Graduation 2018

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GRADUATION 2018


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Introduction / Voorwoord Master, Bachelor & Postgraduate Projects 17—18

• MASTER OF VISUAL ARTS / MASTER IN DE BEELDENDE KUNSTEN 38 Graphic Design / Grafisch Ontwerp 46 Autonomous Design / Autonome Vormgeving 50 Fine Arts / Vrije Kunsten 59 Textile Design / Textielontwerp 59 Photography / Fotografie 66 Fashion / Mode • MASTER OF AUDIOVISUAL ARTS / MASTER IN DE AUDIOVISUELE KUNSTEN 66 Film 71 Animation Film / Animatiefilm • MASTER OF DRAMA / MASTER IN HET DRAMA 78

• MASTER OF MUSIC / MASTER IN DE MUZIEK 82 Performing Music: Classical Music / Uitvoerende Muziek: Klassieke Muziek 85 Performing Music: Jazz/Pop / Uitvoerende Muziek: Jazz/Pop 86 Composing Music: Composition / Scheppende Muziek: Compositie 86 Composing Music: Music Production / Scheppende Muziek: Muziekproductie 87 Musical Instrument Making / Instrumentenbouw 88 Advanced Master Contemporary Music / Master na Master Hedendaagse Muziek • BACHELOR OF INTERIOR DESIGN BACHELOR IN DE INTERIEURVORMGEVING 88 Focus: Interior Finishing & Advice / Interieurafwerking & Advies 91 Focus: Concept & Spatiality / Concept & Ruimtelijkheid 93 Focus: Furniture & Design / Meubel & Design 95 Focus: Temporary Installations / Tijdelijke Installaties


• BACHELOR OF LANDSCAPE AND GARDEN ARCHITECTURE BACHELOR IN DE LANDSCHAPS- EN TUINARCHITECTUUR 96

• ADVANCED BACHELOR OF LANDSCAPE DEVELOPMENT BACHELOR NA BACHELOR IN DE LANDSCHAPSONTWIKKELING 98

• POSTGRADUATES 99 Musical Performance Practice 99 Soloist Classical Music 99 Curatorial Studies 100 Digital Storytelling 103 European Postgraduate in Arts in Sound • TEACHER CERTIFICATION IN THE ARTS / SPECIFIEKE LERARENOPLEIDING IN DE KUNSTEN 104

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Research in the Arts 17—18

• COMPLETED PROJECTS 108 Stoffel Debuysere, Figures of Dissent: Cinema of Politics, Politics of Cinema 110 Jerry Galle, Psychoanalytical Machines 112 Ives Maes, The Architecture of Photography 114 Renzo Martens, The Institute for Human Activities: A Gentrification Program in Congo 116 Françoise Vanhecke, Inhaling Singing: A New Extended Vocal Technique • A YEAR IN RESEARCH: PUBLICATIONS AND SELECTED HIGHLIGHTS 118

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Artistic Productions 17—18

• CLASSICAL MUSIC 130 MIRY Concert Hall 130 In residence: The New What Now • JAZZ, POP & MUSIC PRODUCTION 132


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Residence: KRAAK 133 In Residence: JazzLab • FILM 133 KASKcinema 134 CineSessies 135 Film Music Seminar 135 X-Ray 135 In Residence: Courtisane 135 In Residence: Sabzian • DRAMA 136

• VISUAL ARTS 137 KIOSK 138 Zwarte Zaal A selection of projects: Skopiumschuivers / Zestig jaarringen / How do we do it? / FLIP – About Image Construction / Unraveling Slowness 140 MAP – Masters Projects Space 141 STOCK 141 DIY TWF 142 Het tekeningenkabinet 142 Curatorial Studies Keynote Lectures 143 Curatorial Conversations 143 Matters of Performance 143 Magister Artium Gandensis 2018 – Thomas Struth • DESIGN 144 Maarten Van Severen Chair 2018 – Aldo Bakker 144 KASK Label @ Dutch Design Week 144 KASK @ BAD & Inside Out 144 Barefoot Hero • LECTURE SERIES & A SUMMER ACADEMY 145 Studium Generale 145 KASKlezingen Lecture Series 145 Keynotes 146 Bijloke Summer Academy • BOOKS & BOOK PRESENTATIONS 147 Kunstenbibliotheek 147 1M3 148 Essential Reading 148 ONRUST – KASK & Royal Conservatory's Magazine

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Facts & Figures



AFSTUDEREN 1 Een schrijver reisde met de trein, hij vloog aan hoge snelheid op de dingen af. Een bosje, kinderfietsjes, koterijen van een landhuis, een overweg… alles was vol opdracht en mogelijkheid, maar het benauwde hem, hij piekerde: tegen het afstuderen van zijn vriendin had hij geen verhaal. Schrijvend nam hij alle tijd en vrijheid, maar met die afstudeerdatum viel er niet te schuiven. Die kwam op je af, zoals daarbuiten nu hangars en showrooms, een dronken boer, twee vrouwen, een kleiduifmast… De schrijver geraakte in een slechte stemming, dat verhaal was haar beloofd. Hij drentelde door de wagon en installeerde zich aan de overkant van het coupé. Nu reed hij achteruit en zag alles rustig wegdrijven: vijvers, een speelplein, notelaars met daaronder kippen, molenwieken… Zie, daar kwam ook het afstudeerfeestje van zijn vriendin voorbij geschoven en nu dat plots zo vreedzaam achter hem lag en voor hem tegelijk, overvielen hem niet één, maar twee verhalen. 2 6

Temidden van hopen stenen, grint en zand liet Louis het protocol varen. Met een klein gevolg baande de koning zich een weg over een parkallée in aanleg op zoek naar André Le Nôtre, Le Controleur Général des Bâtiments, Arts et Manufactures du Roi. De koning wou zijn employé en vriend verrassen op zijn verjaardag en Hunne Majesteiten schonken aan Monsieur Le Notre de rechten op een wapenschild. Le Nôtre, daags voordien door een kamerheer discreet verwittigd dat dit zou gebeuren, acteerde verrassing en bedankte eenvoudig en terzake. Daarbij suggereerde deze potente, met invloed beklede man, die in zijn eentje verantwoordelijk was voor de aanleg van de koninklijke domeinen, dat het schild een schop moest bevatten, arbeid is begin en einde van onze macht over de natuur. Daar kon Louis wel inkomen. Het immense bouwwerk van Staat, Oorlog, Industrie en Kunst rust op het werk van Saint Fiacre. Maar was een schop banaalweg niet te weinig? Vijf dagen later, bij de bespreking van aanpassingen aan de serres, vroeg Le Nôtre dus terloops of hij zo vrij mocht zijn er een krop sla aan toe te voegen, zijn lievelingsgroente. L'idée étant si simple et délicace était charmante…


Louis was verrukt. Zonder groei en bloei van de schepping valt er niet te oogsten. Specialisten bogen zich over de heraldische kleuren en maakten schetsen, de ontwerpen gingen voor uitvoering naar de ateliers van Le Brun, Le Premièr Peintre du Roi. Toen Louis weken later na een noodgedwongen verblijf in Parijs terugkeerde naar Versailles, werd Le Nôtre ontboden. Wandelend door de moestuin tussen hagen van tomatenstruiken, deed de koning zijn beklag over de nieuwe bosaanplant. De volgroeide eiken die met veel kosten en moeite uit Vlaamse en Normandische bossen waren aangevoerd, stonden hier zomaar te sterven. Le Nôtre pareerde de koning met een nieuw verzoek voor het wapen­ schild, middels een lange tussenkomst die opende met de bemerking dat de mens, la machine de l'homme, wel kort is van dagen en daardoor gehaast, de natuur daarentegen… Louis viel niet uit de lucht, dit soort gesprekken hadden zij reeds dikwijls gevoerd. Geërgerd keek hij om zich heen naar de parterres in aanleg, de schriele hagen tegen een achtergrond van afgestorven bos. Een tuin­ jongen verjoeg twee pauwen die neerstreken op het ingezaaide gras en in de verte, waar het kanaal werd uitgegraven hoorde je arbeiders zingen. 7

Louis beloofde dat Le Nôtre krop en schop mocht bekronen met drie zilveren slakken. 3 VERSAILLES, 20 dec 2017, van onze correspondent Vrijdag 20 december jongstleden werd hier, te Versailles, het stichtings­ congres van SAVA – SASS gehouden. Inspiratie vormde een passage uit het werk van Fernando Pessoa. Men kan deze dichter er niet van verdenken dat hij zich bewust was van het fileprobleem, en toch reikte hij ons daarvoor reeds in 1925 een oplossing aan. De passage gaat als volgt: In de tijd van de Renaissance was het leven sneller en op gezondere wijze koortsachtiger dan in onze tijd. Sir Philip Sidney was ambassadeur op zijn zestiende (…). De traagheid van ons leven is van dien aard dat wij onszelf met veertig jaar nog niet als oud beschouwen. De snelheid der vervoermiddelen heeft de vaart uit onze ziel gehaald. Wij leven zeer langzaam en daarom vervelen we ons zo gauw. Het leven is voor ons het platteland. We werken onvoldoende en pretenderen te veel te werken. We begeven ons zeer snel van het ene punt waar niets wordt gedaan naar


het andere punt waar niets te doen is, en we noemen dit de koortsachtige haast van het moderne leven. (…) Het moderne leven is een geagiteerd nietsdoen, een terugdeinzen in agitatie voor geordende beweging. Een Société pour l'Avancement du Vitesse de l'Âme – Society for the Advancement of the Speed of the Soul (SAVA-SASS) was in 1925 nog toekomstmuziek. Vrijdag jongstleden kreeg die vorm op initiatief van zeven wetenschapslui en kunstenaars, waaronder de eminente nobelprijswinnaars Todasko en Forth. De vereniging ijvert voor het herstel van de traagheid der vervoermiddelen en promoot de geordende beweging. Haar leden beogen een toename van de snelheid van de ziel en verbinden zich ertoe zich zo weinig mogelijk te verplaatsen. In de plenaire ochtendzitting van het stichtingscongres hield prof. dr. Leonard Fiffe een referaat over de vormen van het reflexieve werkwoord in de La Fontaine's L'homme qui court après la fortune. Na breakoutsessies over de kwantificering van de snelheid van de ziel en over kwalificering van de snelheid van de vervoermiddelen, werd het wetenschappelijk gedeelte van het congres afgesloten met een panelgesprek over het kamertheorema van Blaise Pascal. 8

In avondzitting, na het banket, verkoos de kersverse vereniging de geologe Emily Groantzer als voorzitster. Zij herinnerde er in haar dankwoord aan dat hoewel het leven op aarde meer dan vier miljard jaar teruggaat, de huidige mens nog maar pas de kaap van driehonderd millennia heeft gerond. Met instemming van alle aanwezigen riep zij de volgende 1000 jaar uit tot Mondiaal Millennium ter Bevordering van de Snelheid van de Ziel. Wim De Temmerman, decaan, juni 2018 voor de studenten die in 2018 afstuderen aan KASK & Koninklijk Conservatorium


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GRADUATING 1 A writer was travelling by train, flying at everything at speed: a little woodland, kids' bicycles, cottages dotting an estate, a viaduct… Everything was filled with purpose and possibility, but it oppressed him. He fretted. Where his girlfriend's upcoming graduation was concerned, he had no story to tell. When he wrote, he always took all the time and liberty he needed, but there was nothing to write for that graduation day. It just came at you, like now, outside the train—the industrial building, the showroom, a tipsy farmer, two women, a clay pigeon shooter… The writer's bad mood got worse. He had promised her that story. He meandered through the train car and installed himself on the opposite side of the compartment. Now he was travelling backwards and could watch everything quietly float away: a pond, a playground, a walnut tree with chickens pecking under it, the arms of a windmill… See here: his girlfriend's graduation day has also just swept past. Now that it was so peaceably behind him, and yet still in front of him, not one, but two stories took him by surprise. 2

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Surrounded by piles of stone, gravel and sand, Louis dispensed with protocol. With a small entourage, the king made his way along the construction of a park boulevard in search of André Le Nôtre, Le Controleur Général des Bâtiments, Arts et Manufactures du Roi. The king wanted to surprise his employee and friend on his birthday, by bestowing upon Monsieur Le Notre the honour of a coat of arms. Le Nôtre, whose chamberlain had tipped him off the day before that this would happen, pretended surprise and humbly and efficiently expressed his thanks. In doing so, this potent and highly influential man, who was singlehandedly responsible for the construction of the royal domains, let it be known that the coat of arms should include a spade: work is after all the beginning and the end of our power over nature. Louis could understand that. The immense edifice of State, War, Industry and Art all depended on the work of Saint Fiacre. But was a spade not simply too banal, too small a thing? Five days later, when they were discussing changes to the conservatories, Le Nôtre asked in passing if he might take the liberty of adding a cabbage,


his favourite vegetable. L'idée étant si simple et délicace était charmante… Louis was delighted. Without the growth and flowering of the Creation, there would be nothing to harvest. Specialists duly concerned themselves with the heraldic colours and produced sketches, and the designs were sent to the studios of Le Brun, Le Premièr Peintre du Roi, to be completed. Weeks later, following an unavoidable stay in Paris, Louis returned to Versailles, and Le Nôtre was summoned. Walking through the vegetable gardens, surrounded by hedgerows and tomato bushes, the king complained about the planting of the new woodland. The fully-grown oak trees that had been brought from Flemish and Norman forests at such great effort and expense were just standing there, being left to die. Le Nôtre parried with a new request for the coat of arms, in a long intercession that opened with the comment that mankind, la machine de l'homme, is granted but a limited number of days, and is therefore always in haste, while nature, on the other hand… Louis had not just fallen out of thin air—he had had conversations like this before. Annoyed, he looked around him to the foundations under construction, the miserly hedgerows against that background of dead 11 woodland. Off in the distance, a gardener's boy chased away two peacocks that had settled on the newly seeded grass. One could hear labourers singing from where the canal was being dug. Louis told Le Nôtre that he could crown a cabbage and a spade with three silver snails. 3 VERSAILLES, 20 December, 2017, from our correspondent This Friday, 20 December 2017, the founding congress of the SAVA-SASS took place here at Versailles. Its inspiration came from a passage from the work of Fernando Pessoa. One cannot expect that this poet could have been aware of our traffic jams, and yet, even in 1925, he proposed a solution. The passage is this: In Renaissance times, life was swifter and more sanely feverish than in ours. Sir Philip Sidney was an ambassador at sixteen (…). The slowness of our life is such that we do not consider ourselves old at forty. The speed of vehicles has taken the speed out of our souls. We live very slowly and that is why we are so easily bored. Life has become a countryside to us.


We do not work enough and we pretend to work too much. We move very quickly from one point where nothing is being done to another point where there is nothing to do, and we call this the feverish haste of modern life. Modern life is an agitated leisure, a shrinking within agitation from ordered motion. In 1925, a Société pour l'Avancement du Vitesse de l'Âme – Society for the Advancement of the Speed of the Soul (SAVA-SASS) was just a fantasy for the future. On Friday, it became reality thanks to the initiative of seven scientists and artists, including the distinguished Nobel prize winners, Todasko and Forth. The society aims to restore slowness to means of transport and promote ordered movement. Its members envision an increase in the speed of the soul, and to that end, they commit to physically moving themselves as little as possible. In the plenary morning session of the inaugural congress, Prof. Leonard Fiffe lectured on forms of reflexive verbs in de La Fontaine's L'homme qui court après la fortune. Following breakout sessions on quantifying the speed of the soul and qualifying speed in means of transportation, the scientific segment of the congress concluded with a panel discussion 12 on Blaise Pascal's room theory. After dinner, the evening session elected geologist Emily Groantzer to chair their brand new society. In her acceptance speech, she reminded everyone that although life on Earth goes back four billion years, today's humankind has only just passed the three hundred millennium mark. With unanimous approval, she dedicated the coming 1000 years as The Worldwide Millennium for the Promotion of the Speed of the Soul. Wim De Temmerman, Dean, June 2018 For students graduating in 2018 from the KASK and the Royal Conservatory


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Exhibition view of MAP #72: Rebecca Fertinel & Sjoerd Houben – Advance To Go, © Rebecca Fertinel Behind the scenes of Arthur Theysken's bachelor film, Ever Westward Eternal Rider, © Jules Mathôt Classical music students perform the opera La Finta Giardiniera in MIRY Concert Hall, © Rebecca Fertinel IPPT Ghent (International Platform for Performer Training), organized by the Drama Department, Zwarte Zaal View of The Settlement, a nine-day autonomous design project in the Zwarte Zaal, under the guidance of artist and stage designer Vladimir Miller, © Vannesa Muller Exhibition view, STOCK #8: Valgerður Sigurðardóttir & Vincent Vandaele, © Leontien Allemeersch The Sculpture Studio during the Open Day, © Fabrizio Bilello View of Het Bal, a one-day performance by Thomas Willemen in The Drawings Cabinet Exhibition view, RUIS, during the Open Day in the Bijloke garden, © Rebecca Fertinel Drawing from Geertrui De Vijlder's sketch book Exhibition view, KOMMA, a skill-sharing platform created by autonomous design students in collaboration with Elly Van Eeghem, © Astrid De Haes © Stans Vrijsen (Fine Arts) Art, Science and Technology seminar with animation film students, © Geertrui De Vijlder 34 Part of the project-based design research project, Relational Design – Focus on Long Life Span and Emotionally Durable Design, © Dirk Van Gogh Behind the scenes of Evie Lippens & Lore Mechelaere's collaborative work, A sombre do desejo (The Shadow of Desire), © Evie Lippens © Heike Dobbelaere (Textile) Installation of work in the Landscape and Garden Architecture Studio during the Open Day, © Rebecca Fertinel Daan Bergers, SCOBY, 2018. SCOBY is Symbiotic Culture of Bacteria and Yeast and is a bacteria culture used in the production of kombucha thea. SCOBY was completed within the interior design focus ‘Furniture & Design’ © Dirk Van Gogh Master class by Aldo Bakker in the framework of the Maarten Van Severen Chair, © Thomas Nolf Drama production Al'ab Nariya, directed by Marijke Pinoy, © Johan Pijpops The Jazz & Pop Studio, during the Open Day, © Fabrizio Bilello The Painting Studio, during the Open Day, © Fabrizio Bilello Drawing by Kasper Daems, part of Tekeningenkabinet #7: Animatietekenen, The Drawings Cabinet, © Liene Aerts Installation by Thomas Nolf, part of the Camping in the Millimeters Kingdom exhibition, Zwarte Zaal, © Thomas Nolf

25 Classical music students perform the opera La Finta Giardiniera in MIRY Concert Hall, © Rebecca Fertinel 26 Exhibition view of STOCK's presentation for Balkonscènes (Balcony Scenes), an interdisciplinary arts festival at NTGent © Leontien Allemeersch 27 © Sabine Žic (Photography) 28 Exhibition view, STOCK#11: Jannes Snyers & Chantal Van Rijt, © Leontien Allemeersch 29 © Linde Vandecruys (Fashion) 30 Drama production, Op Hetzelfde Moment, directed by Marc Vanrunxt, © Leontien Allemeersch 31 Exhibition view, Wall Drawing Experiment #5. Artist Hannelore Van Dijck worked with second-year Fine Arts and Drawing bachelor students, © Ives Maes 32 Master class with the Symphony Orchestra of the Ghent Conservatory, © Tom De Visscher 33 Publication from the workshop by Tipi bookshop & Eat My Paper, with photography students © Andrea Copetti 34 Sophie Nys workshop with Graphic Design master students, © Rebecca Fertinel


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• MASTER OF VISUAL ARTS / MASTER IN DE BEELDENDE KUNSTEN 38 Graphic Design / Grafisch Ontwerp 46 Autonomous Design / Autonome Vormgeving 50 Fine Arts / Vrije Kunsten 59 Textile Design / Textielontwerp 59 Photography / Fotografie 66 Fashion / Mode • MASTER OF AUDIOVISUAL ARTS / MASTER IN DE AUDIOVISUELE KUNSTEN 66 Film 71 Animation Film / Animatiefilm • MASTER OF DRAMA / MASTER IN HET DRAMA 78

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• MASTER OF MUSIC / MASTER IN DE MUZIEK 82 Performing Music: Classical Music / Uitvoerende Muziek: Klassieke Muziek 85 Performing Music: Jazz/Pop / Uitvoerende Muziek: Jazz/Pop 86 Composing Music: Composition / Scheppende Muziek: Compositie 86 Composing Music: Music Production / Scheppende Muziek: Muziekproductie 87 Musical Instrument Making / Instrumentenbouw 88 Advanced Master Contemporary Music / 36 Master na Master Hedendaagse Muziek • BACHELOR OF INTERIOR DESIGN BACHELOR IN DE INTERIEURVORMGEVING 88 Focus: Interior Finishing & Advice / Interieurafwerking & Advies 91 Focus: Concept & Spatiality / Concept & Ruimtelijkheid 93 Focus: Furniture & Design / Meubel & Design 95 Focus: Temporary Installations / Tijdelijke Installaties • BACHELOR OF LANDSCAPE AND GARDEN ARCHITECTURE BACHELOR IN DE LANDSCHAPS- EN TUINARCHITECTUUR 96

• ADVANCED BACHELOR OF LANDSCAPE DEVELOPMENT BACHELOR NA BACHELOR IN DE LANDSCHAPSONTWIKKELING 98

• POSTGRADUATES 99 Musical Performance Practice 99 Soloist Classical Music 99 Curatorial Studies 100 Digital Storytelling 103 European Postgraduate in Arts in Sound • TEACHER CERTIFICATION IN THE ARTS / SPECIFIEKE LERARENOPLEIDING IN DE KUNSTEN


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Master, Bachelor & Postgraduate Projects 17—18

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MASTER OF VISUAL ARTS GRAPHIC DESIGN MASTER IN DE BEELDENDE KUNSTEN GRAFISCH ONTWERP

01 JULIANA CANAL

02 KELLY DE NAUW

03 JOLIEN DECEUNINCK

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04 LINH DONG KHANH

05 LIESELOTTE EGTBERTS


06 SARAH HAMBROUCK

07 KATRIEN HAULOTTE

08 LIES HERMANS

09 DANIKA KERSTEN

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10 HANNES LEGRAND

11 FEBE MAN


MASTER OF VISUAL ARTS GRAPHIC DESIGN MASTER IN DE BEELDENDE KUNSTEN GRAFISCH ONTWERP

01 JULIANA CANAL jcanalp.wixsite.com/portfolio GLORIA (Documentary) In 1885, the story of mine, a relatively young country was written. In an epic 19th-century style, eleven stanzas of a poem retell the battles and heroic actions that led to the recognition of this country as independent. The birth of a sovereign state was glorified, immortalised, cherished there. Praised were the heroes whose blood was shed. Cursed, the enemies by then defeated. It is the story of my country, but it embodies the story of most —if not all—countries. The story of the notion that defines them and keeps them abysmally separated and of the patriarchal system that keeps these distances irreconcilable, sharp, caustic and bitter.

02 KELLY DE NAUW

03 JOLIEN DECEUNINCK deceuninckjolien.wixsite.com/portfolio JU/'HOANSI: TRACKERS OF NATURE

capturing Hidden worlds lurk behind tall buildings, in alleys, nowadays in the in-between-spaces—of that which shouldn't indigenous communities be there—or in people's gardens. The outside Kalahari Desert Namibia world often lures me into photographing or filming hunting and gathering a setting that looks out of place in its surroundings. visual expression The location vanishes into the world, enclosing everything in sight, ready to be rediscovered. 40 fading traditions personal experience The unknown has always been there, lying in the embrace of the world, unaware of its existence until I take out my camera. The elements in the photo are part of a story, captured in one shot, a timeless presence which establishes a sense of familiarity after I detect it.

04 LINH DONG KHANH pictolingo.com GO WITH THE FLOW WHEN ENTERING THE RIVER. / VOLG DE STROOM ALS JE IN DE RIVIER GAAT. / SUIS LE COURS D'EAU EN ALLANT DANS LA RIVIÈRE. / NHẬP GIANG TUỲ KHÚC. Toen ik in Vietnam woonde, hoefde ik enkel één cultuur en één taal te kennen. Sinds mijn verhuis naar België, gedraag ik mij echter volgens de normen van twee culturen, en denk ik in de woorden van vier talen. Chaque langue introduit un mode de pensée complètement différent que celui des trois autres. Je pense et m'exprime dans la limite de ce qui m'est permis par ces langues. Gradually, my personality has been split in four, while these four ways of thinking have shaped my person. Thông qua công cụ ngôn ngữ, mình tỉm hiểu về bản ngã con người Việt Nam của bản thân trên đất nước Bỉ. Nhập gia tuỳ tục, nhập giang tuỳ khúc. The key is to go with the flow when entering the river.

05 LIESELOTTE EGTBERTS MADAM MIM MEMORY Wie danst postuum in carnavalskostuum? Madam Mim Memory lacht schoon en zot Met monsterlijke droge tieten en 'n Duivels' zoen Met puntige hoed en wat lonkend zoet Mijmert M.M.M. in overvloed Ha Vrouwenlist, en uw borst ontbloot! HA-HA-HA spreekt een Zij, die hem lonkend zoet vermoord HA-HA-HA spreekt een Hij, haar hals gevangen in koord Hoe dichter bij het leven, hoe dorstiger de dood Zoals Pizan haar stad had gedacht Zo heb ik op confettivloer alles (nog es) overdacht Mim verleidt haar minnaar met een puntige hoed Mim verdoemt haar minnaar met wat lonkend zoet Madam Mim Memory mijmert in overvloed Want ze danst postuum in carnavalskostuum


06 SARAH HAMBROUCK

07 KATRIEN HAULOTTE I AM ONLY WHEN I DO.

I have made a giant in pieces: hand ear toe nose

According to Jean-Paul Sartre, existence precedes essence. Unlike objects, people are cast into the world without a function. Our essence is generated only when we do things and make decisions. The attempt to capture my own existence is the basis of this project. Small, everyday drawings are precursors to larger, more elaborate works. Personal ideas are presented as grand statements. By standing firmly inside the existential problem, an awareness is sparked of the essential uselessness of the artistic act. By persisting in this uselessness, the relation to myself and my fellow man is confirmed.

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09 DANIKA KERSTEN djkersten.tumblr.com

NOTION IN A SPACE

JASPER

Long ago in a Dutch marine town, a pub owner Letting time pass over a particular space turned away a dog one of his daughters brought manipulates what is inside that space, and will put home. His house was already full enough, he everything in a state of flux. Spaces can be seen said. On top of the busy pub, he and his wife had as collections, in which everything has its assigned to manage four pubescent children and another place. See the relation between the collection and dog. The dog didn't want to leave. The man may its space, or the space as the collection's relation. “Or else, rather, to discover what you've never 41 not have had room in his house, but eventually the dog managed to charm a way into his heart. seen, what you didn't expect, what you didn't Years went by and the dog—who treated his imagine. But how to give examples? Not what, home like a harbour he might return to after long over time, has come to be listed among the various expeditions – noticed that the once full house wonders and surprises of the world; neither the was becoming quite empty, until he himself was grandiose nor the impressive; nor even the foreign the only one the pub owner and his wife had left. necessarily. But rather the reverse, the familiar A woodcut graphic novel. rediscovered, a fraternal space …” (Georges Perec)

10 HANNES LEGRAND instagram.com/legrandcollection LEGRAND COLLECTION

11 FEBE MAN febeman.be IF YOU LOOK, YOU SEE MORE. A yellow crane turns slowely from left to right. A woman walks by. A dog disappears behind the curtain. The curtain falls back into its fold. There is grass growing between the tiles. It is windy. She jumps on her bike.


