\r\nFriday is weekly: a digest of what the team has seen, read and listened to and wants to share with you\r\n<\/p>\n\n\n
Ethel Lilienfeld<\/a>, who has adopted Brussels as her city, is a French video artist and filmmaker. We recently came across her series of twelve portrait photos, \u2018The Acroliths\u2019. An affecting work, supported by the Le Fresnoy de Tourcoing art production and study centre. The adjective \u2018acrolith\u2019 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\u2019s 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<\/a>.<\/p>\n\n\n\n