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Graduation 2013


Graduation 2013

Naar aanleiding van de presentatie van de afstudeerprojecten 2013 aan de School of Arts Gent.

Published on the occasion of the presentation of the graduation projects 2013 at the School of Arts Ghent.


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1 Voorwoord / Introduction

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5 Master’s, Bachelor’s & Postgraduate Projects 2012 – 2013 93 Master’s projects Visual Arts, Audiovisual Arts, Drama, Music & Advanced Master’s projects Music Bachelor’s projects Interior Design, Landscape and Garden Architecture & Advanced Bachelor’s projects Landscape Development Postgraduate Projects TEBEAC: Conservation and Exhibition Management of Contemporary Art

2 Rond de Tafel / Around the Table  7 Een gesprek over ambacht en techniek & over creëren vanuit de materie A conversation about craft and technique & about creation based in materiality 3 Artistic Research 2012 – 2013 41 PhDs in the Arts: 43 — Ludwig Vandevelde, ‘Pietà’ — Silvia Defrance, ‘Her Voice’ — Hilde D’haeyere, ‘Stopping the Show. Film Photography in Mack Sennett Slapstick Comedies 19171933’ Theoretical PhDs: 57 — Martine Huvenne, ‘Sound as Inner Movement in the Transfer of Experience in Film. A Phenomenological Approach’ — Ruth Rondas, ‘The One-to-One Relation in Higher Instrumental Education. An Ethnographic Study’ Research Projects in the Arts: 61 — A contemporary technology for direct animation techniques — Application of digital sound analyses in vocal pedagogy Project-Based Scientific Research: 67 — Child-Friendly Hospital. The Impact of Interior Design and Art on Children’s Hospital Experience — Furniture-link. Connecting Lifecycle and Furniture Artistic Research Publications

6 Facts & Figures

4 Artistic Productions 2012 – 2013  73 KASKcinema; KIOSK; Het Paviljoen; Master’s projects space MAP; A Prior; KASK Lectures; Zwarte Zaal; Miry Concert Hall; Jazz, Pop & Music Production; Drama Projects; Residencies

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CONTENTS / INHOUD

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en een toonaangevend pedagoog van de kunsten: “The individual artist is more important than any educational program or doctrine. A successful art school must involve important artists. A great faculty attracts interesting students who teach each other.”1 In de voortdurende beweeglijkheid van een kunstschool spelen de studenten de hoofdrol. Zij zijn het meestal die, met elkaar en met hun docenten, de keien in de rivier verleggen.

Voor het derde jaar op rij presenteren we naar aanleiding van het afstudeerfestival van jonge kunstenaars en vormgevers uit KASK en KONINKLIJK CONSERVATORIUM een publicatie die een inkijk biedt in het reilen en zeilen op onze campussen. Een vluchtig, tussentijds moment wordt daarmee vastgelegd in beeld en tekst. Vluchtig en tussentijds, want om Heracleitos te parafraseren: je kan geen twee keer dezelfde kunstschool bezoeken, zoals je geen twee keer in dezelfde rivier kan gaan staan. Een goede kunstschool is voortdurend in beweging. Uiteraard moet ze dat zijn om haar plaats te vinden in de evoluerende institutionele kaders. Voor Vlaanderen valt dat op dit moment het best samen te vatten als de creatie van Schools of Arts in een nieuwe hogeschoolomgeving. Onze opleidingen zullen hun missie om te excelleren enkel kunnen waarmaken als de School of Arts de inhoudelijke autonomie, die geest en letter van het onderwijsdecreet haar toezeggen, reëel kan benutten. Dit moet de School of Arts immers de mogelijkheid geven om aan haar eigen, interne evoluties recht te doen. Want ook en vooral van binnenuit zijn goede kunstopleidingen voortdurend in beweging. Niet om zich aan te passen aan de nieuwste tendensen in de kunstwereld. Onderwijs houdt best een gezonde afstand ten opzichte van hypes en trends. De beweeglijkheid van de kunstopleidingen is eerder het gevolg van het samen zoeken naar optimale situaties waarbinnen studenten hun verlangen om kunstenaar of ontwerper te worden op de proef kunnen stellen, toetsen, voeden en vormen. Dit zoeken ontspint zich vooral in de dialoog tussen lesgevers, onderzoekers en studenten. Beweeglijkheid, samen zoeken … met die benadering sluiten we aan bij de visie op kunstonderwijs van Daniel Birnbaum, in 2009 curator van de Biënnale van Venetië

Wim De Temmerman Decaan

1 S.H. Madoff (ed.), Art School: Propositions for the 21st Century, MITPress, 2009, p. 240.

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perpetual motion, the students play the leading part. It is often they who, with each other and with their instructors, move the rocks in the river.

For the third consecutive year the graduation festival of KASK’s and ROYAL CONSERVATORY’s young artists and designers is also the occasion for us to present a publication that offers a look into life on our campuses. A fleeting, transitional moment is thus captured in image and text. Fleeting and transitional, because, to paraphrase Heraclitus, it is as impossible to visit the same art school twice, as it is to step into the same river twice. A good art school is perpetually in motion. It has to be, of course, to find its place within an ever changing institutional context. For Flanders this evolution can be summarized as the creation of Schools of Arts in a new university college structure. Our programmes will be able to fulfil their mission to excel only if the School of Arts can fully exploit the autonomy as decreed by the Flemish community. For this should enable the School of Arts to make the most of its own, internal evolutions. Because the arts programmes’ perpetual motion is also, and mainly, driven from inside. Not in an attempt to adapt to the latest trends in the arts world. Education should keep its distance from hypes and fashions. The arts programmes’ motion is rather the result of a concerted effort to search for the optimum situations for students to challenge, test, nurture and develop their desire to become an artist or a designer. This search unfolds mainly in the dialogue between instructors, researchers and students. Motion, searching together … with this approach we subscribe to the view on arts education expressed by Daniel Birnbaum, curator of the 2009 Venice Biennial and leading pedagogue in the arts: “The individual artist is more important than any educational program or doctrine. A successful art school must involve important artists. A great faculty attracts interesting students who teach each other.”1 In an arts school’s

Wim De Temmerman Decaan

1 S.H. Madoff (ed.), Art School: Propositions for the 21st Century, MITPress, 2009, p. 240.

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Voorstellingsronde Anna: Welke rol spelen ambacht en techniek binnen jullie eigen kunstpraktijk en in welke mate staan deze aspecten nog centraal binnen jullie pedagogische taak? Bram: Ik ben documentairemaker en ben voor het ogenblik bezig met het derde luik uit mijn trilogie over Afrika. Als filmmaker heb ik niet meteen een pasklare definitie voor het begrip ambacht. Het lijkt me alvast niet zinvol om een onderscheid te maken tussen de analoge pellicule en de digitale pixel. In documentaires worden analoge dragers sowieso nog maar weinig gebruikt. Beide procedées vallen wat mij betreft onder de noemer ambacht. Zelf monteer ik erg veel. Kennis van hardware, het bouwen van je eigen computer, en allerlei specifieke software vallen daar dus ook onder. Van camerawerk ken ik de basisprincipes. De verschillende types, welke lens welk effect geeft ... zulke technische bagage beschouw ik als een noodzakelijk onderdeel van mijn vak. Het stelt me bijvoorbeeld in staat om de cameraman heldere instructies te geven. Bij studenten merk ik dat ze graag zelf achter de camera plaats nemen. Het moderne, lichte materiaal maakt dat ook mogelijk en er is op zich niets mis mee. Dat heeft met een gevoel van controle te maken. Zelf probeer ik medewerkers veeleer mee te laten denken en hen te betrekken. Emmanuel: Wanneer ik teken of sculpturen maakt vertrek ik niet vanuit mijn ambacht. Voor een nieuw project doe ik niet noodzakelijk beroep op technieken die ik beheers. Ik bepaal en perfectioneer ze in functie van het werk. Dat behelst een constante zoektocht en maakt de kern uit van wat ik als het artistieke proces beschouw. Omdat ik geen vooropgezet idee heb van wat tekenen nu precies is, zie ik mijn pedagogische praktijk dus meer als begeleiding dan als het aanleren van technieken. Op het toegangsexamen peilen we vooral naar achtergrondkennis en motivatie. Het

Het is misschien nog vroeg om van een traditie te spreken, maar na het boeiende visiegesprek van vorig jaar kon een tweede editie niet uitblijven. Op het programma staan twee bijeenkomsten waarbij een panel van docenten en onderzoekers uit verschillende disciplines van gedachten wisselen over een thema. In een eerste gesprek wordt gepolst naar de plaats van ambacht en techniek in hedendaagse kunst en vormgeving, en in het hoger kunstonderwijs. Ooit waren het evidente pijlers van het pedagogische systeem. Aspirant-kunstenaars dienden zich een aantal basisvaardigheden eigen te maken om vervolgens stap voor stap het meesterschap te bereiken. Na de woelige twintigste eeuw, waarin meer dan één isme zich geschiedenisvrij verklaarde, kwam de zin van zo’n stapsgewijze praktijk ter discussie te staan. Ambacht en techniek werden in het uiterste geval opzijgezet als de nalatenschap van een dode traditie die bovendien het ware scheppingsvermogen zou beknotten. Anno 2013 zijn de meningen nog steeds verdeeld. We praten erover met Bram van Paesschen (film), Emmanuel Depoorter (tekenen en animatiefilm), Pieter Mathysen (schilderkunst), Manu Frederickx (instrumentenbouw), Hilde Bouchez (designgeschiedenis en -theorie) en Gustavo Mulhall (interieur-vormgeving: technologie en materialen). Het decor is de Malfaitzaal. Vanuit hun portretten aan de muur kijken een dozijn voormalige directeurs van de ‘Gendsche Academie’ mee. De huidige decaan, Wim De Temmerman, en coördinator Liene Aerts zijn ook van de partij, zij het in levende lijve. Anna Luyten en Wannes Gyselinck zijn moderatoren van dienst. Régis Dragonetti, ten slotte, is aanwezig als redacteur.

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EEN GESPREK OVER AMBACHT EN TECHNIEK

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totaalbeeld van de student is voor mij belangrijker dan waar hij technisch toe in staat is. Pieter: Ik ben schilder en docent. Toen de vraag over ambacht en techniek werd gesteld, moest ik meteen aan Francis Bacon denken. Die was erg blij dat hij niet naar de academie was geweest omdat hij anders allerlei hinderlijke technieken had moeten leren. Als schilder, stelt hij, moet je een eigen techniek ontwikkelen. Ik ga daarmee akkoord. Sterker nog, zelfs per werk moet je tabula rasa maken. Dat wil niet zeggen dat ‘de academie’ geen functie heeft. In het vak ‘technologie van de schilderkunst’ gids ik studenten door de canon. Ik leg hen uit waarom bepaalde technieken in bepaalde periodes dominant konden worden. Op die manier kunnen studenten tegenover dat referentiekader positie innemen. Kennis van de canon en de historisch context helpen bij hun oriëntatie als kunstenaar. Al was het maar om het na vier jaar bij het grof vuil te zetten. Ook dat is immers positie innemen. Wannes: Breng je die technieken dan ook in de praktijk? Pieter: Zeker. In het eerste jaar doorlopen we het hele schilderij van drager over grond- en verflaag tot vernis. De nadruk ligt daarbij op het visuele effect dat materialen en technieken sorteren. Na een theoretische inleiding volgt steeds de praktijk. Zelf heb ik zo onderhand wel met alles gewerkt, van aquarel tot tempera. Het feit dat ik een eigen schilderpraktijk heb, helpt me om technieken van binnenuit te benaderen, namelijk hoe ze kunnen worden aangewend om iets te bereiken. Voor mij geen abstractie. Ik wil de zaken van zo nabij mogelijk tonen, als was ik de David Attenborough van de vaktechnologie. Anna: Experimenteren studenten soms met technieken die jij niet kent? Pieter: Dat niet. Er is wel een tendens om alles met elkaar te mengen: verf, spuitbussen, latex ... Ik ben er om hen op de mogelijke technische problemen te wijzen en samen te zoeken naar een

oplossing die trouw blijft aan hun oorspronkelijke visie. Het komt erop aan het juiste materiaal of de juiste techniek te kiezen om de juiste vorm te geven aan wat je wil uitdrukken. Emmanuel: Dat herken ik. Verf kan veel uitdrukken maar niet alles. Net zo kan tekenen een bepaald denken demonstreren of een soort vluchtigheid suggereren die eigen is aan de techniek of het materiaal zelf. Wannes: Mag ik dan zeggen dat het kiezen van de juiste techniek een belangrijk onderdeel van het métier is? Pieter: Zeker, dat aanleren is de essentie van ‘technologie van de schilderkunst’, het opleidingsonderdeel dat ik doceer. Manu: Op dat punt is er een duidelijk verschil met onze discipline. Bij instrumentenbouw staat de techniek voorop. We vertellen geen verhaal maar werken in functie van een bepaald gebruik of klankidioom. Techniek is dan ook het vertrekpunt van onze opleiding. Die putten we trouwens uit diverse disciplines zoals schilder- en beeldhouwkunst, maar ook de ambachtelijke meubelmakerij. We zijn geen puur technische opleiding, maar de techniek moet eerst beheerst worden voordat de nodige nuances in het werk kunnen worden gelegd. Anna: Besteden jullie daarbij veel aandacht aan oude technieken? Manu: Daar zijn wij veel mee bezig. Studenten dienen inzicht te verwerven in de houtsoorten, vernissen en gereedschappen die doorheen de geschiedenis gebruikt werden. Onze opleiding heeft veel aandacht voor historische instrumenten. Net zoals bij Pieter bekijken we welke specifieke technieken zijn gebruikt voor een instrument. Het leren kijken is primordiaal omdat de kennis over het maakproces niet altijd is doorgegeven. Kleine details zoals sporen van gereedschap kunnen soms erg verhelderend zijn. Ons ambacht wordt dus niet zozeer gekenmerkt door een voortzetting van een bepaalde traditie maar door een kritische blik op het verleden. 10

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Ik denk bijvoorbeeld aan de Vitra-stoel van Maarten Van Severen. Een tweede element om de crisis in design te verklaren heeft te maken met het gebruik van software. Door de opgang daarvan zijn studenten het schetsen verleerd, wat ik een erg kwalijke trend vind. De socioloog Richard Sennett stelt het heel helder in zijn boek The Craftsman. Door met pen en papier aan de slag te gaan sla je als het ware een brug tussen lichaam en geest. Dat noemt hij embodiment. Door louter gebruik te maken van software komt die link er niet en krijg je bijvoorbeeld architectuur die de mens als bevreemdend ervaart. Ik volg Sennett als hij het ambacht niet louter als vaardigheid maar vooral als ervaring definieert. Studenten design en architectuur hebben een obsessie met het visuele. Je ziet dan ook vaak enkel renders op een eindwerk. Er wordt te weinig uit de materialiteit gedacht. Typisch ambachtelijke technieken worden opzij geschoven als huisvlijt. Anna: Is er dan geen tegenbeweging op gang? Hilde: Die kwam er inderdaad vanuit de designart. Maar opnieuw ontkwam men niet aan het primaat van het concept. Met Droog Design als bekendste voorbeeld. Met de realisatie van het idee werd zelfs geen rekening meer gehouden. Gustavo: Ik ben het oneens met Sennett. Er zijn mensen die het virtuele aan een eigen wereld kunnen linken. Op die manier is het gewoon een nieuwe techniek. In een overgangsperiode is er waarschijnlijk wel sprake van vervreemding. Ik merk immers ook de trend van sommige studenten om te vluchten in prentjes. Zelf heb ik met de hand leren tekenen, wroeten met inkt en een gillettemesje. Ook maquettes werden nog niet zomaar geprint. Dat mis ik wel. Studenten hebben er deugd van wanneer ze er zich eens in verdiepen. Wat ze daarna doen, ook al is dat met computer, is dan geladen vanuit die ambachtelijke ervaring. Meer algemeen denk ik eigenlijk dat studenten opnieuw

Virtueel vacuüm Hilde: Mijn expertisegebied is design. Ik ben historicus en doceer designgeschiedenis. Ik hou me dus vooral met theorie bezig. In tegenstelling tot wat ik hoor van Bram en Emmanuel constateer ik zowel in de designsector, de binnenhuisarchitectuur, als in de architectuur een enorm gemis van het ambachtelijke. Design is in een crisis terechtgekomen doordat ze enkel aandacht had voor de vorm en het concept. De functie is daarbij verloren gegaan waardoor de breuk met de negentiendeeeuwse Arts-and-craftsbeweging van William Morris compleet is. Productdesign is vandaag de norm. Techniek is uiteraard nog belangrijk maar wordt de facto aan fabrikanten overgelaten. 11

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Gustavo: Ik doceer technologie en materialen en heb een eigen architectenbureau. Ambacht en techniek liggen alweer anders voor ruimtelijke ontwerpers. Wij hebben immers, naast een ontwerpende, ook een coördinerende rol. Ruimtelijk ontwerpers zijn generalisten en moeten van alles een beetje kaas gegeten hebben. Vooral onze coördinerende rol vergt nogal wat typische ambachtelijke kennis: van plamuren tot houtschaven. Laat ons zeggen dat ik over 70 procent van al die zaken ernstig kan meespreken. Daarnaast is er ook onze voorafgaande ontwerpende rol die tegenwoordig een wat dubbelzinnige band onderhoudt met de uitvoerende of coördinerende. Ikzelf heb als ontwerper veel met mijn handen gewerkt. Het generalisme van onze stiel vind ik essentieel, al deelt niet iedereen die mening. Vooral in Nederland merk ik dat de ontwerpopleidingen geatomiseerd zijn geraakt. Er is een coördinator voor dit en een andere voor dat. Daardoor is het totaalbeeld zoek. Ook in de praktijk is dat merkbaar. Aanbestedingsdossier, interieur, bouwaanvraag, werfleiding ... voor elk onderdeel is een andere instantie verantwoordelijk. Op die manier weet niemand nog waarom hij iets doet.

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behoefte hebben aan eenvoudige dingen. Iets dat je kan lijmen, plakken, om het zo maar eens te zeggen. Kortom, iets bevattelijks. Studenten weten niet meer hoe je een bepaald karakter bekomt. Ze downloaden een textuur zonder te weten dat er spatelplamuur aan te pas zal komen. Wat ik dus betreur is de vervreemding tussen de ambachten met hun materiaalkennis en de ontwerppraktijk. Dat staat trouwens los van het gebruik van computers. Een ontwerproces is mijns inziens altijd iets heel persoonlijks geweest. Ook vóór de introductie van de computer had je mensen die liefst met maquettes of tekenkundig aan de slag waren en anderen gingen cerebraler te werk.

technische beheersing. Andersom zie ik ook wel studenten die zich achter een techniek verstoppen, om een inhoudelijk of emotioneel gebrek te verhullen. In een pedagogische context pleit ik eerder voor een ondersteunend aanbod van vaardigheden. Anatomisch tekenen, perspectieftekenen. Zolang er maar wordt bij verteld dat techniek geen doel op zich is maar simpelweg mogelijkheden in zich draagt. Wim: Het is waar dat met de pensionering van een docent dikwijls een stuk kennis verloren kan gaan. Ook bij de hervorming van studieprogramma’s kan dat het geval zijn. Toch zijn dergelijke hervormingen en het aanwervingsbeleid er de voorbije jaren juist op gericht om te voorzien in een gedegen technische basisopleiding. In de beeldende kunsten bijvoorbeeld werd er niet alleen geopteerd voor anatomisch tekenen, maar zelfs academisch tekenen naar oude modellen staat weer op het programma. In de fotografie is analoge fotografie dan weer bijzonder populair. Wannes: Docenten die verdwijnen nemen mogelijks een stuk technische kennis mee. Gaat er met verval en verhuis ook technische infrastructuur verloren? Wim: Bij de verhuis van de Academiestraat naar de Bijlokesite bijvoorbeeld werd bewust gekozen om alle technieken als eigentijds te beschouwen. Of een techniek nu splinternieuw is, zoals het 3D-printen, of eeuwenoud, zoals het mouleren, doet er niet toe. Sommige technieken die op het eerste zicht achterhaald lijken, zijn in artistiek opzicht eigentijds. Het gaat namelijk om het beeld dat men wil creëren, of de klank … en daartoe hoef je niet per se de nieuwste techniek te gebruiken, wel de meest geschikte. Het kopieerapparaat vervangt dus niet de grafische druktechnieken, de digitale fotografie vervangt niet de analoge. Qua techniek hebben we niets verloren laten gaan. Er werden in de nieuwbouw donkere kamers ingericht. Ook al het oude materieel van het atelier grafiek blijft

Vorige generaties Anna: Een oudere generatie gaat op een bepaald ogenblik met pensioen. Is er op die manier al ambachtelijke kennis verloren gegaan? Gustavo: Eigenlijk beschouw ik mezelf nog als de oudere generatie. Ik ben dus een voorvechter van een zekere ambachtelijkheid in het ontwerpproces. Ik probeer mijn studenten er bewust van te maken dat het gebruik van bepaalde materialen een bepaalde sfeer kan genereren. Ik illustreer dat met goede en slechte voorbeelden. Emmanuel: In mijn geval denk ik dat de breuk met het academische ambacht zich al twee generaties voor mij heeft voltrokken. De mensen waarvan ik les kreeg behoorden tot de generatie van mei ’68. Die hebben zich erg afgezet tegen de traditionele kunstopvatting. Hun gedachtegoed is ook mij zeker niet vreemd. Pieter: Dat is erg herkenbaar. Ook tijdens mijn opleiding werd het verwerven van technische vaardigheden vaak opgeofferd ten voordele van wat dan heet ‘expressie’. Niet onbelangrijk, maar de vraag is of we in sommige gevallen het kind met het badwater niet hebben weggesmeten. Sommige beeldidiomen vereisen nu eenmaal een grote 12

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nieuwe camera’s hebben de kwaliteit van pellicule ondertussen ingehaald en zijn een pak gemakkelijker in gebruik. Wat de trend van found footage en archiefmateriaal betreft: VHS en Hi8 hebben inderdaad een typische textuur maar worden steeds omgezet naar recente formaten. Ik denk niet dat studenten nog met spoelen willen werken. En terecht. Wie de eigenheid van oudere dragers in zijn werk wil gebruiken mag dat doen maar het is zeker niet mijn specialiteit. Manu: De traagheid van bepaalde technieken kan inderdaad een heilzaam effect hebben. Met computers zijn de mogelijkheden soms te talrijk. De studenten lopen dan een beetje verloren. Met passer en lat bijvoorbeeld krijg je meer de kans om je te concentreren op het ontwerp zelf, waardoor het vaak een stuk transparanter, uitgepuurder wordt. Gustavo: Akkoord. Het kan een verrijking zijn. Maar zoals ik al zei zijn de virtuele technieken ook gewoon technieken die je meester kan worden. Wat me meer zorgen baart, is het gebrek aan klassiek ambachelijke kennis. Hoe de dingen tot stand komen. Een korrelige structuur bekom je niet door een pixelwaarde aan te passen in een bepaalde interface maar bijvoorbeeld met de juiste temperatechniek. Ik pleit ervoor dat studenten architectuur en vormgeving zich een aantal ambachtelijke technieken eigen maken om een beter zicht te krijgen op de makelij van dingen. Dat werkt inspirerend. Studenten vergeten soms dat het ook eenvoudig kan. Er is een mooie anekdote over de NASA. Miljoenen dollars hadden die besteed aan het ontwerp van een pen die in het luchtledige kon schrijven. De Russen daarentegen hadden gewoon een potlood meegenomen op hun vlucht. In dat opzicht merk ik wel een terugkeer van het gezond verstand. Hilde: In onze maatschappij is een hang naar slowness: slow food, slow living, slow design … Studenten hebben tijd nodig, tijd om te reflecteren. Vandaar dat ik vind dat schetsen een essentieel

Traagheid Anna: Bram, in cinema is er bij sommige studenten een fascinatie voor archiefmateriaal. Sommigen gaan op rommelmarkten op zoek naar oude videobanden. In dit digitale tijdperk willen ze de eigenheid van pellicule onderzoeken... Moeten die oude technieken in de opleiding aan bod komen? Bram: In het eerste jaar komen de studenten sowieso in aanraking met pellicule. Door de logheid en beperking van het medium leren ze op een overwogen manier beslissingen te nemen. Los daarvan denk ik niet dat we ons op oude technieken moeten focussen. De 13

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in gebruik, net als dat waar animatiefilmmaker Raoul Servais’ werk mee tot stand is gekomen, zoals rostrums. Die worden nog dagelijks door de studenten gebruikt. Zoals Manu daarnet aangaf: soms wordt oud technisch alaam zelfs opnieuw ontwikkeld en nagebouwd. Een tiental jaar geleden kreeg het atelier beeldhouwkunst ook een nieuwe doorstart, los van het atelier installatie, en werd geïnvesteerd in heel wat hooggespecialiseerde machines, bijvoorbeeld voor houtbewerking. Gustavo: Ik ben daar blij mee. We hebben hier ter plaatste een prachtig houtatelier met grote machines, een metaalatelier, keramiekovens. Toch moet ik onze studenten van ontwerp geweldig aansporen om zelf eens een kijkje te gaan nemen. Vaak durven ze pas na een jaar een eerste keer ergens binnen te gaan. Het ideaal lijkt me dat dergelijke ateliers bemand worden door een ploeg ervaren specialisten. Zulke ambachtslui beschikken over een soort microscopisch gedetailleerde kennis waar wij als generalisten veel van kunnen leren. Hilde: Gustavo, besef dat je daarmee van geluk mag spreken. Ik heb tien jaar lesgegeven aan een architectenschool waar niet de minste infrastructuur aanwezig was. Hier heb je als ontwerper tenminste de mogelijkheid een stuk ambacht op te snuiven.

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onderdeel van interieurvormgeving en architectuur is. Manu: Dat is ook de reden waarom wij naast technisch tekenen ook waarnemingstekenen hebben ingevoerd in het curriculum instrumentenbouw. Op die manier kunnen de studenten leren naar objecten te kijken. Pieter: Ik ben ook voorstander van die basistechnieken. Zelf ben ik een product van de kunsthumaniora waar die vaardigheden toen nog gedrild werden. Dat heeft me eigenlijk wel goed gedaan. Bij aanvang van mijn studies kon ik hierdoor sneller op de inhoudelijke aspecten van de schilderkunst focusen. Nu is dat anders. In jury’s merk ik dat ook het middelbaar kunstenonderwijs al vroeg op resultaat mikt. Veel zaken die daar worden gepresenteerd lijken op kunst. Nu, iets maken dat op kunst lijkt, is op zich niet zo moeilijk. Het komt erop aan om verder dan het oppervlak te denken. De keuze en uitvoering van technieken moeten samen met het beeld een intrinsieke logica vertonen. Als dat niet het geval is, krijg je iets halfslachtig, iets kunst-achtigs. Emmanuel: Voor mij ligt het anders. Let wel, ik ben niet tegen techniek en ambacht. In een eerste jaar moeten nu eenmaal wat basisvaardigheden onderwezen worden. Daarna moet het accent verschuiven naar hoe je ze aanwendt in je eigen artistieke praktijk. Ik zie het nut er wel degelijk van in. Anderzijds gaat met die tradionele vaardigheden vaak een specifieke kijk op kunst gepaard, een onderhuidse idee, esthetiek of waardepatroon. In waarnemingstekenen bestaat bijvoorbeeld de opvatting dat iets correct kan en dus moet weergegeven worden. Eerstejaarsstudenten zijn daar erg vatbaar voor en dat is geen lichtzinnige zaak. Een vorming schud je immers niet zomaar van je af.

Gustavo: De perceptie over de Gentse scholen onderling is erg hardnekkig. Dertig jaar geleden al werd algemeen aangenomen dat Sint-Lukas in architectuur een artistieke opleiding aanbood terwijl KASK wat architectuur betreft ‘met de voeten op de grond stond’. Of daar nu echt zo’n groot verschil in was, laat ik in het midden. Ik denk wel dat studenten interieurvormgeving vandaag goed weten dat ze op een campus werken waar achter elke hoek een andere discipline aanwezig is. Tot mijn tevredenheid merk ik dat onze studenten interieurvormgeving de ateliers van de afdeling multimediale vormgeving hebben ontdekt. Die is zeer praktijkgericht. Verder lijken alle studierichtingen er van op de hoogte dat hier een mooi aanbod aan apparatuur voor handen is. Bram: Filmstudenten bij ons kiezen echt voor een kunstopleiding. Dat in tegenstelling tot de technischer ingestelde scholen als RITS en Narafi, met professioneel gerichte bachelors. Pieter: Als er een spectrum van opleidingen schilderkunst zou bestaan waarvan de ene pool in hoofdzaak conceptueel werkt en de ander ook technisch, dan sluit KASK, vermoed ik, eerder aan bij die laatste. Hier proberen we een werk betekenis te geven vanuit het manipuleren van materie. Studenten bevestigen dat. Het technische aspect van de opleiding trekt hen meer aan dan het conceptuele. Dat wil trouwens niet zeggen dat ik conceptuele idiomen minderwaardig vind. In andere ateliers vrije kunsten (bijvoorbeeld installatiekunst) zijn ze soms veel manifester aanwezig. Wim: Het antwoord op die vraag verschilt van discipline tot discipline. Zelfs van docent tot docent. Ook rond deze tafel horen we daarover verschillende meningen. Pieter: Dat is gezond. Ik verkies een gedifferentieerde ploeg lesgevers boven een perfect op elkaar afgestemd docentenkorps dat een pedagogische orthodoxie predikt. Ook gastdocenten kunnen een nieuw geluid toevoegen. Emmanuel: Wij hebben de laatste

Een spectrum Anna: Staat de School of Arts nog altijd bekend als een meer ‘ambachtelijke en technische’ opleiding? 14

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Controle Anna: Een eetservies. Daarmee zijn we weer bij de Arts-and-craftsopleving aanbeland. Voelen ook anderen de terugkeer naar dat klassiek ambachtelijke? Pieter: Bij de studenten schilderkunst voel ik een bepaalde aversie tegen de computer. Emmanuel: Ik interpreteer dat heel anders. Het feit dat studenten soms voor oudere technieken kiezen is geen bewijs van een ambachtelijke renaissance. Integendeel, het is een hang naar exotisme, technieken waar ze niet mee vertrouwd zijn en die bijgevolg een hogere toevalsfactor toelaten. De resultaten van zulke experimenten zijn minder beheersbaar dan digitale technieken. Dat trekt hen aan. Bram: Er is ook een omgekeerde stroming die op zoek gaat naar de grenzen van het digitale, dat gebied waar je de controle uit handen geeft. Ik vind dat eigenlijk relevanter. Hilde: Maar dan moet je het digitale natuurlijk in hoge mate meester zijn. De niet-controle mag nooit uit onkunde voortkomen. Bram: Precies om die reden vind ik het evengoed een ambacht. Wanneer je monteert met behulp van Avidsoftware polijst je soms een hele dag aan één enkele cut. Dat gaat dan om luttele frames. Wanneer een film daarentegen nodeloos besmeurd is met digitale effecten, doorprik je dat meteen. Als studenten zich daaraan bezondigen moet je hen als docent dwingen erover na te denken. Manu: Vanzelfsprekend is dat debat voor instrumentenbouwers anders. Het handwerk is daar moeilijk te vervangen. Digitaal aangestuurde CNC-machines missen de subtiliteit om de kwaliteit van een bepaald materiaal in te schatten. Soms wordt een oud instrument wel eens door een CT- of MRI-scanner gehaald, dit kan ons inzichten opleveren die voorheen nauwelijks mogelijk waren, maar of dat het ambacht wezen15

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projectweek aangegrepen om iets rond academisch tekenen te organiseren. We zijn daarvoor in het archief van het KASK gedoken. Gezien de lange bestaansgeschiedenis van de instelling was er dus veel om uit te kiezen. Op die manier krijgen studenten een heel concrete inkijk in ons academisch verleden. Weliswaar mag een goede omkadering niet ontbreken. Het is vooralsnog niet de bedoeling dat studenten in zo’n idioom blijven hangen. Het dient louter om hun perpectief open te trekken. Gustavo: Dat is mooi. Onze opleiding tot bachelor in de interieurvormgeving is echter heel kort. Op drie jaar tijd moeten studenten klaar zijn om mee te draaien in het werkveld. We zijn daardoor verplicht bepaalde verwachtingen uit de markt in te lossen. Studenten moeten nu eenmaal een pakket computerprogramma’s beheersen. Na een jaar wordt het schetsen noodzakelijkerwijs verlaten ten voordele van virtuele vaardigheden. Onze expertise in visualisatie en rendering is trouwens een van de redenen dat studenten voor deze school kiezen. Een algemene opleiding met aandacht voor verschillende technieken is prima maar er moeten een paar specialiteiten van het huis op de kaart staan. Hilde: Interieurvormgeving is natuurlijk een professionele bachelor die in grote mate op de arbeidsmarkt is afgestemd. Je ziet dan ook dat die studenten binnen bedrijven vaak de voorkeur krijgen op die van interieurarchitectuur, wat een masteropleiding is. Je moet daar een onderscheid in maken. Gustavo: Elke opleiding is gebaat met een herkenbaar profiel. Studenten weten dan waar de nadruk ligt, wanneer ze een keuze moeten maken tussen scholen. De aanwezigheid op onze school van zo veel verschillende ateliers zorgt sowieso voor mogelijkheden. Vorig jaar heeft een studente interieurvormgeving een servies ontworpen. De nabijheid en toegankelijkheid van het keramiekatelier was daarbij uiteraard een zegen.

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lijk verandert, betwijfel ik. Die nieuwe technologieën zijn echter zodanig gespecialiseerd dat ze zich voorlopig nog buiten onze atelierpraktijk bevinden. Anna: Dit eigenste gesprek wordt opgenomen met een iPhone. Merk je dat studenten zulke technologieën in hun praktijk betrekken? Bram: Neen, dat heb ik nog niet gemerkt. Ik zou het hen ook erg afraden. Zo’n machientje levert op zich wel een relatief kwaliteitsvol beeld maar je hebt absoluut geen controle. Niet op de sluitertijd, niet op de lens. Het komt dus ook neer op het verlies van controle maar op een slechte manier.

