Graduation 2017

GRADUA

PUBLISHED ON THE OCCASION OF THE PRESENTATION OF THE GRADUATION PROJECTS 2017 AT KASK AND THE ROYAL CONSERVATORY / SCHOOL OF ARTS GHENT.

NAAR AANLEIDING VAN DE PRESENTATIE VAN DE AFSTUDEERPROJECTEN 2017 AAN KASK & KONINKLIJK CONSERVATORIUM / SCHOOL OF ARTS GENT.

GRADUATION 2017

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Introduction / Voorwoord Masters, Bachelors & Postgraduate Projects 16—17 Research in the Arts 16—17 Artistic Productions 16—17 Facts & Figures

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On the Eve of Never Departing?

The past academic year 2016-2017 was a turbulent one. Not so much on the KASK and Royal Conservatory campuses, that is, as outside them.

There were attacks targeting random people in European cities, streams of migrants and refugees towards Europe, disintegration of European unity and an unrelenting crisis of the European banking and monetary system, social instability and impoverishment due to a politics of austerity, a call for less democracy and more moral conservatism and authoritarian leadership. The world became a less stable place in geopolitical terms, and a riskier one in military and ecologic terms.

Is humanity regressing towards nineteenth-century situations then, only this time carrying dangerous and complex twenty-first-century technology?

At tram stops, in restaurants and in the street, people are discussing politics and the economy. That concerned involvement is definitely a good thing, but unfortunately it is also a consequence of the structural crisis we now find ourselves in.

Consciously perhaps, but at the very least unwittingly, this world in turmoil has an impact on the minds, interests and actions of students and teachers. At the same time, the campus also offers an ideal opportunity for innere Emigration, 4 that withdrawal from a chaotic and troublesome world to devote oneself to art, as the Germans called it in reference to artists under national-socialism.

Perhaps, these emigrants repeat to themselves Stefan Zweig’s assertion that, ‘in the last resort, every shadow is also the child of light’?1 But throughout the year, students also presented us drama performances, drawings, films, designs, music theatre productions, texts, and more, that in some way dealt with their perception and experience of social turmoil. Other students turned towards activism, and explicitly made their work part of a solution.

Has the generation that was calling the shots for the past thirty years failed? In a number of crucial ways, it certainly has. And although it doesn’t shy away from an ongoing soul-searching on the matter, its diagnosis of what goes wrong generally remains well within the boundaries of the existing. As if radically new actions, systems and values somehow resist being thought or realized. Indifference and cynicism lurk around the corner. Are we collectively stuck for eternity in the first bachelor year, and is even our solemn graduation ceremony, that great symbolic leap forward, nothing more than an ‘eve of never departing’? If we are to take Fernando Pessoa’s word for it, this should feel liberating: On the eve of never departing At least there are no suitcases to pack

Or lists to draw up with things to do (Some of which are always forgotten) The following day, before leaving.

Nothing needs to be done On the eve of never departing.2 If this eve of never departing seems like an almost mystical restful moment, however, the human condition always rouses us, compelling us to some sort of activity. With every new human birth, mankind must start anew. Genetic codes aside, a baby is a clean slate. And that impels optimism: man can always start again and leave former mistakes behind.

Obviously, that opportunity is often a mere theoretical one, as each baby is introduced to life by people who often neglect to get rid of dead weight or even prefer to pass it on to their offspring for relief. Also, not all mistakes can be corrected. When a six hundred-year old forest is cleared, a next generation may well decide to plant it anew, but it will take another six hundred years for a comparable wealth to develop. People just don’t last long enough to permit themselves to start from scratch. ‘To create a little flower is the labour of ages,’ as William Blake wrote in The Marriage of Heaven and Hell:3 many things take centuries to develop and are the work of many generations. Yet the possibility to start again remains, but to avoid 5 being stuck on some rudimentary level, collaboration across generations is necessary.

These two notions highlight the crucial value of education – that mankind can always start over and should thus learn, and that it must collaborate across generations if it is to reach a level of complexity that makes life interesting. To balance the two considerations is not an easy feat, however. The innovative potential that comes with the opportunity to start over, is easily eroded when well-tried views and solutions are passed on.

New generations then simply repeat what those who came before did, because that is what they were taught.

Today, many things are approaching their ends. Our ecologically inefficient behaviour, the destabilizing gap between the rich and the poor, and an overall atmosphere of unsafety and military threat … The structural crisis we find ourselves in demands new ideas, practices, systems, feelings and technologies. The youngest generations cannot afford to stick to the ways of the older ones. Neither do they intend to, I gather. Indeed, in many ways, both visible and invisible, that change is already being made.

What part might higher education in the arts play in that process?

In my view, and that is an entirely personal one and not an official

School of Arts position, let alone a view subscribed to by all our faculty, an arts campus is a place where people, generally young people, are trained as experts in the creation of truth and meaning through sound, image, motion, design or words. In that respect, art and design are very much like science, because they express a truth about mankind and the world, they just do so through their own particular media and without any claims to objectivity as a truth model. Every successful design or work of art is, in its own way, a statement about man in the cosmos, about meaningful life and living together.

This makes art and design activities that subject the existing to a critical scrutiny, and break certain aspects of the prevailing pensée unique.

Because through their way of establishing truths, works of art or design are both useless and intrinsically valuable. And in a world where value is just short for market value, and where usefulness legitimates the terms of all trade in that market, that makes them atypical, virtually archaeo­lo­ gical remnants. Useless intrinsic value is uncanny.

Nor do these things derive their value from political or military power, from nationalist or religious ideologies. That, too, is uncanny. And that uncanniness is emancipatory.

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Works of art or design result from a highly personal and individual process, in a specific context and culture. Yet they hold the ambition and potential to mean something to many, perhaps even all, people. This pendular swing between the most particular and the universal is quite unique, definitely so in a social context that continually demands giving up the particular in the service of worldwide and globalized models of economics, politics or morals. Or, conversely, where universal aspirations are violently contested by defenders of local nationalist or religious identities. Against that background, it is again uncanny that works of art or design manage to transport us to a universal human level without crushing our individuality and particularity. On the contrary, they do so precisely by addressing us in that particularity. That uncanniness, too, is emancipatory.

The activities on the arts campus open Doors of Perception onto a mode of life where a colourful variety of practices, views and feelings has an open field. Where things are shaped that remain uncompromisingly and intrinsically valuable. Where the most particular finds a connection with the universal.

On the eve of never departing, there is quite a pack of twenty-somethings on that campus getting ready to depart. Their suitcases are packed with plans, they are giddy with eagerness. Graduation. Let’s not slow

them down. They are vocal, capable and passionate. Many things are approaching their ends. It is only right that the next move is now up to these bachelors and masters, in this unending work to understand, shape and celebrate life.

WIM DE TEMMERMAN dean of the Royal Conservatory & Royal Academy of Fine Arts (KASK)

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‘Aber jeder Schatten ist im letzen doch auch Kind des Lichts’ from the final paragraph of Stefan Zweig’s Die Welt von gestern.

Zug: Williams Verlag, 1944; in Anthea Bell’s translation, The World of Yesterday.

London: Pushkin Press, 2009.

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‘On the Eve of Never Departing’, in Pessoa, Fernando Pessoa & Co.: Selected Poems, edited and translated by Richard Zenith.

New York: Grove Press, 1998.

William Blake, The Marriage of Heaven and Hell, copy H, Fitzwilliam Museum, Cambridge, plate 9.

Aan de vooravond van nooit vertrekken?

Academiejaar 2016-17 was turbulent. Niet zozeer op de campussen van KASK en Koninklijk Conservatorium zelf, maar vooral daarbuiten.

Er waren aanslagen op willekeurige mensen in Europese steden, migratieen vluchtelingenstromen richting Europa, desintegratie van de Europese eenmaking en een aanhoudende crisis van het Europees bank- en munt­ systeem, sociale instabiliteit en verarming door zuinigheidspolitiek, een roep om minder democratie, om meer moreel conservatisme en autoritair leiderschap. De wereld werd geopolitiek onstabieler en is vandaag vol militair en ecologisch risico.

Lijkt de mensheid te regresseren naar negentiende-eeuwse situaties, zij het met de gevaarlijke en complexe technologie van de eenentwintigste eeuw in handen? Aan tramhaltes, in restaurants en op de markt wordt over politiek en economie gediscussieerd. Die betrokkenheid valt toe te juichen, maar helaas is zij ook een gevolg van de structurele crisis waar we in verzeilden.

Bewust of minstens onbewust heeft deze turbulente omgeving impact op gemoed, interesses en handelen van studenten en lesgevers. Tegelijk biedt de campus een ideale mogelijkheid tot innere Emigration, de terugtrekking 8 uit een chaotische en lastige wereld om je te wijden aan de kunst, zoals de Duitsers het noemden met betrekking tot kunstenaars onder het natio­naalsocialisme. Deze emigranten herhalen misschien bij zichzelf Stefan Zweigs bewering ‘dat ook de meest donkere schaduw finaal een kind is van het licht’?1 Studenten toonden ons het voorbije academiejaar ook onder andere drama­voorstellingen, tekeningen, films, ontwerpen, muziektheatervoor­ stellingen, teksten en ander werk waarin hun beleving van de maatschappe­ lijke turbulen­ties werd gethematiseerd. Andere studenten gingen activistisch aan de slag, en maakten hun werk expliciet tot een deel van de oplossing.

Heeft de generatie die de laatste dertig jaar aan zet was gefaald? Op een aantal cruciale punten zeker wel. Zij houdt ook niet op zichzelf daarover te bevragen, maar blijft in de diagnose van wat misgaat meestal bij het bestaande steken. Alsof radicaal nieuwe handelingen, systemen en waarden zich moeilijk laten denken of realiseren. Onverschilligheid en cynisme wachten om de hoek. Zit de mensheid eeuwigdurend vast in eerste bachelor, en is zelfs ook plechtig afstuderen, die grote symbolische sprong voorwaarts, niet meer dan een ‘vooravond van nooit vertrekken’?

Volgens Fernando Pessoa voelt dat alvast bevrijdend: Aan de vooravond van nooit vertrekken Hoeft men tenminste geen koffers te pakken

Noch plannen op papier te zetten, Met onbedoelde begeleiding van wat men vergeet, Voor het vertrek, vrijblijvend nog, de dag daarop.

Men hoeft niets, niets te doen Aan de vooravond van nooit vertrekken.2 Lijkt deze vooravond van nooit vertrekken een bijna mystiek rustgevend moment, dan noopt de menselijke conditie ons toch tot enige activiteit.

Omdat er steeds nieuwe mensen geboren worden, moet de mens steeds opnieuw beginnen. Een baby start, de genetische code’s daargelaten, van niets. Het zet aan tot optimisme: de mens kan steeds opnieuw beginnen, en zal daardoor wat misliep ook makkelijk achter zich kunnen laten.

Uiteraard blijft die mogelijkheid dikwijls theoretisch, want elke baby wordt in het leven ingeleid door mensen die er veelal niet aan denken ballast achter zich te laten. Integendeel, men geeft zijn eigen ballast maar wat graag door aan zijn kroost, dat verlicht. Ook valt wat misliep niet zomaar te herdoen. Wordt een zeshonderdjarig bos gerooid, dan kan een volgende generatie beslissen om datzelfde bos opnieuw te planten, maar het duurt zeshonderd jaar alvorens een gelijkaardige rijkdom zich heeft ontwikkeld. Mensen duren te kort om zich te veroorloven telkens van nul te herbeginnen. To create a little flower is the labour of ages, aldus William 9 Blake in The Marriage of Heaven and Hell 3: heel wat zaken vergen eeuwen om tot stand te komen en zijn het werk van vele generaties. Toch kan de mens steeds opnieuw beginnen. Maar wil hij niet op een rudimentair niveau blijven steken, dan moet hij samenwerken over de generaties heen.

Deze twee feiten maken onderwijs tot iets cruciaals – dat de mens steeds opnieuw kan beginnen, en dus moet leren, en dat hij moet samenwerken over de generaties heen, wil men een complexiteit bereiken die het leven interessant maakt. Aan beide feiten tegelijk recht doen is een serieuze even­ wichts­oefening. Het vernieuwend potentieel, gegeven met het feit dat men opnieuw kan beginnen, wordt makkelijk uitgehold wanneer beproefde visies en probleemoplossingen worden doorgegeven. Nieuwe generaties blijven dan doen wat de voorgaande ook al deden, omdat hen dat zo werd geleerd.

Vandaag lopen heel wat zaken op hun einde. Ons ecologisch inefficiënt gedrag, de destalibiserende tegenstelling tussen arm en rijk, de te grote onveiligheid en militaire dreiging, enzovoort. De structurele crisis waarin we verzeilden, vraagt om nieuwe ideeën, praktijken, systemen, gevoelens en technieken. De nieuwste generaties kunnen het zich niet veroorloven te blijven doen wat de vorige hebben gedaan. Zij zijn dat, naar mijn indruk, ook niet van plan. Want onderhuids en bovenhuids gaat de vernieuwing reeds volop haar gang.

Welke rol speelt daarin, mogelijkerwijze, het hoger kunstonderwijs?

In mijn visie, en die is persoonlijk en niet de officiële visie van onze School of Arts, laat staan van elk van haar lesgevers, is een kunstencampus een plek waar mensen, doorgaans jongeren, worden gevormd tot experten op vlak van waarheids- en zingevingscreatie bij middel van klank, beeld, beweging, vormgeving, ontwerp of tekst. Daarin gelijken kunst en vorm­ geving op wetenschap, omdat zij een waarheid over de mens en de wereld uitdrukken, zij het met eigen media en zonder aanspraak op objectiviteit als waarheidsmodel. Ieder geslaagd ontwerp of kunstwerk is, op zijn eigen wijze, een uitspraak over de mens in de kosmos, over het zinvolle leven en het samenleven.

