1.0NW Aalsthttps://nw-aalst.be/en/rich600338<blockquote class="wp-embedded-content" data-secret="yYqxtsUVVO"><a href="https://nw-aalst.be/en/exhibition/side-effects/">Side Effects</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://nw-aalst.be/en/exhibition/side-effects/embed/#?secret=yYqxtsUVVO" width="600" height="338" title="“Side Effects” — NW Aalst" data-secret="yYqxtsUVVO" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script> /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); //# sourceURL=https://nw-aalst.be/wp-includes/js/wp-embed.min.js </script> https://nw-aalst.be/wp-content/uploads/2023/01/406.jpg353235SIDE EFFECTS brings together the work of two photographers. Lynne Cohen(CA) and Bert Danckaert (BE) capture the residues of human activity without showing people themselves. The registered constructions do have in Cohen’s case a more ‘found-object’ level, whereas Danckaert combines landscape with still life. In both cases a sharp and humoristic ambulatory with the artificial […]