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atelier en de museale context voldeden niet langer. Ik was op zoek naar communicatie tussen kunstenaars en creatievelingen. Ik beschouw daarom niet enkel het stoffelijke onderdeel van mijn sculpturen als materie, maar ook wat erin gebeurt. Wanneer ik iemand uitnodig voor een performance gaat heel die actie deel uitmaken van het werk. Met geluid kan dat evenzeer. Laat ons zeggen dat ik een vrij brede kijk heb op materie. Wat het waarlijk stoffelijke deel van mijn werk betreft, zij het hout, gyproc of iets ander, ben ik steeds genoodzaakt met goedkope materialen te werken. Dat vind ik niet erg want vaak gaat het om tijdelijke werken die na het project worden afgebroken. Prima. Het is mij immers te doen om de putten die je met zo’n sculptuur graaft in het geheugen van de mensen. De vaste materie heeft daar dan nog weinig mee te maken. Anna: Functioneert dit ‘materiaal’ dan ook als een creatieve kracht, een vertrekpunt? Philip: Persoonlijk vertrek ik vanuit een idee, een bedenking. Pas daarna komt materie erbij kijken. Bauke: Als dramaturg balanceer ik tussen een eigen kunstpraktijk en het in functie staan van iemand anders. Ik heb theaterwetenschappen en kunstfilosofie gestudeerd. Het beschrijvende discours aan de universiteit stond naar mijn gevoel te ver af van de praktijk. Van op een afstand bekeken ben ik net als Philip op zoek gegaan naar vormen van communicatie. Dat pad voerde mij naar het hedendaagse circus, dat zich de laatste decennia vooral in Frankrijk ontwikkeld heeft. Als dramaturg ben ik de eerste toeschouwer van een creatieproces. Mijn meest primaire materiaal is dan ook precies datgene dat aan de basis ligt van een theatrale situatie. De veelzijdige spanning tussen een acteur en mezelf, het publiek. Wannes: Is ruimte daarin dan een factor? Bauke: Zeer zeker. Ruimte is een manier waarop die theatrale situatie tot stand

Vierentwintig uur later vult de Malfaitzaal zich een tweede keer met docenten en onderzoekers. Tekenen present: Philip Metten (beeldhouwkunst), Bauke Lievens (drama), Lukas Huisman (artistiek onderzoeker over complexe pianomuziek), Diane Steverlynck (textielontwerp), Toon Heyndrickx (interieurvormgeving: architectonisch ontwerp) en Luc Deschepper (landschaps- en tuinarchitectuur: atelierontwerp en beplantingsplannen). Het onderwerp van de avond is creëren vanuit de materie. Waar de vraag voor beeldende kunsten misschien wat klassiek klinkt, is dat voor kunsttakken als drama en muziek veel minder het geval. Of strekt de materie in een visuele context ook verder dan verf, houtskool en doek? We vragen het. Anna: Wat beschouwen jullie als ‘materiaal’ in jullie eigen kunstpraktijk. Philip: Jullie hebben me dan wel uitgenodigd als beeldhouwer maar ik weet niet of ik dat zo zie. Beeldhouwkunst is mijn eerste fascinatie maar ik ben niet klassiek geschoold. Ik heb ze eigenlijk zelf moeten ontdekken, los van enige scholing. Tijdens dat onderzoek besefte ik op een bepaald ogenblik dat ik mezelf niet langer kon vinden in het medium van de sculptuur. Vanaf dat punt begonnen mijn werken in omvang te groeien tot de sculpturen als het ware openklikten. Op die manier ontstonden sociale platformen, ruimtes waarin ik andere kunstenaars ging uitnodigen zoals grafische vormgevers, muzikanten en dansers die mee de inhoud bepaalden. Je zou kunnen zeggen dat mijn werk daardoor met de architectuur flirt maar zelf spreek ik liever van betreedbare sculpturen. Momenteel ben ik bezig met het ontwerpen van een bar in Antwerpen. De eerste reden waarom ik me van het autonome beeld heb afgekeerd, was een gevoel van eenzaamheid. Het isolement van het 17

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komt. In een circus is de scène vaak cirkelvormig waardoor de communicatie op een minder gemedieerde manier verloopt. Ook de specifieke interactie met de toeschouwer draagt daar toe bij. Ik heb het dan niet over participatief theater maar het communicatief basismodel van circus. Anna: Ook in dit gesprek roept het ene woord het andere op. Kan het woord voor jou als dramaturge ook een element zijn dat het creatieve voortstuwt? Bauke: In circus wordt relatief weinig gesproken maar voor mijn praktijk als dramaturge is het misschien wel de voornaamste bouwsteen. Ik beschouw mijn vak als een soort archeologie van het heden. Samen met studenten en gezelschappen ga ik op zoek naar het verborgene, datgene wat onbewust sluimert in hun artistieke bedrijvigheid. Via taal probeer ik dat op te diepen. In het ideale geval verdwijnt mijn werk in de voorstelling. In de periferie daarvan ontstaan wel teksten. Lukas: Momenteel werk ik aan mijn artistiek doctoraat hier aan de School of Arts. Mijn onderwerp is complexiteit in muziek waarbij het technische spanningsveld tussen uitvoerder en muziek centraal staat. Componisten als Sorabji, Xenakis, Ferneyhough en Finnissy hebben zaken op papier gezet die nauwelijks of niet te realiseren zijn. Daardoor moet de uitvoerder soms creatief meedenken en de conventionele relatie met de partituur doorbreken. Voor een goed begrip: deze componisten gaan meestal zeer bewust met dat spanningsveld aan de slag. De theatrale geladenheid van de kortsluiting die ontstaat bij de uitvoerder die de overdaad aan materiaal slechts ternauwernood of net niet de baas kan, is soms ook een deel van het concept. Aansluitend op onze westerse muziektraditie stel ik me als onderzoeker de vraag wat een authentieke uitvoering van zulke werken kan zijn. Dat is in een notendop wat mijn project inhoudt. Anna: Wat beschouw je daarin dan als materiaal?

Lukas: Het werk zelf is in hoge mate een abstractie. Het materiële aspect daarvan is uiteraard de partituur waaraan een historische kader is verbonden. Mijn vertrekpunt is dus het concept. Daar probeer ik zo ver mogelijk in door te dringen. Hoe is het ontstaan? Hoe is het geconstrueerd? Eens ik begrepen heb wat er staat, werk ik opnieuw naar een uitvoering toe. Terugkoppelen naar een concertsituatie is voor mij een belangrijk onderdeel van het werkproces. Soms is het nodig de compositie te vertalen naar (mijn) twee handen. Bij ‘Evryali’ van Xenakis is dat bijvoorbeeld het geval. Wannes: Je hebt een lichaam, spieren, in dit geval geschoolde vingers. Vloeit interpretatie dan nooit voort uit een gestieke logica? Lukas: Dat is eigenlijk een eerste stap die bijvoorbeeld Ferneyhough beschrijft in de introductie van een van zijn werken. In de inleiding van ‘LemmaIcon-Epigram’ stelt hij voor om de partituur eerst gewoon open te leggen op de piano en ze door te spelen. Het is de bedoeling om bij zo’n zichtlezing de beweging vorm te geven. Ik heb het dan over richtingen, densiteiten, texturen ... Door op die macroscopische manier te werken krijg je een soort gestiek overzicht die als basis kan dienen en verder kan ingevuld worden. Diane: Ik doceer textielontwerp. Eigen­ lijk ben ik begonnen met etsen en houtsneden. De afdruk op papier heeft er mij toe gebracht om met textiel te werken. Mijn fascinatie gaat uit naar de manier waarop iets is opgebouwd. Hoe een draad zich bijvoorbeeld een weg slingert tot een driedimensioneel object. Ook de de manier waarop mensen zich tot textiel verhouden vind ik interessant. Het fenomeen textiel zit zodanig in onze leefsfeer ingenesteld en bevindt zich vaak letterlijk zodanig dicht op het lijf dat we het bestaan ervan haast vergeten. Dat boeit me eindeloos. Tijdens mijn studie stond dat concrete gebruik in mijn eigen praktijk voorop. Ik wou weten waarvoor iets ging dienen. Later 18

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opstartfase van ons bureau waren we genoodzaakt om de dingen ook zelf uit te voeren. Dat betekent dat we zelf beton hebben gestort, metaal gelast en polyester bewerkt. Daardoor hebben we de klassieke kloof tussen kantoor en werf in zekere zin overbrugd. Anna: Is het materiaal in jouw geval een creatieve stimulus? Toon: Ja. Wij maken een onderscheid tussen grove korrel, het gebouw in zijn context of het meubel in zijn ruimte, en de fijne korrel. Tactiliteit speelt daarin een grote rol. Aan de computer of tekentafel kan je daar maar moeilijk een gevoeligheid voor ontwikkelen. Daarom ben ik ook zo blij dat we als ontwerpbureau met onze handen hebben gewerkt. Beperkingen Anna: Het woord ‘beperking’ is al een paar keer gevallen. Drijven de beperking­en die een materiaal oplegt tot creatieve oplossingen? Toon: Dat is doorgaans een frustrerende ervaring. Na het eerste waw-gevoel loop je al snel tegen de limieten aan, hetzij budgettair of technologisch. Langs de andere kant stimuleert de beperking de creativiteit omdat het je dwingt anders over iets na te denken. Luc: Net als Toon geef ik les, in mijn geval in de landschaps- en tuinarchitectuur, en heb ik daarnaast een eigen bureau. Wanneer ik een opdracht krijg, probeer ik die in eerste instantie te ontleden, de essentie ervan te begrijp­en. Als je dat niet doet, rijd je je in ons vak nogal snel vast. Opdrachtgevers durven de zaken soms zeer direct te formuleren, te direct misschien. “We willen rozen, we willen een afsluiting, we willen een parkeerplaats, een fietspad, een bos.” Niet zelden komen ze zelfs met foto’s aandraven. Uit die concrete vragen proberen wij dan de meer abstracte behoeften af te leiden. Wannes: Kan je daar een voorbeeld van geven? Luc: Neem nu De Zwaanhoek in Oostende. Daar wou men een agrarisch 19

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ben ik gaan beseffen dat mijn interesse in de constructie van textiel daar nog aan vooraf gaat. De functie van een object daagt me soms pas tijdens het maakproces. Zo heb ik thuis nog heel wat ‘losse eindjes’ liggen waarvoor ik nog geen toepassingen heb bedacht. Tegenwoordig maak ik objecten waarvan de toeschouwer zich misschien wel kan afvragen of het nog textiel is. Ik heb een krukje ontworpen uit stukken hout en touw. Het idee daarvoor vertrekt wel steeds uit mijn fascinatie voor textiel. Wat mij betreft kan beton ook textiel worden, afhankelijk van hoe de onderdelen aan elkaar bevestigd zijn, zich tegenover elkaar verhouden en hoe de mens ermee omgaat. Ik ben pas tevreden over een object wanneer constructie en gebruik elkaar omstrengelen. Het object moet een soort noodzakelijkheid vertonen. Toon: Ik geef les in de interieurvormgeving en heb samen met twee architecten een architectuur- en ontwerpkantoor. In contrast met de autonome kunsten werken wij meestal vanuit een concrete vraag. Die gegeven context kan je als een primair materiaal beschouwen. Een tweede zaak is natuurlijk de materie als dusdanig. Ambachtelijkheid en hoogtechnologische materialen hoeven elkaar daarbij niet uit te sluiten. Neem het voorbeeld van de veelgebruikte kunststof polyethyleen, dat we vooral kennen van banale voorwerpen als een snijplank. Wij zijn de mogelijkheden binnen interieur- en meubelontwerp gaan onderzoeken samen met een meubelmaker die vertrouwd is met het restaureren van oude meubelen, Louis XV enzovoort. Vanuit dat ambacht is hij aan de slag gegaan met polyethyleen, dat je enkel kan snijden en schaven. Door een dergelijke herinterpretatie kom je soms tot volslagen nieuwe inzichten. Plotseling is de klassieke snijplank een tafel, een volledige keuken of zelfs een badkamer. Het uiteindelijk resultaat is een wisselwerking tussen de context, het materiaal, de uitvoerder en ons, de bedenkers. Let wel, in de

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landschap omvormen tot natuurgebied. Bij de recreatieve ontsluiting hoorde een kijkhut. Wij gingen zoals gezegd op zoek naar de behoefte. Zodoende herdefinieerden we de kijkhut als een plaats waar je het landschap kan observeren zonder zelf geobserveerd te worden. In een tweede fase moet je dat concreet maken. Het landschap leverde zelf een vormgeving aan: de nesten van de rietvogels. Dat ingenieus weefsel langs de oevers van de kreken bleek dezelfde eigenschappen in zich te dragen. Een broedplaats mag namelijk niet opvallen maar vereist terzelfdertijd een uitzicht op het gebied en zijn mogelijke belagers. Uiteindelijk kwamen we tot een uitkijktoren geïnspireerd op de vorm van die nesten. Anna: Opdrachtgevers hebben dus vaak een afgelijnd idee. Is het moeilijk om daar dan neen op te zeggen? Luc: Dat is inderdaad niet gemakkelijk maar alles hangt af van wat je vervolgens als creatief alternatief aan kan bieden. Opdrachtgevers spelen vaak op veilig en het is aan ons om hun eigenheid op het spoor te komen. Achteraf zijn ze dankbaar dat je niet voor de gemakkelijkste oplossingen hebt gekozen. Dat is ook in de private sector het geval. Een tuin hoeft niet per definitie links een perkje met ditjes en rechts een perkje met datjes te zijn. Tuinarchitecten zijn er om een grotere structuur te bedenken, een logica die de delen van het geheel met elkaar verbindt. Diane: Over beperkingen gesproken. Ik heb onlangs met een beeldend kunstenaar samengewerkt. Waar een object in mijn geval altijd nog een zekere functie behoudt, was zij op dat vlak volledig vrij. We keken daarom duidelijk op een compleet andere manier naar de dingen. Philip: Dat herken ik. Aangezien mijn werk ten dele functioneel is, ben ik gebonden aan een aantal vereisten. Een deur moet nu eenmaal minstens 70 centimeter breed zijn. Die functionele inperking van mogelijkheden bevalt me omdat ze me aanzet om dieper te graven. De vorm van mijn sculpturen

wordt erg beïnvloed door dat gegeven. Eerst maak ik een maquette zodat ik goed weet wat mogelijk is en wat niet. Voor de uiteindelijke realisatie ervan ga ik allerlei materialen bekijken. De sfeer die ik in het hoofd heb is daarbij mijn kompas. Moet een oppervlak blinkend of mat zijn? Welke houtsoorten zijn beschikbaar? Wannes: Zijn de oplossingen die je bedenkt dan praktisch of artistiek? Philip: Beide. Het is een proces van vallen en opstaan. Door het te doen kan je verder. Ik zou het kunnen vergelijken met een puzzel. Opeens klikken beide aspecten, het praktische en het artistieke, in elkaar. Dan weet je dat het goed is. De praktische oplossing is een zaak van de ratio maar het artistieke welslagen laat ik aan mijn buikgevoel over. Het is een vrij schizofrene manier van denken. Let wel, wanneer ik met studenten in het atelier sta probeer ik mijn esthetische voorkeuren opzij te zetten en hun werk vanuit hun eigen parcours te benaderen. Bauke: Ook ik zoek naar een evenwicht tussen ratio en buikgevoel. Als dramaturg is het cruciaal dat je een zekere afstand bewaart en dus niet samenvalt met wat gemaakt wordt. Dat buikgevoel verwoorden zie ik als mijn ware taak. Luc: In ons vakgebied is dat tweezijdig denken ook van toepassing. Om het functionele en het esthetische op elkaar te doen aansluiten is ervaring nodig. Voor mijn studenten trek ik de twee daarom uiteen. Ze vertrekken vanuit het functionele: oppervlakte, duurzaamheid, de mogelijkheden van de materie. Daarna volgt een bezinning over het schone. Nu ja, zo absoluut is het onderscheid niet. In de tweede fase moeten ze sowieso teruggrijpen naar hun initiële gedachtegang. De ontwikkeling van wat Philip ‘schizofreen denken’ noemde, vraagt tijd. Precies daarom is het goed om andere wijzen van denken te ondergaan. Het feit dat we sinds twee jaar op de Bijlokesite gehuisvest zijn, geeft ook weer een nieuwe impuls aan onze opleiding. 20

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Denkmaterialen Anna: Het contact met materie, of een bepaald voorwerp kan tot de verbeelding spreken. Hoe heeft dat jullie praktijk concreet verrijkt of beïnvloed? Diane: Van een stuk zijde of linnen op zich word ik niet wild. Thuis heb ik wel een verzameling schoorsteenborstels. Die vertonen een schitterende structuur van gekronkelde metalen draden, een soort stervorm. Ik heb er al een heleboel gezien en aangekocht. Ze bezitten een inspirerend potentieel dat ik voorlopig nog niet heb aangesproken. Maar dat komt ongetwijfeld nog. Aan mijn collectie schoorsteenborstels hangt trouwens een grappige anekdote vast. Enkele jaren geleden was ik op bezoek in het atelier van de overleden Milanese designer Castiglioni. Zijn dochter gaf 21

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de rondleiding en vroeg aan de groep of iemand wist wat een bepaald voorwerp uit haar vaders objectenverzameling mocht wezen. Het was niets minder dan een schoorsteenborstel! Ik heb haar nadien foto’s van mijn exemplaren gestuurd en het bleek dat haar vader het ook een inspirerend ding vond dat hij weliswaar nooit had gebruikt. Verder kan ik ook creatief verleid worden door het gebruik van een voorwerp. Neem nu een gordijn. Dat schermt iets af of hangt tussen twee werelden die van context tot context verschillend kunnen zijn. In een Berberse tent scheidt het vrouwen en mannen of in ons geval meestal buiten en binnen. Het zijn een soort denkmaterialen. Ze zijn geladen met potentieel. Luc: Ik ga wel eens ‘op prospectie’ in ongerepte natuurgebieden of nationale parken. Het zijn een soort natuurlijke etalages waar ik me kan vergapen aan erosieprocessen, geologische processen en de invloed van weersomstandigheden tout court. Het komt er op aan de mogelijkheden ervan in te zien. Je maakt abstractie van de materialen en houdt ze in het achterhoofd. Die geestelijke inventaris kan je dan aanspreken bij concrete opdrachten want zoals ik al zei durven opdrachtgevers zich wel eens blindstaren op een specifiek materiaal. Toon: Je carrière is een traject dat je bewandelt. Onderwijl neemt je bagage almaar toe. Dat vereist een zekere onbevangenheid. Een project ontstaat niet exclusief vanuit de ratio. Je probeert toevalligheden toe te laten die daarna wel weer in een trechter van expertise terechtkomen. De praktijk is een wisselwerking tussen dat doelbewuste en het toeval. Kleine, soms banale, dingetjes die ergens rondslingeren op je bureau. Ik vind ze fascinerend. Bijvoorbeeld kleine stickertjes. Ze zijn in mijn ooghoek onbewust aanwezig. Plots treden ze voor het voetlicht. Zo hebben we momenteel een project lopen in het historisch deel van Antwerpen. We wilden daarbij verwijzen naar de cassettes

Anna: Andere wijzen van denken, leg dat eens uit. Luc: We hebben onlangs een project gedaan in samenwerking met De Zandberg in Harelbeke. Dat is een centrum voor kunstenaars met een beperking. We hebben de mensen aldaar aan het woord gelaten en gekeken hoe zij te werk gaan. Die andere kijk op de wereld en vormgeving is boeiend. Eenmaal terug hebben we ons teruggetrokken in het atelier en een poging ondernomen om onze eigen praktijk vanuit die andere logica te benaderen. De studenten in kwestie waren vrij praktische denkers. Het contact met mensen van De Zandberg die erg op kleur en fantasie waren gericht, was voor hen een verrijking. Lukas: Elke compositie is eigenlijk een andere manier van denken. Het is een soort tijdscapsule waarin een persoonlijke en historische context opgeslagen zit. Denken over de materie is essentieel. Zo niet, dan krijg je iets als het programma Siri (de taalsoftware van Apple, nvdr) dat een gedicht voordraagt. Om onder het oppervlak te kijken heb je het denken nodig. Elk werk dwingt je om een invalshoek te kiezen vooraleer je het kan realiseren.

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van de classicistische herenwoning en zochten naar een moderne interpretatie, rekening houdend met het door ons gekozen materiaal, wit beton. Van een van de vormen besefte ik later dat het vermoedelijk beïnvloed was door die stickertjes. Puur toeval natuurlijk, maar je moet er voor openstaan. Luc: Nu en dan kom ik met een steen thuis of de kankerknoest van een boom. Bauke: Ik heb een database met stemopnames en interviews. Veelal gaat het om mensen uit de circuswereld maar ook schrijvers enzovoort. Verder ben ik als dramaturg ook degene die aanzet om al doende na te denken. Tijdens het creatieproces vang ik woorden op. Die pen ik vervolgens neer op kaartjes en presenteer ik aan de makers met de opdracht er structuur in aan te brengen. Meestal ontstaat dan een boomstructuur met vertakkingen. Andere keren zijn het wolkjes. Het helpt om het denktraject zichtbaar te maken. Lukas: Ik bezit uiteraard heel wat partituren maar dat kan je bezwaarlijk een verzameling noemen. Mijn bureau is meestal vrij leeg, afgezien van enkele stapels boeken, rustig afwachtend. Diane: Maar je hebt toch wel een soort databank van muziek in je hoofd. Lukas: Dat zou je een verzameling kunnen noemen. Philip: Ik heb een archief met fotomateriaal van sculpuren. Het is een heel diverse collectie. Beelden van de oudheid tot nu, mooi of lelijk. Ik bewaar ze in dozen, los door elkaar. Van tijd tot tijd strooi ik ze over mijn bureau om er collages mee te maken. Zo componeer ik mijn eigen eclectische beelden.

heb dan wat rondvraag gedaan en ben beginnen ploeteren in mijn slaapkamer. Trial and error, ik kan het niet genoeg herhalen. In het begin vielen de onderdelen er domweg af. Een werk van maanden was dat. Had ik toen een docent gehad, dan waren de zaken waarschijnlijk wat sneller vooruit gegaan. Toch ben ik blij dat ik dat moeizaam traject heb afgelegd. Ik heb geploeterd. Uit die aanvankelijke naïviteit is de kern van mijn vormentaal gegroeid. Anna: Een gevecht met de materie? Philip: Dat klinkt verschrikkelijk romantisch maar dat was het. Wannes: Hoe leer je studenten die omweg maken? Philip: Soms heb je de indruk dat het te vlot gaat. Dan kan je altijd wat verwarring zaaien. Ik bedoel het niet negatief. Maar je dwingt hen nieuwe oplossingen te zoeken. Ik betrap mezelf erop dat ik die uit enthousiasme soms zelf wil aanreiken. Vaak is dat het moment dat je als docent beter een stap achteruit zet. Nu ja, er zijn studenten die je wel een binnenweg moet tonen. Het blijft een individuele kwestie. Iedereen is anders. Diane: Ik begrijp wat je bedoelt. Soms doe je voor bepaalde studenten een deur open. Ik heb het niet over achterblijvers of slechte studenten. Integendeel, ze moeten over genoeg fond beschikken om zich dat advies eigen te maken en het te verzoenen met hun persoonlijke ontwikkeling. Luc: Het is eigen aan creatieve opleidingen dat je meer doet dan een vak aanleren. Je bespeelt het potentieel van een student, wat een heel gevoelsmatige aangelegenheid is. Plantenkennis is iets objectiefs en stelt in dat opzicht weinig problemen. De subjectieve vaardigheden vragen een subtielere aanpak omdat je je eigen denkwereld niet mag opleggen. Zelfvertrouwen speelt daarbij een belangrijke rol. Voor mij overstijgt onze pedagogische taak dan ook die van het klassieke ambacht. Je doceert meer dan een beroep, je maakt de baan vrij voor een artistieke persoonlijkheid. Philip: Het idee dat iets mag mislukken

Ploeteren en laten ploeteren Philip: Voor mij is het als autodidact trouwens ook met foto’s begonnen. Rond mijn twintigste ben ik gefascineerd geraakt door een foto van een bepaald beeld. Ik stelde mezelf ten doel om dat beeld zijn derde dimensie terug te geven. Op dat moment wist ik van beeldhouwen niet het minste af. Ik 22

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Wannes: Lukas, hoe gaat een muzikant om met die lichamelijkheid? Lukas: Ik ben niet wat je noemt een ‘fysieke’ uitvoerder. Het lichaam is geen instrument waarmee ik me oriënteer, dat zijn mijn hersenen. De aard van mijn project heeft daar ook mee te maken. De muziek van Sorabji en Xenakis waar ik momenteel mee bezig ben, vereist een dermate hoge concentratie dat er voor gestiek weinig ruimte overblijft. Vaak studeer ik zelfs zonder piano. Enerzijds probeer ik inzicht in de partituur te krijgen. Hoe een stuk is opgebouwd. Anderzijds maak ik een mentale voorstelling van de handeling. Ik denk de beweging dus. Daar ben ik overigens geen uitzondering in. Er zijn talrijke voorbeelden van pianisten die een stuk instuderen op het vliegtuig. Zo’n aanpak is voor sommige uitvoerders ook veel effectiever dan meteen te ploeteren aan de piano. Onderzoek wijst dat ook uit. Toon: Maar ademhaling en gestiek kunnen tijdens een uitvoering toch deel beginnen uitmaken van het geheel? Ik denk dan aan Keith Jarrett of iemand als Pieter Wispelwey. Lukas: Ik probeer op afstand te blijven en mezelf als uitvoerder niet op de voorgrond te plaatsen. Voor anderen is dat ongetwijfeld anders. Dat facet van de muzikale uitvoering is vaak ook een deel van het muzikale concept. Een pianistieke traditie kan zich al dan niet lenen tot een grotere ‘fysieke aanwezigheid’ van de uitvoerder. Materie in het proces Anna: Wat is de verhouding tussen materie en eventueel ontwerp en eindproduct? Gebeurt het denken al doende of moet er een vooropgezet plan zijn? Luc: Iets heel eigen aan landschaps- en tuinarchitectuur is inderdaad de verhouding tussen ontwerp en realisatie. Tussen het denken en de materiële voltooiing kan wel vijftig jaar spannen. Het plan is met andere woorden niet het doel op zich. Het is een vorm 23

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lijkt me cruciaal. Dat vraagt inderdaad zelfvertrouwen. Lukas: Zelf geef ik geen les maar als student was ik in de eerste jaren vooral op zoek naar antwoorden. Voor mij geen geploeter als vertrekpunt. Dat moet een solide basis zijn. Daarna kan je studenten weer meer vrijheid geven om een eigen taal te ontwikkelen. Ik vermoed dat de meeste studenten uitvoerende muziek in de eerste plaats op zoek zijn naar antwoorden. Diane: Die vraag naar ambachtelijk kunnen voel ik ook. Dat is in onze opleiding ook wel de basis maar het artistieke zoeken wordt al heel vroeg gestimuleerd. Bauke: Ik interpreteer dat ploeterend zoeken van de hedendaagse kunstenaar als een modern ambacht. Een eindproduct is in de eerste plaats het resultaat van een werkproces. De twee aspecten zijn fundamenteel met elkaar verbonden. Ik heb het al meegemaakt dat zo’n proces een ware helletocht is, terwijl de voorstelling een diepmenselijk ideaal predikt. Wel nu, zo’n werk haalt het voor mij niet. Een ander voorbeeld. Onlangs zag ik een bachelorproef. Drie dagen voor de première bleek het niveau niet adequaat. Op zo’n moment heb je de keuze: smijt je alles weg of benader je het als de uitkomst van een werkproces dat in dit geval twee maanden had geduurd. Op die manier wordt zoiets verdedigbaar. Ik merk ook dat die visie studenten helpt om vorm niet los van inhoud te zien. Het proces waarborgt het verband tussen de twee. Wannes: Hoe kan je dat aanleren, dat ambacht van het artistiek denken? Bauke: Studenten moeten veel dingen zien en daarover in gesprek gaan. Hier in de dramaopleiding beschouwt men het lichaam als materie. Ook theatermakers denken in veel gevallen op die manier. De fysieke ervaring van de speler en de manier waarop die in het medium theater zit, zijn onderscheiden zaken. De brug tussen de twee sla je niet alleen via een rationeel beschouwen. Ze vloeit voort uit het lichamelijke.

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van communicatie, iets waar je op kan voortbouwen. Het gevaar bestaat dat studenten zich te veel op de tekening gaan richten. Toon: Toch zeg ik wel eens tegen studenten dat alles wat ze los laten een eindproduct moet kunnen zijn. Dus ook de tekening waaraan ze op dat ogenblik werken, los van de ontwerpfunctie. Dat heb ik geleerd van Maarten Van Severen bij wie ik stage heb gelopen. “A drawing is not just a drawing”, citeerde hij. Of zoals kunstenaar Dotremont zich liet inspireren door de Japanse kalligrafie waarbij de esthetiek van het teken ook zonder inhoud overeind blijft. Dat is voor mij dan ook het summum. Een tekening die in dienst staat van een concrete realisatie maar in haar isolement eveneens tot ons spreekt. Bauke: Voor drama ligt dat anders. Een tussenvorm hoeft wat mij betreft niet presenteerbaar te zijn. Maar zoals ik daarnet zei, staat het proces in recht­ streeks verband met het eindproduct. Luc: Los van het visuele is ervaring een belangrijke factor om een eindproduct aan af te toetsen. In het geval van een stadspark ervaar je niet de bomen, de struiken en het gras. Het is een psychische totaalbelevenis waarbij de bezoeker het grotere geheel ondergaat. Als tuin- of landschapsarchitect wil je die ervaring zo aangenaam mogelijk maken. Diane: Dat gebeurt vaak onbewust. Het is een troostrijke gedachte dat de kunstzinnige arbeid op microscopische schaal, een werk zeg maar met vijftig draden per centimeter, een impact kan hebben die je macroscopisch zou kunnen noemen, de belevenis. Philip: Wat Luc zegt in verband met de ervaring is juist maar anders dan bij hem maken mijn sculpturen geen deel uit van de publieke ruimte. Ik streef dus niet per definitie naar een aangename ervaring. Dat kan er evengoed een van beklemming zijn. Luc: Wij differentiëren daar ook wel in. Het gebruik van bepaalde materialen heeft alles met sfeer te maken. Bovendien zijn ze drager van associaties.

Wie een terras van asfalt maakt zal automatisch weerstand oproepen. Technisch is het perfect mogelijk, maar de materie suggereert een andere gebruik dat diep in ons collectieve geheugen verankerd ligt.

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EN

Around the Table

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A CONVERSATION ABOUT CRAFT AND TECHNIQUE

Introductions Anna: What is the role of craft and technique in your own artistic practice and to what extent are these still central concerns in your pedagogic work? Bram: I am a documentary filmmaker and I’m currently working on the third part of a trilogy on Africa. As a filmmaker I can’t immediately think of a clear-cut definition of ‘craft’. It certainly doesn’t seem meaningful to me to distinguish between analogue film stock and digital pixels. In documentary film analogue stock is hardly used anymore. Both methods can be covered by ‘craft’, I believe. I myself do a lot of editing which requires knowledge of hardware, assembling your own computers, and all manner of specific software. I’m also familiar with the basic principles of cameras. The different models, which lens produces which effect, and so on. Technical know-how of this kind I consider a necessary part of my trade. It enables me to give clear instructions to cameramen, for instance. I’ve noticed that many students feel an urge to handle the camera themselves. The modern, light type of equipment makes that perfectly possible and there is nothing really wrong with it either. But it has to do with a feeling of control. In my own practice I try to actively involve collaborators, to let them think along with me. Emmanuel: When I am drawing or making sculptures, I don’t start from my craft. For a new project I don’t necessarily employ techniques that I have already mastered. I choose and master them as the work requires. That entails a continuous search and it is the very essence of what I consider the artistic process. As I have no preconceived notion of what drawing is exactly, I see my pedagogic practice more as a way of guiding than as the teaching of techniques. During entrance exams we mainly assess candidates’ background knowledge and motivation. The overall picture of a student matters more to me than his technical abilities.

Perhaps it is still too early to call it a tradition, but after last year’s fruitful round-table session, a second edition was bound to take place. We have two sessions planned this year, with panels of lecturers and researchers from different disciplines coming together to exchange ideas on a topic. The first of these sessions looks into the place of craft and technique in contemporary art and design, and in higher education in the arts. These were once undisputed cornerstones of the pedagogic system. Aspiring artists were expected to acquire a number of basic skills and progress from there on to achieve mastership. In the turbulent course of the twentieth century, however, with a series of isms declaring themselves free of history, the meaning of such a step-by-step practice has lost its self-evidence. At worst, craft and technique were pushed aside as the legacy of a dead tradition that was considered a restriction of the true creative powers. As it turns out, in 2013 this is still a matter for debate; one that we engage in with Bram van Paesschen (film), Emmanuel Depoorter (drawing and animation), Pieter Mathysen (painting), Manu Frederickx (musical instrument making), Hilde Bouchez (history and theory of design) and Gustavo Mulhall (interior design: technology and materials). The setting is the Malfait meeting room. From their portraits on the walls a dozen former headmasters of the ‘Academy of Ghent’ observe the proceedings. Current dean Wim De Temmerman and coordinator Liene Aerts are also present – in person, that is. Anna Luyten and Wannes Ghyselinck moderate the session, and Régis Dragonetti joins them as editor.

