{"id":4297,"date":"2023-09-11T12:43:22","date_gmt":"2023-09-11T10:43:22","guid":{"rendered":"https:\/\/archiexpo.ulb.be\/wordpress\/qa-aim-van-melderen-hidalgo-copy\/"},"modified":"2023-09-11T12:52:29","modified_gmt":"2023-09-11T10:52:29","slug":"qa-ac-georges","status":"publish","type":"post","link":"https:\/\/archiexpo.ulb.be\/wordpress\/qa-ac-georges\/","title":{"rendered":"QA Architecture et Cin\u00e9ma | Julia Georges"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":4302,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"jetpack_post_was_ever_published":false},"categories":[38,1],"tags":[],"class_list":["post-4297","post","type-post","status-publish","has-post-thumbnail","hentry","category-cours-tfe-22-23","category-productions"],"grid":"{\r\n  \"colCount\": 6,\r\n  \"colGutter\": 1.5,\r\n  \"rowGutters\": [],\r\n  \"frameMargin\": 5,\r\n  \"topFrameMargin\": 10,\r\n  \"bottomFrameMargin\": 5,\r\n  \"rowAttrs\": [\r\n    {\r\n      \"relid\": 1\r\n    }\r\n  ],\r\n  \"bgColor\": null,\r\n  \"cont\": [\r\n    {\r\n      \"type\": \"stack\",\r\n      \"cont\": [\r\n        {\r\n          \"type\": \"text\",\r\n          \"cont\": \"<p class=\\\"_Head1\\\"><span lang=\\\"FR\\\">Les Arts de faire<br \/><em>Julia Georges<br \/><span class=\\\"_Head2\\\">Question d'Architecture et Cin\u00e9ma<\/span><br \/><\/em><\/span><\/p>\",\r\n          \"align\": \"top\",\r\n          \"row\": -1,\r\n          \"col\": 0,\r\n          \"colspan\": 3,\r\n          \"offsetx\": 0,\r\n          \"offsety\": 0,\r\n          \"spaceabove\": 0,\r\n          \"spacebelow\": 2,\r\n          \"yvel\": 1,\r\n          \"push\": 0,\r\n          \"relid\": 6,\r\n          \"absolute_position\": false\r\n        },\r\n        {\r\n          \"type\": \"shortcode\",\r\n          \"cont\": \"[shared_counts]\",\r\n          \"align\": \"top\",\r\n          \"row\": -1,\r\n          \"col\": 0,\r\n          \"colspan\": 3,\r\n          \"offsetx\": 0,\r\n          \"offsety\": 0,\r\n          \"spaceabove\": 0,\r\n          \"spacebelow\": 0,\r\n          \"yvel\": 1,\r\n          \"push\": 0,\r\n          \"relid\": 5,\r\n          \"shortcodeid\": 1594817507803,\r\n          \"absolute_position\": false\r\n        },\r\n        {\r\n          \"type\": \"hr\",\r\n          \"cont\": \"\",\r\n          \"align\": \"top\",\r\n          \"row\": -1,\r\n          \"col\": 0,\r\n          \"colspan\": 3,\r\n          \"offsetx\": 0,\r\n          \"offsety\": 0,\r\n          \"spaceabove\": 0,\r\n          \"spacebelow\": 0,\r\n          \"yvel\": 1,\r\n          \"push\": 0,\r\n          \"relid\": 7,\r\n          \"absolute_position\": false\r\n        },\r\n        {\r\n          \"type\": \"text\",\r\n          \"cont\": \"<p><em>L<span>e cours de l\u2019option architecture et cin\u00e9ma a mis en tension deux notions : la travers\u00e9e (lente) urbaine et la performance. Des gestes du quotidien, observ\u00e9s, cadr\u00e9s, r\u00e9it\u00e9r\u00e9s deviennent performatifs.<\/span> <span>Des fragments de vie quotidienne qui, observ\u00e9s, conscientis\u00e9s transforment la rue, la place, les parcs urbains en tout autant de sc\u00e8nes de la vie quotidienne. Une marche performative, une occurrence au tournant de la rue, la performance suscite l\u2019imaginaire<\/span> <span>et aiguise le regard. Les sons deviennent musique. La dimension performative d\u2019une travers\u00e9e de ville provoque le r\u00e9el \u00e0 s\u2019identifier et stimule de l\u2019imaginaire. Ces observations situ\u00e9es ont \u00e9t\u00e9 cartographi\u00e9es, interpr\u00e9t\u00e9es, associ\u00e9es, progressivement et ont<\/span> <span>donn\u00e9 naissance \u00e0 onze films dont quatre sont pr\u00e9sent\u00e9s \u00e0 l'exposition virtuelle<\/span>.