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Vertical environnement
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27 Rue de la Casquette
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Censorship
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44 Rue Saint-Gilles
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The Poetics of Space
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29 Rue de l'Université
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PRIVACY’S ARCHEOLOGY
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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)
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100 Rue Saint-Gilles
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VOUS ÊTES ICI
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In exile
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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
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11 Rue de Bex
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La dernière pluie
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9 Passage Lemonnier
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CAMO
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25 Rue Saint Paul
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STATIONS
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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
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4 Rue de la Cathédrale
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LOG 1 : SAUVE-GARDES
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15 Rue Saint-Gilles
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Pluie N20, depuis la terre…
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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

Un paysage inconnu mais familier
#9
Dayoung Jeong
Open call
2135 Place des Déportés
During my childhood, the computer became part of our homes and I grew up watching our daily lives change rapidly. I thus focus naturally on the boundary between the virtual world (a digital world) and the real world. By moving stories, gestures, visual images from the virtual world to the real world (and vice versa), I transform my psychological and physical experiences into artistic creation and I question myself and the story around me. I also try to find my own way of being and my place within the society.
Even if digital technology inspires me a lot for my subjects, I always create tangible pieces, often in an artisanal way, ultimately far from digital technologies. I often use glass and its expressions in my work. This is the influence of my grandfather, who was a glassmaker. The glass seems fragile, but also solid. Sometimes it reflects light and retains light as stage lighting would. They allow me to represent the fantasy adopted in our virtual world. For me, glass has thus become a way to express stories from the theatrical world I watch through my computer screen and that sometimes seems more real than the life in which I physically develop.
I have the feeling that the real world, seen through the virtual world, is a play. Having worked in a theater scenography team, I was also greatly inspired by the universe of stage. I thus found it interesting to create a scenic sphere in the exhibition space.