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	<title>alt &#187; Peinture &#8211; Illustration</title>
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		<title>HOW WE FIND HER</title>
		<link>http://altblog.be/?p=6314</link>
		<comments>http://altblog.be/?p=6314#comments</comments>
		<pubDate>Wed, 25 Mar 2026 08:12:19 +0000</pubDate>
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				<category><![CDATA[Art contemporain]]></category>
		<category><![CDATA[Peinture - Illustration]]></category>
		<category><![CDATA[Photographie]]></category>
		<category><![CDATA[Vidéo – Film]]></category>
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		<category><![CDATA[Leuven]]></category>

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		<description><![CDATA[— Through a lens-based practice spanning narrative and experimental filmmaking, video and installation art, photography and writing, Elisabeth Subrin has repeatedly returned to the knotty questions of women’s representation and its tangled relationship with broader social and political forces. Stuk, Leuven. 25.03.2026 &#62; 24.05.2026.]]></description>
				<content:encoded><![CDATA[<p><a href="https://elisabethsubrin.com" target="_blank"><img class="alignleft wp-image-6315" title="altblog_ElisabethSubrin" src="http://altblog.be/wp-content/uploads/2026/05/55211224501_f3100131a4_c.jpg" alt="55211224501_f3100131a4_c" width="592" height="474" /></a><br />
—<br />
Through a lens-based practice spanning narrative and experimental filmmaking, video and installation art, photography and writing, <a href="https://elisabethsubrin.com" target="_blank">Elisabeth Subrin</a> has repeatedly returned to the knotty questions of women’s representation and its tangled relationship with broader social and political forces.</p>
<p><strong><a href="https://www.stuk.be/en/program/how-we-find-her" target="_blank">Stuk</a>, Leuven. 25.03.2026 &gt; 24.05.2026.</strong></p>
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		<title>S̶I̶L̶E̶N̶C̶E̶</title>
		<link>http://altblog.be/?p=6280</link>
		<comments>http://altblog.be/?p=6280#comments</comments>
		<pubDate>Sun, 05 Oct 2025 11:26:57 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Art contemporain]]></category>
		<category><![CDATA[Peinture - Illustration]]></category>
		<category><![CDATA[Photographie]]></category>
		<category><![CDATA[Sculpture]]></category>
		<category><![CDATA[Vidéo – Film]]></category>
		<category><![CDATA[Avignon]]></category>
		<category><![CDATA[exposition]]></category>

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		<description><![CDATA[— Imaginée à partir d’un dialogue entre les artistes, cette exposition explore les dimensions sensorielles et politiques des expériences vécues par les Sourd·e·s, les CODA (enfants entendants de parents Sourds) et leurs descendants témoins. Avec Geoffrey Badel, Arthur Gillet, Estelle Labes, Sylvanie Tendron, Max Taguet, Fleur Mautuit, Joseph Grigely et Danièle Le Moënner. La Chartreuse-Cnes Villeneuve, Avignon. 11.10.2025 &#62; 04.01.2026.]]></description>
				<content:encoded><![CDATA[<p><a href="https://www.instagram.com/josephgrigely" target="_blank"><img class="alignleft wp-image-6281" title="Joseph Grigely, fragment of a larger installation originally created for the exhibition &quot;La Belle et la Bête: Art contemporain américain&quot;" src="http://altblog.be/wp-content/uploads/2025/10/JosephGrigely.png" alt="JosephGrigely" width="592" height="458" /></a>—<br />
Imaginée à partir d’un dialogue entre les artistes, cette exposition explore les dimensions sensorielles et politiques des expériences vécues par les Sourd·e·s, les CODA (enfants entendants de parents Sourds) et leurs descendants témoins. Avec <a href="https://www.instagram.com/geoffreybadel/" target="_blank">Geoffrey Badel</a>, <a href="https://arthurgillet.com" target="_blank">Arthur Gillet</a>, <a href="https://www.instagram.com/estelle.labes/" target="_blank">Estelle Labes</a>,<a href="https://www.behance.net/sylvanietendron" target="_blank"> Sylvanie Tendron</a>, <a href="https://www.instagram.com/max_cotag/" target="_blank">Max Taguet</a>, <a href="https://www.instagram.com/fleur_mautuit/" target="_blank">Fleur Mautuit</a>,<a href="https://www.instagram.com/josephgrigely" target="_blank"> Joseph Grigely </a>et Danièle Le Moënner.</p>