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view. It comes down to choosing the right materials or the right technique to give an appropriate form to what you want to express. Emmanuel: Indeed. Paint can express a lot but not everything. In the same manner, drawing can demonstrate a certain way of thinking or suggest a kind of elusiveness that is inherent to the technique or the material itself. Wannes: Can I say then that choosing the right technique is an important part of the métier? Pieter: Definitely, teaching students to do that is the essence of the technology of painting course I teach. Manu: In that respect there is a clear difference with our discipline. In instrument making, technique is the main focus. We do not tell a story but work towards a certain usage or sound idiom. Technique is the foundation of our programme. We draw those techniques from several disciplines, for that matter; from painting or sculpture, for instance, or from traditional furniture making. Ours is not a purely technical programme, but techniques simply have to be mastered before students can start to add nuances in their work. Anna: Do you consider old techniques important? Manu: Yes, we do. Students are required to develop an insight in the types of wood, varnishes and tools that were used throughout history. Our programme pays a lot of attention to historical instruments. Just like Pieter, we look at the techniques that were used for a certain instrument. Learning to observe is paramount because the know-how has not always been passed on. Tiny details like the traces of tools can sometimes be very revealing. In that sense, our craft is not characterized by a continuation of a certain tradition so much as by a critical view of the past. Gustavo: I teach technology and materials and I run my own architectural firm. For spatial designers, the issue of craft and technique is entirely different 27

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Pieter: I am a painter and a lecturer. The question about craft and technique immediately reminds me of the painter Francis Bacon. He claimed to be really glad that he hadn’t studied at the academy because then he would have been forced to learn all manner of impeding techniques. As a painter, he said, you have to develop your own technique. I agree with that. More than that, for every work you have to turn over a new leaf. That doesn’t mean that ‘the academy’ has no function. In my course on the technology of painting, I guide students through the canon. I explain them how certain techniques were able to dominate in certain periods. This enables students to take up a position relative to that frame of reference. An awareness of the canon and the historical context contributes to their orientation as artists. If only to chuck all of it away after four years. That, too, is taking up a position. Wannes: Do you also apply those techniques in practice? Pieter: Certainly. In the first year we go through the entire painting; from the support over the ground and paint layers to the varnish. The emphasis is always on the visual effect that materials and techniques produce. A theoretical introduction is always followed by practice. By now, I think I’ve worked with pretty much everything, from watercolours to tempera. The fact that I have my own painting practice helps me to approach techniques from within; i.e. how they can be used to achieve a certain end. No abstraction for me. I want to show things at the closest range possible, as if I were the David Attenborough of painting technique. Anna: Do students sometimes experiment with techniques you are not familiar with? Pieter: Not really. There is a tendency, however, to combine everything: paint, spray paint, latex … I am there to point out potential technical problems to them and to help them look for a solution that remains true to their original

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again, because in addition to our design work we also have a coordinating role to play. Spatial designers are generalists and have to know a bit of everything. Our coordinating role in particular demands quite some typical knowledge of crafts; from plastering to wood planing. Let’s say that I can talk about 70 percent of these things on a decent level. And then of course there is our preceding designing role that has come to stand in a somewhat ambiguous relation with the executive or coordinating role. Myself, I have done a lot of manual work as a designer. I believe the generalism of our trade is essential, although not everyone would agree on that. Especially in the Netherlands I see design programmes having been atomized. There is a coordinator for this and another one for that, and the overall view has been lost. The same thing happens in actual practice; tender dossiers, interior, building permit, site management … for each aspect there is a different authority. That way no one still knows why he is doing something.

which I deplore. Sociologist Richard Sennett formulates this very clearly in his book The Craftsman: putting pen to paper is like bridging the gap between body and mind. He calls this ‘embodiment’. By using only software this link is not made. Often this results in architecture that people experience as alienating. I agree with Sennett’s definition of craft not merely as skill but mainly as experience. Design and architecture students are often obsessed with the visual. Student project presentations generally consist of nothing more than renders while materiality is all too often left out of the equation. Typical craft techniques are shoved aside as amateur tinkering. Anna: But hasn’t a countermovement set in? Hilde: It did indeed, from the design art sector. But there once again the primacy of the concept proved insuperable. The best-known example being Droog Design. The realization of the idea was even left out of account. Gustavo: I don’t agree with Sennett. There are people who can relate the virtual to their own world. In that sense it becomes just another technique. There probably was some alienation in the transitional period, though. I also notice a tendency with some students to take refuge in images. I have learned drawing by hand myself, messing about with ink and a safety razor. Scale-models, too, were not just printed. I do miss all that. Students enjoy it when they can delve into that. Whatever they choose to do afterwards, even if it’s on the computer, will then be charged with that craft experience. I actually think that students have a need for simpler things again, in general. Something you can glue and stick, you know? Something comprehensible, basically. Students have forgotten how to produce a certain feature. They download a texture without realizing that it will entail the use of filler and a spatula. So what I deplore is the estrangement between the crafts with their expertise in materials, and de-

Virtual vacuum Hilde: My area of expertise is design. I’m a historian and I teach history of design, so I mainly deal with theory. Unlike Bram and Emmanuel, I find that there is an enormous lack of craft in the design sector as well as in interior architecture and architecture. Design finds itself in a crisis because it has only paid attention to the formal and conceptual aspects. Functionality has disappeared from view, and the break with William Morris’s nineteenth-century Arts and Crafts movement has been completed. Product design is the standard today. Naturally, technique is still important but it is de facto left to the manufacturer. I’m thinking of Maarten Van Severen’s Vitra chair, for instance. A second element to explain today’s crisis in design is the use of software. As a result of the success of software, students have forgotten how to draft, 28

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Wim: It is true that when a lecturer retires a piece of knowledge can go lost. That can also happen in a reform of the course programmes. But in the past years such reforms and our recruitment policy have been aimed at providing a sound technical basic training. In the visual arts, for instance, we not only opted for anatomical drawing, but we have even put academic drawing after old models back on the curriculum. In photography we see an enormous rise in popularity of the analogue technique. Wannes: Lecturers who leave may take a piece of technical expertise with them, but does technical infrastructure also go lost through decay or relocation? Wim: For the move from the Academie­ straat buildings to the Bijloke site we explicitly decided to regard all technology as contemporary. Whether a technique is state of the art, like 3D printing, or age-old, like moulding, is beside the point. Some techniques may at first glance seem obsolete but are in fact still artistically relevant. What matters is the image or the sound one wishes to create … and that does not necessarily require the latest technique, but the most suitable one. So the photocopier does not replace graphic printing techniques; digital photography does not replace analogue photography. In terms of technology we did not throw anything out. Dark rooms were installed in the new buildings. All of the old material of the graphics studio is also still in use, as is that used by animation artist Raoul Servais to create his work, like rostrum cameras. Students still use those every day. Like Manu just said: sometimes old pieces of equipment are redeveloped and recreated. About ten years ago the sculpture studio also made a new start, apart from the installation studio, and we invested in a lot of highly specialized machinery, for woodwork, for instance. Gustavo: I’m glad about that. Here on site we have a marvellous woodwork studio with enormous machines, we

Past generations Anna: There always comes a time when an older generation retires. Has this been the cause of a loss of traditional knowledge? Gustavo: In fact I still consider myself to be part of the older generation. In that sense I am an advocate of a certain degree of traditional craft in the design process. I try to make my students aware of the fact that the use of certain materials can produce a specific atmosphere. I illustrate that point with good and with bad examples. Emmanuel: In my case I believe that the rift with the academic craft was completed two generations before me. My former teachers were part of the generation of May ’68 who had strongly reacted against the traditional conception of art. I can certainly relate to their ideas as well. Pieter: I find that very recognizable. During my own training, too, the mastering of technical skills was often disregarded in favour of so-called ‘expression’. Not unimportant at all, but we should ask ourselves whether in some cases we didn’t throw out the baby with the bathwater. Some visual idioms simply demand a high degree of technical skill. On the other hand, I also see students who hide behind a technique, to conceal a conceptual or emotional shortcoming. In a pedagogic context I would advocate an auxiliary offer of technical skills. Anatomical drawing, perspective drawing … As long as it is made clear that technique is not an end in itself but that it simply holds possibilities. 29

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sign practice. In fact, that is completely unrelated to the issue of computers. I believe that a design process has always been something uniquely personal. Even before the introduction of computers there were people who preferred working with scale-models or drawing and others who went about things in a more cerebral way.

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have a metalworking studio and ceramics ovens. And still I have to keep urging our design students to go there and have a look for themselves. It often takes a year before they dare to enter somewhere for the first time. Ideally, I think, these workshops should be manned by a team of experienced specialists. The kind of craftsmen who have this ‘microscopic’ knowledge generalists like us can only dream of. Hilde: Gustavo, you should consider yourself lucky. I taught ten years at an architecture institute where there wasn’t any infrastructure at all. Here as a designer you at least have the opportunity to get a taste of some traditional craft.

can get lost in them. Working by rule and compass, for instance, can allow you to focus more on the design itself, often making it more transparent, more crystallized. Gustavo: I agree. It can be enriching. But like I said before, a virtual technique is also just another technique to master. What worries me more is the lack of traditional knowledge of craftsmanship. How things are created. A grainy structure is not achieved by adjusting pixel settings in some interface but by working with the appropriate tempera technique, for instance. I believe architecture and design students should master a number of traditional techniques to gain a better insight in the workmanship behind things. That is inspiring. Sometimes students forget how simple things can be. There is this very nice anecdote about NASA. They had spent millions of dollars on the development of a pen that was able to write in a vacuum. The Russians, however, had simply taken along a pencil. In that sense I do notice a return to common sense. Hilde: There is an overall urge for slowness in our society: slow food, slow living, slow design … Students need time, time to reflect. That is why I believe that drafting is an essential part of interior design and architecture. Manu: That is also why we have added drawing from observation to the instrument-making curriculum, alongside technical drafting. It teaches students to really look at objects. Pieter: I am also an advocate of those basic techniques. As for myself, I am a product of secondary art school where pupils were still drilled in those skills at the time. That has actually been good for me. When I started my higher studies it enabled me to focus on the thematic aspects of painting sooner. Now things have changed. On examining boards I notice that secondary art schools are now also aiming at results from early on. Many things that are presented there look like art. Well,

Slowness Anna: Bram, a number of film students are fascinated by archival material. Some of them search for old videotapes at jumble-sales. In this digital age they wish to study the singularity of analogue film stock … Should those old techniques be addressed in the programme? Bram: In the first year students are introduced to film stock in any case. The cumbersome and limited nature of the medium teaches them to make wellconsidered decisions. But apart from that I don’t believe we should focus on old techniques. The new generation of cameras have by now surpassed the quality of analogue cameras and they are a lot more practical. As to the found footage and archival material trend: VHS and Hi8 indeed have a characteristic texture but they are always converted to more recent formats. I don’t believe students necessarily want to work with reels. And rightly so. Those who wish to use the singularity of old carriers in their work should by all means do so, but it certainly isn’t my own area of expertise. Manu: The slowness of certain techniques can indeed produce a beneficial effect. With computers, the options are sometimes too numerous and students 30

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Bram: Film students who come here really choose for an artistic training. Unlike more technically oriented schools like RITS and Narafi, who offer vocational bachelors. Pieter: If there were a spectrum of painting programmes where one extreme worked mainly conceptually and the other also technically, KASK would, I think, be situated nearer to the latter pole. Here, we try to give a work meaning through the manipulation of the material. Students confirm that. They are more drawn to the technical aspect of the training than to the conceptual side. That doesn’t mean that I find conceptual idioms less interesting, though. In some of the other fine arts studios – in installation art, for instance – these are much more manifestly present. Wim: The answer to that question is different for each discipline. For each lecturer, even. Around this very table we hear those different opinions. Pieter: That’s a wholesome situation. I prefer a diverse team of lecturers to a perfectly attuned staff preaching pedagogic orthodoxy. Guest lecturers can also contribute fresh ideas. Emmanuel: We took the latest project week as an occasion to organize something on academic drawing. In preparation, we delved into the KASK archives; the institute has a long history, so there was a lot of material to choose from. Showing that material gives the students a concrete picture of our academic past. A thorough framing is indispensable for that, of course. By no means is it our intention that students get stuck in such an idiom. It merely serves to open up their horizon. Gustavo: That is wonderful. Our bachelor programme of interior design is very short, however. In just three years students are expected to be ready to function in the professional field. Therefore we are forced to meet certain economic expectations. Students simply must have a command of a set of computer programs. After a year, manual drafting is necessarily abandoned in favour of

A spectrum Anna: Does the School of Arts still have the reputation of offering a more ‘traditional and technical’ training? Gustavo: The mutual perception among the schools in Ghent is very persistent. Even thirty years ago, the common idea was that in architecture, Sint-Lukas offered an artistic training, while KASK was more down to earth. Whether the difference was all that significant, I’ll leave that aside. Today I’m sure that the interior design students are well aware that they are working on a campus where behind every corner there is a different discipline at work. To my satisfaction I’ve noticed that our interior design students have discovered the studios of the multimedia design department, where the attitude is very practice-oriented. Also, it seems that everyone, of all programmes, is fully aware of the fact that we have a nice range of equipment at hand here. 31

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you know it’s not that hard to make something that looks like art. What makes the difference is thinking beyond the surface. An intrinsic logic must be evident in the combination of the choice and execution of techniques and the visual result. If that is not the case, you end up with a half-hearted affair, something art-like. Emmanuel: I see things differently. Now, I’m not against technique and craft. In a first year you simply cannot but teach a number of basic skills. But after that the emphasis has to shift to how you use those techniques in your artistic practice. I certainly see the use of them. But on the other hand, with those traditional skills often comes a particular view of art, an implicit idea, aesthetic or value pattern. In drawing from observation, for instance, there is an implicit conception that things can, and consequently must be represented correctly. First year students are very susceptible to that and this is no trifle. You don’t shake off an education just like that.

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virtual skills. Our expertise in visualization and rendering is in fact one of the reasons students come to our school. A general training that pays attention to different techniques is very fine, but you need to put some specialties of the house on your menu as well. Hilde: Interior design is of course a professional bachelor programme that is to a large degree tailored to the job market. In fact you notice that employers often prefer these students to those from interior architecture, which is a master programme. You have to distinguish between the two. Gustavo: Each programme benefits from having a distinctive profile. It makes it clear to students where the emphasis lies, when they are deciding on a school. In any case, the presence of all of these different studios in our school creates many opportunities. Last year, an interior design student designed a dinner set. The presence and accessibility of the ceramics studio was obviously a blessing there.

control can never be a result of inaptitude. Bram: Which is exactly why I also consider it a craft. When you are editing with Avid software you can spend an entire day perfecting a single cut, no more than just a couple of frames. When, on the other hand, a film is gratuitously smirched with digital effects, you can see through that right away. When students make that mistake, a lecturer should force them to reflect on that. Manu: The issue is obviously entirely different for musical instrument makers. In our branch the manual work can hardly be replaced. Digitally controlled CNC machines lack the subtlety to assess the quality of a particular material. Occasionally an old instrument is passed through a CT or MRI scanner, which can yield insights that were practically unattainable before, but whether that fundamentally changes the craft is something I doubt. However, those new technologies are so specialized that as of yet they are not part of our studio practice. Anna: This very conversation is being recorded with an iPhone. Do you notice students incorporating technologies of this kind in their practice? Bram: No, I haven’t seen that so far. And if I did I would advise them against it. A gadget like that may turn out a relatively qualitative image but you have absolutely no control. Not over the shutter speed, not over the lens. It also comes down to a loss of control but in a bad way.

Control Anna: A dinner set. That brings us right back to the Arts and Crafts revival. Do the others also notice a return to that aspect of traditional craft? Pieter: Among painting students I sense a certain aversion for the computer. Emmanuel: I interpret that differently. The fact that students sometimes choose older techniques is not an indication for a craft renaissance. On the contrary, it is an expression of exoticism, a longing for techniques they are unfamiliar with and hence allow for a greater degree of coincidence. The results of such experiments are less controllable than with digital techniques. That appeals to them. Bram: There is also an inverse trend of looking for the limits of the digital, the area where you relinquish control. I find that trend more relevant, actually. Hilde: But obviously that requires an advanced mastery of the digital. Non32

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only the material part of my sculptures as ‘matter’ but also what happens in them. When I invite someone for a performance, this entire action becomes part of the work. The same can go for sound. Let’s just say that my view of material is broad. As for the actual physical material of my work, I necessarily work with cheap materials – be it wood, gypsum board or something else. I don’t mind that, because they are often temporary works that are dismantled after the project. Fine. Because what matters to me is the holes you dig in peoples’ memories with such sculptures. The tangible material is of very little importance then. Anna: Does this ‘material’ also function as a creative power then, as a starting point? Philip: Personally, I start from an idea, a consideration. Material only enters the picture later on. Bauke: As a dramaturge, I balance between a personal artistic practice and working in the service of someone else’s practice. I took courses in theatre studies and philosophy of art but the descriptive discourse of the university was too far removed from practice to my taste. In a sense I did exactly what Philip described: I went looking for forms of communication. That path led me to the contemporary circus, which has developed mainly in France the past couple of decades. As a dramaturge I am the first spectator of a creative process. The most primary material I work with is thus exactly that which is at the basis of a theatrical situation. The multifaceted tension between an actor and myself, the audience. Wannes: Is space a factor in that? Bauke: Definitely, yes. Space is a way to constitute this theatrical situation. In a circus the scene is often round, as a result of which communication becomes much less mediated. The particular interaction with the spectator is also a factor. I am not referring to participatory theatre but to the communicative paradigm of circus.

Twenty-four hours later the Malfait room is once more the gathering place for a number of lecturers and researchers. In attendance: Philip Metten (sculpture), Bauke Lievens (drama), Lukas Huisman (researcher in the arts dealing with complex piano music), Diane Steverlynck (textile design), Toon Heyndrickx (interior design: architectural design) and Luc Deschepper (landscape and garden architecture: studio design and planting layout). Tonight’s topic is creation based in materiality. Perhaps the issue sounds like a traditional one for the visual arts but for disciplines like drama and music this is much less so. Or does matter comprise more than paint, charcoal and canvas in a visual context as well? We ask the panel. Anna: What do you consider the ‘material’ of your own artistic practice? Philip: You may have invited me to this table as a sculptor, but I’m not sure if that is indeed my perspective. Sculpture is my primary fascination but I was not classically trained. I had to discover it by myself, really, apart from any kind of training. At some point during that search I realized that I could no longer identify with the medium of sculpture. From that point on my works began to grow in size until they ‘clicked open’, as it were. In this way, social platforms arose, spaces in which I invited other artists like graphic designers, musicians and dancers, who helped to shape the content. You could say that because of this my work flirts with architecture, but I prefer to call them sculptures you can enter. I am currently designing a bar in Antwerp. The main reason why I turned away from autonomous sculpture was a sense of loneliness. I was looking for forms of communication between artists and other creative people. That is why I consider not 33

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A CONVERSATION ABOUT CREATION BASED IN MATERIALITY

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again. Shifting back to a concert situation is an important part of the working process to me. Sometimes it is necessary to translate the composition to two hands, my two hands. That is the case with Xenakis’ ‘Evryali’, for instance. Wannes: You have a body, muscles, in your case trained fingers. Does interpretation never ensue from a gestural logic? Lukas: That is actually a first step, which is described, for instance, by Ferneyhough in the introduction to his ‘Lemma-Icon-Epigram’. He suggests beginning by simply opening the score on top of the piano and playing it through. The idea is to shape the movement in sight-reading like this; directions, densities, textures … This macroscopic way of working can yield a gestural overview that can serve as a basis to elaborate upon. Diane: I teach textile design. In fact, I started out with etches and woodcuts. It was the print on paper that led me to work with textiles. I am fascinated by how things are constructed. How a thread weaves its way to become a three-dimensional object, for instance. Also the way people relate to textiles I find interesting. The phenomenon of textile is lodged so deeply in our lives and it is often literally so close to our skin that we almost seem to forget its existence. That I find tremendously fascinating. During my studies that practical usage was the main focus of my practice. I wanted to know what things were going to be used for. Later on I started to realize that my interest in the construction of textiles still precedes that matter. An object’s function sometimes becomes clear to me only in the process of making it. At home, for instance, I have quite some ‘loose ends’ lying around that I haven’t found an application for yet. Lately I’ve been making objects of which viewers may wonder whether they’re still textile. I designed a stool made of pieces of wood and rope. The idea for things like that always comes from my fascination

Anna: In this conversation as well, one word suggests another. Can the word also be an element that propels the creative process for you as a dramaturge? Bauke: In the circus there is relatively little talking, but to my dramaturgical practice the word is perhaps the most fundamental material. I consider my profession as a kind of archaeology of the present. Together with students and companies I set out on a search for the hidden, for that which subconsciously slumbers in their artistic activity. Through language I try to lay that bare. Ideally, my work evaporates in the performance. But in the margin of that, texts are created. Lukas: I am currently carrying out doctoral research in the arts here at the School of Arts. My subject is complexity in music with the technical tension between performer and music as the central focus. Composers like Sorabji, Xenakis, Ferneyhough and Finnissy have put things on paper that are very difficult to realize, if at all. This forces the performer to creatively think along and to break up the conventional relation with the score. To be very clear, these composers consciously work with this tension. The theatrical tension of the short circuit that arises in the performer who struggles to master the excess of material is sometimes also part of the concept. In line with our Western musical tradition, I deal with the question what an authentic performance of such works could consist of. That is what my project is about, in a nutshell. Anna: What do you consider your material in that? Lukas: To a large degree, the work itself is an abstraction. The material aspect of that is of course the score that is linked to a historical context. As such, my starting point is the concept. I try to penetrate that as deeply as possible. How did it come about? How is it designed? Once I have understood what is on paper, I work towards an interpretation 34

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develop a feeling for this. This is why I’m so glad that we also did the manual work in our design firm. Limitations Anna: Each type of material obviously has its specific limitations. Do these limitations stimulate creative solutions? Toon: That is generally a frustrating experience. After the first sense of ‘wow!’ you quickly run into certain limitations, of a financial or of a technological nature. On the other hand this experience also stimulates creativity because it forces you to think differently about something. Luc: Like Toon, I combine teaching, in my case in the garden and landscape architecture programme, with running my own firm. When I am contracted for an assignment, I start by trying to analyse it, to get to its essence. If you don’t do that, you tend to get stuck rather quickly, in our profession. Clients are often inclined to formulate things very directly, too directly perhaps. “We want roses, we want a fence, we want a parking space, a cycling track, a patch of forest.” It’s not uncommon that they even bring photographs along. From those concrete questions, we try to infer the more abstract needs. Wannes: Can you give an example of that? Luc: Take De Zwaanhoek, in Ostend. We were asked to transform an agrarian landscape into a nature reserve. For recreational purposes a lookout hut was demanded. Like I said, we went looking for the underlying need, and redefined the hut as a vantage point from where you can observe the landscape without being observed yourself. A second step consists in making that concrete. Turns out the landscape itself offered us a design: the nests of the reedbirds. These inventive constructions along the borders of the creeks had those very qualities. A nesting place, you see, should be inconspicuous while allowing a good view of the area and of potential 35

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for textile, though. As for me, even concrete can become textile, depending on how different parts are attached to each other, relate to each other, and how people interact with them. I am only satisfied with an object when construction and usage are intertwined. The object has to give evidence of a kind of necessity. Toon: I teach in the interior design programme and together with two architects I run an architecture and design firm. Unlike the autonomous arts, as a rule our work is based on a concrete question. That given context can be considered primary material. Additionally there are of course the actual materials. Traditional crafts and state-of-the-art materials are not mutually exclusive in the process. Take the example of polyethylene, a very common synthetic that is mainly known from everyday objects like a chopping board. We looked into the potentials of this material for interior and furniture design, together with a furniture maker who is familiar with the restoration of old furniture – Louis XV style and so on. With that traditional background, he started to work with polyethylene, which you can only cut and plane. A reinterpretation like this can yield entirely new insights. Suddenly your familiar chopping board becomes a table, an entire kitchen, or even a bathroom. The eventual result is an interaction between the context, the material, the manufacturer and us, the designers. Mind you, in the start-up of our firm we necessarily had to realize things ourselves as well. That means we poured concrete, welded metal and processed polyester ourselves. In a sense we overcame the traditional gap between the office and the yard like this. Anna: Is the material a creative stimulus in your case? Toon: Yes. We distinguish between coarse grain, the building in its context or the piece of furniture in its space, and fine grain. Tactility is an important factor in that. Sitting behind the computer or drawing table it’s hard to

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attackers. So eventually we designed a lookout tower that was inspired by the shape of these nests. Anna: Clients often have a very precise idea, you say. Is it hard to say no to that? Luc: Indeed, that is not easy but it all depends on what you can offer as a creative alternative. Clients tend to play things safe and it is up to us to find their individuality. In the end they are often grateful for the fact that you didn’t go for the easy answers. The same thing happens in the private sector. A garden doesn’t necessarily consist of a bed of one thing on the left and a plot of another on the right. Garden architects are meant to come up with a larger structure, a logic that interconnects the parts of the whole. Diane: Speaking of limitations, I recently collaborated with a visual artist. In my practice, objects always retain a certain functionality, whereas she was completely free in that regard. Because of that, the way we look at things was completely different. Philip: I can identify with that. As my work is in part functional, I am tied to a number of demands. A door simply has to be at least 70 cm wide, for instance. I enjoy that functional restriction of possibilities because it urges me to delve deeper. The form of my sculptures is very much influenced by this. I start by making a model so that I know what is possible and what is not. For the eventual realization of the work I browse through all manner of materials. The atmosphere I have in mind is my guide in that process. Should a surface be glossy or mat? Which kinds of wood are available? Wannes: Are the solutions you come up with in such a case practical or artistic? Philip: Both. It’s a process of trial and error. Doing it allows you to proceed. You could compare it with a puzzle. Suddenly you see how both aspects, the practical and the artistic, fit. Then you know it’s good. The practical solution is

a matter of reason, but about the artistic success I let my intuition decide. It’s a pretty schizophrenic way of thinking. Mind you, when I’m with students in the studio I try to put aside my aesthetic preferences and approach their work from within their own process. Bauke: I also search for a balance between reason and intuition. As a dramaturge it’s crucial that you keep a distance; that you don’t coincide with what is being created. To put that intuitive feeling into words is what I see as my true task. Luc: In our field, that twofold way of thinking also applies. To match the functional to the aesthetic aspect experience is required. That is why I split the two up for my students. They start from functionality: surface, durability, the possibilities of the material. After that they reflect on beauty. Well, of course the distinction is not that clear-cut. In any case, the second step requires them to go back to their initial line of thought. It takes time to develop what Philip called ‘schizophrenic thinking’. For that very reason it is important to be exposed to other ways of thinking. Our move to the Bijloke site two years ago has also given a new impulse to our programme. Anna: Other ways of thinking, can you elaborate on that? Luc: We did a project recently with De Zandberg in Harelbeke, a centre for artists with a disability. We listened to these people and watched how they go about their work. This other outlook on the world and on design is fascinating. Back in our own studio, we attempted to approach our own practice from within that other logic. The participating students all had a rather practical disposition. The encounter with the people of De Zandberg, who were very much focused on colour and imagination, was an enriching experience for them. Lukas: In a sense, each composition is another way of thinking. It is a kind of time capsule in which a personal and historical context is enclosed. Thinking 36

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processes and the influence of weather conditions in general. It comes down to seeing the potential of things. You abstract the materials and keep them in the back of your mind. You can return to that mental repository later for concrete assignments, because like I said before, clients tend to be fixated on a particular material. Toon: During your career you pick up a lot of things. Artistic practice requires an open mind since most of the time reason alone does not suffice to successfully finish a project. One has to allow coincidence to play its role. In practice there is a reciprocity between purpose and coincidence. Small, sometimes trivial things lying around on your desk, for instance. I myself have a collection of small fruit stickers. I unconsciously see them from the corner of my eye. Suddenly they shift into focus. Currently, we are working on a project in the historical part of Antwerp. We wanted to refer to the coffers of the classicist town houses and searched for a modern interpretation of them, taking into account the material we chose, white concrete. Of one of the forms we designed I realized later on that it was probably influenced by those little stickers. Pure coincidence, of course, but you have to open yourself up to it. Luc: Every now and then I come home with a rock or the gnarl of a tree. Bauke: I have a database of voice recordings and interviews. Mostly these are of people from the world of circus, but also of writers and so on. As a dramaturge I am also the person who urges people to think while they act. During the creative process I pick up words. I write these down on file cards that I present to the creators with the assignment to put them in an order. This often results in a tree-structure with branches. Other times they are clouds. It is helpful to visualize a train of thought. Lukas: I obviously own a lot of musical scores but you can hardly call that a collection. My desk is mostly empty,

Materials of thought Anna: The interaction with materials or with a certain object can capture the imagination. In what sense has this contributed to your practice or influenced it? Diane: I don’t go overboard for a piece of silk or linen in itself. At home I do have a collection of chimney brushes, though. They have a marvellous structure of twisted metal wires, a kind of star shape. I’ve seen and bought quite a few of them already. They hold an inspiring potential that I haven’t tapped into so far. But I’m sure I will at some point. Actually, there’s a funny anecdote connected to this collection. A couple of years ago I visited the studio of the late Milanese designer Castiglioni. His daughter was showing our group around and asked us if anyone knew what a certain item from her father’s collection of objects could possibly be. It was nothing less than a chimney brush! Afterwards I sent her photos of my collection and it turned out that her father also found this an inspiring thing and yet he had never used it either. Furthermore, I can also be seduced creatively by the usage of an object. Take a curtain, for instance. It hides something, or it is hung between two worlds that can be different from one context to the next. In a Berber tent it separates the women from the men or in our case it usually separates the outside from the inside. They are a kind of materials of thought. They are charged with potential. Luc: I occasionally go ‘prospecting’ in unspoilt natural areas or national parks. These are a kind of natural shopwindows where I can gape in admiration at processes of erosion, geological 37

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about matter is essential. Without that, you end up with something like Siri (Apple’s language software, ed.) reading a poem. To see beyond the surface you need the faculty of thought. Each work obliges you to choose an approach before you can realize it.

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apart from some piles of books, patiently waiting there. Diane: But you probably have some sort of music database in your head, no? Lukas: You could call that a collection. Philip: I have an archive of photographs of sculptures. It’s a very diverse collection. Images ranging from antiquity to the present, from beautiful to ugly. I keep them in boxes, unordered. Every once in a while I scatter them over my desk to make collages with them. That is how I compose my own eclectic sculptures.

Diane: I see what you mean. Sometimes you open a door for certain students. I’m not talking about slow learners or weak students. On the contrary, they have to be mature enough to be able to relate that advice to their own practice and to incorporate it in their personal development. Luc: It is typical of creative programmes that you do more than teach a profession. You play on a student’s potential, which is a very intuitive matter. Botany is an objective matter and poses little problems in that regard. But the more subjective skills ask for a subtler approach because you shouldn’t impose your own way of thinking. Self-confidence plays a central part in this. To me our pedagogic task goes beyond that of the traditional craft. You teach more than a profession, you clear the way for an artistic personality. Philip: The notion that things are allowed to go wrong seems crucial to me. That indeed requires confidence. Lukas: I don’t teach, myself, but as a student the first couple of years I was mainly looking for answers. No plodding away as a foundation for me. It has to be a solid basis. After that you can give students more freedom again to develop their own language. I suspect that most performing music students are mainly looking for answers. Diane: I also sense that question for traditional ability. In our programme that’s also the foundation but the artistic search is stimulated from very early on. Bauke: I interpret that plodding search of the contemporary artist as a modern craft. A final product is primarily the result of a working process. The two aspects are fundamentally linked. I’ve had such experiences, where the process was a hellish ordeal while the performance proclaimed a fundamental human ideal. Well, a work like that fails for me. Another example. I recently saw a bachelor’s project. Three days before the premiere the quality of the performance proved inadequate. You have a choice at a moment like that:

Plod and let plod Philip: Things started with photographs for me as an autodidact. Around the age of twenty I got fascinated by a picture of a certain piece of sculpture. I set myself the target to give this work its third dimension back. At that time I didn’t know the first thing about sculpture. I asked around and started plodding away in my bedroom. Trial and error; I can’t emphasize it too much. In the beginning, the parts simply fell off. It was a work of months. If I’d had a teacher then, things would probably have moved a bit faster. Yet I’m glad that I followed that hard road. I’ve plodded away. From that initial naïveté the essence of my formal language has grown. Anna: A struggle with the material? Philip: That sounds awfully romantic, but yes, it was. Wannes: How do you teach students to take that roundabout route? Philip: Sometimes you get the impression that things go too smoothly. You can always create a little confusion then. I don’t mean that in a negative way. But you force them to look for new solutions. I catch myself wanting to offer these myself sometimes, out of enthusiasm. That is often the moment that it’s better to take a step back as a lecturer. Well, there are also students that you have to show a shortcut. It is always an individual matter. Everyone is different. 38

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Lukas: I try to maintain a distance and not put myself in the spotlights as a performer. For others the matter is undoubtedly different. That aspect of the musical performance is often also part of the musical concept. Some traditions of pianism allow a greater ‘physical presence’ of the performer more easily than others. Material in the process Anna: What is the relation between material, design, and final product? Is thinking a part of doing or does there have to be a plan? Luc: Something that is very characteristic of garden and landscape architecture is indeed the relation between design and realization. Between the thinking process and the material completion there can be a span of fifty years. The plan, in other words, is not the end in itself. It is a form of communication, something you can build on. There is a risk that students become too focused on the drawing. Toon: Still I tell students that anything they let go should be able to become a final product. That includes the drawing they happen to be working on, regardless of the design function. I learned that from Maarten Van Severen with whom I did an apprenticeship. “A drawing is not just a drawing”, he would quote. Or like the artist Dotremont who found inspiration in Japanese calligraphy where the aesthetics of the drawing remains intact apart from content. That is what I aim for. A drawing that is a means to a concrete realization but that also appeals to us as an object an sich. Bauke: The matter is different for drama. An intermediate form doesn’t need to be presentable for me. But like I said before, the process is directly linked to the final product. Luc: Apart from the visual aspect, experience is an important factor by which to test a final product. In the case of a public park you don’t experience the 39

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either you throw everything out or you approach it as the result of a working process that in this case had gone on for two months. In this way something like that becomes defendable. I also notice that this approach helps students to always consider form in connection to content. The process warrants the link between the two. Wannes: How can you teach that, this craft of artistic thinking? Bauke: Students have to see a lot of things and get into conversation about them. Here in the drama programme the body is regarded as a material. A lot of theatre makers also think in those terms. The physical experience of the performer and the way he relates to the medium of theatre are two distinct things. You can’t bridge the gap between them with only rational reflection. The bridge is a result of the corporeal dimension. Wannes: Lukas, how does a musician deal with that physicality? Lukas: I am not what you would call a ‘physical’ performer. The body is not an instrument I use to orient myself; my brain is. The nature of my project also has to do with that. The music of Sorabji or Xenakis that I am currently dealing with requires concentration to such a degree that there is very little room left for gesticulation. I often even practice without a piano. On the one hand I try to gain an insight in the score. How a piece is structured. On the other hand I try to make a mental picture of the action. I think the motions, in other words. I’m actually not an exception in this regard. There are numerous examples of pianists who study a piece on a plane, for instance. For some performers such an approach is also much more efficient than plodding away on the piano right away. Research has demonstrated that. Toon: But respiration and gesticulation can become part of the whole during a performance, can they not? I’m thinking of Keith Jarrett, or someone like Pieter Wispelwey.

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trees, the shrubs and the grass. It’s a psychological total experience in which the visitor is immersed in the larger whole. As a garden or landscape architect you want to make that experience as pleasant as possible. Diane: That often happens unconsciously. It’s a comforting thought that artistic labour on a microscopic scale – a work with over fifty threads per centimetre, say – can have an impact you could call macroscopic; the experience. Philip: I agree with what Luc says about experience, but unlike his work my sculptures are not part of public space. As such, I don’t necessarily aim at creating a pleasant experience. It could as well be one of oppression. Luc: We also draw a distinction there. The use of certain materials is entirely a matter of atmosphere. If you design an asphalt terrace, you will automatically meet with aversion. Technically it’s perfectly possible but the material suggests another use that is deeply embedded in our collective memory.

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PhDs in the Arts

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LUDWIG VANDEVELDE ‘Pietà’ In 2006 Ludwig Vandevelde commenced his doctoral research in the arts at KASK/School of Arts under the title ‘Pietà. Phenomenology of a creative process’. One fundamental question was whether it is possible or meaningful in the context of contemporary art to make sculptures after historical motifs, thinking in particular of the Pietà. Attendant questions were: ‘Is it possible to gain insight in the process of artistic creation?’ and ‘What processes and elements of signification are active in this creation?’ These questions eventually led to the creation of a series of sculptures that address the historical-religious theme of the Pietà. Simultaneously, the intrinsic value and meaning of this sculpture series was investigated and questioned in a discursive process.

the Pietà, an iconographic motif related to the Passion of Christ. Vandevelde’s fragmented sculptures focus in turn on the dead son, the weeping mother, or the ecstatic experience of the faithful that is characterized by a delightful (com-) passion. With his artistic representation of the classic Pietà, Vandevelde aligns himself with this artistic tradition, yet he approaches it as a pure source of experience and material for study. His sculptures, stained black as a symbol of mourning, combine to form a personal allegory of loss, suffering and compassion. They are unemotional representations of emptiness, solitude, sadness and mourning. To the artist, these are universal themes which no cult must ever be allowed to arrogate. As such, his sculptures are kept free of any reference to a religious context.

Vandevelde’s dissertation of the same title comprises seven letters written as a reflection on the materialization of seven Pietà sculptures. In them, Vandevelde describes the creative process from a phenomenological angle: he discusses writing as a reflective method; the creative process as the quest of the Argonauts; the work of art as sacrifice; the ‘making’ of sculpture as a meaning-generating process; and the question as to the ontological status of the sculpture as opposed to the things surrounding us. The dissertation was published in 2012 by MER. Paper Kunst­ halle, and at the occasion of the completion of his PhD Vandevelde presented his sculptures in the exhibition Pietà at the KASK gallery (1-23 September 2012).

There are, however, several references to Vandevelde’s own body of work and to other works from art history in the Pietà series. The wall sculpture Arm, for instance, is based on one of the strongest iconographic motifs that characterize the historical Descents from the Cross (e.g. Rubens, 1611), Pietàs (e.g. Michelangelo, 1499, 1547-1553, 1550-1564) and Entombments (e.g. Caravaggio, 16021604). The sculpture Graf (‘Grave’) is a true-to-life rendering of Mies Van der Rohe’s Barcelona Daybed (1929), a popular modernist icon that is part of many a psychoanalytic practice. The relief Pietà takes its compositional inspiration from Bernini’s Ecstasy of Saint Teresa (16471652). Where in Bernini’s original the body of the ecstatic woman dissolves into an infinite cascade of drapery, Vandevelde splits the corpus into fragments, retaining just five text panels that spell out the word ‘pietà’. Mater Dolorosa is a female variation on the theme of Christ Sitting on the Cold Stone.

As a sculptural ensemble, Pietà evokes a tension between tradition and contemporary art. The combination of realist figuration and the mastery of a traditional Baroque woodcutting method results in an anachronistic visual style with which Vandevelde challenges the new academicisms. The series of seven oak-wood sculptures is based on the concept of 44

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(top) Publication Pietà. Fenomenologie van een creatieproces (design by Danny Dobbelaere, Grafijn; published by MER. Paper Kunsthalle, 2012).