<\/em><\/p><p>Les Arts de faire, c'est une travers\u00e9e singuli\u00e8re du Steenweg, \u00e0 travers diff\u00e9rents fragments du quotidien. C'est le passage du r\u00e9el \u00e0 l'imaginaire comme r\u00e9appropriation de la ville. <\/p><p>S\u2019approprier l\u2019espace, si ce n\u2019est \u00eatre entendu, c\u2019est d\u00e9j\u00e0 se montrer, c\u2019est dire \u00ab je suis l\u00e0 \u00bb et dire \u00ab j\u2019existe \u00bb. \u00ab Les Arts de faire \u00bb c\u00e9l\u00e8bre la rue \u00e0 travers un portrait singulier, pens\u00e9 comme une po\u00e9sie du quotidien. La rue y est le personnage principal. Elle est \u00e0 la fois th\u00e9\u00e2tre du spectacle vivant, territoire d\u2019expression et le lieu privil\u00e9gi\u00e9 des r\u00e9sistances face \u00e0 certaines formes de pouvoir. \u00c0 travers la collecte des fragments de cette travers\u00e9e quotidienne, le court-m\u00e9trage joue des limites entre le r\u00e9el et l\u2019imaginaire. Il montre ce qui est conforme, ce qui ne l\u2019est pas, et l\u2019ambigu\u00eft\u00e9 qui existe entre les deux. C\u2019est une invitation \u00e0 regarder la rue.<\/p>\",\r\n          \"align\": \"top\",\r\n          \"row\": -1,\r\n          \"col\": 0,\r\n          \"colspan\": 3,\r\n          \"offsetx\": 0,\r\n          \"offsety\": 0,\r\n          \"spaceabove\": 2,\r\n          \"spacebelow\": 1,\r\n          \"yvel\": 1,\r\n          \"push\": 0,\r\n          \"relid\": 651,\r\n          \"absolute_position\": false\r\n        }\r\n      ],\r\n      \"align\": \"top\",\r\n      \"row\": 0,\r\n      \"col\": 0,\r\n      \"colspan\": 3,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 650,\r\n      \"frameOverflow\": \"\",\r\n      \"absolute_position\": false\r\n    },\r\n    {\r\n      \"type\": \"stack\",\r\n      \"cont\": [\r\n        {\r\n          \"type\": \"video\",\r\n          \"cont\": \"https:\/\/i.ytimg.com\/vi\/m9yyY54BZ9k\/hqdefault.jpg\",\r\n          \"align\": \"onethird\",\r\n          \"row\": -1,\r\n          \"col\": 0,\r\n          \"colspan\": 3,\r\n          \"offsetx\": 0,\r\n          \"offsety\": 0,\r\n          \"spaceabove\": 0,\r\n          \"spacebelow\": 0,\r\n          \"yvel\": 1,\r\n          \"push\": 0,\r\n          \"relid\": 12,\r\n          \"iframe\": \"<iframe width=\\\"200\\\" height=\\\"150\\\" src=\\\"\/\/www.youtube.com\/embed\/m9yyY54BZ9k?enablejsapi=1&wmode=transparent&autohide=1&iv_load_policy=3&modestbranding=1&rel=0&showinfo=0&showsearch=0?&theme=light&color=white\\\" frameborder=\\\"0\\\" allowfullscreen><\/iframe>\",\r\n          \"url\": \"https:\/\/www.youtube.com\/watch?v=m9yyY54BZ9k\",\r\n          \"w\": 200,\r\n          \"h\": 150,\r\n          \"ar\": 0.75,\r\n          \"absolute_position\": false\r\n        }\r\n      ],\r\n      \"align\": \"top\",\r\n      \"row\": 0,\r\n      \"col\": 3,\r\n      \"colspan\": 3,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 653,\r\n      \"frameOverflow\": \"\",\r\n      \"absolute_position\": false\r\n    }\r\n  ]\r\n}","phonegrid":"{\r\n  \"colCount\": 1,\r\n  \"colGutter\": 1.5,\r\n  \"rowGutters\": [\r\n    5,\r\n    5,\r\n    5,\r\n    5\r\n  ],\r\n  \"frameMargin\": 5,\r\n  \"topFrameMargin\": 