Gamanké Museum is a multimedia project exploring the place of objects from Sub-Saharan Africa in European societies and their institutions. Supported by the Roger de Conynck Fund, it will reach its final form in April 2025. This project revolves around a collection of “tourist masks”: inexpensive reproductions of traditional masks, primarily sold to a white audience. These objects, though fake, perpetuate a colonial legacy: a commerce that continues to erase historical, cultural, and spiritual narratives. From these masks, I take plaster negative impressions from the backs of the objects, symbolically revealing the face that carries them—or rather, the absence of that face. The photographic component thus presents twelve Gamanké masks, photographed according to the traditional visual codes of sculpture or art photography in Western museums. This treatment, both sensitive and ironic, becomes a means of giving a paradoxical value to these “objects that have died multiple times.” In addition to the photography, a video game offers an immersive fiction around the Gamanké masks. This medium allows me to deconstruct the museum space and imagine an alternative. In the game, visitors interact in an invented language, Dgéba. Inspired by the sounds of Bambara and Sonrhai, this fictional language fills a personal and cultural void while providing a universal experience, avoiding the use of English or French. This project, blending photography, text, and virtual elements, invites us to rethink how we observe, preserve, and interpret these legacies.

At first glance, "The (ab)Use of Beauty" may be perceived as a personal testimony of life at higher altitude in the mountains. However, when diving deeper into its content, the work takes a critically look at our desire for beauty, the use of applied aesthetics in photography and the medium’s limited representation of reality. In this work, which consists of both images and texts, registration and analysis are indispensable to one another. By presenting the written texts as The Missing Image, they become a mediator between ‘the image’ and ‘the real’, addressing the image’s limited representation of reality, the image-maker’s responsibility in relation to these representation, and the romanticized translation of reality that we often attribute to the photographic medium through the use of applied aesthetics. The (ab)Use of Beauty, Chapter One is the first chapter of an ongoing image–text book publication. The (ab)Use of Beauty is Vloors’ most ambitious project to date. Act of Reading The (ab)Use of Beauty, Chapter One : https://soundcloud.com/bovloors/theabuse-of-beauty)

"I am driving to the town where Melania Trump grew up. I read that there is a newly built statue of her. This must be her second sculpture because the first one was made of wood but someone burnt it down. After shooting the bronze icon, I decided to treat myself to the famous Melania cake in the town center. A single slice costs 4 euros and I did not eat it there. The next day I wanted to taste it but it was too late - my parents already ate it."

Driven by the desire to provoke introspection rather than satisfy a need for contemplation, Camille Poitevin seeks to tame and subvert various techniques and mediums in order to use them in a personal and critical way. Drawing from sociological and feminist theories, her approach aims to reveal the invisible structures that shape our perceptions and behaviors, particularly under the influence of what sociologist Zygmunt Bauman terms the "liquid society" – a world dominated by consumption and immediacy, where everything becomes unstable. Her work sheds light on the emotional, relational, and identity-related contradictions and tensions that result, often exacerbated by social norms and collective pressures. It also raises questions about the value attributed to objects and images in a society where excess is normalized and drowned in the mass. Through her art, Camille Poitevin invites a critical pause, a moment of reflection on the ephemeral and the invisible, on what is seen and what remains hidden, while also questioning the durability of that which, nevertheless, dissolves quickly.