12 GUST MATTHYS

13 ROB MEULEMAN

14 FRU PINTÉR

15 LORE ROEKENS

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16 ANITA ŠARKEZI

17 FARYLDE SCHILTZ


18 FLORE TANGHE

19 LISA VAN HOECKE

20 ESTER VAN HOORDE

21 ELISE VAN KERCKHOVE

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22 ESTHER VANDENBROELE

23 MEGHAN VANDERBRUGGEN


12 GUST MATTHYS demakersbureau.be CTRL ANALOGY

13 ROB MEULEMAN TRAUMGARTEN

On my long search for an identity as a designer, I encountered several artistic obstacles. Uncertainty and integrity, combined with pressure to achieve often led to creative blocks that had to be overcome. During the writing of my thesis, in which I studied the fine, almost invisible line between analogy and copy, I soon realized that this block was the result of an anxiety not to copy.

Four travellers explore travel operator Sandmann's brand new Traumgarten estate. Gradually it becomes clear that they each had their own particular motivations to come here, the one more sinister than the other. While the world around them grows ever more ominous, they must fall back on each other to get out of the estate alive.

14 FRU PINTÉR kru.design

15 LORE ROEKENS

TIME IS A LAYOUT Time… elusive and precious Time I wish I had taken and Time I wish I had spent Time that goes by in a blink of an eye and Time that stands still illusive, capricious a perpetual clock without hands… Time is a book. Time is a layout. For a flowing, freezing, and overflowing content. —Twelve Hours of The Green Houses by Kitagawa Utamaro

16 ANITA SARKEZI nitasark.wixsite.com/sarkezi A LABOUR OF LOVE AND COMPULSION The starting point of my practice is a process of channeling buried recollections where jouissance and melancholy are interwoven, the mental site where the uncanny and the abject meet. Recurring themes such as unconventional sexual desires and fantasies, fixations and obsessions, find expression in a visual language that employs an idiosyncratic set of idioms; a way of exteriorizing and distancing myself from a spiral of thoughts.

FALSE MEMORIES If anything can convincingly appear true, what is truth? The more we want to present something as true, the more we are misleading ourselves and others. Memory deceives. It conceals as much as it reveals. A photograph is not a reminder, 44 but a distortion of a true recollection. No matter how many connections the viewer may discover in the photographs, they will never know the underlying story.

17 FARYLDE SCHILTZ issuu.com/faryldeschiltz/docs/portfoliofaryldeschiltz ECHTE SYNONIEMEN BESTAAN NIET. Ze houdt niet van feestjes met slingers. Ze houdt niet van feestjes met draaiers. Ze houdt niet van feestjes met armen. Ze houdt niet van feestjes met zwengels. Ze houdt niet van feestjes met guirlandes. Ze mint geen feestjes met guirlandes. Ze mint geen ceremonies met slierten. Ze mint geen jolen met hefbomen. Ze lieft geen hoogtijden met hefbomen. Ze lieft geen partijtjes met slingeringen. Ze mag geen partijtjes met zwaaiers. Ze lust geen festijnen met katapulten. Ze lust geen hoogtijden met guirlandes. Ze lust geen jolen met hefbomen. Ze lust geen jolen met slierten. Ze lust geen festiviteiten met slingers. Ze houdt niet van feestjes met slingers.


18 FLORE TANGHE floretanghe.be COORDINATED GROUNDS

19 LISA VAN HOECKE (CLOSEUP)

Then: A hazy zone. An unreliable fragment. Signaling while strolling. Gathering. Collect and transport. Disassemble. Disorganize. Analyze and register. Cautiously building up. Cumulate and connect. To coordinate, to ground. Now: A collage of imprecise areas into a well-organized entity.

Hold still Buffer the breeze Move in Check the scene through the lens Lock arms hold breath Exhale just enough Open the f-spot angle for light focus Freeze shoot

20 ESTER VAN HOORDE

21 ELISE VAN KERCKHOVE elisevankerckhove.tumblr.com

THE STORIES WE LIVE Our lives are fleeting, our writing is fleeting. The world around the corner is often an unknown crop of stories. Scribbled notes, brief and fleeting, to yourself or to someone else. Everyday words people surround themselves with, lost in the street. I collect them. I read them, 45 like others read them before me. The words bring me closer to the unknown people who pass through the same places as I do. They reveal a glimpse of what lives around me, unknown to me. It makes me incredibly curious, in part because I will probably never physically meet these strangers. Starting from this idea, I intuitively create stories, with other people's words, that connect with my everyday life.

Can I in good conscience, (…) be concerned about fractions of millimeters between letters, given what's going on in the world? Is it the design equivalent of rearranging the deck chairs on the Titanic? —Irwin, Terry, 2008, A crisis in perception, Communication Arts Magazine

22 ESTHER VANDENBROELE esthervandenbroele.com

23 MEGHAN VANDERBRUGGEN … IS TEMPORARILY UNAVAILABLE.

The figure in the foreground assumes a distinct position. We recognize a rectangular object in her hand. She is posing for the camera. Her whole posture is determined by the image she sees of herself on the smartphone. In the image on which she is based, she takes a picture of herself in the mirror. Here, the spectator becomes the mirror. She takes a picture of the whole and the camera is facing us. The spectator becomes involved in the image. We do not see ourselves reflected, but we are looked at by the subject. In fact, we are outside of the image looking in. This dynamic brings about a disturbing relationship between the spectator and the figure. It may appear as if she is photographing herself, while we are gazing at her. Yet it is she who is looking at herself.

( present ) ≠ absence; state where something or someone is at a particular place, availability. ( absent ) ≠ presence; state where something or someone is not at a particular place. Mentally not attending to something. Showing a lack of attention. When I am absent, what do I still reveal of myself? The other still perceives, or rather projects, an image of me. Arthur Rimbaud stated that ‘je est un autre’, I is an other. Where do I start, and where does the other begin?


24 ARNE WASTYN

25 IANKA WAUTERS

MASTER OF VISUAL ARTS AUTONOMOUS DESIGN MASTER IN DE BEELDENDE KUNSTEN AUTONOME VORMGEVING

01 LEONTIEN ALLEMEERSCH

46

02 FLORA BLOMMAERT

03 DRIES COOLS


04 STAN D'HAENE

05 CORNEEL DE CORTE

06 KLAAS DE ROO

07 KADRI LIIS RÄÄK

47

08 BOJANA RADULOVIC

09 ESTHER SCHELFHOUT


24 ARNE WASTYN arnewastyn.com

25 IANKA WAUTERS

JUST A HORRIFYING IMAGE Arne Wastyn (1993) is an artist who lives and works in Ghent. In this high-speed world that is hard to perceive, he uses his work to get a grip on human nature and the violence that surrounds us. In our image-inflated culture, Arne uses drawings and photographs in order to get an understanding of the human ratio between the rational and irrational. He plays with the meaning of images by overthrowing them in order to create surprising, eerie combinations. So too in his publication Angling Ways where he combines victims of shark attacks and angling illustrations. From his strong urge to produce he makes numerous prints, drawings and publications.

… tools sun a sign golden icecaps

MASTER OF VISUAL ARTS AUTONOMOUS DESIGN MASTER IN DE BEELDENDE KUNSTEN AUTONOME VORMGEVING

01 LEONTIEN ALLEMEERSCH leontienallemeersch.com

infinity soft inhabited flank crude memory

taste hissing stains function …

(…) whenever two words or images occur together or in close proximity, an ‘associative’ link is formed between them in the mind of the hearer or seer, and the more frequently they occur together the stronger the ‘association’. — Clack, Herbert Herb, 1970, Word Associations and Linguistic Theory, New Horizons in Linguistics [words in italics were added by me]

PROPOSAL FOR A LANDSCAPE Another thing to deal with. A collaboration of possibilities. A fictional proposal. An exercise in imagining how it can be shaped. A collection of ideas. A blueprint for what can happen. 48 Something to connect the other things.

02 FLORA BLOMMAERT instagram.com/florablommaert N!ORE N!ORE [territory, homeland, area; esp. belonging to a village]. Indigenous people all over the world are struggling to protect their homelands and survive in these often untouched areas, trying to find a balance between cultural heritage and modern influence. The JuI'hoansi in Namibia are also confronted with this gap in their cultural identity. These hunter-gatherers' nomadic lifestyle was taken from them long ago, making survival difficult. N!ORE is a co-creative land and community art project in collaboration with the JuI'hoansi. Our aim is to tell and recreate stories and issues —contemporary and ancient ones—through the language of their crafts and skills. By giving voice to the people of the N!ORE, ownership and acknowledgment of their land and cultural inheritance can be reclaimed.

03 DRIES COOLS DING DING DING Ding Ding Ding is an uncomfortable conversation between three divergent views. I can hear you sigh, because you obviously didn't come here for fighting and clashes. The good news is: it's 2018. That means it is entirely up to you to decide who will be speaking. The only condition is that you need to have some pinball skills. But that shouldn't be a problem. I know you can do it.


04 STAN D'HAENE cargocollective.com/xerome LE JARDIN TROUVÉ Jerome is the contemporary gardening guild that strives to open up the practice of gardening and test its potential as an artistic act. The guild cultivates the gardening experience through the design of tools and interventions in both art and garden context, and by appropriating non-gardens as gardens. Jerome considers gardening to be a lifestyle with its own icons and emblems. Jerome was co-founded by Stan D'Haene in 2017, and he has led the guild towards its first public appearances in spring 2018. The work which he has realized with Jerome is the body of his graduation project. Stan D'Haene has also recently collaborated with Bart Van Dijck on a duo show and performance ‘Slagtanden Op Ware Grootte’, and worked on Pieterjan Ginckels' recent projects. 06 KLAAS DE ROO STUDIOMOSCOU

05 CORNEEL DE CORTE JACK OF ALL TRADES, MASTER OF NONE, STILL BETTER THAN A MASTER OF ONE. As the title suggests, a large part of the project is focused on gaining a wide array of skills with various materials as well as achieving a greater technical understanding of what it takes to create a product. Therefore I have created works in wood, concrete, steel, cast aluminum, ceramics and print. To achieve this I was required to build several intermediary devices. For the cast aluminum I made a small foundry, tongs and moulds. For the wood, a steam box and jigs to bend the wood to shape. Moulds for the ceramics as well as a fire pit. And a weaving loom to make the seating of a rocking chair. In large part it is a very literal interpretation of “autonomous design” as to lend myself as much freedom as possible. 07 KADRI LIIS RÄÄK kadriliis.intervox.ee/en RHIZOPIA

Rhizopia is a tactile, speculative-narrative Studiomoscou is the means I use to enable me to installation that reflects on the possibility of a shared work on the border between fine and applied art, mental space. It's a vision of ultimate assimilation between social-artistic work and art-education. in a rhizomatic Utopia, exploring possible presents The co-creative and participative projects I start with and futures. How is the mind embedded in space, studiomoscou are a means to make contact with how do we perceive others and through that the surroundings, to connect with people and raise questions about identity. studiomoscou creates 49 ourselves? Is an ultimate connectivity even possible in a constructed environment? Like the mind itself, spaces for artistic work in different, non-artistisic it's a living entity, always in transformation. Rhizopia contexts, and combines solo work with input from is a place that fuses bodies, minds, soft objects participants to create trans-medial projects. and sounds. It's a fibrous, evolving system which merges and shifts with each entity—expanding, bulging and spreading nutritious information.

08 BOJANA RADULOVIC SEPARATION, VIVID DREAMS I open the door of my Montenegrin childhood home, for the first time in 17 years. It is a single traditional house to survive a brutal political and economical transition, a fragile abandoned building facing a discount store. Inside, cellophane tarps reveal less my memories than the immanence of a repressed present, stuck between the past of civil war and a future with meager illusions. At each cardinal point, a territory opens, taking the viewer to the bloody East of Bosnia, to the West of Nato, to the South and Yugoslavia, to the commercial North. I situate myself within these boundaries, and question the place of the spectator in a global world where contemporary territories cartography has succeeded to that of countries or nations, with an ensuing alienation.

09 ESTHER SCHELFHOUT BOYS BRING BROOMS TO THE YARD! In 1918, a group of women went sweeping the streets of Flanders, as a symbolic action that followed the statement: “If we want to change something in the position of women in the world, we need to do something now.” They offered us a clean slate. Now, 100 years later, I find that this clean slatehas not been used enough. As a homage, as an urgency, as research, I went to places where women experienced sexism and patronization and we (a group of 35 different women) cleaned them. Literally with our brooms, symbolically with the message of our performance and experientially through the thoughts and discussions our action provokes in us and in the public.


MASTER OF VISUAL ARTS FINE ARTS MASTER IN DE BEELDENDE KUNSTEN VRIJE KUNSTEN

01 HOMASADAT ARKANI

02 VICKY BRUWIER

03 JASMIEN BURSALI

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04 ANNA CHERNYSHEVA

05 ZARAH COUSSEMENT


06 LIEZE DE MIDDELEIR

07 QUINTEN DE WILDE

08 IRIS DEZUTTER

09 MAÍRA DIETRICH

51

10 GILLES DUSONG

11 GUDLAUG MIA EYTHORSDOTTIR


MASTER OF VISUAL ARTS FINE ARTS MASTER IN DE BEELDENDE KUNSTEN VRIJE KUNSTEN

02 VICKY BRUWIER vickybruwier.be

01 HOMASADAT ARKANI VOID SET “How does a part of the world leave the world? How does wetness leave water? Don't try to put out fire by throwing on more fire! Don't wash a wound with blood. No matter how fast you run, your shadow keeps up. Sometimes it's in front. Only full overhead sun diminishes your shadow. But that shadow has been serving you. What hurts you blesses you. Darkness is your candle. Your boundaries are your quest. I could explain this but it will break the glass cover on your heart. And there's no fixing that. You must have shadow and light source both. Listen and lay your head under the tree of awe. When from that tree feathers and wings sprout on you be quieter than a dove. Don't even open your mouth for even a coo” Jelal'uddin Rumi – 13th-century Sufi mystic and poet 03 JASMIEN BURSALI jasmienbursali.myportfolio.com BENZI CHIBNA LOOBLE BAZEBNI GWEB

Vicky Bruwier's work creates a personal world by a particular attention to colour and shape. She starts from analog family photographs, and enhances themes and characters by presenting them more intensely or lifting them out of their contexts. Painting is a never-ending experiment and a continuous search for an aesthetic experience. 52

Jasmien Bursali's diverse body of work suggests the presence of different identities that confuse and confront each other. Her search for a personal world centred on absurd elements results in various styles in painting and in other media. She jumps from one dimension to another, to leave behind the old and worship the new. All this spurred on by the hope of once finding her ultimate dream world.

04 ANNA CHERNYSHEVA

05 ZARAH COUSSEMENT

PERCEPTION AND COMMUNICATION I am really fascinated by objects and the relationship between people and handmade objects. The communication between humans and certain simple things shows that a lot of amazing entities can easily be forgotten, ignored or underestimated in daily life. During my master, I tried to capture the essence of the nature of this relationship in my drawings, based on my experience and ideology. This originated a couple of decades ago. When I wanted to create or fix something I always ended up destroying things, by trying too hard. The object changed entirely, as it no longer had the same seductive quality. I threw them away but I never forgot about them. The eternal memory of them as an image in my head would not allow them to disappear.

Zara Coussement moves in the field between painting and sculpture. Motivated by a deep interest in industrial construction materials, she searches for a way to give these materials new contexts. The functional acquires an aesthetic environment. She brings together several particular elements to form coherent wholes.


06 LIEZE DE MIDDELEIR demiddeleir.be

07 QUINTEN DE WILDE dewildequinten.be

ROTATION – RECOLLECTION – IMPRESSION Sculpture is Lieze De Middeleir's natural biotope. Her work revolves around tactility and familiarity with materials. Man is present in the shape of impressions and footprints without being depicted literally. Hollows, cavities and spaces to be filled are recurring elements. Plinths or constructions hint at architecture. Her graduation project is a series of sculptures and drawings, discrete works that are unified by a particular style. Again, empty spaces and hollows recur in these sculptures—literally, but also for the viewer to fill with new, shifting, meanings. Lieze considers her sculptures as playgrounds for interpretation and meaning.

Army of generated bots that are active online on social media. Ongoing evolving identities created solely on Machine Learning algorithms, swarming the net. Searching to create a mass network and have acting roles as artists, influencers, cryptocurrency analysts or just posting kittens. Potentially being perceived as real humans. Leaving back a database of interactions with real people. From which patterns and information are derived. It's only interested in the pirate utopias.

08 IRIS DEZUTTER

09 MAÍRA DIETRICH mairadietrich.com AMBIDEXTROUS

Daar op het spit van de drijfveer en de wrange positie. Tussen de sirene tijd, I A et ou, rijgen we de zool en voet aan de schaduw. Bi donné pour moi et vul né rebel. De vlek spreidt zich, baart zich, zonder reden of beschouwing van het oppervlak. Mijn veeg kleurt tussen de lijnen en mijn kijk is enkel de hoek tussen vooruit en lager.

as the relief of a dark corner as the screen that lights the way as two years wrapped up in 15 minutes as 15 minutes leaking a hundred paragraphs as the rhythm of pumping blood as a hand quoting another 53 as a staircase of metaphors as anger, gently spilled under viaducts as my untranslatable growl as dust between layers as noise between vowels as a tireless magnifier as the stubbornest ‘because yes’ as all and every craving I'm waiting the image of this text in your eyes.

10 GILLES DUSONG gillesdusong.wordpress.com

11 GUDLAUG MIA EYTHORSDOTTIR gudlaugmia.com

Evert in een notendop Miel meet alle schade op Vouwmeter kon het niet verteren Diploma kan ik wel vergeten Dikke vette Touring bak Drive-by shooter langs het S.M.A.K. Patte Scheve latten Citadelle de Namur La vie est dure Sculptuur van m'n leven Opgepast op de E40 Calais of Ridder mij om 't even

From nothing to something to an object back to something to nothing.

Dure Euro Vijfennegentig Drama Salon Dikke Smiecht Houd gij uwen kakker dicht Medium-Density Fibreboard Tweedehandse kak-remorque Schaafband eenmaal gesprongen Schaafband andermaal gesprongen Tjonge Jonge Metabo for life Modern stressful times


12 MARK GROOTES

13 ANTON HEWITT

14 ARON MACHIELS

15 SIMON MASSCHELEIN

54

16 JARNE QUINTIENS

17 LUIS RAMOS


18 VALGERÐUR SIGURÐARDÓTTIR

19 JANICE THYS

20 NASRIN TORK

21 MARLOES TYRIONS

55

22 REBECCA VAN BOCKEL

23 INGE VAN DEN KROONENBERG


12 MARK GROOTES THE TEMPLE OF UNIVERSAL IMMENSE HEALING QUALITIES Some materials have universal immense healing qualities. Salt or Moroccan mud, lava stone, tea or snail mucus transcend cultural use or economic value and are thus globally exotic. Nothing proves this better than the fact that all these materials have their place in the wellness economy. Although the material has a universal value, every manifestation of the material is specifically cultural or economic. Mark Grootes chooses a location as carrier for these manifestations. Aware of the meaning and history of the location he brings in the immense healing qualities. This creates a game about exchange, an exchange between the viewer as a local and the location as a reference to the rest of the world which is activated through these universal materials. 14 ARON MACHIELS

13 ANTON HEWITT antonhewitt.com CONTEMPLATIVE My work consists of creating abstract sculptures, drawings and paintings that reconcile rigid objective geometry with a whimsical and impassioned point of view. In these compositions I strive to express an aesthetic that is immediate and tangible while also remaining elusive and thought provoking from different perspectives. Suggestions of monumentality, architectonic structure and rational design play off notions of improvisation, superfluous ornamentation, transient imagery and vulnerability.

15 SIMON MASSCHELEIN

MORATORIUM OF TRANSFORMATION Watching the ever changing water, I fall back into daydreaming. A utopian phantasm where dreams reside and worries ebb away. Created by the first medium that held an illusion of reality, a place uninfluenced by reality. An ever so slightly different world offered to us by a clouded mirror. A new given, an original copy that delivers a real that, insatiably, crawls under the skin. Like Narcissus, falling prey to the premonition of the hyperreal, I gradually lose all contact with my surroundings.

16 JARNE QUINTIENS jarnequintiens.com

The hinge in the middle of a carved wooden log makes it possible for her to nest herself in different positions. Filling small corridors, or reaching to the top of high structures. A bracelet with two pins supporting the weight of the work against the wall emphasizes 56 this importance in her presentation. Once you plug in a translucent alabaster body, a steel cable tenses because the weight of stone rolls a ball. Sustained by its own force, not unlike muscles tensed in a natural body. Foldable solid steel. Balancing the figure on the small surfaces of two foot pads in a rather arrogant contra posting. Skin moving from scratched to polished dark blue. 17 LUIS RAMOS cargocollective.com/luisvicente

WHEN WILL POST-POP BE? My work consists of a materials study that stems from a particular view on the world. Collecting an advertising iconography is an important part of this. Through methods of décollage, themes of repetition, coincidence, brittleness and recognition are raised. Décollage entails taking away or destroying an image and is thus, as suggested by the term itself, the opposite of collage. I mainly focus on printed matter and pamphlets that I stick adhesive tape to. When the tape is removed, the top layer of the image comes off with it, revealing a white surface. The material is doubled: there are now two images; a white surface with remaining bits of colour selected by chance, and the original image, framed in the size of the tape.

The work is set on an empirical way of thinking, rooted in sculptural processes. There is no thematic or formulaic approach to the practice. Efforts are made not to develop an orthodoxy, a procedure.


18 VALGERÐUR SIGURÐARDÓTTIR valgerdursigurdardottir.com HIDING PLACES, PRIVATE SPACES

19 JANICE THYS janicethys.com GREEK DESIRE

Hey there! Valgerður Sigurðardóttir here … Welcome to the show! My contribution is called: Hiding places, private spaces. Ok, hiding places and private spaces? What gives? Well, you're gonna have to look at the work to figure that out I guess. But I can tell you that these pieces are based on drawings, and these drawings depict things from memories, dreams and made up scenarios. My work has a light and inviting feel to it; they are playful and humorous but often there is an uncanny element and something seems to be hiding under the surface. What you see in the work is based on things from my life but these situations might have happened in yours too.

In my master year I have focused on women. I have attempted to portray women in a new way by combining my interests in feminism and in Greek mythology. The ancient Greeks used ‘characters’, often Gods and Goddesses, to explain certain things. These characters each are a personification of ‘something’. In these works I transformed myself into female Greek characters, and added contemporary elements. This allowed me to reintroduce strong women like Athena, Hera and Medusa to our awareness without having to revert to traditional representations. As such, my drawings are a tribute to strong women who can often be seen as exemplars or symbols.

20 NASRIN TORK

21 MARLOES TYRIONS

CASTANEA TORSHI Tork, the Iranian sculptor, works on preservation The two sculptures on display are essentially and its temporality as a medium. For her graduation (selfish) attempts to reinterpret a traditional painting project she makes a constellation of pickled in sculpture. The dimension of the tangible is chestnut jars. Her project revolves around the act something I feel is lacking in paintings, hence this of pickling, the objects are material references to way of making them more agreeable to myself. the process. As a ‘Southern’ in the global North she For the construction I used my personal method of saves the fruits of trees on the street and finds a 57 moulding: a combination of the smooth finishing way to preserve them as they contain value to her. of the body with a surrounding of crude material. The intentions to pickle during the nine months of The painting I used as a model was divided in the academic year can be considered as both a two reliefs each featuring a single character, with reflection of and an address to wider social forces. the intention of stripping the work of its original A 'Southern' performative enactment deploys a meaning. This created space for individual, resistance system against the western formation subjective interpretations of viewers concerning of time based on a neo-liberal mentality and the the characters' stories. direction of a global flow towards that. 22 REBECCA VAN BOCKEL // The ostensibly childish world Rebecca van Bockel creates in her works is in fact anything but innocent. In her two- and three-dimensional pieces, she tells stories in which she broaches the obsessive, death and the chaotic with a pinch of black humour. As a silent observer, she questions the human capacity for empathy, challenges it and tries to transform it.

23 INGE VAN DEN KROONENBERG soundcloud.com/inge-van-den-kroonenberg TRACES OF SONG In ‘Traces of Song’ I present work regarding my research on the performance of sound, speech and song through amplified media. I am interested in sound as acoustic phenomenon and as carrier of meaning. I work with recorded sound, text, and voice. I like noise too. How it is constructed and how I can deconstruct it through listening. I reflect on sound like sound reflects on me. I absorb sound, like a wall does. Sound does not judge me. To sound I'm as much a wall as I am a person. I judge sound. Sound is meaningless until it is processed by my neurological network. I sing songs. I remember songs. I remember words, rhythms and melodies. I remember patterns. I love patterns. Nature produces patterns beyond my limited comprehension. I only partially understand nature's rhythms, words and melodies.


24 DRIES VAN LAETHEM

25 JULIE VAN MECHELEN

26 RÉMIE VANDERHAEGEN

27 ROMY VANDERVEKEN

58

28 JELLE VANDEWIELE

29 STANS VRIJSEN


30 TESSA WILDERS

31 THOMAS WILLEMEN

32 AN WITTEVRONGEL

MASTER OF VISUAL ARTS TEXTILE DESIGN MASTER IN DE BEELDENDE KUNSTEN TEXTIELONTWERP

59

01 HEIKE DOBBELAERE

MASTER OF VISUAL ARTS PHOTOGRAPHY MASTER IN DE BEELDENDE KUNSTEN FOTOGRAFIE


24 DRIES VAN LAETHEM driesvanlaethem.be CHIC ET PAS CHER

25 JULIE VAN MECHELEN instagram.com/blacksmithjulzz MODULAR STRUCTURES The spine offers support to the human body. It is constructed of several parts, 24 vertebrae in total. The inspiration I draw from the human spine is based in its supporting power and its capacity to keep the body upright and set it in motion. My graduation project consists of 13 modular links. These all have the same shape and are made of metal. They can be linked together by inserting one in the other and have the quality of locking themselves. Tensegrity is a portmanteau of ‘tension’ and ‘structural integrity’, and refers to the integrity of structures based on tensile and compressive loads. The structures can be set up in different ways, creating new sculptures.

26 RÉMIE VANDERHAEGEN rémievanderhaegen.com DINGEN NAAR

27 ROMY VANDERVEKEN WHERE WERE WE

Where Were We is an installation that functions as We understand things if we can picture them in our a rhythm, a kind of in/out in/out in/out, in which mind. Pictures are formed that are transformed into performance, text, video and choreography work metaphor. My practice is driven by a fascination for together to reflect the intimate reality of our shared this ‘understanding’. It is equalled to a form/picture space. It is an attempt to broach issues of being that takes shape and communicates with other lost, of intimacy and of the collective. It is an images. From the moment I actively seek out these pictures I encounter an infinite ambiguity in which 60 attempt that focuses on a moment of not knowing and confusion, to ask ourselves where we are. I can make up ever new pictures for each picture, for each space, for each understanding.