(bottom) Arm (detail), 2009, sculpture in wood, 79 x 19 x 10 cm. Photo: Jörg Haikal

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Exhibition view Pietà (KASK Gallery space, 01.09 – 23.09.2012). Photo: Laurent Fobe

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SILVIA DEFRANCE ‘Her Voice’ In ‘Her Voice’, Silvia Defrance studies the potential of sensory cinema. Her doctoral research, which was initiated at KASK/School of Arts Ghent in 2006, evolved from a general question concerning the narrative structure of audio-visual art into an analysis of the existing models of representation of traditional film in relation to the representation of women in our visual culture.

In her search for an ‘alternative cinema’, Silvia Defrance explores the potential of a sensory visual style that puts the physical experience of film before the rational understanding of a narrative plot. In exploring the limits of certain traditional film codes, she questions the dominant structures of filmmaking. To this end, she makes use of an experimental method of montage where she lets the film develop ‘in the process’. Defrance’s films are exponents of the independent experimental film scene and of time-based art within the visual arts.

The theoretical reflection, for which Gilles Deleuze and Laura U. Marks served as the most important theoretical guides, is contained in the book Her Voice. Een artistiek onderzoek naar het potentieel van het zintuiglijke filmbeeld in alternatieve verhaalstructuren (‘Her Voice. Artistic research into the potential of the sensory cinematic image in alternative narrative structures’). The traditional narrative structures whose potential influence on individuation is analysed on a theoretical level in the book are effectively dismantled in the experimental films Candy Darling and Her Voice that Defrance created in the course of her research. Through the use of a distinctive corporeal and visual language that combines live action and animation techniques, Defrance evokes a sensory experience in these films, exploring the line between suggestion and representation.

Candy Darling was warmly received at international film festivals in the ‘short independent films’ category and gained several awards including Best Short Film at the San Francisco Short Film Festival (2009). Candy Darling was screened at The Anthology Film Archives in New York, Project Horizon, Flemish Artists in Teheran, Souvenirs from Earth, Palais Tokyo, Paris and added to the Tribeca Film Institute’s Reframe Collection (2011). The film was also acquired by the Flemish public broadcasting company Canvas in 2010. At the occasion of the completion of Silvia Defrance’s PhD in September 2012, Candy Darling and Her Voice were screened at KASKcinema.

Candy Darling is a wordless phantasmagoria of images in which Defrance employs an aesthetic that harks back to the expressiveness of silent film. In the second film, Her Voice, a corporeal language of spasms and ‘crazy’ poses aids in dissecting the forced masquerade of women as ‘femme fatale’, ‘mystic’ and ‘sex toy’. The voice-over engages in a dialogue with the visuals and attests to a critical interpretation of the three historical icons the film is based on: Lola Montez, Hildegard von Bingen and Betty Boop, who are all played by Lisbeth Gruwez. 48

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(top) Candy Darling, 2008, Digital Betacam video, 26 min. Actress: Silvia Defrance (detail mouth) as the character Candy Darling.

(bottom) Her Voice, 2012, HD video, 10 min. Set photographer: Kris Dewitte. Dancer/actress: Lisbeth Gruwez.

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Her Voice, 2012, HD video, 10 min. Set photographer: Kris Dewitte. Dancer/actress: Lisbeth Gruwez.

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HILDE D’HAEYERE ‘Stopping the Show’ In 2008, 'Stopping the Show' started out as a four-year research project on the silent slapstick comedy shorts produced by the Mack Sennett Comedies studio in the 1920s. Setting out to investigate what Hilde D'haeyere terms the 'pie-moments' in slapstick comedy, the plan was to map out connections between the dynamic pace of slapstick narratives and the static moments of disruptive ‘show-stopping’ display. The study soon fanned out into multiple directions inspiring transcontinental research trips to film archives, libraries, nitrate vaults, film still collections, slapstick festivals, and remnants of the former studio buildings.

research specific questions, insights and challenges were tested in hands-on situations. This resulted in a wide range of output formats such as conference papers, academic articles, a lexicon, the re-enactment of stunts and songs, the restaging of a lost shot, and several lectureperformances, among which TALK SHOW, made in collaboration with Miet Warlop. For the empirical work, Hilde D'haeyere worked closely together with several people. Most importantly, Sophie Nys translated research information into forms and fonts for the three self-produced publications; Miet Warlop, Sofie Durnez and Elias Heuninck faced a lion for the sake of comedy; and Joël Rabijns made motion studies of specific stunts. The doctoral thesis was successfully defended on 20 December 2012, just one day before the end of the world according to a Mayan calendar that proved incorrect.

Gradually, three show-stopping motifs took centre stage in the slapstick film production of the Mack Sennett Comedies studio: the Bathing Beauties, natural colour processes, and found footage. A close reading of the subjects as well as the technologies that picture them leads to observations on the role of the inserted displays, their stylistic conventions and the aspirations invested in them. The showstoppers prove to be essential components of slapstick movies of the 1920s and early 1930s, in that they show a way to maintain the blunt slapstick spirit and still absorb fresh attractions to keep the movies appealing for new and returning audiences. The show-stoppers are containers of additions – at will: updating, upgrading, and uplifting aspirations – injected into the usual slapstick goings-on, and as such they reveal the tensions impacting on slapstick comedy. The sequences permit to try out novelties, such as risqué subjects and novel film technologies, without contaminating the whole short or alienating ardent slapstick fans. Stopping the Show outlines an intermedial network of influences between comedy, fiction, and film production on the one hand, and the changing fashions, fads, and faces of the world in which slapstick comedy was screened, on the other. During the process of film-historical 52

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Publications: Dislexicon of Slapstick Comedy, Funny Cinematography, and Very Special Effects (MER. Paper Kunsthalle, 2011); Stopping the Show: Film Photography in Mack Sennett Slapstick Comedies 1917-1933 (Ghent University, 2012); Talk Show: A Stunt-Lecture-Performance on the Fun and the Fear of the Slapstick Stunt Performer (2012).

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‘Lost Shot #1 – The Girl From Everywhere’, 2012, HDV, 1 min. Restaging of a lost shot of The Girl from Everywhere (Edward Cline, 1927, Mack Sennett Comedies).

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‘Talk Show’, 2010-2011. Promotional image of the stunt-lectureperformance with Miet Warlop.

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Theoretical PhDs

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MARTINE HUVENNE ‘Sound as Inner Movement in the Transfer of Experience in Film. A Phenomenological Approach’ This doctoral dissertation presents the results of research on the singularity and defining characteristics of perceived sound in film and the way sound guides the viewer/listener in experiencing and perceiving a film. The perception of a film is approached as an active event in which an embodied and lived act of listening fixes the attention of the viewer/ listener and establishes his or her individual coherence. Through choices regarding sounds and nuances in the sounds, through decisions about the auditory spaces, the composition of sounds, and in the mixing, the director is able to transfer an experience and steer the way a film is perceived.

her practice with the analyses and the theoretical system developed in her research. She introduces a number of novel perspectives to discuss sound in film: the first-person perspective in the description of film perception and analysis of film creation; the superposition of the auditory and visual spaces that are brought together as a polytopos in perception; the audio-visual chord as a time object and a moment in a lived time field; and the possibility to make inner and outer worlds connect in sound. By putting the emphasis on pre-reflective embodied listening, Huvenne provides an in-depth analysis of sound as inner movement in film and opens it up for further discussion.

The aim of this research was to provide a contribution to film theory and artistic film practice concerning aspects of the sound that do not lie at the surface, but that are potentially determinative and motivating when perceiving a film in its totality. Many implicit dimensions of the (experience of) sound that do not immediately capture our attention lack a detailed theoretical and conceptual study and analysis. The slightest sound nuance can have a huge impact on the film experience and on its perception.

In the context of her doctoral research (2006-2013), Martine Huvenne organized and participated in several workshops, symposia, publications, conferences and seminars in Belgium and abroad (University of Sunderland; NIAF, Utrecht; Aubagne Film Festival; SoundTrack, Cologne; NECS Conference Istanbul; NECS Conference London; Université Jean-Moulin LYON-3, Centre d’Etudes Linguistiques; University College Ghent; UVA, Amsterdam, NICA Institute). Since 2011 she is the coordinator of Sound in Audiovision (SIAV), an Erasmus LLP curriculum development project. The aim of the project is to establish a joint master for sound as an artistic discipline (www.emasound.org). Huvenne’s dissertation was published by Vossiuspers UvA (Amsterdam, 2012) and she recently contributed a chapter on “Sound in film as an inner movement: towards embodied listening strategies” to the book Moving Imagination. Explorations of Gesture and Inner Movement in the Arts (edited by Helena De Preester, University College Ghent and Ghent University, published by John Benjamins Publishing Company, 2013).

A triple leitmotiv runs through the research: (1) the sensory perception of recorded sound and sound as energetic movement in relation to the images, (2) the compositional nature of film in which sound takes up a specific position in relation to music-compositional ideas and (3) the perception of the viewer/listener which is correlated with the experience the director wishes to convey in the compositional aspects of sound and the film. Huvenne develops the consequences of pre-reflective embodied listening within the framework of cinematic creation and perception, connecting the insights from 58

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(top) Publication Het geluid als een innerlijke beweging in de overdracht van een ervaring in de film: een fenomenologische benadering (Vossiuspers UvA, 2012).

(bottom) Graphic representation of sound in Gerry (2001) by Gus van Sant. Graphics by Martine Huvenne (2012).

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RUTH RONDAS ‘The One-to-One Relation in Higher Instrumental Education. An Ethnographic Study’ This doctoral research was sparked by an urge to observe and describe the wealth and complexity of the pedagogical practice in Higher Instrumental Education. Usually, students learn to play an instrument in a one-to-one setting based on the master apprenticeship model. A second crucial characteristic of instrumental education is that students study with a single teacher for an extended period of time. From a pedagogical perspective, this long-term intimate and intense relation is rather exceptional in the context of contemporary education. The aim of this research was to increase knowledge on this one-to-one relation that is typical for Higher Instrumental Education. Because this type of education usually takes place on an individual basis and behind closed doors, it remains rather enigmatic. However, by working in situ with these people for an extended time, Ruth Rondas was able to penetrate to the essence of their world. Gradually, she gained more insight into (higher) instrumental education and she was privileged to encounter participants who were prepared to reveal part of their world. On the basis of the close observation of several of these teacher-pupil relations in the course of her research, Rondas was able to draw a portrait of these one-on-one relations.

This doctoral research was initiated in June 2006 and was finalised in September 2012. In the course of these years, Ruth Rondas presented her work at several conferences in Belgium and abroad (Biennial Euro-Mediterranean Music Conference, ISME, Music Learning Benefits for the 21st-Century Learner, INVITE, RIME, The Reflective Conservatoire …). With Helena Gaunt (Guildhall School of Music & Drama, London), Rondas was guest editor of Scientia Paedagogica Experimentalis (2010) and she was the author of two articles in this journal. She also published a brief contribution in the journal Kunst & Wetenschap (2012).

Inspired by Sara Lawrence Lightfoot’s The Good High School. Portraits of Character and Culture (1983), Rondas chose an approach that is atypical in the dominant context of pedagogical research: instead of tracing what is wrong, it seemed more meaningful to use qualitative methods to map out this particular pedagogical practice of oneon-one instrumental education and leave it to the professional world whether or not to put the resulting portrait to use in practice.

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Research Projects in the Arts

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A contemporary technology for direct animation techniques ever, was developed specifically from the artistic practice and targets the ‘creative’ user segment.

RESEARCHERS: project coordinator Geert Vergauwe and research assistants Ophélie Tailler, Virginie Suriano and Britt Raes

Two applications were developed in the context of this project that make use of the possibilities of the Samsung SUR40 multitouch table. With these applications, films can be projected by placing ‘blocks of film’ on the table and users can draw on the table in a natural way. The multitouch table with these applications was presented as an interactive installation at several youth festivals and in an exhibition.

This three-year research project (20092012) was developed in response to the finding that students from the animation programme continue to show an interest in working with the (obsolete) directunder-the-camera animation technique. Reasons for this choice can be found in the ‘manual’ manner of working this technique allows and in the limited share digital technology has in it. Direct animation techniques consist in manipulating materials, cut-outs or objects underneath or in front of a camera and photographing the scene one frame at a time. There have been few instances where this technique was used in conjunction with contemporary, digital methods, however. This project aimed to develop a digital version of the direct-under-the-camera technique that matches the best qualities of the traditional analogue technique with the advantages of contemporary digital technologies. These qualities include the low technicality and the directness of the traditional method, and the continuous adaptability of the digital method. This would make it possible to turn a valuable analogue animation technique into a new, accessible way to practice the art of animation. Eventually, research focused especially on the ‘direct’ aspect of the title. The team searched for suitable possibilities for interaction and interfaces on which the new animation technique could be based. In the course of the research, the use of touchscreens became quite common; more studies in this area were published and there was a marked increase in interest for user experience and natural user interfaces. This team’s approach, how-

Interaction with the Alacarte film projection application on a multitouch table (Ciné Kadee, KASKcinema, 2012).

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(top) The multitouch table with objects (School of Arts Ghent open house, 2012).

(bottom) Pacha drawing application, drawing panels in a three-dimensional space.

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Application of digital sound analyses in vocal pedagogy One field where such objective aids could be found is software. Several existing programmes are capable of analysing the singing voice (and other audio) by means of FFT. This means that the distribution of energy over the frequency spectrum is visualized in a spectrogram or in a power spectrum. Such analyses thus also reveal some information on the position of the formants, but unfortunately this software is quite often not that accessible or user-friendly. Learning to interpret these graphical representations of sound would make the process all too time-consuming where the motivation to do so would in fact have been to work more efficiently.

RESEARCHER: Wannes Gonnissen Vocal instruction is mainly based on traditions and not on scientifically grounded knowledge. Even though history has proved that education of this kind can indeed bring forth great singers, an objectification of the process could certainly make it more efficient. Even in higher education in the arts, vocal pedagogy does not rely on scientific research and literature to the extent it could, and this research project’s aim was to take a step towards a more objective approach. Gonnissen’s project (2008-2012) proceeded from an initial study of the existing literature, including material on traditional vocal methods and scientific sources dealing with matters such as the anatomy of the vocal folds and related organs (muscle, cartilage, connective tissue …), and articulatory and acoustic phonetics. Crucial in this latter context is the notion of ‘formants’. These strong vocal resonances are also used in speech: by small alterations in the position of the tongue, lips, larynx etcetera, different phonemes are formed. This process can in essence be described as a shifting of formants that produces different timbres.

For this reason this project was ultimately devoted to the development of a programme that combines the useful information of sound analysis with accessible, real-time visual feedback. The result, Mimmitt, is a software application that allows, specifically, comparing the first two formants of the singing voice with a pre-recorded example. This example can be recorded by the instructor, by another singer or even by the student himself, under the guidance of the instructor. The most recent version of Mimmitt was presented and warmly received at the JEN 2013 conference of the Jazz Education Network in Atlanta (USA) and can be downloaded for both OSX and Windows via http://mimmitt.schoolofarts.be.

The project devoted special attention to relating different disciplines. Many subjective vocal techniques appeared to be in agreement with science, while others did not. This comparative approach was extended in a second part of the research that consisted in observing and recording vocal classes at the Conservatory. With the aid of spectrum analyses of these recordings Gonnissen was able to distinguish between aspects of the training that worked well with the subjective methods, and points where objective means might prove advantageous.

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Mimmitt software application screenshots.

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Project-Based Scientific Research

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CHILD-FRIENDLY HOSPITAL The Impact of Interior Design and Art on Children’s Hospital Experience original question. How do art and design contribute to children’s wellbeing in a healthcare environment? The literature on the subject is vast and the question is widely debated; and justly so. Nevertheless, we decided that our chief entry into the field would be a local and circular method: basically, we listened carefully to what children had to say about the topic (via a quantitative inquiry); we then asked our students from the art and design programmes to come up with practical solutions within the given architectural and functional context; and finally we took the results (which could be e.g. a replica or rendering of the ward, a representational artwork or even an animated cartoon) back to the children to hear their verdict (using a qualitative inquiry).

RESEARCHERS: Leen De Wilde, Jozefien Muylle and project coordinator Jan De Pauw ORGANIZATION: Faculty of Fine Arts, University College Ghent in collaboration with general hospital AZ Jan Palfijn Gent AV and Faculty of Psychology and Educational Sciences, Ghent University Since 2003 the Flemish Government has been actively fostering productive partnerships between research, education and professional practices. Institutions of higher education are stimulated to launch project-based scientific research programmes that venture to provide practical, innovative answers to concrete challenges suggested by actors in the field, and to secure the transfer of knowledge between the classroom, the library and the social/public sphere. The Child-Friendly Hospitals project is a pre-eminent example of this procedure. A few years ago the Faculty of Fine Arts of the University College Ghent was approached by a local general hospital in the process of renovating its premises and reorganizing its infrastructure. The paediatric ward not only being just one department amongst many others but also sharing specific facilities with other units, its organization and design posed specific challenges for the steering committee. They therefore asked us to investigate ways in which the paediatric population, the children’s families, their visitors as well as the staff could benefit from interior design, graphic solutions, (referencing) nature and the presence of artworks. To complement our fields of knowledge (art, design and applied cultural studies), collaborators and students of the developmental psychology department of Ghent University were enlisted to the team. The initial aim developed into a broader, theoretical approach – albeit without losing sight of the

The project’s output was published in the book Dragende muren. Over het ontwerpen van een zorgende ziekenhuisomgeving voor kinderen (‘Supportive walls. Designing healing healthcare facilities for children’, MER. Paper Kunsthalle, 2012). The book discusses the various perspectives, interests and needs of all parties involved (designer, staff, the children and their families, the board of directors) to inspire them and in a way help them to speak the same language. While the results and conclusions of our project often accord with prevailing insights, there are also important deviations and exceptions. Topics include hospitalization as a total experience; the importance, for all professionals involved, of an adequate understanding of ‘child-friendliness’, children’s coping strategies and the workings of their imagination in its different developmental stages; due attention to ergonomics and variable sightlines; and solutions for breaking down architectural and/or psychological barriers between the paediatric ward and the world outside. 68

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(top) Publication Dragende muren. Over het ontwerpen van een zorgende ziekenhuisomgeving voor kinderen (MER. Paper Kunsthalle, 2012).

(bottom) Leen De Wilde, poster image for the first 'Child-friendly healing environment through design and art’ symposium (Ghent, 2010).

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FURNITURE-LINK Connecting Lifecycle and Furniture textile, wood and furniture were thus able to form a global idea of the potential users, suppliers and designers in the furniture sector.

RESEARCHERS: promoter Dirk van Gogh, co-promoter Christophe Sonck, and assistants Jolien Vandenbroele (sociologist), Viola van Rossum (environmental expert), Mieke Vanheule (psychologist) and Inge van Beek (master student product development)

This PWO project revealed correlations that were blind spots for furniture sector stakeholders. This opens the way to new types of furniture that are not yet part of today’s offer but could meet certain demands generated by new circumstances and developments (the rise in ageing population, multigenerational living, studying children, divorce and blended families etcetera). Manufacturers and designers of furniture could benefit from a better insight in consumers’ responses to the correlations between personal tastes and preferences in furniture and interiors (country, rustic, minimal, vintage …); budgets allotted to different functions (sleeping, eating, storing …); eco-preferences (recycling, re-using, biodegradability …) and preferences concerning flexibility (multifunctional furniture or furniture that grows along …).

Between 2009 and 2012, the multidisciplinary project Furniture-link or Meubelwijzer combined the perspectives of product development, furniture design, interior design, environmental studies, sociology and psychology to perform both qualitative and quantitative research for the furniture sector. The project aimed at creating a more efficient link between the furniture produced and the specific demands of users, and to provide the grounds to discover new possibilities for the usage and creation of furniture. An initial review of the relevant literature was followed by a qualitative study in which the similarities and differences between the multidisciplinary aspects of personal preferences, budget, socio-economic status, family situation, personality, living conditions and preferences with regard to flexibility and ecology were explored in seven focus-group sessions. Information was gathered and structured by means of a semi-structured survey of students living in rooms, commuting students, young adults living at home or living together, people living alone and blended families. This structure was used in the third part of the research to compose a quantitative survey that gathered about 700 online responses. Univariate and bivariate statistical analysis of the entire set of data yielded about 500 both positive and negative significant correlations.

Multidisciplinary research of this kind had never before been performed in Belgium, making the information it has yielded not only valuable for the furniture and housing sectors, but also potentially advantageous for Belgian businesses. The research output can find direct applications in services through an online tool that is targeted at stakeholders such as manufacturers, designers and retailers of furniture, housing and supply companies, and consumers.

The steering committee that included furniture manufacturers, retailers and representatives of innovation centres for 70

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Criteria: 'taste' (1) ‘family situation' (2) 'living situation' (3) 'flexibility' (4) 'ecology' (5) 'socio-economic status' (6) 'budget' (7) 'personality' (8)

Significant correlations between the most important aspects of the furniture sector, PWO meubelwijzer , 2012.

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ARTISTIC RESEARCH PUBLICATIONS In the past academic year, School of Arts stimulated the development of publications on artistic research through various partnerships. In this context, several research publications appeared on MER. Paper Kunsthalle’s ARA (Artistic Research Archive) imprint. Two books were published to mark the completion of doctoral research projects: Ludwig Vandevelde’s Pietà. Fenomenologie van een creatieproces (‘Pietà. Phenomenology of a creative process’), and Hilde D'haeyere’s Dislexicon of Slapstick Comedy, Funny Cinematography, and Very Special Effects. Scattering of the Fragile was published in the context of An van.

of Steven Jacobs’ research project on cinematographic visualizations of contemporary art and was produced in cooperation with CINEMATEK.

Publication The Future of Yesterday, Ives Maes (design by Studio Luc Derycke; published by Ludion, 2013).

Two books, published in the context of completed research projects in the arts at School of Arts, received honourable mentions in the 2013 Best Designed Books competition: Carl De Keyzer’s photo book Moments Before the Flood, designed by Gert Dooreman and published by Lannoo, in the Art Books category, and, in the Special Interest category, Reading Urban Cracks. Practices of Artists and Community Workers by Riet Steel, Elly Van Eeghem, Griet Verschelden and Carlos Dekeyrel, designed by Luc Derycke and Jeroen Wille and published by MER. Paper Kunsthalle.

Publication Scattering of the Fragile. Cherry Blossoms, An van. Dienderen & Lisa Spilliaert (ARA - MER. Paper Kunsthalle, 2013).

Dienderen’s post-doctoral research project ‘Figures of Dissent. Cinema of Politics, Politics of Cinema.’ Leen De Wilde and Jozefien Muylle published Dragende muren. Over het ontwerpen van een zorgende ziekenhuisomgeving voor kinderen (‘Supportive walls. Designing healing healthcare facilities for children’) as part of their projectbased research project,

Through various partnerships, School of Arts wishes to stimulate the development of publications on artistic research. Together with ARA, School of Arts aims to extend the question of possibilities and position of books as places to exhibit art to the process of artistic research. Connecting the academic book canon with the art and artist’s book, it opens a new reflective space where scholarly and artistic practices merge in the field of research, shaping a radically new generation of printed media. ARA is an international platform for the publication, distribution and dissemination of artistic research in printed media. It was initiated by MER. Paper Kunsthalle and School of Arts. 

Ives Maes presented The Future of Yesterday, his photo book about his research into the architecture of world fairs, at Ghent’s City Museum STAM. The book was published by Ludion, in cooperation with School of Arts and designed by Studio Luc Derycke. The DVD box set Art & Cinema. De Belgische kunstdocumentaire 19401950 (‘Art & Cinema. The Belgian art documentary 1940-1950’) is the result 72

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In KASKcinema’s programme of the past year the relationship between music and film was a recurring focus. The entire month of January was devoted to the theme of Sound&Vision and there also was the Filmtonen series. Highlights included the musical accompaniment to E. Elias Merhige’s Begotten by Mathieu Vandekerckhove (Amenra, Syndrome …) and the first screening of the Filmtonen series which featured Bart Maris and an ensemble of over a dozen students who improvised to Teinosuke Kinugasa’s A Page of Madness from 1926. But KASKcinema also welcomed Ramsey Nasr, Tomáš Lunák, ˘ Julien Vandevelde, Paul Bush, Eyal Sivan, Ruben Bellinkx, Michaela Pavlatova… That film also appeals to the smallest among us, is evident from the great turnout on the monthly KIDS@KASKcinema event, which offered a thematicselection of old and contemporary shorts.

Harmony Korine, Gummo (1997).

Sergio Leone, The Good, The Bad and The Ugly (1966).

Peter Strickland, Berberian Sound Studio (2012).

E. Elias Merhige, Begotten (1990).

Malik Bendjelloul, Searching for Sugar Man (2012).

Tomáš Lunák, ˇ Alois Nebel (2011).

Teinosuke Kinugasa, A Page of Madness (1926).

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To guarantee the best offer, KASK­ cinema works in cooperation with cultural partners like Ghent University’s Film-Plateau, Film Festival Ghent, Courtisane and artistic partners Vooruit, Filemon, Ladda and S.M.A.K.

work. Landmarks from the film canon that can rarely be seen in the best conditions are also part of the programming. Lectures, introductions and master classes offer the viewer a way to open up new vistas and enrich the cinematic experience. KASKcinema is an initiative of non-profit organization Forum K and University College Ghent School of Arts. KASKcinema is supported by the Flemish Community and the City of Ghent.

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Carl Theodor Dreyer, La Passion De Jeanne d’Arc (1928).

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KASKCINEMA Bijloke site Godshuizenlaan 4 Gent

THE Jazz sinGEr

grafisch ontwerp: Jurgen Maelfeyt / v.u. Brecht Van Elslande, L. Pasteurlaan 2, 9000 Gent

KASKcinema poster image (December 2012).

grafisch ontwerp: Jurgen Maelfeyt / v.u. Brecht Van Elslande, L. Pasteurlaan 2, 9000 Gent

KASKcinema poster image (November 2012).

KASKcinema is devoted to screening films that are often overlooked by the regular circuit. A broad and very different range of genres and styles are covered, like contemporary feature films, documentaries, animation films, but also video art and more artistic

David Lynch, Eraserhead (1977).

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For the full programme, see www.kaskcinema.be.

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grafisch ontwerp: Jurgen Maelfeyt / v.u. Brecht Van Elslande, L. Pasteurlaan 2, 9000 Gent

KASKcinema poster image (May 2013).

The KASKcinema posters and flyers designed by Jurgen Maelfeyt were selected for Cobra Power of Print 2011 & 2012; International Poster and Graphic Arts Festival, Chaumont, France, 2012 & 2013; and the 25th International Biennial of Graphic Design Brno 2012, Czech republic.

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KIOSK KIOSK opened the season in autumn 2012 with Furniture, a solo show by Berlin-based artist Claudia Wieser (1973, Germany). In this exhibition, Wieser presented a collection of drawings, ceramic and wooden sculptures, and a spatial intervention that had the walls of the cabinet rooms covered with ornamental black-and-white prints of Gothic and Baroque interiors from the Low Countries. The complex perspectives aligned with the existing neoGothic architecture of the KIOSK building, with its characteristic vistas and tiled vaulted ceilings. Both thematically and pictorially, the spatial interventions resonated with the framed drawings and photographs. It was Wieser’s interest in the specific architecture that brought her to this illusionistic and yet harmonious ensemble presentation. In the wake of Wieser’s exhibition at KIOSK the publication Furniture will be published in June 2013 in collaboration with Motto Berlin.

Jean Bernard Koeman, exhibition view Observatory Crest with Koen Augustijnen as performer (08.12 – 13.01.2013). Photo: Laurent Fobe

The second exhibition, Observatory Crest was conceived by artist Jean Bernard Koeman (1964, Belgium) as a track between scenography and installation. In the central dome room Koeman

Jean Bernard Koeman, exhibition view Observatory Crest (08.12.2012 – 13.01.2013). Photo: Laurent Fobe

installed a new site-specific work that was surrounded by a number of existing installations. Sculptures in wood and metal mixed with photographs, texts and drawings. The new installation, The Unfolding of the Relentless Unforeseen, was a result of Koeman’s work as a scenographer with dancer and choreographer Koen Augustijnen (Les Ballets C de la B) and actress and director Abke Haring (Toneelhuis). Thematically this monumental construction was based on the notion of ‘complicit architecture’ and contained associative references to the former Vietnamese president Hô` Chí Minh and his stilt house. On several occasions, the artist invited Koen Augustijnen to activate the work during exhibition hours. During these ‘situations’, the installation became a protective piece of

Claudia Wieser, exhibition view Furniture, (05.10 – 18.11.2012). Photo: Laurent Fobe

Claudia Wieser, exhibition view Furniture, (05.10 – 18.11.2012). Photo: Yana Foque

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scenery in which Augustijnen isolated himself in the guise of the character Hô` Chí Minh.

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Ulla von Brandenburg, Shadowplay, 2012, HD video, 7 min. Courtesy: Concept, Paris; Pilar Corrias Gallery, London; Produzentengalerie Hamburg.

The central exhibition space’s past as an anatomical theatre was restaged in a circular wooden stand of tiered seats and functioned as a framing device for the screening of Shadowplay (2012). On the occasion of the exhibition, von Brandenburg made the newspaper edition Nr. 6 (2013) and KASKcinema presented a selection of her black-andwhite 16 mm film work.

Ulla von Brandenburg, exhibition view Gleich Gleich Gleich (16.02 – 14.04.2013). Photo: Laurent Fobe

With Gleich Gleich Gleich, KIOSK presented the first Belgian solo show by artist Ulla von Brandenburg (1974, Germany). The works on display combined into a theatrical landscape where media such as film, theatre, sculpture and installation played with the boundaries between reality and fiction. Von Brandenburg brought together two recent video pieces and embedded them in a newly conceived installation.

Exhibition view of Kelly Schacht’s performance intervention It seems economical to make use of a character already in play & Annika Eriksson’s film I am the dog that was always here (loop) (27.04 – 16.06.2013). Photo: Laurent Fobe

The season’s final exhibition staged a dialogue between the video and installation art of Swedish artist Annika Eriksson (1956) and the performance interventions of Belgian artist Kelly Schacht (1983). Annika Eriksson’s new

Annika Eriksson, I am the dog that was always here (loop), 2013, HD video loop, 10 min.

Ulla von Brandenburg, exhibition view with Nr. 6, 2013, newspaper edition.

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video work II am the dog that was always here (loop) (2013) was presented as the central piece of the show. The video is set in the desolate outskirts of Istanbul, seen through the lens of a street dog. Kelly Schacht in turn responded to the exhibition space and Eriksson’s work. For the duration of her show It seems economical to make use of a character already in play the empty rooms were activated by temporary interventions or ‘characters’ whose presence resounded with the desolation emphasized by Eriksson. This approach resulted in a scenario, tailored to the exhibition space, that unfolded over the course of the seven weeks of the exhibition. KIOSK is an initiative for contemporary visual art that showcases the work of promising artists from Belgium and abroad. Each year four exhibitions are realized in the gallery space of KASK/School of Arts Ghent. KIOSK is an initiative of non-profit organization Kunstensite and University College Ghent School of Arts. KIOSK is generously supported by the Flemish Community and receives additional funding from the City of Ghent and the Province of East Flanders. For past and upcoming exhibitions, see www.kioskgallery.be. Watch interviews with the artists at www.vimeo.com/kioskgallery.

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Het Paviljoen opened in March 2013 with Forms Fell to Pieces, a collaborative project by Kato Six and Aukje Koks. For their collaboration, the two artists started from common elements in their work: the tactile, the schematic and the abstract shape. The duo presented a collection of personal objects and fragments of memory that, once they are placed in the space, evolve into the formal residues of their personal histories. The objects become new elements of an abstract installation that generates new meanings.

Erika Hock & Clare Noonan, exhibition view Architecture, Anyone? (23.05 – 30.06.2013). Photo: Laurent Fobe

architecture. Using the floor and textual elements, the domestic and the imaginative took public form. Het Paviljoen is a new collaborative project between the Institute for Fine Arts (HISK), the School of Arts (KASK) and the Museum of Contemporary Art (S.M.A.K.), which takes place in and around the glass pavilion in the front yard of the Cloquet building on the Bijloke site. Het Paviljoen is a meeting place where young positions in the contemporary art field collaborate and present their work within a professional framework. Part of the project is a series of small exhibitions that focuses on the traditional division between form and content, space and context. As an architectural skeleton stripped of its historical function as a waiting room, the glass pavilion has transformed into an empty display case that offers room for imagination and experiment. For the programme, see www.paviljoen.org.

Kato Six & Aukje Koks, exhibition view Forms Fell To Pieces (20.03 – 28.04.2013). Photo: Laura Herman

Kato Six & Aukje Koks, exhibition view Forms Fell To Pieces (20.03 – 28.04.2013). Photo: Laura Herman

The second exhibition, Architecture, Anyone? brought together Erika Hock's interest in the architectural and Clare Noonan’s in display and narrative, as potential spaces to re-imagine linear models. Within the dis-purposed space of Het Paviljoen, Hock and Noonan superimposed a horizontal, parallel 81

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graphic design) chose for the presentation of a selection of audio-visual and printed material.

MASTER’S PROJECTS SPACE MAP MAP#01 (08.11 – 14.11.12) Installations and film screenings by Benjamin Verhoeven (master of fine arts) brought together under the title Circuits of the past.

Rachel Monosov & Jelena Vanoverbeek, exhibition view WE MEN (11.01 – 16.01.13).

MAP#05 (21.01 – 25.01.13) The car, fetish of freedom and status symbol, maligned by ecologists and celebrated by advertisers, is the point of departure for Gerben Gysels’ PDX-407 (master of fine arts).

Benjamin Verhoeven, exhibition view Circuits of the past (08.11 – 14.11.12).

MAP#02 (21.11 – 30.11.12) Loose joints, with work by students from the multimedia design studio: Ot Bastiaanse, Milan Verstraete, Charlie Whittuck, Annelien Vermeir & Claire Stragier. MAP#03 (08.12 – 19.12.12) Raf Van de Ven and Liam Singelyn (master of photography) present We need a third person as a recognizing witness. Hitchhiking from Istanbul to Belgium they encountered ruins, desolate landscapes and boxes full of fingerprints from an undefined past. MAP#03 was a visualization of this experience.

Gerben Geysels, exhibition view PDX-407 (21.01 – 25.01.13).

MAP#06 (31.01 – 08.02.13) In Sit down and listen, Eva Van Leuven presents a sound installation and an intimate performance with song and movement. A String Section is a performance for cello and saw by Leen Dewilde. Both are master students of multimedia design.

Raf Van de Ven & Liam Singelyn, exhibition view We need a third person as a recognizing witness (08.12 – 19.12.12).

MAP#04 (11.01 – 16.01.13) WE MEN is the title Rachel Monosov and Jelena Vanoverbeek (master of

Leen Dewilde, A String Section, performance (on show in MAP#06, 31.01 – 08.02.13).

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MAP#07 (16.02 – 24.02.13) In Tussenbalans Lisa Spilliaert presents photo books about a photographic situation somewhere in between loved places and loved ones, between Japan and Belgium.

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Lana Schneider, exhibition view Graph (27.04 – 05.05.13).

corridor into a spatial sculptural drawing, titled Graph. In 2012, MAP (Master’s project space) was initiated as an additional platform for the work of master students of fine arts, multimedia design, photography and graphic design. In the course of the year, the glass corridor of the Cloquet building became the scene for ten public presentations.

Lisa Spilliaert, exhibition view Tussenbalans (16.02 – 24.02.13).

