There are, when one knows how to grasp them, contexts that offer unique conditions for experimentation. A unity of place, a unity of time, a new encounter between two artistic practices and, above all, the possibility to blur the dividing line of two visual languages.
Brought together for an intensive and limited period consisting of three productive weeks, LUCIE LANZINI and EDWARD LIDDLE had, at once to intuitively define an area in which to play involving them both, in a game of rebound, in a digression featuring motifs derived from domestic environments. Introducing the exhibition, the wallpapers of Edward Liddle – painted using motifs borrowed from a bank of images patiently collected during the artists’ wanderings – occupy the space in a sculptural way, mobilising the body of the spectator around volumes which convey a fractured plurality of intersected planes and, even, suggest the tones of the installation. Taking the form of an environment to be explored the exhibition space is placed in tension, the artists deploying a common vocabulary born from found objects, raw material, scraps and fragments put together by four hands. Through molding or impression making, techniques perfectly mastered by Lucie Lanzini, a particular temporality can be drawn, where extreme presence and absence coexist. Anachronistic objects made using fragments of furniture or structural elements, are somehow, seized, fixed, they are also the trace of a lost referent, questioning through its absence, the relationship to the original as well as the idea of authenticity and uniqueness. In a game of perception knowingly orchestrated, between moldings, impressions, and grafts of original fragments, the artists heighten layers and perspectives in a variety of gestures that take the exhibition space as their horizon. Balance and weight, opacity and transparency form a trail of clues revealing a shared development process that plays on the troubling possibilities of a trompe l’oeil device set up by the artists. One can imagine that by introducing a disturbed relationship to the real, Lucie Lanzini and Edward Liddle, are not beyond questioning the function of a great illusion-generating machine that continues to be our reality.

Pascale Viscardy

in addition to

Conceived by the artists Elise Van Mourik and Lodewijk Heylen, right there in front of you! All the darkness in the world is an Happening that challenge the exhibition format and space.
The artists’ present proposal leads to being confronted to publicness, who’s triggered by the activation of ready-mades on the roadside.

right there in front of you ! All the darkness in the world

By thinking through objects and materials in a dialogical way, the exhibition Cape Horn Fever offers an experience of what you might call the other side of things.

In this multimedia installation, created in situ, ever yday ob- jects are explored, such as sanded drywall boards that act as pedestals as much as an artwork, wood mouldings are assembled to become a mantelpiece, clay blocks are passed through a chip cutter to become corals ...

Over a ten-day period the artists Ailsa Cavers (UK) and Bert Jacobs (BE) collaborated for the first time, bringing together their respective artistic practices in the gallery space.
The video contribution made by Roger Claessens (BE) re- inforces the proposal of the two artists : Cape Horn Fever reflects its temporality to decontextualize us: it is indeed a summer show !

The exhibition is open on Saturdays from 11am to 6pm until the 3rd of September.

http://www.jacobsbert.be  /  http://www.ailsacavers.com

© photos by Bert Jacobs


Cape Horn Fever

The term "universe" had not yet assumed its meaning that we already had a few pages. 
The subject came, and it was then necessary to deepen the scope of knowledge , but beware! We are not here in search of answers ( we do not yet have the capacity !) ... Nonsense !!! The simple act of developing our idea requires the creation of a quest for the research of answers ! However, we remain modestly proud! It is rather talking about perception. Perhaps even modeling . We'll try at least !

© photos by Lola Pertsowsky

Chrome Noir

∑ (CL,QL,DZ) referes only to the initiales of the artists’ names.
From the sum of their individual artistic practices results this installation, that can be defined as the space. It is here considered as whole in which the viewer is invited to enter in an active contemplation.
It is question here of flux - coming from the air driven through the cone, as much as movement - that the device impose to the viewer, materials - that fills the room, and spaces - that influenced this project. 


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