Het maakt kunst en ontwerp tot activiteiten die het bestaande kritisch doorlichten en bepaalde aspecten van de huidige pensée unique door­ breken. Door hun waarheidsvinding zijn kunstwerken en ontwerpen immers zowel nutteloos als intrinsiek waardevol. Dit maakt ze, in een wereld waarin waarde en marktwaarde zo goed als synoniem zijn, en waarin het nut de legitimatie levert voor elk verhandelen op die markt, tot atypische, vrijwel archeologische restanten. Nutteloze intrinsieke waarde bevreemdt.

Zij ontlenen hun waarde verder ook niet aan politieke of militaire macht, aan nationalistische of godsdienstige ideologieën. Ook dat bevreemdt.

10 En deze bevreemding ontvoogt.

Kunstwerken en ontwerpen ontstaan binnen een hoogst persoonlijk en individueel proces, in een specifieke context en cultuur. Toch dragen zij tegelijk de ambitie en mogelijkheid in zich om iets te betekenen voor zeer velen, mogelijks voor alle mensen. Deze pendelbeweging tussen het meest particuliere en het universele is uniek. Zeker in een maatschappe­ lijke omgeving waar voortdurend gevraagd wordt om het particuliere op te geven in functie van mondiale en geglobaliseerde modellen op eco­ nomisch, politiek of moreel vlak. Of waar omgekeerd universele aspiraties met geweld gecontesteerd worden door verdedigers van lokale national­ istische of godsdienstige identiteiten. Tegen die achtergrond bevreemdt het dat kunstwerken en ontwerpen erin slagen ons naar een universeel menselijk niveau te transporteren, zonder onze eigenheid en particulariteit te vermorzelen. Integendeel, ze doen dat net door ons in die particulariteit aan te spreken. Ook die bevreemding ontvoogt.

Het werk op de kunstencampus opent Doors of Perception naar een levens­sfeer waar een bonte veelheid aan praktijken, visies en gevoelens vrij spel krijgt. Waar dingen vorm krijgen die onverzettelijk en intrinsiek van waarde blijven. Waar het hoogst particuliere zich verbindt met het universele.

Aan de vooravond van nooit vertrekken, staat op die campus een hele bende twintigers klaar om te vertrekken. Hun koffers zijn volgepakt met plannen, hun gemoed zit vol verlangen. Graduation. We zouden hen niet willen afremmen. Ze zijn mondig, capabel en gedreven. Heel wat zaken lopen op hun einde. Terecht komen deze bachelors en masters nu aan zet, in dit nooit eindigende werk om het leven te begrijpen, vorm te geven en te vieren.

WIM DE TEMMERMAN decaan Koninklijk Conservatorium & Koninklijke Academie voor Schone Kunsten (KASK)

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‘Aber jeder Schatten ist im letzen doch auch Kind des Lichts.’ Stefan Zweig, Die Welt von gestern. Zug: Williams Verlag, 1944, slotparagraaf.

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Fernando Pessoa / Álvaro de Campos, Poesías / Gedichten 1913-1922.

Vertaling August Willemsen. Amsterdam: De Arbeiderspers, 2006.

William Blake, The Marriage of Heaven and Hell, copy H, Fitzwilliam Museum, Cambridge, plaat 9.

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Master’s Project #54: Marijs Kempynck, Open vraag: Het gordijn van de tijd (31.01 – 06.02.2017). © Marijs Kempynck Walk with us by Evie Ellen and Kellie Lippens in the photography studios (30.05.2017). © Kellie Lippens Master’s Project #50 : Jade Kerremans and Louise Delanghe, Polyvalent (02.12 – 13.12.2016). © Rachel Gruijters Wall Drawing Experiment #4 (03 – 05.03.2017), exhibition by drawing students, Zwarte Zaal. © Freek Van Zoest Curator Nick Aikens presents recent and future projects at the Van Abbemuseum to students of the postgraduate Curatorial Studies, Eindhoven (08.05.2017). © Justien Vander Borght, student animation film European Postgraduate in Arts in Sound (2017) © Martine Huvenne Project Week in Athens with students multi­ media design and teachers Bram Crevits and Adva Zakai (April 2017). © Marijs Kempynck The gate of De Koer by Max Pairon, drama student © Kristof Van Gestel © Linde Vandecruys, fashion student (2017) Zwarte Zaal after the photography exhibition We Hate It When Our Friends Become Successful, Zwarte Zaal (14.01 – 15.01.2017). © Willem Vermoere Exhibition view Eerste palmboom van België in de abdij van Ename, an exhibition by the landscape and garden architecture programme, Cirque (02.02 – 16.02.2017).

34 © Rachel Gruijters String orchestra led by Alessandro Moccia during the Open Day (27.04.2017). © Marian Coppieters Ezra Veldhuis in the painting studio (2017) © Ezra Veldhuis Workshop organic indigo dye in the textile design studio (29.05.2017) © Maria Boto Een kleptomaan neemt de dingen letterlijk, exhibition by students fine arts – installation art, Zwarte Zaal (17.02 – 22.02.2017). © Stefaan Dheedene Ghent Art Book Fair posters in the graphic design studio (04.2017). © Bára Ru ˚žicˇková Graphic design studio (2017). © Ronny Duquenne Master’s project #59: Janne Claes & Maranne Walravens, Temporary Situation of Material Girls (31.03 – 16.04.2017). © Janne Claes Chamber music ensemble in MIRY Concert Hall during the Open Day (23.04.2017). © Marian Coppieters Field trip to Verdonken Land van Saeftinghe advanced bachelor landscape development (16.12.2016). © Ruben Joye © Delphine De Smet, fashion student (25.02.2017) GAME and Ictus performing at Big Bang Festival 3 in Onasis Cultural Centre Athens (20.05.2017). © Onasis Cultural Centre Athens One To Many, group exhibition of master students in fine arts in collaboration with Kasper Andreasen, Convent (21.04.2017).

25 Master’s Project #58: Chantal van Rijt, Light, Dance (16.03 – 26.03.2017) © Chantal Van Rijt 26 Stil(l), drama performance by Tim Taveirne and Loes Swaenepoel (18.04.2017). © Tim Theo Deceuninck 27 © Stans Vrijsen, student fine arts (2017).

28 Opening STOCK, Collection #2: Copy Paste (10.11.2016). © Leontien Allemeersch 29. © Marie Gavel, student interior design (2017).

30 Opera production Don Chisciotte in Sierra Morena (31.03.2017). © Koen Broos 31 Drawings made during De Heer Bonifakius, a drama performance by Anna Carlier en Indra De Bruyn (17.05.2017) © Sofie De Cleene 32 Concert by Ivy Falls, Ghent Jazz Festival (14.07.2016), Bijloke.

33 Linde Dumolein’s work spot in the installation art studio © Linde Dumolein 34 © Telma Lannoo, student graphic design (2017).

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• MASTER OF VISUAL ARTS / MASTER IN DE BEELDENDE KUNSTEN 38 Graphic Design / Grafisch Ontwerp 42 Multimedia Design / Autonome Vormgeving 47 Fine Arts / Vrije Kunsten 58 Textile Design / Textielontwerp 59 Photography / Fotografie 63 Fashion / Mode • MASTER OF AUDIOVISUAL ARTS / MASTER IN DE AUDIOVISUELE KUNSTEN 66 Film 70 Animation Film / Animatiefilm • MASTER OF DRAMA / MASTER IN HET DRAMA 71 • MASTER OF MUSIC / MASTER IN DE MUZIEK 78 Performing Music: Classical Music / Uitvoerende Muziek: Klassieke Muziek 81 Performing Music: Jazz/Pop / Uitvoerende Muziek: Jazz/Pop 82 Composing Music: Composition / Scheppende Muziek: Compositie 83 Composing Music: Music Production / Scheppende Muziek: Muziekproductie 84 Music Theory / Muziektheorie 84 Musical Instrument Making / Instrumentenbouw 85 Advanced Master Contemporary Music / 36 Master na Master Hedendaagse Muziek • BACHELOR OF INTERIOR DESIGN / BACHELOR IN DE INTERIEURVORMGEVING 85 Focus: Interior Finishing & Advice / Interieurafwerking & Advies 88 Focus: Concept & Spatiality / Concept & Ruimtelijkheid 89 Focus: Furniture & Design / Meubel & Design 90 Focus: Temporary Installations / Tijdelijke Installaties • BACHELOR OF LANDSCAPE AND GARDEN ARCHITECTURE BACHELOR IN DE LANDSCHAPS- EN TUINARCHITECTUUR 92

• ADVANCED BACHELOR OF LANDSCAPE DEVELOPMENT BACHELOR NA BACHELOR IN DE LANDSCHAPSONTWIKKELING 93

• POSTGRADUATES 94 Musical Performance Practice 94 Soloist Classical Music 94 Curatorial Studies 94 Digital Storytelling 96 European Postgraduate in Arts in Sound • TEACHER CERTIFICATION IN THE ARTS / SPECIFIEKE LERARENOPLEIDING IN DE KUNSTEN 97

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

02 AMBER CRAEYE ODE Five hundred drawings, an ode to myself.

04 GOEDELE DE WILDE THE GAP BETWEEN INTENTION AND CONSEQUENCE ‘And even though chance deals with the unexpected and the unplanned, it still has to be organized before it can exist.’ – Robert Rauschenberg

01 KORNEEL BOSTYN korneel1.tumblr.com AN ODE TO FRILLS There is no creature as preoccupied with recog­ nizing and creating beauty as man. It is an obses­ sion. In transcendental realms, in our primordial brain, to the left or to the right: beauty has been found anywhere and nowhere. Since time immemorial, man has been looking for ways to manipulate things and make them beautiful.

Even if something possesses a natural beauty, man is sure to adapt it into something better.

He cannot let a blank page be.

Man is desperately trying to shake off the yoke of evolution. He prefers things to be ordered, unambiguous and understandable. What escapes our grasp we wilfully ignore or we find a false solution for it.

03 SUZANNE DE JAEGHER A UTOPIAN DESIRE ‘We met a Dutchman here, baron d’Ablaing, a nice kid. I showed him around Cairo, to the best of my abilities … He has left for Abyssinia and I am off to the Sudan now.’ – Alexandrinne Tinne One thing is certain: my desire to travel to 40 unknown places is immense. Thinking of this, I recognize myself in Alexandrinne Tinne, a Dutch moneyed lady who travelled north-western Africa in the middle of the nineteenth century. Her journals became the basis for my research, leading to a reconstruction of her journey that quickly turned into a fictional representation of an expedition.

The result is a collection of images that reflect my imaginary journey.

05 LOUISE DELANGHE POLYVALENT A couple walks into a warehouse for vintage stuff.

They are looking for furniture for their brand new apartment. They are obviously seeking advice.

Somewhat nervously they tell me that the place has sloping walls. There is a gap between the sideboard and the wall. The chandelier doesn’t hang straight down but aslant. The framed painting comes off the wall. There is no corner for the corner sofa.

06 KATRIEN DOMS katrien-doms.tumblr.com SENSIBLE AND FAR WORSE

07 JADE KERREMANS henkonline.be HENK

Oh that decontextualization of political words and discourses. Cut-and-paste a standard operation and Facebook comments as sources. Oh, Kenneth Goldsmith has taught me a ton, appropriation and the internet. I’ve also renounced him, off and on, no, nothing uncreative about this sonnet. Trump, Hillary, Brexit and so on, yes, the word on the street is real.

What else should I rely upon? At least they know the deal. A bit of satire, a somewhat vague impression.

To come or not to come, that is the question.

To stay fit, Henk exercises. Twice a week, he goes jogging in the park. Henk doesn’t exercise every day. It is unhealthy to exercise intensively two days in a row. Twenty-six days ago, Henk bought new trainers. They are Reeboks. The shop assistant said that this was the best brand. The shoes have special soles with deep grooves. The soles provide some bounce when running on hard surfaces.

This makes running more comfortable. When Henk runs off the park paths, dirt collects in the grooves of his soles. Then he uses the boot scraper set in the wall next to his front door. Henk found out a couple of years ago that this is what these are for.

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09 KARL KIPPER www.kru.design

WHERE AM I? My master’s project is ‘excessively’ personal, as it is entirely based on my experiences in South Korea and the Western countries that I have been to: the United States and Belgium. In that sense, the project is all about the reflection of my personal thoughts with symbolism based on abstract expression and it mainly entails the depiction of my chaotic feelings. These derived initially from my dissatisfaction with South Korean society, as I always had this eagerness to find something better, a missing part of my life in the West. Unfortunately, the project also represents my other discontentment and insecure legal status in Western society as an outsider who can’t truly be a part of it.

10 TELMA LANNOO vertelma.tumblr.com VAARWEL OG FARVEL 1. People I did not know, but do know now 2. Living along a channel 3. Facing the wind, the rain, the traffic, no bridge nearby 4. You lived on the wrong side of town 5. Potential neighbours floating on the right side of the channel 6. Teen aging in front of the window 7. Porthole curiosity, human interest, visual journalism, storytelling 8. An ancient gesture, a souvenir 9. While leaving

LIVING APOPHENIA Online media have undergone a huge change over the past ten years. Perhaps we already know that a lot of data gets recorded, in order to give us personalized search results, selected advertisements or just make us hooked to the 41 screen. My master project explores the two worlds behind it – the world where algorithms and data come alive together, start to live on their own, and the world of humans where we still fail to recognize our own biases.

To see the algorithmic organisms alive, it is best to visit them in the zoo-website mentioned below. Musid emmele!

11 SARA MERTENS UNTIL SUDDENLY ‘no’ ‘eighteen’ ‘landscape’ ‘suddenly!’ ‘no’ (again, and again, and again) ‘the end’

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12 TILLE PEPERMANS tillepepermans.com

13 JELLE SOLEMÉ I MUST HAVE TAKEN A LOOK AT IT

PASSAGE ARCADE GALLERY ‘I hear they want to roof all the streets of Paris with glass. That will make for lovely hothouses; we will live in them like melons.’ – Brazier, Gabriel and Dumersan, 1886.