MAP#08 (13.03 – 26.03.13) Yves Kerckhoffs and Tom Callemin (master of photography) display work in progress: We spent a lot of time there, watching. But now we need to get a sense of scale. MAP#09 (19.04 – 23.04.13) You know what you are supposed to do in art's presence is a presentation by Kitty Bons and Sarah Oyserman (master of multimedia design). Bons presents objects from her everyday life in new, associative relations and Oyserman creates objects in interaction with the space and the human body. 

Kitty Bons & Sarah Oyserman, exhibition view You know what you are supposed to do in art’s presence (19.04 – 23.04.13).

MAP#10 (27.04 – 05.05.13) Lana Schneider (master of fine arts) transforms the glass panels of the 83

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The first online edition is expected in October 2013.

A PRIOR A Prior Magazine #23, titled 23 Skidoo, was largely inspired by the personality and the oeuvre of Tino Sehgal, an artist A Prior closely followed for more than a year. Sehgal’s works These Associations (Turbine Hall, Tate Modern) and This Variation (dOCUMENTA (13)) are key works in the context of this issue. 23 Skidoo also introduces work of Anne Daems and Kenneth Andrew Mroczek that made the front cover. In Spring 2013, KASK/School of Arts Ghent and A Prior Magazine announced their partnership in L’Internationale, a transinstitutional organization comprised of artists’ archives, educational organizations and six major European museums: Moderna Galerija (MG, Ljubljana, Slovenia); Museo nacional centro de arte Reina Sofía (MNCARS, Madrid, Spain); Museu d’art Contemporani de Barcelona (MACBA, Barcelona, Spain); Museum van Hedendaagse Kunst Antwerpen (M HKA, Antwerp, Belgium); SALT (Istanbul and Ankara, Turkey) and Van Abbemuseum (VAM, Eindhoven, the Netherlands). Together with Grizedale Arts (Cumbria, UK), Liverpool John Moores University (Liverpool, UK) and Universität Hildesheim (Hildesheim, Germany), School of Arts Ghent supports L’Internationale as a complementary partner and associate organization from the academic and artistic fields. L’Internationale received a grant from the European Union for the programme The Uses of Art – The Legacy of 1848 and 1989 (UoA), a comprehensive programme of exhibitions, symposia, publications, magazines, an online forum, an education platform and staff exchange. In light of this new challenge, A Prior Magazine will now be published online with one printed edition every year. It will focus on the project Uses of Art and continue to work closely with artists and writers from all over the world as it has done over the past twelve years.

Cover A Prior Magazine #23, 23 Skidoo. Visuals: Anne Daems & Kenneth Andrew Mroczek (2012).

A Prior Magazine is a publication series in English about contemporary art published by the School of Arts and Mark VZW. For more information, see www.aprior.org.

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KASKlezingen lecture series: visual artist Duncan Speakman (16.10.12), writer Lynda Nead (06.11.13), literary critic Richard Wilson (20.11.12), visual artist Joachim Koester in cooperation with S.M.A.K. (27.11.12), graphic designer Jurgen Maelfeyt (11.12.12), filmmaker Eyel Sivan (13.12.12), graphic design curator Charlotte Cheetham (29.01.13), visual artist Ulla von Brandenburg (12.02.13), animator and filmmaker Michaela Pavlatova (14.02.13), designer Harmen Liemburg (19.02.13), comic book expert Joe Sutliff Sanders (26.02.13), poet Bernard Dewulf (05.03.13), design expert Hilde Bouchez (19.03.13), visual artist Ruben Bellinkx (21.03.13) and video artist Koen Theys in cooperation with S.M.A.K. (16.04.13).

During Keynotes lecture by Chris Blandford (Cirque, 06.03.13).

KASKlezingen is a platform for reflection on design, fashion, visual arts, photography, film and theatre. Each year twenty-four speakers are invited to present their artistic or theoretical work for dissection in the anatomical theatre ‘de Cirque’ and engage in dialogue with the audience. In 2012 the interior design and landscape and garden architecture programmes started the lecture series Keynotes. For more information about the programme, see www.kasklezingen.be.

KASKlezingen lecture by Duncan Speakman (Cirque, 16.10.12).

KASKlezingen lecture by Joachim Koester (Cirque, 27.11.12).

KASKlezingen lecture by Ulla von Brandenburg (Cirque, 12.02.13).

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Keynotes lecture series: architects Koen Baeyens and Basile Graux (17.10.12), interior architect Stefaan Onghena (07.11.12), landscape architect and urban developer Bas Smets (21.11.13), interbellum expert Norbert Poulain (12.12.12), landscape architect Chris Blandford (06.03.13), interior architects firm PUUR (20.03.13), Patrick Viaene about 150 years Henry van de Velde (24.04.13) and a visit to S.M.A.K.’s backstage (15.05.13).

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ZWARTE ZAAL Both students and lecturers enthusiastically engaged in numerous projects that were featured in the Zwarte Zaal in the past year. Some recent examples: Laurens Mariën (student of multimedia design) and his NEIN platform for young artists brought together a number of students and alumni of KASK Ghent, Sint-Lukas Ghent, KASK Antwerp and RITS Brussels in the exhibition JAWOHL JAWOHL. He also organized film nights there in cooperation with Port Actif. The third year painting students organized the show De Pasgeverfde Staldeur, and the third year sculpture students presented V. The work of three students from the master of sculpture and installation came together in Dodge This, and Home Sweet Homeless was an initiative of six international master students from the painting and sculpture and installation programmes. Overweldigend gewelddadig. Het geweld van de esthetische praktijk combined the work of both master students and alumni of the graphics programme.

Exhibition view Pasgeverfde Staldeur (21.03 – 24.03.13). Photo: Paul Caesar

Exhibition view Dodge This with Plastic fantastic performance by Jonathan Paepens (26.04 – 28.04.13). Photo: Liene Aerts

Exhibition view Home Sweet Homeless, paintings by Casper Verborg & sculpture by Neema Ba (03.05 – 06.05.13). Photo: Casper Verborg

The Zwarte Zaal also was the scene for several public presentations and events such as conferences, lectures and

Exhibition view JAWOHL JAWOHL, installation by Isabel Tesfazghi (04.02 – 08.02.2013). Photo: NEIN

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initiatives by external cultural organizations. One of these collaborations took place in the context of Illustrarte ’12 in

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the production Het is alweer een jaar geleden dat het een jaar geleden was. The concept of this performance was devised by director Paolo Bartoletti, with text written by Geert Belpaeme, both of whom are lecturers in KASK’s drama programme.

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Since 2011, the Bijloke site’s multifunctional space De Zwarte Zaal hosts numerous artistic productions each year. The space does not work with a strict programme, which makes it possible to respond to the pedagogic and artistic needs of the visual and audio-visual arts programmes and to organize collaborations with other art schools and cultural organizations.

Exhibition view Illustrarte ’12 (07.09 – 30.09.13). Photo: Elsje Dezwarte

September 2012. School of Arts hosted the fifth edition of this international biennial for illustration. In a original exhibition architecture, a selection of fifty works was displayed, including work by former students of the School. In December 2012 theatre collective Corpus Ca and L’hommm worked with KASK drama students, actor friends and musician-composer Dick Van der Harst’s ensemble for the premiere of

Corpus Ca and L’hommm, theatre play Het is alweer een jaar geleden dat het een jaar geleden was (12.12 – 15.12.13). Photos: Tom Callemin

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cooperation with such partners as the Flanders Festival, Muziekcentrum De Bijloke and Outhere Music.

MIRY CONCERT HALL The 2013 edition of the Royal Conserva­ tory’s Week of Contemporary Music (25-28 March) was entirely devoted to fifty years of electronic music and IPEM, the Institute for Psychoacoustics and Electronic Music. Ghent University’s IPEM has been an important part of the history of the Ghent Conservatory. Concerts, workshops and lectures highlighted the twin subjects that IPEM has been exploring for fifty years: science and musical expression. Students of the advanced master of soloist in contemporary music performed world creations of the Quartet for electric guitar, horn in F, 5-string violin and electronics (2013) by Ethan Braun and of work by Stefan Beyer, Alain Gaussin and Luciano Berio. In addition, lecturers and students presented Karel Goeyvaerts’ Pour que les fruits mûrissent cet été for historical instruments. A series of lunch concerts focused on work created at IPEM, featuring among others creations by young composers and work by composition students inspired by An Pierlé, resident composer of Ghent. In two lectures, Micheline Lesaffre and Marc Leman of Ghent University/IPEM outlined the history, activities and significance of the Institute. International artists and invited speakers Sarah Watts (UK) and Matthias Müller (CH) demonstrated SABRe (Sensor Augmented Bass Clarinet Research). In the closing concert of the Week of Contemporary Music the Spectra ensemble performed work by Lucien Goethals and by researchers and doctoral students of the Conservatory.

Dirk Brossé, symphony orchestra Royal Conservatory. Photo: Luk Monsaert

Giusy Caruso, classical pianist & student of the advanced master of soloist contemporary music (2013).

Composer Robin Heifetz on the piano at IPEM's studio, as published in IPEM: Institute For Psychoacoustics And Electronic Music: 50 years of Electronic And Electroacoustic Music At The Ghent University. Photo: Michiel Hendryckx

Throughout the year, the Miry Concert Hall, located in the centre of the city, hosts performances by numerous international professional ensembles and soloists, some of whom are alumni of our music programmes. Master classes, concerts, and performance programmes for young musicians are organized in 88

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30.04.13

On 30 April 2013, on the occasion of UNESCO International Jazz Day, the second edition of TUNES, a Jazz Night was organized, in cooperation with Flat Nine. For the second time, the streets and bars of the city centre were taken over by students of the jazz & pop programme. At night, sixteen concerts were held at different locations throughout the city and the event culminated in an after-party at Trefpunt. Flat Nine, a nonprofit organization founded by jazz & pop alumni, also organizes weekly jam sessions on campus and in the city.

Jazz straatparade Jazz lecture performance Bigband Jazz in 16 cafés Afterparty

schoolofarts.be/tunes

in samenwerking met Flat nine vzw

Tunes a jazz night

16:00 - Die Verdammte spielerei / Dixielandformatie 18:00 studenten Conservatorium startpunt: Kouter

The city of Ghent has a lot to offer to jazz, pop and music production students. Many of our students are actively involved in the thriving jazz and pop scene that the city boasts, and the Conservatory organizes jams, concerts and coaching sessions with partners like Democrazy, Gent Jazz and Trefpunt. Students, alumni and lecturers all contribute substantially to annual events like TUNES, a Jazz Night, the showcase festival Glimps, Gent Jazz, the city festival Gentse Feesten, Citadelic …

18:00 - Lecture performance: all that jazz 19:00 met Maarten Weyler

Zaal Mengal

19:00 - Bigband van het Conservatorium 20:00 o.l.v. Marc Godfroid

Kiosk Kouter

20:00 20:00 20:00 20:00

Charlie Jay Quintet Auguste // au bout de La nuit Karolien Andries en groep emilie Leysen en groep

21:00 21:00 21:00 21:00

solanas nordmann Compro Oro Alexandre Beaurin Quintet

GRAFISCH ONTWERP JURGEN MAELFEYT VU WIM DE TEMMERMAN JOZEF KLUYSKENSSTRAAT 2 9000 GENT

Minor swing Kantl studio skoop Café Jan Van Gent Misterioso Giraf el negocito Hotsy Totsy

22:00 22:00 22:00 22:00

Binti Arnoud Gerritse & Friends Hijaz Pieter Claus & Fabian Fiorini

23:00 23:00 23:00 23:00

Black Flower Bestiaal Pablo Casella, Tom Callens en Lien Degreef Le sextette de Hot Club De Gand

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Burn Your feet Party! / Ghentlemen

GRATis

United Nations Educational, Scientific and Cultural Organization

Member of the UNESCO Creative Cities Network since 2009

White Cat Afsnis La Resistenza Hot Club Reserva Volkshuis Trefpunt Damberd Hot Club De Gand Trefpunt

Afsnis, Bij Sint-Jacobs 10 Damberd, Korenmarkt 19 el negocito, Brabantdam 121 Giraf, Vlasmarkt 15 Hot Club De Gand, Groentenmarkt 20 Hot Club Reserva, Jan Breydelstraat 32 Hotsy Totsy, Hoogstraat 1 Jan Van Gent, Annonciadenstraat 1 Kantl, Koningstraat 18 La Resistenza, Brabantdam 82 Minor swing, Ottogracht 56 Misterioso, Krommewal 96 studio skoop Café, Sint-Annaplein 63 Trefpunt, Bij Sint-Jacobs 18 Volkshuis, Sleepstraat 33 White Cat, Drongenhof 40 Zaal Mengal, Hoogpoort 64

TUNES, a Jazz Night poster image (30.04.13). Design by Jurgen Maelfeyt.

Tuur Florizoone play intimate sets at the Conservatory’s legendary belvedere. Hardscore’s evening performance Jeliya consists of a dance improvisation and the chamber opera Paternel. Everyday closes off with Headliner_, a concert where a supine audience is immersed in a sonorous oasis of original Headliner compositions complemented by works of J.S. Bach and John Luther Adams.

GENTSCHE FESTSPIELE Gentsche Festspiele is a diverse musical programme presented by the Conservatory during the Ghent City Festival in July 2013. Every day a host of concerts are held in the Miry Concert Hall and KANTL. The piano festival Gentse Vleugels presents two top-class pianists a day, and as usual Timur und seine Mannschaft host the International Chamber Music Festival in which a variety of string players join the maestro to play some of the best the chamber repertoire has to offer. Lovers of jazz and pop who don’t suffer from a fear of heights are sure to find something to their liking in the Schoonzicht series. Artist of the likes of Senne Guns, Bart Maris and 89

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DRAMA PROJECTS In the past year DRAma Gent (the KASK drama programme) presented a whole series of drama productions. Master’s projects you may have caught include Uden by Delfine Bafort, Een Lied by Anemone Valcke, Blik by Kirsten Mariën, Lilith by Darya Gantura, and Silke Huysmans’ Manger de l'O and Enkele Steden – en wat we er nog van weten. In addition to the bachelor’s and master’s projects, DRAma Ghent also presented five drama projects in which the students of the third bachelor year were coached or directed by a number of established theatre makers: Jan Steen created Zonen Van with a group of drama students and with children from the theatre studios of KOPERGIETERY. The production fitted Steen’s research project ‘L’être et le jouant. Het zijn in het spelen’. Simon Allemeersch urged seven young students to reflect, which resulted in the performance Waarom denken treurig maakt. With dancer Elie Tass, Alain Platel wrote this assignment for seven drama students: “Here is a map of Ghent, get lost in the city, address a stranger and ask him or her to create a movement piece with you for a one-off public performance on the 19th of March.” Marijke Pinoy collaborated with students to bring Pjeroo Roobjee’s popular poetry to the stage in Heldendeugd, and Lukas Smolders devised the performance Schaduwmensen.

Zonder titel, 2013, performance coached by Alain Platel and Elie Tass.

Heldendeugd, 2013, performance coached by Marijke Pinoy. Photo: Tom Callemin

Young theatre talent takes to the stage in DRAma Gent. Budding theatre ma­ kers and performers create remarkable productions on the Bijloke site and on various locations in and around Ghent. For the programming, see www.dramagent.be.

Jan Steen, Zonen van, 2012, performance. Photo: Kurt Van der Elst

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Punctum and Courtisane are two organizations that are in residence with KASK. From that vantage point, they organize cultural events on the Bijloke site and other locations. The twelfth edition of Courtisane Festival was in part hosted on the site, with lectures, screenings and a workshop with Leslie Thornton, one of the festival’s ‘artists in focus’ (17-21 April 2013). On 25 October 2012, KRAAK presented the TWEEKLANK festival on the Bijloke site. TWEEKLANK/ DRIEKLANK is an alternating annual event organized by KRAAK and the School of Arts that invites off-stream musicians from here and abroad to improvise in duo or trio settings, respectively. This year saw dialogues between musicians with academic backgrounds and DIY-artists like Floris Vanhoof & Nathalie Forget, Miaux & Moemlien, Daniel Padden & Brecht Ameel, and Thierry Müller & Aaron Moore.

Courtisane festival poster image, by Leslie Thornton, Peggy and Fred in Hell (2013).

Music performance by Floris Vanhoof & Nathalie Forget, TWEEKLANK festival, KRAAK (Zwarte Zaal, 25.10.12). Photos: Liene Aerts

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Master’s, Bachelor’s & Postgraduate Projects 2012-2013

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O Instrumentenbouw / Music Instrument Construction

MASTER IN DE BEELDENDE KUNSTEN / MASTER OF VISUAL ARTS A Grafisch Ontwerp / Graphic Design

MASTER NA MASTER IN DE MUZIEK / ADVANCED MASTER OF MUSIC P Master Na Master Solist Hedendaagse Muziek / Advanced Master Of Music / Soloist Contemporary Music

B Multimediale Vormgeving / Multimedia Design

BACHELOR IN DE INTERIEURVORMGEVING / BACHELOR OF INTERIOR DESIGN

C Vrije Kunsten / Fine Arts D Textielontwerp / Textile Design

Q Focus: Interieurafwerking & Advies / Interior Finishing & Advice

E Fotografie / Photography F Mode / Fashion

R Focus: Interieurontwerpen / Interior Design

MASTER IN DE AUDIOVISUELE KUNSTEN / MASTER OF AUDIOVISUAL ARTS

S Focus: Meubel & Design / Furniture & Design

G Film

T Focus: Tijdelijke Installaties / Temporary Installations

H Animatiefilm / Animation Film

U BACHELOR IN DE LANDSCHAPS- EN TUINARCHITECTUUR / BACHELOR OF LANDSCAPE AND GARDEN ARCHITECTURE

MASTER IN HET DRAMA / MASTER OF DRAMA I Drama Producties / Productions

V BACHELOR NA BACHELOR IN DE LANDSCHAPS­ ONTWIKKELING / ADVANCED BACHELOR OF LANDSCAPE DEVELOPMENT

MASTER IN DE MUZIEK / MASTER OF MUSIC J Uitvoerende Muziek: Klassieke Muziek / Performing Music: Classical Music

W POSTGRADUAAT TEBEAC: TENTOONSTELLING EN BEHEER VAN ACTUELE KUNST / POSTGRADUATE TEBEAC: CONSERVATION AND EXHIBITION MANAGEMENT OF CONTEMPORARY ART

K Uitvoerende Muziek: Jazz/Pop / Performing Music: Jazz/Popular Music L Scheppende Muziek: Compositie / Composing Music: Composition M Scheppende Muziek: Muziek­ productie / Composing Music: Music Production N Muziektheorie / Music Theory 95

CONSERVATORIUM

ARTS

INDEX

OF


GRADUATION

MASTER IN DE BEELDENDE KUNSTEN / MASTER OF VISUAL ARTS

A

GRAFISCH ONTWERP / GRAPHIC DESIGN

A04

Annelies Derudder

A01

Nele Balcaen

A05

Rhana Dewaelsche

A02

Niels Benoot

A06

Evelien Gillis

A03

Charis De Waegemaeker

96

A07

2013

Katrien Impens


KASK

SCHOOL

OF ARTS

A08

Eline Maes

A12

Yury Shustsitski

A

A09

Steven Meel

A13

Warren Van Damme

A10

Thijs Polfliet

A14

Lynn Van den Berghe

A11

Ben Raes

97

A15

Julie Van Wezemael

CONSERVATORIUM


GRADUATION

A16

Robbert Van Wynendaele

A20

Jelena Vanoverbeek

A17

Tamara Vandecatseye

A21

Kim Vergaert

A18

Pieter Vanhoutte

A22

Frieke VerlĂŠ

A19

Thomas Vanhuyse

98

A23

2013

Sabbo Verleye


KASK

SCHOOL

OF ARTS

A24

Shirley Villavicencio Pizango

B02

Niels Coppens

A B

A25

Nele Winckelmans

B03

Leen Dewilde

B04

Melanie Lauwaert

B

MULTIMEDIALE VORMGEVING / MULTIMEDIA DESIGN

B01

Kitty Bons

99

B05

Sarah Oyserman

CONSERVATORIUM


GRADUATION

B06

B10

Ruggero Pini

C

B07

Marie Richter

B08

Eva Van Leuven

B09

Milan Verstraete

Charlie Whittuck

VRIJE KUNSTEN / FINE ARTS

C01

100

C02

Maria-Magdalena Amarioarei

2013

Nima Bahrehmand


KASK

SCHOOL

OF ARTS

C03

Sharon Bambust

C07

Mariana de Medeiros

B C

C04

Leah Blits

C08

Marijke De Roover

C05

Jo Caimo

C09

Kipras Dubauskas

C06

Cristina Amelia C창ndea

101

C10

Rein Dufait

CONSERVATORIUM


GRADUATION

C11

Gerben Gysels

C15

Anton Lingier

C12

Marianne Hotske Hamersma

C16

Jonathan Paepens

C13

Maya Lafere

C18

Geeraard Respeel

C14

Thomas Lesaffre

102

C19

2013

Glenn Sanders


KASK

SCHOOL

OF ARTS

C20

C24

Johanna Sigurdardottir

Sara van Woerden

C

C21

Fabio Uda

C25

Casper Verborg

C22

Evelynn Van Damme

C26

Benjamin Verhoeven

C23

Alice Vanderschoot

103

C27

Yindy Voet

CONSERVATORIUM


GRADUATION

C28

Danielle Zabeau

D03

Eva Present

D04

Sophie Speck

D05

Kivy Theunen

D

TEXTIELONTWERP / TEXTILE DESIGN

D01

Linda Baumsteiger

D02

Laura Caroen

104

D06

2013

Viktoria Verbrugge


KASK

SCHOOL

ARTS

E

OF

FOTOGRAFIE / PHOTOGRAPHY

E06

Aaron Lapeirre

C D E

E01

Frederik Buyckx

E07

Sharan Lontho

E02

Io Cooman

E08

Liam Singelyn

E03

Sofya Demskaya

105

E09

Lisa Spilliaert

CONSERVATORIUM


GRADUATION

E10

MASTER IN DE AUDIOVISUELE KUNSTEN / MASTER OF AUDIOVISUAL ARTS

G FILM

Robby Verdickt

F

MODE / FASHION

F01

Elisabeth Claes

F02

Lucas Straetmans

106

G01

Nina de Vroome

G02

Mathilde De Wit

G03

2013

Harm Dens


KASK

SCHOOL

OF ARTS

G04

Jelle Gordyn

H01

Leen Asselman

E F G H

G05

Joël Rabijns & Yves Sondermeier

H02

Josie De Rycke

G06

Hannes Verhoustraete

H03

Nienke Deutz

H ANIMATIEFILM / ANIMATION FILM

107

H04

Franco Geens

CONSERVATORIUM


GRADUATION

H05

Anna Heuninck

H10

Joes Roosens

H06

Thomas Huyghe

H11

Janneke Swinkels

H08

Anouk Maes

H12

Eno Swinnen

H09

Diane Rabreau

108

H13

2013

Rijsbrecht Verschaffel


KASK

SCHOOL

ARTS

MASTER IN HET DRAMA / MASTER OF DRAMA

OF

I

I04

Kirsten Mariën

H I I01

Delfine Bafort

I05

Anemone Valcke

MASTER IN DE MUZIEK / MASTER OF MUSIC

O

INSTRUMENTENBOUW / MUSIC INSTRUMENT CONSTRUCTION I02

Darya Gantura

I03

Silke Huysmans

109

O01

Ondine Cantineau

CONSERVATORIUM

O


GRADUATION

O03

Bart De Roy

Q07

Elien Lemenu

Q08

Julie Lorré

Q09

Thomas Mostrey

BACHELOR IN DE INTERIEURVORMGEVING BACHELOR OF INTERIOR DESIGN

Q

FOCUS: interieurafwerking & Advies / Interior Finishing & Advise

Q01

Lindsey De Staercke

Q05

Tessa Jennes

110

Q11

2013

Hanne Popelier


KASK

SCHOOL

OF ARTS

Q15

Ilse Vandenbussche

R02

Stefanie Coens

Q16

Michelle Vanmaele

R04

Jonas De Decker

R

O Q R

FOCUS: Interieurontwerpen / Interior Design

R01

R15

Biet Bultinck

111

R16

Kimberley Reyniers

Barthel Speybrouck

CONSERVATORIUM


GRADUATION

R17

Louise Stichelbaut

S01

Laura Bruyneel

R20

Fleur Van Audenaerde

S02

Sofie Cardoen

R21

Lisa Vandenberghe

S04

Jo D'huyvetter

S

FOCUS: Meubel & Design / Furniture & Design

112

S06

2013

Emilie Favril


KASK

SCHOOL

S07

Amelie Kesteleyn

S08

Maarten Pauwelyn

ARTS

T

OF

FOCUS: Tijdelijke Installaties / Temporary Installations

T01

Julie Danneels

R S T

S09

Tinneke Roels

S10

Brecht Soenens

T03

113

T04

Jose Gutierrez

Sofie Kadi

CONSERVATORIUM


GRADUATION

T05

T10

Daphné Trachez

Belinda Wenting

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

U

T06

Heleen Van Doorne

T07

Sofie Vanmassenhove

T08

Lisa Vanzeebroeck

U17

114

U23

Dorien Dilles

2013

Ilke Koklenberg


SCHOOL

OF

BACHELOR NA BACHELOR IN DE LANDSCHAPS足ONTWIKKELING / ADVANCED BACHELOR OF LANDSCAPE DEVELOPMENT

ARTS

KASK

V

U32

Iwein Mertens

U40

Piet Sleutjes

U50

Wouter Verleure

U54

Thomas Wolfs

D. Imbrechts, M. Rosschaert, S. Spiessens, L. Verhaeghe

J. Colpaert, R. De Coninck, S. Dewaele, M. Praet

115

K. Daems, R. Noulez, B. Vantieghem, B. Wouters

CONSERVATORIUM

T U V


GRADUATION

S. Dewaele, M. Praet, B. Vantieghem, T. Vermorgen

POSTGRADUAAT TEBEAC / POSTGRADUATE TEBEAC

W

116

2013


KASK

MASTER IN DE BEELDENDE KUNSTEN / MASTER OF VISUAL ARTS

A

GRAFISCH ONTWERP / GRAPHIC DESIGN A01 BALCAEN NELE nelebalcaen@gmail.com cargocollective.com/ nelebalcaen In oorlog (‘In a state of war’) In my master’s project I deal with the First World War from the perspective of a child of eleven. I am fascinated by the way great events have a lasting impact on everyday life. By working from the perspective of a child, the war is at once very near and far away. Fear and innocence, astonishment and unrest are closely intertwined. I want my images to express the surreal atmosphere and the jumble of emotions of this situation. I use collage, printing techniques and acrylic paint. In the interplay of light and dark, juxtapositions and bright colours I try to evoke the oppression and fear of ordinary people trying to survive in a war. The collages are also a metaphor for how people always try to mend what has been broken, like a puzzle that is assembled and put together over and over again. A puzzle of which pieces get lost over time. A02 BENOOT NIELS info@nielsbenoot.be www.mobiuspublications.com MÖBIUS PUBLICATIONS MÖBIUS publications was developed in collaboration with Kahil Janssens. This master’s project is the start of a self-publishing concept focused on qualitative publications in limited editions. The project is meant to keep on developing after graduation, into a fully-fledged publishing house operating on the basis of these same values. As such, the project is the ideal steppingstone towards the professional field. With MÖBIUS publications I wish to make a valuable contribution to the field by exploring the boundaries of the publication medium and of books as objects. I do this by making publications autonomously, on the one hand, and through collaborations with artists from different disciplines, on the other. First, I take up the roles of editor, designer and

author. Consequently, when working together with an artist, I function as designer and as concept developer whose expertise with regard to the book complements the artist’s in realizing a high-quality final product. A03 DE WAEGEMAEKER CHARIS charis-dw@telenet.be Letter lab Throughout my training in graphic design the shape of letters has been a constant fascination. This resulted in experiments in which letters and words change under the influence of external factors such as shadow, light, reflection and colour. The transformations in this ‘letter lab’ make them in turn recognizable or unreadable. The visitor’s own creativity incites him or her to discover letters, words and ambiguities by looking at the work from different perspectives or by intervening in it. A04 DERUDDER ANNELIES annelies.derudder@hotmail.com anneliesderudder.tumblr.com Weefselschade (‘Tissue damage’) This is a sensational story. It’s the story about a person. Enigma, a beautiful child at birth, had feeling all over, overfeeling. In her eyelashes she could sense vibrations. Hear the unspoken words through her navel. All of this feeling was seen as a wonder at first, a blessing. Enigma was so intense and pure that everyone liked having her around. She emanated enormous amounts of energy. She was always warm from the delicate sensations she tasted with all of her small body. A05 DEWAELSCHE RHANA rhana.dewaelsche@gmail.com Sweatshop Jimmy Push Push dammit 30 Hot So hot 25 Come on Jim Sore Up And pull pull 20 Breathe Keep breathing Out And in … 14 And in Hot Thirsty So thirsty Up Pull pull pull 11 Breathe Keep breathing Out And in And in 9 Almost almost 6 more to go 4 3 2 and the last one A06 GILLIS EVELIEN evelien_gillis@hotmail.com www.behance.net/evelien_gillis Verbeelde Stad (‘Imagined City’) Every image can make us wonder what it represents or what it is trying to communicate. But the formal and pictorial characteristics of an artistic design can also engage all our attention, demanding to be viewed purely from an aesthetic perspective. For this visual research I wandered the streets of the centre of Ghent in order to attempt a ‘reading’ of public space with the same poetic gaze. Because simple beauty lies in complex everyday life – if we only pay attention to it. I have tried to translate this rather subjective and fragmentary experience of my

117

urban environment into personal urban views through the use of an abstract style and a personal method. To materialize these urban impressions I make use of the space of the book with the available graphic means, like a painter who projects his abstract panoramas onto the canvas. After my immersive promenade in the everyday rhythm of the city, my work now also invites the viewer to roam through this impression of space at his own pace. A07 IMPENS KATRIEN katrien.impens.q0022@ student.hogent.be Nothing is what it seems Research that started from an interest in packaging and a love for manual design led to work that takes a critical stand. The viewer of the work is tested and tricked by his own perceptions. The work responds to the viewer who looks at it with a conditioned gaze. It is a statement about perception. Clichés are upset and unexpected changes surprise the viewer. Nothing is what it seems! But the work does not spare its criticism on the world of packaging either. It has something to say about over-packaging as we encounter it every day – just think of all the layers of wrapping you have to get through to get to the cookies … The work is a blend of advertising, contemporary art, and graphic design bordering on product development. A08 MAES ELINE elinemaes1@gmail.com elinemaes.tumblr.com Big Fish For my master’s project I have worked on the representation of death in the visual arts. For this work I start from David Wallace’ novel Big Fish. This story deals with the relationship between a parent and a child, with parting, and with the role the imagination can play in this. Telling a personal story through an existing narrative allows me to keep a certain distance and it gives me the breathing and working space to develop my visual style. All this results in a graphic book that reflects an associative study of the representation of death. It includes conversions of old photographs into literal expressions of grief, and I also attempt to give death a face. As such, I employ both direct and indirect images. As a result, on the one hand the viewer gets the feeling he is entering my intimate world, but on the other hand the successive plates make the set of personal images harder to read. Yet the overall message prevails. Death stays a universal theme onto which everyone can project his or her own story.

