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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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ROSE ZÉRO SYSTEMATIQUE
#5
Marcel Devillers
Curator : Sophie Delhasse
1019 Rue des Dominicains
Marcel Devillers’ artistic practice gets experienced with pace and cadence. He oscillates between paintings, materials and installation that he combines with readings and performances. A pace, the pace of the eye first. An eye that gets hypnotized by the reading of his mural poems, installed directly in the display window. The gesture of the painter reciprocally contaminates the gesture of the author. A move, the move of the retina that follows in a long travelling the closed line of the poem, a convolution that reminds us of the cogs of a machine or a transmission belt. A transfer takes place, the reading wants to appear pictorial, and the power of language blossoms in a flow of feelings, shapes and images.
The look moves and stops on a painting-object placed on the ground. Surrounded by light, it replaces successively a dot, a hearth, an axis or an exclamation. These podiums remind us of the universe of the scene or the cinema and their dressing rooms, of a past or future potentiality. Activated by the artist during performative readings, these closed spaces become the support of a voice that incarnates itself in the carnal pace of the declamation. The body sets the tempo, the implied tempo of the actor or the choreographer who lives in these small scenic islands. The title of the proposal refers to another notion of repetitive dissemination, as Rose Zéro has already been used by the artist in his publications. A serial aspect of production that enables Marcel Devillers’ work to spread out like a constellation of reflections on art and perception. It convokes as much a questioning of the artistic work and its materiality as the writing and its orality, playing with the porosity of aesthetics, materials and practices. It leads to a muffled beat fed by the excitement of the sparkling world of performing arts as by the nostalgic silence of the bodies and their incarnation. It also leads to a nomad deconstruction of the stability of our visual space.