Lauriane Hancotte

Within the Western European culture I grew up in, table manners have long structured social behavior and class. They create predictability and order, preventing 'chaos'. I’m fascinated by how these rules silently guide our posture, gestures, and silences. In ‘It Looks Right, but Not Quite,’ I explore this choreography through a series of photographs and texts that depict subtle misbehaviours at the dinner table. Displayed in a classic dining room setting, the work invites viewers into a space of quiet tension, where normalcy is gently disturbed. Comments beneath each image reflect my internal dialogue. I hope to start a conversation with the viewer: Do you feel the urge to correct the model? Or to join them in misbehaving? Ultimately, the work is not just about breaking etiquette, but about revealing the (invisible) rules and expectations that structure how we live together.

Within the Western European culture I grew up in, table manners have long structured social behavior and class. They create predictability and order, preventing 'chaos'. I’m fascinated by how these rules silently guide our posture, gestures, and silences. In ‘It Looks Right, but Not Quite,’ I explore this choreography through a series of photographs and texts that depict subtle misbehaviours at the dinner table. Displayed in a classic dining room setting, the work invites viewers into a space of quiet tension, where normalcy is gently disturbed. Comments beneath each image reflect my internal dialogue. I hope to start a conversation with the viewer: Do you feel the urge to correct the model? Or to join them in misbehaving? Ultimately, the work is not just about breaking etiquette, but about revealing the (invisible) rules and expectations that structure how we live together.

Within the Western European culture I grew up in, table manners have long structured social behavior and class. They create predictability and order, preventing 'chaos'. I’m fascinated by how these rules silently guide our posture, gestures, and silences. In ‘It Looks Right, but Not Quite,’ I explore this choreography through a series of photographs and texts that depict subtle misbehaviours at the dinner table. Displayed in a classic dining room setting, the work invites viewers into a space of quiet tension, where normalcy is gently disturbed. Comments beneath each image reflect my internal dialogue. I hope to start a conversation with the viewer: Do you feel the urge to correct the model? Or to join them in misbehaving? Ultimately, the work is not just about breaking etiquette, but about revealing the (invisible) rules and expectations that structure how we live together.

Within the Western European culture I grew up in, table manners have long structured social behavior and class. They create predictability and order, preventing 'chaos'. I’m fascinated by how these rules silently guide our posture, gestures, and silences. In ‘It Looks Right, but Not Quite,’ I explore this choreography through a series of photographs and texts that depict subtle misbehaviours at the dinner table. Displayed in a classic dining room setting, the work invites viewers into a space of quiet tension, where normalcy is gently disturbed. Comments beneath each image reflect my internal dialogue. I hope to start a conversation with the viewer: Do you feel the urge to correct the model? Or to join them in misbehaving? Ultimately, the work is not just about breaking etiquette, but about revealing the (invisible) rules and expectations that structure how we live together.

Within the Western European culture I grew up in, table manners have long structured social behavior and class. They create predictability and order, preventing 'chaos'. I’m fascinated by how these rules silently guide our posture, gestures, and silences. In ‘It Looks Right, but Not Quite,’ I explore this choreography through a series of photographs and texts that depict subtle misbehaviours at the dinner table. Displayed in a classic dining room setting, the work invites viewers into a space of quiet tension, where normalcy is gently disturbed. Comments beneath each image reflect my internal dialogue. I hope to start a conversation with the viewer: Do you feel the urge to correct the model? Or to join them in misbehaving? Ultimately, the work is not just about breaking etiquette, but about revealing the (invisible) rules and expectations that structure how we live together.

Within the Western European culture I grew up in, table manners have long structured social behavior and class. They create predictability and order, preventing 'chaos'. I’m fascinated by how these rules silently guide our posture, gestures, and silences. In ‘It Looks Right, but Not Quite,’ I explore this choreography through a series of photographs and texts that depict subtle misbehaviours at the dinner table. Displayed in a classic dining room setting, the work invites viewers into a space of quiet tension, where normalcy is gently disturbed. Comments beneath each image reflect my internal dialogue. I hope to start a conversation with the viewer: Do you feel the urge to correct the model? Or to join them in misbehaving? Ultimately, the work is not just about breaking etiquette, but about revealing the (invisible) rules and expectations that structure how we live together.