<p><strong><a href="https://www.instagram.com/chartreuse_cnes/" target="_blank">La Chartreuse-Cnes Villeneuve</a>, Avignon. 11.10.2025 &gt; 04.01.2026.</strong></p>
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		<title>SKULL FUCK</title>
		<link>http://altblog.be/?p=6253</link>
		<comments>http://altblog.be/?p=6253#comments</comments>
		<pubDate>Wed, 15 Jan 2025 18:19:10 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Art contemporain]]></category>
		<category><![CDATA[Peinture - Illustration]]></category>
		<category><![CDATA[Photographie]]></category>
		<category><![CDATA[Vidéo – Film]]></category>
		<category><![CDATA[exhibition]]></category>
		<category><![CDATA[gallery]]></category>
		<category><![CDATA[London]]></category>

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		<description><![CDATA[— Matthias Groebel has never believed in the concept of content. By doing so, Groebel frees his works from the constraints of representation. Across his career and different media, he has repeatedly created parameters and conditions that allow for an intuitive mental workspace. Modern Art, London. 17.01.2025 &#62; 22.02.2025.]]></description>
				<content:encoded><![CDATA[<p><a href="https://plastermagazine.com/interviews/matthias-groebel-gathering-london-exhibition/" target="_blank"><img class="alignleft wp-image-6254" title="Matthias Groebel Studio, Cologne" src="http://altblog.be/wp-content/uploads/2025/01/image1.png" alt="image" width="592" height="416" /></a>—<br />
<a href="https://www.instagram.com/matthiasgroebel/" target="_blank">Matthias Groebel</a> has never believed in the concept of content. By doing so, Groebel frees his works from the constraints of representation. Across his career and different media, he has repeatedly created parameters and conditions that allow for an intuitive mental workspace.</p>
<p><strong><a href="https://www.modernart.net" target="_blank">Modern Art</a>, London. 17.01.2025 &gt; 22.02.2025.</strong></p>
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		<title>DORT: EIN GEFÜHL</title>
		<link>http://altblog.be/?p=6247</link>
		<comments>http://altblog.be/?p=6247#comments</comments>
		<pubDate>Fri, 03 Jan 2025 09:03:15 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Art contemporain]]></category>
		<category><![CDATA[Peinture - Illustration]]></category>
		<category><![CDATA[Bonn]]></category>
		<category><![CDATA[exhibition]]></category>

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		<description><![CDATA[— “The strength of Dort: ein Gefühl is its minimal curatorial framework – that red line – which allows us not just to hear what is being said, but to register Bordowitz’s true medium: not performance, poetry, or film, but presence itself, with language and, ultimately, art as its faulty witnesses.” Kristian Vistrup Madsen on Gregg Bordowitz: [&#8230;]]]></description>
				<content:encoded><![CDATA[<p><a href="https://bonner-kunstverein.de/documents/22/BKV_GB-w.pdf"><img class="alignleft wp-image-6248" src="http://altblog.be/wp-content/uploads/2025/01/image.png" alt="image" width="592" height="395" /></a>—<br />
“The strength of <a href="https://bonner-kunstverein.de/en/exhibitions/dort-ein-gefuhl/" target="_blank"><em>Dort: ein Gefühl</em></a> is its minimal curatorial framework – that red line – which allows us not just to hear what is being said, but to register <a href="https://www.novembermag.com/content/gregg-bordowitz" target="_blank">Bordowitz</a>’s true medium: not performance, poetry, or film, but presence itself, with language and, ultimately, art as its faulty witnesses.” <a href="https://bonner-kunstverein.de/documents/26/spike_bordowitz.pdf" target="_blank">Kristian Vistrup Madsen on Gregg Bordowitz: Nothing But Being Here (Spike Art Magazine)</a></p>
