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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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Très important après la chute des feuilles
#2
Arthur Cordier
Curator : Maxime Moinet
2720 Rue Léopold
« I hate advertising like good bread.
Advertising does not stop at the borders of the poster, but frames, defines and shapes public and urban spaces in many ways. I am interested in advertising and economic relations between individuals. In particular through the commercial structures that support it : on a practical and ideological level. This is reflected by the study of billboard sites, supermarkets and convenience stores. It is the forms they produce and the strategies they develop that retain my attention.
However, I see advertising as an obsolete strategy, yet one that continues to be used. Would the saturation of advertising instead make it invisible, and therefore potentially inefficient ? Thus my practice focuses on deconstructing, eroding, and reducing visual and commercial communication to its very essence. How much information can be taken away from « Discount » and commercial imagery while retaining its apparent familiarity ? Is capitalism a fiction, a narrated illusion ? How and in what forms do promotional products and objects contain their own obsolescence ?
It is on this ground that I stand, at the same time fascinated and repulsed, repelled and curious about the functioning of our consumption systems. »
In the context of Art Au Centre, Arthur Cordier is presenting new pieces that addresses the Discount imagination. The imagery produced remains silent, without a written text. Is this a garish ad that has nothing to sell ? Is attracting the attention and the gaze an end in itself ?