With my camera in hand, I walked the Brussels and Paris arcades. I transformed myself into the flâneur so beautifully described by Walter Benjamin.

Looking through the lens, I deconstructed and reduced 42 galleries to 1130 digital images.

Fragments of an architectural type, fragments of an experience. I took apart the shopping arcade, read, learned, and indulged in fantasies about its history.

With all that in the back of my mind, a new place was constructed. Fragments were put together again, a shopping arcade was assembled.

A slice of bread A piece of cheese A toothbrush Mould on my coffee cup Variety of colours Unrecognised beauty Superficiality

14 IDANIA SPRUYT idaniaspruyt.tumblr.com

15 MEGHAN VANDERBRUGGEN

IT’S NICE HERE A tale of two people. The long night. A conversation.

A dance. For two. ‘So, we’re here. Come in, come in! Make yourself comfortable. Mi casa es su casa, my friend!’

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

01 NIKOLA BENCOVA BECOMING A FOREST THEMSELVES My research-based practice aims to uncover what possibilities lie beyond language, when what an abstract understanding facilitated by text is overall, is a touch. A sensation. A text to be read silently so that the words themselves sound within a reader’s mind. It, which directly consists of bodies of the people. Text being the only evidence for the existence of time. A process of reading in the matter.

02 LUANDA CASELLA www.luandacasella.com SHORT OF LYING Short of Lying is a performance about deception.

More specifically, about the relationships between the rhetorical strategies used by bullshitters (in communication media) and unreliable narrators (in literature). In literary criticism, the unreliable narrator is the voice who misrepresents events, usually blurring the realms of ethics, knowledge and perception in highly entertaining ways. In reality, the bullshitter is someone who has no concern with the idea of truth, who involves his audience in a programme of making assertions without paying attention to anything except to what suits one to say. The piece is situated in the conflicting realm of online publishing which since the 90s has been appropriating narrative thinking and storytelling to serve the neoliberal logic.

04 JANNE CLAES cargocollective.com/Janneclaes THE (IN)FINITY OF THE (UN)CONTROLLABLE

03 BÁRBARA CASTAÑEDA PRADA www.facebook.com/barbara.prada90 FOOD & MEMORIES My research covers two domains: food and memory, which are interconnected in our daily life.

The following questions form the first part of my experiment: How can we use food memories to deepen our understanding of reality? How do human cells store memories related to food? How does food influence our identity? How do rituals and diets change our perception? How does food allow us to reconnect with the absent: space, time and feelings?

The second part of my work revolves around how food can also be used as a powerful metaphor to develop critical reflection on our society and its ethics. My main focus as a starting point has been to use myself as the experimentation vehicle. Using my own memory food ‘baggage’; as the subject and the object, as the researcher and the guinea pig.

05 ANN DE KEERSMAECKER A BARTENDER’S SHIFT

In the past year, I went from bar to bar. I placed The work is a study of the relationship between myself somewhere between bars. Like a bartender. objects and their meaning in relation to each other I served drinks, operated the cash desk and and the viewer. By abstracting the expected function chatted around. Switching between working and of an object and by rearranging these ‘ideas of becoming. Constantly on the move from one bar’s functionality’, a new idiom is created, wherein an endlessness in composition and a constant ability 45 threshold to another. I sat on bar stools and sofas … placing and re-placing myself and the chairs. to change is the central course. An interaction is I actually exchanged chairs between nearby bars. created between the 2- and 3-dimensional media They are shifted now. On which chair would you (photography, sculpture, installation), where like your drink to be served? materiality and site-specific presentations are the most important aspects.

06 WOUTER DE RAEVE

07 FIEN DEZWAEF ART KNOWS NO BOUNDARIES My years spent taking classes on Katelijnestraat in Bruges and in Eeklo did not really change my view on art, but they did teach me a lot of techniques. But although the techniques have changed, my love for bright colours has remained the same. The attempt to force me in a different direction failed. I used to set off into the country with my painting gear. Now that I’m getting on in age, this has become harder to do. Therefore, nowadays I tend to paint the natural surroundings of my room.

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LIMELIGHT

WITH FLYING COLOURS

‘Close your eyes and fly!’, a cry of euphoria declares. A journey through the unknown commences. Beneath the tangible presence of an ever-present gaze, danger is just around the corner. As barking hounds are let loose and wordspinners run rampant the masquerade seeks safety in the concealment from whence they came. ‘Logos is lost!’, a cry of despair resounds.

Can the masks be of use to silence the barking of these hounds?

With participants of three sewing studios based in the Ghent Brugse Poort district, we made flags, from the question as to the foundation of our lives.

My group consisted mainly of senior citizens, who deserve an appreciation as experts of life and coaches. Threads of live energy can weave together into a lasting cooperation. The architectural relation­ ship between rhythm and motion generates power.

My work can function only through commitment within a community. My method focuses on a search for identity, encounter, and co-creation.

The urgent need for connection makes itself felt more than ever. What is forged by human ability cannot be measured. The ordinary connects people and creates communal experiences that shape public opinion.

11 STEFANOS PAPADAS

10 DIOGO LIMA TEIXEIRA WHEN THE CHIPS ARE DOWN A body technique descending from biblical writings, a man on trial in Israel in 1961 and the beating of a transsexual in Brazil earlier this year. When do these stories relate?

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12 ELLI VASSALOU www.evassalou.com SYNTROFI SYNTROFI [σύντροφοι] Greek compound word; from feed [trofi] + together [syn] and means companions, comrades, lovers. Syntrofi is a series of performative lunches in which stories of exclusion within art schools are served, processed and digested. The public is welcome to join the performance around the table to share food for thoughts and food for stomachs that are definitely nourishing, but not necessarily easy to swallow.

Taking on a perspective of the vulnerable observer who is both a student in and a researcher of the educational institution, Syntrofi examines the (missed) potential of school environments to facilitate practices of commoning and inclusion.

13 ANYUTA WIAZEMSKY wiazemsky.eu WE ARE HAPPY WHEN WE MAKE THIS This project came about as a collaboration between artist Anyuta Wiazemsky (Moscow, 1989) and Ghent citizens such as the residents of psychiatric institution Dr. Guislain and of the Centre for Inte­ grated Youth and Family Care St-Jan Baptist. It is a project about self-expression and daring, about happiness and creativity. It shows how art can bring people together, and resulted in eight works in public space that are linked in a guided tour.

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

02 HENRY ANDERSEN B-SIDES & RARITIES Alternate Titles: Stanzas or You and I have Eaten A Great Deal of Salt Together Stanzas or An Anthology of Early American Vinyl Noise Stanzas or Bury Me In Corduroy Stanzas or Trying To Quit Smoking Stanzas or Slow Moves in Thin Air Stanzas or This Gun Kills Fascists Stanzas or Two People Dressed as One Horse Stanzas or My Kind of Renaissance Man! Stanzas or Self Portrait With Black Eye Stanzas or Transforming Milk Into Milk Stanzas or It Was Good Green Corn Before The Harvest 04 REBECCA JANE ARTHUR rebeccajanearthur.tumblr.com READY-MADES WITH INTEREST (UK/BE/AT, 2017, HD, 25') Ready-mades with Interest was sparked by a 1967 concert ticket that I found in Vienna. While I was tracing the information on the ticket, a letter arrived from my father that prompted a more thorough investigation into the sociopolitical background of the music played that night. In the film we explore a number of eras, spanning from the Strauss family’s waltz era to the rise of fascism and the stain it left on today’s politics. While reflecting on the ticket, the film becomes a portrait of my father as he shares his knowledge and memories with me. This project inspired a continuing correspondence between my father and me. In my practice, I have been unpacking the information we share while reflecting on our relationship and its mode of communication, letter writing itself.

01 FLORIEN ALLEMEERSCH florienallemeersch.com/ NATURE IS A MIRROR The work frames a moment in time and space in an everlasting changing world. Where humans’ attitude towards nature is ambiguous: we want to change everything and at the same time we want to keep unspoilt nature as it is. We have lost touch with the natural world – of which we are a part – but a way to understand this world is to become aware of it, observe what is happening. The influence humans have on the natural environment becomes visible in this ‘untouched’ nature. At the same time it is about the visual language of nature and painting.

The images I use to paint are from my own archive, which I have assembled through several walks through natural areas. Intuitively I choose an image as a starting point for the painting.

03 PAOLA ANGELINI LE FORME DEL TEMPO / THE SHAPES OF TIME This project is the result of my invitation to interact with the Palazzo Pretorio Museum Collection in Prato (Italy). Using the museum as a studio, I realized that the images made from life were not chosen or developed individually, but became components 49 of a visual collage without preconceived structure.

A direct relation with contemporary painting in Flanders helped me to develop an idea of painterly composition without hierarchies, not centred on subjects. I lost the centrality and the shiny matter of oil to work in several layers on unprepared canvas as if it was an object that evokes the collection and is able to present a visual presence. The new body of works has to be considered as a single visual tale, one work made up of several canvases, where painting and space are in dialogue.

05 TINEKE BACQUÉ tinekebacque.be GNOMES ARE CUNTS I’m looking for an opening through which to show you – if I can be so bold, after all I don’t even know who you are, let alone who you want to be – that it has a lot to do with you. With your willingness, mainly.

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06 DIOGO BALDAIA

07 ELISE BOUCQUEZ BACK COME BACK Elise Boucquez’ drawings are the results of a sustained investigation into the line between drawing and writing. They are simple movements that search for rhythms and patterns, for a playful approach to layers, colour and composition. At the same time, they also revisit sketchbook notes, with words looking to return to something which just might become a poem.

08 INES CLAUS inesclaus.tumblr.com PALMS Although palm trees could be seen as a constant in Ines Claus’ recent work, as a visual form they lead to an enormous variety in realizations. For Claus, the creation of an image equals the creation of a personal world, often on paper or in more complex instances as installations or books. It is not true that her works exist only as actions; they also entail a lot of reflection and starting over, which is inherent to the artistic creative process.

Serendipity is also invariably involved, the walking of a half-planned path and the ability to stray from it. What results is a beauty that is never laboured but emerges from an adventurous visual trajectory.

10 LINDE DUMOLEIN FOR THE HUNGRY Linde Dumolein wishes to turn materials insideout and analyse them in her work that deals with the incomplete completeness of our household materials. There is no concealment here, but a head-on confrontation with the carefully selected materials. The sculptures are a kind of ‘snapchat’, as it were. They function not only visually but also olfactory, to make the experience more complete.

The sculptures and installations are perishable, and intriguing.

09 GIAMMARCO CUGUSI A STORY OF COINCIDENCES (August 8th, 1991) Thomas is trying to take a ship to escape his country. He is surrounded by thousands of people. Close to him there is a child, I think he is 6 or 7 years old. He tries to read the name of the ship, Vlora. He doesn’t have any kind 52 of education and he probably has poor eyesight.

After several attempts to read the name, he shouts: ‘VOLAR!’. Exhausted but amused, everyone there begins to sing Modugno’s hit: Volare oh, oh – cantare oh, oh – nel blu dipinto di blu – felice di stare lassù – e volavo, volavo felice più in alto del sole – ed ancora più su – mentre il mondo pian piano spariva lontano laggiù – una musica dolce suonava soltanto per me.

(August 9th, 1991) Domenico Modugno returns to the stage after 7 years.

11 PHILLIP FRANKLAND www.philfrankland.co.uk THE HALF OF HALVES Music manifests itself through framing, montage, rhythm, layering, sampling and collage. In short, it is all about timing and stimulation. Quiet parts and louder, more complex parts can be played at the same time, overlapped. Simple, repeated actions with varied consequences.

When I walk around the city, there is something about garage doors which always draws my eye.

They are regular in their physical nature, a common size, a recognizable and purposeful object. Their sur­faces, however, are a litter of unique marks; stick­ ers, scribbles, dirt, fingerprints, rust and scratches.

With each object, an individuality is derived from both accident and consequence of being. These doors are sampling boards, polymers between prac­ tical stark­ness and registerable aesthetic validity.

12 MAUD GOURDON PEINÉE L’EAU PEUT

13 MAXIME GOURDON cargocollective.com/maximegourdon LIGHTING WATERFALLS

Still unstable in many areas. In the northern half of the country up to the Loire, Poitou, Auvergne and Rhône-Alpes regions, it is often very cloudy with increasingly frequent and locally stormy showers.

In Brittany, the weather is more variable with some sunny spells and some minor showers in the south of the region this afternoon. Elsewhere in the southwest, some remaining grey evolves towards fairly fine sunny intervals. The Pyrenees retain a heavier sky with occasionally persistent showers over the central and eastern part of the chain. On the summits, some thunder may even be heard.

Lighting Waterfalls are backlighted animated paintings of waterfalls that seem to move, but remain still. They could be seen as a metaphor of the video installation projects I have developed for this master’s project. Including notes, diaries and fictional events, I am interested in the exploration of memory and how we distort it. I reactivate classical painting techniques such as anamorphosis, frame, lighting and composition. From stills and feelings we imagine and mesmerize events. A condensation of known elements, recollected in small pieces, distorted and producing a convincing reality that becomes fiction: a narration that comes with feelings and images as vague remembering.

14 NATHAN JA nathan-ja.blogspot.be

15 MAXIME JEAN-BAPTISTE

AIDE-TOI TOI-MÊME AU LIEU DU SYSTÈME My work revolves around notions such as continuity, routine and habit.I try to explore these building blocks of our existence and use them as starting points. To create awareness, but also to clarify my personal view on them. Why does repetition reoccur over and over again? And how is it possible that we – with an unlimited array of handling options – always prefer the routine, the same, with only the slightest variation? In my latest work, I focus on current post-industrialism and critically examine ‘labour’, specifically the ideal image of the robotic employee. I do not try to formulate big ideals, let alone strive towards the greater good or the sublime. Rather, I try to focus on experience and play with the given fact of the common, the average.