<p><strong><a href="https://bonner-kunstverein.de/en/" target="_blank">Bonner Kunstverein</a>, Bonn, 21.09.2024 &gt; 02.02.2025.</strong><br />
A second chapter of the exhibition takes place at <a href="https://camdenartcentre.org" target="_blank">Camden Art Centre</a>, London<br />
(17.01.2025 &gt; 30.03.2025).</p>
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		<title>TITUBA, WHO PROTECTS US?</title>
		<link>http://altblog.be/?p=6276</link>
		<comments>http://altblog.be/?p=6276#comments</comments>
		<pubDate>Sat, 26 Oct 2024 11:07:42 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Art contemporain]]></category>
		<category><![CDATA[Peinture - Illustration]]></category>
		<category><![CDATA[Photographie]]></category>
		<category><![CDATA[Sculpture]]></category>
		<category><![CDATA[exposition]]></category>
		<category><![CDATA[Paris]]></category>

		<guid isPermaLink="false">http://altblog.be/?p=6276</guid>
		<description><![CDATA[— Le point de départ de l’exposition est le roman et le personnage éponyme de Moi, Tituba, sorcière noire de Salem (1986) de Maryse Condé. Artistes : Naudline Pierre, Abigail Lucien, Rhea Dillon, Miryam Charles, Monika Emmanuelle Kazi, Naomi Lulendo, Inès Di Folco Jemni, Liz Johnson Artur, Tanoa Sasraku, Claire Zaniolo, Massabielle Brun. Curator : Amandine [&#8230;]]]></description>
				<content:encoded><![CDATA[<p><a href="https://www.lizjohnsonartur.co.uk" target="_blank"><img class="alignleft wp-image-6277" title=" Liz Johnson Artur ©Photo Aurélien Mole" src="http://altblog.be/wp-content/uploads/2025/10/image.png" alt="image" width="592" height="889" /></a>—<br />
Le point de départ de l’exposition est le roman et le personnage éponyme de <em>Moi, Tituba, sorcière noire de Salem</em> (1986) de <a href="https://memoire-esclavage.org/biographies/maryse-conde" target="_blank">Maryse Condé</a>.<br />
Artistes : <a href="https://www.instagram.com/cluvie/" target="_blank">Naudline Pierre</a>, <a href="https://www.abigaillucien.com" target="_blank">Abigail Lucien</a>, <a href="https://dillonrhea.com" target="_blank">Rhea Dillon</a>, <a href="https://www.instagram.com/miryam_charles/?hl=fr" target="_blank">Miryam Charles</a>, <a href="https://monikaemmanuelle.com/press" target="_blank">Monika Emmanuelle Kazi</a>, <a href="https://www.naomilulendo.com" target="_blank">Naomi Lulendo</a>, <a href="https://www.instagram.com/inesdifolcojemni/?hl=fr" target="_blank">Inès Di Folco Jemni</a>, <a href="https://www.lizjohnsonartur.co.uk" target="_blank">Liz Johnson Artur</a>, <a href="https://www.instagram.com/tanoasasraku/" target="_blank">Tanoa Sasraku</a>, <a href="https://clairezaniolo.onfabrik.com" target="_blank">Claire Zaniolo</a>, <a href="https://www.instagram.com/butterflydeadsoul/" target="_blank">Massabielle Brun</a>. Curator : <a href="https://palaisdetokyo.com/personne/amandine-nana/" target="_blank">Amandine Nana</a></p>
<p><strong><a href="https://palaisdetokyo.com/en/exposition/tituba-who-protects-us/" target="_blank">Palais de Tokyo</a>, Paris. 17.10.2024 &gt; 05.01.2025.</strong></p>
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		<title>ON PEUT ENCORE&#8230;</title>
		<link>http://altblog.be/?p=6198</link>
		<comments>http://altblog.be/?p=6198#comments</comments>
		<pubDate>Sun, 08 Sep 2024 12:28:44 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Art contemporain]]></category>
		<category><![CDATA[Peinture - Illustration]]></category>
		<category><![CDATA[Bruxelles]]></category>
		<category><![CDATA[exposition]]></category>
		<category><![CDATA[Wiels]]></category>

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		<description><![CDATA[— Loin d’essayer d’englober l’intégralité de son œuvre, l&#8217;exposition On peut&#8230; On peut encore&#8230; d&#8217;Ana Jotta se concentre sur un aspect spécifique de son travail : sa façon d’investir le dessin d’une multiplicité de sens. Wiels, Bruxelles. 07.09.2024 &#62; 05.01.2025.]]></description>
				<content:encoded><![CDATA[<p><a href="https://www.instagram.com/anaanajottajotta/" target="_blank"><img class="alignleft wp-image-6199" src="http://altblog.be/wp-content/uploads/2024/09/image.jpeg" alt="Ana Jotta 2024" width="592" height="468" /></a><br />
