French Window
Brussels, BE
The starting point of the exhibition is a set of 71 postcards, bound together by a worn-out elastic band, found in Liège’s former provincial library, which until recently was located on Rue des Croisiers. This modest collection of cards actually spans three decades of postal mail, sent by Library employees to their colleagues during their annual leave, convalescence, and trips abroad.
The short handwritten texts on the back of the cards include vacation anecdotes, memories, and culinary recipes from the countries visited. Sometimes the rain is part of the experience. Sometimes it's not so bad at home, says a postcard sent from the Belgian coast, while the Library's renovation work is in full swing. These briefs humorously and with camaraderie reflect on the interstices within salaried work, break times, and the prospect of returning after a few weeks of vacation.
This small collection offers a glimpse into the relationship between the workers employed by the Cultural Affairs Department, READING ROOM. The cards were then digitised, and transcribed by the artist, then compiled into a publication, and printed in a few copies. This same publication was then reintroduced into the current library, within the existing shelves, and a copy was given to the current employees.
︎ Full list of works and documentation is available on request only
11.10.—15.11.25
I worked in an advertising agency.
I hate advertising.
My experience led to a constant interest in the study of urban and commercial trickery – also known in French as roublardise. To reveal the economical construct of urban contexts, I use the effectiveness of commercial strategies against itself in a tautological and often parasitic manner. To a further extent, my practice tackles the aesthetics of bureaucracy, entrepreneurship, and efficiency through relational, situational, and contextually specific works, self-reflecting upon the economy of artistic practice in a production-driven society.
works
The Car, The Garden, and The Rat
Long Days (Short Days)
It’s a rat rat’s world
Autoroutes Sauvages
Laatste Ronde
FREE COFFEE** NO SMARTPHONE FOR ETERNITY
Kunst_planten
Towards a new domesticity
SUMMER
Le temps ne brûle pas
Billboard advertising falls on top of two cars during strong wind weather
TikTok vs Abramovic
archive
Days of our Lives
La Tonnelle Universelle
The Opening Super
D.D.-DOMESTICA DOVE
FREE COFFEE*
Enseigne liquide, Goudron lumineux
Groter, Nieuwe, Prix réduit, Toute nouvelle
Markten
The cow, the riot and the kid
Auvent, évente
I hate advertising.
My experience led to a constant interest in the study of urban and commercial trickery – also known in French as roublardise. To reveal the economical construct of urban contexts, I use the effectiveness of commercial strategies against itself in a tautological and often parasitic manner. To a further extent, my practice tackles the aesthetics of bureaucracy, entrepreneurship, and efficiency through relational, situational, and contextually specific works, self-reflecting upon the economy of artistic practice in a production-driven society.
works
The Car, The Garden, and The Rat
Long Days (Short Days)
It’s a rat rat’s world
Autoroutes Sauvages
Laatste Ronde
FREE COFFEE** NO SMARTPHONE FOR ETERNITY
Kunst_planten
Towards a new domesticity
SUMMER
Le temps ne brûle pas
Billboard advertising falls on top of two cars during strong wind weather
TikTok vs Abramovic
archive
Days of our Lives
La Tonnelle Universelle
The Opening Super
D.D.-DOMESTICA DOVE
FREE COFFEE*
Enseigne liquide, Goudron lumineux
Groter, Nieuwe, Prix réduit, Toute nouvelle
Markten
The cow, the riot and the kid
Auvent, évente