{"id":6325,"date":"2025-10-30T11:16:43","date_gmt":"2025-10-30T10:16:43","guid":{"rendered":"https:\/\/archiexpo.ulb.be\/wordpress\/pc_brusseleers-fomberteau-lucas-copy\/"},"modified":"2025-10-30T11:52:50","modified_gmt":"2025-10-30T10:52:50","slug":"pc_2425-1","status":"publish","type":"post","link":"https:\/\/archiexpo.ulb.be\/wordpress\/pc_2425-1\/","title":{"rendered":"PC | Elliot Lepeer, Milica Tamamovic"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":6353,"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":[43,1,52],"tags":[],"class_list":["post-6325","post","type-post","status-publish","has-post-thumbnail","hentry","category-_edition-actuelle","category-productions","category-projet-24-25"],"grid":"{\r\n \"colCount\": 12,\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\": \"

MELT<\/span>
<\/span><\/i><\/span><\/span><\/span>Elliot Lepeer, Milica Tamamovic<\/span>
<\/i><\/span><\/span><\/span>PC<\/a><\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": -1,\r\n \"col\": 0,\r\n \"colspan\": 6,\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\": 7,\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\": 4,\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\": 9,\r\n \"shortcodeid\": 1594815909356,\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\": 6,\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\": 4,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u00c0 Quenast, dans le Brabant Wallon, une carri\u00e8re de porphyre continue de s\u2019\u00e9tendre. D\u00e9tenue par une multinationale, elle alimente le monde entier de sa mati\u00e8re. \u00c0 quelques centaines de m\u00e8tres de l\u00e0, une motte informe se dresse et s\u2019\u00e9tend au m\u00eame rythme que le trou se creuse. Elle est construite et aliment\u00e9e des d\u00e9chets que le dispositif d\u2019extraction de la carri\u00e8re ne prend pas en charge. Cet amas per\u00e7u sans valeur est pourtant rendu priv\u00e9 et prot\u00e9g\u00e9 selon des dispositifs de surveillance. La navigation clandestine de cet espace est \u00e0 la base du r\u00e9cit de MELT.<\/span>

La Motte de Quenast devient un lieu d\u2019exp\u00e9rimentation narrative visant \u00e0 explorer des mises en r\u00e9cit alternatives des espaces d\u2019extraction. MELT tente de faire de la Motte un objet critique en y explorant les rapports \u00e0 la propri\u00e9t\u00e9 priv\u00e9e, au d\u00e9chet et \u00e0 la pr\u00e9dation. Un collectif \u00e9volue dans un paysage en ruine o\u00f9 destruction et r\u00e9g\u00e9n\u00e9ration se c\u00f4toient. De mani\u00e8re cyclique et furtive, il construit sa connaissance du lieu selon des pr\u00e9l\u00e8vements de toute sorte. Autour de l\u2019\u00e9tude d\u2019un terrain en perp\u00e9tuel changement, une fiction permet d\u2019explorer des modes d\u2019organisation sociale dans les br\u00e8ches de la modernit\u00e9, o\u00f9 la propri\u00e9t\u00e9 du sol fait \u00e9tat de loi. R\u00e9alit\u00e9 et mythe s'agencent et s'entrem\u00ealent sous la forme de deux \u00e9ditions, une carte, une bande son et un film.<\/span>

Les pratiques situ\u00e9es et toujours collectives g\u00e9n\u00e8rent un attachement au lieu qui s\u2019ancre dans la mati\u00e8re. Les r\u00e9cits multiples qui entourent la Motte se stratifient et se s\u00e9dimentent faisant analogie avec sa physicalit\u00e9. Le MELT vise \u00e0 op\u00e9rer un d\u00e9placement de regard menant \u00e0 voir la Motte comme un bien commun, o\u00f9 densit\u00e9 mat\u00e9rielle et narrative s\u2019alimentent.<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": -1,\r\n \"col\": 0,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 2,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 8,\r\n \"absolute_position\": false\r\n }\r\n ],\r\n \"align\": \"top\",\r\n \"row\": 0,\r\n \"col\": 0,\r\n \"colspan\": 6,\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\": \"carousel\",\r\n \"cont\": \"\",\r\n \"align\": \"top\",\r\n \"row\": 0,\r\n \"col\": 6,\r\n \"colspan\": 6,\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\": 176,\r\n 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MELT<\/span>
<\/span><\/i><\/span><\/span><\/span>Elliot Lepeer, Milica Tamamovic<\/span>
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\u00c0 Quenast, dans le Brabant Wallon, une carri\u00e8re de porphyre continue de s\u2019\u00e9tendre. D\u00e9tenue par une multinationale, elle alimente le monde entier de sa mati\u00e8re. \u00c0 quelques centaines de m\u00e8tres de l\u00e0, une motte informe se dresse et s\u2019\u00e9tend au m\u00eame rythme que le trou se creuse. Elle est construite et aliment\u00e9e des d\u00e9chets que le dispositif d\u2019extraction de la carri\u00e8re ne prend pas en charge. Cet amas per\u00e7u sans valeur est pourtant rendu priv\u00e9 et prot\u00e9g\u00e9 selon des dispositifs de surveillance. La navigation clandestine de cet espace est \u00e0 la base du r\u00e9cit de MELT.<\/span>

La Motte de Quenast devient un lieu d\u2019exp\u00e9rimentation narrative visant \u00e0 explorer des mises en r\u00e9cit alternatives des espaces d\u2019extraction. MELT tente de faire de la Motte un objet critique en y explorant les rapports \u00e0 la propri\u00e9t\u00e9 priv\u00e9e, au d\u00e9chet et \u00e0 la pr\u00e9dation. Un collectif \u00e9volue dans un paysage en ruine o\u00f9 destruction et r\u00e9g\u00e9n\u00e9ration se c\u00f4toient. De mani\u00e8re cyclique et furtive, il construit sa connaissance du lieu selon des pr\u00e9l\u00e8vements de toute sorte. Autour de l\u2019\u00e9tude d\u2019un terrain en perp\u00e9tuel changement, une fiction permet d\u2019explorer des modes d\u2019organisation sociale dans les br\u00e8ches de la modernit\u00e9, o\u00f9 la propri\u00e9t\u00e9 du sol fait \u00e9tat de loi. R\u00e9alit\u00e9 et mythe s'agencent et s'entrem\u00ealent sous la forme de deux \u00e9ditions, une carte, une bande son et un film.<\/span>

Les pratiques situ\u00e9es et toujours collectives g\u00e9n\u00e8rent un attachement au lieu qui s\u2019ancre dans la mati\u00e8re. Les r\u00e9cits multiples qui entourent la Motte se stratifient et se s\u00e9dimentent faisant analogie avec sa physicalit\u00e9. Le MELT vise \u00e0 op\u00e9rer un d\u00e9placement de regard menant \u00e0 voir la Motte comme un bien commun, o\u00f9 densit\u00e9 mat\u00e9rielle et narrative s\u2019alimentent.<\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 3,\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\": 8,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"shortcode\",\r\n \"cont\": \"[shared_counts]\",\r\n \"align\": \"bottom\",\r\n \"row\": 4,\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\": 9,\r\n \"shortcodeid\": 1594815909356\r\n }\r\n ]\r\n}","jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-content\/uploads\/2025\/10\/ONLINE_Thumbnail-templates-indd2023-3.jpg","_links":{"self":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/posts\/6325","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/comments?post=6325"}],"version-history":[{"count":0,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/posts\/6325\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/media\/6353"}],"wp:attachment":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/media?parent=6325"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/categories?post=6325"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/tags?post=6325"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}