28 JELLE VANDEWIELE jellevandewiele.tumblr.com/

29 STANS VRIJSEN instagram.com/stansvrijsen

JVDW JVDW's work is a self-portrait in the form of a game. Throughout the game, the player discovers various locations and events drawn from JVDW's personal memories. Photographs, videos and other types of collage create some context concerning certain periods of his life. The work relates a non-linear story and tries to convey the emotions associated with certain memories.

“In spaces of illusion, the moving observer receives an illusionary impression of space by focusing on objects that move towards or away from him. The depth of a painted space, however, is experi­ enced, or presumed, only in the imagination … The technical idea that is Virtual Reality now makes it possible to represent space as dependent on the direction of the observer's gaze: the viewpoint is no longer static or dynamically linear, but theoretically includes an infinite number of possible perspectives.” (Oliver Grau) Sticker and digital collages, a column, doors, prints, carpet and a five-panel work. Within the physical space in which the viewer navigates between the works, a virtual simulation opens up new perspectives. (In collaboration with Fons Artois, Media Arts.)


30 TESSA WILDERS

31 THOMAS WILLEMEN CONTROL GRID

A REVISTITATION The work concerns the vulnerability of existence, interpretation, the body, and the interior.

“One might go so far as to postulate a need for structure. .. Without such an ability survival itself would in most cases be rendered impossible or at least markedly impaired. Concepts contribute to this assessment of the world; indeed, they are perhaps the sole embodiment of it. As such, they provide one with a means of fate control, a vehicle through which some sort of adaptive equilibrium is maintained between the inside and outside.” Harvey, O. J., & Schroder, H. M. (1963). ‘Cognitive aspects of self and motivation.’ In O. J. Harvey (Ed.), Motivation and social interaction: Cognitive determinants. New York: Ronald Pres. 95-133.

32 AN WITTEVRONGEL

MASTER OF VISUAL ARTS TEXTILE DESIGN MASTER IN DE BEELDENDE KUNSTEN TEXTIELONTWERP

An Wittevrongel makes drawings that originate with looking at shapes she encounters in everyday life. Often, these are details; things that strike her because they seem out of place, not entirely fitting in their surroundings, and mostly go ignored by others. She captures these in snapshots that serve as reminders or drafts, and that are collected in an index of shapes. By revisiting and studying this index, possibilities present themselves. Shapes overlap and become images. In this process, the drawing provides guidance. By making assemblages of images or by isolating certain elements in the white of the sheet, she gives the shapes new purposes. A cabinet of curiosities on paper. 01 HEIKE DOBBELAERE vormplatvorm.com HERVERGEBRUIKSVORM Hervergebruiksvorm questions the notions of ‘using (up)’ and ‘re-using’, and gives them a wider meaning. A set of about 100 everyday objects forms the starting point of this investigation. The objects are painstakingly disassembled and analysed, and their components used as multifunctional elements. They function as pieces to puzzle together new objects that may either be functional or not. They are also the subject of a series of photographs. The components are portrayed in groups, resulting in an aesthetic inventory. In a subsequent phase, the re-usage becomes more abstract. The components' forms are reduced to graphic stencils that are made available as tools through the ‘formplatform’, generating a new library of applications …

61

MASTER OF VISUAL ARTS PHOTOGRAPHY MASTER IN DE BEELDENDE KUNSTEN FOTOGRAFIE


01 ANNEKE D'HOLLANDER

02 REBECCA FERTINEL

03 GUILHERME GERAIS

04 SJOERD HOUBEN

62

05 ALIX JACOPS

06 THOMAS NOLF


07 CONSTANCE PROUX

08 RAINY SIAGIAN

09 TITUS SIMOENS

10 FLORENCE VANDENBUSSCHE

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11 ANN VINCENT

12 DINAYA WAEYAERT


01 ANNEKE D'HOLLANDER annekedhollander.be GANDALF FOR PRESIDENT

02 REBECCA FERTINEL instagram.com/rebeccafertinel I AM BECAUSE WE ARE

There used to be grand narratives, systems to hold on to, ideologies, the belief in god even. In the West, these anchors disappeared, and we are left to our own devices. In the absence of a grand narrative, new narratives are constructed. Look at the people around you, and you see today's context. We each try to ‘make it’, and are expected to do so on our own, in a context of youthful bodies and affluence. This offers all manner of possibilities to go looking for yourself and for kindred spirits, possibilities to create one's own reality. In Gandalf for President, everyone builds their own reality. These stories show a ‘sign of now’. If we lose our bearings, that says something about our surroundings.

‘I Am Because We Are’ is a reference to the African philosophy of Ubuntu. Ubuntu is a view of man as an animating and animated being, in which being human is experienced through fellow human beings from the present and from the past. This philosophy creates a connection with ancestors, parents and extended family, and is a point of reference during the most crucial phases of each individual's life.

03 GUILHERME GERAIS guilhermegerais.com

04 SJOERD HOUBEN sjoerdhouben.nl

THE BEST OF MR. CHAO Two quantum particles can be so entangled that measuring one influences the state of the other. The definition of reality is revised. Particles and Atoms. The thinking of beings on various scales, none of which is privileged over the others. Everything exists in equal measure. A future coexistence. Our new awareness is disorienting.

05 ALIX JACOPS alixjacops.com ARE YOU FAKING, MR. SMITH? Alix Jacops made a project about the porn industry; a world which is known for being artificial. A porn set is a built-up world, whether or not in a real existing environment. In this temporary setting actors are placed who play the role of a fictional character, so the spectator can relate to the story. In this staged world, the photographer tried to capture the real moments, when the porn stars weren't acting. But to what extent do these inbetween moments show reality? In her project ‘Are you faking, Mr. Smith?’, Alix Jacops plays with the tension between fiction and reality as well as with the friction between documentary and commercial photography.

NO PLEASURE CRUISE Using the ‘World Happiness Report’ as a starting point, Houben began this project by questioning the legitimacy of humanity's search for happiness. The project touches on various subjects, but still keeps the concept of happiness at its core. While examining this concept, Houben came 64 to several different lines of questions; “How do people try to be happy?”, “How do people conduct their search for happiness?”, “How do people show that they are happy?”, “Can happiness be physically and visually represented (without being merely an illustration)?”.

06 THOMAS NOLF thomasnolf.be PECULIAR ARTIFACTS IN BOSNIA AND HERZEGOVINA: AN IMAGINARY EXHIBITION During his studies Thomas Nolf worked on a project in Bosnia and Herzegovina, where he stumbled upon the existence of pyramids, stone spheres, and other peculiar artefacts discovered by Semir Osmanagić and his team. Osmanagić is best known for promoting the pseudo-archaeological project of the “Bosnian Pyramids”. He claims that a cluster of natural hills in the central part of the country are the world's largest manmade ancient pyramids. Aiming to create an alternative biography that could counteract the post-war disillusion in the region, Nolf travelled to various sites, took photographs, spoke to locals, and ultimately attempted to establish the phenomena as a believable history. Therefore, he proposed an exhibition on the pyramids to the National Museum in Sarajevo.


07 CONSTANCE PROUX constanceproux.berta.me REALMS OF LEGEND Who are those young men who fought against the French Revolution in 1793? While they are considered traitors and reactionary royalists by the “winners” (the Republicans), others consider them to be the heroic generals and martyrs who led a popular rebellion against the abolition of religion and massive conscription. This work questions the memory of the “losers” and its revival today. What led those young men to represent the iconic figures of the Vendéens' counterculture? Are they fighting for the return of a lost paradise ?

09 TITUS SIMOENS titussimoens.com FOR BRIGITTE Over the last three years Titus Simoens has been working on encounters with other people. Before starting his MA at KASK, Simoens finished Tu me dis., which resulted in a book about a rendezvous with a young woman he met in Arles. The book includes photographs he made with a poignant letter she wrote to him. In For Brigitte, he worked closely together with Lieve, who wanted to surprise her sister Brigitte for her 70th birthday. Simoens went through the family albums, looking for images that portray her as a woman of the world; a young lady from a small village who had the elegant allure of the jet set. Leaving the book design partly up to chance, Simoens builds an accidental and surprising narrative, full of unexpected details and pregnant with potential metaphor. 11 ANN VINCENT

08 RAINY SIAGIAN TO ANTON — Why did you come here? — I want to get to know him, — You know he died, right? I mean, is he still alive in your mind? Because he’s no longer here. — I know… But I wish I knew him, or at least something about him. — Fair enough. What do you think of the island? (…) — What else have you been doing around here, while waiting for answers — Chasing waterfalls.

10 FLORENCE VANDENBUSSCHE flovandenbussche.wixsite.com/photography BIALOWIEZA The photography project Bialowieza deals with Europe’s last large primeval forest. Sadly, this forest is now seriously threatened by logging, despite the fact that part of it has been designated a world heritage site. The Polish government claims it allows logging 65 as protection for the European spruce bark beetle that affects the firmness of trees. As a precau­tion for the safety of tourists, affected trees are cut. However, this argument appears to be a cover for the industrial-scale organization of logging in the area. The last large primeval forest in Europe is an important factor in the preservation of a number of animal species, but also in the Polish logging industry. Can there be a compromise between these two opposites? 12 DINAYA WAEYAERT dinayawaeyaert.be PERSONAL COLLECTION

Whilst experimenting with the conceptual and material conditions of visual language, Ann also exploits the psychological power of photographs and their capacity to test human perception. The desire for unexpected outcomes is carefully balanced with intention to direct. But above all, these works and their presentation inspire curiosity.

‘For the ones who are not included (sorry)’ The image as a personal document is something that has always fascinated me. With my series called Personal Collection I explore the concept of time and memory between friends and relationships that alters through the years. As a photographer I let the viewer into my intimate world without being part of it myself. You can see my presence in the role of voyeur, making images that represent moments of connection with my subject. Intimacy between lovers and friends are often shared in private, away from the gaze of outsiders, while I love to put this all out on display. The tender and affectionate is showed in a raw and explosive way. I always photograph on 35mm colorfilm with two different camera’s.


13 SABINE ŽIC

MASTER OF VISUAL ARTS FASHION MASTER IN DE BEELDENDE KUNSTEN MODE

01 MAXIME VAN MIDDENDORP

02 KIM VAN TRICHT

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03 HANNAH VANSPAUWEN

MASTER OF AUDIOVISUAL ARTS FILM MASTER IN DE AUDIOVISUELE KUNSTEN FILM


01 GUUSJE AMERICA

02 HANNAH BAILLIU

03 ADINA BALATOVA

04 ABEL BOS

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05 JONATHAN CANT

06 MIRA DE BOOSE


13 SABINE ŽIC PHOTOGRAMS

MASTER OF VISUAL ARTS FASHION MASTER IN DE BEELDENDE KUNSTEN MODE

Sabine Žic's work is the result of various experiments in the analogue dark room. Each new experiment stems from doing, manipulating and testing. For the photographer, her medium, the photogram, is an enduring method of discovery and transformation. She challenges herself to create images that are difficult to grasp. Her aim is to raise a certain interest and curiosity in the viewer, and to speak to the imagination. Perception is an important part of this project; how people see things, and how they experience them, are essential issues in her work.

01 MAXIME VAN MIDDENDORP 2M18 Overhead, the two moons worked together to bathe the world in a strange light.

03 HANNAH VANSPAUWEN DANNY IS SITTING AT TABLE EATING A SANDWICH. WENDY SITTING CAM.R READING BOOK. DANNY Mom… WENDY Yeah. DANNY Do you really want to go and live in that hotel for the winter? WENDY Sure, Danny, it will be lots of fun. DANNY Yeah, I guess so. Anyway, there's hardly anybody to play with around here. WENDY Yeah, I know. It always takes a little time to make new friends. CUT TO M.S. DANNY eating sandwich. DANNY Yeah, I guess so. (The Shining, Script, A Stanley Kubrick Film)

02 KIM VAN TRICHT TOXIC In Kim Van Tricht's silhouettes, two eras seem to collide head-on. As a child of the ‘tacky nillies’, Britney Spears-style crop tops and frayed hot pants were among Van Trichts earliest fashion experiences: ‘An an 8-year-old I thought these were normal everyday clothes and I couldn't understand 68 why they were inappropriate to wear to primary school.’ The necessary counterbalance was found in the sixties housewife. Caught in her routine microcosm, she embodies oppression. In Van Tricht's imagination, this abuse comes to a head in a dramatic moment of crisis: the housewife poisons her husband. Snakelike motifs and tribal designs echo this denouement, and the sixties are recalled in the choice of fabrics: flower patterns, DIY store plastic table-cloths, you name it … MASTER OF AUDIOVISUAL ARTS FILM MASTER IN DE AUDIOVISUELE KUNSTEN FILM


01 GUUSJE AMERICA guusjeamerica.com VHS (VIDEO HOME SYSTEM)

02 HANNAH BAILLIU MODEL YOUNG GESTURES

Mr. America, the filmmaker’s father, digitizes old slides, VHS tapes and 8mm films in his mother’s attic room where he, in exchange for living, provides informal care for his mother. Father and daughter America share an equal interest in archival images and home videos. The filmmaker goes in search of her own past and the true nature behind these idyllic images and tries, through the film-making process, to bridge the distance that has arisen over the years between herself and her father. With an alcoholic past and financial debt, Mr. America tries to improve his life and, by stepping in front of the camera, to heal the relationship with his daughter.

A British-Belgian girl works on her house in the secluded hills of southern Portugal where she grew up. A group of international students in Brussels trains speeching and diplomacy skills to take part in MUNs: Model United Nations, simulations of UN conferences. In the rehearsal room, on unwrought land, burgeon the essential words and gestures. “Only the idiot has access to the wholly other.” — Byung-Chul Han, Psychopolitics

03 ADINA BALATOVA

04 ABEL BOS

LE JEU DE MARIAGE

VIS

Le jeu de marriage is a short docu-fiction film about the attempt to side-step traditional roles and structures. Two young Belgian friends with Dagestan roots return to their native country. Through a staged marriage, they try to avoid the religious masquerade. The virgin marriage perverted in hypocrisy. 69 In many cultures family and community pressure restrict free movement. This film is a form of protest, not at all without risk. My fictive husband and I trail through the desiccated monuments of the Caspian Sea.

The worldview of the young Bas shifts when he is struck by a mysterious disease, becomes paralysed and ends up in hospital. Bas experiences hallucinatory fever dreams, but does discover his new reality: the hospital is an insatiable monster, from which it is impossible to escape...

05 JONATHAN CANT

06 MIRA DE BOOSE

WHERETO? A nocturnal nihilism is haunting the city. We follow a group of friends skirting the line between underground and lowlife. A man keeps on dancing long after the music has stopped.

‫ نیمز وت مراهب نم‬/ I AM SPRING YOU ARE EARTH A girl in red walks through Tehran. Spring has come. The world learns how to speak. Words live in stones, in dried fruit, at the bottom of a salt lake, in the graves of poets. I am spring you are earth arises from my fascination with the Persian language and poetry. I approach Iran by learning the names of her colours and following the eyes of the children. It is a film about the poetry of everyday life, about friendship and the freedom of language.


07 MANON DE SUTTER

08 CHARLES DHONDT

09 OLGA LOMBAERS MUÑOZ

10 LOUISIANA MEES

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11 LUIS PIZARRO

12 SEBASTIAN SCHULTE


13 DAVID SLOTEMA

14 MELTSE VAN COILLIE

15 VITA SOUL WILMERING

MASTER OF AUDIOVISUAL ARTS ANIMATION FILM MASTER IN DE AUDIOVISUELE KUNSTEN ANIMATIEFILM

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01 GIEDRE BOOTS

02 BRAM BOSSUYT


07 MANON DE SUTTER SHŌGUN

08 CHARLES DHONDT WHOSE CHEEK IS THIS?

If money is the bond binding me to human life, binding society to me, connecting me with nature and man, is not money the bond of all bonds? (Karl Marx) Two boys capitalize on the sale of motorbikes. A young woman is involved in an illegal money transfer. Two brothers with financial debts have to appear in court. The monetary rules are as firm as the heavy walls of the ‘Palace of Justice’. How did King Cash ever manage to build such an intricate maze? Is it possible to escape the story of money?

Whose Cheek Is This? is a short experimental film larded with documentary and autobiographical elements, in the absence of lies. A love triangle between Eleonore Van Godtsenhoven (27), Stine Sampers (24) and Ezra Fieremans (23). On the projection of images and ideas— the shifting of personal borders—the representation of a past—colour, innocence, love, and sex. And everybody thought that Eleonore was innocent…

09 OLGA LOMBAERS MUÑOZ

10 LOUISIANA MEES

LOS DEDOS DE ORO

WAITHOOD

If youth is the season of hope, it is often so only What if your country is not your fatherland and your in the sense that our elders are hopeful about us. language not your mother tongue? Guided by the For no age is so apt as youth to think its emotions, voice of her mother, Olga Lombaers Muñoz stays partings, and resolves are the last of their kind. in the Spanish village of her dead grandparents And each crisis seems final simply because it's during the brief period of the saffron harvest. new.—George Eliot A village where the locals no longer stoop down Athens 2018. 44% of youth is unemployed. on the fields and animals roam the deserted streets. 72 A group of young friends experiences a period Los dedos de oro is a film about language, of stagnation in their lives. They yearn to forget migration and feelings for the homeland. their idle futures while playing in luxurious airbnb's. High on rooftops of different penthouses they look at the skyline of their city. While waiting for their adulthood they dream about other worlds where things could be different. The five characters are non-actors who play their own lives yet are captured in a fictional plot. 11 LUIS PIZARRO

12 SEBASTIAN SCHULTE

Selva Cromática shows a filmmaker's undertaking to (re)connect with the past, linking his native culture with the present life he adopted, set off by his return to Peru. A ritual that amplifies thoughts and images of a rainforest village remind him of his upbringing in the city by a family with a rural history. He observes scenes and routines that evoke a sense of recognition. Yet feelings of estrangement and loss of belonging also come up, since he is now settled in urban Europe.

Fragments between a boy and a girl. They find each other in Mechelen. She is new to the country where he grew up. Romance is twisted and swiped away. Doors to the world of cinema are opened and closed. Hungry for the unknown, the make their way through the city.


13 DAVID SLOTEMA davidslotema.nl PALE WINDOW

14 MELTSE VAN COILLIE ELEPHANTFISH

Water, fire and human crowds move in such intricate and infinitely variable ways that they are near impossible to capture in a code or to simulate convincingly. Yet some companies are coming very close. Close to the point where the virtual starts to coincide with the real, to overlap reality. Key to this realistic virtualization is the ability to program randomness. It’s a path that will ultimately make even human behavior predictable. In Pale Window the realm in between the real and the virtual is explored, thereby also questioning the cinematic image.

In elephantfish we are on board a ship drifting about on an endless sea. The crew of five each deal with the emptiness in time and space in their own ways. Imagination rises to the surface and gradually takes the helm …

15 VITA SOUL WILMERING

MASTER OF AUDIOVISUAL ARTS ANIMATION FILM MASTER IN DE AUDIOVISUELE KUNSTEN ANIMATIEFILM

IBOYAH This is where a journey begins. A journey through time and space, through stories, histories and nomadic romances. On the road we sing, we meet people as the wheels rattle, the horses race in a landscape without end. There is a man in a hat who takes us with him. There is an uncle in a kilt, he is laughing, he tells about my grandmother. 73 On the trail of grandmothers and greatgrandmothers, in love with Englishmen and caravan folk in worlds of paper, we move on, until the uncles, the aunts, the children and grandchildren no longer know what came next and the stories live on only in foldable landscapes of plaster and paint.

01 GIEDRE BOOTS erafilm.lt A DOG NAMED SHEEP An animation film with encyclopaedically precise fantasies and fabled historical facts. The legend of Napoleon’s lost gold has haunted Lithuania for two hundred years. In the area of Vilnius, the army packed with silver and gold was unable to pass the frozen Paneriu mountain, and the Grande Armée’s treasure was lost in a snowstorm. Sergeant Bourgogne was involved in these remarkable events and describes everything in his memoir … Or is this just a fable? Were there eyewitnesses? Maybe the magpies can tell us more? Or an army dog? Not me, that’s for sure …

02 BRAM BOSSUYT EPOS EPOS is a board game for four players, aged 10+. As in any game, a story unfolds as it is being played. EPOS is also a film, in which such a story is told by four players and Bram, who does his best to bring their absurd turns to the screen.


03 MAÏ CALON

04 DAYLEN CHIANG

05 SOFIE DE CLEENE

06 LINDE DE NIJS

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07 CAMILLA DEL FABRO

08 NINA EGGERMONT


09 ELIZABETH FOSTER

10 LAURA IBÁÑEZ LÓPEZ

11 NAOMI LAATS

12 YURIKO NODA

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13 BENNO SAMEYN

14 MAARTEN SIERENS


03 MAÏ CALON ()

04 DAYLEN CHIANG daylenseu.com EPOCH 4

The poetry of the white canvas, the possibilities, the waiting and the expectation. The white city, the morning mists, finding meaning, content. The writing, the errors, the folding or unfolding. The less I show, the more you see.

Disposable ‘angels’ are used as bait for a world that has deformed into an ever consuming entity. They must bring on the cleansing and rebirth of not only the world but themselves as well.

05 SOFIE DE CLEENE tochwel.tumblr.com

06 LINDE DE NIJS dievanons.tumblr.com

PERHAPS WE SHOULD HAVE JUST STARTED OVER The banana she throws away. Under the dust of years they can no longer say, hear, feel or taste anything. The fragments he sweeps together. They can only think: “Yes, this must be the beginning of the end.” The other has become a habit.

07 CAMILLA DEL FABRO vimeo.com/262185185 MY CHAIR ASKED ME TO DO AN EXHIBITION Chairs modulate our daily routine. They shape space and time, like in an office or in a waiting room; they express hierarchy and needs, like in parliament or in a restaurant. Wherever we are there is always (or almost always) a chair, and that is probably why we tend to forget about them. But what if chairs could tell us how they feel? What if they suddenly break free and show us their real nature and intentions? For once, do not sit and enjoy this chairy installation.

VUIL VEL She is a woman. A woman who laughs, tastes, floats, strokes, nibbles, is intimate, is lovely and loves. A woman who is sensual. Nude. But she also that woman. That woman who complains, cries, scoffs, sinks, lashes out, stomps and bites. A woman who is fed up, who hurts 76 and is hurt. She is the woman who is awfully carnal. Naked. She has a body, that woman. A body with dirty bits of skin, bitten nails, rolls of fat and periods. She has a tiny head and a huge body. A body she gnaws, cuts, messes with, yells at and feeds on. She is sickened by it, retches and throws up. She gives up and shivers. That woman should have herself examined. 08 NINA EGGERMONT eggermontnina.wixsite.com/animation GEEN WIJ Geen wij (‘no us’) is a film, is a book, is a new world in which I lose myself. We all have a part that conforms to the rules, and another part that we would rather hide in the dark. In my film and book, these two versions are separate characters that belong together but cannot be together. Let the film transport you to this new world, and steep yourself in it through the book.


09 ELIZABETH FOSTER

10 LAURA IBÁÑEZ LÓPEZ cargocollective.com/pakitalouter

HEEN EN WEER

LOVE STORY

We all have a different rhythm. Heen en Weer is a dance about individual rhythms that mingle now, and then seem to clash or just stay separate.

My grandparents lived a peaceful routine their whole life. My grandfather died nine years ago. My grandmother keeps living in their house. Through her memories I try to reconstruct the life they had together.

11 NAOMI LAATS naomilaats.wixsite.com/mysite

12 YURIKO NODA CHUBBY TUMMY BUNNY

CONGRESS OF HUMAN WONDERS

There is a hungry chubby bunny in the forest. He is really hungry. Finding food seems an easy job but to satisfy his stomach seems harder …

You enjoy what you are watching without questioning what it is. Until you recognise these monstrosities. Enjoying the ugly and even, finding it beautiful. 77

13 BENNO SAMEYN youtube.com/user/Bucklemonster TIME UNSILENCED People run, run and run after their own goals, but why in such a hurry?

14 MAARTEN SIERENS ROUND ABOUT PEOPLE An old man spends his days watching people pass him by in a park. Each passerby has his own set of troubles. The man, with a trained eye, imagines these troubles as physical things. The park becomes a stage on which troubles personified run amok. The man is perturbed and imagines solutions, but not all problems can be thought away.


15 FRAN VAN GYSEGEM

16 LIZZY VANDIERENDONCK

MASTER OF DRAMA DRAMA PRODUCTIONS MASTER IN HET DRAMA DRAMA PRODUCTIES

01 LOUISE BERGEZ

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02 LOUIS JANSSENS & TIMO STERCKX

03 MENZO KIRCZ


04 CARINE VAN BRUGGEN & ELEONORE VAN GODTSENHOVEN

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15 FRAN VAN GYSEGEM vimeo.com/user22964598 LOST SAND

16 LIZZY VANDIERENDONCK lizzyvandierendonck.tumblr.com 01:48 (A.M.)

Lost sand, Sand from somewhere, sand from nowhere. Heaps of sand by the side of the road, lost in the scene, waiting for their destination or forgotten and overgrown. Hills without names. I want to give the sand a place, save it from oblivion.

As a medium, an exhibition opens itself up for a lot of variations by repetition in different locations. As it is always recuperated, it always remains a proposal. Here, the recuperation takes the form of re-using found materials and older works, ideas and existing installations, eventually leading to the recuperation of memories. This exhibition presents an inquisitive archive of a memory. A snapshot in time.

MASTER OF DRAMA DRAMA PRODUCTIONS MASTER IN HET DRAMA DRAMA PRODUCTIES

01 LOUISE BERGEZ

02 LOUIS JANSSENS & TIMO STERCKX louisjanssensferremarnef.tumblr.com THE GREATEST SHOW ON EARTH We use Patrik Ourednik's book Europeana: a Brief History of the Twentieth Century to create a performance about history, about graduating, about beginning. I try to dream about tomorrow, to be uninhibited, but everything that is, that has been done, paralyzes me. I'm getting nowhere. The Greatest Show on Earth is grand theatre for a small house. It is about who is speaking. And who is not. Who is in the spotlights, and who is in the wings. Because history is not fixed, it is always about who is selecting, designing and founding it. And above all, about who is part of it. And who is not. It is a play of coming on and going off. Of people trying, inventing, hoping, devising, speaking and forgetting things.

EEN PARADE (VAN ANTIHELDEN EN ANDERE PROTAGONISTEN) Strangers meet in a square, sometimes without getting to know each other, and look for words, in an attempt at dialogue, right across present and past. Their movements become costumes, their words memories. Can you make a group portrait with two 80 people? Can you capture the world in the brief time of a performance? Can you visualize multitude with nothing but voice and body? What can two voices and two bodies do with the motley figures of their imagination?

03 MENZO KIRCZ ONDUIDELIJKE CORRESPONDENTIES From today on everything is the matter. A palpable surface lies in front of us. And everything passes us. And everything passes. Sometimes the sun has to rise more often, before it is truly a new day. ‘We are two dots on each other's horizon, but I am waving at you from afar’ Unclear Correspondences is a search for a language and a shared space. It is a performance played at a table, with an audience of a many as fit around the table. You can see the performance by ordering it, at home or somewhere else. As long as there is a table with chairs around it, for three to eight people.