16 AXEL KORBAN COUSCOUS CANNON About Syrian D.I.Y. and video games influence.

VOICES A film project revolving around these questions: What does it mean to be Guyanese, French, to have a nation? What does it mean, this impossibility to digest all the codes of French culture? Where does my violence come from? Who am I in this 53 historical process?

17 CRISTIAN NICOLAE NECULA SELF-PORTRAIT I have found myself in deep shapes and shades of colour within which I have constructed a new portrait meaning; in which I intend to describe characters and feelings rather than the shape of a face. Using fixed elements to keep my composition stable while also adding new forms that can break off the entire painting, I attempt to suggest the floating feeling around or above the head. The form tends to abstraction and my main attention focuses on the composition itself and the contrasts in it.

The colours’ depth and the strange perspective almost turn these portraits into landscapes, where the viewer can create his own way of looking.

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18 EVA ODEHNALOVA www.efkaodehnal.com MEDITATION ON SPACE Space and silence are two aspects of the same thing. The same no-thing. They are externalization of inner space and inner silence, which is stillness: the infinitely creative womb of all existence – Eckhart Tolle.

When you close your eyes and try to meditate you must empty your mind, let the thoughts fade away. If this happens, your mind becomes a space full of emptiness. How hard to imagine? An infinite space defined by the borders of your own mind.

In this project Eva attempts to find new possibilities of dimension. Based on the visual and cognitive perception of reality, she tries to intrigue the viewer’s brain, thus forcing them to concentrate on so-called space.

20 MAIKA PIETERS maikapieters.wixsite.com/maikapieters GREY IS THE COLOUR OF THEORY The project Grey Is The Colour of Theory is an investigation of differences and similarities between photography and drawing. There is a particular interest in the different ways humans look at photographs, drawings and/or the visible world.

22 LODE SCHEERS CONTRA COLLECTOR Using the internet to look for things is very productive. It is highly exceptional that a search returns no results. But it has also become nearly impossible to discover or encounter things that were not meant to be found. These works came about by searching or moving through the internet in a different way. It is an open query about what can be found by listening to all of the wireless communication at a certain place. How much data is flying about on a given spot, is it different from that at another place, and what sort of data is among it? When I find images, where, who or what do they come from? Is that data that is moving around us considered private? I collect and archive fragments of the internet, that in turn become snapshots of an unrelenting stream of information.

19 MARTIJN PETRUS www.martijnpetrus.com IMAGINE: NATURE We trick ourselves into thinking that unspoilt wild­life still exists by watching extravagant nature docu­ mentaries. We look at this dramatically created world displayed on our TV screens, fully aware of the fact that our experience is highly manipulated by super slowmotion images and heavyweight sound effects.

We have designed botanical gardens and glass houses to showcase all the exotic plants that we have discovered and we manipulate the landscape to a level of aesthetically pleasing functionality.

For this project I have analyzed my own perception of the subject and researched different ways in which human culture brings nature into its world.

Using video, 3D animation, photography and sculpture, I create a world where nature and artifice meet and merge.

21 ROXANE POTS WORKS ON NOTES ON NOTES Roxane Pots’ work originates from a childish fascination with pop culture and a love for Camp.

As a maker, she has always had the desire to coincide with her subject, in search of personal and collective identity. It is a game of intimate versus 56 unobtainable and recognizing versus denying. This results in photographic (self-) portraits as different personae, paintings based on found and altered imagery of fallen stars, relating to the painter’s personal life, or a mix of these. By the translation of something that does not traditionally belong in the fine art context in exactly that, painted quickly and sometimes crudely, she tries to communicate her ongoing personal questioning on the line between data and art.

23 SOFIE STUBBE sofiestubbe.tumblr.com PIET, POT, PAN My work is a thorough investigation of perception.

Laws of painting are researched and distorted.

When I am painting, my focus narrows to a single point. Slowly, it shifts from one point to the next.

Each point is elaborated with the same precision.

Under my scrutiny, the world becomes fragmented; it is considered analytically instead of holistically.

No matter what the subject: each surface is treated in the same manner. In the words of one of my models: ‘I feel like a vase while you are painting me.’

24 RAWIRUJ SURADIN rawiruj.tumblr.com THRESHOLD The co-related entities of border and presence define themselves by each other; borders mark the presence, and this presence marks borders. A new mark is more than those previous ones, as a new one changes all marks that are already there. This means that the present as well as the past is always in the state of becoming. Painting, as all existential beings, has its own essence in its becoming.

Border visualizes the presence of my painting, and its becoming occurs from the differentiation of time imposed on/off the surface: time of production, reproduction, presentation, and, the most crucial aspect, the painting as time itself.

26 JOREN VAN ACKER jorenva.blogspot.be MEN, LONG SHORE!

25 ARNO SYNAEVE www.arnosynaeve.be ES HÄTTE SO SCHÖN SEIN KÖNNEN — MAN KANN NICHT ALLES HABEN Pascale Platel wrote me the following: I had promised to make an appearance at some big event once. So many people, and in open air to boot, I dreaded the very thought. My boyfriend offered to accompany me. The first half hour I felt absolutely rattled, running about every which way.

My boyfriend stopped in the middle of the field.

He spoke to people. I went to stand with him, not by his side, but half a metre away, so that I wouldn’t be included in the conversation. I stayed put, looked around and suddenly felt happy. A human being + a human being + a context, and what this can yield. I had to think of that when I saw one of your works. xxpp 27 TOM VAN DEN WIJNGAERT tom-van-den-wijngaert.tumblr.com YOUR PRESENCE WILL BE NOTICED

In recent years, Joren Van Acker’s work has evolved ‘…We do not need or desire souvenirs of events towards a subject matter of his own devising. that are repeatable. Rather we need and desire By exploring his roots and considering the lives souvenirs of events that are reportable, events of his father and grandfather, he discovered his whose materiality has escaped us, events that own interest in the oil and harbor industries. This thereby exist only through the invention of narrative.’ gives his work not only a certain social layer, but 57 – Susan Stewart, On Longing. above all a very personal touch. Joren’s medium In this project I wanted to play with public and of choice is charcoal, but he expands his methods private collections, the traces you carry around and by experimenting with installations. The basis for the ones you keep at home. The souvenirs you his drawing process lies in his collection of photo put on display and the ones you keep hidden. The and video materials. A visual research process memories you shared and the ones you lost. The ensues, which may lead to various formats. We do things you risk getting damaged and the ones you find unity throughout these works, however, by the desperately try to protect. The signs we remember photographic nature, recurrent perspectives and or forgot. Your Presence Will Be Noticed is a result stark black-and-white contrasts. of mixing up these ideas, presenting them to an au­ dience who leave their own traces at the same time.

28 29 LAUREN VAN PELLICOM OLIVIA VAN IMPE A HOUSE, ESTABLISHED External memory is an accumulation of interior spaces we live in and continuously restructure.

Although they serve as storage room, they have no actual spatial dimensions. This urge for expansion of memory, which we like to protect dearly, in a setting that may be naïve or sophisticated, is a vicious circle of demolition and rebuilding.

The pattern of remembering that is characterized by this constant dynamic invites to physical repositioning. The continuous change in distances results in a fluctuating space and the blurring of boundaries, allowing the possibility to arise to physically enter this storage room. Nevertheless, it is the futility of conservation and positioning that create the possibility to enter or trespass.

Traces remain.

MARRY – PRODUCE The development of my oeuvre is based in a transformed reality in which coincidence is a decisive factor. These constructions are an attempt to map the idealized, infantile images that surround and influence us daily, from a social, cultural and political perspective. The perverse exposure is closely linked to the revealing and covering up of the proportions promoted by society as ideal. The charged nature of my work is balanced by a confluence of humorous, lugubrious and ironic visual idioms.

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30 JAN-WILLEM VANDENBERGHE janwillemvandenberghe.wordpress.com SILENT REBELLION

32 EZRA VELDHUIS www.ezraveldhuis.com

Ezra Veldhuis explores the interface between painting and installation. Two tracks can be discerned in her work, which both start from the same research but diverge widely in terms of strategy and form. On the one hand, she creates works in series in which she seeks a ‘grand void’ by playing with the suggestion of what is around and between the separate pieces. The other line of works are large canvases that invite the viewer inside the painted space while making the painting itself explicitly a part of the actual space. In these large pieces, Ezra focuses on the (immersive) ‘world’ in the canvas, while in the series pieces an important role is played by the white spaces between and around the works.

34 LOU WIJNHOVEN louwijnhoven.wixsite.com/louwijnhoven PROFANE MATTER An audio-visual performance in which Lou is inspired by the parallels between religious experiences in churches or temples and immersion in a story in a cinema.

31 GRIET VANGAEVER 10 MINUTES AT 180 DEGREES In my work, I look for what is my world and what lives around me. The city of Bruges is my playing field; the culture, language and traditions of the province of West Flanders are tossed in a blender and re-emerge as art. My home for twenty-two years, this environ­ ment is still alien to me; and the typical West Flemish disdain for contemporary art is what drives me.

I travel the world in order to get to know as many different cultures as possible and to fathom the world, but the mystery only grows. That is why I make art; to find answers by asking more questions. There is often a performative aspect to my work, but it is always subtle. My body’s presence in the work symbolizes the leaving behind of the self.

One should approach my work with a good sense of humour.

33 MARANNE WALRAVENS www.marannewalravens.com ALL THINGS OF VALUE ARE DEFENCELESS (LUCEBERT) Maranne Walravens works with found objects that have lost their function and/or value: posters, boxes, packaging, polystyrene, cardboard, marble, insulating material, wood, aluminium, copper, …

Walravens is fascinated by the material and/or 60 form and/or colour of these objects in themselves.

By metamorphosing them, she searches for a new potential reality of which she simultaneously exposes the banality. She creates paintings, collages, videos, installations, performances, assemblages, sculptures, as if everything just runs together.

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

01 DELPHINE COBBAERT www.atelierdelphine.be

02 ANSE HEESTERMANS anseheestermans.weebly.com

DOUBLE FACE

PLAY . PLEAT . PERFORM

Double Face, the French word for two-sided, is an investigation into the synergy between materials, textures, colours and techniques. I construct layered textile surfaces that have fronts, insides and backs. To do so I combine warm, heavy, woolly natural threads with clear, stiff synthetics into one dynamic whole. Depending on technique and treatment, each textile material can have different tactile properties. It is this tactility that reveals the double aspect of an inner and an outer sensation to the touch.

Those who take a good look, can touch deeper than the first layer may reveal. Bindings, colours and patterns flirt with our perception and suggest shapes: a new fabric comes to life. Is there an opening in the play, a gap in the pattern? I fold, pleat, wrap, transform and guide material through my hands: a search for movement without limits.

03 LORE TYRIONS ensembleprimitive.wordpress.com

04 YMKE VANSTEENBRUGGE

TACTILE TRANSPARENCY This textile collection results from my fascination with the botanical greenhouse, with the interaction between transparent structure and internal growth and movement being translated into knit and woven pieces. In this process, I make use of tools that enable me to manipulate the textile manually so that there is room for coincidence and a natural feel. The fabrics are made of bioplastics in combination with natural materials.

This emphasizes transience but also hints towards temporary architecture. For this project, both static and dynamic materials were used, with transparency ensuring a dialogue between materials and techniques.

MASTER OF VISUAL ARTS PHOTOGRAPHY MASTER IN DE BEELDENDE KUNSTEN FOTOGRAFIE

COLOUR – INTERACTION

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Colour and perspective. Colour in perspective.

On how colour creates depth, and how that depth in turn determines composition. A changeable interplay of foreground and background and the question where one ends and the other begins.

01 JONITO AERTS ARGUELLES www.jonitoaertsarguelles.com EIGENGRAU I started this research pondering the duality of photography. On the one hand photography is very ephemeral. It captures a fleeting moment in time.

At the same time it is a very robust thing, the moment is preserved for all time.

This same duality can be found in the pheno­ menon that I experiment with in my work. The posi­ tive afterimage. This phenomenon occurs when a person, standing in a dark room, experiences a short flash of light, resulting in a ‘positive’ afterimage of whatever the person was looking at at the time.

Every afterimage is unique and can’t be captured by any technique we have available at the time.

Studying this afterimage therefore becomes an exercise in studying its effects, its lingering traces on the people that experienced them.

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02 WIEPKE BOOGAERTS wiepkeboogaerts.tumblr.com LA PENÚLTIMA LUCHA

03 ALJOCHA HAMERLYNCK www.aljochahamerlynck.com MIDNIGHT MIRAGE: GLOWER MOMENTS

If the cops come: – keep everything locked, all the time – take out your piercings/cover your tattoos – tell them you are a tourist and you are visiting family here – you are family of the lonko juana kalfunao paillalef – tell them this is your territory, they are not welcome here – tell them their laws are not the law here – show your passport – don’t try to talk with them, here it’s not possible to have a conversation with the cops

A mirage is a naturally occurring optical phenomenon in which light rays are bent to produce a displaced image of distant objects or the sky. The English word is derived from the French mirage, from the Latin mirari, meaning ’to look at, to wonder at’. This is the same root as for ‘mirror’ and ’to admire’. I approach and ye vanish … away

04 CLARA HANSSENS www.clarahanssens.be

05 IRIS JANSSENS

PAS MACABRE The project Pas Macabre captures situations that seem frightening at first glance. The situations, which are based on ambiguous images from the media, are hard to define. They are aesthetic, balanced, but also tumultuous, as if danger looms.

However, the directed nature and artificial settings inform the viewer that these are staged tableaus.

06 SIMON LENSKENS simonlenskens.com I WONDER WHO BEWITCHED US / ME PREGUNTO QUIEN NOS EMBRUJÓ Ever since the arrival of the Spanish conquistadors in Peru, the country is being looted of its ore by the West. The average Peruvian unfortunately doesn’t benefit from the presence of big mining corporations. He merely experiences the negative side effects of mining. I traveled several months through the country to visit people who live near a mine, to hear their stories and learn about the complicated situation they are in.

