スランのおすすめランニングルート

セーランにあるMare aux Joncsは、自然愛好家に最適な場所です。Vequéeの森にあり、多くの森の散策を提供しています。訪問者は、特に夏には、敷地内の駐車場と美しい景色を楽しむことができます。

The Seraing Arboretum boasts a rich collection of tree species, including a giant sequoia measuring approximately 38 meters tall with a circumference of 6.60 meters (approximately 2.10 meters in diameter). The giant sequoia is renowned for its ability to withstand impacts (its bark is approximately 3 cm thick) and was used in firebreaks because its moist bark provides good resistance to forest fires. There are also Vancouver firs measuring approximately 51 meters tall, though some have died standing. If you'd like to see for yourself, you can make the "lumberjack's cross," an easy and fun activity. Please respect the trees by not tearing the bark off the sequoia and by staying on the paths. We wish you a pleasant walk.

The Streupas heath is currently fenced off, making some of the paths still shown on the map inaccessible.

Li be bon-dju ds le bois de la Vecquée à Seraing Erected in 1794 to mark the spot where Republican soldiers who fell during the Battle of Esneux were buried.

now fenced, no way to cross

A friend of George Grard, Charles Leplae, like him, appreciated the depiction of female nudes. He regularly imbued them with reserved, pensive, and introspective poses. True to this style and the artist's taste for allegories, this grave-looking sculpture embodies both a young girl and the young woman. Kneeling on the banks of the Deer Pond, in a bucolic setting, it is certainly the most delicate work in the collection. To be brought to the Sart Tilman estate, the original 3.5-meter-high work, installed at the National Bank of Belgium, was reduced to life-size scale and then placed slightly back in its current green setting, into which it blends perfectly, both in color and in its restrained poetry.

Clémence Van Lunen Brussels, 1959 Clémence Van Lunen lives and works in Paris. She studied under Michel Smolders at the École Supérieure d'Arts Plastiques de Bruxelles (1977-1980) and under Etienne Martin at the École Nationale des Beaux-Arts de Paris, where she learned direct carving with Jean Cardot (graduating in 1984 with honors). From 1991 to 1993, she worked in Lucainena de las Torres (Province of Almeria), thanks to a research grant from Casa Velasquez. She made four trips to Japan, fascinated by the special relationship the Japanese have with nature.

Iroko Wood 1998 Produced with the help of Espace Partenaire "The method she explained she initially devised was relatively simple: know trees well (she had prudently limited herself to this category of nature), understand the tensions, guess the forces that generate secondary branches, know the roots, the knots, and the many accidents due to wind, drought, soil, and overly intrusive neighbors, know the species and their habits..." Pierre Ménard It was as part of the exhibition "The Tree Hidden in the Forest" (Museum of Modern and Contemporary Art, Liège, 1998) that Clémence van Lunen created Boogie-Woogie. The work is part of a group of large-scale wood sculptures produced in the second half of the 1990s. Pierre Ménard, in the quote above, highlights one of the essential elements of this series of works: understanding the tensions, guessing forces. And from the lessons the artist draws from these observations, we find in the Sart Tilman sculpture a strong emphasis on space and the introduction of a sustained rhythm that constitute the primary theme of his entire work. The very choice of the title, evocative of Mondrian's American works, invites us to gauge the dynamics of the piece, which appears to me as a gesture frozen in space. Beyond that, there is the evocative power of the sculpture. It is powerful and difficult to define... and Clémence Van Lunen declares that she is trying to highlight the formal similarities between the animal and plant worlds: "I was looking for a kind of pact between sap and blood." The choice of its location near the Sports Centers was determined by the quality of the undergrowth there and by the frequentation of the area. Thus integrated, the sculpture loses its cultural meaning, at least initially. She returns to nature until the eye appreciates its impossible form.