04 CARINE VAN BRUGGEN & ELEONORE VAN GODTSENHOVEN HISTORY OF SHADOWS The old world. The new world. The modern jungle. Red is not passion, red is red. Have we got too little historical knowledge? Instant decision making is sensual. Too much thinking is not sexy. On May 14, 1970, German journalist Ulrike Meinhof jumps out of a window and into an underground life. Her jump is the birth of the radical left Baader-Meinhof group, later to be known as the Rote Armee Fraktion. With History of Shadows, Carine and Eleonore created a performance about the (im) possibility of relating a history. About transforming, disguising and manipulating. What do we show, what do we not show? About the unpredictability of the past and rebelling against history. About hanging up a window and jumping through it.

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MASTER OF MUSIC PERFORMING MUSIC: CLASSICAL MUSIC MASTER IN DE MUZIEK UITVOERENDE MUZIEK: KLASSIEKE MUZIEK

03 MARINE BOUTTIER GITAAR 04 ALESSIA CENTOFANTI BASS CLARINET RECITAL

01 SANDRA BALSERA MATANZAS

–– Luigi Ceccarelli (1953), Birds (1995/2011) for bass clarinet, song of birds and electronic music –– David Lang (1957), Press Release (1991) for bass clarinet solo –– Michael Kibbe (1945), Autumn Sonata opus 226 (2013-14) for bass clarinet and piano –– Akira Toda (1951), A Sketchfor bass clarinet solo and piano –– Daniel Dorff (1956), In A Deep Funk for bass clarinet solo

Requirements of the Clarinet Repertoire during the 20th Century and its Repercussion on the Clarinettist By choosing a 20th-century repertoire, I wanted to contribute to the knowledge about this particular epoch. For the clarinet especially, it was a period of significant technical accomplishment, with a lot of new effects, different fingerings, harmonics, multiphonics etc. 02 NAOMI BEHAEGHEL BASSOON RECITAL

My graduation recital presents a kaleidoscopic journey around the world and the possibilities of theXbassoon. The journey begins with W.A. Mozart's Bassoon Concerto (1774), with piano accompaniment by Guy Penson. Estonian composer Tonu Korvits' Song for a Distant Friend is a contemporary solo piece that makes continuous use of hollow sounds, glissandi and multiphonics. A colourful Brazilian piece is next; for Heitor Villa-Lobos' Ciranda das Sete Notas(1933), as for Lars-Erik Larsson's Concertino Op. 45 nr. 4 (1955-56) for bassoon and strings, chamber ensemble Dimlicht joins me. We conclude in Argentina with Astor Piazzolla's Histoire du Tango (1986), originally composed for flute and guitar. With Flore Vankeirsbilck on guitar, I perform the slow, passionate movement Café 1930.

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05 JHOMAYRA CEVALLOS ORDÓÑEZ VIOLIN RECITAL My recital starts with the Violinkonzert in D-Dur by Ludwig van Beethoven, who under the influence of the ideals of the French Revolution became a major reference in musical innovation. In this concerto his revolutionary nature fuses masterfully with the beauty and lyricism of a poet. The second piece is Edvard Grieg's Violin Sonata no.3 in C minor that, in its references to Norwegian folk song evokes reminiscences of Grieg's musical nationalism. The programme concludes with two pieces from Astor Piazzolla's History of Tango: Bordel 1900 and Nightclub 1960. The tango, Argentina's most representative musical style, was at home in the brothels and bars of port cities, but Piazzolla introduced it in an academic style, bringing a fresh and modern perspective to this dance. 06 PACO COLLUMBIEN PIANO RECITAL 07 JONATAN DE JONGHE SAXOPHONE RECITAL


The programme features music from the Nordic world, with styles ranging from baroque to folk and contemporary classical.

The first piece on the programme is William Albright's Sonata for Alto Saxophone and Piano, a work rich in contrast, the four movements of which combine influences from early music and from American popular music. Next is the fourth movement, the Allegro Mosso, from Sergei Rachmaninov's Sonata in G minor for Cello and Piano, performed on baritone saxophone. This moment of pure Romanticism is followed by the sound of clucking hens, as evoked by the soprano saxophone in Barry Cockcroft's Ku Ku for Soprano Saxophone Solo. We conclude with Belgian composer Maarten De Splenter's Concerto Comenia, for which I am accompanied by the Koninklijke Harmonie Vrank & Vrij brass band conducted by Wim Belaen. 08 JOVANKA DEPAUW SAXOPHONE RECITAL The versatility of the saxophone is highlighted in this recital's programme that features the soprano, alto and tenor in performances from various genres. With Stockhausen's In Freundschaft we touch on the contemporary repertoire, while in Barry Cockcroft's solo Beat Me, the boundaries between funk and contemporary classical evaporate. Larsson's Konzert för Saxofon Op. 14 is a staple in the repertoire, as sure to delight as the sounds of the brass band in the performance of Jerry Bilik's Concertino for alto saxophone with KH Vrank & Vrij Nazareth. 09 JAKIRA DRUBBEL PIANO RECITAL 10 ELKE DURNEZ HORN RECITAL 11 ISSA HELLEBAUT ACCORDION RECITAL: NORDIC SOUNDS This accordion recital concludes my five years of studying at the Ghent Conservatory.

12 MARIANNE HOFMAN HARP RECITAL –– P. Hindemith (1895-1936) Sonata for harp –– M. Glinka (1804-1857) The lark –– M. Glinka (1804-1857) Nocturne –– L. Berio (1925-2003) Sequenza no. 2 for harp –– L. Spohr (1784-1859) Variations sur “je suis encore dans mon printemps” op. 36 –– C. Debussy ( 1862-1918) Valse Romantique 13 KAI LIU CLARINET RECITAL

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14 KUMIKO OKUTOMI VIOLA RECITAL 15 WIM PELGRIMS PERCUSSION RECITAL 16 JANA PIETERS SINGING RECITAL

Singing is storytelling. There is the musical story of the composer, to be sought and told by each musician, but us singers also serve another master: the lyricist! In the form of a triptych, my graduation recital relates two epic tales: that of tragic Dido, queen of Carthage, and that of Scheherazade, the storyteller of the One Thousand and One Nights, followed by seven short tongue in cheek cabaret tales by Schoenberg. Dido Revisited: –– The Soft Complaining Flute (Händel, 1739, John Dryden)


–– Dido's Lament (Purcell, 1689, Nahum Tate) –– Oh, that I on wings could fly (Händel, 1750, Thomas Morell) –– Shéhérazade (Ravel, 1904, Tristan Klingsor) –– Brettl-Lieder (Schoenberg, 1901) 17 EMMA POSMAN SINGING RECITAL

As a young singer, you set out on a road that never really ends. Now that I am about to graduate, I feel I know what it is I want to do, and for that I am quite grateful. The programme for my recital is a sampling of the repertoire I feel completely at ease in. That is mainly the Romantic opera repertoire, but also the German lied. This great passion, both for the music and for the singing itself, I would like to share with the audience.

19 ROELAND SERTYN GUITAR RECITAL 20 FELIPE SILVA DE SOUZA CLARINET RECITAL 21 AYA SUZUKI PERCUSSION RECITAL 22 KEYE TANG CLARINET RECITAL 23 MARTIJN VAN SAS KLAVIER KONZERT

“If I have ever been happy at the piano, it was when I was composing these.” (Robert Schumann, 1838) Beethoven was a major influence for both Schumann and Mendelssohn, mainly with his late sonatas that are some of his most eccentric and imaginative works. 18 YANATE QUINTENS Schumann, in turn, HARP RECITAL was not only a close friend but also a great admirer –– Antoine Francisque (1570-1605) of Mendelssohn's, making these three German Pavane et Bransles Romanticist composers tightly interconnected. –– Gabriel Pierné (1863-1937) Impromptu-Caprice The Davidsbündlertänze of Schumann and –– Marcel Tournier (1879-1951) 1ste Sonatine 84 his alter egos are the focal point in this recital, –– Gabriel Fauré (1845-1924) stirring the imagination with 18 dances that form Impromptu opus 86 an entire narrative. –– Maurice Ravel (1875-1937) Introduction et Allegro 24 LIDWIEN VAN WINCKEL –– Guillaume Connesson (1970) Toccata WANDERING 20 MAR SALA ROMAGOSA ARTISTIC PERFORMANCE RESEARCH THROUGH BRAIN PROCESSING While performing I use all of my senses to create an experience that is for myself even more than it is for the audience. When reading the score, I can see the interconnectivity of the musical lines take shape visually while listening to them happen in real time. The programme for my recital was composed I use body language around the notion of wandering, as captured to communicate with perfectly in this poem by Toon Tellegen: other performers and I have to remember I am nothing more than understand the communication in their subtle a piece of wood, changes. And not only can I see it and hear it, but wreckage in a great, turbulent sea—I cannot sink, I have the sensation of making sound in my entire but neither can I wash ashore, there are no beaches, being, from the intake of breath to the internal shores. I am tossed back and forth, pushed under, vibrations and pursing of my lips. Throughout the covered in spume. twentieth century, performance was often seen as But sometimes the wind dies down, a non-traditional way of making art as performers the waves get smaller, milder, have been both challenged and rewarded by a gull alights on me, these new sounds and techniques.


a dolphin comes to the surface. Then we are four, the dolphin, the gull, the sea and I, and I am happy. (from Toon Tellegen & Ingrid Godon, Ik moet, 2016)

05 ROOS DENAYER vi.be/roosdenayer

25 WOUTER VERSAVEL SAXOPHONE RECITAL 26 ELLEN WILS SINGING RECITAL

Roos will finish her jazz vocal studies by performing a mix of her own compositions and arrangements of her greatest inspirations such as Joni Mitchell and Suzanne Vega. 06 SIGI HENDRIX 07 BASTIAAN JONNIAUX 08 JELLE MEEZE MY NAME IS NO NAME It might be unusual to sing about things that are Where does jazz end and become a memory? not directly related to your own experience, but that Acting from that point means daring, is exactly what classical singers do. Understanding daring to trust the unknown. and respecting the material, finding an opening My name is No name explores alternative forms for a personal approach within the restrictions of improvisation with a focus on the textural quality of a score that determines so much, that is the 85 of sound. The compositions are simple, highlight actual work. To present a personal interpretation conceptual choices, and give substance to of music that is tied to so many conventions. the thematically inclined free improvisations. To me, singing is about lyrics and sincerity Free improvisation; it is not a musical genre, above all. There is no more personal way of making a modus operandi rather, turning up everywhere. music than with one's voice, which is as individual The deliberate practice of freedom, as a fingerprint, literally inside the body. What wherever, with whomever. I have learned is that the closer I remain to myself, Jelle Meeze – Bass the more I am able to do, the freer I am, the more Nina Kortekaas – Rhodes I can give to the audience and to the music. Mona Abdel Wahab – Saxophone 27 SVEN WUYTACK 09 AMBER MEERT TROMBONE RECITAL MASTER OF MUSIC PERFORMING MUSIC: JAZZ / POPULAR MUSIC MASTER IN DE MUZIEK UITVOERENDE MUZIEK: JAZZ/POP

10 KARLIJN ROBBERECHTS

01 JASPER COULIER 02 STEVEN DE WIJNGAERT 03 MICHAËL DEGREEF YONG YELLO Yong Yello is the alias of Yello Staelens. Together with Xavier De Clercq, Lukas Somers and Aiko Devriendt, I present an extensive programme centred on lyricism and groove. Expect a mix of dark hip hop, funk and poetry that is sure to leave no one unaffected.

11 THIBAUT TALPE

04 ARNE DEMETS

12 MONA VAN BEVER


13 ANA-FLORENCE VAN CRAEN “This graduation project is a cross-over between the contemporary pop I was immersed in the past five years and the classical music of my roots.” Ana-Florence and her band bring you a one-hour set where extremes of both these worlds meet, yielding both fusions and confrontations. This range is also reflected in the instruments, including both the raw electronic sounds of loop stations, synths and drum pads, and the more intimate, melancholy colours of three cellos. From a hybrid arrangement of Destiny's Child, in which a full orchestration and complete band add up to no less than 12 players, over original songs, to Norwegian minimalism in which a song is pared down to its bare essence.

MASTER OF MUSIC COMPOSING MUSIC: COMPOSITION MASTER IN DE MUZIEK SCHEPPENDE MUZIEK: COMPOSITIE 01 MICHIEL DE NAEGEL soundcloud.com/user-261600541 JOERI CHIPSVINGERS | SUKKELTJE M

Joeri Chipsvingers –– One theme song! Het Joeri Chipsvingers Superrrrthemaliednummer –– Two (self) portraits!! Labiel Trutje + Spitante Raveteef –– Two ridiculously exciting adventures!!! Joeri Chipsvingers en het Lays Lament + Joeri Chipsvingers en het Paprika Pact Sukkeltje M Zweven voor sukkeltjes, door sukkeltjes

14 MARIE VAN DEN BOGAERT CLOSURE “Time, time for closure now” ‘CLOSURE’ is a lyrical cluster of songs where the nods towards neo-soul, Greek mythology, and my love for the English language won't go unnoticed. With the exception of one, all the original songs 86 02 MAARTEN WESTERS are influenced deeply by the music of Jordan Rakei, Becca Stevens, Solange, and the one and only Joni Mitchell. MASTER OF MUSIC Keeping in mind that there never really is a COMPOSING MUSIC: MUSIC PRODUCTION ‘finish line’, I am proud to finally share this music MASTER IN DE MUZIEK as a completion of my study. SCHEPPENDE MUZIEK: MUZIEKPRODUCTIE ‘CLOSURE’ comprises songs about change | confrontation | traveling love | femininity | desire | 01 NICK BENOY chapters | revival | blooming vi.be/hulder HULDER 15 ZJEF VAN STEENBERGEN 16 HANNE VANDEKERCKHOVE

Melancholic rock on rose light and moon petals, sprinkled with psychedelic and sixties confetti. 1 album, 1 live show bleak Harmonious vocals and trashy guitars bleeding together like a water colour doused in cheap turpentine.


04 JOOST LAMBERT ORKATROFEE & FRIENDS

2 singles: Temper / Breathe Man Or Lion Solitary folk speaking to the soul and looking for an unfulfilled desire. 1 single: Into the Mist 02 PIETER DEWULF carrascotheband.be HE'S FRANK AND SHE'S DIVINE.

Orkatrofee is the musical playground of Joost Lambert, where he brings contemporary music ‘accidentally’ sung in Dutch and aiming at heads, hearts and legs all at once. Alongside this project, he also steps forward as a producer in the wider (alternative) pop field. His production work so far has ranged from the acoustic songs of Hermitage, over Walther's indie folk, to Josephine's radio pop. Golden Retriever The greatest thing. I had it all. And I fought myself, I think I lost. 'cause I did knock myself out before you hit me. I did all I could, I hope you missed me. Tried to hand it on a silver platter, I set my goal to forgive or forget her. It's a strange ballet, I hope you know this. It is not my day, I hope you noticed now. Will you fall in love again? It made you bleed, but I'm the safest kind of guy. There is danger in a drug, but honestly, I am the greatest one to try. And I will sure retrieve, 'cause I'm a golden retriever. I give all I have, I hope you like it now. 03 SANDER STUER vi.be/GILMAN GILMAN

05 JEREMY VETTOREL

87 With the support of my mentor Pieterjan Seynaeve, I have worked on different productions for my graduation project over the last year, as producer, engineer, arranger and/or songwriter. Recording took place at the Bijloke and MotorMusic studios; projects included Capibara (EP), Millbrooks (EP), NYOH (single), Insect Soldiers Of The Sky (EP) and my own single ‘The Things That Do Me Best’. 06 ORSON WOUTERS MASTER OF MUSIC MUSICAL INSTRUMENT MAKING MASTER IN DE MUZIEK INSTRUMENTENBOUW 01 MAARTEN DE KEUKELEIRE TRADITIONAL VIOLIN MAKING AFTER THE CREMONA MASTERS


Under the banner of the Ghent Advanced Master Ensemble, or G.A.M.E., students give concerts within and beyond the walls of the Conservatory Students complete the study with a concert and a written thesis. Applying for an advanced master's degree:

The Poznan violin-making school was a perfect starting point to learn the craft of Cremona violinmaking. After an international exchange year, I took part in a number of international master classes, lectures and violin-making competitions in order to learn more about the world of traditional violin making. François Denis's master class on his book Traité de lutherie inspired me to draw my final five instruments using his methods. In the course of my visits to Cremona (Mondo Musica), Prague (competition), Paris, Malta (competition), Poznan (competition), Brussels and Florence, I had the opportunity to study a lot of instruments both by contemporary luthiers and by old Cremona masters such as the Guarneri, Amati and Stradivari houses.

01 FILIPA BOTELHO

02 CHARLES HOFMAN ITALIAN POSITIVE ORGAN 02 KAJA FARSZKY 03 AMAURY GEENS 04 QUINTEN MEURISSE

In my master's year I have built a small positive organ, after an instrument kept in the Museo Statale di Palazzo Taglieschi in Anghiari, Italy. The instrument was presumably constructed in the first half of the 16th century, by an unknown maker. It was rediscovered in a state of considerable disrepair and completely restored in 1976. The organ has 41 keys and three stops (4', 2' and 1'), and uses quarter-comma meantone tuning, a'=415Hz. The 123 pipes are made of a tin-lead alloy (ratio 15/85). The casework is in cedar and walnut; the wind chest in walnut. The keyboard is covered in boxwood. ADVANCED MASTER OF MUSIC SOLOIST CONTEMPORARY MUSIC MASTER NA MASTER SOLIST HEDENDAAGSE MUZIEK Students of the Advanced Master in Contemporary Music work under the guidance of the Ictus and SPECTRA contemporary music ensembles, on projects with an emphatic focus on recently composed music. Students specialize in contemporary music, as soloists or members of an ensemble. They play an active role in creating new works by both young and established composers. Workshops and lectures bring students in contact with international experts, as well as exchanging ideas with others of the same generation: composers, choreographers, theatre makers and visual artists.

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05 CARLO SIEGA 06 CRISTINA E. VEGA GONZALEZ BACHELOR OF INTERIOR DESIGN BACHELOR IN DE INTERIEURVORMGEVING FOCUS Interior Finishing & Advice Interieurafwerking & Advies In the Interior Finishing & Advice focus, the complexity of pure design shifts to the specific questions of realization and finishing. Students are first confronted with the entire design process in an extensive and often complex assignment with a public character. A thorough analysis of the building, site and specific demands forms the basis on which students first draw up a balanced zoning plan and a functional organization chart. A second phase focuses emphatically on the technical execution of the design. Parallel to this large assignment, students are introduced to aspects of sales, project management, quantity surveys, advice and real service assignments, which familiarizes the students in the Interior Finishing & Advice focus with the everyday practice of the interior designer.


Applying for a bachelor's degree:

07 GILLIAN DEBLAERE

01 JORGEN BROUCKAERT

08 MATTHIAS DEBLAUWE 02 MATHIAS COLPAERT

03 SVEN DE CLERCQ

09 JEAN-BAPTISTE DEGROOTE 89

04 STÉPHANIE DE JANS 05 JOLIEN DE METZELER 10 ISHBEL DELANGE 11 ELISA DEMEESTER

06 MAYA DE MUYNCK 12 MICHAEL DEVIJDT


21 PAULINA KRYSZEWSKA 22 DYLAN LIBBRECHT

13 LORE DRIEGELINCK

14 JOUNÈS DUQUESNE

23 ELLA NAEYAERT 24 MARICHU SCHERRENS

15 FLEUR ENGELS 16 MINA EXTER 17 JERED FLORIN

25 FRANNE TAMSIN 26 JENS TRIEST

90

18 BRITT GIJZEN 27 LARA VAN DUYSE

19 THIBAULT GOETHALS

20 REINOUT HARDEMAN

28 KIM VAN HOYWEGHEN 29 HENRI VANDAELE 30 NIELS VANDEVYVERE


05 LEONIE BULCKE

31 GULCHIN VERMEULEN 32 FERIDE YILMAZ FOCUS Concept & Spatiality Concept & Ruimtelijkheid The Concept & Spatiality focus presents the students with design assignments of an advanced complexity. For their Bachelor's project, students make a choice from a range of assignments in different fields. The emphasis in this field of specialization is on the phase of analysis and conceptualization and how these two aspects of the design process influence each other. A thorough analysis of the building, the site and a list of specific demands is not only carried out technically, focusing on structure, history and surfaces, but students are also expected to take up a motivated stance on the context of the assignment, the customer and the building. Both analysis and personal position will influence the choices made in the course of the ensuing design process. This stimulates the students' total awareness of their own design process.

06 ELIA CLAESSEN

Applying for a Bachelor's degree: 01 MELIKA ALI ZADEH 02 FIEN BEKE 07 SOETKIN COOLS 91

03 FELIEN BROECKHOVE

04 ELIEN BRUGGEMAN

08 IRENA COPPENS

09 DAFNE HERREMAN


10 LAURA JANSSEN

16 ROMINA VAN HOVE

11 ELLEN NIJSSEN

17 LAURENCE VAN MEERHAEGHE

12 MAHSA SALEHI 13 LAURA SCHELLEN

14 FEMKE SMITS 15 EMMA VAN DEN DAELE

92

18 ELIEN VAN STEENDAM

19 ELLEN VANDERMEEREN


Applying for a Bachelor's degree:

20 MARIE VANHAECKE

01 ANIQA AARAB

02 DAAN BERGERS

22 ISABELLE WITTEVRONGEL

03 PETER COUCKE

93 FOCUS Furniture & Design Meubel & Design Popular TV shows on product development and design have made the concept of design accessible to all. The design of everyday functional objects livens up our homes and working environments, as ever new variations of chairs, tables and beds are mainly designed to look trendy. The Furniture & Design focus, however, engages in a critical reflection on both industrialized and traditional design. We consider designing as the attribution of meaning to our material surroundings, and the products and objects we create are developed from the point of view of the function and place they assume in an interdisciplinary and intercultural world. Professional designers who actively shape today what will be used tomorrow—by the current and future generations—should pay special attention to the motivations behind a specific shape or design. As such, in this focus we trace the ‘rights of existence’ of pieces of furniture or design objects. Newly developed technologies or the negative—cultural, social, psychological or ecological—effects of a design object on its user can be adequate reasons for questioning an existing object and replacing it with a more effective alternative. For it is an absolute necessity to analyze and redefine designs that no longer fill a need in an evolved society or that even threaten a simple and healthy life.

04 HANNELORE DEMEY

05 DIANDRA DUMOLYN


11 ARNO SILEGHEM

06 CHARLOTTE LESSCHAEVE

07 SARAH MAES

12 VERONICA VAN DEN BERGHE

08 STIJN POTIER

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13 MARIE VANDEWIELE

09 ZOË SCHERENS

14 VIC VERVAEKE

10 RACHEL SEGERS

15 KAREN WYSEUR


03 INGE DE LEEUW

FOCUS Temporary Installations Tijdelijke Installaties The Temporary Installations focus confronts students with a series of projects of a very specific, indeed temporary, nature. It concentrates on projects such as exhibitions, fair and expo stands, events, film and theatre sets or any other assignment that involves a temporary use. From this perspective, students are first of all familiarized with the particular technicality that this kind of assignment entails. These temporary installations must be made so they can be built up and taken apart in relatively little time and as such have very specific technical demands. Flexibility, adaptability and reusability are central concerns, but aspects of transportation, lighting and more are also extensively dealt with. Apart from this rather technical dimension, there is of course also a focus on the specific conceptual approach to temporary installations. Students should not merely provide solutions to specific design questions, but should also take matters of context into account: a company's corporate identity in the case of fair stands, the atmosphere and narrative in a set design for film or theatre.

04 ENIA DE VLIEGER 05 MAXIME DESEYNE

06 SYBREN JANSSENS

Applying for a bachelor's degree: 01 LAURE DE BOSSCHERE 95

07 ANNA KLEMISHEVA

02 MARA DE GREEF

08 NINA LAMBRECHT


14 SARAH VANDENBULCKE

09 DAFNE NOBELS

10 SASKIA PATTYN

15 ANTON VERGAUWEN

11 STANS PETERS 16 KIM WUYTACK

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12 MORIAH STRUYF

BACHELOR OF LANDSCAPE AND GARDEN ARCHITECTURE BACHELOR IN DE LANDSCHAPSEN TUINARCHITECTUUR

13 TESS VAN IMPE

Landscape and garden architecture is an aesthetically based profession founded on an understanding of the landscape. As in the working field, designing is at the core of the bachelor programme. Designing is a creative process which consists of exploration and inspiration in order to plan, design and manage outdoor spaces of all scales. The practical approach in our bachelor is based on realistic design cases. Besides design skills and manual and computer based visualisation skills (with visualisation as a way of communication and research), a landscape and garden architect needs to have knowledge of ecology, soils, hydrology, (plant) materials, horticulture, construction techniques, policy context, ICT, sociology, history etc. in order to understand the landscape.


Graduation project: For their graduation project, the students could choose between 4 projects, varying in complexity / scale and required design products. In this way, every student has the opportunity to choose the project that best suits his or her profile as a designer. 01 GLOBAL HERPELGEM (RUIEN): POWER STATION KLUISBERGEN The power station in Kluisbergen has recently stopped its activities after 65 years of production. The site, situated in the Scheldt valley, was with its typical architecture an eyesore for the surrounding picturesque landscape. The now unused buildings have been demolished, leaving an open space in the landscape. The students were asked to formulate a new identity for the site, with the precondition that the place could keep its productive character. The design resulted in a masterplan for the entire site, including a more specific design of the greenblue framework, and a detailed design plan of the ‘Good Neighborhood’. The ‘Good Neighborhood’ contributes both to the new identity of the power station and to the needs of the surrounding villages.

04 MENAS (SINT-MARIA-AALTER): TO SILENCE, DEEPEN AND CONNECT The ambition of ‘Menas’ is to transform itself from a school for novices of the ‘Brothers of Charity’ to a place for activities of silence, deepening and connection. The school was created in an old manor house. For the project the students had to create a masterplan for the site, a management plan and a detailed design plan of the meditation places. Applying for a Bachelor's degree: 01 02 03 04 05 06 07 08 09

JANNIS ACBARD LEONIE AERTSEN HANNAH ASIRU ROBRECHT BASSENS ALEC BUYSE CHRISTOPHE CARRETTE LAURENS DE BEULE SVEN DE BUYSER SUZAN DE GRANDE

02 MPI DE KINDERVRIEND (ROLLEGEM): MEDICAL-PEDAGOGICAL INSTITUTE De ‘Kindervriend’ is a medical-pedagogical institute for children with a mental disorder. The institute 10 JENS DE GROOTE has expanded its buildings over the years without 97 11 PIPPA DE KINDER a masterplan. The ambition of the management 12 SONJA DE WEERT is to transform the institute with a closed-off 13 MAARTEN DE WITTE character to a site that creates a social and spatial 14 HANNES DECROP interaction with the surroundings, the village and its inhabitants. The design had to result in a masterplan and a design plan for the ‘Leeftuin’. 03 IRISHOEVE (KAPELLEN): COHOUSING AND REMEMBRANCE

15 16 17 18 19 20 21 The ‘Irishoeve’ tackles the complexity of redesigning an old manor farm to a cohousing site for several families, and the use of the garden for funeral services. An extra complexity was the low budget available for developing the garden of two hectares. Each student had to develop a masterplan for the site, a management plan and a ‘quick win’. This ‘quick win’ is a small low budget intervention which could act as a trigger to use the site as a place for remembrance.