DID YOU KNOW? Thirty-two years after an enormous toxic cloud escaped from the Union Carbide plant in Bhopal, India, thousands of victims are still living in extremely degrading circumstances. They barely have access to pure water and they are unable 64 to support themselves. The disaster killed 20,000 people, while 10,000 more were disabled, blinded or otherwise severely injured. In Bhopal, the disaster is not forgotten, with now a third generation of victims with congenital defects and a staggering mortality rate. The surroundings of the plant site was never cleaned up and is still poisonous, as is the heavily contaminated groundwater that contains forty times more pesticides than the allowed level.

07 KLAARTJE LESAGE WE ONLY SEE WHAT WE LOOK AT I am looking for peace and quiet in the over­ whelming flood of images. Where it is possible to become aware of looking. With a pin-hole camera as an instrument for reflection, I go walking in natural environments where human presence is minimal. These landscapes feel like open spaces where I have the opportunity to take my time, take the time to become absorbed by my surroundings and to be present with wide-open senses. This experience of looking and photographing works a contemplative effect, and it is my aim to trigger in the viewer a similar sensory experience as I lived while photographing. It is an ongoing search to transmit this fleeting experience through images.

08 PAULINE NIKS www.paulineniks.com I’M JUST A SCENIC SPOT (WORKING TITLE) For her master’s project, Pauline Niks has worked on a photography project on copied architecture in China. This often concerns Western architectural structures that are copied for real estate projects, but the Great Wall and the Temple of Heaven can also be admired at several locations in China.

By capturing this ‘sub-reality’, Pauline wishes to take a closer look at documentary photography’s alleged ‘authenticity’.

Photographs are manipulated in several ways, and reality, it turns out, is only the photographer’s interpretation, even in documentary works. In this series, Pauline shows us a world that is already manipulated in itself, so that unambiguously speaking of the ‘reality’ of these images becomes impossible from the outset.

10 CHANTAL VAN RIJT www.chantalvanrijt.com LIGHT, DANCE

09 HARYO SUKMAWANTO www.haryo.be MY MIRROR IS A PITIFUL THING Following the failed coup of 1965 in Indonesia, my grandfather was incarcerated and exiled to a prison island for fifteen years due to his political leanings, enstranging him from his family. I never knew him as he passed away nine years before I was born, and my family rarely spoke about him.

I only found out about this several years ago when I was starting my master’s.

Since then, I have been trying to find out more about my grandfather and his life. Even after I was told about it, it is still never spoken about in my family, driving me to find other sources to learn about his life. This project is the result of my research and the struggle I dealt with while working with the fragmented narrative and the withheld history of these events.

11 FLORENCE VANDENBUSSCHE flovandenbussche.wixsite.com/photography BELGIUM PYRAMIDS

The mythic quest for the Holy Grail seems far At night: removed from reality. Immortality and the eternal a spectacle of light, belong to the realm of imagination, of science a combination of warm and cold, fiction and legend. And yet it seems that in the near a transformation of the landscape. future we may adopt a different view of mortality The Belgium Pyramids and time. Modern science redefines the possible 65 part of the landscape, and the impossible; the world of imagination as if it has always been like this. enters the world of facts.

Yet at night when the traffic network’s functioning quiets down the landscape becomes visible the pyramids of asphalt, dirt, sand, … become the fallow beacons that betray the landscape’s vitality.

12 LORE VIAENE www.loreviaene.be I WISH MY HEAD WOULD STOP THINKING You said before it is about losing control – what do you feel when you lose control? It gives me an uncomfortable feeling, it makes me anxious.

Not really physically but in my head I am like: ‘Nononono, you don’t want to do this. – Slow down, just try to look at it and do it another way, keep calm.’ I want to adapt myself to make this uncomfortable feeling more bearable.

I want to just live with it.

So you do it because you want to learn to deal with it? Yes, just to know that it is a part of me and that I can handle it.

Ok, I have one last question, a personal one: Do you consider yourself an introvert or extrovert?

An extrovert.

Ok, thats it. Wow.

MASTER OF VISUAL ARTS FASHION MASTER IN DE BEELDENDE KUNSTEN MODE

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01 BART HOSTE www.facebook.com/BartHosteCollections INSTINCT EXTINCT Instinct Extinct is a story about a future where nature’s struggle to survive brings forth some kind of technological hybrid and a clash exists between what is artificially created and the organic world.

This fictional future is portrayed in a collection of 12 silhouettes where different aspects of the story are used. Animal-like shapes are clearly recognizable, while other shapes were based on car details.

My focus is on handicraft, which might seem ironic but fits well into the storyline. I used ‘organic’ methods to create fabric samples that show the inspiration of technology while using artificial materials to make organic-looking shapes. Another focus was movement. I looked for rigid or light and wavy materials to juxtapose in order to create a varied view on the runway.

01 MASHA BERKERS BITTER SWEET

MASTER OF AUDIOVISUAL ARTS FILM MASTER IN DE AUDIOVISUELE KUNSTEN FILM

02 KOEN BLAUWBLOMME roodijs.tumblr.com JANE DOG

Jane Dog is an experimental psychological thriller bitter sweet is a documentary about struggling with a metaphysical edge that takes us on a with mononucleosis, about wanting to perform strange trip through the lives of two young people. but not having enough energy to meet social A puzzle made for the viewer that slowly reveals expectations. In the confinement of her bedroom its mysterious secrets, exploring the themes of the filmmaker exercises, sleeps, looks around and films everyday. In this prison of banality the window 68 love, duality, violence and abstract radicalization.

I’ve always been interested in stories that have this and her computer screen are the only two views ‘fantastical’ edge, rather than pure/high fantasy. on the outside world. Candid Skype calls offer an The worlds I have built are very much like our intimate view into the filmmaker’s life. This honesty own, except they have something ‘more’ going on confronts the audience with its own vulnerability. underneath the surface, something almost magical As a result the diary film opens a dialogue on a that weaves through all existence but is considered kind of suffering that usually remains undisplayed. the norm by the people inhabiting it. An alternate reality, a ‘sandpit’ in which I can explore themes that are close to me: regret and penance, violence and love.

04 03 MICHIEL DHONT NINA ELEONORA CLAES DANSER SA VIE The house is creaking and the wind is whispering.

Outside, leaves rustle in the dawn. The worlds of two women touch for the first time. Their encounter sets the air in motion and lets nature speak.

Danser sa vie is a visual tale, a search for approach and slowness where words do not matter. A poetic dance in time and space that reveals traces of beauty. What can speak when silence reigns?

POOR KIDS Imagine what it would be like to live at school during the holidays. Max, 20 years old, lives in a boarding school for children of sailors and immigrants. He is the son of a sailor and only knows his father through the handwriting on the postcards he receives. Max fantasizes with his friends about what their fathers look like.

A short film about the most deep-rooted relationship of a parent and a child. How the search for one’s identity is based on where we come from, how we were raised. Throughout this journey, trying to find answers to the questions ‘who am I’ and ‘what do I want’.

05 MATTIJS DRIESEN QUERELLE

06 REINIER KROESE www.facebook.com/GroteQueeste A SHORT TALE ABOUT A BIG QUEST

Querelle is set in the Brussels Querelle quarter, where the massive council blocks are gradually undergoing renovation. Soufian and Yasin hang around their distracted neighbourhood, until they leave the frame and return home. The film functions as a formal exposition of a place under transformation, and documents two boys, reflecting on their life in a city and in a enormous world.

A Short Tale about a Big Quest is a short, comic fantasy film with live action characters against animated backgrounds. At the centre is an unworldly student of poetry whose city is under siege. To counter the war, he wants to write the perfect poem and sets out to ask for advice from the old poet who lives on the other side of the city. On the road, he gets entangled in the conflict himself. Confronted with potent emotions such as love, aggression and fear, his resolution falters. The actors were all filmed in front of a green screen on which a unique animated world was later projected.

07 SOPHIE KURPERSHOEK www.sophiekurpershoek.nl

08 MARGO MOT

IF ONLY FOR A MOMENT

TOO FAR, TOO CLOSE

Too Far, Too Close is a frame story, connecting the Astrid, a young artist, has turned her back on the lives of a handful of city residents. A search for a world and in a deserted landscape she works on lost cat sets the characters in motion, but their hunt a piece of land-art. Days pass by and her lone­ between windows, doors, rooftops and walls is liness becomes stifling, until one day she meets the also a search for connection with their absent loved eccentric geologist Emily. Quickly they form a deep connection. Far away from the real world, in a wild 69 ones. In a time where we find each other more often there where our images meet and where our written and beautiful landscape, they can fantasize, dream words touch, distance feels more relative than ever. and philosophize carelessly; their lives seem Too Far, Too Close draws life paths like chalk lines temporarily idyllic. in a small drawing, while in memory they live at half In this film I follow the disillusioned Astrid, a world’s distance apart. who drifts through life and tries to find something of significance. I wanted to find a meditative form in which the events disclose themselves and resonate with Astrid’s battle with overcoming meaninglessness and her quest for love.

09 MATHIJS POPPE www.oursisacountryofwords.com OURS IS A COUNTRY OF WORDS Ours is a Country of Words is filmed in Shatila, a refugee camp built in Lebanon when thousands of Palestinians fled their country in 1948. The story begins at an undetermined moment in the future, when the dream of the Palestinian refugees to go back to Palestine becomes reality. The film balances on the thin line between fiction and documentary, between dream and reality. Families are preparing for their fictional return, while it slowly becomes clear that this dream is far removed from their daily life in the camp. Through the words they use as actors to talk about the dream of returning to their homeland, we can understand more thoroughly what it means to them to live in exile.

10 INGEL VAIKLA ROOSENBERG Roosenberg is a place, a space, a building, a film. Roosenberg is Amanda, Godelieve, Rosa and Trees. Roosenberg is a letter that tells of my encounter with four elderly nuns in a fascinating monastery in Waasmunster, Belgium, before that building was vacated. For several months, I followed four women who belong to the core community of Marian Sisters of St. Francis in Dom Hans van der Laan’s Monasterium. I captured the everyday communal life of the sisters, their religious practice and final departure, in order to tell the story of modernist architecture. But this film is not the glorious celebration of that spiritual modernity.

It is the story of an encounter, a story of a space at the beginning of the end.

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EAST SHORE

COMMON GROUND

East Shore is a portrait of Marnix Verleene, a fisherman in Ostend. It takes place both ashore and at sea, and sketches an image of the Ostend East Shore fishing district through a poetic glance at Marnix’ life. The East Shore in Ostend is the neighbourhood in which fishermen dwell: they weave nets, play cards and kill time. Now, this district is being demolished; high, white residential blocks are rising up instead.

East Shore reflects this fragmented composition in its form: ashore, Marnix’ life is enacted in scenes impersonated by him and his fellows; at sea we look more indirectly, through shadows, silhouettes and reflections, at how life goes on.

‘Douglas 130! Beech 80!’ The cry echoes through the Arboretum of Tervuren, Brussels. Over 100 years ago trees migrated from all over the world to Belgium. Victoria Kabarozi migrated to Brussels ten years ago. Her parents had sent her to Europe to study. She is Ugandan by birth, American by her upbringing in Washington D.C. Her son Aaron was born here, after her studies in Tourism. Since Victoria didn’t find a job soon enough, she lost her right to reside in Belgium.

Trees relocate, Victoria and Aaron are moving.

We move along with them, searching for solid ground where we can remain.

01 FILIP ANTHONISSEN boterham-met-confituur.tumblr.com

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

WHEN IS THEN? I’ve been walking for so long that I forgot where I was going.

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02 JASMIJN CEDEE vimeo.com/jasmijncedee/alex-trailer ALEX Alex is a 10-year-old boy in a hospital, with machines connected to his body. He is very ill.

In the land of Half-light, Alex is a 10-year-old hero.

In this beautiful place, he has to fight the dark.

He roars at it like a lion. He is so brave. Alex has to leave his family behind in the hospital.

Alex is a short animation for young and old about light, dark, life, death and saying goodbye.

03 ROMANE CLAUS JULIENNE Julienne is an animated documentary about a 79-year-old lady from the Walloon village of Esneux. Julienne smokes a pack a day, and when the weather permits she can be found at the Le Panorama minigolf course. The rest of her time is spent crocheting all kinds of puppets. When she starts to talk, an endless stream of stories and strange events is unleashed.

In this film I make associative connections between Julienne’s world and my own visual language.

04 QUINTEN DE MEYERE DAS HIMMELGARDEN A man finds himself in an unknown world.

Is this heaven? Is this his Utopia?

MASTER OF DRAMA MASTER IN HET DRAMA

05 ANNA VAN RIEL www.annavanriel.be MIXED MATERIALS How to avoid the black hole after graduating from art school without any real contacts in the professional art world to speak of and without an extensive social network?

Two young masters in art are very determined to throw themselves into the art world and to be successful. But not everything goes as planned …

Fortunately, there’s always grandma.

01 ANNA CARLIER EN INDRA DE BRUYN www.compagniedekolifokkers.be LORD BONIFAKIUS (AND HIS TREMENDOUS LIFE’S WORK) A bunch of Impulsives is dropped on an island because they are deemed a menace to society.

The island is mainly empty. There is only: Wezemaal, Distelgem, the Cripplewood, Mount Lupus, and the centre. In the centre are five women.

73 They have arrived by boat. It is hell. Until Bonifakius arrives and undertakes to turn hell into Purgatory.

“Sometimes I need to kiss you. And then I actually need to kiss you. Sometimes I need to look at you, and keep looking.”

Anna and Indra perform their master’s project as Compagnie de Kolifokkers. In their performance, they reflect on the isolation of the eccentric and their alliances. They seek freedom by considering truth as one among many possibilities.

02 TOM GOOSSENS DON JUAN Don Juan is the master’s project in Drama of Tom Goossens. After his bachelor’s project Ahimè, which was selected for the Jong Werk programme at Theater Aan Zee festival 2016, he further pursues his medium study in opera.

