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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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Pas courant
#2
Naomi Gilon
Curator : Marine Candova
3198 Rue de la Cathédrale
Naomi Gilon essentially works on the idea of hybridization of the shapes and the subjects inside an environment of her own that she places between reality and imagination. To do so, the artist manipulates all kinds of materials (imitation leather, fur, hood of a car, tank of a motorbike, plaster, concrete or clay) that she includes in the desired reality. Like a photograph, she does not imitate reality, she reinvents it. Once the materials are manipulated, she covers them with synthetic materials or creates additions of elements.
The popular culture is largely exploited in the work of the artist and stirs her imagination. Plunging us into a quirky universe, almost troubling in which she approaches, for example, the topic of the monstrous, using elegant objects, which suggests a different facet of the current human being according to her. The artist desires that each piece, although individual and unique, communicates with the other ones to demonstrate the dependency ratio between the object, the subject and the environment. The piece, that has a strong presence, acts on the environment of the subject which interprets it and modifies it according to its imagination. Naomi Gilon designs new spaces, between reality and imagination, via the experience of the subject, who reinterprets the environment afterwards. This process, simultaneously conscious and unconscious, creates a peculiar series of images. These images define her work.