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    • When Feb 26, 2018 11:00 AM to Apr 26, 2018 12:00 PM (Europe/Brussels / UTC100)
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17.02 - 01.04 


BIP, the Biennale de l’Image Possible, presents photographs, videos and visual arts installations in various combinations. Through its artistic selection, the BIP interrogates contemporary images and the relationships we engage in with them.
BIP2018’s main exhibition, FLUO NOIR at La Boverie,  presents an ensemble of artists who have, through their differences, many points in common. Destruction, explosions, chaos, saturation, catastrophe, disrespect; they operate like a creative gesture, a movement of reinvention and re-enchantment, an intervention of transfiguration, a production of critical beauty and of colours. The body assumes a central position within this, whether it be a body represented in an image; an image constructed in body form
or an anatomy of another type; or perhaps a body in action.
The presence, the exploration of potentials, the movement, the constant evolution of forms, the energy which renews the present, all discover their pathways in the hitherto unseen forms where the surface of the image is transformed into materials and volumes.
With : Laetitia BICA (B), David DE BEYTER (F),
Satoshi FUJIWARA (J), Anouk KRUITHOF (NL),
(Michaël DEBATTY, Jean DELVOIE, Thomas DUPONT,
Arnaud EUBELEN, Eva L’HOEST), Dune VARELA (F),

Saturday, February 17 > Sunday, April 1, 2018


Full price : 10€
Reduced price : 8€
Groups : (>10 people) 5€/p
art.27 : 1.25
<14yo : free

The exhibition « Fluo Noir » at la Boverie is open from Tuesday to Sunday, and from 10 am to 6 pm.

The other official exhibitions will be visible from Thursday to Sunday and from 1 pm to 6pm.  The official exhibitions of BIP2018 are free of charge except FLUO NOIR at La Boverie.

With the purchase of an entrance ticket, each visitor will be able to return for free as many times as he / she wishes.

Guided tour and activities : 04 220 88 54 - a3VsbG1hbm5AY2hpcm91eC5iZQ==



The Biennial of the Possible Image


Created in 1997, the event which would rapidly become the Liege International Biennial of Photography and Visual Arts evolved into BIP in order to become, on the occasion of its 10th anniversary-edition in 2016, the Biennial of the Possible Image. This change of name, in which the direct reference to photography disappears, pertains to a strong fundamental movement which has progressively transformed the physiognomy of the Biennial since its creation.

Like many photo festivals which came into being at the end of the 1990s and the beginning of the years 2000, that of Liege immediately took an interest in emergent forms. The Biennial presents artists who bear witness to the revolution, one might even say the upheaval, which photographic practices have undergone over the past twenty years. In the heterogeneity of its forms and positions, in its multiple uses and practices, in its confrontation with other types of image, photography is subject to profound mutations in also coming into contact with the transformations society is undergoing and through its inclusion in the practices of contemporary creation.

Since BIP2016, the Biennial of the Possible Image has been taking cognisance of, no longer strictly the movements of photography when it runs up against its limits, but, on a larger scale, the systems of circulation of the contemporary image which blithely traverses, in forms and aspects ever more supple and increasingly hybrid, the private, media, political, economic, sociological and anthropological fields. The Biennial of the Possible Image is today an event which espouses those artists who offer an awareness of these traverses and these porosities. The BIP presents photographs, videos and visual arts installations in various combinations. Through its artistic selection, the BIP interrogates contemporary images and the relationships we engage in with them.



Nevertheless, this beginning of the 21st century, the hopes and the utopias we permit ourselves have changed radically. Given the disastrous failings which are placing us on the brink of our own survival as a species, we have a choice between cynicism and despair, or the invention of narratives and images which renew, in their themes and in their forms, the fictions which will lead us elsewhere, without knowing where this elsewhere might be found…

Certain artists today lay claim to the catastrophe as a euphoric and exuberant breeding-ground. They destroy and construct in the same movement. Without naivety but rooted in the present, they piece together images which speak of tomorrow, which hurl themselves into it headlong without knowing what it will be comprised of. Often, within the profusion, driven by a ludic and generous spirit of experimentation, knotted to the contemporary melancholy without being victims of it, these images no longer denounce, no longer resist, no longer place on trial. They instead bear witness to a living instant, to a state of resonance, to an intense presence which opens up both to doubts over and the potential of the future.

Within this liberty, within these joyful apocalypses, there is an echo of Nietzsche’s amor fati, this cry of “loving what happens, the loving acceptance of one’s fate”, amongst the sorrow and the bliss. There is also an open invitation to share this circulating warmth we call fellow feeling: an attraction for what we do not yet know, the mysterious effect of one body on another.

For its 11th edition the BIP2018 would like to transmit an energy. To share a radiating, mutating, intense vitality; an exuberant, lucid, uninhibited movement; a presence and a present.


Ill. : 
SMITH, Saturnium, 2017. Prix Swiss Life à 4 mains © Courtesy Galerie les Filles du Calvaire
Milk, de la série Lexicon, 2006, 40 x 32 cm, C-Print, © Viviane Sassen© Courtesy of Stevenson, Cape Town and Johannesburg