Three KASK Drama players, a classically trained singer and a pianist dissect the music of Mozart’s opera Don Giovanni in front of the audience, inserting lines from Molière’s Don Juan.

With pianist Wouter Deltour, Tom Goossens founded the DESCHONECOMPANIE collective; Don Juan is their first production.

03 MAX PAIRON THE ERROR The farmers of Olen were tired of being mocked because there church wasn’t exactly in the center of their parish. They decided to move it and started pushing. A farmer named Baart got sweaty and took off his coat, putting it next to the church. A beggar came along and took it for a gift from God. When night fell, Baart got cold and went looking for his coat. He screamed ‘Stop, guys! We’ll have to push the church back because it’s standing on my coat.’

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05 SIMON VAN SCHUYLENBERGH simonvanschuylenbergh.tumblr.com

STIL(L)

SOLO WITH ZEBRA

Stil(l) is a two-part song on what is no more. In their search for something they share, two people say goodbye to the things around them. They ask questions, name, redefine. Between an ending and a beginning, virgin space lies hidden.

Over the past three years, Simon created several solo performances and actions with one or more papier-mâché zebras. Solo with Zebra presents itself as the final piece in the zebra series, although it refuses to be a conclusion or finale.

What remains are relations, connection and disconnection, between (animated) objects and barely represented bodies.

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MASTER OF MUSIC: CLASSICAL MUSIC MASTER IN DE MUZIEK: KLASSIEKE MUZIEK 01 KRISTOF BOUCQUET TWENTIETH-CENTURY GUITAR MUSIC For my graduation recital I have selected four twentieth-century solo pieces for guitar and one guitar concerto, all of which were written for the English guitarist Julian Bream. Lennox Berkeley (Sonatina) and Richard Rodney Bennett (Impromptus) represent the rich tradition of English guitar music, whereas Hans Werner Henze (Drei Tentos) offers a German perspective on the guitar. The Japanese voice is heard in Toru Takemitsu’s All in Twilight. My programme closes with the Concerto elegiaco by Cuban composer Leo Brouwer. In my thesis, I investigate the importance and meaning of intertextuality in Brouwer’s music for guitar.

02 LAURA DE BRUYN KALEIDOSCOPE

in a context of experiment and intertextuality.

In Debussy’s Etudes, the composer’s obsession with Wagner provides a continuous foundation that is combined with playful references to popular tunes. George Crumb’s Eine Kleine Mitternacht­ musik is a series of reflections on Monk’s ‘’Round Midnight,’ quoting Debussy along the way.

04 KRISTIEN HEIRMAN J.S. BACH AND SONS: CON FANTASIA!

In my graduation recital, the focus is on music by the Bach family that appeals to the imagination: an unfinished fugue by the father, and music with often capricious and surprising turns by his sons. In addition to a number of pieces for solo harpsichord, a relatively unfamiliar cantata for soprano and harpsichord, and a sonata for two 78 harpsichords will also be performed.

–– J.S. Bach, Fantasia and fugue in c (BWV 906) –– J.C.F. Bach, Sonate VI in Es –– C.P.E. Bach, Die Gratien (cantata for soprano and harpsichord) –– J.C. Bach, Sonata in c, op. 17 no. 2 –– W.F. Bach, Sonata in F for 2 harpsichords (F10)

The programme for Kaleidoscope offers a wealth of styles, colors, and musical impressions. They are a reflection of the way I have explored the world of violin music in the course of my training. On the one hand, I like the liberated and experimental expression of modern pieces, but I also embrace the very human emotions of an older, more traditional craft. Both worlds come together in this diverse programme that features work by Bach, Franck, Górecki, Piazzolla, Szymanowski and Ysaÿe. I am accompanied on the piano by Guy Penson.

05 SARAH JELASSI GUMBOOTS For this graduation concert, I will perform with different ensembles. Navarro’s second concerto – a piece selected for its Southern influences and accessibility – will be performed with clarinet choir and percussion. The two-part Gumboots is the highlight of the program and will be performed with the accompaniment of a string quartet. The first, melancholy part looks back on the hardships of slavery, while the second part consists of five African dances that originate as means of communication under slavery.

03 BERT DE RYCKE ANAMORFOSI Anamorphosis is a technique in which a distorted image can only be realistically perceived under certain optical conditions. It was also the inspiration for Sciarrino’s postmodernist composition Anamorfosi. Passages from Ravel were cut up and rearranged in a collage that also includes the tune ‘I’m Singing in the Rain.’ The other works in my recital program also look back on tradition

06 ATHITA KUANKACHORN CELLO RECITAL My recital consists of four works that are different in style. The first, Ludwig van Beethoven’s Sonata for piano and cello, op.5 no.2 in g minor (1796) and demonstrates the classical style. The second work, Dimitry Kabalevsky’s Cello Concerto No.1 Op.49 in g minor, was written in 1948-49 for a young generation of Russian musicians, and has a strong Russian flavor. The third piece is Variations on a

Theme of Rossini, written in America in 1942

by Czech composer Bohuslav Martin. To conclude, there is Lao Kham Hom, a traditional Thai song arranged for cello solo and blended with Western harmony, yet still representative of the sound of the traditional Thai sound.

(Performed with Tae Yoshioka on the piano.)

07 SHAN LIAO Programme: –– Clarinet Concerto in Bb Major, Johann Stamitz –– Time Pieces for Clarinet and Piano Op.43, Robert Muczynski –– Drei Romanzen for Clarinet and Piano Op.94, Robert Schumann –– Première Rhapsodie for Clarinet and Piano, Claude Debussy Piano: Alex Roosemeyers

programme I have focused on the 19th and 20th centuries. The programme is also a bit of a family affair, because not only will I perform two pieces by my father, Marc Matthys, but he will also arrange the reduction of the final piece on the programme, Rachmaninov’s Rhapsody on a Theme of Paganini.

–– M. Matthys, Nostalgia –– M. Matthys, Una Noche en Salamanca –– E. Granados, Goyescas nos. 3 and 4 –– A. Scriabin, Etude op. 8 no. 12 –– A. Scriabin, Etude op. 2 no. 1 –– S. Rachmaninov, Etude op. Posth/33 no. 3 –– S. Rachmaninov, Rhapsody on a theme of Paganini op. 43 10 IVANA NAUMOSKA 11 HANNE NOLLET RECITAL In the course of my studies, I developed a distinctive and authentic style. I particularly strengthened a passion for music theater was strengthened and she experimented with more modern idioms. This year, I performed Arnold’s Schönberg Pierrot Lunaire (1912). For my master recital, I started conducting research into the works of Kurt Weill (1900-1950). In order to interpret his style as well as possible, I research in my thesis Weill’s engaged expressionism in Die sieben Todsünden (1933). I conclude my program with Elvis Costello’s surprising Juliet Letters (1993).

08 CECILE-MARIE LISSENS HARP RECITAL – C.P.E Bach, Solo für die Harfe Wq. 139 – M. Glinka, Nocturne in Eb 12 VALENTYN PRAVOSUD 79 – C. Salzedo, Variations CLARINET RECITAL on a theme in an ancient style, op. 30 – M. Flothuis, Pour le tombeau d’Orphée, op. 37 – L. Sporh, Fantaisie, op. 35

09 NATHALIE MATTHYS nathaliematthys.wordpress.com PIANO RECITAL

Whereas my bachelor’s recital brought together pieces with very distinct styles, for this graduation

For my graduation recital I have selected four pieces from the most recognized clarinet repertoire.

I open the programme with Three Fantasy Pieces (Drei Fantasiestücke) for Clarinet and Piano, op.

73, written in 1849 by Robert Schumman.The pieces are like songs without words and their poetic titles justify the sudden mood changes, which are a signature of Schumann’s music. A second piece is the three-movement Clarinet Concerto

by Wolfgang Amadeus Mozart that blends gentle lyrical passages with demanding virtuosity, creating a masterpiece of the clarinet repertoire. Then I will perform Claude Debussy’s Première Rhapsodie.

The closing piece is the first movement, Allegro, from the Clarinet Concerto by Jean Françaix, a French neoclassical composer.

13 ESTHER-ELISABETH RISPENS TRUE COLORS

Maria Callas once said: ‘Don’t talk to me about rules, dear. Wherever I go, I make the goddamn rules.’ Perhaps, we as singers should recall that famous quote more often. A great artist makes her own rules, fashions her own technique. There is no need for someone to tell you how to set your jaw to reach a high note. This is not what it is about.

It is not a matter of aesthetics, about moulding a voice to fit in a tradition. Because if there is anything I have learnt about myself these past five years, it is this: I don’t like to be smoothed down.

of the saxophone. A journey through the saxophone repertoire with works from different periods, from the classical to the contemporary.

Something to suit all tastes!

19 VALÉRIE TRANGEZ 20 WARD VAN HERTUM PERCUSSION RECITAL

14 ARNO ROESEMS NOTES FOR THE WOODEN NIGHTINGALE, POEM 37 What simple things that a man forgets see?

80 The world is beautiful my darling The program for my graduation recital consists of and we who didn’t know a varied repertoire in which I will showcase several don’t have a chair aspects of percussion: for life to sit beside us –– Askell Masson, Prim (snare) So it wasn’t for no reason –– Tanaka Tochimitsu, Two Movements that for so long for Marimba (marimba) singing of nightingales –– Hugo Morales, Lû (vibraphone) seemed like delicate –– Casey Cangelosi, Wicca (set-up) crystal laughters –– Casey Cangelosi, Theatric no.6 – Mohammad Shams (percussion duo) Langeroodi (1950) (translation: 21 CHARLOTTE VELGHE Sina Fazelpour) FEMME With my saxophone, A recital for and by women.

I bring together different styles and cultures in a concert like a collage of poems, each written for the 22 SARA VERHEYEN wood that brings them to life.

CELLO RECITAL –– Florent Schmitt (1870-1958), Légende, op. 66 –– Jean Denis Michat (1971), Shams –– Jun Nagao (1964), La Lune en Paradis II –– Jacob ter Veldhuis (1951), Buku 15 LOUIS SNAUWAERT 16 SARA SOTTOLANO 17 KEYE TANG 18 ASTRID TISON SAXOPHONE RECITAL This graduation recital will bring a varied programme, highlighting the many sides

Now that the cello has finally earned its place in the Queen Elisabeth Competition, and its famous repertoire will be revisited for an entire month, the time is right to showcase some lesser known master pieces. After a search that yielded marvelous finds, a beautiful, varied program was composed that covers both the Romantic and the contemporary period: –– L. Janáček, Pohádka –– K. Penderecki, Per Slava –– R. Strauss, Romanze in F-Dur –– F. Chopin, Sonata for Piano and Violoncello in g minor, op. 65 23 JOSÉ LEANDRO VINDEL ANDINO PERCUSSION RECITAL

This varied program of contemporary music is the culmination of my six years of study with Wim Konink and Gert D’haese. It includes the premiere of a piece by myself for solo percussionist playing claves, 6 congas, garifuna drums and seashell, accompanied by a string ensemble and a second percussionist. The idea of this concert is to bring and evoke the sounds of the different continents, while demonstrating the variety and versatility of percussion and its complex techniques.

–– Javier Álvarez, Temazcal (1984) –– Avner Dorman, Frozen in Time, percussion concerto: 1. Indoafrica, 2. Euroasia. (2007) –– José Vindel, Origen (2017) –– John Cage, In a Landscape (1948) 24 SAM WERBROUCK 25 SVEN YSEWYN Programme: –– Concerto in Es, Johann Baptist Georg Neruda –– Légende, Georges Enesco –– Sonate, Jean Hubeau –– Andante et Allegro, Guillaume Balay 26 MAURICIO ZÚÑIGA

MASTER OF MUSIC: JAZZ/POP MASTER IN DE MUZIEK: JAZZ/POP 01 GABRIELA ALVARADO CHIPP 02 HELEEN ANDRIESSEN HELEEN ANDRIESSEN TRIO This trio is the master’s project of Heleen Andriessen, a jazz pianist from the Ghent area.

Kobe Boon (bass) and Stijn Demuynck (drums) assist her to bring her compositions to life.

Together, they invite the listener into a world of naïve melodies and exciting improvisations.

These jazz musicians use their instruments to paint the colour of the light on the first day of autumn, but also to invoke the oppressive atmosphere of Lize Spit’s novel Het Smelt.

03 ARTAN BULESHKAJ HAST H A S T started around one idea: to combine the ecletic taste of this quintet of kindred spirits into one clear musical vision. Their sound can best be described as not shying away from exploratory intellect while still maintaining passages of stunning 81 simplicity, rock riffs and avant-garde. Lush minimal sound­scapes intertwined with noise elements remi­ niscent of some kind of weird mixture between a Mondriaan and Pollock painting. A potpourri of musi­ cal elements, best listened to rather than read about.

04 GERBEN BRYS

Completing your training by playing your favourite music with a band of eleven great people.

That is pretty much everything I could have wished for. We mainly perform music by American artists; music in which soul, hip hop and jazz meet, by artists who are all great sources of inspiration to me and who have made me who I am as a musician and as a person. These names include: Me’shell Ndegéocello, D’Angelo, Prince, Justin Timberlake, Erykah Badu and Anderson Paak.

05 MARIUS COUVREUR www.facebook.com/mmeblavatsky MADAME BLAVATSKY With more than 150 years of experience, Madame Blavatsky knows how to concoct the tastiest sounds. With each new brew that flows from their

Improvisation and composition were also included in the programme. My concert will consist of my own compositions as well as folk songs from Sweden, Romania, France and Sudan, arranged with contemporary music elements. Some klezmer repertoire will also be performed. For the occasion, I formed a music ensemble which will consist of the following instruments: cello, violin, bass and drums.

crucible, your chakras are sure to overflow.

Whether it is acoustic sounds or digital hocuspocus, the Madame will distil it in her Erlenmeyer flask and spike it with a good splash of bass so that you can drink it like a cup of chai.

At the heart of this ageold tradition are three wise monks who stream their music straight off their crystal balls all day to generate the best beats and give you a taste of the future. So follow that little dowser and join the cult!

