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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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Marie-Madeleine
#8
Alain Schank / Snach-Ka
Curator: Maxime Moinet
1944 Rue du Rêwe
For twenty years, Alain Schank has multiplied pictorial experiments in various large series of abstractions addressing several themes such as gesture, material and chance. They earned him the right to be exhibited internationally and to be enrolled in several Belgian galleries. These commercial relationships, frequently flourishing, sometimes offered him the sparkle of the Holy Grail of artists: to live off his art. However, he was often forced by gallery owners to multiply formats, decline colors and shades, favor one or another effect to meet the (a)varied “tastes” of wealthy clients. This attitude towards artists is still very present nowadays in professional and amateur art galleries, often accompanied by an inequitable distribution of profits from sales.
Time passes by and the shell cracks. Relationships become more and more painful. The desire is no longer there. Upheavals are disappointing. He thinks of giving all up. But as the saying goes: “The burning will not take place! “.
As of now, Alain Schank will paint for himself, as an outsider. From the accumulated frustrations was born a monster, his alias Snach-Ka who accompanied him secretly in the margins of his work for years. He is figurative, free, uninhibited, disinterested and respects nothing but the moment. Alain Schank’s introspection by Snach-Ka is bulimic. His crazy characters scream at us with their debauchery, bordering on aggression. Words, in all languages, and collages come to light. In front of this, there are few apathetic viewers.
In the window, disorder thickens even more. The installation is obviously not that of a painter. We are immersed into a truly real universe, with carefully chosen details, the beginning of a story inspired by the meeting between the (past) life of the neighborhood and the life of the artist. The elements of the decor are precisely arranged and invite the viewer to imagine the rest of the story.