STIJN DECUBBER DAVID DEFOUR JOPPE DEHANDSCHUTTER BENJAMIEN DELBAERE SHARON DENEEF FRIEDEL DESSOY SILKE DISPERSYN


22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53

the provinces and communities), in Belgium or abroad, addressing landscape planning in its broadest context, as well as the application of Geographic Information Systems.

MARIE GELDOF INAKI HEYMANS KORNEEL HOORENS MICHIEL INGELBEEN BART LALEMAN KEVIN LANTSOGHT LOUISE LEFEBVRE TOM MATHYS TIM MONS ARNO NACHTEGAEL FLORIAN OP DE BEECK JOREN PENNE AÄRON PLATTEEUW HANNES RINGOOT HARALD SCHELDEMAN JO TUBEX TIM VACULIK MAXIM VALLONS KEJO VAN ASBROECK BART VAN CROMBRUGGE JONAS VAN EECKHOUT SANDER VAN HEIRREWEGHE KELLY VAN OVERSTRAETEN VINCENT VAN VOOREN KEVIN VANDAMME STIJN VANDER MAELEN KAREL VANDEVOORDE TJORVEN VERCAUTEREN MAXIME VERDONCK ESTER VERMEULEN JONAS WIELEMAN TINNE WOUTERS 98

ADVANCED BACHELOR OF LANDSCAPE DEVELOPMENT BACHELOR NA BACHELOR IN DE LANDSCHAPSONTWIKKELING The advanced bachelor's programme in landscape development focuses on the landscape, and on the ways that landscape can be used in the context of environmental planning. This one-year programme aims to train competent professionals with the analytical and synthesizing skills that are necessary for an independent and critical understanding of landscape. This forms the basis for creative and substantiated planning proposals. The degree of complexity of the project assignments increases with each successive term. In the first term students tackle relatively simple problems, focusing on site analysis. Planning and policy are covered in the second and third terms, with Geographic Information Systems (GIS) as an important tool. These projects often evolve as responses to specific questions from the field. In the course of the projects, as well as in the final stages, discussions take place between students and clients. In this way, students present studies and projects to local authorities, provincial councils, non-profit organizations and private partners. The eight weeks of the fourth term are in the form of an internship, in which students test and integrate the competences they have acquired. Preferred internships are in design firms, public institutions or administrations (such as the Flemish Government,

Projects developed in 2017-2018 MULTIFUNCTIONAL LANDSCAPES FOR ‘OPEN EINDE’ The project ‘Open Einde’ researches a world of remembrance and memory in transition. Landscapes offer a richness of known and unknown, visible and invisible, physical and mental places of remembrance and commemoration. In this project we search for meaning and different typologies of these places in the diverse landscapes surrounding the city of Ghent. With


the landscape as inspiration, potential new places of commemoration are identified. However, due to different sectoral claims on the open space, such new places cannot be mono-functional. A multifunctional use of the space is therefore mandatory.

POSTGRADUATE SOLOIST CLASSICAL MUSIC

ECO ISLAND GOZO The LE:NOTRE International Student Competition aims to support integrated and holistic landscape approaches through multidisciplinary student teams elaborating planning and design proposals at various scales. This years' competition invited students to envision the future of an entire Mediterranean island, Gozo as an ECO ISLAND. The ECO ISLAND-ideas have derived from various sectoral needs and perspectives, such as niche tourism, renewable energies, rural identity, heritage and much more. While each idea makes sense in its own right an integrated vision of how all of this will come together in an island landscape with limited spatial resources still needs further thought.

01 AYUMI NABATA

FOODLANDSCAPE FLEMISH PERIPHERY AROUND BRUSSELS Brussels has drawn up a strategy to provide the city with healthy food and to stimulate the short chain of agricultural activities around the city. This project develops a ‘productive park’ that, as a physical and mental landscape, should form a hinge between the urban part of the Molenbeek valley in Brussels and the agricultural plateau on the Flemish side. applying for a bachelor degree: 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23

MICHIEL CARRON OTTELIEN CLAEYS JORDI COPPENS LENNART CORTHALS PIETER DE BLENDE KRISTOF DE CUPERE EWAUD DE NEVE TARS DECLERCQ RUBEN DERNAU GILLES HOREMANS TIMON LAMOOT JELLE LOMBAERT HARM PAUWELS LISA RAATS LANDER THYS BOB VAN DEN BERGHE PIETER VAN NIEUWENHUYSE MATHIAS VAN TROYS KRISTOF VANDERGUCHT SEBASTIAAN VANHOVE MICHIEL VANSTEENKISTE RENS VERHULST STIJN VERMEERSCH

POSTGRADUATE MUSICAL PERFORMANCE PRACTICE Finishing the postgraduate Musical Performance Practice 01 LIESELOTTE DE VUYST

Finishing the postgraduate Soloist Classical Music

POSTGRADUATE CURATORIAL STUDIES UNRAVELING SLOWNESS

Exhibition view, Unraveling Slowness © Thomas Nolf

A group exhibition in Zwarte Zaal curated by 2017-18 Curatorial Studies students featuring new and recent work by HISK artists in residence “The degree of slowness is directly proportional to the intensity of memory; the degree of speed is directly proportional to the intensity of forgetting”, writes Milan Kundera in his novel 99 Slowness (1995). In other words, time, space and memory are intrinsically linked. They trigger, shape and create one another. As reminiscences of past times, memories have a physical impact on our way of using and conceiving space and time: our mind intensifies and alters images while abstracting them from the present moment. Inspired by studio visits at HISK, the conceptual framework of Unraveling Slowness emerged from the artists' practices and works. Through the use of different media and techniques, the nine selected artists perform in their own way the title of this exhibition: through reflection and retrospection, slowness unravels. By means of recreation and recollection, they attempt to recover the gaps left by time and investigate the interaction and reciprocity of time, space and memory. The artworks explore different conceptions of temporality and manifestations of reality, as well as the subjective process of forgetting. Each of the artists asks the visitor to slow down, to observe and contemplate. Unraveling Slowness is a group exhibition questioning the power of images and their correlation to the pace of time. With a focus on ‘slowness’, it explores how societies' increasing speed affects individuals, both physically and mentally. Set within an art school, and at a time when students are preparing their final presentations, Unraveling Slowness wants to create a vacuum within the Bijloke site, a void in which time and space are altered and disentangled. Plunged into darkness, the Zwarte Zaal becomes


a human archive of images, events, experiences and stories, standing for the space of memory itself. Unraveling Slowness is the result of a collaboration between nine artists currently in residence at HISK and seven curators from the Curatorial Studies program of KASK. The exhibition features only works produced over the last two years, including Disarming Reality, an installation by Anaïs Chabeur; a selection of sculptures by Francesca Ferreri; Eva Giolo's most recent fi lm, Elisabeth (working title); Liesbeth Henderickx's sculpture A constant dropping wears away a stone; Chloé Op de Beeck's video installation MOV 0032; Leander Schönweger's architectural unit Option 378; Sarah Smolder's ongoing series of paintings A lost mirror; and a multiple-screen installation of Ingel Vaikla's film Roosenberg. Following the exhibition in Zwarte Zaal, Unraveling Slowness will be extended through a participatory sound installation by Roel Heremans between the 27 June and 1 July 2018, in KIOSK. With a focus on the recovery of memory, Heremans' work allows participants to collectively experience retrospection in suspended time. Unraveling Slowness is curated by Griet Bonne, Nathalie Cohen, Christine Denamur, Maaike Descendre, Alice Lefebvre, Bert Puype and Anna Zhironkina. Curatorial Studies Postgraduates 2017-2018: 01 02 03 04 05 06 07 08 09 10. 11 12 13 14 15 16

GRIET BONNE HILDE BORGERMANS NATHALIE COHEN ROMUALD DEMIDENKO CHRISTINE DENAMUR MAAIKE DESCENDRE EVA DOBBELS LILIANA DO NASCIMENTO MAXIME GOURDON HÉLÈNE JACQUES ALICE LEFEBVRE MARTA MASIERO ALICJA MELZACKA BERT PUYPE BENEDICT VANDAELE ANNA ZHIRONKINA

POSTGRADUATE DIGITAL STORYTELLING 01 MATHIAS AERTS

02 JULIE AMEYE

03 MARIELA ARCE PEREZ LOOSE ASSOCIATIONS

I'm always trying to get my friends to send me poems they've read and liked. The ones they send always show me a glimpse of who they are. Loose Associations has given me the excuse to ask people what they understand by poetry, what their favourite poems and authors are, and, 100 more importantly, what the images or sounds are that they instantly associate with the poem they liked. The aim of this project is to create an online collaborative platform about poetry that includes the multiple interpretations a person can have. This exercise can also be interpreted by the participants as a form of self-portrait. 04 KATO DE ROECK katoneedsadelvaux.com KATO NEEDS A DELVAUX My project is about wanting something really badly and the lengths this makes you willing to go. In the project, I am looking for the ultimate ivory-coloured mini Delvaux Brillant. In the most absurd ways I try to get hold of one, in a quest spurred on by hope. 05 LUCAS DEWULF


06 MAURANNE GEENEN studioexposed.be STUDIO EXPOSED

11 AZAM MASOUMZADEH OMAR KHAYYAM I got to know the works of Iranian poet Omar Khayyam in early Striving to increase access & connection within childhood and ever the creative scene Studio Exposed is an authentic since then he has been platform that supports young talent and helps my source of inspiration. them forward in today's digital age. In this project, Culture, music & art are key for Studio I have illustrated his Exposed. Within these categories the platform poems, inspired by supports artists, starting brands or new creative Iranian miniature style. projects through a seamless online & offline As listening to the integration where storytelling leads the way. original poems in Farsi Balanced, unbiased & frank discussions adds considerably to are elements we will always strive for. Young people the experience, I have are the future and their opinion matters to us. used AR technology as a tool to listen to some With this we want to contribute a unique substance Iranian music and the audio of the poems. I have to the landscape of culture & art in Belgium, also used VR to create an immersive experience of while empowering its emerging artists. 101 wandering in Khayyam's world and imagination. VR, AR, literature, and digital paintings have 07 SAM HAEGHENS been my tools for experiencing and introducing my source of inspiration to others. 08 ELISE HERMANS toroveabout.com 12 DANIELLE RAEIJMAEKERS TO ROVE ABOUT

Roving emphasizes freedom of movement, often over a wide area. Honest travel stories from a twentysomething who's trying to live life to the fullest and is figuring out what ‘full’ might be. Sharing the answers she finds and the questions she asks. Hiking—adventure—eco—what I take home with me. Sharing the best and the worst. 09 BONAVENTURE HOSTE 10 GABRIELE KINASKE

13 LINDE ROMBOUTS


When asked the question ‘What is the story you have always wanted to tell?’, I knew the answer right away. Because I too had been one of those university students required to write a dissertation doomed to be buried in the archives. So here I saw the opportunity to present my knowledge on the representation of men in women in Flemish fiction to a wide (non-academic) audience through ‘immersive’ data visualizations. With the results, I hope to contribute to the public debate on gender issues. 14 REINOUT ROOSE

The project ‘Existing after’ is a Dutch podcast about people who experienced suicide in their surroundings. Student Silvie lost her mom 10 years ago by suicide. In each episode she talks with someone who has also lost someone, a husband, a brother, a parent, a child. They are testimonies but also touching stories that tell you how to cope with loss and provide insight into the grieving process after suicide. All episodes will be available at: mixcloud.com/ErnaBestaan 18 ZITA VAN DIJCK

15 JOREN SMET facebook.com/DeVriendjesVanJoren/ FACEBOOK AD FRIEND

Nowadays Facebook is filled with cat videos and advertisements. It has lost its initial purpose which was essentially ‘friendship’. Through Facebook Ad Friend, I will be advertising my friendship as a product/service through Facebook's own ad system and offer the ultimate online friendship service. 16 SOFIE STEENHAUT

17 SILVIE STROBBE mixcloud.com/ErnaBestaan

Zita made an experimental audio platform in which she brings short stories to an online audience. The short stories all have a specific moment as a starting point. Solitude, silence, chaos and emptiness are the main layers that can be found in the audio stories. The visuals that accompany the stories are a 102 collaboration with Antwerp based artists Alice Graff and Anouk Horsten. 18 ELINE VAN LANCKER madamecarte.com MADAME CARTE

Unlike on other travel blogs and sites like TripAdvisor, on this platform the personal is combined with the practical. As a travel writer I create one-day multimedia routes in cities all over the world that invariably lead to original, sustainable and alternative spots. Along the way, travellers can explore a range of audio, text, photo and video stories, linking destinations to an immersive experience. Filters will allow for gearing the suggested routes to travellers' profiles, for a personalised touch. Later on, other ‘experts’ will also be able to add routes and stories, giving the platform an interactive dimension and matching each traveller with their ideal expert.


19 ANNELIES VAN LIERDE anneliesvanlierde.be/portfolio DIVRCED

Put on the VR glasses and experience life through the eyes of 8-year-old Arthur. His parents are getting divorced and face him with difficult decisions. Will Arthur say what his parents want to hear or not? It's up to you! 20 21 22 23

HANNES VAN WOUWE KATHLEEN VANDE VELDE JELLE VERDOODT ELINOR VERMOTE

24 PAULINE WERY EUROPEAN POSTGRADUATE IN ARTS IN SOUND 01 HANS DE WIT “SHIFTS” is multichannel composition that combines sound in a way that it becomes spatial and physical. The work invites the listener to construct an inner space with individual associations, imaginations and memories. By changing the sound relief the listener moves between spaces whose boundaries gradually fade. While a landscape changes in a dream, a spatial disorientation arises through sound diffusion and manipulation.. “SHIFTS” is an aural experience that focuses on the transition between spaces and allows the audience to change, morph and crystalizes a million thoughts. 02 REBECCA GLOVER rebeccaglover.co.uk FLUID BODIES

In Fluid Bodies Rebecca Glover uses sound as a sculptural material. Creating spaces constructed in the air, turned inside out, compressed and exploded. One minute you're an ocean of static the next you are diving deep inside a cavern through a hole in the floor. Where am I? What am I? In sound everything remains fluid, in a permanent state of transition. Rebecca Glover is a multidisciplinary artist working across sound, sculpture, installation, performance and foley. 03 IOANA MÂNDRESCU behance.net/ioanamandr5b72 40 A site-specific, multi-channel sound installation about the human body and its condition, honoring almost eight centuries of death and healing on the 103 de Bijloke site. 40 explores the potential of sound in evoking experiences of sickness and alienation, without the aid of any visual stimuli. The title references the forty beds in the original hospital building, erected during the first half of the 13th century in the marshland surrounding the city of Ghent. 04 ALINA OZEROVA alinaozerova.com WHAT CONSTELLATION IS A FEATHERED ANIMAL?

My artistic practice is based on image and sound. Through these media I explore the dimensions of ‘journey’ as narrative structure and physical experience. I am particularly curious about involuntary movements, forced travels, and restrained routes of bodies and voices. This project is a sound installation for multiple speakers. It sets off the exploration of involuntary trajectories that birds' voices and movements take.


Looking into the aspects of nature soundscape and orchestration of chaos I sample the birds' errors and create a field of vibrations and tremors. Uncontrollable wings and calls are treated as automated electronic signals. A grid of custom-made speakers enables our visual perception, sense of time and distance as integral elements of a sonic experience.

At the same time this project has been a journey in finding my voice, my sound. Who I am as an artist. The project … a place, a character, represented in a game between sounds and images. TEACHER CERTIFICATION IN THE ARTS SPECIFIEKE LERARENOPLEIDING

05 ARZU SAGLAM The teacher-training programme in the arts offers arzu4saglam.wixsite.com/arar/ four options to match the master programme of sounding-li-e-n-s-notes-on-a-proces visual arts, music, drama and audio-visual arts. SOUNDING/4 PHASES OF DE-KNOWING The nearly graduates enrol as interns in partsounDing / 4 phases time art education, secondary art education of de-knowing is a and in the wider field of social-artistic work performed sound and art education. In these diverse contexts installation segmented students acquire competences as expected from in four acts. The work pedagogically qualified artists. This way, they get is inspired by Bettina to know the diverse range and possibilities of art Wohlfender's Das education and the social-artistic field. This practical Observatorium in approach gives the student an insight in how they which two scientists can implement their artistic skills in our society. observe a volcano. They meticulously study their surroundings whilst recollecting their personal history. Meanwhile this is all whiff to wind and volcano. The volcano becomes my object of tension and the perfect antagonist, as its erratic being is hard to grasp. The work becomes an epistemological quest. We dive through the longing to stay human and yet become 104 entirely volcano. With recorded, digitally arranged and performed sounds, animations and simple electronic elements, I investigate the four phases of de-knowing how they construct and decay. 06 FABIÁN SALAS ZÚÑIGA octusblog.wordpress.com SOW

Trui Hanoulle, #enwiebenjij

During my film studies, one of the things that I understood and that amazed me the most, is how every element in a film is present to elicit something in the spectator. Even more interesting is that the viewer has no idea that this is being done to him/her. This form of manipulation is what I'm exploring with my project: discover how much I can do and how far I can go with sound to achieve planting an idea or lighten a feeling in the audience member's minds.

AUDIOVISUAL ARTS 01 MASHA BERKERS 02 NINA CLAES VISUAL ARTS 01 TINEKE BACQUÉ 02 TOMMY DE BLOCK 03 LINDE DUMOLEIN 04 MARIKEN DUMON 05 TRUI HANOULLE 06 ANSE HEESTERMANS 07 KLAARTJE LESAGE


08 09 10 11

AYLENE LIEVENS JOACHIM VAN DE STRAETE LOUISA VANDERHAEGEN FANNY ZAMAN

DRAMA 01 MIRA BRYSSINCK MUSIC 01 MAURO BENTEIN 02 SANNE BOSTYN 03 ARTAN BULESHKAJ 04 MARIUS COUVREUR 05 MARTIJN CROMMELINCK 06 DIETER DE BRUYN 07 LAURA DE BRUYN 08 NIELS DE COCK 09 LUCIE DE LEY 10 JONAS DE SMEDT 11 NONA DEKEYSER 12 KAREL DELODDER 13 JENS DEMEY 14 LAURE DERMAUT 15 PIETER DEWULF 16 LUKAS HUISMAN 17 ARTHUR MARI 18 DANILA MASHKIN 19 SIMON RAMAN 20 ARNO ROESEMS 21 LIEN SAEY 22 ROELAND SERTYN 23 HANS SLUIJS 24 ELIAS STORME 25 SANDER STUER 26 EVGENY SUVORKIN 27 JEROEN THOMAS 28 SIMME VANDERSTEEN

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• COMPLETED PROJECTS 108 Stoffel Debuysere, Figures of Dissent: Cinema of Politics, Politics of Cinema 110 Jerry Galle, Psychoanalytical Machines 112 Ives Maes, The Architecture of Photography 114 Renzo Martens, The Institute for Human Activities: A Gentrification Program in Congo 116 Françoise Vanhecke, Inhaling Singing: A New Extended Vocal Technique • A YEAR IN RESEARCH: PUBLICATIONS AND SELECTED HIGHLIGHTS

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FIGURES OF DISSENT: CINEMA OF POLITICS, POLITICS OF CINEMA
 STOFFEL DEBUYSERE PhD in the Arts, completed in 2017 How can the relation between cinema and politics be thought today? This question was the starting point for Figures of Dissent, a research project that was initiated in February 2012, with the gene­ rous support of the Arts Research Fund of the University College Ghent. In an attempt to tackle this vast conundrum, which has been pondered and pontificated upon since cinema's beginnings, an extensive series of public encounters and screenings was organized in various locations in Belgium and abroad. The principal aim of this series, which came about by dint of a broad net­ work of organizations and institutions, was not to define or illustrate a singular theory that could some­how shed light on this cumbersome relation­ ship, but rather to give impetus to a culture of exchange that would allow for a variety of views and insights to be shared. The challenge taken on was thus not so much to determine how cinematic forms might be able to measure up to political ideas or ideals, but rather to create resonance spaces that could give expression to the infinity of resistant emotions, perceptions, movements, gestures and gazes that the universe of cinema has to offer. Not in order to learn how to decipher and calculate the meanings that might inhere in them, but simply to bring about a circulation of sense, a circulation of fictions and frictions that might have their own role 108 to play in the rearrangement of our sensible world. This diversity of encounters and exchanges in turn gave rise to a second kind of resonance spaces, in the form of a series of letters addressed to people whom I have met or worked with in the context of the Figures of Dissent project. Each letter of this series was written as an exploration of certain shared pathways through the landscape where the terri­­tories and geographies of cinematic appearance intersect and collide with those of political actuality. They have all in their own way sought to give reso­ nance and continuance to unfinished conversations and dangling impressions, in a mode that hovers between the personal, the theoretical, the reflective and the speculative. The form of the letter allowed me to develop a diagonal perspective, one that favours musing and wandering as opposed to line­arity and determinacy. A perspective that, rather than demarcating a homogenous knowledge domain, occasioned a variety of transversal traject­ ories composing a singular cartography. Their zigzagging and meandering motions bear witness to the development of an erratic learning curve, one that has by no means reached a finality. Like the many encounters that have been made possible over the past years, the writings that have accompanied them are but provisional explorations of an inexhaustible question which provides for a multitude of depar­tures, junctions and disjunctions. Like messages in a bottle launched into the vast expanse of possibili­ties, they are merely waiting to be furthered.

With Mathieu Kleyebe Abonnenc and Olivier Hadouchi during The Fire Next Time (KASK, April 2014).

From Stoffel Debuysere, Figures of Dissent: Cinema of Politics / Politics of Cinema. AraMER & MER. Paper Kunsthalle, 2016.


With Jacques Rancière during Courtisane Festival, March 2017, in a talk in the series DISSENT!. Š Michiel Devijver.

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From Stoffel Debuysere, Figures of Dissent: Cinema of Politics / Politics of Cinema. AraMER & MER. Paper Kunsthalle, 2016.


PSYCHOANALYTICAL MACHINES JERRY GALLE Postdoctoral research project, completed in 2018 Initially conceived as ‘Psychoanalytical Machines’, a logical continuation of Jerry Galle's PhD project ‘Poetic Machine’, the psychoanalytical angle disappeared somewhat into the background over the course of this postdoctoral project. Several projects were realized such as Pretext, The Thing That Isn't, and Interview with an AI. The last three years the focus of the research shifted towards Internet content, where the project DITTO was conceived as a critical hyper-communicative piece of software that also generates pdf 's. One of these pdf 's will be available soon in a print version from MER. Paper Kunsthalle and AraMER.

Screenshot ‘DITTO’, 2018.

Introducing ‘DITTO’, and by the way: Is Silicon Valley spawning a post-mortal, communist bureaucracy? ‘DITTO’ can be understood as a mini network. Or, it could be perceived as a tiny AI component that tries to compose its post-identity amidst cascades of online explored and gathered opinions, words and images. ‘DITTO's processing is transparent because its core runs on hypercommunication. The software endeavours in the illusion that it is free among the decentralized panopticon that is the Internet, like so many of us do. ‘DITTO’ is as deliberately transparent as the next contemporary artistic practice or online persona. ‘DITTO’ too, enduringly overcomes its scruples and expresses a daily desire to flagrantly expose itself. And ‘DITTO’ obscenely stimulates itself with loose additive movement, purely for accelerationist purposes.

110 Screenshot ‘DITTO’, 2018.

An ‘inspiration’ for, or maybe better, contamination of the ‘DITTO’ project is Silicon Valley. Silicon Valley's main philosophy is still more or less governed by 1960s ideologies of hedonism, a perverted capitalist form of Buddhism, communal post-identity and post-privacy. All of this topped with a blind faith in speculative transhumanism. ‘DITTO’ can be considered an open mediation on these ideas, views and developments. The project tries to compose a genuinely insincere and fully infected stance amidst this ever-changing cyber world that is progressively turning into a mystified bureaucracy. ‘DITTO’ mulls over a speculative postmortal and post-communist artificially intelligent Internet society, structured upon the uncertain ownership of the means of production and the abundance of social classes, markets and states. Visit ‘DITTO’ over here: jerrygalle.xyz

Screenshot ‘DITTO’, 2018.


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Screenshot ‘DITTO’, 2018.


THE ARCHITECTURE OF PHOTOGRAPHY IVES MAES PhD in the Arts, completed in 2018

This discursive research instigated new and unexpected experiments in my visual art practice. In Sunville, I returned to my childhood home­ stead to record abstracted images of nature. These images proved to be more versatile to achieve hybrid photo-installations and 3D-printed photo-sculptures. This new series became a final research into the peripheries of the lensbased medium and the object-hood of the photographic surface—functioning individually in unique spatial installations and collectively within the constructed place of a new book.

“To accept only the most obvious or utilitarian function of an image-making device is to deny the real potential of artistic involvement at its deepest level.” 1 Architecture is inherently part of photography. That is the premise of this PhD in the Arts. A number of investigations took place in order to prove this statement. In The Future of Yesterday I photo­ graphed the architectural traces of temporary World's Fair pavilions, researched modernist display strategies and applied them to my photographs. In The Architecture of Photography I researched a wider, discursive history of exhibition techniques and the interrelations between photo­ graphy and architecture: the photograph as object, the photograph as interior design, the photograph as pavilion. For Sunville, I recorded a series of more abstract and versatile images in order to create a synthesis between image and installation. In The Future of Yesterday I searched the globe looking for evidence of World's Fairs. I photo­ graphed the architectural remnants of these shortlived events and the sites on which they were built, often revealing an ironic contrast between the grand utopian views of times past and the urban reality of today. As a result, however, I found myself operating as a documentary photographer. Being a sculptor in training, and mainly working with installations, I started creating threedimensional frames to display my photographs. In order to have a better understanding of the difficulties of hybrid photo-installations, I started researching the history of display strategies to give an answer to the question: what are the precise relationships between photography and architecture? In The Architecture of Photography I have set out to prove that architecture preme­ ditated, and is inherently part of photography. The invention of photography presupposed the architecture of a dark chamber in order to project its naturally formed image. In the earliest known representations of the camera obscura principle, purpose-built architectural spaces were drawn to explain the phenomenon, proving that architecture was inherent to the birth of photography. Since its inception there have been numerous experiments between photography and architecture that ex­ emplify a continuous influence of architecture on photography and vice versa. In The Architecture of Photography I have researched a multitude of architectural aspects of photography in an historical overview from the 16th-century obscured chamber to the 21st-century digital processes— such as Daguerre's Diorama, Charlotte Perriand's photographic pavilion for the Parisian International Exposition of Art and Technology in Modern Life of 1937, the photographic bus shelters of Dennis Adams, the exhibitions of Wolfgang Tillmans.

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Robert Heinecken, ‘Manipulative Photography’. Eva Respini, ed., Robert Heinecken: Object Matter. New York: The Museum of Modern Art, 2014. 157.