07 NONA DEKEYSER 08 JONAS DESMET 09 JAN HEIRMAN 10 JEF PEETERS BASS EXAM Enjoy a dose of pleasant music in which the bass takes centre-stage. From delightful solo pieces and intimate moments to bass grooves in combination with a well-oiled band.

06 DIETER DE BRUYN CAST AWAY

11 ELLEN STEEGEN KEEP ON GOING

Cast Away is a motion picture from 2000 about a man who miraculously survives a plane crash and is cast upon the shores of an island in the middle of the Pacific. With no way to contact the outside world, he sets out on a dangerous survival adventure.

With a band of musicians, I will provide a live soundtrack to a part of this film. Music will include original compositions and tracks off English rock band Muse’s album Hullabaloo. Feel free to drop by and get blown away by image and sound.

07 SIEMEN DE MAN

Kevin Spaceballs is the brainchild of Jonas and Siemen. Fueled by a mutual love for fusion jazz and space, they found Thijs and Hanne.

After experimenting with funk and jazz from the seventies, they realised there are no boundaries: everything you see is balls in space, so Spaceballs can be anything.

Mostly inspired by Albert Einstein, Han Solo, Herbie Hancock, Verbal Kint, a cat in a box and Batman.

06 JONAS DE RAVE I play accordion and piano. Genre: crossover between jazz and world music/folk. In the past five years, I studied at KASK and learned new techniques to integrate the so called old-fashioned accordion in a more contemporary context.

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Keep on going: apt words for any situation in life.

Through her compositions, Ellen presents us her own view of life, the world and, of course, love.

A search of years culminates in the band she has assembled: four friends with different backgrounds to turn Ellen’s thoughts into reality. Expect a blend of jazz, eighties dream pop and classical elements.

Line-up: Ellen Steegen (vocals, guitar, keys), Bram Gabriëls (bass), Jens Wijnants (keys, guitar), Arno Grootaers (drums) 12 ELIAS STORME MASTER OF MUSIC: COMPOSITION MASTER IN DE MUZIEK: COMPOSITIE 01 NOAH THYS

MASTER OF MUSIC: MUSIC PRODUCTION MASTER IN DE MUZIEK: MUZIEKPRODUCTIE 01 MAURO BENTEIN soundcloud.com/maurobentano MAURO BENTANO – (ALLLEEEZ..)

WAARRROEM ZENNE KIK ZOOO?!

Some call him the Prince of Lier, others the Emperor of Fun. On his debut mixtape, (ALLLEEEZ..)

WAARRROEM ZENNE KIK ZOOO?!, this alien sets out in search of his own aural planet with a collage of (in)direct influences of (un)known artists from 65 years of pop history. Music with a laugh and a tear. With a message in Dutch that can be understood by all. <3 , PEACE & : ) x

Buleshkaj, Mathias Van de Wiele en Laurens van Bauwelen. His own songs are in the sparsely arranged Dutch-language pop idiom with jazz and classical influences, and he plays the guitar in experimental pop outfit UMM. As a producer, he searches for an honest and transparent sound that allows the music itself to take centre-stage.

04 BILLIE LEYERS BILLIE LEYERS / SIMON NUYTTEN Billie Leyers writes, sings and produces under her own name. Her music is distinctly part of the pop family, but it is marked by a contemporary electronic touch that continues to evolve. Dark 02 XAVIER DE CLERCQ chords, captivating bass IVY FALLS / POOLSIDE ECHO / MEK / sounds and wall-to-wall FRIE MALINE / MIDNIGHT BLUE BIRDS / voices define her sound.

HERMITAGE Simon Nuytten, With assistance from a member of top acts Staf Verbeeck (dEUS, Bazart and Felix Pallas, Selah Sue, …), I refined also has a bunch of solo my sound and worked 83 songs to show. Just on several productions. listen to ‘Venice’, or ‘Heart, My Beat’. His falsetto My master’s project is is sure to grab you, and his songs will recall the a selection from these: melancholy of The Beach Boys and the blissful –– Ivy Falls – ‘Mean Girls’ naivety of The Kooks.

(EP) // indie / electronica 05 JASPER SEGERS –– MEK – ‘Breathe’ soundcloud.com/seizoensklanken (single) // pop / SEIZOENSKLANKEN / singer-songwriter / SCHADUWLAND / experimental ABSENT ORCHESTRA –– Frie Maline – Jasper Segers is a ‘Keep On Swimming’ musician, producer, (single) // indie / electronica live engineer and –– Poolside Echo – ‘We Lose Our Magic’ programmer. He was (single) // pop / indie / electronica a member of Soldier’s –– Midnight Blue Birds – ‘Boogie Woogie’ Heart and currently (single) // jazz / 20s / close harmony plays in Tundra. In –– Hermitage – ‘Een Brug In Gent’ (single) // recent years, he has pop / in Dutch worked as a producer for Seizoensklanken, 03 JONAS EVERAERT Schaduwland, Hoar, ummtheband.com Berg, Lohaus, MAYEMI, AMIR EL SAFFAR / FLAIRCK / IMPRO / and others. He is also HET LUKTE / UMM a co-founder and If there is a theme throughout this collection the programmer of of projects by Jonas Everaert, it might well be StrauwntSound, the acoustic, often improvisatory music. For Klara concert organization with the Booty Rave Festival radio, he recorded and mixed Iraqi-American jazz as its annual highlight. trumpeter Amir el Saffar’s concert at the Bijloke Seizoensklanken – DagxNacht. The project Kraakhuis. For the Dutch folk band Flairck, he revolving around an electronic duo that blends produced five songs for their upcoming tour. These elements of jazz, rock, hip hop and afrobeat. sessions took place at Motormusic studios, where Schaduwland – EP. Songs in the Cohen vein Everaert has also worked with the likes of Artan

one plays to the motor and cognitive functions, the more efficiently one ‘touches’ the audience.

fleshed out with subtle electronics. Grand passages that contrast with fragile interludes.

Absent Orchestra – EP. A one-man band bringing non-stop orchestrated grooves.

02 LIEN SAEY STUDY AND DIGITIZATION OF AN AUTOGRAPHIC SCORE: GRAND TRIO POUR DEUX VIOLONS ET BASSE, J. MENGAL The Ghent Conservatory music library holds a wealth of manuscripts, autographic documents and scores by native composers. For this project, I decided to study an as-of-yet unpublished autographic score. In this way, I would put my rather theoretic focus as a musician into practice.

I deliberately chose a composer connected to this institution: Ghent composer Martin Joseph Mengal, the first head of the Conservatory and author of quite a number of works that gained him international esteem. Today, his music is seldomly performed, like that of many other Belgian composers of the past. With this study, I would like to revive old music from my own country.

06 TOM SOETAERT www.facebook.com/weareouter OUTER

In need of silent places, outside of everyday life.

Translating them in neoclassical pianoscapes that flirt with strings, vocals and electronic harmonies.

Written and produced by Tom Soetaert Live band: Tom Soetaert, Nicolas Delépine, Arne De Tremerie, Wanthanee Wadngam 07 YELLO STAELENS MASTER OF MUSIC: MUSIC THEORY MASTER IN DE MUZIEK: MUZIEKTHEORIE 01 ARTHUR MARI WHAT CAN MUSIC AND THE BRAIN TEACH US ABOUT OURSELVES?

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MASTER OF MUSIC: MUSICAL INSTRUMENT MAKING MASTER IN DE MUZIEK: INSTRUMENTENBOUW 01 TIM DUYCK 02 SIMME VANDERSTEEN GUT STRINGS, BOWS, AND ‘DEUX VIOLES ESGALES’

A decisive factor in our motor and cognitive experience of listening to music, is the bpm or ‘beats per minute’ rate. This tempo determines how we move our bodies. By fluctuating around 125 bpm – as I did in my composition Lichtschakeringen (2017) – you approximate the heart rate, which will automatically also have an influence on the rest of the body. I deliberately made this choice, as I was trying to imitate electronic dance music in this acoustic piece for winds and piano. Similarly, I tried to touch on the introspective aspect, because through physical stimulation, music evokes feelings, emotions and intentions. The more

Three hundred and thirty years … that is the time that has passed since Nicolas Bertrand made the oldest of his surviving bass viols. 1687 was also the year when Marin Marais published his first ‘Pièces de violes’, Rousseau came up with his Traité de la Viole, and Jean Baptiste Lully gave up the ghost. Indeed, it was an eventful year for the French world of music.

balanced zoning plan and a functional organization chart. A second phase focuses emphatically on the technical execution of the design. Parallel to this large assignment, students are introduced to aspects of sales, project management, quantity surveys, advice and real service assignments, which familiarizes the students in the Interior Finishing & Advice focus with the everyday practice of the interior designer.

Inspired by the near-mythic Monsieur de Sainte Colombe’s concerts à deux violes, I decided to make two bass viols, including the gut strings and bows from European wood, in order to present, at the end of this master track, a complete project where the entire instrument and all of its parts are self-made.

ADVANCED MASTER CONTEMPORARY MUSIC MASTER NA MASTER HEDENDAAGSE MUZIEK

Applying for a bachelor’s degree: 01 OLIVIER ALSTERS

Students of the Advanced Master in Contemporary Music work under the guidance of the Ictus and SPECTRA contemporary music ensembles, on projects with an emphatic focus on recently composed music. Students specialize in contemporary music, as soloists or members of an ensemble. They play an active role in creating new works by both young and established composers. Workshops and lectures bring students in contact with international experts, as well as exchanging ideas with others of the same generation: composers, choreographers, theatre makers and visual artists.

Under the banner of the Ghent Advanced Master Ensemble, or G.A.M.E., students give concerts within and beyond the walls of the Conservatory Students complete the study with a concert and a written thesis.

02 SEYMA ATMACA 03 FREE BEKE

Applying for an advanced master’s degree: 01 HANNA MADELEINE KÖLBEL

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04 LAURENCE BEYAERT

02 CARLO PRAMPOLINI BACHELOR OF INTERIOR DESIGN BACHELOR IN DE INTERIEUR­VORMGEVING

05 LENNERT BOONE

FOCUS INTERIOR FINISHING & ADVICE INTERIEURAFWERKING & ADVIES In the Interior Finishing & Advice focus, the complexity of pure design shifts to the specific questions of realization and finishing. Students are first confronted with the entire design process in an extensive and often complex assignment with a public character. A thorough analysis of the building, site and specific demands forms the basis on which students first draw up a

06 AARON BORMS

07 ROBIN BORMS

16 TINE DE PACHTER

08 AURÉLIE BRACKE 17 MATHIAS DEQUIDT

09 JARA BULTHÉ 10 JASPER CALLEBAUT

11 ANOUK DEBEUF

12 13 14 15

EMMA DE CLERCQ EVA DEMULDER KENNETH DE NEF LISE DE NEVE

86 18 FEE DE SMET

19 MARISSA EGGERMONT

26 DÖNE NALLI

20 PAULIEN GERVOYSE

21 JANNE GILLIS

27 ANNELEEN RAES

22 ELKE GODON

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28 LINDSY ROTTY 29 NIHAL TOP 30 JASMIEN VANGRONSVELD

23 THAÏNI ILLEGEMS 24 EMMELIEN LAMBRECHTS

31 ANNE-SOPHIE VANHOE 25 JUSTIEN LESCOUHIER

32 ANNELEEN VLAMYNCK

33 LOUIS WERBROUCK

03 AXEL BRABANTS 04 JUSTINE CARPENTIER

FOCUS CONCEPT & SPATIALITY CONCEPT & RUIMTELIJKHEID The Concept & Spatiality focus presents the 05 LOTTE DEDUYTSCHAEVER 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 88 06 ELOÏSE LAURÈDENT DE MEYER their own design process.

07 BRAM VAN BRAECKEL Applying for a Bachelor’s degree: 01 ELINE ADRIAENSENS

08 ASHLEY VEIREMAN 02 LAURA BEULENS

09 RENATE VERSTRAETE 10 ANAÏS VERVAET 11 JESSIE WESTYN

12 KAJ ZWERVER

03 JELLE DESMET

FOCUS FURNITURE & DESIGN MEUBEL & DESIGN

04 LIESA DEWULF 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.

89 05 NICOLAS ERAUW As such, in this focus we trace the ‘rights of existence’ of pieces of furniture or design objects. Newly developed technologies or the negative – cultural, social, psychological or ecolog­ical – effects of a design object on its user can be adequate reasons for questioning an existing object and replacing it with a more effective alternative. For it is an absolute necessity to analyze and redefine designs that no longer fill a need in an evolved society or that even threaten a simple and healthy life.

Applying for a Bachelor’s degree: 01 LISA BOCARREN

06 MARIE GAVEL 02 SARAH DEKNUDT

07 RANDY GUIGUET

12 EWOUD VIANE

08 ANTHONY LEENDERS

09 ELINE VAN DER STRAETEN

10 ROMANIE VERCAEMST

FOCUS TEMPORARY INSTALLATIONS TIJDELIJKE INSTALLATIES The Temporary Installations focus confronts students with a series of projects of a very specific, indeed temporary, nature. It concentrates on projects such as exhibitions, fair and expo stands, events, film and theatre sets or any other assignment that involves a temporary use. From this perspective, students are first of all familiarized with the particular technicality that this kind of assignment entails. These temporary installations must be made so they can be built up and 90 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.

Applying for a bachelor’s degree:

11 GULCHIN VERMEULEN

01 BAS BOMBEKE

08 LAURENT MARTENS 09 ELISE MENSAERT

02 KAATJE COENEN

03 ELINE DEFRANCE

10 DORIEN REYNDERS 11 FEMKE SMITS 12 JANA VANDAELE

04 BERT DESCHRIJVER 05 MORGAN KERCKHOF

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13 IRMGARD VAN DRIESSCHE

06 FLORIAN KESTELEYN

07 LAURA LEYNEN

14 ELIAS VANSTEENKISTE

BACHELOR OF LANDSCAPE AND GARDEN ARCHITECTURE BACHELOR IN DE LANDSCHAPSEN TUINARCHITECTUUR Landscape and garden architecture is an aestheti­ cally based profession founded on understanding of the (human) environment’. As in the working field, designing is at the core of the bachelor programme. Designing is a creative process which consists of exploration and inspiration in order to model, erect and plan outdoor spaces. At the beginning of the programme, the garden is the central theme. Subsequently, the main focus shifts to the urban environment. The student finishes his programme with a project in landscape design.

