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Cristina Mirabilis
Academy of Fine Arts of Catane
137-139 En Féronstrée
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SpringMerz
Marion Voegelé
31a Rue de la Cathédrale
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Wafel de Liège
Jannes Lambrecht & Mirthe Vermunicht
100 Rue Saint-Gilles
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Signing To A Spitting Image
Rémie Vanderhaegen
6 Rue Gérardrie
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A Fragile Relationship In A Sturdy Façade
Jeannette Slütter
11 Rue de Bex
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Chambre, vue
Pierre-Alain Poirier
14 Rue de la Sirène
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Midnight Leaves
Bettina Marx
28-30 Boulevard d'Avroy
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Gravats
Lucile Marsaux & Théo Philippot
107 En Féronstrée
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Ambient, Aberrant
Sonia Mangiapane
7b Rue des Carmes
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Avis de tempête
Camille Lemille
159 En Féronstrée
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An Enchanted Break
Cristina Lavosi
9 Rue de la Violette
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Du béton du métal dont sont faites vos parois
Anaïs Lapel
1 En Féronstrée
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Cathédrale
Axel Janssen
16 Rue du Palais
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Always Stuff, Four Blue Office Chairs
Gilles Hellemans
32 Rue de la Régence
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Figure
Bruce Formanoie
100 Rue de la Cathédrale
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Étendue 02
Elisa Florimond
85 Rue de la Cathédrale
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L’été sera brûlant
Sarah Feuillas
3 Rue de la Cathédrale
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No, no ! Only as fast as possible without stress
Jan Duerinck
44 Rue Saint-Gilles
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Carpeaux
Patrick Corillon
25 Rue Saint Paul
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Traveling Tales
Tamuna Chabashvili
40 Rue Hors-Château
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Double exposition
Bertrand Cavalier & Fabien Silvestre Suzor
31b Rue de la Cathédrale
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WELCOMCOM
Ondine Bertin
4 Rue de la Cathédrale
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Leakage
Yasmina Assbane
5 Rue Chéravoie
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Onsite Website : The Official Emoji Shop
Éloïse Alliguié
29 Rue de l'Université
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Ambient, Aberrant
#13
Sonia Mangiapane
Curator : Arthur Cordier
3177b Rue des Carmes
Sonia Mangiapane is a photomedia artist working with processes defined primarily by their interaction with light, as opposed to the exclusive use of the camera. Employing a range of camera-based and cameraless methods her practice takes the form of photographic prints and hybrid works on paper. She explores concepts relating to travel, Nature and notions of photographic time. Sonia’s artistic interests are multi-layered; her approach discursive, process-oriented and experimental.
The colour darkroom is a core site of her practice. It’s a space in which she makes, rather than takes a photograph; pushing the boundaries of the photographic by undertaking conceptual and technical approaches which diverge from the photographic snapshot.
In the context of Art Au Centre, Sonia presents Ambient, Aberrant which calls into question the authenticity of the image, of Nature, of any mediated experience. It starts from the premise that the photographic gaze and the tourist gaze emerged at the same time (around 1840) and have been inextricably linked ever since. The landscape is a representation of the idea of nature; yet it is tamed, domesticated, managed. There is no nature here. The work speaks about the artifice of sightseeing, chasing the sublime, our relationship to Nature (or what we think it is). It comments on the way we experience places through our (phone) cameras.