CONSERVATORIUM

OF ARTS

INDEX

SCHOOL

A


GRADUATION A09 MEEL STEVEN meel_steven@hotmail.com a user-generated story Participation, interactivity and the DIY culture keep gaining ground. All manner of digital developments make it possible for anyone to create and personalize things. Photographs, graphic design, texts, clothing designs and more are not only produced by trained professionals anymore but also increasingly by ‘amateurs’, and this has an indisputable impact on the professional field. For professional creative people it is crucial to focus on the positive aspects of this evolution and to deal with it in a creative manner. In my master’s project I therefore emphasize the value of a kind of analogue generativity through participation. The sometimes surprising and interesting results this yields can stimulate the creative process. After setting out certain parameters for it, the designer leaves the design to the participation and individual interpretation of others. This method has resulted in collaborations between myself as designer and different participants, in a search for the perfect balance between the two sides. A10 POLFLIET THIJS thijs.polfliet@hotmail.com De wandelaar (‘The walker’) At the end of the horizon, I leave the path behind and try to find my way back through the maze of thoughts. As I go the images amass … From that collection grew a trail of fragments, of both text and image, that reflect my view of the city. New insights followed upon new insights. The innocent walker, still in search of himself, had to make way for the flâneur and the poet. My walks through different cities brought me to places where I would never have come otherwise. Inspiring encounters and places led to two publications: a photographic novel in two parts (a photographic route and a novel in letters) and ABCity, a magazine-format supplement consisting of collages of media images. A11 RAES BEN raes_ben@hotmail.com De laatste tocht (‘The Final Journey’) For my master’s project I found inspiration in the journals of captain Robert Falcon Scott. On the basis of the farewell letters he wrote home during his final expedition to the Antarctic, I have constructed a new narrative. In ten images I try to capture the tragedy and desolation of this tale. A12 SHUSTSITSKI YURY jurkishust@gmail.com Transcendental Transition We exist from event to event, from holiday to holiday: bright flashes lie between dark stains,

usually called daily life. This grey matter cannot linger in our memory, because of its amorphous form, as it runs through our fingers. We can't live without these flickering landmarks; life without it slowly transforms into death. The best example today is the celebration of the New Year. It is a celebration of the calendar, a triumph of structure and discipline. Any political ideology provides certain social regulative rituals to balance the tension in the social structures, which appears by static motion. The celebration of the New Year in Belarus presents the paradox of limited liberation, liberation from the calendar structure and liberation from conditions of a dictatorship. Still, the sacral passion to break out, to go beyond what is permitted, to demolish the wall of personal and social isolation, does exist, but somewhere deep in the caves of a contemporary Belarusian mystery. This potential is hidden somewhere in a black well, somewhere between past and future, death and life, somewhere in transcendental transition. A13 VAN DAMME WARREN warrenvd@hotmail.com RAD A graphic designer is often seen as someone who gives shape to the wishes of a client and delivers a kind of marketing strategy (colours, logo, typography …). But throughout the history of the graphic arts there have been many designers who preferred telling their own story over working on assignments. This free way of dealing with your environment by way of graphics and communication is brought to the fore in this project. It is a way to spread your own ideas, to create a visual style for your personal subculture or to vent criticism. The basic idea behind this work is to move away from the computer and the business aspect of graphic design. This resulted in an autonomous project in which I explore the free aspects of the graphic arts and where I can let my personal influences (skateboarding, literature, music) trickle through. A14 VAN DEN BERGHE LYNN lynn.vdberghe@gmail.com Things I'd Like My Kids To Know Graphic design is a storytelling type of profession, and that explains our five-year love story. So, at the end of my training here at KASK, it’s time for me to tell my story. “Stories have to be told or they die, and when they die, we can’t remember who we are or why we’re here.” Sue Monk Kidd, The Secret Life of Bees “Things I’d like my kids to know (but will probably forget, regret or fail to mention due to

118

growing up and having kids)” is the result of two years of careful and not so careful self-reflection. The by-product is an intimate and rather symbolic installation in which the present-self tries to preserve the stories of the past for the future. And the only way that made sense was to write them down in their simplest and most brutal form. I can only cordially invite you into this world for a brief moment and share with you the story of the graphic designer who learned that the universe is not made of atoms. It’s made of tiny stories. Welcome. Have a cookie. A15 VAN WEZEMAEL JULIE julievanwezemael@gmail.com julievanwezemael.blogspot.com Van Aa tot Zee (‘From Aa to Sea’) One day Marvel saw something floating on the sea. He waited patiently until it was close enough to fish it out of the water. ‘it’s a boat, a little boat made out of wood …’ It wasn’t much bigger than his two hands together. But there was something strange, something dreamy about it. Something of a smile … In the little wooden boat Marvel found a star. A starfish. And on the second of her five arms he saw a strange golden ring … In this poetic tale by Geert De Kockere the sea brings together many characters. An old man, a pirate, Marvel and the three children. All of them are connected by the water and the currents. I was inspired by this text to make a series of illustrations. Unconstrained by the limitations of the book format, I am free in my choice of colours, textures and formats. The resulting images have an extra tactile quality. A16 VAN WYNENDAELE ROBBERT vanwynendaelerobbert@ gmail.com robbertvanwynendaele .blogspot.be Wildgroei (‘Morbid growth’) “She was paler than I remembered. I love paleness, because it is dusted on the skin like powder and drifts up at the slightest touch, or rubs off at the least. It continues to fascinate me, for that matter, how each caress of a pale skin brings about a rosy inner caress, rose that keeps feeding off the heart, that beats ever faster and adds ever more of its purple passion to it. I love a pale skin because it is a bridal gown in which someone submits to me. I love power. And the traces it leaves on a body.” Peter Verhelst, De kleurenvanger A17 VANDECATSEYE TAMARA tamaravandecatseye@ gmail.com theblankpoint.tumblr.com AlphaFace

2013


KASK

A18 VANHOUTTE PIETER pieter-vanhoutte@homail.com comrade 2.0 Drones are the perfect illustration of how defence today is more a matter of cooperation and networks than of brute firepower. The integration of drones in the army may not go over without a struggle, but the process certainly seems irreversible. All manner of scientists and designers are working hard to remove the last technological obstacles to make robots full partners in the field. But the problems are not only of a technical nature. What are the social implications of these technologies for the people who have to work with them? I approached this question from the perspective of a graphic designer and I searched for alternative forms of communication between man and machine. Not just in operational contexts, but also informally. Is it possible to turn a drone into an actual ‘comrade’, and to what extent can design contribute to this? To address these issues I studied how military cohesion expressed itself visually in the past and subsequently developed a process that adapts this to the current situation involving drones, networks and digital media. A19 VANHUYSE THOMAS thomas.vanhuyse@gmail.com www.thomasvanhuyse.net Unlocking the iPad's Educational Potential Although we have been hearing that ‘print is dead’ for some years now, students of graphic design are still hardly confronted with working for digital media at all. The feeling prevails that digital books, and digital media in general, are the domain of developers and programmers, or that to realize a digital project at

least you need to involve someone who can program the entire thing. Yet there are a number of tools available that make it possible to create simple interactive books in a program such as InDesign. Thomas Vanhuyse tests the limits of these tools and combines his love of science with his graphic ingenuity to make a most interactive and interesting digital schoolbook without writing a single line of code. A20 VANOVERBEEK JELENA jelenavanoverbeek@gmail.com THE WIFE THE MOTHER THE GIRL THE LOVER; THE VISITOR the gunshot, the gunshot the gun with a gun in her hand to make plausible A21 VERGAERT KIM kim.vergaert@gmail.com kimvergaert.tumblr.com By the River Steven Herrick’s novel By the River balances between poetry and prose. The narrative unfolds through an evocative succession of loose poetic fragments that express the impressions and reflections of the protagonist Harry, a boy growing up in a small Australian town with his father and brother. The poetry and tragedy, the beauty and sadness of everyday life are drawn in subtle and precise strokes that steer clear of melancholy. In a series of ten images I have singled out the story line concerning the loss of the mother. In them I visualize the search for a new, fragile balance between Harry, his younger brother, their father, and the town. Together, the illustrations form a single continuous narrative, but in the final product – the book – they claim their place as impressions between the fragments of text. A22 VERLÉ FRIEKE frieke.verle.p0343@ student.hogent.be illustrafrieke.tumblr.com 1, 2, 3, DOOD (‘1, 2, 3, DEAD’) For my master’s project I have chosen to visualize Miriam Boolsen’s intriguing story 1, 2, 3 DOOD (‘1, 2, 3 DEAD’). Boolsen succeeded wonderfully in adapting a beautiful but gruesome fairy-tale – originally by Hans Christian Andersen – into a fascinating theatre text. This text in turn became my starting point for the creation of a series of evocative images that eventually turned into a book. A mother loses her child and is torn by grief. She decides to go after Death and try to convince him to give the child back. But the land of Death is inhospitable and hard to reach. Her quest is trying

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and requires courage … A powerful story about the futile struggle with Death, with oneself, with feelings of guilt and fear … About letting go and what to do then … The challenge in my research was to represent Death in my illustrations. This confrontation with Death set me on a quest as well, one for atmospheres and emotions, both formal and thematic. A23 VERLEYE SABBO sabboverley@gmail.com Imagology & Idolatry I lifted the term ‘imagology’ from Milan Kundera’s book Immortality. Kundera uses it to refer to what he sees as a new type of ideology; an ideology of images. We no longer live according to a body of ideas but to an image of that. In my work I investigate the way people shape their (ideal) identity and their experiences by means of photography. We are only too happy to pass the heavy task of gathering experiences and translating them into tangible products on to the camera. Photographs help people to take possession of a space in which they feel insecure. This makes photography not only a means to confirm experiences, but also to deny them. The actual lived experience is substituted by a pseudo-experience that is misleading and overruns any true impression. This type of pseudo-experience is closely related to a strange kind of idolatry that I deal with in other works: idolatry of an image of a person instead of adoration based on awe for that person’s achievements. A24 VILLAVICENCIO PIZANGO SHIRLEY villavicencioshi@hotmail.com shurleey.tumblr.com Boskind (‘Woodchild’) My master’s project deals with a longing for my roots and the feeling of being somewhere I don’t entirely belong. It deals with the question how I have changed by being somewhere else and how it makes me feel, realizing I’m losing my roots. It deals with the boundary between the two cultures I live in; Peru and Belgium. The work consists mainly of images that express how I feel and snapshots of things I cherish, portraits of people I have known and events that have changed my life. A25 WINCKELMANS NELE nelewinckelmans@gmail.com (un)fold The process of folding is carried over to textile. Illusions are at work. The feeling is overwhelming and yet calming. These are my experiments, failings and frustrations that are folded and unfolded.

CONSERVATORIUM

OF ARTS

A B C D E F G … oh how easily the alphabet comes out. Basic knowledge for many. But can we also consider letters apart from their symbolic function and recognize them as the unique forms they are? Typographers passionately work with letters and their specific construction every day. They try to honour these fixed shapes while simultaneously introducing innovations. This results in ever new designs that emphasize the beauty and complexity of the alphabet. But we can wonder to what extent this is transferred to the masses. This master’s project is primarily a search for the specificity of letters. Can we experience them apart from the context of language and is there such a thing as a basic form for each letter? How far can we go in adjusting and accentuating this form? These questions result in an insight that letters can be more than merely tools for communication. They are graphic forms. Or perhaps even … art forms?

SCHOOL

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MULTIMEDIALE VORMGEVING / MULTIMEDIA DESIGN B01 BONS KITTY kittybons@hotmail.com speelkwartier.tumblr.com The perfect found object There is a special feeling that has always fascinated me as an artist, a feeling I like to call finder’s joy. It is the feeling you get when you open a book with an ugly old cover and find the most marvelous illustrations. When you turn a corner in an unknown city and face a terrific building. When you are waiting on a doorstep and suddenly notice the fossils in the bluestone. In my master’s project I have searched for ways to visualize this finder’s joy, to demonstrate and convey it to the viewer. In the resulting exhibition I weave a network of associations and links through the series of found objects. B02 COPPENS NIELS niels_coppens@hotmail.com www.toestand.be Toestand “If rulers refuse to consider poems as crimes, then someone must commit crimes that serve the function of poetry, or texts that possess the resonance of terrorism.” Hakim Bey, TAZ: The Temporary Autonomous Zone B03 DEWILDE LEEN leen@reckless-sleepers.co.uk A String Section Leen Dewilde started wrecking things in 2009; cups were broken, walls torn down, handkerchiefs frayed, pieces of furniture sawed up and chair legs severed. A String Section is a performance for four women, four chairs, four saws and a cello player. The abrasive tones of metal saw teeth on wooden chair legs weave a rhythmic soundscape that forms the basis for the cellist’s music. Chairs start to tip over but the women lean, find their balance and continue their sawing. Even when nothing but sawdust remains to attest to their time, the women start all over again on the other side of a dividing line, as if nothing has been learned. A String Section is a performance in which sawdust, severed legs, wrecked chairs, i.e. the remains of the action are as important as the action itself.

GRADUATION B04 LAUWAERT MELANIE melanie@i-sculpture.org De dood van Zee in Mens (‘The Death of Sea in Man’) “She thought of her parents and how they filled the graves in the ice with the carcasses of the crows. She saw them gather the wings, use those black feathers to construct tents and enter these. She knew how they tried to flee the fear in their sleep. In vain. She saw them and she spoke to them, without words. Her hands found their hearts and moulded them into emptiness. Softly, her fingers wrote out the letters of their names in the pulsating organs.” De dood van Zee in Mens is a story of death and rebirth. The work is a diptych of text and charcoal drawings. Based on the death of the Baltic Sea, the work evolves into an intimate tale of metamorphosis and transformation. The associative images evoke the feeling of powerlessness that results from the attempt to capture the unity of mind and matter in a single image. They unfold to the rhythm of the cycle of life and death. B05 OYSERMAN SARAH sarah_oyserman@hotmail.com sarahoyserman.weebly.com These abstract objects are transformations of the scale of familiar things; my body, the chair I sit on, works of art I’ve seen before. How can I pass on my energy to ‘dead’ objects? How do I relate to these objects? Is their ‘uselessness’ their use? What does it mean when I, as a creator, stand on top of one of these objects; do I transform myself into an art object, does the object become a plinth, or a prop in a performance? What if I photograph it, present it as a ‘lifeless’ design object, or crawl into in and bring it to life by giving it a persona? The objects I make do not have a clear-cut status; they are not autonomous, no sculptures, nor are they pieces of scenery or furniture … Each object combines these different kinds of design that are in fact not all that different. B06 PINI RUGGERO ruggero.pini88@gmail.com www.ruggeropini.com Round the Line One day I woke up and I didn’t know who I was anymore. I started filming at the age of 18, right after I got my first digital camera. My sister was the subject of my early films. She was pursuing a dance career all around Europe, until she was diagnosed with cancer at 22. An asteroid hit me and my family, just a couple of years after the separation of my parents. The world around me became a huge chaos, and I understood nothing. Through meditation, drugs and traveling I found the light that lead me out of the tunnel. The light urged me to be more ‘right here, right now’. And

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yes, sometimes God is a DJ. So the film is just a sketch of my journey in this very body. B07 RICHTER MARIE mllmrichter@gmail.com Public Space Each person, withdrawn into himself,
behaves as though he is a stranger to the destiny of all the others. His children and his good friends constitute for him the whole of the human species.
As for his transactions with his fellow citizens,
he may mix among them, but sees them not;
he touches them, but does not feel them;
he exists only in himself and for himself alone.
And if on these terms there remains in his mind a sense of family, there is no longer a sense of society. TOCQUEVILLE B08 VAN LEUVEN EVA evavanleuven@gmail.com Schemer (‘Shimmer’) Schemer is a performance that flows through the body. By bringing human sounds and songs right up close to the spectators, they resonate throughout the entire body. There are only twelve spectators; one for each performer. They are seated in a circle wearing a sort of veil to watch the performance through. The veil puts an abstract layer over what is perceived, and as the visual aspect only shimmers through, the spectator is less distracted by visual details and hence more focused on sounds and the experience. In an intimate and mystical atmosphere the spectator is invited to explore the energetic highs and lows of human interaction. B09 VERSTRAETE MILAN contact@milanverstraete.be www.milanverstraete.be Concept furniture The study of furniture as undefined objects. B10 WHITTUCK CHARLIE charliewhit@gmail.com www.whittuck.com Charlie Whittuck has a background in sculpture and object making, although in recent years furniture has increasingly become the focus of his work. Through his research in the Multimedia Design master he has developed an understanding of social design and what ‘sustainable design’ might mean in our changing world. In social design he has strived to find new and innovative solutions to contemporary problems such as waste and the lack of public space in cities. The term ‘sustainable’ is often used to mean different things in terms of design. Through his research, Charlie Whittuck has tried to refine what it really means for designers and consumers today, and what this sustainability might look like in the coming decades.

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VRIJE KUNSTEN / FINE ART

C01 AMARIOAREI MARIA-MAGDALENA magda_amarioarei@yahoo.com Landscape, a matter of time Although my artistic practice may revolve around an issue that can hardly be called novel, my approach to it is, I believe, honest and slightly critical. Time, the subject of a long philosophical tradition, is considered as both context and proof for the validity of human acts in my work. In the often abstract discussion of time, I wish to introduce a very precise usage of the term as related to everyday experience and painting. The concept of space is prerequisite to the idea of time and it is the means and the context for a painterly investigation of time. Moreover, time enriches, influences and alters the perception and the physical reality of space. This urged me to choose the landscape as my central subject and as material image of the concept of time. A landscape is a place, yet never a pure place and experience but rather a result of our ways of thinking, our projections and appropriations. Direction, distance, superposition, and conjunction are key issues in my investigation of the departure from paintings as ‘timeless images’ to paintings as ‘images over-saturated with time’. C02 BAHREHMAND NIMA nima@neemaba.com www.neemaba.com POV, Realities Revisited Part 3 For any young artist, creativity emerges from a struggle with oneself, starting from the question what it could mean today to present yourself as an artist. Art is a mirror, they say. And the young artist learns to become an artist by passing through that mirror. How then to become a mirror yourself? To learn about that, I spent hours looking in the mirror of art and other mirrors as well. Without knowing where my journey as a young man who is fascinated by art would end, I came to Belgium and learned a lot about myself as a potential mirror for others. There are so many points of view I see reflected in the encounters I have with ‘the other’, that strange but comfortable outside world I discover in Ghent. Instead of trying to compete with other students or

SCHOOL to meet expectations I feel hanging in the rainy air, I find it much more interesting to share the impressions I gathered as reflections in the mirror.

ous in relation to this point coordinates and ramifies the corresponding series as if insinuates chance over the series.

C03 BAMBUST SHARON sharonbambust@hotmail.com

C07 DE MEDEIROS MARIANA alemdomar@gmail.com Domestic Disconnection Dark but intense; intimate but cold; figurative but abstract; this ambiguous atmosphere is what makes de Medeiros’ works unique. The domestication of reality is evident in the attempt to purify it; based on a belief that the only way to transform reality is to take and modify those parts within reach. Strongly influenced by the sincerity of old cinema and many other purification movements, Mariana de Medeiros lives and creates following modest and honest creative methods. Her complex works full of ambiguity and double meanings are not always explainable, since the decontamination of everyday reality is not an obvious task. She describes herself as a purist who inevitably lapses into obscurity while decontaminating a disconnected society.

C04 BLITS LEAH leah@blits.nl Danse Macabre My paintings are in fact a slow dialogue in which actions are reactions to what precedes them. In this associative method I try to give voice to the subconscious and as such reveal both the workings of our mind and the reliving of the creative journey itself. C05 CAIMO JO omiacoj@hotmail.com jocaimo.blogspot.com InnerRhythms The realization of a draft or idea can take several shapes. A report, sound recording, video installation, Gesamtkunstwerk, performance, website … But always it is music and new media that make up the basis for the realization of a spatial work. InnerRhythms is the overall title I give my ideas, my improvisational method and the resulting works in order to optimize my creative freedom. The utopian aspect lies in the conscious creation of InnerRhythms by making unorthodox, primitive use of new media. C06 CÂNDEA CRISTINA AMELIA amelia.cristina.c@gmail.com Spielraum Invent games game whose meaning and function are difficult to assess endlessly displace themselves from one end of the game to the other great deal of movement no precise rules neither winner nor loser contradict themselves games of chance rules determine hypotheses which divide and apportion chance hypotheses of loss and gain(what happens if plurality of throws distinct fixed distribution to one case or another single throw characteristics of moral games only one part of human activity retain chance only at certain points not oppose a major game to the minor game of man imagine other principles, even things which appear inapplicable game would become pure there are no preexisting rules each move invents its own rules it bares upon its own rule Far from dividing and apportioning chance in a really distinct number of throws all throws affirm chance and endlessly ramify it with each throw Each throw itself a series but in a time much smaller than the minimum of continuous thinkable time a distribution of singularities corresponds set of throw is included in the aleatory throws are successive in relation to one another simultane-

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C08 DE ROOVER MARIJKE marijkederoover@gmail.com christusbaranski.tumblr.com lockhartpantsuits.tumblr.com facebook.com/christus .baranski PALISH 1.0 CHRISTUS BARANSKI Some fictional characters should be real and some real people should be fictional. This is what I believe. C09 DUBAUSKAS KIPRAS kiprasdubauskas@gmail.com kiprasdubauskas.tumblr.com Suspension of Disbelief **** sucks sad Gent Mexico your freight train love is dead real vibrations mix tape is False one big I don't forever they toast we were family freak brothers one love bad dots random hero path Do compromise – art is daily uneusefull systems improve society Subculture plays four underground shit no trash vandals homeboys sport you drunk vandals night club Belgium it was all a dream yeah yesterday today forever ! ray bees laser phase love hi there natty mode Chinese addicts by they dawn Toronto represents Chile Bye rats amuse droids steel sleeping in 2013 magic workshop of fear smile like you mean it False karate also cool Werregarenstraat, Ghent 12.03.2013 C10 DUFAIT REIN reindufait@gmail.com An enthusiastic spectator The first thing I saw on a visit to artist Kasper Bosmans last year was yellow compressed feathers in a kind of miniature terrarium. A bit later I saw a horsehair strung

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GRADUATION diagonally in a light frame. It was the most beautiful thing I had ever seen. Then I saw some feathers again, this time against a slightly bent piece of plastic. On the right was a pale-grey (with a hint of purple), blue feather with a dark shaft. Next to it was a smaller white, beige-like feather with a speck of red and orange on the edges. Then there were three pale-yellow feathers; the one in the middle was the largest. The yellow seemed to start on the edges, grading to the centre, and back again. Static electricity held the feathers to the plastic. The last one stood perpendicular to the plastic, with the tip of the shaft against it, making the ‘back’ bend slightly to the left, away from the plastic, the feathers spread open by the static, an ultra-complex miniature explosion of yellow frozen in time and disappearing into the paler yellow, white. C11 GYSELS GERBEN gerbengysels@gmail.com VIM-221 IchooseZerooverDiet Myfavoritedrinksinorder:CokeZeroC herry,DietDrPepper,DietCokewithLi me,DietCoke Zero>Diet Dietcokeismyfavbyfar! Doesn'tanyonedrinkregularsugaredc okeanymore? VanillaCokeZeroisthewaytogo. CokeZEROismyHERO! Imostlydrinktapwater C12 HAMERSMA MARIANNE HOTSKE mail@mariannehamersma.nl www.mariannehamersma.nl Why I like rocks better than animals ... “I could never stand more than three months of dreaming at a time without feeling an irresistible desire to plunge into society.” Fyodor Dostoevsky, Notes from the Underground. Society, the public life in the streets, the life of a lamppost, a fence or a transformer cabin fascinates me. With a bit of luck, the combination with dreams makes things even more interesting. I don’t understand why a lamppost hangs its head; it brings light into the world and that’s a cheerful thing. But your average lamppost doesn’t seem to agree, judging from its bearing. But still it remains standing there resolutely in its sorry pose, and with this it grabs my attention. Just like a fence, which really is just a useless demarcation you can simply step over, and yet it stands there as proud as punch. Still I believe that a fence realizes that, compared to a wall, it’s really a bit of a dud. I choose bronze, nearly, stanchions, sellotape and a washed up whale even though I like rocks better than animals …

C13 LAFERE MAYA maya_lafere@hotmail.com www.mayalafere.be To be or not to be in an artificial space Maya Lafere is a Belgian painter. She was born in the city of Courtray in Belgium in 1988. Her work speaks about the artificial space. We are surrounded by artificial structures. She is fascinated by the artificial construction of the world: “For me painting is making an artificial construction.” The spaces that we cross are artificial, like a painting. In her work she shows the scenography of life. Life is a play, we are all players in the big circus called life. Her work is about being and not being in the world, appearing and disappearing. The authentic personality is hidden behind the curtains of one’s looks. It seems that to be is no longer the question. It is all about appearance. We are all actors in the play of life. We are travelling through different spaces, discovering the world. We are collecting experiences. But do the images respond to our experiences? C14 LESAFFRE THOMAS lesaffrethomas@yahoo.com Objet Détourné Everyday objects are transformed and become symbols that reflect about dream and reality. Once brought into the artistic space, they acquire a new dimension. This environment offers the viewer a new look at familiar forms, away from the primacy of the object’s function. This enables the form to take on new, multiple identities. These refer to numerous contradictions that balance on the boundary between reality and representation. Even if they are everyday, familiar objects, the way they are presented and created transforms them into subjects with their own suggestive characters. The result is a sculpture that, though clearly derived from the original object, has become emphatically autonomous. In their ambiguity these works explore the points of contact of the artificial and the real, imagination and reason, the transcendental and the worldly. They are double images that express multiple realities. The boundary between reality and imagination becomes ambiguous. Without formulating an answer, these works question themselves but also art in general. What are they? C15 LINGIER ANTON anton_lingier@msn.com antonlingier.blogspot.be In my work I strive towards an elusive experience. Something that lies hidden ‘behind the paint’, as it were, and rouses a special mood in

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the viewer. Something akin to what Kandinsky wrote about in his “Über das Geistige in der Kunst”, except that I don’t believe abstraction is necessary to achieve it. Abstraction can, however, be a step towards painting this elusive mood because it makes the subject inconsequential and allows the form to capture the attention. Then the viewer is no longer distracted by any mood aroused by the content and he can concentrate on the magic of the form in itself. But this magic can be evoked in figurative work just as well. The content can intensify the force of the form and vice versa. Yet neither form nor content has anything to do with the ultimate intention of painting. That may sound strange, as a painting is always form, but in the end it is the experience of the viewer that matters, and not the material. The painting only assumes a function when it is beheld and reflected in the viewer’s brain. C16 PAEPENS JONATHAN jonathan.paepens@gmail.com jonathanpaepens.wordpress.com Diva John: the worst diva in the world “Humour is seriousness concealed behind a joke.” Arthur Schopenhauer Diva John is a middle figure. A construction of layers and contrasts, torn as a whole. We research we search Hollywood as a subculture, but objectively. The diva will fail. Always looking for the Spotlights, the glitter. The diva wants to hold the gazes, and therefor has to control the spotlights herself. And never let them go. I, Jonathan, create the diva, the performances, the videos and the sculptures in the image I want to be and the diva can be. The diva creates the collages and the idolatrous works of Hollywood stars and artist gods. Without praising or judging this world. It is also this duality – a visualization of the inner dilemma – that we try to maintain in each piece: a fusion of humour and seriousness. C17 PREYS NADIA C18 RESPEEL GEERAARD geeraard_respeel@hotmail.com geeraard.hi-ka-sk.be ergens zowat halverwege (‘somewhere halfway’) Lines, fields, shapes, things. C19 SANDERS GLENN glenn.sandrs@gmail.com C20 SIGURDARDOTTIR JOHANNA j.kristbjorg@gamil.com cargocollective.com/ johannakristbjorg

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C21 UDA FABIO udatzhome@gmail.com .../... The strenght of our disaster We are employees. , . I show and you describe it. I make you accomplice of our disaster. , , : . We will accept it, perhaps we will be not aware. We will ask ourselves: what do we support? What supports us? . - , ? We are independent. ! “You couldn't be born in another place, you couldn't decide your form and you couldn't choose your moment but now you fight for your place, for your form and your moment”. C22 VAN DAMME EVELYNN vdevelynn@hotmail.com C23 VANDERSCHOOT ALICE alice.vanderschoot@gmail.com www.alicevanderschoot.be “Reality is merely an illusion, albeit a very persistent one” Albert Einstein C24 VAN WOERDEN SARA saravanwoerden@hotmail.com www.saravanwoerden.com Two poems by Sara van Woerden Grassprietjes tekenen en turven hoeveel er tussen je tenen doorsteken. druppels groeien vanuit de lucht in het loof van een boom Spotters van ver vechten om kruizen. Stilaan tot de kijker het laat overwaaien. kleine houtwormen boren massieve kijkdozen zo lang de toren hoog is. Spreien met hun witte vleugels hangen uit het raam. De honden, pas er op, in het gangenstelsel roeren malen, ruiken ondergrondse mollen. — Bakken witte uisnippers met spatels van hout. De avond tussen twee kaarsen in en bestek van buiten naar binnen. Een wederzijdse glimlach, steun ik op mijn ellebogen. Het is een dessert. Op kloppen van eiwit mengt in allerhande cake. Lichter door het vuurwerk op straat. zijn er stukjes, percelen diepgevroren dat het kraakt. C25 VERBORG CASPER info@casperverborg.nl www.casperverborg.nl Paint and narrative The interaction between paint and meaning, medium and repre-

sentation, painting and beholder is essential in painting to me. Painting is a visual medium, which means that the painting always represents (in both meanings) something that is external to itself. A painting is never merely depiction but always also a statement about painting. My work is a study of the (im-) possibilities of narrativity in the image. Man is a storytelling being, this is the foundation of his identity. What I find specifically interesting in this is the discrepancy between the narrative and the paint. A textual story is linear, a painting is not. There is a difference between the story being visualized and the painted visualization. Paint vacillates between representation and gesture. The painting assumes a lively look, the image is broken up to create space for the medium-specific qualities of painting.

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C26 VERHOEVEN BENJAMIN verhoeven.benjamin@ gmail.com Circuits of the Past In his installations and projections, Benjamin Verhoeven scans the points of contact between the linear structures within our social context and loops within audiovisual media. Concepts such as distance, time and repetition are linked to the mechanical characteristics of the chosen medium. As such, the physical path that the frame covers acquires a metaphorical meaning. His ‘circuits’ create a constant confusion between motion and stagnation, between the visible and the invisible, the tangible and the intangible. C27 VOET YINDY yindy_v@hotmail.com yindyvoetvoet.tumblr.com C28 ZABEAU DANIELLE danielle.zabeau@gmail.com www.daniellezabeau.com ooo “In an instant I realised that the world might exist in a reality that was more authentic, as the positive structure of its empty spaces, so that everything that is hollowed out would become full, and actual reliefs would be transformed into voids of identical shape, without any content, like those delicate and bizarre fossils that reproduce in stone the traces of some shell or leaf which over the course of time has been macerated, leaving nothing but the sculpted, fine imprint of its outline. In such a world people would no longer be multicoloured, fleshy excrescences, full of intricate putrescible organs, but rather pure voids, floating like bubbles of air through water, through the warm, soft matter of a full universe.” Max Blecher, Occurrence in the Immediate Unreality.

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[NEO]Constructiv-Emotionalism Jóhanna works with the space in between the local environment and the non-existing environment. Often she places herself in roles that she uses as a theme to work with. She places together information and emotions that seem to come from different sources, both from interpersonal communication and the community. Jóhanna builds her works based on connections, symbols, scenarios and colours that are arranged together into one visual world.

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TEXTIELONTWERP / TEXTILE DESIGN

D01 BAUMSTEIGER LINDA info@lindabaumsteiger.com www.lindabaumsteiger.com OBJEKTE “Der Tag wird immer verlegen in der kleinen Mietswohnung, in welcher so schwere, unverständliche Möbel stehen. Aber die Dämmerung begreift alles. Sie weiß, daß das Vergangenheit ist, was da in Stühlen und Schränken und Bildern sich erhält, und daß die engen Stuben schuldlos sind an dieser fremden Vergangenheit, wie Menschen, deren Gesicht von irgend einem Vorfahr den Namen eines Gefühls geerbt hat, das sie mit ihren eigenen schwächeren Herzen gar nicht zu tragen vermöchten. Die beiden Fenster führen den roten Abend herein, der über die Dächer kommt und leise zu den wartenden Dingen tritt, welche ihn schweigend empfangen. Am freudigsten nimmt ihn die schmale Kommode auf, die wie ein kleiner Altar ist: mit all dem Silber und Glas auf ihr lächelt sie ihm zu.M.H. steht gerade vor dieser Kommode. Sie hält von den kleinen Miniaturen, eine nach der anderen in den Abend und betrachtet jede aufmerksam …” Rainer Maria Rilke, “Die Letzten” (1901). D02 CAROEN LAURA laura_caroen@hotmail.com Transhumance – Transobject The theme of transhumance (literally: ‘over the ground’) refers to the nomadic life and arose from my fascination for being on the road and always packing and unpacking my bags. To me, being on the road means discovering cultures, meeting people and learning new things. Nomads, like backpackers, travel light. They live a compact life and some of their possessions serve several purposes. These ideas return throughout my work. In the use of rope and twine all key elements of my work come together. Rope comes in handy for moving, transporting or packing things, and for the construction of tents, for instance. It is a multifunctional means that symbolizes the process, the transformation and the individual making his way through the landscape. In this sense my ropes are ‘transobjects’ that run through my objects – that are in turn transobjects linking together differ-

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GRADUATION ent functions, places, experiences and cultures. D03 PRESENT EVA eva_present@hotmail.com Medemensen (‘Fellow men’) Fellow men. Fellow man: kindred member of humanity; neighbour. People you just ran into, that you’ve known for a long time or that you’d never seen before. Who do you allow into your circle and who would you rather lock out at times? Does the world turn? Or has it turned insane? We turn along. But don’t we all feel the need sometimes to withdraw into ourselves? To retire into our shell. To bristle. Retreat to your own private world. Where it’s quiet. Where you are alone with your thoughts, with your fantasies and dreams. With your head under water, or way up high, above the clouds. In an infinite star-spangled sky. D04 SPECK SOPHIE specksophie@gmail.com www.sophiespeck.be The tactile experience – Capturing time Textile is so ubiquitous in our daily lives that the contours of a conscious experience of it fade. We explore. We go along in experiences, hold still in matter and enter into it. Everything carries a system in it. Grids and patterns build up around us in layers. Influences and actions affect that system and occasion distraction and, consequently, experience. Our environment is an autonomous trap-net for experiences, a mechanical system that lets its order be influenced by random impulses and remains alive by organic activation. The environment assimilates external influences and projects these back onto the environment. In this reversible system time is revealed in fading and reconstruction. These layered registrations are like the legacy of a presence. Attempting to capture the elusive and searching for how something remains ephemeral, a continual defragmentation takes place that creates new worlds and narratives, with the question concerning the now always present and inviting to action and movement. D05 THEUNEN KIVY kivyth@gmail.com Between stillness and motion, between line and fold. A fascination for dance and choreography lies at the origin of this project, a study of how textiles can express the language of ‘the moment’. How movement, flexibility and spontaneity can be translated into textiles, and how the immobile can become mobile: these were the questions that fuelled my research. A dancer plays with and in a space. His motions evolve from

one point to the next in a series of gestures and movements that transform the space. This notion led me to look for a fragmented structure able to unfold like a movement. Integrating magnets in the material made it possible to realize a piece that changes shape in the interaction with a viewer. Graphically, my work evolves in the space between the line and the fold, between the surface and the volume that represents the passage from stillness to motion. D06 VERBRUGGE VIKTORIA info@viktoriaverbrugge.be www.viktoriaverbrugge.be Being, creation, passage. On nature, architecture and change The relation between nature and culture is a recurrent topic in social and philosophical debates. Nature or nurture? As a designer, I am faced with this same opposition in a very specific way. Natural characteristics of materials interfere with the textile design process. I got fascinated by the tensions between technological possibilities and formal or conceptual ideas; by manual techniques that allow errors and mechanical techniques that faultlessly perform what is programmed. In my master’s project I transformed this Western dualism into a three-part Eastern concept: being (nature), creation (architecture) and passage (transformation). The influence of natural characteristics on geometric forms, grids and patterns, of plant growth on roof terraces and of the incidence of light on concrete architecture. How do nature and architecture affect each other? Do they obscure or highlight each other; do they transform or oppress each other? I explore these issues through the use of ecological and recycled building materials and textiles. The resulting designs prove especially useful in terms of acoustics, warmth and light.

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E01 BUYCKX FREDERIK f_buyckx@hotmail.com www.frederikbuyckx.be Jesus, Make-up & Football For decades the favelas of Rio de Janeiro, Brazil, were no-go areas ruled by drug lords and violent militias – often just a street away from wealthy neighbourhoods.