—<br />
Loin d’essayer d’englober l’intégralité de son œuvre, l&rsquo;exposition <em><a href="https://www.wiels.org/fr/exhibitions/on-peut-on-peut-encore-ana-jotta" target="_blank">On peut&#8230; On peut encore&#8230;</a> </em><a href="https://www.instagram.com/anaanajottajotta/" target="_blank">d&rsquo;Ana Jotta </a>se concentre sur un aspect spécifique de son travail : sa façon d’investir le dessin d’une multiplicité de sens.</p>
<p><strong><a href="https://www.wiels.org/fr/exhibitions/on-peut-on-peut-encore-ana-jotta" target="_blank">Wiels</a>, Bruxelles. 07.09.2024 &gt; 05.01.2025.</strong></p>
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		<title>SILENT CONVERSATION</title>
		<link>http://altblog.be/?p=6212</link>
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		<pubDate>Thu, 05 Sep 2024 13:11:52 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Art contemporain]]></category>
		<category><![CDATA[Peinture - Illustration]]></category>
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		<description><![CDATA[— Evelyne de Behr présente Silent Conversation, comment la terre s&#8217;est tue, un titre tiré de l&#8217;essai du philosophe David Abram, ouvrage qui a accompagné sa résidence en Espagne en 2023. Cette exposition met en lumière sa pratique artistique dans une démarche écologique. Les couleurs d&#8217;Andalousie sont le point de départ d&#8217;un retour sensible au [&#8230;]]]></description>
				<content:encoded><![CDATA[<p><a href="https://www.evelynedebehr.com" target="_blank"><img class="alignleft wp-image-6213" title="Evelyne de Behr" src="http://altblog.be/wp-content/uploads/2024/09/Pièce-jointe.jpeg" alt="Pièce jointe" width="592" height="725" /></a>—<br />
<a href="https://www.instagram.com/evelynedebehr/" target="_blank">Evelyne de Behr</a> présente<em> Silent Conversation, comment la terre s&rsquo;est tue</em>, un titre tiré de l&rsquo;essai du philosophe David Abram, ouvrage qui a accompagné sa résidence en Espagne en 2023. Cette exposition met en lumière sa pratique artistique dans une démarche écologique. Les couleurs d&rsquo;Andalousie sont le point de départ d&rsquo;un retour sensible au vivant.</p>
<p><strong><a href="https://www.lapartdufeu.info" target="_blank">La Part du Feu</a>, Bruxelles. 12.09.2024 &gt; 05.10.2024.</strong></p>
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		<title>PHANTOMS &amp; EMOTIONAL ORNAMENTS</title>
		<link>http://altblog.be/?p=6208</link>
		<comments>http://altblog.be/?p=6208#comments</comments>
		<pubDate>Wed, 04 Sep 2024 12:50:26 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Art contemporain]]></category>
		<category><![CDATA[Peinture - Illustration]]></category>
		<category><![CDATA[Sculpture]]></category>
		<category><![CDATA[exposition]]></category>
		<category><![CDATA[Liège]]></category>

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		<description><![CDATA[— Cléo Totti works with sculpture and performance. Her main motif is the human body, which is fragmented, distorted and transformed into pictorial objects. Les Brasseurs, Liège. 18.09.24 &#62; 26.10.24.]]></description>
				<content:encoded><![CDATA[<p><a href="https://www.instagram.com/cleo_totti_/" target="_blank"><img class="alignleft wp-image-6209" title="Cléo Totti" src="http://altblog.be/wp-content/uploads/2024/09/image1.jpeg" alt="image" width="592" height="763" /></a></p>
<p>—<br />
<a href="https://cleototti.com" target="_blank">Cléo Totti</a> works with sculpture and performance. Her main motif is the human body, which is fragmented, distorted and transformed into pictorial objects.</p>
<p><strong><a href="http://www.lesbrasseurs.org" target="_blank">Les Brasseurs</a>, Liège. 18.09.24 &gt; 26.10.24.</strong></p>
<h1 class="title" data-reader-unique-id="titleElement"></h1>
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		<title>WHEN IT WAS DARK&#8230;</title>
		<link>http://altblog.be/?p=6193</link>
		<comments>http://altblog.be/?p=6193#comments</comments>
