Weekly 3 minutes of reading

Weekly ※ Friday 04.08.23

Article author :

Catherine Coyette

Rédactrice et pigiste freelance depuis 2020, Catherine mixe sa passion de l’événementiel où elle promeut les micro-brasseries artisanales avec l’écriture. Elle forme également des profils variés à la plume. Un brin féministe, la défense du statut des femmes dans la société lui tient particulièrement à cœur. Italienne de naissance, elle s’y échappe chaque année quelques jours. Soucieuse de l’écologie, elle est la reine de la récup’ et des bons plans…

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Friday is weekly: a digest of what the team has seen, read and listened to and wants to share with you

‘Human acroliths’ in a dozen photographs

Ethel Lilienfeld, who has adopted Brussels as her city, is a French video artist and filmmaker. We recently came across her series of twelve portrait photos, ‘The Acroliths’. An affecting work, supported by the Le Fresnoy de Tourcoing art production and study centre. The adjective ‘acrolith’ denotes a statue whose head and extremities are crafted from a high-quality material, whilst the remainder is fashioned from a more commonplace base such as plaster of Paris or terracotta. Ethel Lilienfeld’s figures charm as much as they repel. The artist has imagined them on the borderline of the real and the virtual, at the crossroads of the living and the dead, where the beautiful and the repellent intersect. Ethel raises questions about the way in which the virtual body, moulded by the filters in our digital communication networks, impacts us in day-to-day life. It is impossible to remain unmoved by the images she manufactures, so much do they shatter aesthetic standards, social norms and the concepts of identity and gender. For the curious, her works are being exhibited until August 1 at the Cube Garges.

We, eight billion humans, less twenty-seven, plus seventy, in the time taken to read this title

A Belgian visual artist, in her works Laurence Dervaux mixes a number of disciplines. The human body especially is laid out on display, and she emphasises its vulnerability as much as its beauty. The body is never brutally foregrounded, rather it is suggested. We remember her 2020 staged artwork, powerful and aesthetic, ‘The quantity of blood pumped by the heart in 1 hour, 28 minutes,’ conceived for the exhibition ‘The Anger of Ludd’ at the BPS22 .

In the autumn of 2023, you will be able to catch the exhibition, ‘We, eight billion humans, less twenty-seven, plus seventy, in the time taken to read this title.’ This event is a retrospective of the artist’s works. There you will also discover several previously unseen pieces, in particular her vast immersive installation, in which light plays a central role. The viewer succumbs, becoming entranced by her riveting and imagery-rich vision of the human body, characterised by a continuous flow of its vital fluids. From 23/09/2023 to 07/01/2024 at the BPS22 (Charleroi).

The Créa’Bus (2.0), an itinerant project for the live and digital arts

For some dozen years already, the Créa’Bus has been travelling back and forth between the villages of western France in order to meet their youngest residents. It is the live arts company CREA which is behind the idea. Its first contraption comprising a stage and rows of seats accommodated around 35 spectators. The audience and the artists thereby meet one another, in the same space, at the heart of a unique and interactive odyssey. The bus stops off at various geographically remote places. In 2020, the Créa’Bus 2.0 was launched to raise awareness of the digital arts. High-tech, it is fitted with flat screens linked to new software programmes and is transformed into a performance venue with a 270° panoramic view. By 2030 the CREA company aims to have met the United Nations’ sustainable development targets. How? By encouraging greater social inclusion and by contributing to a reduction in inequalities. An original adventure, in which the digital reaches out to citizens.

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