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Cristina Mirabilis
Academy of Fine Arts of Catane
137-139 En Féronstrée
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SpringMerz
Marion Voegelé
31a Rue de la Cathédrale
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Wafel de Liège
Jannes Lambrecht & Mirthe Vermunicht
100 Rue Saint-Gilles
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Signing To A Spitting Image
Rémie Vanderhaegen
6 Rue Gérardrie
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A Fragile Relationship In A Sturdy Façade
Jeannette Slütter
11 Rue de Bex
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Chambre, vue
Pierre-Alain Poirier
14 Rue de la Sirène
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Midnight Leaves
Bettina Marx
28-30 Boulevard d'Avroy
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Gravats
Lucile Marsaux & Théo Philippot
107 En Féronstrée
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Ambient, Aberrant
Sonia Mangiapane
7b Rue des Carmes
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Avis de tempête
Camille Lemille
159 En Féronstrée
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An Enchanted Break
Cristina Lavosi
9 Rue de la Violette
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Du béton du métal dont sont faites vos parois
Anaïs Lapel
1 En Féronstrée
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Cathédrale
Axel Janssen
16 Rue du Palais
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Always Stuff, Four Blue Office Chairs
Gilles Hellemans
32 Rue de la Régence
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Figure
Bruce Formanoie
100 Rue de la Cathédrale
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Étendue 02
Elisa Florimond
85 Rue de la Cathédrale
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L’été sera brûlant
Sarah Feuillas
3 Rue de la Cathédrale
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No, no ! Only as fast as possible without stress
Jan Duerinck
44 Rue Saint-Gilles
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Carpeaux
Patrick Corillon
25 Rue Saint Paul
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Traveling Tales
Tamuna Chabashvili
40 Rue Hors-Château
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Double exposition
Bertrand Cavalier & Fabien Silvestre Suzor
31b Rue de la Cathédrale
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WELCOMCOM
Ondine Bertin
4 Rue de la Cathédrale
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Leakage
Yasmina Assbane
5 Rue Chéravoie
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Onsite Website : The Official Emoji Shop
Éloïse Alliguié
29 Rue de l'Université
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Please like me #2
#10
Margaux Blanchart
Curator : Anna Ozanne
226107 En Féronstrée
Margaux Blanchart is a graduate of the academy of fine arts of Liège (ESAVL, 2021). She uses the image that we reflect of ourselves and the tools that are social networks, as fields of experiment. The visual artist, who only uses herself as a model, appears and disappears from one artwork to another, performing our contemporary attitudes and stereotypes.
Please like me #2 (1) features an installation that consists of a window-sized banner, loaded with self-portraits that the artist has posted on Instagram over the years, as well as stickers, which divert the incentive to like the content posted on this same social network.
The artwork occupies the commercial space of the street, in the same way that the commerce of influencers uses the commercial digital space of Instagram. With the exception that here the call for consumption merges into a more raw and frontal demand. Please like me unfolds a desperately sentimental lament against algorithmic fatalism.
While the first window (Please like me #1, AAC9) staged, not without humor, the preparation and the pause time that are necessary for a successful selfie, this second window (Please like me #2, AAC10) plays with a darker and more melancholic atmosphere. The black and white photographs come from the unpublished works of the artist. The supernumerary production of images highlights the serial aspect of a face-to-face with oneself, with others, a face-to-face with time.
(1) The Please like me project unfolds in two windows and an Instagram account @utilisateur2937, which often extends calls for “likes” throughout Art Au Centre. Please like me #2 follows on from the previous window: Please like me #1 (6 Rue Saint-Adalbert).