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Ives Maes, Sunville. Ludion, 2018. 250 x 320 mm, 160 pages, hardcover, English, ISBN 9789491819841. € 39,90.

(left) Hololool. Inkjet print on Epson Fine Art Pearl 285 gsm, oak frame. 107,5 x 306 x 33 cm. Unique. Recorded in 2014, printed in 2017. (right) Sequence #3 (Wedding Party). Inkjet print on Epson Photo Rag 305 gsm, oak frame, UV glass. 145 x 122,5 x 8 cm. Unique. Recorded in 2014, printed in 2017. Installation view by Jan Kempenaers of Hololool, solo exhibition at Sofie Van De Velde Gallery, Antwerp, 2017.


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Space Tower (Daejon Expo ‘93). Lambda print on acrylic, oak frame. 60 x 100 x 180 cm. Recorded in 2010, printed in 2012. Installation view by Bob Greenspan of The Future of Yesterday, solo exhibition at the Nelson-Atkins Museum of Art, Kansas City, 2012.


THE INSTITUTE FOR HUMAN ACTIVITIES: A GENTRIFICATION PROGRAM IN CONGO RENZO MARTENS researcher, coordinator DELPHINE HESTERS, JACOB KOSTER, CATHY DE HAAN, KATRIEN REIST, SUZANNE HOOGEWYS research assistants 2012-2017

a driving force to buy back land and start inclusive, ecological and worker-owned estates. The research project aims to redefine the relation­ ship between the art world and its underside, the plantation. For decades, the plantation system has enforced monoculture in the tropical zones on people, plants and landscapes for the benefit of remote shareholders. The immense wealth generated was partially invested in art institutions abroad, such as Tate Britain, the Van Abbemuseum and the Ludwig Museum. By turning around this dependency, IHA aims to reconsider the art world's flows of capital.

In 2012 Renzo Martens started the research project ‘A Gentrification Program’ with the Institute for Human Activities (IHA) based on a simple but ambitious idea: art should take responsibility for its economic effects—such as gentrification. Artists should not leave the economic spin-off of critical art to be handled by politicians or real estate developers, but rather ensure that it profits one of the poorest people in the world: plantation workers. IHA thus built a research centre for art and inequality on the ground zero of economic inequality: on a former Unilever plantation in Lusanga, Democratic Republic of Congo. Here, Renzo Martens and the Institute for Human Activities built an OMA designed research centre: the Lusanga International Research Centre for Art and Economic Inequality (LIRCAEI). It aims to create the conditions where artistic critique can effectively redress inequality and go beyond the mere representation of exploitation. LIRCAEI has set out to investigate the entire value chain of art and use this knowledge to transform exploitative plantations into inclusive and ecological Post-Plantations.

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The engine for this model consists of sculptures that are made by the cooperative Cercle d'Art des Travailleurs de Plantation Congolaise (CATPC). With a 3D-scanner in Lusanga, the original clay sculptures of the plantation workers are transformed into digital information, which is then sent to Europe. The sculptures are cast in cocoa that originates from African plantations and is located in Amsterdam—the biggest cocoa harbour in the world. The surface of the sculptures clearly bears traces of the 3D printing process. These imprints witness both the mechanical process used to produce them, and the distance between the works' place of origin and the places where they are distributed and received. These works have been shown in high-profile exhibitions such as the SculptureCenter in New York, KunstWerke Berlin, the Van Abbemuseum, and the Sydney Biennale. Selling and showing the cacao sculptures at these high-end places allows plantation workers—who cannot earn a living from plantation labour—to live off of their artistic engagement with plantation labour. The sculptures divert capital streams produced through art back to the plantation workers in Lusanga. The Cercle d'Art des Travailleurs de Plantation Congolaise uses these resources for their Post-Plantation project: an ambitious holistic landscape restoration model, in which the sale of CATPC's chocolate sculptures serves as

‘How my grandfather survived’, Cédrick Tamasala, Cercle d’Art des Travailleurs de Plantation Congolaise, Installation view, SculptureCenter, New York, 2017 © Kyle Knodell

lircaei.art humanactivities.org/en


The ceremony celebrating the repatriation of the White Cube in Lusanga, 2017 © Thomas Nolf

CATPC artist Jérémie Mabiala and ‘The Art Collector’ in the White Cube, Lusanga, 2017 © Thomas Nolf

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‘The Art Collector’, Jérémie Mabiala & Djonga Bismar, Cercle d'Art des Travailleurs de Plantation Congolaise, Kunsthal Charlottenburg, Copenhagen, 2018 © Anders Sune Berg


INHALING SINGING: A NEW EXTENDED VOCAL TECHNIQUE FRANÇOISE VANHECKE PhD in the Arts, completed in 2017

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This work aims at a better understanding of Extended Vocal Techniques (EVT) in a general context and Inhaling Singing (IST)—(ISFV®), in particular. Within the broad field of EVT the development of the new extended vocal technique IST as a new artistic form, is the core of this work. Throughout this research it has been become clear that, besides the exploration of the artistic potential of IST, there was a need to gain scientific insight in order to describe this novel vocal technique and to open perspectives for further research. This work is divided into two main parts.

2 3 4 5

‘Vocal Tract Morphology in Inhaling Singing: An MRI-Based Study’. Journal of Voice, Vol. 30 (2016) no. 4: 466-471. ‘Physiology and Acoustics of Inspiratory Phonation.’ Journal of Voice, Vol. 30 (2016) no. 6: 769.e9-769.e18. ‘Acoustical properties in inhaling singing: a case study’. Physics in Medicine, Vol. 3, June 2017: 9-15. ‘Vocal tract morphology in inspiratory vowel production’. Journal of Voice, in press. See www.isfv.be and TedxGhent: www.youtube.com/watch?v=Xa1PwCRo8h4

The first part focuses on the empiric research. An overview of EVT is presented. It was crucial to collect all possible descriptions and restructure them based on physiological considerations rather than personal perception and interpretation to enable other researchers to use a more general tool for classification of new vocal developments. Furthermore the development of the IST including main observations and sensations as well as the development of a new notation in order to enable composers to integrate IST in new compositions is included as well as the results of scientific research related to IST. Acoustic, physical and physiological properties were investigated and compared to normal exhaling singing. 116 The results of this research were published in four publications comprising articles in the Journal of Voice and the Journal Physics in Medicine.1/2/3/4 The second part of this work presents the artistic achievements of IST, which are based on a personal artistic exploration, combining three forms of IST, namely ‘pure sounds’, ‘multiphonics’ and ‘vocal electronics’ with different musical styles such as classical singing, jazz, pop and world music going from a capella to combinations with other instruments such as robots, Theremin, classical instrument in different environments. An intensive collaboration with contemporary composers in combination with my own composer/performer/ researcher background made it possible to put IST on the map of artistic expansion as well as to provide an understanding of this innovatory vocal technique.5 Ethically, I found it was necessary to explore the IST first on myself before teaching. Possible applications are not only related to artistic results but also to medical and pedagogical outcomes. This work aims above all to stimulate researchers, singers and composers to explore this marvellous world of new vocal expressions. I am convinced that the results of this research, in which I was able to explore the boundaries of this new technique, may open the door to expand future research.

Performance at Logos Foundation, Ghent.


Triangle notehead in Leda and the Swan (1976) by Tzvi Avni (bars 69-71).

(a) and (b) are body movements; (c) illustrates IST-vocal electronics; (d) and (e) are expressions during performances

Irma Bilbao, (Little but… 2013) score excerpt implemented with empirical scientific excerpts of results and new notations for ISFV®

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A videostroboscopic view of my vocal folds in exhaling singing (top) and IST-multiphonics (bottom).


A YEAR IN RESEARCH: PUBLICATIONS AND SELECTED HIGHLIGHTS

↑ Anouk De Clercq's film Atlas, screened in FLIP: About Image Construction, curated by Kasper Andreasen, Zwarte Zaal, Ghent, March 2018. Photo © Liene Aerts

↕ An van. Dienderen and crew on the set of PRISM, and still from the first scene from this cadavre exquis, which will be passed on to filmmakers in African and Afro-American schools to add on to. Part of the research project China Girls and the Color Genie, the film wants to examine how African, Afro-American and Asian filmmakers deal with the impact of lighting in the context of the technological and ideological white norm in film and photography. Set photo © Thomas Nolf; still © An van. Dienderen.

↑ The ‘nomadic film platform’ Monokino was initiated by Anouk De Clercq in the context of her PhD in the Arts. monokino.org


↑ Aice, one of the cobblers in Namibia, walking in barefoot eland SAN-dals. Researcher Catherine

Willems' Future Footwear 2.0 project works with a small group of Ju/Hoan artisans in Nyae Nyae who started to re-make their footwear with the dual mission to bring back the indigenous sandal and to promote healthy gait while establishing livelihood opportunities for the local population. Photo © Thomas Nolf. See and follow: futurefootwear.org

↓ Researcher Joost Rekveld inside a neutrino detector under construction, as part of a School of Arts delegation visiting the CERN complex in Switzerland in January 2018 in preparation of further ‘ART@CMS’ events next year. Photo © Michiel De Cleene. ↑ Natural feet are back in fashion. State of Fashion Arnhem, June 2018. 3D-printing and indigenous handcrafted shoes have a lot in common: its use of materials and time and its focus on the individual. After scanning a person's feet ‘a made to measure’ shoe is printed in specific 3D-printed material. The link with the indigenous counterpart is clear both in aesthetics and in biomechanical properties. The indigenous inspired 3D prints show how individual needs and sustainable production come closer together through new technology. Part of Catherine Willems’ Future Footwear 2.0 project.

↓ A publication in the form of a fold-out box containing two open letters, a booklet of conversations, and a set of photographs, Bauke Lievens’ Negotiating Distance is part of the outcome of her research project The Circus Dialogues. In combination with a number of performances, collaborations and other writings, these are the traces of the now completed project, but not the end: they are starting points and openings for discussion. Bauke Lievens, Negotiating Distance: 2 letters and 3 conversations on artistic research in contemporary circus. Self-published, 2018. English and Dutch editions. € 30.


Bassin public: collaborative carpet cleaning, De Koer, Ghent 10 – 12.05.2018. During a three-day festival the outside space of De Koer was transformed into a public washhouse where people from the neighbourhood came together to clean carpets and share their experience. A project by Clara Vankerschaver, who is currently working on the doctoral research project Textile as a vessel for tacit knowledge. Photo © Frederik Sadones.

↕The inauguration of the walking routes and public outdoor furniture made by the collective CAMPUS Atelier, October 2017. CAMPUS Atelier was founded by Elly Van Eeghem as a collective design studio for the public space, with residents and school children of the Nieuw Gent/UZ/Sterre neighbourhood in Ghent. This was the final collective project in the context of (Dis)placed Interventions, Van Eeghem’s research project on artistic interventions in urban development, which she will conclude next year with a publication and a performance. Photos © Michiel Devijver.


↑ Kristof Van Gestel presenting during How Do We Do It?, February 2018. Photo © Hilde D’haeyere.

↓ Researched, edited and written by postdoctoral researcher Edwin Carels, this book presents animation pioneers the Quay Brothers’ so-called ‘Black Drawings’, a suite of imaginary film posters that in hindsight appear as a kind of blueprint for their later œuvre. The book accompanied the Quay Brothers exhibition Curfews at Tommy Simoens gallery, Antwerp (December 2017 – January 2018). Edwin Carels, ed., Quay Brothers: The Black Drawings. Philadelphia Pennsylvania 1974 – 1977. Tommy Simoens/Ludion, 2018. 235 x 330 mm, 120 pages, hardcover, English, ISBN 9789491819803. € 39.90. ↓ Controversy, a work by Max Pinckers and Sam Weerdmeester, addresses the polemic of photojournalism’s ethical credibility by engaging in the discussion surrounding Robert Capa’s Falling Soldier and confronting it with a scientific approach. The work is part of Pinckers’ doctoral research project. Exhibition view at M HKA Inbox, Antwerp, August 2017.

↓ Max Pinckers & Sam Weerdmeester, Controversy. Lyre Press, 2017. LYRE 5. Design by Rudy Latoir with Max Pinckers and Sam Weerdmeester; written contributions by Lars Kwakkenbos, J.M. Susperregui and Hans Durrer. 210 x 279 mm, 16 pages, softcover, English, edition of 750, ISBN 9789082465532. € 10. lyrepress.com


↑ Related to his doctoral research project, Max Pinckers’ Margins of Excess focuses on six individuals who have been presented as frauds or deceivers by the mass media’s apparent incapacity to deal with idiosyncratic versions of reality. View from the group show Photo Friction, CC Mechelen, January – April 2018.

↓ Max Pinckers, Margins of Excess. Self-published, 2018. 192 x 246 mm, 352 pages, paperback, English, edition of 1500, ISBN 9789082465549. € 50. maxpinckers.be

↓ Researchers Kristel Peters and María Boto presented mycelium sandals and algae-pigment textile dye in the Laboratorium stand at the Gent aan Zee event, May 2018.


↑ Installation view of Sunville, Ives Maes' solo exhibition at Museum Dhondt-Dhaenens, Deurle, 2018. Left to right: Sequence #15 (Nude Beach Bound) (inkjet print, oak frame, UV glass, 2014/2018); Tarpaper Shack (inkjet prints, oak frame, tarpaper, steel bolts and screws, 2015/2018); Eclipse (inkjet print, oak frame, 2015). Photo © Rik Vannevel.

↓ Bio-inks derived from the Color Biolab research project, designed and printed by Open Source Publishing.

← The colours of the oyster mushroom. A Laboratorium project week workshop in collaboration with the artist Zeger Reyers. Laboratorium is the experimental lab for art, design and bio-technology founded in the context of the Color Biolab project. See and follow laboratorium.bio. Photo © Vanessa Müller


↑ A gridded flag blew for thirty-nine days in Citadel Park, Ghent. The flag was hoisted on De Mastplanters in front of MSK and S.M.A.K. Thirteen photographs and wind measurements were the starting point for F#1-13, a collection of photographs, sculptures, wind barbs and texts.

Arnout De Cleene & Michiel De Cleene, F#1-13. Art Paper Editions, 2017. APE#087. 250 x 307 mm, 64 pages, paperback, English, edition of 400, ISBN 9789490800673. €20.

↑ An

excerpt from Michiel De Cleene's project Reference Guide: ‘Transitory Nature (Reference Guide)’ in The Museum of Moving Practice (019), at De Fabriek, Eindhoven, 2017.

← Arnout De Cleene & Michiel De Cleene, F#1-13, Performing the Book (APE), M HKA, Antwerp, 2017.


↑ An

excerpt from Michiel De Cleene's project Reference Guide: ‘Two Explanted Pacemakers Taking Each Other For A Heart (Reference Guide)’ in The Museum of Moving Practice (019), on the Designmuseum facade, Ghent, 2017.

↓ Jeroen Billiet with fellow horn players Gilbert Cami Farràs, Yannick Maillet and Pierre Rougerie of the Insula Orchestra with four historical horns during rehearsals for the production of the Gounod opera La Nonne Sanglante at the Opéra Comique in Paris, June 2018. The introduction into the orchestra of these 19th-century Van Cauwelaert horns from the Conservatory's collection is part of Billiet's doctoral research project Brave Belgians of the Belle Epoque. Photo © Emmanuel Jacques.


↑ Over

a period of one year, postdoctoral researcher Jan Kempenaers photographed the woods in the Hobokense Polder, a suburb of Antwerp. After being a botched urban development project and a dumping ground for excess waste, the area was transformed into a nature reserve two decades ago, which is now left to its own natural growth. The book is composed of intertwining sections repeating image sequences of details, and overlays, and contact sheets. Jan Kempenaers, Hoboken, Roma Publications, 2017. ROMA 300. With an essay on landscape photography by Steven Humblet. Design: Roger Willems. 310 x 220 mm, 104 pages, hardcover, edition of 600 w/ numbered and signed c-print, ISBN 9789491843976. € 55.

↑ The

impressive result of a project coordinated by SPATIE, the school’s research group in landscape architecture, this Vademecum Duurzaam Ontwerpen van Groene Ruimten is a guide for designing green spaces based in a sustainable ambition. Presenting key concepts, practical pointers, an extensive description of the seven-phase design process, and an overview of useful tools, all illustrated with speaking examples, this guidebook is essential for both students and other entry-level readers, as well as for the entire range of professionals who deal with green spaces: designers, stewards, ecologists, commissioners and project managers. Sylvie Van Damme et al., Vademecum Duurzaam ontwerpen van groene ruimten. Garant, 2017. 240 x 300 mm, 476 pages, hardcover, Dutch, ISBN 9789044135619. € 60.

Researcher Jo Boonen talking about ‘building blocks for spatial quality’ at the VRP Open Ruimte conference, Brussels, April 24, 2018. Boonen is one of several researchers working on the project B.L.O.K. – Children and teenagers in high-rise environments: socio-spatial research and research by design.


↑ With

Artiesten Zonder Grenzen/Artistes sans Frontières, Chokri Ben Chikha's Action Zoo Humain company wants to focus on supporting development in post-Revolution Tunisia, as a counterbalance to the great expense at which Europe attempts to keep migrants outside its borders. In May 2018, they went to the Theatre Festival of Medenine, in the south of the country, an area bordering the chaotic Lybia and groaning under corruption, inflation and poverty where art is anything but a luxury. They worked there with professional and non-professional young artists, whose eagerness, enthusiasm and determination deserve our attention. Photo © Kurt Van der Elst.

↑ An

updated and revised edition of his doctoral research completed in 2013, Chokri Ben Chikha's Zoo Humain: De blijde terugkeer van de barbaar (‘The glorious return of the barbarian’) wishes to extend the reach of his research efforts to a wider audience. A collection of notes, reflections, diary notes, reports, theatre texts and encounters in which everything is true, except for the most interesting bits. Chokri Ben Chikha, Zoo Humain: De blijde terugkeer van de barbaar. Lannoo Campus, 2017. 170 x 230 mm, 264 pages, paperback, Dutch, ISBN 9789401428866. € 24.99.

← Amnes(t)ie by Action Zoo Humain is the third instalment of the company’s ‘Truth Trilogy’, the performance takes the format of a TV talk show to confront a Nazi collaborator’s daughter and the mother of an ISIS ‘foreign fighter’, in search of ‘radical reconciliation’. The productions in the trilogy are related to Chokri Ben Chikha’s research on the functions and activating potential of fiction in social reality. Photo © Kurt Van der Elst.


• CLASSICAL MUSIC 130 MIRY Concert Hall 130 In residence: The New What Now • JAZZ, POP & MUSIC PRODUCTION 132

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Residence: KRAAK 133 In Residence: JazzLab • FILM 133 KASKcinema 134 CineSessies 135 Film Music Seminar 135 X-Ray 135 In Residence: Courtisane 135 In Residence: Sabzian • DRAMA

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Ensemble as visitors, and choir students were immersed in a musical Catalonian bath. In the opera La Finta Giardiniera, voice students, accom­ panied by a complete Baroque orchestra, a first-rung Mozart opera rediscovered itself in a contemporary setting. This year, the new series of WAVS concerts insured a rich meeting between clas­ sical, jazz, media-art or fascinating mixes of each of these.

Baroque orchestra in the opera La Finta Giardiniera © Rebecca Fertinel

Throughout the year, MIRY Concert Hall hosts a variety of concerts and musical happenings. The Royal Conservatory itself offers a series of clas­ sical and contempo­ rary concerts, hosting established masters, as well as young, exciting ensembles that do not necessarily work within the safe zones of other venues in Ghent. Master classes, concerts and performance programmes for young musicians are organized in cooperation with the Ghent Festival of Flanders, the Queen Elisabeth Music Chapel and others.

In 2017-2018, with Anna Pardo Canedo. the Mediterranean In the Conservatorium Sea as its theme, the op Scène segment, MIRY Concert Hall students played chal­ dove into a rich and lenging orchestral fascinating musical programmes, including universe. The quartet Mendelssohn's Italian 130 of the Tunisian oud and Spanish Banda player, Anouar Brahem, music by Oriola. an intimate and True to tradition, melancholy encounter the soloist concerts between East and were one of the West, immediately year's highlights.

Mirek Coutigny at KANTL during Gentsche Festspiele © Frederik Sadones

A new addition to the programme of the 2018 Gentsche Festspiele was Il Cinema Repub­ blica, with classic silent films accompanied by live music and the avant-garde opening concert of the promising Nemø Ensemble. The Gentse Vleugels, Schoonzicht and a children's performance by The New What Now were, as always, unmissable contributors. miryconcertzaal.be IN RESIDENCE: THE NEW WHAT NOW

Alexandra Cárdenas © Daniela Arbeláez

Symphony Orchestra of the Ghent Conservatory © Tom De Visscher

set the tone for an exceptionally multi­ faceted season. Great names such as B'Rock, Lore Binon, VRK and Benjamin Glorieux were flanked by talented newcomers, including Alexandra Cárdenas, The Third Guy and

The BLATTwerk ensemble played new works from the composition students, and we also enjoyed the Belgian premiere of the phenomenal piano concerto by Nikos Skalkottas. Percussion students had the Paper

Long Stories Short concert, with Wim Pelgrims, Aya Suzuki & Jelle Proost in MIRY Concert Hall © Jonathan De Maeyer

The New What Now is a collective of young musicians and composers who came together at the Ghent Royal Conservatory, breaking a lance on


J A Z Z , M U S I C

Long Stories Short concert, with Wim Pelgrims, Aya Suzuki & Jelle Proost in MIRY Concert Hall © Jonathan De Maeyer

P O P & P R O D U C T I O N

The Jazz, Pop and Music Production Department of the Conservatory facilitates concerts and jam sessions for our musicians, as well as organizing study trips and master classes. The perfect partners are sought for each initiative, and projects are integrated into existing concert series at both major and

and a stage (this year with Screens, Gilman and Le Manou), and we work together with Trefpunt vzw and others on the De Nieuwelingen concert series for new bands or existing bands with new repertoires (Vito, Screens, Viktor, Nagloed, Larssen., Robert, Scabbia Mio, Walmok, Suura,

smaller cultural centres. This way, our students are immediately and actively taking part in the rich musical life of Ghent.

Langzoght, Walther, Poetic Jack). We are also expanding on our collaborations with Jazzlabseries, De Bijloke Muziek­

Long Stories Short concert, with Wim Pelgrims, Aya Suzuki & Jelle Proost in MIRY Concert Hall © Jonathan De Maeyer

behalf of contemporary classical music by a young generation of composers. Since 2015, The New What Now have been in residence at the Conservatory and have been organizing concerts on our campuses. In the summer of 2017, in the framework of the Gentsche Festspiele concert series, The New What Now collective organized the children's performance, Het Verhalenlaboratorium. They composed new music to stories published by Lannoo and De Eenhoorn. For Long Stories Shorts, no fewer than 24 young, international composers each wrote a miniature piece for percussion (!), sketching their respective musical personalities in just two minutes.

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Concert by RAMAN © Leon De Backer

thenewwhatnow.com

Concert by Gilman © Jasmijn Stuer

Each year, the Ghent Jazz Festival is home to a coaching project

centrum, Democrazy, Nest, Bar Wilson and MuziekMozaïek.


Jazz and pop jam sessions are held every week, with great focus on bands that emerge, or emerged, during the members' student years, and we present final exam concerts to the general public. Work by graduating students in music production are released on vinyl (the Masterworks LP series). Every day during the 2018 Gentsche Festspiele, students played unique concerts in the tower of De Grote Sikkel (Ewoud Van Eetvelde – Werend Van Den Bossche, Sultry, Nyoh, Tiny Oak Orchestra, Ellen Steegen, Tommy Emmanuel Finger­ style Guitar Tribute and RAMAN.)

IN RESIDENCE: KRAAK Also in 2018, from the Horta Corridor, KRAAK supported off-stream musical currents. In KASK, they found a perfect partner to present and publish music that operates under, above and in parallel to the socalled mainstream. TramZwart was an ideal location for presenting a day of their infamous Eastern Daze Festival (in collaboration with Vooruit); a special

Will Guthrie

KRAAK also presented a documentary about the legendary composer, film-maker and visual artist Tony

Braublff (Materie und Laut) concert series, of which No. 3 was presented at Cirque a couple of years ago.

Conrad at KASK cinema, and had close ties with the Media Arts Department and the X-ray Series. In addition to the concert series, KRAAK also presented a double 7” recording, documenting the

Last but not least, you probably discovered their irregularly published The Avant-Guardian in the corridors of KASK. This series of publications covers the broader context of KRAAK concerts, with interviews, artwork and articles—for which former KASK students and teachers are regular contri­butors (Gerard Herman, Lizzy Vandierendonck, Watcharita Aaron, Jeroen Wille, Ruud Ruttens and more).

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Le Manou

Asiq Nargile

Nagloed, live recording

Finally, Project Weeks are organized twice each year, with master classes and field trips. In 2017, the Project Week embarked en route to London. In the second Project Week, master classes inspired our musicians with Tutu Puoane, Gabriel Rios, Frank Deruytter, Michel Hatzi & Stéphane Galland, Adil, Mama's Open Mic, Pomrad, Filip Wauters, Pieter Van Breugel, Hannes De Maeyer, Ronald Verhaeghe and Myra Melford.

collaboration between KASK student Lizzy Vandierendonck and Lieven Martens Moana; a presentation of the Australian underground scene and a day of Vooruit's Uncanny Valley Festival.

kraak.net Avant-Guardian nr. 11. Design: rr-jw


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Imagine Raymond © Mike Verbraeken KASKcinema poster (Jan / Feb 2018), design by Jonas Temmerman and Jurgen Maelfeyt

KASKcinema is devoted to screening films that tend to be over­ looked by the regular cinema circuit. A broad range of genres and styles is covered: con­ temporary feature films, documentaries, shorts, animation, (cult) classics, video art, experimental work and so on.

Other events include Night of the Horror (three horror films!), Game Night (gaming on the big screen), Day for Night (a 24-hour film marathon), Filmtonen (classics + live music), Live Track Cinema (a pop/rock-band makes a new soundtrack for a film), Night of the Palms (KASK students show their one-minute films), Radio Cinema (podcasts) and KIDScinema. In this past year, KASK­ cinema invited (inter) national film-makers Zoe Beloff, John Smith, Patrick Bokanowski, Parviz Kimiavi and João Moreira Salles to present their respective work in person.

Imagine Raymond © Mike Verbraeken

Two years ago, we had the pleasure of welcoming JazzLab as residents on the Bijloke campus. JazzLab is a network that promotes the Belgian jazz scene by organizing concert tours with the aid of more than twenty different partners around the country. We encourage professional excellence in presenting the concerts, pay appropriate fees to the musicians and organize promotion and attention from the press. We organize events for the sharing of expertise and networking (Jazz Forum) and co-organize The Belgian Jazz Meeting, a weekend of showcases for an international

Steiger © Annie Boedt

audience of programmers. Since 2008, we have been working more internationally, for example, as project coordinator for Criss Cross Europe, organizing tours for young jazz musicians in seven European countries.

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jazzlab.be Rainer Werner Fassbinder, Die bittere tränen der Petra Von Kant (1972), film still

KASKcinema's Tues­ days are for FilmPlateau. This is a series of classic films, mostly screened on 35mmprint. Wednesdays and Thursdays are devoted to other programmes. Once a month, we have X-Ray, together with the Media Arts Department, screening and discussing more experimental films. With Please Release Me, five small art houses in Flanders show underappreciated films.

