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Joanie Lemercier (b. 1982) is a French visual artist and environmental activist whose work explores human perception through the manipulation of light in space.  Working primarily with light projection and computer programming, Lemercier transforms the appearance of everyday objects and forms, bending reality to his imagination.
In recent years, Lemercier has become increasingly concerned with climate change and environmental degradation, lending his projection skills and artistry to activist causes and groups such as Extinction Rebellion, Les Soulèvements de la Terre, Ende Gelände, as well as developing a new body of work, Slow Violence which looks at the devastating effects of coal mining on one of Europe’s oldest forests.
He has been working with projected light since 2006 and co-founded the acclaimed visual label AntiVJ in 2008. Represented by a New York based gallery since 2010, Joanie founded his creative studio in Brussels in 2013, under the co-direction of Juliette Bibasse.

Joanie Lemercier

(Mist)
Brume is a contemplative installation by Joanie Lemercier, using an atomized water custom device.
With space and immateriality as a canvas, creating a mid-air floating projection, Joanie frees his work from the physicality of usual devices. Thanks to this volumetric tool, he modifies our frontal relationship with screen and allows new interactions between the viewer and the projected image.
He explores the possibilities of this new medium with a series of tableaux questioning our view of reality.
In his work, Joanie is researching timeless subjects like light, matter, geometry. With Brume, he is also interested in the link between water, light.
Like a transition or passage, the visitor discovers an intangible image, suspended in the void. For Joanie, it is a form of achievement to “escape from the screen”.
The image is moving in space and the viewer’s movements bring depth. This time of contemplation and calm invites to a sensory experience : enjoying the sound of the water, feeling the freshness of the mist.
Studio Joanie Lemercier : 
Co-direction : Juliette Bibasse 
Technical development : Martin Pirson 
Production : Nicolas Roziecki.
This project is supported by Wallonia-Brussels Federation.

Brume

Grand Manège

Diane Mahín is a Dutch-Iranian performance maker and sociologist. She makes performative worlds in which sound and image are the driving forces. Working with sound reflects her desire to be faced with highly subjective, confrontational and immersive forms of reality. Diane scrutinizes the human body as a material object in order to dissect social constructions, as she wishes to grasp their absurdity and humor. Death and nothingness form the underlying motives of her work.
After her studies at Goldsmiths, University of London and Maastricht Institute of Performative Arts, Diane is currently exploring operatic principles within her practice at Sandberg Institute.

Diane Mahín

GUT imagines how humans behave when their bodies are turned inside out.
You will meet a human whose gut-sounds are amplified. The gut-human’s thoughts, actions, communications, movements, and feelings, are all determined by his gut sounds.
This performative world draws attention to the thin boundary between life and death, conscious reasoning and the subconscious gut, resulting in a visceral and absurd experience. Visitors are invited to walk in and out of this durational performance.

Theatre

Carlos Sfeir’s practice is inspired by his interests in magic, science, territory, and cultures. He strives to create new bridges between human perception and natural phenomena. He believes art is a tool for questioning our certainties, discovering new meanings of nature and decolonising ourselves from ageing preconceptions.
Sfeir’s work ranges from sculpture, painting and installations, and is marked by a continuous dialogue between memory and experimentation. The data, objects and phenomena observed in the field research, which forms the basis of all his work, are constantly being recreated, intertwined and challenged in the subsequent studio manipulation.
Not constrained by the urge for completeness that often drives the artist&#8217;s act, Carlos Sfeir’s works are rather interactive prototypes. Without finiteness, but alive and imperfect, they invite people to be accomplices in processes of uncertain outcomes, embracing the unexpected instead of fearing it.

Carlos Sfeir Vottero

&#8220;Steel Life&#8221; aims to explore how the challenges of the steel industry can be transformed into a new narrative that addresses the current planetary crisis. The convergence of iron and carbon, which propelled human industrialisation, has also accelerated our detachment from the natural world, resulting in our subjugation of the environment and its resources. Too often, we have viewed ‘nature’ as a commodity to be exploited, with steel serving as a powerful tool in this process.
The installation wants to uncover the imaginative possibilities at the intersection of science and art, demonstrating how minerals can be coaxed into flourishing. By replicating the electrochemical methods employed in the refining of stones, the project gives rise to a fresh form of iron that blooms into dazzling crystalline structures. This metamorphosis symbolizes our ability to generate unpredicted growth and aesthetics, inspiring us to reimagine our relationship with the world we inhabit.
The project is part of research conducted in Wallonia, the French-speaking region in southern Belgium. During the Industrial Revolution, these territories were second only to the United Kingdom in Europe&#8217;s drive towards modernisation. Vast deposits of coal and iron brought wealth to the region and made the culture and economy of the entire country flourish. In recent decades, following the nation&#8217;s transition to a service economy, Wallonia&#8217;s industry has decayed into a rusty wasteland of flourishing remains.