BeCraft takes over the Grande Halle of the former Mons Slaughterhouse with an exhibition bringing together around sixty makers from 12 European countries. This European group exhibition will celebrate the association’s 20 years on the site and will explore the imaginaries, history, and contemporary issues connected to “slaughterhouses”.
Whether through denunciation, memory, poetry, or critical analysis, the works invite a sensitive, informed gaze on these places of passage, abandonment, production, transformation—and today, heritage. The exhibition thus seeks to open up a space for reflection on what slaughterhouses reveal about our societies: our relationship to the living, to production gestures, to trace, to disappearance.
The dialogue between artworks, archival documents, and life stories offers a fully immersive entry into a theme rarely explored in the field of applied arts. It pays tribute to the power of craft gestures as a way of thinking the world.
Alongside this European selection, the exhibition presents creations by six BeCraft member artists, invited to conceive a new work for the occasion: Isabelle Carpentier, Clémentine Correzzola, Joséphine Hazard, Machteld Lambeets, Claire Lavendhomme, and Olivia Mortier.
In this context, Transcultures supports the sound installation “Devenir Oiseau” by multidisciplinary artist Clémentine Correzzola, which will be installed in the site’s inner courtyard.
With works by BeCraft artists: Frederic Frenay (BE), Dolores Gossye (BE), Anne Marie Laureys (BE), Rohan Graëffly & Christine Mawet (BE), Yoann Piccardi (BE), Romina Remmo (BE), Justine Van Impe (BE), Diego D’Onofrio & Maxime Van Roy (BE), Fabienne Withofs (BE)
And European artists: Arina Antonova (ES), Ela Bauer (NL), Cécile Bourdais (FR), Denise Bresciani (FR), Eva Burton (ES), Isabelle Busnel (FR), Leonie Chauchat (BE), Xiao Chen (FR), Dr. Niki Collier (IR), Inge De Zutter (BE), Marion Delarue (FR), Anja Eichler (DE), Amandine Fabry (BE), Lore Fasquel (FR), Kinga Földi (HU), Manon Fontaine (FR), Héléna Guy Lhomme (FR), Thierry Hahn (LU), Catarina Hällzon (SE), Lore Langedries (BE), Yoshikazu Goulven Le Maître (FR), Lena Lindahl (SW), Hugo Meert (BE), Carine Mertes (LU), Ruta Naujalyte (LT), Alet Pilon (NL), Juan Riusech (FR), Kristýna Španihelová (CZ), Annie St-Aubin (BE), Katia Terpigoreva (FR), Uter (FR), Felieke van der Leest (NL/NO), Reinhilde Van Grieken (BE), Billie van Katwijk (NL), James Lethbridge & Davey Verhaeghe (BE), Charlotte Versnick (BE), Astrid Wilk (DE), Elodie Wysocki (FR)
Devenir Oiseau - Clémentine Correzzola
Drawing on an inquiry into the site’s memory and geography—once orchards and fields crossed by the Trouille, then a place marked by slaughter before its cultural reconversion—the artist chooses to shift the site’s imaginary toward a soundscape: that of birds, their presence, and their disappearance.
The project proposes to “re-occupy” the space through song: a sound diffusion (notably outdoors, in winter) stages an unexpected concert, while three enamelled adornments—headpieces inspired by the plumage of the hoopoe, the barn swallow, and the swift—invite the public into a form of metamorphosis, a “bird-man”. Each adornment is presented with its corresponding bird call, as a tool for relation: to blow, to call, to attempt a conversation, to symbolically revive a presence that has become fragile or absent.
Formally and technically, Correzzola works with lightness (very thin rolled silver, textures, engraving/imprints), vibration, and light through enamel (solid fields, cloisonné, possible returns in grisaille), with the idea of approaching the quality of a feather: shimmer, rhythm, finesse. The project thus brings together jewellery, a listening device, and an exhibition experience, articulating attentiveness to the living, sonic ecology, and the transformation of bodies through adornment.
Clémentine Correzzola (Be)
Based in Brussels, she is an artist whose practice (high-end contemporary jewellery and enamelling, multidisciplinary) is grounded in a patient exploration of materials and gestures. She approaches the creative process as “the transcription of a past transmitted, lived, fantasised” and as the complex union “of hand and mind”: her pieces often take the form of expressive structures, conceived from the body’s anchoring points, with a constant desire to understand matter.
At the heart of her work, enamel—particularly plique-à-jour and high-fired enamel—allows her to circulate light through metal, to open up zones of transparency and chromatic vibration, and to compose surfaces that are both sensitive and highly constructed. She brings together traditional know-how and a contemporary formal vocabulary, and does not hesitate to combine enamel with more unexpected elements. Her works, generally made as one-off pieces, sometimes shift toward the object: as in Nimbe, where a bracelet becomes a lamp on its stand, blurring the boundary between adornment and device. She also does not hesitate to collaborate with other artists to produce multidisciplinary installations.
Her path has been shaped by rigorous training across France, Hungary, and Belgium. She has received several distinctions (notably from MAD and the World Crafts Council) and presents her work in a range of exhibition contexts. She also teaches at the Cours des Métiers d’Art du Hainaut.
Informations
- 08.03.2026 > 24.05.2026
Opening Saturday 07.03.2026, 19:00 - Former Mons Slaughterhouse site
- Rue de la Trouille 17/02, Mons, Belgium
- becraft.org/event/a-la-belle-vue-de-l-abattoir-expo
Production
- BeCraft
- Clémentine Correzzola received support from Transcultures as part of this exhibition