Within the Western European culture I grew up in, table manners have long structured social behavior and class. They create predictability and order, preventing 'chaos'. I’m fascinated by how these rules silently guide our posture, gestures, and silences. In ‘It Looks Right, but Not Quite,’ I explore this choreography through a series of photographs and texts that depict subtle misbehaviours at the dinner table. Displayed in a classic dining room setting, the work invites viewers into a space of quiet tension, where normalcy is gently disturbed. Comments beneath each image reflect my internal dialogue. I hope to start a conversation with the viewer: Do you feel the urge to correct the model? Or to join them in misbehaving? Ultimately, the work is not just about breaking etiquette, but about revealing the (invisible) rules and expectations that structure how we live together.

Within the Western European culture I grew up in, table manners have long structured social behavior and class. They create predictability and order, preventing 'chaos'. I’m fascinated by how these rules silently guide our posture, gestures, and silences. In ‘It Looks Right, but Not Quite,’ I explore this choreography through a series of photographs and texts that depict subtle misbehaviours at the dinner table. Displayed in a classic dining room setting, the work invites viewers into a space of quiet tension, where normalcy is gently disturbed. Comments beneath each image reflect my internal dialogue. I hope to start a conversation with the viewer: Do you feel the urge to correct the model? Or to join them in misbehaving? Ultimately, the work is not just about breaking etiquette, but about revealing the (invisible) rules and expectations that structure how we live together.

Within the Western European culture I grew up in, table manners have long structured social behavior and class. They create predictability and order, preventing 'chaos'. I’m fascinated by how these rules silently guide our posture, gestures, and silences. In ‘It Looks Right, but Not Quite,’ I explore this choreography through a series of photographs and texts that depict subtle misbehaviours at the dinner table. Displayed in a classic dining room setting, the work invites viewers into a space of quiet tension, where normalcy is gently disturbed. Comments beneath each image reflect my internal dialogue. I hope to start a conversation with the viewer: Do you feel the urge to correct the model? Or to join them in misbehaving? Ultimately, the work is not just about breaking etiquette, but about revealing the (invisible) rules and expectations that structure how we live together.

Within the Western European culture I grew up in, table manners have long structured social behavior and class. They create predictability and order, preventing 'chaos'. I’m fascinated by how these rules silently guide our posture, gestures, and silences. In ‘It Looks Right, but Not Quite,’ I explore this choreography through a series of photographs and texts that depict subtle misbehaviours at the dinner table. Displayed in a classic dining room setting, the work invites viewers into a space of quiet tension, where normalcy is gently disturbed. Comments beneath each image reflect my internal dialogue. I hope to start a conversation with the viewer: Do you feel the urge to correct the model? Or to join them in misbehaving? Ultimately, the work is not just about breaking etiquette, but about revealing the (invisible) rules and expectations that structure how we live together.

By the time I got all the cutlery and tableware set on the table, the soup was cold and I needed a nap. What are we doing this for?

By the time I got all the cutlery and tableware set on the table, the soup was cold and I needed a nap. What are we doing this for?

In collaboration with the artist Kes Lugt. This project questions all the public places where you would not wear your pyjamas, even though, I promise you, it is not illegal.

Everything is in the title. I was having leftover pasta that day.

Everything is in the title. I was having leftover pasta that day.

Everything is in the title. I was having leftover pasta that day.

Everything is in the title. I was having leftover pasta that day.

As the housing crisis in The Hague came worst then ever, I started wondering how big companies could start making money out of it.

As the housing crisis in The Hague came worst then ever, I started wondering how big companies could start making money out of it.

As the housing crisis in The Hague came worst then ever, I started wondering how big companies could start making money out of it.

Within the Western European culture I grew up in, table manners have long structured social behavior and class. They create predictability and order, preventing 'chaos'. I’m fascinated by how these rules silently guide our posture, gestures, and silences. In ‘It Looks Right, but Not Quite,’ I explore this choreography through a series of photographs and texts that depict subtle misbehaviours at the dinner table. Displayed in a classic dining room setting, the work invites viewers into a space of quiet tension, where normalcy is gently disturbed. Comments beneath each image reflect my internal dialogue. I hope to start a conversation with the viewer: Do you feel the urge to correct the model? Or to join them in misbehaving? Ultimately, the work is not just about breaking etiquette, but about revealing the (invisible) rules and expectations that structure how we live together.