédrale
-
Trophée
Estelle Deschamp
137 En Féronstrée
-
Debt Ceiling
Bob Demper
4 Rue de la Cathédrale
-
LOG 1 : SAUVE-GARDES
Paul Cottet
15 Rue Saint-Gilles
-
Pluie N20, depuis la terre…
Collectif Nuiits Delphine Dubois and Juliane Lavis
Hôtel de la Cour de Londres 40 Rue Hors-Château
-
SANS TITRE
Olivier Bovy
85 Rue de la Cathédrale
-
a l é a s
Jérôme Bouchard
31A Rue de la Cathédrale
-
Please like me #1
Margaux Blanchart
6 Rue Saint-Adalbert
-
antizenithale
Marc Angeli and Ronald Dagonnier
16 Rue du Palais

La dernière pluie
#9
Julia Gault
Curator: La peau de l’ours
2099 Passage Lemonnier
Julia Gault’s work often confronts the ephemeral shaping of natural materials with the coldness and inertia of metallic structures. Malleability and change face immobility. This dichotomy gives the impression of contemplating our societies that are blindly frozen and facing multiple disruptions that are supposed to lead to some changes in the absence of a real upheaval. The topic of water and its unpredictable impact on the soil – and the Earth – is omnipresent in Julia Gault’s work. The notions of territory, habitat, resilience and collapse are tackled in turns in this subtly political approach.
In her work, the soil becomes the constructive and narrative element while water is the activating element. The soil sometimes refers to nature, sometimes to a thousand-year-old tradition of construction or anthropic creation, and symbolizes the indestructible connection between civilization and its natural environment, while water is integrated into this work for its fluidizing attributes.
The unthinkable theory of a mortal civilization finds a poetic echo in Julia Gault’s sculptures and installations. Her artwork materializes the unbearable fragility of our daily life to shake the foundations on which our societies and our lives rest. The instability that we do not want to perceive manifests itself in the passing of time, climate changes and the tendency to always build higher, bigger and simply more. Julia Gault borrows from the image of the idol with feet of clay to highlight this human impotence facing its illusory control of nature.