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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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LOVE LETTERS
#6
Dora Jeridi
Curator : Sophie Delhasse
1335 Rue Chéravoie
Love Letters is the title of the collection of paintings created by Dora Jeridi in 2018. A constellation of picture framed scenes whose unity is performed in a minimal and dark palette that multiplies the motif of the body, the nudity and the desire. A fragmented self-portrait that suggests as much as it shows, at the volatile boundary between figuration and abstraction. The artist’s painting reveals a gestural and urging quickness, transforming in certain canvas the figure itself. She transforms it and gives it a psychological carnal thickness, a texture. Created in the intimacy of a romantic/erotic exchange on Messenger, unlike the instantaneousness of the messages, Dora Jeridi shifts the painting into the sphere of fantasy and confers as much evocative power to the represented scenes as the off-screens that will remain inaccessible.
The sensual and intimate beat that emerges from the collection places the artwork into the sensitive world, presenting « the body of the artist as it is in reality : incarnate, desiring, in turns potentially submissive and dominant, unstable »*. The artwork foils the stereotype of the passive sexualization of the female body or the muse revealing « the possibility for nude to be a powerful and active figure »**. Is it an act of emancipation or violation in a society where a presumed sexual liberation seems to have led us to a market of disembodied pleasure ? Dora Jeridi’s collection Love Letters reveals the poetic power of desire and its carnal embodiment.
* ALFONSI, Isabelle, Pour une esthétique de l’émancipation. Construire les lignées d’un art Queer, Paris, Éditions B42, 2019, p. 66.
** Ibid.