A car progresses in the darkness, bringing the crowd along its mechanical choreography. It lights the scenery, crosses facades of images, changing matters and surreal eruptions. Shades turn into murals, screens are ran through, walls become membranes, flesh and voices assert themselves.
Supported by: Komplot, ISELP, Fédération Wallonie-Bruxelles, Wandering Arts Biennial, Wandering Arts Biennial, Kunstverein Amsterdam, Duvel-Moortgat
Reflecting on transitory states of being, La Part Mortelle unites fifteen international artists within a framework that is itself transient. encompassing performances, installations, sculptures, videos and paintings, the exhibition shapes itself around a performative event which animates the works. The spectators, brought together at the entrance of a garage in Brussels, follows a car that slowly illuminates its path, affecting its shapes. Acting as a vehicle by which the horizon and the environment are at once revealed and altered, the car becomes the transitional tool of the progressive experience. La Part Mortelle came about from a desire to create a living exhibition within a parking garage. Mirrors of a society shaped by automobiles, car parks are vestibules in which one sheds their metallic envelope. This change of skin, falling facades and the intermediate state therein inhabit the works of the artists, invited to explore the relationship with living things in a den for mechanical ones. Far from the solemnity of museums, here the ceremony rises from a collective action. The dramaturgy is established upon a series of scenes created by the artists, revealed one after the other as the opening night unwinds. Each piece becomes a sequence in an almost cinematic construction, a film in which the public plays an active role. A multiform event gathering artists working in a diversity of media, La Part Mortelle explores the porous territories between different languages and artistic genres.
Successions of layers or interlaced perspectives approach the notion of decor in a context where visual arts resemble theatre (Aline Bouvy & John Gillis, Stéphane Abitbol, Naïmé Perrette). A video intervenes in the rhythm of the journey, exploring how time is decomposed, linked with movement and variations of scale (Agnieszka Polska). The relationship body/machine is widely examined: technology implemented in a human body (Astrit Ismaili), physical and metaphorical notions of a second skin (Alizée Quitman) and the confrontation between organic and mechanical matters (Julian Weber). Various sculptures embody familiar or monstrous figures to revisit domestic and ritual objects (Thomas Perroteau and Jay Tan). The amplification of voices, sounds and lines create a theatre of the vulnerable, that draws its strength from behind the scenes (Geo Wyeth, Davide Tidoni, Maxime Le Bon). Subtle interventions on signs and language influence our attention to the experience as a whole (Kareem Lotfy, Thibaud La Maguer).