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In the build-up to the 2014 FIFA World Cup hosted by Brazil, and the Olympic Games of 2016 in Rio, the authorities have now started a series of measures to take back and clean up the favelas. This pacification, as it is officially called, is done in two steps. In a first phase elite police troops storm the favela and install a permanent police force. After this takeover the process of improving services and infrastructure such as water and electricity can start. The series Jesus, Make-up and Football captures everyday life in the pacified favelas and focuses on the people of these otherwise very closed communities. E02 COOMAN IO io.cooman@telenet.be www.iocooman.be A Collection of Human Beings Inhabiting the Southwestern Parts of the Low Countries – a Tentative Approach to Description and Taxonomy is a collection of photographs based on late-nineteenth and earlytwentieth-century anthropometric and colonial photography. This dark page of photographic history is the starting point for a work with which Io Cooman takes a stand in the current debate on image and representation. Because today’s image communicators also bear a great responsibility, Cooman formulates her own contemporary photographic answer to the stereotypical and abusive use of the medium by colonial photographers. In this series she takes up the role of contemporary colonialist, which results in a collection full of objectification, stereotyping and absurdity. E03 DEMSKAYA SOFYA voschodik@mail.ru Homagium The most important influence in my project Homagium is undoubtedly German Romantic painter Caspar David Friedrich. My fascination for his work is especially inspired by the old Gothic ruins he depicts. Surpassing the master is neither possible nor my intention, but I felt that I could somehow pick up and continue his subject. Not in painting, however, but in photography. The beauty and tragedy of decline is what appeals to me in the theme of ruins. The ruin is neither a living nor a dead monument but it speaks to us about life and death. Personally I consider ruins to be portals that connect us to the past and the future. The ruin shows us a history halted and frozen in time. Exactly what photography also does. E04 ELSEN MICHELLE This must be the place Some would call this way of living a dream, an ideal, a chase for freedom, being able to leave

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E05 GUJABIDZE ANKA ankagujabidze@gmail.com ankagujabidze.wordpress.com “Rustavi (What the hell brought you here?) "Buildings of Transcaucasia Stalin Metallurgical Plant spread over a vast territory in Rustavi. It is a large heavy industry enterprise that started operation in the first years of post war five-year plan period and is famous all over the Soviet Union. Products marked with “ZMZ” are distinguished for their high quality. They are widely used in national economy. There is an interesting fact from the history of the fledgling plant. Long before the plant started its operation numerous applications from “komsomоlets” with requests to take them on started to arrive from various towns of Georgia. Young patriots were sent for training to metallurgical plants in Donbas, Stalingrad, Magnitogorsk, Taganrog. They were all successful in mastering difficult professions and presently they became leading workers of the industry." Russian Newspaper “Smena”, published in November 1954, publication nr. 660. E06 LAPEIRRE AARON info@aaronlapeirre.com www.aaronlapeirre.com E07 LONTHO SHARAN sharanlontho@gmail.com Faded “A human being can look for a long time without seeing anything. To see something you must first be able to recognize it. Without memory you can merely look.” J. Bernlef, Out of Mind. Unaware of the present, her mind is governed by her past. Because the past is her present, she wanted to go back just once more. We did, my father, my grandmother and I; three generations, to Indonesia. For her, but also for ourselves, to discover our roots. Her condition made our search for memories hard, and there was a daily struggle between past and present. Sometimes the clouds in her

head disappeared for a spell. Then, in the here and now, she could enjoy things. Pieces of the puzzle fell back into place. But soon the sky would cloud over again, and memories always fade. Alzheimer’s disease took away my grandmother’s mind, and it took her from us. But it also brought us closer together. The puzzle will never be complete, chaos will always linger. Loose fragments in a maze of memories and facts, out of which we all construct our own story. Her truth and our truth, that together make up our memories. E08 SINGELYN LIAM Zonder Titel/Untitled “My burrow takes up too much of my thoughts. I fled from the entrance fast enough, but soon I am back at it again. I seek out a good hiding place and keep watch on the entrance of my house - this time from outside - for whole days and nights. Call it foolish if you like; it gives me infinite pleasure and reassures me. At such times it is as if I were not so much looking at my house as at myself sleeping, and had the joy of being in a profound slumber and simultaneously of keeping vigilant guard over myself. I am privileged, as it were, not only to dream about the specters of the night in all the helplessness and blind trust of sleep, but also at the same time to confront them in actuality with the calm judgment of the fully awake.” Franz Kafka, The Burrow. E09 SPILLIAERT LISA lisaspilliaert@gmail.com www.lisaspilliaert.com Tussenbalans / Hotel Red Shoes (with Clara Spilliaert) Tussenbalans It’s all about making the ultimate choice that in fact does not exist. Or could this be some obsession with the thought that I must make this choice? Torn between Japan and Belgium, between emotional attachments and photographic choices, I prefer a state where no choices exist. Photography is for me a means to evoke this state and to seek a balance in it. Hotel Red Shoes a project by Lisa and Clara Spilliaert A pretty little girl with red shoes on has gone overseas By her side a foreign man from overseas The pretty little girl has boarded the ship from Yokohama Pier By her side a foreign man from overseas The pretty little girl's eyes surely have turned blue by now Living somewhere in the land of the foreign man I always think of the pretty little girl whenever I see red shoes I always think of the pretty little girl whenever I see a blue-eyed man A girl wearing red shoes accompanies a blue-eyed man to his far-away country and departs from

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Yokohama pier, one of the oldest seaports near Tokyo frequented by international vessels. This old nostalgic song dates back to 1922 and is popularly known as ‘The Girl with the Red Shoes’. Nearby our parents’ house in Japan is a hotel – one of the many ‘love hotels’ in Tokyo – bearing the same name as this song. Both the name and the appearance of this hotel reflect the distinct nostalgic atmosphere and exotic nature of this story. There is a peculiar contrast between this rather bland residential area and the hotel constructed of fake bricks featuring all kinds of European ornaments that used to leave an even stronger impression on us half-Belgian sisters living in Tokyo. This project consists of our personal archives about this hotel with the film representing our new interpretation of the song. With the red shoes serving as a metaphorical ‘red’ thread, this fixed spot becomes impregnated with the mutual desires between Japan and Belgium that drive us. E10 VERDICKT ROBBY Sew alle? (Is there anyone home?) For three and a half months I lived in Addis Ababa, the capital of Ethiopia. My main objective there was to capture the lifestyle of the richer population. I wandered from door to door asking house owners permission to photograph their living rooms. Of the 1500 houses I visited, less than 100 owners let me enter their property – obviously asking me for the reason of my interest in it. This was my standard response: “In Europe, we have a two-fold image of Ethiopia. First, there is the exotic, historic, touristic part: the Lalibela churches, the tribes in the Southern Nations, Nationalities, and Peoples' Region (SNNPR), the Mursi girls with lip plates. The other image is mostly negative and is about war, famine and disease. Most Europeans believe that almost everyone here lives in straw houses running sheep and goats and having coffee-ceremonies.” Most of the residences are surrounded by high walls with barbed wire coils along the top. Whether you knock on the massive gate or ring the doorbell (if there is one), you always have to persuade the guard first before you are allowed to speak to the owner or tenant. Some of the images are fragments of conversations I had with guards, who in most cases only spoke Amharic, but also with house owners and people on the street. These dialogues are not transcripts from recorded sessions, but actual conversations reconstructed afterwards.

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everything behind and living the adventure being young, because we are the lucky ones. This idea is a just a fraction of reality. By being thrown out in the world where anything can happen, you give up things to gain others. A choice to be satisfied with whatever that comes, leaving all comfort behind and depending only on yourself. Enjoying all the small moments, we are exchanging everything for time. Making the world a place where time no longer exist, where the only importance lays in experiencing the present. A continuous flow of impulses. Now is all that matters there and that's how I photographed it, taking it as it comes.

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MODE / FASHION F01 CLAES ELISABETH elisabeth.claes@hotmail.com www.elisabethclaes.be Lucia Sylvania Go ahead in all directions, woman. Stand up, lie down, stand up. Oh boundless female. State of nature so they say. And logic. Or rather; intuition. That passage between phases and worlds. That flexible body. Excuse me: bodies. Biting. And protectively wrapped in blankets. Woman, yes, that is a constant. Forest and radiant. Shapeless and mother. Lucia Sylvania F02 STRAETMANS LUCAS lucas.straetmans@gmail.com www.lucasstraetmans.com MAVERICK Maverick. Monster?!? Dissimilar. Think. big. Feel. strong. Stand. self. Break. free. Be. colour. Live. strange. Dance. free. Want. everything. Work. hard. Get. crazy. Look. fierce. Strive. good. Find. out. Fly. away. Go. Mavericks break free! repression be gone! THE. their. my. moment is. NOW. (isn’t it?) MASTER IN DE AUDIOVISUELE KUNSTEN / MASTER OF AUDIOVISUAL ARTS

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G01 DE VROOME NINA ninadevroome@gmail.com Golven (‘Waves’) Golven is an exploration of listening. The world is loud. It crackles and cackles, thumps and rumbles, and we are here to listen. We shout, sing and scream and we hear that we are together. By opening up our ears we find a new way of experiencing the world. Golven takes us through the silence of a room and the racket of a city. The city is filled with music. In the subway it sounds to keep the quiet. In the club it sounds to make everyone move. Listening together creates unity. But not every­ one is able to cope with the loud

GRADUATION world around us. Some people cover their ears, but this never results in silence; because those who listen know that silence does not exist. In my films I always aim to capture the ephemeral; that which seems unable to be captured but can in fact be suggested in film. By doing the impossible, by looking for sounds and images to visualize the invisible, an original filmic interpretation emerges. G02 DE WIT MATHILDE mathilde.de.wit@gmail.com De Dagen (‘The Days’) A deaf woman and a young house painter are looking for a way to communicate. As in previous projects, I focus on the physical interaction between characters and how this brings about the presence or absence of language and words. This project is a result of my fascination for sign language; a language I find not only very beautiful but also intriguing in the frontal position it requires of its speakers. The movements and experiences of the actors were the starting point for the film, and during rehearsals I explored ways to communicate and to find physical approaches. The result is a small and intimate choreography for two people. They each have their own world outside the space of the apartment, but when they find a genuine way to face each other the world outside loses its importance and they discover an interior world they can share. G03 DENS HARM harmdens@hotmail.com Broedvogel ('Hatcher') A short tragicomic fiction about a man living behind his pregnant girlfriend’s lingerie shop, where he nurses her demented grandmother and busies himself with the books for the shop. He is a caring man who does his best for the people around him and is most serious about becoming a father. One day he comes home with a stuffed heron. G04 GORDYN JELLE jelle.gordyn@gmail.com facebook.com/BlueMon Blue Monday After many years, Jonas and Merel meet again. Old memories and new events intertwine on a dreary autumn day. My intention with this short film was to present a story that people could identify with. Sooner or later each of us is confronted with nostalgic, often romanticized memories that lead us to reconsider past decisions. ‘How would life have been if I had not done that one thing?’ ‘What if things had turned out differently?’ With this in mind I have tried to make a film that is not only compelling but also entertaining. Because life doesn’t always have to be that serious.

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G05 RABIJNS JOËL & SONDERMEIER YVES joel.rabijns@gmail.com facebook.com/themiracl The Miracle of Life A bio-ethical horror picture for the entire family. In a twisted world, Marianne gives birth to a rather unusual child … The child is stillborn, but somehow life finds its way through the afterbirth. Marianne decides to raise her placenta as a normal human being she calls Luke. Behind this monstrous façade, a young man of intelligence, faith and sensitivity grows up. Luke struggles for his place in a world of drunks, junkies, whores and bodybuilders. An insane world that treats him like a freak. As this hostile society slowly pushes him towards the edge, Luke has to choose between holding on to his gentle ideals or becoming the merciless soldier his mother always wanted him to be. G06 VERHOUSTRAETE HANNES hannes.verhoustraete@ gmail.com 28 Rue Brichaut In 28 Rue Brichaut I explore different ways of looking at the past in an attempt to uncover the history of my own house. This genealogy is at once a study of time and an attempt to map out different experiences and memories relating to a specific space. This film wishes to present a kind of spatiotemporal cartography that allows for a rereading and joining of certain parts of the complex web we call history. These are transposed into a poetic realm where side-tracks are explored and the surrounding space is investigated. In a sense the film presents a multidimensional measuring of distances in an interplay of relations and tensions. Private and public, interior and exterior, now and back then, distant and nearby, materiality and representation, fragment and whole: history in the form of documents, words, tangible remains and images on the one hand, and history as personal memories on the other. This multiplicity is also reflected in the structure of the film that looks for a balance between different interacting registers and textures.

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H02 DE RYCKE JOSIE josiederycke@hotmail.com Symphony no.3 Adaptation of a shadow performance based on Daniil Kharms’ story Father and Daughter. H03 DEUTZ NIENKE nienkemd@hotmail.com vimeo.com/user11705431 één, twee, drie, piano! ('statues') Six children are playing a game among the ruins of an old factory. One of them leans against the wall; she is the leader of the game, the ‘curator’. The others are standing at the opposite end of the terrain. The curator turns toward the wall, closes her eyes and calls out: ‘one, two, three, piano!’ Whilst shouting these words, the other children run towards her as fast as they can. When the curator turns around, the others freeze like statues. Only during the words ‘one, two, three, piano’ are they allowed to move. When the curator catches someone move, that child is ‘it’, and the game is repeated. H04 GEENS FRANCO francogeens@hotmail.com vimeo.com/user10380536 Roest Rust (‘Rust Rests’) Life becomes ever more hectic. Responsibilities pile up and escaping the rush seems quite a task in itself. In Roest Rust the attempt to find some peace and quiet is the source of all manner of absurd visual and auditory developments. But is it even possible to find this relief we so desperately crave for? Roest Rust is an exploration of the world of noise and buzzing. The search for quiet and relief turns out not to be that obvious. A story about racket and relief. H05 HEUNINCK ANNA annaheuninck@hotmail.com Kassa 9 (‘Checkout 9’) Cashier Olga spends her days unnoticed in the supermarket. An insignificant incident upsets her daily rut. For a spell we get a glimpse of her private dreams. My animated film is a personal look at everyday events that do not always get the attention they deserve. Cashier Olga is brought to life by full-scale modelled stop motion animation.

H06 HUYGHE THOMAS thomas.huyghe@hotmail.com Het lijden van de jonge Wagner (‘The Sorrows of Young Wagner’) To coincide with the 200th anniversary of the great composer, Thomas Huyghe made a three-part animated cartoon about Richard Wagner’s youth. We follow the young talent from age 14 to 24, as he has to overcome the obstacles standing between him and his legend. A balanced blend of history and entertainment, much like a combination of chocolate and vanilla pudding. H07 KONONOVA NINA ninakononova@gmail.com Postcards from Belgium This film is an exploration of Belgium through searching for places to evoke emotions. H08 MAES ANOUK maes.anouk@gmail.com anoukmaes.tumblr.com I made a room in which I encyclopaedically order short fragments about animals in my very own way. And that was fun. H09 RABREAU DIANE Dictaphone recording, 12 January 2013: “There is a certain island in The Netherlands, traversed by the Western Scheldt Tunnel Road, on Google Maps: 51.366906, 3.790640 / length: 3.9 km / width: 1.5 km. A sand surface with no visible vegetation. No sign of life, no tyre marks: the area is as empty as the moonscape. The island is marked on the map and so it should exist. But, well, I’ve explored the area thoroughly and there was absolutely nothing to see. There was water, there were boats and an icy wind. Today, I can confirm without the slightest doubt, that the island does not exist.” My installation focuses on the search for obscure, doubtful places on Google Maps, and the justification of this doubt in reality. H10 ROOSENS JOES joesroosens@gmail.com St. Matthew Island When the United States Coast Guard closes its manned radar station on St. Matthew Island in the 1940s, they leave behind 29 reindeer. Within months the deserted rock in the middle of the Bering Sea becomes reindeer paradise … H11 SWINKELS JANNEKE info@jannekefilmt.nl Zonder Versnelling (‘Single-Speed’) The bicycle trip to Rome with his friend Broer in 1950 contrasts sharply with the rest of my grandfather’s unadventurous life.

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H12 SWINNEN ENO EnoSwinnen@gmail.com L I V E // L O V E // L I K E &SHARE A film by Eno Swinnen with music by Lieven Martens (Lieven Moana aka Dolphins into the Future) H13 VERSCHAFFEL RIJSBRECHT rijsbrecht_v@hotmail.com vimeo.com/rijsbrechtversch BRU LUX VNC BRU LUX VNC is a six-minute video-collage triptych. A loop of an animated panorama of a square, projected on three man-sized screens that embrace the viewer. The film literally revolves around the viewer, while the images on the screens also turn around. The panorama is made up of three sets of 360-degree visuals of iconic European squares: the Grand Place in Brussels, the Place d’Armes in Luxembourg and the Venetian Piazza San Marco. From the juxtaposition of these images arises an imaginary and continuously changing overall view of a square. In the panorama, movement, time and space are all cut up in hundreds of fragments. This invites the viewer to watch both selectively and ‘constructively’. The set-up of the screens also forces the viewer to choose. If he wishes to stay on one square or stick with a certain figure, he will (sub-) consciously follow the camera movement and let his gaze turn along over the screens’ edges. BRU LUX VNC is about looking. About how we look at images, the world, and images of the world, and about how looking at images makes those images what they are. MASTER IN HET DRAMA / MASTER OF DRAMA

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I01 BAFORT DELFINE delfinebafort@gmail.com UDEN If I want to talk, I’ll just open my mouth. What’s the point of using words? To say that the sun is shining? To say that near and far are not far off? To say that grey and white is not black? To say that … ? To say to say? What’s the point? A monologue based on Connie Palmen’s Logboek van een onbarm­ hartig jaar (‘Log of a merciless year’). Connie Palmen wrote down her grieving process after the death of her husband Hans van Mierlo. Uden shows a woman through the different phases of mourning.

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H01 ASSELMAN LEEN info@leenasselman.be www.leenasselman.be Bio One day all poultry has disappeared because of man’s gluttony. This film addresses the issue of mass consumption of poultry and other animals and disrupts the familiar way of things by reversing the roles of man and animal.

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GRADUATION I02 GANTURA DARYA younona@gmail.com Lilith “I would thou wert cold or hot. So then because thou art lukewarm, and neither cold nor hot, I will spew thee out of My mouth.” (Revelation 3:15-16) My master’s project is monologue written and performed by myself about Lilith, the first wife of Adam. She was mercilessly replaced by woman 2.0 (Eve) because she refused to submit to the patriarchal order God imposed on mankind. Lilith has since then slipped into oblivion and for the last five thousand years has been spending her days smoking, drinking and watching YouTube videos of cats, in complete isolation from humanity. I03 HUYSMANS SILKE silkehuysmans@gmail.com Enkele steden en wat we er nog van weten (‘Some cities and what we still know about them’) My master’s project consists of two parts; Manger de l’O, and Enkele steden en wat we er nog van weten. In the creation of these two performances I studied how to switch between the macro level (the world) and the micro level (yourself) on the stage. Both performances start from my fascination for the feeling of powerlessness. In Manger de l’O, in which I worked with fellow student Dounia Mahammed, we went from big to small, from macro to micro. We explored the broader concept of ‘powerlessness’ and tried to crystallize this in a familiar feeling. Manger de l’O evolved from a feeling that continually choked us both up: the never-ending feeling of powerlessness over reality. In Enkele steden en wat we er nog van weten, Hannes Dereere (UGent Theater Studies) and I went in the other direction; from micro to macro. We started from a personal anecdote and searched for a larger, encompassing metaphor for it. I04 MARIËN KIRSTEN kir.marien@gmail.com Blik (‘Can’) - Are we … • Ssh! - But are we … • SSSH! Are we … ? - How am I supposed to know? • I thought you knew so much? - I don’t know everything. • Me neither. - I knew that. A man chooses a safe life in seclusion. But then a girl starts to open up that world. Blik, a performance about distrust, or how you can never be sure enough. I05 VALCKE ANEMONE anemone.valcke@gmail.com Een Lied (‘A Song’)

A musical structure in compositions welkom welcome good night Welkom here you I together here one Welcome place one spot Good night welcome shine the lights all of One place the lights shine bright like a One spot diamond Lights music welcome dance sing Music for you tonight Where to you tonight Tonight MASTER IN DE MUZIEK / MASTER OF MUSIC

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UITVOERENDE MUZIEK: KLASSIEKE MUZIEK / PERFORMING MUSIC: CLASSICAL MUSIC J01 ARDENOIS BARBARA EVA barbara.ardenois@gmail.com J02 AVDIU FJOLLA fjolla.avdiu@gmail.com Solo Concert The graduation project for the master in music includes the final instrument exam, a personal artistic project and the writing of a thesis. For my instrument exam I will present a solo concert of some piano masterworks. The programme includes the Chromatic Fantasy and Fugue in d-minor by Johann Sebastian Bach, the Suite Bergamasque by Claude Debussy and Piano Sonata no.3 by Frederic Chopin. For my personal artistic project I presented one of the masterpieces of avant-garde music: Sonatas and Interludes for prepared piano by the American composer John Cage. It was a very interesting experience to prepare the piano for this work and certainly a special sensation to play this one-hour-long composition. John Cage and his Sonatas and Interludes are also linked to my thesis, which studies the procedure of preparing the piano for this work. Both the actual process and Cage’s development of it are examined. J03 CORTOOS JELLE J04 CROMBEEN EMMANUEL emmanuellucianocrombeen @gmail.com Final exam violin In this recital Emmanuel Crombeen performs the Sonata for violin no. 2 by Brahms and the Sonata for violin no. 5 by Beethoven. J05 DECKERS CHRISTOPHE christophe.deckers1@telenet.be www.muziekaandestroom.be

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Le saxophone sonore ‘With a saxophone you can sing. Yes, even talk, cry and laugh.’ Christophe Deckers wants to illustrate these words in his final saxophone exam and present a varied programme in which he displays the knowledge and skills he has acquired. The audience will be introduced to evergreens and recent works from different continents and traditions: solo work, work with piano, with percussion and electronics. Christoph is assisted by piano accompanist Geert Claeys, fellow students José Vindelandino (percussion) and Patrick Housen (electronics). With his personal artistic project ‘Le saxophone sonore’, Christophe wanted to introduce his listeners to spectral saxophone music. The artistic musical movement of Spectralism started in the nineteen-seventies after a number of French composers had already covered a long way in search of timbre. Through work by Scelsi, Debussy, Brewaeys, Alla, Tanada and Schmitt, Christophe threw light on Spectralism and its offshoots, and highlighted the value of its theory for contemporary composers. More than 270 people attended this concert where Christophe and his accompanists performed work for solo piano, solo saxophone, saxophone and piano, and saxophone quartet. J06 DECRAENE SIMON decraenesimon@gmail.com Solo concert This solo concert is also my final exam for the degree of master in music: performing music at School of Arts/Conservatory. Programme — One Study - John Psathas For marimba, setup & tape — One Summary - John Psathas For marimba en tape — Meditation 1 - Casey Cangelosi For snare drum — lū - Hugo Morales For prepared vibraphone — Walking left handed - Casey Cangelosi For setup & tape — Rythmic Caprice - Lee Howard Stevens For marimba J07 DELAERE DENZIL J08 MASSA LUCIANO massaduo@gmail.com www.lucianomassa.com.ar Massa duo Massa duo is a chamber music duo consisting of Eugenia and Luciano Massa. Born in La Plata, Argentina, they followed their music studies at the Gilardo Gilardi Conservatory and at the University of La Plata. They also took classes with renowned artists such as Szymsia Bajour, José Bondar, Luis Roggero, Eduardo Isaac, Victor Villadangos and Abel Carlevaro.

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J09 MOLINA RUIZ FRANCISCO J10 SHIHO ONO J11 SHMAHAYLO ARTEM artshmagailo@gmail.com Master’s recital On the programme of my master's recital: 1. Jean Sibelius. Theme and Variations for Violoncello Solo 2. Max Reger. Suite no. 2 for Violoncello Solo 3. Paul Hindemith. Sonata for Violoncello Solo 4. Ernest Bloch. Schelomo: Rhapsody for Violoncello and Large Orchestra J12 STRYDOM DANRE J13 TORFS SANDER J14 VAN DE MEIRSSCHE LIEVE lievenka@hotmail.com lievenka.wix.com/impro Knock on heaven and listen to the sound Musical improvisation for children in traditional education. Improvisation is just like heaven: changeable in colour, sometimes predictable and sometimes full of surprises. ‘Knocking’ means standing still for a moment and listening to the sounds behind heaven’s door … This project’s aim is to show in an artistic way that everyone in traditional education can learn to improvise, and that this frees them from fixed patterns, like sheet music. Improvisation opens up space for creativity and musicality. This I have shown specifically with children who knew little or nothing about music theory. In this project, children learn to create their own melodies and to search for new sounds, using only their hearing, feeling and imagination as tools. This makes them feel freer and stimulates them to find creativity and pleasure in music. Everything becomes organic and will sound different at any given

moment; music becomes dependent on the environment, the space and mood of musician and listener. In the process, children gain experience as musicians, and they learn to plunge into improvisation. J15 VAN HEGHE ROBIN J16 VAN LEUVEN STEFANIE J17 VANDEN BROUCKE CHARLES-HENRI charleshenrivandenbroucke @hotmail.com Graduation recital piano master 2 As part of my master’s project at the Conservatory, I perform my graduation recital. On the programme: Partita No.6 in E minor, BWV 830 – Johann Sebastian Bach I. Toccata II. Allemande III. Corrente IV. Air V. Sarabande VI. Tempo di Gavotta VII. Gigue Images, première série – Claude Debussy I. Reflets dans l'eau II. Hommage à Rameau III. Mouvement Sonate pour piano – Henri Dutilleux I. Allegro con moto II. Lied III. Choral et variations J18 VANPANTEGHEM SUN MEE sunmeev@gmail.com The fatal woman, merciless temptress or prey to madness? For centuries, the only roles in which women could lead honourable lives and gain their place in Church and/or society, were those of virgin, martyr, mystic, wife and mother. In the 19th century some women appeared to go mad due to a lack of freedom. Today, however, some women seem to collapse under the burden of ‘freedom’. Are society's demands to build a career, look astounding and lead a dazzling social life becoming too much? Is there a way out? Can madness offer a way out of pressure and obligation? Or simply to be able to be yourself? A portrait of the mythic femme fatale, of the emancipated woman, of today's neurotic woman, seen through the eyes of Richard Strauss, Kurt Weill and John Cage. Personal artistic project: It’s been a Weill Sisters Anna and Anna leave home to work abroad, making money for their family and the construction of a small home. Working in a nightclub they meet gentlemen Mackie and Johnny. But life takes an unexpected

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turn … Will their dreams come true and can the house be built? Are Anna and Anna really sisters or is everything happening inside one character’s mind? And what about love? Burlesque music theatre with characters from the operas of Kurt Weill in a new context. You will hear fragments from Die Sieben Todsünden, Dreigroschenoper, Aufstieg und Fall der Stadt Mahagonny and a selection of songs. J19 VERMEIRE BRAM darkjeric@gmail.com sites.google.com/site/ vermeireb Graduation recital After six years of study at the Ghent Royal Conservatory with Yves Storms and Johan Fostier, Bram presents his graduation recital as the completion of the master of classical music – performance. On the programme are works by Joan Manén, William Walton, Johann Sebastian Bach and Joaquin Rodrigo. Next to his solo performances Bram also regularly plays with chamber music ensembles, the most prominent of these being a guitar and piano duo with Lynn Leterme. His personal artistic project and thesis (‘Sound on guitar: A continuous struggle’, 2012) were also developed in the context of this rather unusual ensemble. J20 VERMEIRSCH FAUVE fauve.vermeirsch@gmail.com www.yesmusic.com Galina Ustvolskaya: The lady with the hammer In my graduation recital I present a varied programme in three parts. Starting off with an earlyRomantic piano sonata by Schubert in which detail and refinement are of the greatest importance, I proceed to the late-Romantic work of Rachmaninov, of whom I not only chose the passionate side but also two fragile lyrical preludes. The third part consists of a journey from Impressionism (Debussy) to Modernism (Ireland), and ultimately to a contemporary and quite extreme work by Galina Ustvolskaya. Her final piano sonata is the apotheosis of my master’s exam and simultaneously points toward my dream for the future: to specialize in contemporary classical music. Personal artistic project: Galina Ustvolskaya: The lady with the hammer. In this matinee I take the audience to Leningrad to introduce them to one of the most striking personalities of post-war music history: Galina Ustvolskaya. Her piano sonatas no. 4 and 5, anecdotes, stories, and the painting of Kazimir Malevich create an impression of artistic life behind the Iron Curtain. Works by J.S. Bach and Felix Vermeirsch offer a contrast with Ustvolskaya’s uncompromising music. J21 WELLENS TIJL

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Before starting their duo project, Eugenia and Luciano performed as soloists and in different chamber music and orchestral projects. They have performed extensively in their own country and in Uruguay, Brazil, Paraguay, Canada, The Netherlands, Belgium and Switzerland. This duo was established in Europe in October 2012. Eugenia lives in Utrecht (The Netherlands) where she studies with Mikhail Zemtsov, while her brother Luciano lives in Ghent (Belgium) where he studies with Johan Fostier and Yves Storms. The repertoire of the Massa duo includes music from different periods and styles, from composers such as John Dowland, Niccolo Paganini, Franz Schubert, Manuel de Falla and Astor Piazzolla.

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UITVOERENDE MUZIEK: JAZZ/POP / PERFORMING MUSIC: JAZZ/POPULAR MUSIC K01 AUMAN KRIS krisauman@gmail.com facebook.com/ozmirtrio Ozmir and Alfredo My master’s exam consisted of a concert with two different groups: Ozimir and Alfredo. Ozimir also performed for my personal artistic project that took place on 28 March 2013 at ‘Bij de Vieze Gasten’ in Ghent. Ozimir is a contemporary piano trio featuring Daan Stijnen (piano), Kris Auman (bass) and Elias Devoldere (drums). The trio’s repertoire combines original compositions with traditional music from the Balkans and is influenced by pianist Bojan Zulfikarpasic. The trio’s own compositions show the influence of jazz and the music from former Yugoslavia. The group performed three original compositions, two pieces by Zulfikarpasic and a Bosnian traditional. All of these pieces were arranged for piano trio. Alfredo is a young jazz quartet consisting of Astrid Creve (vocals), Marijke Hellemans (guitar), Robbe Kieckens (percussion) and Kris Auman (bass). They bring original work and arrangements of jazz standards. The influences of Bobo Stenson and Scandinavian folk music are evident in the original compositions. Most of these are composed by Astrid Creve with an additional few by Marijke and Kris. K02 CREVE ASTRID creveastrid@gmail.com www.belcirque.be Alfredo For my master’s project I worked with the group Alfredo, a young and contemporary jazz quartet that draws its inspiration from sources such as the Bobo Stenson Trio and Scandinavian folk music. The group brings a combination of original compositions and arrangements of lesser-known jazz standards. Most of these compositions and arrangements are by Astrid Creve. The minimalist cast helps to create an intimate and impressionist atmosphere. Astrid Creve (vocals), Marijke Hellemans (guitar), Kris Auman (bass) and Robbe Kieckens (percussion).

GRADUATION K03 KINDEKENS ANTOON Gentrifuge For his graduation project, drummer Antoon Kindekens performs with his trio Gentrifuge. The group performs an intense and varied set of mainly original compositions inspired by different genres such as post-rock, flamenco and hip hop. They also play often surprising adaptations of existing songs and improvisation is an important aspect of their music. Gentrifuge consists of Johan De Pue (guitar, pump organ, compositions), Mattias Geernaert (double bass, compositions) and Antoon Kindekens (drums, arrangements) and is sometimes joined by guest musicians such as saxophone player Nathan Daems and word artist/rapper Felix De Braeckeleer. K04 VERSTRAETE SANDER sander.verstraete@hotmail.com For my final exam I put together a group consisting of Jasper Maekelberg (Yuko, Faces On TV), Laurens Billiet (Senne Guns, Berlaen), Jesse Maes (Horses, Trashcan Blues Collective) and Klaas Tomme (Ides Moon). Together we play music by Faces On TV, Ides Moon, Evil Superstars, Presidents of the USA, Beck … In performing this repertoire I explore the sound and possibilities of the bass guitar.

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SCHEPPENDE MUZIEK: COMPOSITIE / COMPOSING MUSIC: COMPOSITION L01 LYCKE BENJAMIEN info@benjamien.be www.benjamien.be www.acubensopera.com ACUBENS Somewhere in perfect isolation from the outside world, a scientist and his daughter live. Together they have fled a society that prohibits scientific progress. The scientist lives inside a prison of rational thought of his own making. His daughter lives outside this cage, and unlike her father she fills her life with imagination and emotion. Her view is still in part that of a child, and she does not see the dangers of the outside world that her father warns her for. She believes in more than empirical evidence, and her dreams arouse in her a fear of her father. As a graduation project in composition under Lucien Posman, Benjamien Lycke created ACUBENS, an original opera production for

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mezzosoprano (Louise Kuyvenhoven), tenor (Denzil Delaere) and 40-strong orchestra (conducted by David Anne).

M SCHEPPENDE MUZIEK: MUZIEKPRODUCTIE / COMPOSING MUSIC: MUSIC PRODUCTION

M01 FLORIS BOGAERT florisbogaert@gmail.com www.workshopgroove.info The essence of groove As a music lover and musician, I have always been intrigued by the concept of ‘groove’. Why does some music make people dance, while other, similar music does not seem to affect them? This question was the starting point for my research into the notion of groove that resulted in my Master’s dissertation. In the context of my personal artistic project (PAP) I also organized a workshop where the results of my research were presented to a wider audience. In my work as a music producer, I try to apply the experience of these projects every day. Earning a degree does not necessarily make me qualified for every job that is related to the programme, I believe. Based on my experience, I concentrate mainly on recording and mixing music that stands out in some way, music that grips and compels. Genres are of minor importance to me; I like to experiment with sounds without certain boundaries. Recent producing and mixing experiences include Absynthe Minded, Lady Linn and Dirk Brossé. Some of my inspirations in music and production are Radiohead, Massive Attack, Röyksopp and Gorillaz. M02 LEYERS NICK nick.leyers@gmail.com www.nickleyers.be My master’s project is a fourtrack EP. I consciously chose not to record an EP that sounded like it was created by a single band. The connecting element throughout the tracks is my own contribution, which is audible in all layers of the music. The songwriting, arranging, recording, mixing … was all done by myself. The help I received from musicians, teachers and everyone else involved in one way or another, was much appreciated.

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M04 MAERTENS PIETERJAN pieterjanmaertens@gmail.com www.vi.be/theevilspirits recordingsession The Evil Spirits Recording Sessions The Evil Spirits Recording Sessions: the studio project of producer/musician Pieterjan Maertens presents its fresh brand of indie Belpop! With (a.o.): Pieterjan Maertens (voc/gtr/keys), Janne Vanneste (voc), Jasper Maekelberg (gtr/voc), Sander Verstraete (bass), Jesse Maes (gtr), Michiel Balcaen (drums/percussion), Brecht Plasschaert (keys) and Eline Mabilde (keys). M05 MAES JESSE maes.jesse@gmail.com Trashcan Blues Collective EP M06 MORDIJCK KWINTEN kwinten_mordijck@ hotmail.com kwintenmordijck.blogspot.be

No Man's Show – Birds The past five years have mainly been a period of searching for my own sound. My own EP, the first part of my master’s project, is the most visible result of this search. The EP will make for a consistent whole yet be surprising and unorthodox. Groove rock with a twist; a serious twist. I wrote the songs with a set of excellent musicians in mind, and after a series of rehearsals and shows we went into La Chapelle Studios (where I did an internship) to record. The studio and the recording and mixing process are instruments I use to mould the music to my will. In fact, I see creation as the most essential aspect of music production. This is also expressed in the second part of my master’s project: the composition of music for Jef De Cat’s animated short Release the Beast. With my personal artistic project I wanted to do more than just perform my music live with No Man’s Show. Therefore I wrote arrangements for three wind instruments that mainly add extra energy and density. These arrangements were performed on 28 April 2013 at Charlatan. M07 PENSON MICHAËL penson.michael@gmail.com Galileo Figaro My personal artistic project revolves entirely around the backing vocals of the legendary British band Queen. In my thesis I studied the recording techniques this band used to achieve their typical vocal sound, with a specific focus on the song “Bohemian Rhapsody” (1975). In terms of recording techniques, Queen was often quite revolutionary and unique. To be able to study their methods, I put myself in the position of producer Roy Thomas Baker and reproduced all of the vocal passages of “Bohemian Rhapsody” (these can be heard on my Soundcloud page). This enabled me to make a nice analysis based on a personal outlook. As an illustration, this master­ piece and a number of other Queen songs were performed live by a group of ten musicians during Galileo Figaro, the presentation of my project. There was also a brief explanation about my working process. All this took place on 20 April 2013 at the Rode Zaal of the Conservatory.

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N01 VERMEULEN TINE vermeulen_tine@hotmail.com Doctrine of Affects vs Romanticism My master’s project is spread over two disciplines. For my major in fugue, I compose a piece in this form; and in my thesis, which is closely connected to my personal artistic project, I study the legacy of the doctrine of affects in Romanticism. There is a wide range of literature on the doctrine of affects, but my view differs somewhat from the prevailing opinion. I extend the doctrine of affects into the Romantic era and perform a comparative study that is mainly based on Chopin’s twenty-four marvelous preludes. These are all composed in a different key, and by analyzing these I point out how, although the doctrine of affects had long been shoved aside at the time, Romantic composers still took it into consideration in choosing a key. Whereas my thesis is rather theoretical, my personal artistic project focused more on actual practice. After a brief lecture I performed the twenty-four preludes in their entirety on the piano. It was up to the listener to decide for himself whether or not the corresponding affect was evoked.

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INSTRUMENTENBOUW / MUSIC INSTRUMENT CONSTRUCTION O01 CANTINEAU ONDINE ondinecantineau@gmail.com projectmanouche.tumblr.com Lutherie Sur Mesure Lutherie Sur Mesure is the end result of Ondine Cantineau’s master’s project, in which she created four musical instruments: three manouche guitars and a contrabass. One of the guitars is made after the example of Castelluccia, and the other two – although they look identical at first glance – were based on the guitars of Di Mauro. Both these Italian instrument makers were part of the Parisian gipsy and manouche instrument-making tradition of the nineteen-thirties and forties. The contrabass was constructed after an anonymous French model. All four instruments were created for, and as such adjusted to the needs of, three specific musicians. Lutherie Sur Mesure, ‘tailormade strings’, is a project realized in cooperation with the Belcirque quintet, Sam Coenegrachts and Mo Vleeschouwers.

