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À la loupe
Werner Moron
7 Rue de l'Official
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Cloakroom
Charlotte Delval
37 Rue Souverain Pont
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Biospheric City
Xavier Mary
25 Rue Saint Paul
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This Is Not a Theory
Giuseppe Arnone
40 Rue Hors-Château
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Barbaro after the hunt
Andréa Le Guellec
56 Rue Saint-Gilles
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Nos lieux de bonheur
Benjamin Hollebeke
141 Féronstrée
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Between Two
Adrien Milon
31b Rue de la Cathédrale
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Your Parcel Is Coming
Aurelien Lacroix
5 Rue Saint-Michel
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Marcher, cueillir, jardiner, teindre
Benjamin Huynh
32 Rue de la Madeleine
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À nos jours heureux
DIAAAne (Diane Stordiau)
28 - 30 Boulevard d'Avroy
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One Loft Race — Pigeon Paradise
Lucas Castel
20 Rue de la Sirène
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Les envahisseurs
Dimitri Autin
85 Rue de la Cathédrale
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Vous êtes toustes flou·e·s
Marcelle Germaine
107 - 109 Rue de la Cathédrale
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Le jeu d’un destin
Mikaïl Koçak
52 En Neuvice
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Rue Monrose, 62 : La chambre L’enfant Le train
Paul Gérard
180 Rue Saint-Gilles
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Peek
Raphaël Meng WU
75 Rue Hors-Château
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Un buisson de clés (Sleutelbos)
Amber Roucourt
16 Rue du Palais
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Brownfields
Cesare Botti
108 Féronstrée
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Never Finished
Dirk Bours
84 Féronstrée
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Empty Reflections
Jason Slabbynck
21 Pont d'Île
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On « Sexy Magico »
Louis Gahide
7 Rue Lambert Lombard
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Opalima Kupina: Liège episode A Stop Pavilion: On the Soft Underbelly of Europe.
Nikolay Karabinovych
1 Féronstrée
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Untitled
Reza Kianpour
14 Rue de la Populaire
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Angle Mort
VIVONS CACHÉ·ES
31a Rue de la Cathédrale
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Haya al salat, haya ala falah*
Sarah Van Melick
4 Rue de la Cathédrale
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WILL YOU MISS ME WHEN IM GONE
#11
Nina Robert
Artist selected as part of the open call
269129 Rue Saint-Gilles
WILL YOU MISS ME WHEN IM GONE? is a self-portrait and the grave of the modern, detestable and selfish human being, saturated by hyper-connectivity, overconsumption, individualism, loneliness, anguish, addiction, depression, the worship of success and personality.
The butterfly, free and fragile, is ironic. It tones down but recalls the ephemeral nature of life. LEDs romanticize, fantasize and eroticize. The sentences and texts that scroll on the cross are messages exchanged with different people/friends on social networks. Taken out of context, they are a sort of anchoring into reality through the virtual sphere. The Latin cross is above all symbolic and aesthetic, but it is also a satire of Judeo-Christian values and economic liberalism. The ubiquitous and invasive pharmacy cross reminds us of the ambiguity between consumer products and the need for moral and physical survival.
WILL YOU MISS ME WHEN IM GONE? wants to appear immersive, disturbing and inquisitive. Through the enticing and illusory window, the green lights blend into the street and the self-portrait tends towards the self-identification of gazes.