Festival Point Point 3
Curators : FAIRE DE RIEN
The Point Point festival is an artistic festival by the association FAIRE DE RIEN which proposes to invest the city of Avranches in Normandy, like an open-air museum. 23 artists have been invited to create works that integrate into the public space and play on their degree of visibility by exploiting the diversity of the urban landscape.
"Pieces of Brussels", 2022, is the proposal formulated in this context. Stampings of details of the city of Brussels are made in clay: fragments of architecture, street furniture, commemorative plaques, cars. These sculptures are then baked and enamelled, and brought to Avranches to be scattered in the public space in a manner that is sometimes ostentatious, sometimes discreet, even secret. About fifty pieces are installed in a 127.5m radius around the Tourist Office, playing with their confrontation with the elements and signs present on site. Is it the conquest of a territory or the timid landmarks we establish when we set foot in unknown territory? Is it an act of affirming an identity or of dissolving it? Is it the ghost of one city in the flesh of another? Is it the mirror of one city in another, since cities are so similar today? Is it a memory, a trace, a historical decoy? Is it a survey, a magical deviation of the flow that irrigates these places? After the end of the festival, the ceramics remain on site, subject to their archaeological fate.
Thirtieth Price for the Engraving and the Printed Image
Center for the Engraving and the Printed Image, La Louvière
Call the world for less
Cluj | Roma | حلب | Roma | Bamako | Roma | ⵜⵉⴳⵎⵎⵉ ⵜⵓⵎⵍⵉⵍ ⵜ | Roma | تهران | Roma | Priština | Roma | ⴹⵊⴻⵍⴼⴰ | Roma | Kolwezi | Roma | Kigali | Roma | الإسكندرية | Roma | El Alto | Roma | Fortaleza | Roma | Łódź | Roma | Lima | Roma | Gduńsk | Roma | کراچی | Roma | Pikine | Roma | București| Roma | تونس | Roma | İstanbul | Roma | کابل | Roma | Kisásá | Roma | مُرَاكُش | Roma | الرباط | Roma
Cluj >< Roma >< حلب >< Roma >< Bamako >< Roma >< ⵜⵉⴳⵎⵎⵉ ⵜⵓⵎⵍⵉⵍ ⵜ >< Roma >< تهران >< Roma >< Priština ><| Roma | ⴹⵊⴻⵍⴼⴰ >< Roma >< Kolwezi >< Roma >< Kigali >< Roma >< الإسكندرية >< Roma >< El Alto >< Roma >< Fortaleza >< Roma >< Łódź >< Roma >< Lima >< Roma >< Gduńsk >< Roma >< کراچی >< Roma >< Pikine >< Roma >< București>< Roma >< تونس >< Roma >< İstanbul >< Roma >< کابل >< Roma >< Kisásá >< Roma >< مُرَاكُش >< Roma >< الرباط >< Roma
Cluj – Roma – حلب – Roma – Bamako – Roma – ⵜⵉⴳⵎⵎⵉ ⵜⵓⵎⵍⵉⵍ ⵜ –Roma – تهران – Roma – Priština – Roma – ⴹⵊⴻⵍⴼⴰ – Roma – Kolwezi – Roma –Kigali – Roma – الإسكندرية – Roma – El Alto – Roma – Fortaleza – Roma – Łódź – Roma – Lima – Roma – Gduńsk – Roma – کراچی – Roma – Pikine – Roma – București– Roma –تونس – Roma – İstanbul – Roma – کابل – Roma – Kisásá – Roma – مُرَاكُش – Roma –الرباط –Roma
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Rosa, Rosa, Rosae, Rosae (II)
Maison Pelgrims, Bruxelles
Curator Pauline Hatzigeorgiou
For the second version of the exhibition curated by Pauline Hatzigeorgiou, dedicated to transmission, education, we pay interest to details of primary school archives, from the 1990's. Exercices, notes by the teachers in the margin of copies, monumental texts on childhood (Le Petit Prince, from Antoine de Saint-Exupéry, or a poem by Rimbaud), creativity of the children facing the indications given by the teachers... Written traces produced in the framework of the school express two visions of the world, from the children on one side, from the adults on the other side. Both try to understand each other, in often comic confrontations. The teacher tries to speak the language of the child, the child does his/her best to imitate the language of adults. Everything happens in a funny mix of good will, ingenuity, naivity, morality, and misunderstandings.
Le marchand de glaces
Été 78, Bruxelles
My first idea for the title of this exhibition was "Let's be realists!", in an almost ecstatic, almost hysterical reference to Emile Zola, Emmanuel Macron, La Repubblica... But later, while I was browsing through the amazing creative production of my fellow artist Osanne Gevart, of 6 years old, whom I had invited to participate in this exhibition with me as a duo, I stopped in front of a drawing, or maybe two drawings, made on the double page of a notebook. The lower part of this diptych represented, she told me, an ice cream vendor. While the upper part evoked the world, even an onion. I found myself taken of enthusiasm! It was there the realism! I immediately injected myself two doses of it. I mean: I immediately ordered two scoops. With already a contained desire for a third.
Le Delta, Namur
Curator Anaël Lejeune
"The art center Le Delta welcomes this summer a new installation made by Yoann Van Parys (1981). Coming from drawing, comics, then photography and art writing, the artist constantly questions the image's mechanism, through a work on its materiality, fragmentation, associations. Despite his colourful aesthetic and humor (which should alert the public about the part of derision always present in the observation he makes of his contemporaries and their behaviors), the installation of Yoann Van Parys seems to hold a melancholic dimension, almost elegiac. Roma, the name of a city so famous and so intensely repeated inside the exhibition space, transparent, but closed to the public, remains irremediably unattainable. Idyllic country, hard to reach during the pandemic times; old promise land for european artists; symbol of a golden age perhaps gone for ever... There is a substitution in the installation between this city, its imaginary, and other images, more futile, superficial, found during strolls through Namur, that seem to operate like palliatives to travel : shops windows where are our so-called wealths, mannequins in plastic similar to antique statues corresponding to perfect beauty canons, construction sites that dresses up like future ruins, old local monuments, ersatz of exotic vegetations in pots, canals on which sail some tired barges.
So many frivolous objects and activities that resonate like the fake promises of an access to what is far away and authentic. « Fly away » says an ad, photographed in the city center. While, in the closed window space of Le Delta, the different layers of images overlap, getting more opaque, and hiding inexorably Rome, taking perfidiously its place."