Kirsten Johnson, Cameraperson (2016), film still

In addition to the cinema hall, we also have a micro-cinema in front of the entrance. Call Me is in fact an old phone booth in which we screen experimental shorts, animation, podcasts and so on, in loop.


Anna Rose Holmer, The Fits (2015), film still

To guarantee the very best there is to offer, KASKcinema works together with several partners, including Film-Plateau UGent, Courtisane, Democrazy, Kinoautomat and others.

CineCookingSessie, with Wang Bing © Hilde D'haeyere

This year we enjoyed visits by film directors 134 Zoe Beloff (US), John Smith (UK), Parviz Kimiavi (Iran) and Wang Bing (China).

David Slotema, Hannah Bailliu, Quinten Wyns and Mattijs Driesen. We moreover travelled to Rotterdam to meet with Thai

KASKcinema is an initiative of Forum K, a non-profit organization, and the School of Arts Ghent, and is supported by the Flanders Audiovisual Fund and the City of Ghent. kaskcinema.be CINESESSIES CineSessies comprises collective moments that call on all students and teachers of film. On four or five occasions during the year, we invite national and internationally renowned film-makers, film editors, composers,

CineSessie with Apichatpong Weerastehakul, Sleep Cinema Hotel IFFR © Hilde D'haeyere

cinematographers, video artists and so on for an extended discussion, lecture, interview or presentation about their work, with associated screenings of their films.

With Chinese film director Wang Bing, we tried out a new approach to overcome the language barrier: cooking with directors. We did exactly that, under the initiative of students

director Apichatpong Weerasethakul, in his SleepCinemaHotel, an audiovisual installation he created for the 2018 Inter­ national Film Festival Rotterdam. In our


whispered conversation, sitting in the dark, we received a sound piece of advice: ‘Meditation can also be a form of resistance.’ FILM MUSIC SEMINAR

Film Music Seminar with Terence Blanchard and Peter Vermeersch, Film Fest Gent, Vooruit © Michiel Devijver

X-RAY

Sebastian Buerkner, The Chimera of M (2013), film still

Film is many things, all at once—a medium, a technology, an object, an art form, a story, an experience. With the new X-RAY programme series at KASKcinema, each month, Atelier Mediakunst proposes

Wang Bing, Mrs. Fang (2017), film still

Ghent. In 2010, as new residents at KASK, they began organizing the festival from their new location on the

Sang-soo, Isabelle Tollenaere, Ana Vaz, Basma Alsharif, Ephraim Asili, Morgan Fisher, Robert Beavers, Ruben Desiere, Mieriën Coppens, Mónica Savirón, Ute Aurand, Eva van Tongeren, Guillaume Mazloum and more, often in dialogue with older or rediscovered films. Finally, the Soft Notes on a Sharp Scale programme presented a selection of films by the Indian film-makers Mani Kaul, Gurvinder Singh, Ritwik Ghatak and Robert Bresson.

Bijloke campus. During each festival, visitors to KASKcinema, Sphinx Cinema, the Paddenhoek, Minard Schouwburg and Gouvernement all enjoy a diverse selection of new audio-visual works, films and videos by artists and filmmakers who work in the expanding field of moving image practice.

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Film Music Seminar with Joe Kraemer and Martine Huvenne, Film Fest Gent, Vooruit © Michiel Devijver

Film Music Seminar with David Shire, Walter Murch and Martine Huvenne, Film Fest Gent, Vooruit © Michiel Devijver

Each year, KASK School of Arts Ghent and Film Fest Ghent work together in a seminar on music and sound design in film & TV projects, curated by Martine Huvenne. In 2017, Jazz was the topic of the day. The relationships between jazz and symphonic music, between improvization and composition in film, were questioned and investigated. How does jazz influence the structure of a film, and how does a composer collaborate with a director? Peter Vermeersch introduced the topic in conversation with Terence Blanchard. Collaboration between composers, directors, sound designers and editors was discussed with legendary guests David Shire and Walter Murch, as well as with Joe Kraemer, who talked about his collaboration with Christopher McQuarrie.

135 Chantal Akerman, Je Tu Il Elle (1976), film still

an evening in which film is shown and challenged in all its facets and tangibility. In the meantime, we presented work by Chantal Akerman, Salomé Lamas,

Makino Takashi, On Generation and Corruption (2017), film still

Zoe Beloff, Makino Takashi, John Smith, Girls Like Us, David OReilly, Laboratorium, Sebastian Buerkner, Floris Vanhoof and more. IN RESIDENCE: COURTISANE Since 2002, Courtisane has organized an annual film festival in

Mani Kaul, Uski Roti (1969), film still

This year, from 28 March through 1 April 2018, the artists in focus were Wang Bing and Annik Leroy. The selection included new films by Valérie Massadian, Hong

IN RESIDENCE: SABZIAN

Round table on film criticism with Raymond Bellour (Trafic), Joachim Lepastier (Cahiers du cinéma), and Isabel Stevens (Sight & Sound) © Michiel Devijver

Films do not just float around in a vacuum, but are emphatically part of the world. That is why Sabzian is committed to deepening the discourse on and the imagination that surrounds cinema. Writing about cinema opens space for talk­ ing about cinema, for sharing cinema, and of course, for watching cinema. At the heart of Sabzian's activity is


Hossein Sabzian in Nema-ye nazdik [Close-Up] by Abbas Kiarostami (1990), film still

their website, sabzian.be. The launch of the new website was celebrated last autumn at Film Fest Gent, with a round table on film criticism that included Raymond Bellour (Trafic), Joachim Lepastier (Cahiers du cinéma), and Isabel Stevens (Sight & Sound), followed by a screening of Jacques Rivette, le veilleur (Claire Denis & Serge Daney, 1990).

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Over the past academic year, Sabzian and KASKcinema imitated Seuls. Singuliere momenten uit de Belgische filmgeschiedenis (‘Seuls. Singular Moments in Belgian Film History’), a series of film nights coupled with the release of unique texts by Belgian film-makers and authors on the Sabzian website. Following a programme with short films by Olivier Smolders and Thierry

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Jean-Pierre and Luc Dardenne, Le fils (2002), film still

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Seuls. Singular Moments in Belgian Film History

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Op Hetzelfde Moment © Leontien Allemeersch

Young talent takes to the stage in KASK Drama. Budding theatre makers and performers create and present remarkable productions on the Bijloke campus and at various locations in and around Ghent, including Campo, Vooruit, NTGent, Minard, les ballets C de la B, Museum Dr. Guislain, Larf, In De Ruimte, International Opera Academy and more. This year, audiences were able to experience new Master Projects, including History of Shadows (by Carine van Bruggen & Eleonore Van Godtsenhoven), The Greatest Show on

Earth (Louis Janssens & Timo Sterckx), Een parade (Louise Bergez) and Onduidelijke Correspondenties (Menzo Kircz).

The Greatest Show on Earth © Wannes Cré

Our master students also operated internationally, presenting


their work at the ITS Festival in Amsterdam, participating in the Camping international platform at the Centre National de la Dance in Paris, and hosting The Young, an international gathering of master students doing research in and about the performing arts.

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Oeverkinderen © Johan Pijpops

Al'ab Nariya ©Johan Pijpops

Third-year students in drama presented their own drama projects, as well as performing in other productions, in which they were guided or directed by diverse professional drama artists. These works included Human Landscapes: Book I (Michiel Vandevelde), The Look of the Living Dead (Thomas Bellinck in collaboration with Museum Dr. Guislain), Op hetzelfde Moment (Marc Vanrunxt), Al'ab Nariya (Marijke Pinoy), I | Movement (Boyzie Cekwana, in collaboration with Vooruit) and Oeverkinderen (Lukas Smolders). kaskdrama.be

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Nazgol Ansarinia, exhibition view, Fragments, Particles and the Mechanisms of Growth © Tom Callemin

KIOSK is an initiative for contemporary visual art, organizing a diverse exhibition pro­gramme with emerg­ing and esta­ blished artists, with strong emphasis on the creative process, the production of new works and the artist's individual trajectory.

Each year, KIOSK hosts four exhibitions in the KASK exhibition space, a former anatomical theatre on the Bijloke campus. KIOSK is an initiative of the non-profit Kunstensite orga­ nization and University College Ghent's KASK School of Arts.

KIOSK opened its new season with the solo exhibition, C O CO, by Austrian artist Christoph Meier. Among other things, the space was taken over by bamboo sticks: as they assumed a strict, meticulously arranged grid structure, they uncompromisingly


ZWARTE ZAAL

Christoph Meier, exhibition view, C O CO © Tom Callemin

and repeatedly penetrated the architecture, right through bricks and sections of glass, indoors and out.

installation artist Nida Sinnokrot (b. 1971, USA), presented a series of sculptural and cinematic installations

Exhibition view, Camping in the millimeters kingdom, group show with the master students fine arts / photography, curated by Mathias Nouel © Willem Vermoere

The Zwarte Zaal multi­ functional space on the Bijloke campus hosts numerous artistic productions each year. The Zwarte Zaal has no strict, preconceived programme, allowing it to respond to the educational and artistic needs of the visual arts, audio-visual and applied arts programmes, as well as collaborations with other art schools and 138 cultural organizations. The past year also saw Nida Sinnokrot, exhibition view, Exquisite Rotation © Tom Callemin collaborative projects Following Meier's instalfor which the KIOSK undertaken with exterlation, the exhibition space was comnal partners, including Fragments, Particles pletely blacked out. the Skopiumschuivers and the Mechanisms All of these exhibitions exhibition. of Growth offered a touched on the history, view of everyday life representation or politiin the city of Tehran, cal potential of technolreconstructed from the ogy. In our final project, perspective of Iranian Falling, Lovely and Exhibition view, Wall Drawing Experiment #5, artist Nazgol Ansarinia. Beautiful, by Frenchartist Hannelore Van Dijck worked with the second bachelor students fine arts / drawing The third solo exhibiMoroccan artist Latifa © Ives Maes tion, Exquisite Rotation, Echakhch, sound and by film-maker and poetry came together Between exhibitions, in an installation filled the Zwarte Zaal is also with personal, historical the setting for pubxxx and cultural references. lic events, including conferences, lectures, kiosk.art networking meetings, symposia and study days. Among others, these included the symposium How Do We Do It?, a platform for arts and design research practices. The Drama Department organized the Move­ ment International Platform for Performer Latifa Echakhch, exhibition view, Falling, Training, a European Lovely and Beautiful © Tom Callemin

network of educational programmes in theatre, dance and performance, which comes together each year to exchange knowledge and information. A selection of projects: SKOPIUMSCHUIVERS

Exhibition view, Skopiumschuivers © Rachel Gruijters

The Zwarte Zaal opened the academic year with Skopiumschuivers. This exhibition centred on the first decade of the Studio Skoop film hall, on how its history regularly crossed paths with that of our school, and how those pioneer­ing years con­tinue to resonate today. In 1970, under the in­centive of Ben ter Elst, Studio Skoop began presenting its first films. Central to the program­ming were exceptional films which would never have stood a chance of being seen in the commercial circuit. At the time, Het Pand and the academy with its PROKA theatre and exhibition programme were at the heart of a blooming alternative scene, created and


Exhibition view, FLIP – About Image Construction © Jan Kempenaers

shaped primarily by artists. They met in De Skoop, the cinema hall and grand café on the Sint-Annaplein in Ghent. Ben ter Elst referred to them collectively as the ‘Skopiumschuivers’. The eponymous ex­ hibition, including posters, photographs and other documents, was put together by Paya Germonprez and teacher-curator Edwin Carels. ZESTIG JAARRINGEN

Exhibition view, Zestig Jaarringen © Rachel Gruijters

The exhibition Zestig jaarringen (sixty annual rings) highlighted the 60th anniversary of KASK's Department of Landscape and Garden Architecture. In the course of the last six decades, it has graduated some 1800 landscape and garden architects. The exhibition offered insight into the work

that these alumni a pragmatic aspect have since produced, that has been often reflecting the scope neglected: how do and diversity of this we conduct research professional field through art and design and our educational practices? How Do programme. Blueprints, We Do It? opens up a archival documents, space for collective, maquettes, film hands-on reflection 139 fragments, drawings amongst researchers and photographs all (master students, made it clear that the PhD candidates and tasks of landscape senior researchers) and garden architects and aims to contribute are extremely diverse. to the development They play a role in of a strong research private gardens, community. Their first industrial green gathering took place spaces, recreational in the Zwarte Zaal areas and city from 20 to 23 February, parks, cemeteries, 2018. Participants town squares and introduced their even entire regions. practices in whatever format they considered HOW DO WE DO IT? most appropriate for providing an inside view into their artistic kitchens, and facilitating a reflective dialogue. The HDWDI? core group currently includes Alex Arteaga, Photo taken during the How Do We Do It? gathering © Hilde D'haeyere Jeroen Billiet, Hilde How Do We Do It? is D'haeyere, Martine a newly established Huvenne, Heike platform for sharing Langsdorf, Anna the practices Luyten, Jasper Rigole, involved in artistic Kristof van Baarle, and design-based Anvan Dienderen, research processes. Kristof Van Gestel, This initiative, run by DirkVan Gogh and artists, focuses on Adva Zakai.

FLIP – ABOUT IMAGE CONSTRUCTION

Exhibition view, FLIP – About Image Construction © Rachel Gruijters

The Flip exhibition was a follow-up to Copy Construct, which was held in March 2007 at CC Mechelen. It temporarily brought together a rich archive of artists' books, along with a number of works in film. On the one hand, the term ‘Flip’ refers to the physical action involved in reading a book, and on the other, to such issues as image sequences, reverse printing and the flip book or flick book, as well as to the alternate use of image and text in video works and books. Artist books from the collection of the Kunstenbibliotheek (Arts Library) were presented, along with selections from four book collectors and publishers who were specially invited for the occasion. The exhibition was curated


by artist and teacher Kasper Andreasen (DK/ BE), with the exhibition design developed by Kris Kimpe & Koenraad Dedobbeleer. UNRAVELING SLOWNESS

Exhibition view, Unraveling Slowness © Thomas Nolf

Unraveling Slowness was a group exhibi­ tion that explored how increasing speed in societies affects indi­ viduals, both physically and mentally. Set within an art school, at a time when students are preparing their final exam presentations, Unraveling Slowness wanted to create a vacuum within the Bijloke campus, a black void in which time and space are altered and disentangled. Through the use of different media and techniques, the selected artists literally performed the title of the exhibition, unravelling slowness through reflection and retrospection. Unraveling Slowness was the result of a collaboration of eight artists in residence at HISK (Anaïs Chabeur, Francesca Ferreri, Eva Giolo, Liesbeth Henderickx, Chloé Op de Beeck, Leander Schönweger, Sarah Smolder en Ingel Vaikla) and seven curators from the KASK Curatorial Studies Programme (Griet Bonne, Nathalie Cohen, Christine Denamur, Maaike Descendre, Alice Lefebvre, Bert Puype and Anna Zhironkina).

MAP – MASTERS PROJECTS SPACE

MAP #69 Inge van den Kroonenberg – Traces of Song

The MAP Masters Project Space was set up in 2012 as an additional platform for the work of master students in fine arts, autonomous design, photo­ graphy, film and film animation, graphic and textile design. Master students are invited to submit proposals for this glass passageway, adjacent to the Zwarte Zaal. It is a corridor that many people pass by every day, with little wall space but a lot of glass, so students are obliged to work with elements that may or may not be at hand. This is a space that calls for making things to measure. During the past academic year, the following 16 in situ Master Projects were presented: MAP #66 Maìra Dietrich – Peripheral Vision

Maìra Dietrich, poster image Peripheral Vision

MAP #67 David Denil – Let Us Not Fall Asleep While Walking (2016-2017)

MAP #77 Martha T'Hooft & Nasrin Tork – What We Have in Common

Inge van den Kroonenberg, exhibition view, Traces of Song

MAP #70 Alix Jacops & Anneke D'Hollander – Gandalf for President / XXX

MAP #78 Fran Van Gysegem – Dwaalspoor

Fran Van Gysegem, exhibition view, Dwaalspoor Alix Jacops, exhibition view, XXX © Willem Vermoere

140

MAP #71 Iris Dezutter – /prɛʃə/ MAP #72 Rebecca Fertinel & Sjoerd Houben – Advance To Go

MAP #79 Thomas Willemen – Constructieve obstructies MAP #80 Kadri Liis Rääk – Rhizopia

MAP #73 Esther Schelfhout – Boys Bring Brooms to the Yard! MAP #74 Jarne Quintiens & Febe Man – Gezien

Kadri Liis Rääk, poster image Rhizopia

MAP #81 Anita Šarkezi – A Labour of Love and Compulsion

David Denil, exhibition view, Let Us Not Fall Asleep While Walking (2016-2017)

MAP #68 Mark Grootes – Immense Healing Qualities

Mark Grootes, exhibition view, Immense Healing Qualities

Jarne Quintiens, exhibition view, Gezien

MAP #75 Luís Vicente – Astigmatism MAP #76 Leontien Allemeersch & Heike Dobbelaere – Construction Zone

Anita Šarkezi, poster image A Labour of Love and Compulsion


STOCK

ideas. This year's first presentation was De Pugilist, a perfor­ mance by Senne Vanderschelden.

Senne Vanderschelden, performance There's a Blue Light in the Corner

Thomas Willemen, exhibition view, during Out of STOCK series © Leontien Allemeersch

During each month of the last year, STOCK, a collective of KASK students, sent a single student on a blind date with another artist. For that entire month, the two put their heads together and worked side by side in the pavilion. At the end of each working period, they presented their collaborative projects to the public. STOCK presented the following collaborations:

STOCK #8 Valgerður Sigurðardóttir & Vincent Vandaele STOCK #9 Iris Dezutter & Cleo Totti STOCK #10 Simon Masschelein & Bert Jacobs STOCK #11 Jannes Snyers & Chantal Van Rijt

up the glass house for a series of presentations by master students, under the title, Out of STOCK. In addition, on invitation, STOCK developed presentations for Balkonscènes, an interdisciplinary arts festival 141 at NTGent, as well as for the TumultInGent 6 arts festival in De Krook. Stock consists of Koi Persyn, Leontien Van Allemeersch, Dries Van Laethem and Linus Bonduelle. DIY TWF

STOCK #6 Michiel Deprez & Lena Vandenbussche

It was followed by an exhibi­tion by Hanna Louisa, entitled Who Am I? Senne Vanderschelden then developed There's a Blue Light in the Corner. Helena Ceuppens curated an exhibition with four painters, entitled Not in My Good Christian Suburbs. Aisha Gailliaer made a textile installation for the auditorium arena. Som Wansodany, Movie Super Star Was Killed was a photo­graphy exhibition by Viktor Van Hoof. Thomas Willemen transformed

Aisha Gailliaer, exhibition view, The search for ecstasy

Jannes Snyers & Chantal Van Rijt, exhibition view, STOCK #11 © Leontien Allemeersch

STOCK #12 Stan D'Haene & Bart Van Dijck

Michiel Deprez & Lena Vandenbussche, exhibition view, STOCK #6 © Leontien Allemeersch

STOCK #7 Lisa Vantorre & Wim De Pauw

Following this series of presentations, STOCK invited all of these artists to return and collaborate—all together. The best of the collaborative works were brought together in the exhibition Vrienden v/STOCK. From April through June, STOCK opened

Viktor Van Hoof, poster image Som Wansodany, Movie Super Star Was Killed

Do It Yourself Together With Friends is a plat­ form where bachelor and master students can share their craziest

the cabinet space into a miniature soccer field for Het bal. The last DIY TWF was a performance by


Dorien Buys & Arnot Spiessens, entitled Zoneschaduwzijde. It was a rich year, full of ideas, research, collab­orations, great nights and friends.

Stans Vrijsen and Nina Jørgensen. For Tekeningenkabinet #6 (29/3-8/4/18), student of drawing Rémie Vanderhaegen

on rapidly made drawings of power, tension or exaggeration.

DIY TWF is always looking for new ideas. Mail us: diy.twf@gmail.com. HET TEKENINGEN­­ KABINET

Exhibition view, Dingspel, Tekeningen­ kabinet #6 © Rachel Gruijters

CURATORIAL STUDIES KEYNOTE LECTURES For the first time at Curatorial Studies, the programme's three collaborating institutions —Ghent University, S.M.A.K. and KASKSchool of Arts, Ghent— co-organised a prestigious lecture series, each held at one of the institutional partners. Introduced and moderated by S.M.A.K. Senior Curator Martin Germann, the three lectures took as their starting point the proposition that curating is fundamentally an exercise in working with artists. At Ghent University's brand new VANDENHOVE auditorium, Susanne Pfeffer, the director of

142

Keynote Lecture by Susanne Pfeffer © Antony Hudek

Poster image Colour as crime, Tekeningenkabinet #5 © film still from Black Narcissus (1947)

As an exhibition initiative, het tekeningenkabinet (the drawings cabinet) focuses on a specific facet of drawing, two or three times throughout each academic year. By organizing exhibitions specifically concerned with drawing, one can keep abreast of this often unseen, yet always fundamental aspect of the artistic process. Tekeningenkabinet #5 (2/3-7/3/18) presented the results from the Colour as Crime workshop, under the guidance of Hadassah Emmerich, with participating students Janice Thys, Tanya Varbanova, Helena Van Driessche,

presented Dingspel, an installation involv­ing drawings, projections and the spaces in between. Tekeningenkabinet #7 (4/5-6/5/18) brought

Exhibition views, Animatietekenen, Tekeningenkabinet #7 © Jean-Marie Demeyer

together drawings by animation students, with a specific focus

the Museum of Modern Art in Frankfurt, looked back on some of her recent projects, including her collaboration with artist Anne Imhof, which was awarded the golden lion at the 2017 Venice Biennial. Adam Szymczyk, speaking to a packed auditorium at S.M.A.K., gave a detailed presentation of documenta 14 in 2017 in Athens and Kassel, which he directed. Not least, art school director and curator Chus Martínez held the audience in the Cirque auditorium at KASK in thrall, with a profound reflection on nature, gender and ethnicity, illustrated with examples from artistic, curatorial as well as scientific research.


CURATORIAL CONVERSATIONS In addition to the regular Curatorial Studies curriculum, the programme organised a year-long series of public ‘curatorial conversations’—informal talks where the speakers could develop their thoughts on their own practice. The list of speakers ran the gamut of the field, from artists Yuki Okumura, Helen Reed & Hannah Jickling and Neal White, to museum professionals Catherine de Zegher

Curatorial Conversation with Catherine de Zegher © Antony Hudek

and Phillip Van den Bossche and curators Michel Dewilde, Frank Maes, Louise Osieka, Samuel Saelemakers, and Etienne Wynants. The openness of the format allowed for a high degree of variation: Okumura screened a recent film of his, Van den Bossche played recordings of Congolese music and Wynants' talk started in the Curatorial Studies seminar, only to end up some two hours later in the bar across the street. MATTERS OF PERFORMANCE

Manuel Pelmuș, Movements at an Exhibition, Para Site, Hong Kong, 2017.

Matters of Performance is a performance and

lecture series that unpacks the matter of performance and how performance comes to matter. The series is curated by Tom Engels, guest professor with the Drama and Performance Department at KASK / School of Arts Ghent.

Cally Spooner, On False Tears and Outsourcing – dancers responsible for delivering self-organised efforts to resolve difficult and time-consuming issues “go the distance” across multiple overlapping phases using appropriated competitive strategies and appropriated intimate gestures, 2016, dancers, acoustic panels, daylight bulbs, live radio and glass. Courtesy the artist and New Museum, New York © Jeremiah Wilson

This year, Engels invited artists Cally Spooner and Manuel Pelmuș. Both are key Lars Kwakkenbos in conversation with Thomas Struth, in the context of the presentation figures of the ‘New of the Magister prize © Rebecca Fertinel Performance Turn’ and 143 have been reimagining represent an artistic exceedingly high the role of performance approach related to stand­ards of Struth's in the context of the the vision of education, work, the way in visual arts. research and practice which he employs of the arts at the photo­graphy as a HoGent School of Arts medium for gene­rating MAGISTER ARTIUM (KASK). Gilbert and narratives, analyses GANDENSIS 2018 George, John Zorn, and commentaries, and – THOMAS STRUTH Salome Kammer and perfect interconnection of artistic and docu­ mentary intentions all reflect the visions of the Department of Photography at KASK. Students of photography at KASK attended a master class with Thomas Struth, as well as the presentation of the Magister prize.

Thomas Struth. Schaltwerk 1, Berlin 2016. 2016

Since 2010, University College Ghent has offered a prize in the arts, entitled Magister Artium Gandensis. It is awarded to artists who excel at the international level and who are decisive forces in their respective disciplines, and who

Belà Tarr are previous Magister Artium Gandensis recipients. On the recommen­ dation of KASK / School of Arts, the 2018 Magister Artium Gandensis prize has been awarded to the German photographer Thomas Struth. The


D

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MAARTEN VAN SEVEREN CHAIR 2018 – ALDO BAKKER The KASK Label works on display at the Dutch Design Week, Eindhoven © Hermine Cooreman

Master class by Aldo Bakker with students from 5 European art schools © Thomas Nolf

In 2015, the Depart­ ment of Design of KASK / School of Arts Ghent and the Maarten Van Severen Foundation established a teaching chair with the aim of conveying the relevance and significance of Maarten Van Severen's work for today's designers. Every year, a leading designer whose work shows special affinity with the work of Van Severen gives a lecture and a master class. Students from our fine arts, autonomous design and textile design department as well as students from Aalto University Helsinki, Berlin University of the Arts, ENSAV La Cambre Brussel, Design Academy Eindhoven and ECAL Lausanne participated. Each event is documented in an MVSC Cahier.

Spread from MVSC Cahier 02

This year's chair holder was Aldo Bakker. During a five-day

Saara Kantele, Luha – trekking spork, 2018

workshop, which took cutlery as its starting point, he challenged students to elaborate on their work and comment on that of others. In a concise, stimulating lecture, he mused on his own work, which seems to take a middle position between utensils and aesthetic objects.

This year, eight KASK alumni exhibited at the Dutch Design Week in Eindhoven (NL). Under the collective title, Displacement, these young designers, artists, thinkers and makers focused attention on the fact that the average person only looks at a given work for a few seconds, and consequently does not realize the time involved in making it. They made an interactive stand in which viewers were challenged anew. The participating alumni were Sophie Schreinemacher, Nathan Sagaert, Kenji Masson, Brian 144 Naeyaert, Amina Saâdi, Hermine Cooreman, Julien de Smet and Magalie Delbeke. KASK @ BAD & INSIDE OUT

mvsc.be KASK LABEL @ DUTCH DESIGN WEEK KASK Label is intended to present the newest projects by students of design to the wider public. KASK Label wants to show the talent of students to an interested audience by actively participating in the international design scene.