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M03 MAEKELBERG JASPER jasper.maekelberg@gmail.com facebook.com/facesontv Faces On TV This fall, Faces on TV goes live. Producer/musician Jasper Maekelberg’s eagerly anticipated studio project brings a seldom-heard sound, something loose-tight, Beatles-Beck, noisy-pop-ish … Belgian Radio 1 called them “perhaps the season’s best” in their vi.be series, and musiczine RifRaf also discovered the band: “new and exquisite candy … slightly eccentric silliness … a fascinating listening experience …” As a musician, Maekelberg served with Yuko, Manhog and Bear Run. In Faces on TV he is joined by members of Tomán, Hypochristmutreefuzz and others. Faces On TV is Jasper Maekelberg (vocals/guitar), Laurens Billiet (drums), Sander Verstraete (bass), Senne Guns (keys) and Jesse Maes (guitar/vocals). Personal artistic project: Faces on TV: Focus on stompboxes The possibilities to modify your guitar, bass or synth sound have become virtually endless. It is no longer enough to plug the ideal guitar into the ideal amplifier, put a microphone in front of it and send the sound to a PA system. Today’s music scene demands innovative, original sounds, otherworldly fuzz, astounding delay, reverbs that makes your ears burn, octavers that knock you over … With this project I intend to translate part of my thesis (on ‘the analogue vs the ‘in the box’ world in recording and mixing’) to a live performance. In adapting Faces on TV songs to a playable live set, a lot of attention was payed to sound. We focus on the choice and use of stompboxes on guitars.

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O02 DE JAEGER JAKOB jakobdejaeger@hotmail.com Al'uˉ d Jakob De Jaeger’s master studies commenced with a year-long stay in Poland, where he constructed a viol and a violin. In his research De Jaeger studied the impact of the Moorish rule over Europe (711 – 1492) on the development of musical instruments. The oud, the Arabian plucked instrument, turned out to be an outstanding example to interpret this influence. With the oud as a starting point, De Jaeger set out to look for a European instrument in which the Moorish influence is explicitly present. He chose a Renaissance lute from the collection of the Brussels Musical Instruments Museum that was made around 1580 by Giovanni Hieber from Venice. Copying this instrument aroused De Jaeger’s interest in the lute family that underwent many changes throughout history in order to keep up with a rapidly evolving European musical culture. As a result, for the final project of his master’s exam he chose to construct a chitarrone as it was made in 1610 by Magno Tieffenbrucker. O03 DE ROY BART de.roy.bart@gmail.com The clavichord: Practice makes perfect In 1730, Mattheson declared that the clavichord was the best loved of all keyboard instruments and that it is an outstanding instrument to perform overtures, sonatas, toccatas, suites and so on, because of the ‘sung’ (cantabile) quality of its sound. The soft-spoken persuasiveness of this view incited Bart De Roy, an organ player himself, to recreate an existing original from one of the specialized studios from booming eighteenth-century Hamburg. As ‘future archaeologists’, students of instrument making drift between theory and applied techniques, as it were; between musicology and art studies, between the work of musicians and that of craftsmen. Bart De Loy has tried to develop his skills in all of these aspects. In addition to performing archaeological experiments, he also wrote a thesis on musicological positivism. In this work he discusses the hidden influence of Symbolism, artistic freedom, tradition and imitation on musical iconography; its synergetic relation with the knowledge drawn from written sources and authentic remnants; and its relevance for the musical instrument maker.

MASTER NA MASTER IN DE MUZIEK / ADVANCED MASTER OF MUSIC

FOCUS: interieurafwerking & Advies / Interior Finishing & Advise

MASTER NA MASTER SOLIST HEDENDAAGSE MUZIEK / ADVANCED MASTER OF MUSIC / SOLOIST CONTEMPORARY MUSIC

P01 CARUSO GIUSY Euphonia On June 17th the Italian pianist Giusy Caruso presents ‘Euphonia’, a solo piano recital consisting of works by Scelsi, Anzaghi, Bussotti, Ohana, Boulez, Crumb and Charpentier. The word ‘euphonia’ is derived from the Greek word εὖφωνή. In linguistics and in music, this refers to the pleasant sound of a harmonious combination and succession of pitches or words. The programme of the concert finds its aesthetic connotation through exactly this sonic perspective.  The composing process of the piano works in this programme conceives sound as a pure reflection of natural vibrations. This concept determines the minimalistic style of writing and improvising in some passages. A piano and philosophy graduate, Giusy Caruso works with particular attention to repertoires philologically correlated with themes regarding music aesthetics. She currently combines her activity as a pianist with her artistic research “ReOrient: Eastern Retrospective for a Renewed Interpretation Perspective”. BACHELOR IN DE INTERIEURVORMGEVING / BACHELOR OF INTERIOR DESIGN Third year students in the Interior Design programme make their Bachelor’s project for one of four specialized majors; Interior Finishing & Advice, Interior Design, Furniture & Design or Temporary Installations. These four fields of specialization make the programme fully attuned to the sector’s ever increasing level of professional specialization, without neglecting the general aspects of the training. Within each focus, students are offered a range of assignments, each with its own particularity, complexity and scale.

In the Interior Finishing & Advice focus the complexity of pure design – the conceptualization – 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; ranging from shop fitting to designs for public libraries and hospitals. 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 and a detailed elaboration of design decisions. This involves choices of material and technique and the elaboration of construction and realization details. Parallel to this large assignment, students are introduced to aspects of sales, project management, quantity surveys, advice and more in a series of smaller, real service assignments. This combination familiarizes the students in the Interior Finishing & Advice focus with the everyday practice of the interior designer. participation in bachelor's project: Q01 DE STAERCKE LINDSEY Q02 DE VOS LIESL Q03 DILLEN RUTH Q04 GIELIS KAREN Q05 JENNES TESSA Q06 LAM SHEUN-HE Q07 LEMENU ELIEN Q08 LORRÉ JULIE Q09 MOSTREY THOMAS Q10 PAUWELS STEPHANIE Q11 POPELIER HANNE Q12 RAES MANON Q13 RIZZO AMAURY

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Q14 TAHON NICO

R15 REYNIERS KIMBERLEY

Q15 VANDENBUSSCHE ILSE

R16 SPEYBROUCK BARTHEL

Q16 VANMAELE MICHELLE

R17 STICHELBAUT LOUISE

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The Interior Design 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. participation in bachelor's project: R01 BULTINCK BIET R02 COENS STEFANIE R03 DE BACKER ANOUSCHKA R04 DE DECKER JONAS R05 DEJANS ANNE-SOPHIE R06 DEMEYERE GWENDOLINE R07 DEPREZ MATHIAS R08 DE VRIENDT LOUIS R09 DE WINNE TANGUY R10 D'HAESE SARAH R11 GERYL JOLIEN R12 GOETGHEBEUR JACOB R13 MEGANCK TIM R14 MOL ELIEN

R18 STRAGIER LINDSEY R19 STROBBE ELINE R20 VAN AUDENAERDE FLEUR R21 VANDENBERGHE LISA R22 VAN DER HEYDEN FLORENCE

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a need in an evolved society or that even threaten a simple and healthy life.

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participation in bachelor's project: S01 BRUYNEEL LAURA S02 CARDOEN SOFIE S03 DE BERTI RAMONA S04 D'HUYVETTER JO S05 DIEPENDAELE FEMKE

R23 VAN DE VLOET SANDRA

S06 FAVRIL EMILIE

R24 VANDEWALLE TESSA

S07 KESTELEYN AMELIE

R25 VAN TROYS LENNY

S08 PAUWELYN MAARTEN

R26 VAN TWEMBEKE RUBEN

S09 ROELS TINNEKE

R27 VERMEERSCH JOLIEN

S10 SOENENS BRECHT

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FOCUS: Meubel & Design / Furniture & Design

FOCUS: Tijdelijke Installaties / Temporary installations

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

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.



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participation in bachelor's project: T01 DANNEELS JULIE

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GRADUATION T02 EECKHAUT SILKE T03 GUTIERREZ JOSE T04 KADI SOFIE T05 TRACHEZ DAPHNÉ T06 VAN DOORNE HELEEN T07 VANMASSENHOVE SOFIE T08 VANZEEBROECK LISA T09 VERHACK KOEN T10 WENTING BELINDA BACHELOR IN DE LANDSCHAPS- EN TUINARCHITECTUUR / BACHELOR OF LANDSCAPE AND GARDEN ARCHITECTURE

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The bachelor’s project is a comprehensive graphic design assignment in the context of the public space. The assignment aims to develop both the group dynamics and students’ independent functioning. With a process-based approach that requires an understanding of the macro, meso and micro levels, and the stimulation of an integrated design methodology, we want to enable students to develop a professional project that is based on a convincing, solid and realistic view on design and is attuned to the prevailing European norms of the landscape architecture sector. The most important challenge for students is to assimilate the enormous quantity of information relating to all different aspects of the project assignment – policy and structure plans, notes, lectures, recommended literature, specialist journals, survey plans, digital data ... – and to learn how to deal with these in practice. This year’s bachelor’s project fits in with a public service commission for the Foundation Marguerite Marie Delacroix based in Tienen. This project study “Garden & Landscape around care centres at Hakendover” is in perfect keeping with the pedagogical and methodological goals of our vocational bachelor programme of landscape and garden architecture. It offers ample opportunity to achieve the programme’s objectives in terms of competency development and to ac-

tivate the students’ empathic skills. Since a number of years, society has come to realize the positive effects of a green environment on people’s wellbeing. That nature has a healing effect, both in a physical and in a psychological sense, is now no longer a matter of intuition but a scientifically established fact. The Foundation Marguerite Marie Delacroix wishes to optimize its domain of about 14 hectares in the rolling Hageland at Hakendover both spatially and functionally for its residents, staff and visitors. The landscape with the historical castle gardens as foundation, and the linking of the domain with the town and the landscape make for fascinating design challenges. The creation of healing gardens and experiential gardens will support the therapeutic techniques and stimulate social interaction between residents and visitors. The new green space brings the outside world to the residents, and takes the residents outside. participation in bachelor's project: U01 BAELDE STEPHEN U02 BAEYENS LIZE U03 BIESBROUCK BRAM U04 BLANCKAERT HANS U05 BUYSSENS DIDIER

U25 LEEMANS PIETER U26 LUYPAERT KRISTIEN U27 MAERTENS SANDER U28 MARTENS EVA U29 MEHUYS MATTHIEU U30 MEIRSSCHAUT SOFIE U31 MERLIN ANN U32 MERTENS IWEIN U33 NIEMEGEERS LIESELORE U34 PEETERS DIMITRI U35 PEETERS EVI U36 PIETERS NATASCHA U37 PIL FRIEDEL U38 SCHOLIERS GLENN U39 SELS KLAAS U40 SLEUTJES PIET U41 SMET VALÉRIE U42 UYTTERSPROT PIETER U43 VAN ACKER IZAAK U44 VAN AVERMAET BRECHT

U06 CALLIAUW JASPER

U45 VAN DEN ABEELE VINCENT

U07 COULIER FEBE

U46 VAN DEN HEEDE ROBBE

U08 D'HAESELEER OLE

U47 VAN ESBROECK DIEGO

U09 DAUWE DAVY

U48 VANDECANDELAERE JORNE

U10 DE BEN ROBIN U11 DE BONT KRISTOF U12 DE KETELAERE JENS U13 DE MAESSCHALCK NIELS U14 DE MULLIER LAURENS U15 DE WITTE MELCHIOR U16 DEPYPERE GERT-JAN U17 DILLES DORIEN U18 EGGERMONT MAARTEN U19 GABRIËL KENNY

U49 VERBUEKEN NICK U50 VERLEURE WOUTER U51 VOS JANA U52 WALRAET NIELS U53 WEYN KWINTEN U54 WOLFS THOMAS BACHELOR NA BACHELOR IN DE LANDSCHAPSONTWIKKELING / ADVANCED BACHELOR OF LANDSCAPE DEVELOPMENT

U20 GARRÉ ROBBERT U21 HAEGEMAN OLIVIER U22 JOCQUÉ MAXIME U23 KOKLENBERG ILKE U24 LAGRING ARNE

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Projects developed in 2012-2013: First term project The project area is situated in Zonnebeke, a village in West Flanders. The masterplan ‘The legacy of Passchendaele’ aims to improve the accessibility of the heritage of the battle of Passendale. The goal of this assignment was to analyse the landscape structure of the wider area in order to inquire how the relation between landscape and heritage can be strengthened. Second term project As part of the project ‘Gestroomlijnd landschap’, initiated by the province of East Flanders, proposals are being formulated for sustainable development of the valley of the Splenterbeek and the Ede, situated in the north of Eastern Flanders. The proposals are meant to serve as inspiration for an integrated landscape approach in the area.

Third term project This project was introduced by a workshop ‘Alternative futures’ with landscape architects Carl Steinitz and Tess Canfield. It aimed at coherent concepts for the spatial development of the village of Zonnebeke, with emphasis on recreation, agriculture, living, industry, nature and heritage. applying for a bachelor degree: V01 BLOK SAM V02 COLPAERT JANA V03 DAEMS KIM V04 DE CONINCK RUBEN V05 DEWAELE STAN V06 GEUDENS JEROEN V07 IMBRECHTS DOLF V08 NOULEZ ROBIN V09 PRAET MAX V10 ROSSCHAERT MAARTEN V11 SPIESSENS SANNE V12 VANHEERS JEROEN V13 VANTIEGHEM BERT V14 VERHAEGHE LISE V15 VERMORGEN TARS V16 WANTENS LANDER V17 WOUTERS BO V18 ZIAZIULCHYK DZMITRY POSTGRADUAAT TEBEAC / POSTGRADUATE TEBEAC

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study trips. Academics, professionals with practical experience and guest lecturers ensure the embedment of the programme and its students in the contemporary arts field. One of the programme courses results in the concerted realization of an exhibition project. When I became an Image is a search for different ways of looking in contemplating works of art. The ‘I’ of the title can be read as referring to the reduction of the beholder to an ‘eye’; to the mere act of looking. But ‘I’ is also subjectivity, the individual gaze that is able to ascribe meaning to a work of art. The way the viewer (I) relates to the work is crucial in the creation of the Image. When I became an Image aims to create a space for reflection on the ways an image can come about, and how these processes can generate interpretations. The works by Linda Lenssen, Melissa Mabesoone, Birde Vanheerswynghels, Jelena Vanoverbeek en Frank&Robbert Robbert&Frank raise different questions about the construction of an image. In addition, a discursive space is created where the viewing and interpretation of the exhibition as a whole is subjected to the same questions. Multiple approaches to the show are proposed: text, footage, performance, lectures and discussions engage in a dialogue with the works on display. Curated by: Karolien Deman Joris Dockx Chiara Lammens Heleen Sabbe Marije Sennema Geert Van de Caspeele Thomas van Haren Gerlinde Van Puymbroeck Stefaan Willems

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TEBEAC, the postgraduate programme of exhibition and conservation of contemporary art, is co-organized by University College Ghent, S.M.A.K. and Ghent University. TEBEAC focuses on contemporary exhibition practices, museological issues, conservation, collection building, and collection management. The training offers a varied programme including traditional academic lectures, discussion seminars, an internship, workshops, the curating of an exhibition and

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The advanced bachelor’s programme in landscape development focuses on the landscape, and on the ways it can be used in the context of environmental planning. This one-year programme aims to train competent professionals with the analytical and synthetic skills that are necessary for an independent and critical understanding of the landscape and to come up with creative and substantiated planning proposals. The degree of complexity of the project assignments increases every term. In the first term students deal with relatively simple problems, with a focus on site analysis. Planning and instruments enter the picture in the second and third term. Geographic information systems (GIS) are an important tool in this phase. The eight weeks of the fourth term are entirely devoted to an internship, where students have the opportunity to test and integrate the competencies they have acquired. Preferred trainee posts are in design offices, public institutions or administrations (such as the Flemish Government, the provinces and communities), at home and abroad, where both landscape planning in its broadest context, and the application of geographic information systems are addressed. In many cases these projects evolve as responses to specific questions from the field. In the course of the projects as well as in the final stages, consultation rounds are organized with students and clients. As such, our students have already presented studies and projects to local authorities, provincial councils, non-profit organizations and a number of private partners. These projects fit in with the public service work of the School of Arts.

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GRADUATION DEGREES GRANTED TO STUDENTS IN THE ACADEMIC YEAR 2011-2012 (ARRANGED ACCORDING TO PROGRAMME AND GENDER) total count (533)

NUMBER OF ENROLLED STUDENTS FOR THE ACADEMIC YEAR 2012-2013 (ARRANGED ACCORDING TO PROGRAMME AND GENDER) total count (2067)

Bachelor of Audiovisual Arts (16)

Bachelor of Audiovisual Arts (105)

Bachelor of Visual Arts (112)

Bachelor of Visual Arts (520)

Bachelor of Interior Design (66)

Bachelor of Interior Design (377)

Bachelor of Landscape and Garden Architecture (59)

Bachelor of Landscape and Garden Architecture (230)

Advanced Bachelor of Landscape Development (17)

Advanced Bachelor of Landscape Development (18)

Bachelor of Music (55)

Bachelor of Music (261)

Bachelor of Drama (10)

Bachelor of Drama (38)

Master of Audiovisual Arts (15)

Master of Audiovisual Arts (31)

Master of Visual Arts (63)

Master of Visual Arts (163)

Master of Music (46)

Master of Music (129)

Master of Drama (10)

Master of Drama (18)

Master of Audiovisual Arts (English master) (4)

Master of Audiovisual Arts (English master) (2)

Master of Fine Arts (English master) (4)

Master of Visual Arts (English master) (30)

Master of Music (English master) (3)

Master of Music (English Master) (18)

Advanced Master of Music / Soloist Contemporary Music (6)

Advanced Master of Music / Soloist Contemporary Music (10)

Postgraduate in Exhibition & Preservation of Contemporary Art (9)

Postgraduate program for Exhibition & Preservation of Contemporary Art (13)

Preparatory programme for the Master of Audiovisual Arts (2)

Preparatory programme for the Master of Audiovisual Arts (3)

Preparatory programme for the Master of Visual Arts (6)

Preparatory programme for the Master of Visual Arts (11)

Teacher Certification in Audiovisual Arts (1)

Preparatory programme for the Master of Music (3)

Teacher Certification in Visual Arts (11) Teacher Certification in Drama (1) Teacher Certification in Music (17)

Preparatory programme for the Master of Drama (2)

NUMBER OF UNIQUE STUDENTS FOR THE ACADEMIC YEAR 2012-2013 total count (1941)

male (915) female (1026) count of 1/12/2012 of all enrolled students with a degree contract NUMBER OF BELGIAN STUDENTS FOR THE ACADEMIC YEAR 2012-2013, PER PROVINCE total count (1742) count per province/region Antwerp224 Brussels-Capital Region 18 Hainaut7 Limburg74 Liège2 Namur1 East-Flanders745 Flemish Brabant 144 Walloon Brabant 3 West-Flanders522 Other  2 count of 1/12/2012 of all enrolled students with a degree contract, the category 'other' covers Belgian students who are domiciled abroad NUMBER OF FOREIGN STUDENTS FOR THE ACADEMIC YEAR 2011-2012, PER NATIONALITY total count (199) Albania1 America6 Argentina2 Armenia5 Belarus2 Brazil1 China4 Colombia2 Costa Rica 1 Countryless1 Croatia3 Estonia1 France4 Georgia1 Germany1 Honduras3 Hungary1 Iceland1 Indonesia2 Irak1 Iran5

count of 1/12/2012 of all enrolled students with a degree contract

Teacher Certification in Audiovisual Arts (2) Teacher Certification in Visual Arts (38) Teacher Certification in Drama (3) Teacher Certification in Music (42)

male female

count of 1/12/2012 of all enrolled students with a degree contract

138

Ireland1 Israël2 Italy5 Japan3 Kazakhstan3 Lithuania1 Mexico4 Moldova1 Norway1 Peru1 Poland1 Portugal2 Romania3 Russia18 Singapore1 South Africa 3 Spain6 Sweden1 The Netherlands 87 Ukraine5 United Kingdom 2

2013


KASK

SCHOOL

ARTS

TEACHING AND ADMINISTRATIVE STAFF OF THE SCHOOL OF ARTS FOR THE ACADEMIC YEAR 2012-2013

OF

total count (568) Jeannice Adriaansens / Vito Adriaensens / Liene Aerts / Timme Afschrift / Simon Allemeersch / Patrick Alliet / Kasper Andreasen / Susanna Antico / Koenraad Augustijnen / Peter Baeckelandt / Dirk Baele / Geert Baert / Vincent Bal / Carlos Balcaen / Paola Bartoletti / Paul Beelaerts / Inès Beert / Wim Belaen / Sven Bellanger / Ruben Bellinkx / Geert Belpaeme / Chokri Ben Chikha / Philippe Benoit / Laurence Berden / Joris Bergmans / Josep Bergmans / Patrick Berx / Joppe Bestevaar / Patrick Beuckels / Peter Beyls / Mikhail Bezverkhni / Sergio Biffi / Marie Bisschop / Dirk Blanchaert / Chantal Blanckaert / Mieke Bleyen / Alexis Blumberg / Beatrijs Boeykens / Robert Bogaerts / Evelyne Bohen / Jan Boon / Juliana Borinski / Eva Bos / Johan Bosschem / Hilde Bouchez / Dirk Braeckman / Bart Brants / Nathan Braude / Willem Breynaert / Rob Breyne / Martine Brodelet / Dirk Brosse / Anke Brouwers / Janos Bruneel / Geoffrey Brusatto / Hans Bryssinck / Jonathan Burrows / Christine Buyse / Théophile Calot / Angelique Campens / Olivera Capara / Mireille Capelle / Miel Cardinael / Edwin Carels / Johan Carrijn / Paul Casaer / Vincenzo Casale / Ingrid Castelein / Freddy Claeys / Geert Claeys / Geert Clarisse / Martine Clierieck / Carl Cneut / Wendy Cocquyt / Lisa Colpaert / Sébastien Conard / Francky Cools / Leo Copers / Frank Coppieters / Michel Coquette / Dirk Cornelis / Olmo Cornelis / Ignace Cornelissen / Kristen Cornwell / Danny Corstjens / Frank Coryn / Kersten Cottyn / Bram Crevits / Antonella Cusimano / Johan Daenen / Monique Darge / Jo De Baerdemaeker / Isabelle De Baets / Filip De Baudringhien / Guy De Bievre / Hugo De Block / Saskia De Bodt / Rik De Boe / Christoph De Boeck / Manon De Boer / Katia De Bondt / Sara De Bondt / Maria De Boodt / Elisabeth De Brauw / Greta De Brauwer / Joan De Bruyckere / Noël De Buck / Anouk De Clercq / Karel De Cock / Nele De Cock / Sabine De Cock / Jurgen De Coster / Karin De Fleyt / Anna Maria Cornelia De Gersem / Jan De Haas / Jan De Jonckheere / Carl De Keyzer / Hilde De Langhe / Ingrid De Meuter / Anne De Mey / Bart De Nolf / Jan De Pauw / Simon De Poorter / Helena De Preester / Philip De Roeck / Pieter De Rycker / Dirk De Schepper / Stephane De Schrevel / Helena De Smet / Marc De Smet / Peter De Smet / Wim De Temmerman / Hendrik De Vis / Luc De Vleeschhouwer / Eric De Vos / Hildegard De Vuyst / José De Wilde / Leen De Wilde / Dries De Wit / Sandy De Wolf / Mia De Wulf / Mario Debaene / Jan Debbaut / Dirk Deblauwe / Rik Debonne / Marie Deboosere / Stoffel Debuysere / Liesbeth Decan / Anna-Maria Decock / Wouter Decorte / Bart Defoort / Evert Defrancq / Francis Degand / Luc Degryse / Delphine Deguislage / Carlos-Joseph Dekeyrel / Karlien Dekoninck / Ivo Delaere / Stefanie Delarue / Fabrice Delecluse / Luc Deleu / Paul Demets / Jean-Marie Demeyer / Louis Demeyere / Marc Demoor / Siegrid Demyttenaere / Ilse Den Hond / Gerda Dendooven / Bart Depestel / Emmanuel Depoorter / Kris Deprey / Danny Deprez / Bieke Depuydt / Peter Derks / Johan Derycke / Laurent Derycke / Luc Derycke / Luc Deschepper / Pascal Desimpelaere / Thomas Desmet / Christophe Devisscher / Jan Devlieger / Steven Devolder / Alexis Devos / Maya Devos / Herwig Deweerdt / Bernard Dewulf / Els Dezwarte / Gert D'haese / Hilde D'haeyere / Stefaan Dheedene / Nele D'herde / Geert Dhondt / Martine Dielman / Danny Dobbelaere / Mieke Dobbels / Patrick Dombrecht / Michel Druart / Raphaël Dua / Johan Duijck / Leonard Duna / Caroline Duprez / Ronny Duquenne / Wim Eeckhout / Kristof Ellertz / Judith Ermert / Ervinck Nick Ervinck / Filip Eyckmans / Marijke Fabré / Tuur Florizoone / Pieter Foré / Johan Fostier / Manu Frederickx / Katrien Friant / Kurt Gabriel / Jerry Galle / Mekhitar Garabedian / Arnoud Gerritse / Vincent Geyskens / Julie Gilman / Mireille Gleizes / Isidoor Goddeeris / Marc Godfroid / Wannes Gonnissen / Frederik Goossens / Pieter Gorissen / Roland Goussey / Véronique Govaert / Gertruda Graste / Myriam Graulus / Johan Grimonprez / Elias Grootaers / Luc Gulinck / Senne Guns / Martine Gyselbrecht / Veerle Hallaert / Nick Hannes / Goedele Heidbüchel / Marianne Heirman / Els Hemerijckx / Jimmy Hendrickx / Gerard Herman / Delphine Hesters / Elias Heuninck / Steven Heyde / Florian Heyerick / Tony Heyndrickx / Veerle Heynssens / Christiane Högner / Mia Hollevoet / Jasmin Horozic / Lukas Huisman / Martine Huvenne / Elisabeth Huygelen / Philip Huyghe / Vincent Impens / Johan Isselée / Sergei Istomin / Gert Jacobs / Steven Jacobs / Erwin Jans / Luc Janssen / Daan Janssens / Thomas Janssens / Bram Jespers / Elsje Jourquin / Ruben Joye / Anu Junnonen / Anita Kars / Jan Kempenaers / Marc Kerckhof / Franky Kermaire / Gert Keunen / Ibrahim Kivrikoglu / Stephanie Kiwitt / Johan Knuts / Filip Kolen / Jan Willem Konink / Andreas Korczak / Jacobus Koster / Julie Krakowski / Susanne Kriemann / Michael Kugel / Liesbet Kusters / Laurentius Kwakkenbos / Hans Lamal / Paul Lamont / Dieter Lapauw / Ronny Lauwers / André Lefèvre / Katty Lemahieu / Hendrik Leper / Frederik Leroux-Roels / Bert Lesaffer / Peter Lesage / Nico Leunen / Leon Lhoest / Harlind Libbrecht / Daniël Libens / Bauke Lievens / Dirk Lievens / Stefan Lievestro / Tom Lodewyckx / Nico Logghe / Liesbeth Louwyck / Anna Luyten / Koen Maas / Jurgen Maelfeyt / Frank Maes / Ives Maes / Laura Maes / Wim Maeseele / Philippe Malfeyt / Guy Marchal / Sven Marievoet / Bart Maris / Erik Martens / Renzo Martens / Ronny Martin / Marc Masson / Pieter Mathysen / Marc Matthys / Christian Mendoza / Anton Mertens / Jan Mertens / Philip Metten / Rob Meuleman / Armand Mevis / Ignace Michiels / Raf Minten / Carlo Mistiaen / Alessandro Moccia / Els Moens / Jean-Paul Monbaliu / Luc Monsaert / Gustavo Mulhall / Jozefien Muylle / Thomas Nachtergaele / Carlo Nardozza / Tomas Navratil / Femke Neels / Steven Neetens / Erik Nerinckx / Annie Neve / Bram Nolf / Frank Nuyts / Pieter Nuytten / Sophie

Nys / Yemi Junior Oduwale / Hans Op De Beeck / Johan Opstaele / Christian Overdeput / Jolien Paeshuys / Lukas Pairon / Adriana Parente La Selva / Sjoerd Paridaen / Jozef Pastijn / Tom Pauwels / Virginie Peeters / Yannick Peeters / Getacine Pegorim / Sarah Peire / Guy Penson / Kristel Peters / Vincent Pierins / Anouk Pieters / Kim Pint / Matteo Pirola / Alain Platel / Pascal Poissonnier / Jean Pollet / Francis Ponseele / Marc Popelier / Lucien Posman / Caroline Poullier / Penny Provost / Marcos Pujol / Dirk Pultau / Maarten Quanten / Henk Rabau / Britt Raes / Godfried Raes / Iris Raspoet / Filip Rathe / Willem Raymaekers / Lieva Reunes / Marc Reynders / Jasper Rigole / Gert Robyns / Eva Rodenburg / Els Roelandt / Daniël Roelant / Roger Roelens / Hans Roels / Peter Rogiers / Ruth Rondas / Katrien Rondelez / Alex Roosemeyers / Mirella Ruigrok / Ann Saelens / Gidon Saks / Vitaly Samoshko / Danny Scheerlinck / Michael Schmid / Raf Schoenmaekers / Stijn Schollaert / Hans Scholliers / Stijn Segers / Dries Sel / Liselotte Sels / Yves Senden / Gillis Senepart / Timur Sergeyenia / Bert Serneels / Joren Six / Marie Snauwaert / Geert Soenen / Christophe Sonck / Gyuri Spies / Margareta Spyckerelle / Jan Steen / Dirk Steenbrugge / Eveline Steenhout / Diane Steverlynck / Yves Storms / Claire Stragier / Jan Stragier / Herman Stroobants / Virginie Suriano / Youliana Tcherneva-Verschuren / Nathalie Teirlinck / Jonas Temmerman / Sandra Termont / Hans Theys / Philippe Thuriot / Michel Tilkin / Pieter T'jonck / Narcisse Tordoir / Tom Tosseyn / Eric Ubben / Lilia Umnova / Pietro Vaiana / Arielle Valibouse / Martien Van Beeck / Theodorus Van Bergen / Wilfried Van Beveren / Stéphane Van Burm / Steffie Van Cauter / Gerd Van Cauteren / Bram Van Damme / Sebastiaan Van Damme / Sylvie Van Damme / Dino Van De Velde / Gwendeline Van De Velde / Lieven Van Den Abeele / Bart Van Den Bossche / Sofie Van Den Bossche / Caroline Van Den Eynden / Joris Van Den Hauwe / Dieter Van Den Storm / Francine Van Der Biest / Sandra Van Der Gucht / Tania Van Der Sanden / Jan Van Der Veken / Thomas Van Der Velde / An Van Dienderen / Toon Van Dionant / Hendrik Van Doorn / Willy Van Driel / Elly Van Eeghem / Brecht Van Elslande / Octaaf Van Geert / Jef Van Gestel / Kristof Van Gestel / Dirk Van Gogh / René Van Gysegem / Anna-Maria Van Haute / Hugo Van Heertum / Pieter Van Hees / Samuel Van Ingelgem / Carl Van Isacker / Annemie Van Kerckhoven / Natalie Van Laere / Elke Van Landeghem / Wigbert Van Lierde / Kurt Van Maldegem / Hans Van Oost / Filip Van Opstal / Bram Van Paesschen / Karen Van Petegem / Griet Van Reeth / Stijn Van Rossem / Viola Van Rossum / Steve Van Ryckeghem / Vivian Van Saaze / Nicoline Van Stapele / Bart Van Steenkiste / Wouter Van Tornhout / Stephan Vanaenrode / Ivan Vanbroekhoven / Sofie Vandamme / Frank Vande Veire / Henk Vandekerkhove / Peter Vandenberghe / Jolien Vandenbroele / Jacky Vander Linden / Robrecht Vanderbeeken / Katrien Vanderbeke / Gerrit Vanderharst / Bram Vandeveire / Ludwig Vandevelde / Benjamin Vandewalle / Daan Vandewalle / Rik Vaneyghen / Stephan Vanfleteren / Jan Vanhalewyn / Clara Vankerschaver / Raf Vanommeslaeghe / Eddy Vanoosthuyse / Sam Vanoverschelde / Stef Vanstraelen / Anja Veirman / Daniel Venlet / Wim Verbeke / Joris Verbeken / Geerten Verberkmoes / Peter Verbraken / Sofie Verbruggen / Geert Vercaemer / Jan Vercruysse / Rik Vercruysse / Geert Vergauwe / Harold Vergucht / Nicole Verhamme / Peter Verhelst / Hildegarde Verheyen / Leo Verlinden / Jeanne Vermaele / Joris Vermassen / Pascal Vermeersch / Kaatje Vermeire / Erik Vermeulen / Maria Vermeulen / Patrick Vermeulen / Willem Vermoere / Pieternel Vermoortel / Petra Vermote / Evelyn Verschoore / Saskia Verstiggel / Patrick Viaene / Annelies Vlaeminck / Didier Volckaert / Hans Vos / Katrien Vuylsteke Vanfleteren / Wim Waelput / Tom Wellekens / Veronique Welvaert / Saskia Westerduin / Maarten Weyler / Benjamin Wiame / Catherine Willems / Veerle Windels / Erwin Wittevrongel / Marina Yee / Peter Ysabie / Tatyana Yugay / Dirk Zoete / Olga Zolotareva

139

CONSERVATORIUM


GRADUATION COLOPHON

www.graduation2013.be www.schoolofartsgent.be

Publication issued on the occasion of Graduation 2013, the presentation of bachelor’s, master’s and postgraduate projects 2013 at School of Arts Ghent (KASK & CONSERVATORY). Graduation 2013 comprises an exhibition, a drama festival, the premiere of KASKfilms, fashion shows (MOVEMENT#20) and concerts. DRAMAfestival June 20 – June 29, various locations on the Bijloke campus and in the city centre of Ghent Movement #20 Fashion shows: June 21 & 22, Bijloke campus, Zwarte Zaal Concerts June 23, 25 & 27, series of classical concerts in Miry Concert Hall June 28, Jazz Pop evening concert in DOKbox and DOKkantine in collaboration with Democrazy KASKfilms Premiere: June 25, cinema Sphinx Screenings: June 27 – June 30, KASKcinema EXHIBITION Master’s, Bachelor’s and Postgraduate projects exhibition June 27 – June 30, Bijloke campus & Kunsttoren Publication coordination and editing: Liene Aerts, Wim De Temmerman, Régis Dragonetti Contributions by: Liene Aerts, Silvia Defrance, Hilde D'haeyere, Wim De Temmerman, Leen De Wilde, Wannes Gonnissen, Martine Huvenne, Johan Isselée, Jozefien Muylle, Ruth Rondas, Dirk Van Gogh, Geert Vergauwe, Ludwig Vandevelde and Brecht Vanelslande Design: Jurgen Maelfeyt Back cover image: Erik van der Weijde, from ‘This is not my son’, 2009. Translation: David Depestel Copyediting: Liene Aerts, David Depestel and Régis Dragonetti Text and photo editing index student projects: Claire Stragier, Annelien Vermeir and Marthe Verpoucke Website: Claire Stragier and Harold Vergucht Thanks to: Hilde Bouchez, Wendy Cocquyt, Fabrice Delecluse, Emmanuel Depoorter, Luc Deschepper, Dirk De Schepper, Laurent Fobe, Manu Frederickx, Wannes Gyselinck, Toon Heyndrickx, Lukas Huisman, Johan Isselée, Bauke Lievens, Anna Luyten, Philip Metten, Els Moens, Pieter Mathysen, Gustavo Mulhall, Els Roelandt, Roger Roelens, Diane Steverlynck, Sylvie Van Damme, Thomas Van der Velde, Bram Van Paesschen and Katrien Vuylsteke Vanfleteren Fonts: Permeke Semibold by Josse Pyl (student graphic design) and Life Printing: die Keure, Brugge ISBN: 9789491564017 Edition: 1500 copies School of Arts Ghent Jozef Kluyskensstraat 2 B-9000 Ghent

140

2013



Graduation 2013