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The price is worth it
Acher
9 Rue de la Violette, 4000 Liège
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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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PAIN / ROSES
#5
Sophie Langohr and Orto Botanico Studio
Curator : Maxime Moinet
10529 Rue de l'Université
My work rests on the study and the interpretation of heritage artworks. I take over images or objects that are full of history and I express myself through their own methods of construction and production of sense. Using different reproduction processes, I revisit, distort and subvert them to make them talk differently in new contexts.
For this installation created in collaboration with stage designer Orto Botanico Studio and designed especially for Art au Centre #5, I drew my inspiration from the ancient tradition of bride vases. These white porcelain vases were produced abundantly in France and Belgium between the middle of the 19th century and the beginning of the 20th century. They were part of the wedding ritual and were preserved, decorated with the flowers of the bride’s crown or bouquet, under a glass cover placed on a painted wood base. Their ornamentation appeals to the category of eternal love, fertility and prosperity whereas their shape of shell or largely open fan is a symbol of receptiveness to celestial influences. The organic nature of these vases that I reinterpreted freely demonstrates the naturalist thought of the 19th century.
This ideology also fed an edifying misogynistic literature that formerly contributed to the maintenance of female artists out of the public sphere and is illustrated in this text : « Women are still rarely inclined to intellectual activities […]. Given that they usually have a pleasant sense for the shape, quick perceptions, creativity and vivid imagination, it is no surprise that clay modelling tempts their pretty fingers. Likewise, the nature of women encourages them to sculpt imaginative and sentimental motifs rather than […] artworks resulting from a pure creative imagination » (John Jackson Jarves, 1871).
In response to this and for the song*, I thus adopted this approach : « Bread and roses ! Bread and roses ! » And I let my hands remember the best and the worst to sculpt clay and foam breads.
* The popular song Bread and Roses was composed during the textile strikes of 1912 in the US, this feminist slogan was used during the World March of Women to protest against discrimination and violence towards women.