KASK booth at Inside Out interior design fair, Flanders Expo © Kurt Van Maldegem

The Department of Interior Design (Interieurvormgeving) at KASK was present with a stand at the BAD Belgium Art & Design fair at the ICC in Ghent, as well as at the Inside Out in Flanders

Expo interior design fair, also in Ghent. For BAD, first-year students set to work with ‘Centrepieces’ as their theme. They received an introduction to the purpose and the history of centrepieces and, during a workshop, they sought ways —solely with the use of form and material— to stimulate people in such a way that it inspired conversation. BAREFOOT HERO During a two-day workshop at the University of Liverpool, students of fashion at KASK and MA Footwear London College of Fashion explored the relationship between gait and surface. After being exposed to the biomechanics of feet and footwear at the Gait Lab in Liverpool, the students translated this knowledge into the design of a floor tile of choice, together with a corresponding outer sole. What they explored here was a conceptual approach to the relationship between form and function. From a biomechanical point of view, good proprioception is a necessary input for the body to be able to adjust to different positions and surfaces, and to control balance and stability. The project was a collaboration between the Fashion Department at KASK, School of Arts Ghent (Catherine Willems), MA Footwear London College of Fashion (Eelko Moorer), and the University of Liverpool (Kristiaan D'Août, Faculty of Health and Life Sciences).


LECTURE SERIES, SYMPOSIA AND A SUMMER ACADEMY STUDIUM GENERALE

Meganck), about calling birds by their names (Barbara De Coninck), and about the personal importance of rituals (Jeroen Olyslaegers). studiumgent.be KASKLEZINGEN Lecture Series

Geers, Reinhard Doubrawa, Nathalie Laceur, Bas van Beek, Morgan Fisher in collaboration with Courtisane, Christine Eyene, Pierre BalBlanc, and Replay: The Poster as Artwork, in collaboration with Convent. kasklezingen.be

xxx

KASKlecture by Peter Morrens © Godart Bakkers

Each academic year sees the organization of two KASK lecture series, in the autumn and in the spring, with leading speakers in the 145 Drawing made by Jade Kerremans during Studium Generale lecture by Jeroen Olyslaegers fields of the visual arts, Studium Generale This year's theme audiovisual arts, deis University College was ‘Rituals in Times sign, drama, music and Ghent's (UGent) of Transition’, about literature. The lectures podium and forum for rituals and the power take place on Thursday students, teachers and they possess, about evenings, at Cirque, other interested parties the S-curve (Barbara a former anatomical to reflect on society, art, Raes), about the facelift theatre. They are free culture and science. It is for Vrouwe Justitia of charge and open based on ten lectures (Lady Justice) (Walter to a broad audience. per year, organized Van Steenbrugge), Students at KASK & around a given theme. about hands (Darian the Conservatory can The contents and Leader), about why follow these lectures organization of the we sacrifice our freeas a minor. Studium Generale dom for the illusion lectures are further of control (Daminaan developed by KASK Denys), about what a School of Arts. lack of rituals has to do with climate change (Rebekka de Wit), about language as a KASKlecture by Pierre Bal-Blanc © Antony Hudek collective ritual (Melih Gençboyaci), about This year, we invited how binary thinking imthe following artists poverishes every quest and initiatives: Christoph for a good, new destiMeier, Circulation – From nation (Tom Callebaut), MovieDrome to Vdrome, about moving the Stefan Banz, Peter Rock of Gibraltar and Morrens, Eva Barois de the importance of a Caevel, Anne Teresa cup of hot water in De Keersmaeker, Julia the mornings (Jan de Born, Dalia Taha, Nida Studium Generale lecture by Rebekka de Wit © Stijn Heyvaert Maeseneer and Marjan Sinnokrot, Kendell

KEYNOTES

© Shoe museum Eperon d'Or in Izegem, on the occasion of conservator-director Hilde Colpaert’s keynote

Keynotes are an annual series of exclusive evening lectures, presented by designers and others who stand with both feet squarely on the ground in practicing the professions of the respective disciplines. The Keynotes rely on a broad, interested audience, but are principally intended to confront students with the diversity of ideas in the concrete working domains of interior design, landscape and architecture design, and motivate them to engage in active dialogue with the speakers, as well as critically reflect on their own presentations.


Keynote by Joris Sleebus © “Ville Champêtre”

During the last year, Keynotes welcomed Joris Sleebus, about mural painting in the Noordwijk neighbourhood of Brussels, Jorryt Braaksma of LAMA architects, Thomas Meesschaert and Jacob Vyncke of TJIP Creative Environments, Thomas Serck of Serck Architects, Jan Bleys of Studiebureau Ars Horti, Bert Busschaert and Kenny Windels of Studio Basta, and Hilde Colpaert, conservator and director of the Izegemse Museum and the Eperon d'Or heritage site.

BIJLOKE SUMMER ACADEMY 146

© Muziekcentrum De Bijloke

Bijloke Summer Academy is the initiative of eight partners on the Bijloke site in Ghent: les ballets C de la B (contemporary dance), LOD musical theatre (production house), De Bijloke Music Centre (concert hall), the Spectra Ensemble (contemporary music), Jazzlab (concert organizer), Ghent Festival of Flanders, International Opera Academy and KASK & the Royal Conservatory / School

of Arts Ghent. For the summer of 2018, the Bijloke Summer Academy organized four coaching programmes for young makers and collectives active in musical theatre, chamber music, photography and/or contemporary dance. bijlokesummer academy.be


BOOKS

&

BOOK

PRESENTATIONS

KUNSTEN­BIBLIOTHEEK

exceptional collection of artists' books that can be consulted by appointment. 1M3

before its move to the Kunstenbibliotheek site. Thanks to Katja Ballegeer, Kunstenbibliotheek Librarian, the students were able to familiarise

Official opening of the library, preceded by a keynote speech by Alberto Manguel © Elies Van Renterghem

Since the start of this academic year, our Bijloke location has been enriched with a beautiful new space in the specially renovated Huis van de Abdis (abbess's residence): a contemporary library that holds collections of books and magazines of the KASK (Koninklijke Academie voor Schone Kunsten/ Royal Academy of Fine Arts), S.M.A.K. (Stedelijk Museum of Contemporary Art), Design Museum Ghent, STAM (Stadsmuseum Gent/Municipal Museum Ghent), HISK (Hoger Instituut voor Schone Kunsten/ Higher Institute for Fine Arts) and the Gentse Gidsen in one location.

A selection of drawings in the gallery leading to the library, on the occasion of the opening © Elies Van Renterghem

On Saturday, 30 September, the Kunstenbibliotheek (Arts Library) celebrated its opening in the presence of Bert Hoogewijs (Director General of University College Ghent), Annelies Storms (Alderman for Culture, Tourism and Events for

the City of Ghent) and Sven Gatz (Flanders Minister for Culture, Media and Youth, and Brussels), as well as Alberto Manguel. The official opening was preceded by a keynote speech by this Argentinian writer and essayist. In the gallery that leads to the library, a selection was presented of materi147 als from the different collections, with specific focus on drawings. Students and alumni in Exhibition view, Vorsatz, curated by Anna Zhironkina jazz, pop and classical music further graced themselves with the the opening festivities. library's impressive artists' book collection, whose holdings span the history of artists' bookmaking, up to contemporary bookbased work by KASK graduates and staff. A view on the new library book display © Elies Van Renterghem The collaboration led The Kunstenbibliotheek to displays by the is a specialized library Swiss artist, writer in visual arts, with parti­ and publisher Stefan Exhibition view, Yves Klein Fading Blue, curated by Marta Masiero cular focus on con­ Banz, realised in temporary art, design, 1M3 is a space of close dialogue with the city of Ghent and just one cubic metre, CC Strombeek; a urbanity. The collection dedicated to artists' supremely elegant includes more than books from the display on the 100,000 exhibition cata­ Kunstenbibliotheek variations in colour logues, monographs (Arts Library collection). across reproductions of and reference works This academic year, Yves Klein all-blue IKB about art history, art Curatorial Studies monochromes, curated theory, philosophy, dra­ students curated by Marta Masiero; a ma, performance, film, four displays as part fascinating exploration photography, architec­ of the 1M3 vitrine of ‘Vorsatz’—the ture, land­scape archi­ project, in the corridor pages, also referred to tecture and design. It facing what used to as ‘endpapers’, which moreover includes an be the KASK Library, often go unnoticed,


curated by Anna Zhironkina; and a poetic meditation on memory traces through books, using or referring to the letterpress technique of impression, curated by Nathalie Cohen.

ONRUST – KASK & Royal Conservatory's Magazine

kaskbooks.tumblr.com ESSENTIAL READING The newly opened Kunstenbibliotheek (Arts Library) organizes the Essential Reading book project. Essential Reading aims to enlarge, diversify and enrich the Kunsten­ bibliotheek's book collection. Which books are really indispensable for an art library today? In the library, Essential Reading invites guest speakers to bring together and present the books that they consider most valuable in their own lives and work.

Nat Muller, presenting her book selection for Essential Reading #3 © Rachel Gruijters

Essential Reading guests in 2017-2018 included curator and writer Eva Barois De Caevel (FR), Professor Nathalie Zonnenberg (NL), journalist and curator Nat Muller (NL), master students Jolien Deceuninck (B) and Flora Blommaert (B), and curator and researcher Christine Eyene (UK).

Covers of ONRUST magazine °4, °5 and °6, design by Jonas Temmerman and Jurgen Maelfeyt

Onrust is the KASK & Conservatory's calen­ dar magazine. It con­ tains an overview of the panoply of cultural events in which our 148 students, researchers and teachers are involved, as well as a wide variety of other items, including inter­ views, theatrical ex­ cerpts, artist portfolios, reviews, essays, anno­ tated lyrics and much more. For each issue, we invite a student to design a maze for the back cover. Four issues are published every year, with the final issue focusing on the Graduation Festival. Onrust can be viewed and consulted online at issuu.com/ schoolofartsgent and medium.com/onrust. To stay informed of the activities of the KASK & the Royal Conservatory / School of Arts Ghent, you can also receive our newsletter by registering on our website: schoolofartsgent.be.


Facts & Figures

149


DEGREES GRANTED TO STUDENTS IN THE ACADEMIC YEAR 2016-2017 (ARRANGED ACCORDING TO PROGRAMME AND GENDER) total count (597)

NUMBER OF UNIQUE STUDENTS FOR THE ACADEMIC YEAR 2017-2018 total count (2230)

Bachelor of Audiovisual Arts (22) male (1199) female (1031)

Bachelor of Visual Arts (78) Bachelor of Interior Design (76) Bachelor of Landscape and Garden Architecture (41) Advanced Bachelor of Landscape Development (25)

Count of 05.06.2018 of all enrolled students with a degree contract. —

Bachelor of Music (69)

NUMBER OF BELGIAN STUDENTS FOR THE ACADEMIC YEAR 2017-2018, PER PROVINCE

Bachelor of Drama (13)

total count (1889)

European Postgraduate in Arts in Sound (6)

Antwerp------------------------------------------------------- 259 Brussels-Capital Region--------------------------- 48 Hainaut----------------------------------------------------------- 12 Limburg---------------------------------------------------------- 81 Liège------------------------------------------------------------------ 5 Luxembourg---------------------------------------------------- 6 Namur--------------------------------------------------------------- 4 East-Flanders-------------------------------------------- 793 Flemish Brabant--------------------------------------- 202 Walloon Brabant-------------------------------------------- 5 West-Flanders------------------------------------------- 474

Master of Audiovisual Arts (18) Master of Visual Arts (65) Advanced Master in Contemporary Music (5) Master of Music (50) Master of Drama (7) Master Audiovisual Arts (2) Master of Fine Arts (20) Master of Music (9) Postgraduate Curatorial Studies (6) Postgraduate Digital Storytelling (11) Postgraduate Soloist Classical Music (1) Bridging programme for the Master in Audiovisual Arts (3) Bridging programme for the Master in Visual Arts (7) Bridging programme for the Master in Music (8) Teacher Certification in Audiovisual Arts (3) Teacher Certification in Visual Arts (15) Teacher Certification in Drama (1) Teacher Certification in Music (16) Prepatory programme for the Master of Audiovisual Arts (2) Prepatory programme for the Master of Visual Arts (8)

male female

Count of 05.06.2018 of all enrolled students with a degree contract. —

150

NUMBER OF FOREIGN STUDENTS FOR THE ACADEMIC YEAR 2017-2018, PER NATIONALITY total count (2230) America------------------- 5 Argentina----------------- 1 Armenia------------------- 2 Belgium------------ 1892 Bolivian-------------------- 2 Bosnian-- ------------------ 1 Brazil------------------------- 5 British----------------------- 4 Bulgaria------------------- 2 Canada-------------------- 1 Chili--------------------------- 1 China------------------------ 6 Colombia----------------- 5 Congo---------------------- 1 Costa Rica-------------- 1 Croatie--------------------- 6 Cuba------------------------- 1 Czech Republic----- 1 Ecuador------------------- 1 Estonia--------------------- 1 France-------------------- 15 Germany---------------- 12 Greece--------------------- 3 Honduras---------------- 4 Hungary------------------- 2 Iceland--------------------- 3 Irak---------------------------- 3 Iran---------------------------- 7 Israël------------------------- 1 Italy-------------------------- 17

Japan----------------------- 7 Kazakhstan------------- 2 Kosovo--------------------- 2 Latvia------------------------ 4 Lithuania------------------ 3 Mexico---------------------- 3 Montenegro------------ 1 Pakistan------------------- 1 Palestine------------------ 1 Peru--------------------------- 2 Philippines-------------- 1 Poland---------------------- 6 Portugal------------------- 3 Romania------------------ 3 Russia-------------------- 16 Serbia----------------------- 2 Slovenia------------------- 1 South Africa------------ 2 South Korea----------- 2 Spain---------------------- 16 Syria-------------------------- 1 Switzerland------------- 2 Thailand- - ----------------- 1 The Netherlands ------------------------------ 130 Turkey----------------------- 5 Ukraine-------------------- 4 Viëtnam-------------------- 1 White Russia---------- 2

Count of 05.06.2018 of all enrolled students with a degree contract7

TEACHING AND ADMINISTRATIVE STAFF OF THE SCHOOL OF ARTS FOR THE ACADEMIC YEAR 2017-2018 total count (537) male (351) female (186) Aerts Liene Andersen Tawny Antico Susanna Ballegeer Katia Bartoletti Paola Beert Inès Berden Laurence Boeykens Beatrijs Bos Eva Boshoff Marie-Alice Boto Ordonez Maria Bouchez Hilde Boulaich Aouatif Broekaert Rilke Brouwers Anke Bussens Claudine Buyse Christine Campens Angelique Caruso Giusy Castelein Ingrid Castermans Suzy Cedee Jasmijn Ceuppens Godelieve Cheng Xin Cielen Fia Clierieck Martine Cnop Ann Cocquyt Wendy Colruyt Godelieve Damm Kerstin De Baets Isabelle De bisschop An De Bondt Katia De Bondt Sara De Boodt Maria Deboosere Marie De Brauwer Greta De Bruyckere Joan De Clercq Anouk De Cock Sabine De Cock Nele De Fleyt Karin De Langhe Hilde Delarue Stefanie De Meûter Ingrid de Mey Anne De Munck Marlies Demyttenaere Siegrid Den Hond Ilse De Pot Marina De Preester Helena De Raedt Nele De Schepper Elisa De Smedt Christine De Smet Helena De Swaef Emma De Vuyst Hildegard De Wilde Leen De Wolf Sandy De Wulf Mia Dezwarte Els D'haeyere Hilde D'herde Nele

Dierick Phyllis Dietrich Helena Dufour Rachelle Duprez Caroline Emmerich Dámaris Ermert Judith Fabré Marijke Fransen Christiane Friant Katrien Govaert Véronique Graulus Myriam Gruijters Rachel Gyselinck Femke Hadji Heydari Anaraki Shila Hallaert Veerle Hemerijckx Els Högner Christiane Hollevoet Mia Huvenne Martine Huygelen Elisabeth Huysmans Debby Junnonen Anu Kars Anita Keij Sophie Kodama Emi Kovacevic-Juresa Jelena Kusters Liesbet Langsdorf Heike Laplanche Amélie Lemahieu Katty Lesuisse Anne Lierman Sally Lievens Bauke Llaurens Anouk Louwyck Liesbeth Luyten Anna Macbean Ibernice Matthijs Godelieve Meirlaen Ann Mensah Pee Nana Moens Els Mombaerts Jozefien Neels Femke Peeters Julie Peeters Yannick Peire Sarah Peters Kristel Pinoy Marijke Posson Nathalie Poullier Caroline Raes Barbara Ramon Mieke Raspoet Iris Reynolds Alexandra Roelandt Els Rondelez Katrien Ruchel-Stockmans Katarzyna Ruigrok Mirella Saelens Ann Schade Dorine Schreinemacher Sophie Segers Catharina Smalbrugge Sara Smet Valérie Snauwaert Marie Soeffers Katrien Somers Dominique Steverlynck Diane Stotijn Christina Stragier Claire Stuhlberger Christina Swerts Carla Tavernier Greta


Teirlinck Nathalie Termont Sandra Torres de Benito Maria Luisa Valibouse Arielle Van Cauter Steffie Van Daele Liselotte Vandamme Sofie Van Damme Sylvie Van den Brande Kristien Vanderbeke Katrien Van der Gucht Sandra Van der Sanden Tania Van De Velde Gwendeline Van De Woestyne Mieke van Dienderen An Van Driessche Marie-Rose Van Eeckhaut Marijke Van Eeghem Elly Vangheluwe Joke Van Herck Astrid van Kalmthout Rozemarijn Van Kerckhove Hendrickje Vankerschaver Clara Van Langenhove Herlinde Van Petegem Karen Van Reeth Griet Van Schuylenbergh Esther Van Tomme Karen Velghe Frauke Verheyen Hildegarde Vermeulen Maria Vermoortel Pieternel Vermote Petra Verschaffel Martha Verschoore Evelyn Viaene Els Vlaeminck Annelies Voet Kathleen Vuylsteke Vanfleteren Katrien Wambacq Judith Wautier Chrystel Welvaert Veronique Westerduin Saskia Willems Catherine Windels Veerle Yee Marina Yoshioka Tae Zakai Adva Zolotareva Olga Zonnenberg Nathalie Abels Grégory Akdag Kadir Alliet Patrick Alyacoubi Mohanad Andreasen Kasper Arteaga Fernandez Alejandro Baeckelandt Peter Baele Dirk Bakkers Godart Bal Vincent Beckers Feiko Beels Wide

Bellanger Sven Bellinck Thomas Bellinkx Ruben Belpaeme Geert Ben Chikha Chokri Berlaen Wouter Berx Patrick Beuckels Patrick Beyls Peter Billiet Jeroen Blanchaert Dirk Blanckaert Joris Blank Martin Blomme Pieter Boonen Jo Braeckman Dirk Brants Bart Breynaert Willem Breyne Rob Brossé Dirk Bruneel Janos Bryssinck Hans Burez Jens Buschmann Paul Caers Stef Callier Toon Cardinael Miel Carels Edwin Carrijn Johan Casaer Paul Casale Vincenzo Chantrain Jan Claeys Geert Clarisse Geert Cneut Carl Conard Sébastien Cools Frank Coquette Michel Cornelis Dirk Corstjens Danny Coucke Patrick Crevits Bram Davidts Wouter De Backer Karel Debaene Mario De Baudringhien Filip Deblauwe Dirk DeBlock Hugo De Bruycker Wim De Busschere Bruno Debuysere Stoffel De Cleene Michiel De Cock Johan De Cock Karel De Cock Tom Decorte Wouter Defoort Bart Defrancq Evert De Gheselle Ruben Degryse Luc De Keyzer Carl Delaere Ivo Delecluse Fabrice De Leersnyder Benoît Deleu Luc Deliège Glenn Delobel Simon Demets Paul Demeyer JeanMarie De Pauw Jan Depestel David Depestel Bart Depoorter Emmanuel De Poorter Simon

Jacobs Gert Deprey Kris Jacobs Henricus Derks Peter Jans Erwin Derycke Laurent Janssens Thomas Derycke Johan Janssens Daan Derycke Luc Jespers Bram Deschepper Luc Joye Ruben De Schrevel Kann Sebastian Stephane Kempenaers Jan Desimpelaere Kerckhof Marc Pascal Kermaire Franky De Smet Peter Keunen Gert Desmet Thomas Kimpe Kris De Temmerman Kivrikoglu Ibrahim Wim Konink Jan Willem De Vleeschhouwer Korczak Andreas Luc Kwakkenbos Devlieger Jan Laurentius Devolder Steven Lamal Hans De Vos Eric Lamont Paul Devos Joris Lapauw Dieter de Vries Jaap Lenssens Tim De Wit Dries Leper Hendrik de Wolf Willem Le Roy Frederik Dewulf Bernard Lesaffer Bert D'haese Gert Lesage Peter Dheedene Stefaan Lhoest Leon Dhondt Geert Libbrecht Harlind Dockx Joris Lievens Dirk Dombrecht Patrick Lodewyckx Tom Doumen Björn Maas Koen Dragonetti Régis Maelfeyt Jurgen Druart Hans Maes Ives Druart Michel Maeseele Wim Dua Raphaël Mariën Laurens Duerinck Tim Marievoet Sven Duijck Johan Maris Bart Duquenne Ronny Martin Ronny Eeckhout Wim Masson Marc Enckels Raf 151Mathysen Pieter Engels Tom Mees Bob Eyckmans Filip Mendoza Christian Fevery Bruno Mertens Lode Florizoone Jan Metten Philip Florizoone Tuur Meuleman Rob Foré Pieter Michiels Ignace Forment Bruno Minten Raf Fostier Johan Mistiaen Carlo Frederickx Manu Moccia Alessandro Galle Jerry Moelants Dirk Garabedian Monsaert Peter Mekhitar Moretto Graziano Gerritse Arnoud Mortier Pieter-Paul Geyskens Vincent Mulder Arjen Goddeeris Isidoor Mulhall Gustavo Godfroid Marc Nagtzaam Marcus Goossens Frederik Navratil Tomas Goossens Tom Neetens Steven Grimonprez Johan Nuytten Pieter Grootaers Elias Op De Beeck Hans Gulinck Luc Opstaele Johan Guns Senne Overdeput Gyselinck Lander Christian Gyselinck Wannes Pauwels Dominique Haegeman Arthur Pegorim Getacine Hannes Nick Pensaert Werner Hendrickx Penson Michaël Sébastien Penson Guy Herman Gerard Pierins Vincent Heuninck Elias Pinckers Max Heyde Steven Pinte Marc Heyerick Florian Platel Alain Heyndrickx Tony Poissonnier Pascal Hoedelmans Ponseele Francis Thomas Popelier Marc Hofman Koenraad Prenen Mathias Hudek Antony Pujol Marcos Impens Vincent Rathé Filip Isselée Johan Rekveld Joost Istomin Sergei

Rigole Jasper Robyns Gert Roels Hans Rogiers Peter Roosemeyers Alex Ryckaert Tim Samoshko Vitaly Scheerlinck Danny Schoenmaekers Raf Schollaert Stijn Scholliers Hans Seghers Thomas Sel Dries Senden Yves Senepart Gillis Smolders Luc Soenen Geert Sonck Christophe Steen Jan Stoop Jean-Pierre Storms Yves Stragier Jan Stroobants Herman Suys Diederik Temmerman Jonas Theys Hans Thomaere David T'Hooft Wim Thuriot Philippe Tilkin Michel T'Jonck Pieter Tomme Klaas Tordoir Narcisse Vaiana Pietro Van Beeck Martien Vanbergen Reinhard Van Bockstal Piet Vanbroekhoven Ivan Van Burm Stéphane Van Damme Bram Van Damme Mattijs Van den Abeele Lieven Van den Abeele Tim Van den Berghe Gust Vandenberghe Peter Van Den Bossche Bart Vandenbussche Jorre Vandenweghe Gert Van der Linden Dirk Vander Linden Jacky Vandermaelen Johan Van Der Veken Jan Van der Velde Thomas Van der Ven Jeroen Vandeveire Bram Vande Veire Frank Vandevelde Ludwig Vandevelde Michiel Vandewalle Daan Van Dionant Toon van Driel Willy Van Elslande Brecht Vaneyghen Rik Vanfleteren Stephan

Van Gestel Kristof van Gogh Dirk Van Gysegem René Vanhaeren Kobe Vanhalewyn Jan Van Herreweghe Mats Van Ingelgem Samuel Van Isacker Carl Van Lierde Wigbert Van Maldegem Kurt Van Malderen Jeroen Vanommeslaeghe Raf Van Oost Hans Vanoosthuyse Eddy Van Rossem Stijn Van Ryckeghem Steve Vanslembrouck Klaas Van Tornhout Wouter Vastesaeger Mattijs Venlet Daniel Verberkmoes Geerten Verbraeken Lieven Vercaemer Geert Vercruysse Rik Vergauwe Geert Vergucht Harold Verhoustraete Hannes Vermassen Joris Vermeersch Pascal Vermeersch Peter Vermeulen Patrick Vermeulen Erik Vermoere Willem Verschueren Bert Verschuren Ronald Verstraete Stephen Viaene Patrick Vloemans Sam Vos Hans Waelput Wim Weber-Krebs David Wellekens Tom Wemel Wouter Westenberg Pieter Weyler Maarten Wiame Benjamin Wiewauters Dries Wille Jeroen Wittevrongel Erwin Wouters Jozef Ysabie Peter Zoete Dirk


graduation2018.be schoolofartsgent.be

Publication issued on the occasion of Graduation 2018, the presentation of bachelor, master and postgraduate projects 2018 at School of Arts Ghent (KASK & CONSERVATORY). Graduation 2018 comprises an exhibition, a drama festival, KASKfilms, fashion shows, classical music and jazz / pop concerts. CLASSICAL MUSIC June 9 — 27, MIRY Concert Hall JAZZ & POP MUSIC June 13 — 26, Minardschouwburg FASHION SHOW 18 June 14 & 15, Eskimofabriek Ghent

 DRAMA FESTIVAL June 15 — 17, various locations in the city centre of Ghent KASKFILMS • Premiere: June 26, cinema Sphinx • Screenings: June 27 – July 1, KASKcinema 

 EXHIBITION with Master, Bachelor and Postgraduate projects: • June 27 / opening night • June 28 – July 1, Bijloke campus — Publication coordination and editing: Liene Aerts, David Depestel, Wim De Temmerman and Claire Stragier Design: Jonas Temmerman and Jurgen Maelfeyt Image cover: Behind the scenes of Arthur Theysken's bachelor film, Ever Westward Eternal Rider, © Jules Mathôt Copyediting and translation: Liene Aerts, David Depestel, Laurent Derycke, Régis Dragonetti, Andita Shabanaj, Mari Shields and Claire Stragier Website: Arthur Haegeman and Claire Stragier Printing: Graphius Group, Ghent ISBN: 9789491564123 Edition: 1500 copies School of Arts Ghent Jozef Kluyskensstraat 2 B-9000 Ghent

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GRADUA

PUBLISHED ON THE OCCASION OF THE PRESENTATION OF THE GRADUATION PROJECTS 2018 AT KASK AND THE ROYAL CONSERVATORY / SCHOOL OF ARTS GHENT.

NAAR AANLEIDING VAN DE PRESENTATIE VAN DE AFSTUDEERPROJECTEN 2018 AAN KASK & KONINKLIJK CONSERVATORIUM / SCHOOL OF ARTS GENT.