Delory offers, for CarréRotondes, a very personal rearrangement of the urban characteristics of the buildings photographed in Luxembourg, where he uncovers the angles, proportions and perspectives.

This commission to the photographer was placed within the framework of la Triennale Jeune Création 2013 "You I Landscape" Carré Rotondes. The theme of the landscape, and more specifically Luxembourg’s landscape, came about because of the extraordinary arrival of Xavier Delory, during the time of la Triennale jeune creation 2013With Luxembourg, the Belgian artist presents a reflection on the bourgeoisification of the popular neighbourhoods, whereby the social and economic profile of the inhabitants is transformed for the exclusive benefit of a higher social stratum.

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It's a refers to the changes that result when wealthier people ("gentry") acquire or rent property in low income and working class communities. Often old industrial buildings are converted to luxurious residences. 

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Have our shoppingmalls become our new temples? Has the religious cult been replaced by the cult of consumption? Do these new places of communion and their catchy slogans supplant our ancient monuments and their divine words?


This fiction is not very remote from the frequent use of the religious symbol by the commercial. Our commercial culture sucks the lifeblood from our collective memory, emptying it of all it’s meaning, keeping only it’s shell. Does this all prove that our society has cut itself off from its history? 

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Everything is made to entertain him and to make him forget himself and his loss of references. These two projecting features of modernity seem to lead us to our loss. The modern man seems to define himself by the urban (recently the number of people living in urban areas has exceeded the number of people living in rural areas) and the festive model. 

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This cement industry, situated in the surroundings of Brussels, has been the triggering factor of the project Construct.

It produces the basic material that constitutes the various artifacts of our built environment. 

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BARRE D'ÎLOT, 2010-2013

This fiction imagine a self-constructed towers built from typical Brussels houses. It's a reflection about the urban block, the framework of the historic city, its break-up and its replacement by residential and office towers.

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DOMINO, 2010

Critique of a functionnal and profitable architecture, symbol of vanity and fragility.

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Façade libre or ‘facadism’, planning practice which consists in conserving only the front of old buildings while demolishing the rest in order to construct a modern interior. This whithout any link to the original architecture. 

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Our countryside (in Belgium as well as in a many other western countries) is monopolized by one specific type of houses called ‘clé sur porte’ (turnkey) (def: Urban prefab cluster of similar forms implanted in the landscape without any effort of integration).

The cycle ‘Habitat’ throws a look at this type of ‘architecture’. The concept of protection and stereotyped block is pushed to its extremes (similar to our withdrawal into on ourselves and our formated lifes).

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MUR, 2005

Archiving of walls marking out the surroundings of the Brussels region.

The wall directs and confines our visual and spatial experience. It marks and determnates individual and public properties.

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