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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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Modèles réels, arrangements accidentels
#9
Griet Moors
Curator: Marie-Claire Krell
21814 Rue de la Sirène
Griet Moors approaches art as an architect, constructing paintings and prints into situational settings that play with our outlook on the world. Her interest stems from the fact that our gaze cannot be limited to just one object, it is guided through the world by our motion and is given direction from who we are. For Moors, our gaze, not the canvas or pedestal, is the bearer of the image, as it taps into numerous conscious and unconscious impressions and experiences.
In her artistic research, she analyses this pictorial mobility, trying to get hold of that ever changing point of view, that is already inherent to the physical approach of a body moving towards an artwork. Therefore her acrylic paintings, digital scans and prints on paper do not stand alone, on the contrary, they open the view on the space surrounding them, the street, corners and architecture.
Her temporary arrangements of abstract images and spatial elements give insight into an interdimensional network of colors, lines, forms, directions, light and space. As we pass by and through time, our gaze spreads into not just simultaneous but time-delayed perceptions of the world around us. Memories superimpose our dynamic perception of spaces, places and things, as their visual impressions become memories themselves. Moors is interested in translating these multidimensional experiences, looking for the spatial convergence of flat images throughout time, trying to get a grip of its perspective just at its tipping point.