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Vertical environnement
François Winants
27 Rue de la Casquette
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Censorship
Bram Van Meervelde
44 Rue Saint-Gilles
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The Poetics of Space
Ariane Toussaint
29 Rue de l'Université
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PRIVACY’S ARCHEOLOGY
Niels-Jan Tavernier
Place de la République Française, 23
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Braced under the heating sun
Melissa Ryke
5 Rue Chéravoie
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Modèles réels, arrangements accidentels
Griet Moors
14 Rue de la Sirène
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Lion #15 (Melancholy Baby)
Daisy Madden-Wells
100 Rue Saint-Gilles
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VOUS ÊTES ICI
Les Rayons
Interventions visibles sur des vitres de voiture
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In exile
Guda Koster
1 En Féronstrée
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Icing
Sanne Kabalt
Rue Matrognard, 2
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Un paysage inconnu mais familier
Dayoung Jeong
5 Place des Déportés
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URBAN RHYTHMS
Marjolein Guldentops
129 Rue Saint-Gilles
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À propos
Johan Gelper
41 Passage Lemonnier
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Support Vitrine
Bart Geerts
11 Rue de Bex
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La dernière pluie
Julia Gault
9 Passage Lemonnier
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CAMO
Lionel Estève
25 Rue Saint Paul
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STATIONS
Apolline Ducrocq
50 En Féronstrée
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Zoning gris, glaner la ville, vivre le bois
Jonathan De Winter
31B Rue de la Cathédrale
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Trophée
Estelle Deschamp
137 En Féronstrée
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Debt Ceiling
Bob Demper
4 Rue de la Cathédrale
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LOG 1 : SAUVE-GARDES
Paul Cottet
15 Rue Saint-Gilles
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Pluie N20, depuis la terre…
Collectif Nuiits Delphine Dubois and Juliane Lavis
Hôtel de la Cour de Londres 40 Rue Hors-Château
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SANS TITRE
Olivier Bovy
85 Rue de la Cathédrale
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a l é a s
Jérôme Bouchard
31A Rue de la Cathédrale
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Please like me #1
Margaux Blanchart
6 Rue Saint-Adalbert
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antizenithale
Marc Angeli and Ronald Dagonnier
16 Rue du Palais

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).