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Belgian artist, Eva L&#8217;Hoest (b. 1991) has been creating a delicate dystopian universe for several years. Between fictional and real ruins, the moving images of her films and installations explore the meanders of memory &#8211; human and non-human &#8211; reminiscent of larger economic and environmental issues.
For the realization of her fictional landscapes inspired by natural or domestic contexts, she mingles different technical image processes with research on subjects as vast and precise as the study of vanities, systems of measurement or ancestral beliefs.
Along the slow tracking shots of her films, water, nature, bodies, and architectural motifs often merge into a whole that decompartmentalizes the scales and makes the viewer fall into the heart of a fragmented matter in resonance with the complexity of the living. The plasticity of the images sewn from metadata and from technological and scientific vocabularies also defies the power of the algorithms from which she draws inspiration and which she dissects.
In the interstices of indeterminate, fragile and shimmering spaces, the artist questions transparency, the transfer of data and surveillance systems. Eva L&#8217;Hoest never gives up on reality, as evidenced by her practice of 3D sculpture and virtual reality that sometimes complements her films and installations. Her approach to the photographic image, whether sculptural, digital or conceptual, reveals and deconstructs ecosystems that alert us to our relationship to space and the digital era. Poetically, she explores the state of the world, our capacity to inhabit time and the power of contemplation.

Eva L'Hoest

As part of the Capture #2 exhibition to be held at <a href="https://www.le-pavillon.be/en/">Le Pavillon</a> from 23 September 2023 to 14 January 2024

Le Pavillon

Eva L’Hoest

Stéphanie Roland is a belgian / micronesian visual artist and filmmaker. Working between documentary and the imaginary, Stéphanie makes films and installations exploring invisible structures, hyperobjects and deep time ; from the ecological and political to the geologic and cosmic.
After graduating from La Cambre and following Hito Steyerl’s class in UDK Berlin, she completed post-graduates studies at Fresnoy &#8211; Studio National. Her work is regularly shown at international level, her projects have been included in exhibitions from major institutions among these Louvre Museum, Benaki Museum, Botanique, Kampala International Art Biennale, Bozar and Wiels. Breda Photo, Belfast Photo festival, Encontros da Imagem, BIP Liège, MOPLA Los Angeles and Unseen are amongst the festivals dedicated to photography in which she took part. In 2017, she was selected in the group exhibition of the Antarctica Pavilion for the 57th Venice Biennale.
Her films have been screened in international festivals such as FID Marseille, Visions du Réel, ZINEBI, FEST New Directors / New Films and Rencontres Internationales Paris / Berlin, among others. 
Her second short film, Podesta Island, wons the Alice Guy Prize, at FID Marseille.

Stéphanie Roland

As part of the Capture #2 exhibition to be held at <a href="https://www.le-pavillon.be/en/">Le Pavillon</a> from 23 September 2023 to 14 January 2024
At first sight, these postcards seem black and opaque. Yet, when touched or if they are placed near a heat source, an image appears. These are satellite views of islands that, according to scientific forecast, are bound to disappear over the next centuries as a result of rising water levels. Subsequently, in the absence of heat, the postcards return to their initial black state. On the reverse side, one finds the name of the islands, their geographical coordinates and the century in which they are bound to disappear. Their postmark situates their mailing date in a distant future.
Technical expertise : Nicolas Belayew, Cambyse Naddaf. 
With the support of Frans Masereel Centrum.

Science-Fiction Postcards

Michaël Verlinden is a digital artist specialising in the creation of interactive installations and video mapping. His areas of expertise include events, audiovisuals and museum scenography, where he creates a range of interactive installations.
Passionate about digital and generative art, Michaël Verlinden&#8217;s light interventions come to life in various museums and international festivals. His work explores the relationship between image and architecture, combining vectorial abstraction with warm nuances and colours. When Vision Nocturne takes on a visual performance at an event (nights, installations, festivals, museums), a world of creative paradoxes unfolds on screen.

Michael Verlinden

As part of the Capture #2 exhibition to be held at <a href="https://www.le-pavillon.be/en/">Le Pavillon</a> from 23 September 2023 to 14 January 2024
Digital Wool is like an interactive light carpet with psychedelic, poetic power.
Interactive and playful, the carpet plays with imaginary wave-like perspectives. The public is invited to play with its lines and gravitational forces. A physical reaction of mutual attraction is created, allowing the public to interact virtually with the animation.
The aim of the project is to bring the public together and offer a fun, relaxing space for groups or families to enjoy.