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Eva L’Hoest - The Inmost Cell

Wednesday 15 September at 17:00
Thursday 16 September → Sunday 21 November

Monday Closed
Tuesday Closed
Wednesday 12:00 - 18:00
Thursday 12:00 - 18:00
Friday 12:00 - 18:00
Saturday 12:00 - 18:00
Sunday 12:00 - 18:00
Rue Royale, 236 - 1210 Saint-Josse-Ten-Noode map

Created for the second edition of the Riga Biennial, The Inmost Cell is a video piece that draws on Latvian myths about the Daugava River, which runs through the city of Riga. After the construction of the dam, the river submerged villages, of which only underwater ruins remain. Using 3D modelling and CGI, Eva L’Hoest translates her photographic report on the outskirts of Riga into liquid sculptures. Rural and maritime imagery merge through a fluid digital architecture to produce an aquatic tale supported by a contemplative underwater soundtrack by John Also Bennett. Eva L’Hoest’s work has recently been shown at WIELS for the exhibition Regenerate, “Un autre monde // Dans notre monde” at the Frac Grand Large Hauts-de-France in Dunkerque, “And Suddenly it All Blossoms” at the Riga Biennial (Latvia), “Shapeshifters” at the Malmö Konstmuseum (Sweden), “Signal” at Marseille’s Friche La Belle de Mai, “When Water Comes Together With Other Water” at the fifteenth Lyon Biennial, “IF THE SNAKE” at the Okayama Art Summit Triennial 2019, Okayama (Japan), “Suspended time, Extended Space” at the Casino Luxembourg (Benelux), “Fluo Noir” at the BIP2018, Liège, Belgium. Since 2018, her films have been programmed at the Rencontres Internationales Paris/Berlin, as a performance at the International Film Festival Rotterdam in The Netherlands, Images-Passage in Annecy, and at Rome’s MACRo Museum. Eva L’Hoest (Liège, 1991, Belgium – lives and works in Brussels) explores some of the ways in which all sort of mental images – particularly memory and reminiscence – tend to re-materialise in a new technological form. Essentially, the artist explores memory itself and the infinitely small and strange reality that lingers in it. Piece after piece, she appropriates today’s technologies to expose their nature as prostheses for apprehending the world and their inherent potential as artistic mediums.