		<pubDate>Sun, 01 Sep 2024 11:58:49 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Art contemporain]]></category>
		<category><![CDATA[Peinture - Illustration]]></category>
		<category><![CDATA[Brussels]]></category>
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		<category><![CDATA[Painting]]></category>

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		<description><![CDATA[— “Drawing formally upon still life, portraiture, and landscape painting while occasionally incorporating elements of assemblage, Arisa Yoshioka’s narrative tableaux interrogate the narrow distance that differentiates the material world from the limitlessness of our dreams.” Martin Germann Gladstone, Brussels. 11.09.2024 &#62; 12.10.2024.]]></description>
				<content:encoded><![CDATA[<p><a href="https://www.instagram.com/thediamondsonthewater/" target="_blank"><img class="alignleft wp-image-6194" title="altblog — Arisa Yoshioka —  Las Vegas — 2024" src="http://altblog.be/wp-content/uploads/2024/09/Capture-d’écran-2024-09-08-à-13.53.06.png" alt="Capture d’écran 2024-09-08 à 13.53.06" width="592" height="394" /></a>—<br />
“Drawing formally upon still life, portraiture, and landscape painting while occasionally incorporating elements of assemblage, <a href="https://www.instagram.com/thediamondsonthewater/" target="_blank">Arisa Yoshioka</a>’s narrative tableaux interrogate the narrow distance that differentiates the material world from the limitlessness of our dreams.” Martin Germann</p>
<p><strong><a href="https://www.gladstonegallery.com/exhibition/13216/when-it-was-dark-i-called-and-you-came/info" target="_blank">Gladstone</a>, Brussels. 11.09.2024 &gt; 12.10.2024.</strong></p>
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		<title>JOIE</title>
		<link>http://altblog.be/?p=6228</link>
		<comments>http://altblog.be/?p=6228#comments</comments>
		<pubDate>Tue, 20 Aug 2024 14:28:04 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Art contemporain]]></category>
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		<description><![CDATA[— Les artistes de l’exposition Joie (Majd Abdel Hamid, Diane Cescutti, Hessie, Teresa Lanceta, Liz Magor, Ernesto Sartori, Mira Schor, Suzanne Silver) appartiennent à une famille artistique qui a transmuté en art les gestes de fabrication transmis par leurs aîné·e·s : le passage de ces savoir-faire de la sphère domestique au travail d’artiste apparaît aujourd’hui [&#8230;]]]></description>
				<content:encoded><![CDATA[<p><a href="https://awarewomenartists.com/magazine/liz-magor-troubler-lhabitude/" target="_blank"><img class="alignleft wp-image-6229" title="Liz Magor, Karl's Castle, 2003" src="http://altblog.be/wp-content/uploads/2024/09/Capture-d’écran-2024-09-08-à-16.23.08.png" alt="Capture d’écran 2024-09-08 à 16.23.08" width="592" height="395" /></a>—<br />
Les artistes de l’exposition <a href="https://marcellealix.com/expositions/presentation/111/joie" target="_blank"><em>Joie</em></a> (<a href="https://majdabdelhamid.com" target="_blank">Majd Abdel Hamid</a>, <a href="https://dianecescutti.com/fr/844-2/" target="_blank">Diane Cescutti</a>, <a href="https://awarewomenartists.com/artiste/hessie-hessie-djuric-nee-johnston-dite/" target="_blank">Hessie</a>, <a href="https://www.teresalanceta.com/fr/" target="_blank">Teresa Lanceta</a>, <a href="https://www.contemporaryartlibrary.org/artist/liz-magor-5592" target="_blank">Liz Magor</a>, <a href="https://m.marcellealix.com/en/oeuvres/ernesto-sartori?id=723" target="_blank">Ernesto Sartori</a>, <a href="https://www.miraschor.com" target="_blank">Mira Schor</a>, <a href="Suzanne%20Silver" target="_blank">Suzanne Silver</a>) appartiennent à une famille artistique qui a transmuté en art les gestes de fabrication transmis par leurs aîné·e·s : le passage de ces savoir-faire de la sphère domestique au travail d’artiste apparaît aujourd’hui comme une des révolutions esthétiques des 20 et 21e siècle.</p>
<p><strong><a href="https://marcellealix.com/expositions/presentation/111/joie" target="_blank">Marcelle Alix</a>, Paris. 05.09.2024 &gt; 05.10.2024.</strong></p>
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