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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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Please like me #1
#9
Margaux Blanchart
Curator: Anna Ozanne
1996 Rue Saint-Adalbert
A graduate of the Fine Arts of Liège (ESAVL, 2021), Margaux Blanchart uses the image that we reflect of ourselves and tools that are social networks, as fields of experience. The visual artist, who only uses herself as a model, appears and disappears from one artwork to another, performing attitudes borrowed from our contemporary stereotypes or embodying ambivalent but free images that emerge, circulate or yet persist.
In Please like me #1 (1), the artist pushes, not without a touch of humor, the experience of the selfie (photographic self-portrait made with a smartphone and shared with other people on social networks) into a video performance that catalyzes the expectations and the frustrations of an anonymous character (or one of the artist’s doubles?).
This situation echoes the daily life of any artist whose auto-entrepreneurship represents the main part of the activity: sending applications for artistic prizes (recognition), for exhibitions or to be defended by a gallery (visibility), for scholarships or funds to create and design. Selling oneself, making oneself attractive, capturing attention, being loved: Please like me!
While Narcissus seeks the validation of his reflection by the others (this implacable crowd), and while artist Andy Warhol predicted (1968) 15 minutes of glory for everyone, we remember that the practice of the portrait constituted, from his birth, most of his production (a 15-minute break was then necessary). The doubt distilled between reality and fiction, between physical, private and public spaces, extends into the virtual space of the Instagram account « utilisateur2937 », regularly fed with selfies throughout Art au Centre.
(1) The Please like me project is deployed in two windows and an Instagram account @utilisateur2937. Please like me #1 will be followed by Please like me #2 on the next issue (AAC#10).