5,\r\n  \"bottomFrameMargin\": 5,\r\n  \"rowAttrs\": [\r\n    {\r\n      \"relid\": 2\r\n    },\r\n    {\r\n      \"relid\": 3\r\n    },\r\n    {\r\n      \"relid\": 4\r\n    },\r\n    {\r\n      \"relid\": 8\r\n    },\r\n    {\r\n      \"relid\": 9\r\n    }\r\n  ],\r\n  \"bgColor\": null,\r\n  \"cont\": [\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_Head1\\\"><span lang=\\\"FR\\\">Les Arts de faire<br \/><em>Julia Georges<br \/><span class=\\\"_Head2\\\">Question d'Architecture et Cin\u00e9ma<\/span><br \/><\/em><\/span><\/p>\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 0,\r\n      \"col\": 0,\r\n      \"colspan\": 1,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 6,\r\n      \"absolute_position\": false\r\n    },\r\n    {\r\n      \"type\": \"hr\",\r\n      \"cont\": \"\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 1,\r\n      \"col\": 0,\r\n      \"colspan\": 1,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 7,\r\n      \"absolute_position\": false\r\n    },\r\n    {\r\n      \"type\": \"video\",\r\n      \"cont\": \"https:\/\/i.ytimg.com\/vi\/m9yyY54BZ9k\/hqdefault.jpg\",\r\n      \"align\": \"middle\",\r\n      \"row\": 2,\r\n      \"col\": 0,\r\n      \"colspan\": 1,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 12,\r\n      \"iframe\": \"<iframe width=\\\"200\\\" height=\\\"150\\\" src=\\\"\/\/www.youtube.com\/embed\/m9yyY54BZ9k?enablejsapi=1&wmode=transparent&autohide=1&iv_load_policy=3&modestbranding=1&rel=0&showinfo=0&showsearch=0?&theme=light&color=white\\\" frameborder=\\\"0\\\" allowfullscreen><\/iframe>\",\r\n      \"url\": \"https:\/\/www.youtube.com\/watch?v=m9yyY54BZ9k\",\r\n      \"w\": 200,\r\n      \"h\": 150,\r\n      \"ar\": 0.75,\r\n      \"absolute_position\": false\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p><em>L<span>e cours de l\u2019option architecture et cin\u00e9ma a mis en tension deux notions : la travers\u00e9e (lente) urbaine et la performance. Des gestes du quotidien, observ\u00e9s, cadr\u00e9s, r\u00e9it\u00e9r\u00e9s deviennent performatifs.<\/span> <span>Des fragments de vie quotidienne qui, observ\u00e9s, conscientis\u00e9s transforment la rue, la place, les parcs urbains en tout autant de sc\u00e8nes de la vie quotidienne. Une marche performative, une occurrence au tournant de la rue, la performance suscite l\u2019imaginaire<\/span> <span>et aiguise le regard. Les sons deviennent musique. La dimension performative d\u2019une travers\u00e9e de ville provoque le r\u00e9el \u00e0 s\u2019identifier et stimule de l\u2019imaginaire. Ces observations situ\u00e9es ont \u00e9t\u00e9 cartographi\u00e9es, interpr\u00e9t\u00e9es, associ\u00e9es, progressivement et ont<\/span> <span>donn\u00e9 naissance \u00e0 onze films dont quatre sont pr\u00e9sent\u00e9s \u00e0 l'exposition virtuelle<\/span>.<\/em><\/p><p>Les Arts de faire, c'est une travers\u00e9e singuli\u00e8re du Steenweg, \u00e0 travers diff\u00e9rents fragments du quotidien. C'est le passage du r\u00e9el \u00e0 l'imaginaire comme r\u00e9appropriation de la ville. <\/p><p>S\u2019approprier l\u2019espace, si ce n\u2019est \u00eatre entendu, c\u2019est d\u00e9j\u00e0 se montrer, c\u2019est dire \u00ab je suis l\u00e0 \u00bb et dire \u00ab j\u2019existe \u00bb. \u00ab Les Arts de faire \u00bb c\u00e9l\u00e8bre la rue \u00e0 travers un portrait singulier, pens\u00e9 comme une po\u00e9sie du quotidien. La rue y est le personnage principal. 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