Our practical approach is based on realistic design cases. Besides designing skills – an architect needs to communicate his ideas using visualisations as a first language – an architect needs to gain an understanding of landscapes and knowledge of ecology, botany, soil and history.

Bachelorproef 2016-2017: ‘Een metamorfose voor de suikerfabrieksite en omgeving in Moerbeke’.

Moerbeke is mainly known for its sugar factories that from the 19th century on have determined the skyline of the village and its identity as the “sugar village”. Since its closing in 2008 and the installations’ dismantling, one can still see the immense space the factory once occupied. Even the railway track that provided the village of sugar beets is still visible. Today, it has been dismantled and transformed into a cycle path.

The abandonment of the old industrial areas confronts our generation with a new task: the revaluation of the brownfield projects. The main focus of the preliminary design is on the Moervaart as a fundamental structure. What Moerbeke needs is a complete makeover of the landscape so that it lends itself to nature, public space, entrepreneurship and cohabitation. For this bachelor’s thesis, ‘design for all’ is used as a main principle and the students learn to see things from a user’s point of view. The key words to keep in mind in order to create a pleasant place are the following: safety, variety, accommodation and transport.

Studenten: 01 02 03 04 05 92 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38

MAXIME AUDRY MAYKE BELMANS JASPER BOUSSAERT JULIE CAUDRON LISA CELIS WOLF COMPERNOLLE WIM COOLS PIETERJAN CRUYT ROY DAMEN PIETER DE BLENDE FLORIS DE BRABANDERE DIETER DECLERCQ BRAM DECOENE RUBEN DERNAU WOUTER FRANÇOIS CHARLOTTE HERREGODS GILLES HOREMANS ELIZABETH HOUTTEKIET LENNERT KENIS LIES MICHIELS WILLEM MISEUR ARNO NACHTEGAEL BRENDA NOERENS DRIES PATTYN HARM PAUWELS LUKAS PERDU WOUTER PERSOON PIETER REYNAERT NICOLAS ROMBAUT LENNERD SONNEVILLE LAURENT TERRAS VITO TIMMERMAN JOEP VAN AMELSVOORT KEJO VAN ASBROECK MAURICE VAN DAMME KEN VANHECKE EVELINE VEKEMANS VICTOR VLERICK

ADVANCED BACHELOR OF LANDSCAPE DEVELOPMENT BACHELOR NA BACHELOR IN DE LANDSCHAPS­ONTWIKKELING

Projects developed in 2016-2017 –– Visual landscape analysis of the Vlaamse Ardennen In collaboration with the ‘Regionaal Landschap Vlaamse Ardennen’, the landscape of five specific areas in the south of Eastern Flanders was analyzed. The study aimed at developing a hiking and bike path, based on the historical relics in the region and its aesthetical values.

The advanced bachelor’s programme in landscape development focuses on the landscape, and on the ways that landscape can be used in the context of environmental planning. This one-year programme aims to train competent professionals with the analytical and synthesizing skills that are necessary –– All Inclusive!? for an independent and critical understanding of Upgrading Munich’s Northern Fringe landscape. This forms the basis for creative and This project was part of an international student substantiated planning proposals. The degree of competition of the sixth Landscape Forum of the complexity of the project assignments increases LE:NOTRE institute. It focuses on the corridor with each successive term. In the first term students between the city of Dachau in the West and Munich tackle relatively simple problems, focusing on Airport in the East. The aim was to exemplify site analysis. Planning and policy are covered the concept of ‘Inclusive Landscapes’ with new in the second and third terms, with Geographic approaches, transferable to other metropolitan Information Systems (GIS) as an important tool. areas across Europe.

These projects often evolve as responses to specific questions from the field. In the course of the –– Climate for Space / Space for Climate projects, as well as in the final stages, discussions As an answer to questions of Ruimte Vlaanderen, take place between students and clients. In this the Province of Western Flanders, the city of Ostend way, students present studies and projects to and the Vlaamse MilieuMaatschappij, creative local authorities, provincial councils, non-profit ideas have been developed for a climate resilient organizations and private partners. The eight weeks landscape in several regions of the Belgian coast. of the fourth term are in the form of an internship, in The concepts and design proposals will be used which students test and integrate the competences as input for actual spatial projects. they have acquired. Preferred internships are in design firms, public institutions or administrations Applying for a bachelor degree: (such as the Flemish Government, the provinces and communities), in Belgium or abroad, 93 01 ANDREAS BAUWENS addressing landscape planning in its broadest 02 LOUIS BOSSANT context, as well as the application of Geographic 03 MICHIEL BOSSCHAERT Information Systems..

04 SYBREN CARDOEN 05 LOES CARLIER 06 MICHIEL CARRON 07 MARGOT CLAES 08 BENJAMIN CLAEYS 09 LORENZ CLEYMAET 10 JEAN DARGE 11 SARAH DE BAERE 12 KLAAS DE JONGH 13 NOOR DE KUYPER 14 TIM DEFORCHE 15 LOTTE DEMAN 16 JULIE GRAULS 17 JONATHAN HAERS 18 ARNO HEYMANS 19 MARJAN LINTERMANS 20 JOPPE MOLLET 21 JESSE TAVERNIER 22 LIEN VAN LANGENHOVE 23 MIKE VAN LOOCK 24 YARCO VAN ROY 25 MARIE-LAURA VANDEKERKHOVE 26 NOORTJE VLEMINCKX

POSTGRADUATES

hidden in plain sight. In playing with and extending the syntax of communication into the realm of the liminal, the characters – each in their own way – converse and generate a linguistic sensibility that doesn’t rely upon its physical translation. 3-4 This in turn opens the door to personal narratives, to quasi-fictions. In this way, the project seeks to grasp how the private space of the viewer, and the lack of distinction between fantasy, narrative and reality, operate.

MUSICAL PERFORMANCE PRACTICE

Rabbit is The New Beef is curated by May Lie Basyn, Ralph Collier, Phyllis Dierickx, Marta Janakakisz, Maud Oonk and Olivier Van D’huynslager. Featuring the work of Karen Amanda Moser, Luca Frei, Elise Van Mourik, Bent Vande Sompele, Benny Van de Meulengracht-Vrancx, Liesbeth Doms and Oscar Hugal.

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The Quartetto Delfico ensemble was collectively enrolled in the postgraduate Musical Performance Practice. They perform their final exam concert on June 28.

Finishing the postgraduate Musical Performance Practice: 01 02 03 04

VALERIA BRUNELLI MAURO MASSA ANDREA VASSALLE GERARDO VITALE

2

SOLOIST CLASSICAL MUSIC The students of the postgraduate Soloist Classical Music perform their final exam concert on June 28.

Finishing the postgraduate Soloist Classical Music 01 DIEGO CASTELLI 02 RAFFAELE NICOLETTI 03 AKIKO OKAWA CURATORIAL STUDIES RABBIT IS THE NEW BEEF “Buildings emptied of their automatons are even more desolate than tombs; when the machines are left idle they create a void deeper than death itself.”

– Henry Miller The most interesting and compelling things happen in doorways: at the borders, right along the edges.

It is within these thresholds that we encounter the transition from one space to the other.1 By redirecting the gaze, the footnote activates the liminal space, and explores the void whichour eye has to cross. In doing so the project wishes to engage with spaces wherein improvisation is given a chance. Rabbit is The New Beef allows the development of fictitious characters whose interaction animates the fictional apparatus which it has become.4 Through a series of semi-scripted events 2 and an exhibition 3, the project attempts to redirect the gaze from overt points of reference to that which is

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3

4

The project was inspired by the mechanisms of Aby Warburg’s Mnemosyne Atlas. in 1927, the formalist art historian started to compose a work in the form of a picture atlas that consisted of 40 wooden panels covered with black cloth on which nearly 1,000 pictures – in various media – were carefully pinned down, creating a grid-like structure with no captions and only a few texts. Of interest here is not the art historical accomplishment and endeavour of rewriting history, nor the use of new technology, but the creation of fictions within the voids between representations. It is within these thresholds, true to the grid, that new narratives are constructed.

High Performance by Elise Van Mourik will take place unannounced at KASK. As a non-performance, nothing spectacular will happen. In its ongoing, seemingly endless pointlessness, the work will be allowed to circulate, raising expectations that are never met.

The lack of distinction between fiction and reality, public and private, and several other spheres, will be the focus point of the exhibition that takes place in and around KASK. Including works by Karen Amanda Moser, Luca Frei, Benny Van de MeulengrachtVrancx, Liesbeth Doms and Oscar Hugal.

Bent Vande Sompele will, in the upcoming weeks, produce a series of illustrations that will be distributed as part of the project’s press and communication strategy. By dividing the communication in three different consecutive parts, and never showing them together, the full reading of the project relies on individual memory.

Playing out the certainty of an incomplete communication due to the shortened attentiveness which is common to our attention economy. * Rabbit is the New Beef is appropriated as a title from Rem Koolhaas’ essay Junkspace and refers both to the transformation of one thing into another and to an acceleration.

DIGITAL STORYTELLING 01 FLORE CLARISSE PAST MARKS

Show me your birthmark and I will tell you a story from your past life. (transmedial community project with a focus on photography and animation.)

and understand what has changed and what has remained the same in a scout life and in the scout movement. (multimedia project with video, pictures, audio and text)

02 LOUISE DE GROOTE IT’S WHO YOU’RE SURFING WITH

05 STIJN DE WANDELEER

How a shared passion for surfing keeps a Belgian family together while the kids are growing up and slowly leave the family nest. (shortdoc) 03 WIES DE VUYST TO MAKE LEUVEN EVEN GREATER AGAIN

95 Building, informing and entertaining an online participative community of Leuvenaars, who share responsibility to build the future of their great city together. Wies will take the best or most popular idea’s and will present them to Leuven’s mayor Louis Tobback. That is: if he’s invited… (transmedial community project with a focus on video and participation)

Everyone can become an addict under the right circumstances. This is a frightening thought, which lead Stijn De Wandeleer to make a series of longreads about exactly this subject. The things someone can become addicted to are incredibly diverse. Substance abuse (alcohol and drugs) are the obvious ones, but an addiction to sex, love, work, self-harm or an online environment far too often stays off the radar. With this project, Stijn tries to focus some attention back to the addictions people are not talking about enough, in a way that is both understandable and most importantly: human. (longread project) 06 JENS MARTENS www.youtube.com/jensmartens MY LOVE FOR STORY RICH GAMES, PERSONAL STORIES AND RANDOMNESS SHARED ONLINE.

04 STEF HEUNGENS GRAALRIDDERS – THE SAME BUT DIFFERENT

Graalridders: hetzelfde maar anders is a trip down memory lane into the history of the scout group Graalridders-Gudrun Merelbeke. Seven talks with seven people from different generations will be the basis of the multimedial story. By exploring the site, you will find out what it means to be a boy scout.

Focusing on emotions and feelings we will try

For years, YouTube for me has been a place to engage with like-minded people with shared thoughts, interests, joys and problems. For me it’s also a place to meet new people and to be more open, since I’m a bit more introverted offline.

For my graduation project, I wanted to take my personal vlogs to a higher level and reboot my personal YouTube channel. (personal vlog) 07 SARA MIKOLAJCZAK www.oaktreeisland.com Fantasy is my life, so I made my life into a fantasy story. In this story, my Grandma is my hero, my mentor. She leads me through the monsters in life,

she learns me how to fight them. She shows me what a wonderful world we’re living in, on our own island in the sky, built on 100 oak trees. Discover Oak Tree Island. Meet my amazing Grandma.

See how much I loved her. (multimedia project based on text and animations) 08 JULIE ROMMELAERE www.roof-music.be ROOF

The technique used for the transformation is video­ mapping. The story is about a little car called Pinocchio and his struggle between good and bad intentions.

Last year I started my training and presentation business Prezenta, which helps people to make their trainings and presentations into real story-driven experiences. I strongly believe that good storytelling makes your message impossible to ignore.

The ultimate goal is to integrate the videomapping storytelling technique into the concept of pop-up presentations, making the experience even more memorable. (video mapping project) EUROPEAN POSTGRADUATE IN ARTS IN SOUND EPAS is an intensive one-year course focussing on the creative potential of sound, both as an independent medium as part of a multi media practice. The innovative curriculum emphasizes the development of creative practice alongside technical craft and embraces research as an essential element in supporting self development and creative processes.

I’ve been experiencing the joy of photography for years. But at Dour Festival last year, I discovered my love for music and concert photography. So I built 96 ROOF, an online music website where you discover new Belgian bands through concert photo’s, but also through interviews on top of remarkable Belgian rooftops. By giving the bands a roof instead of a stage, I support young musicians. (multimedia project based on photography and video) 09 DORIEN RUYMBEKE WHO’S DORIEN? Online, you can be whoever you want to be. I just wanted to be myself and discover how I could show my skills and interests through my online presence. (transmedial personal branding project)

The target group consists of artists, creators and professional practitioners who want to develop their knowledge and skills in sound within an audiovisual context. The selected students were Hüüi Park, Iva Galovic, Léonie Zelger Petar Veljaćić, Patricia Dominguez and Patrick Housen.

10 RIK SMITZ www.prezenta.be PINOCCHIO’S FACELIFT

I want to be a present-day Gepetto who brings dead objects to life; not through a wooden puppet this time but in an Italian icon yet: a Piaggio Ape car.

The first semester in Ghent and Amsterdam dealt with aspects of sound as an artistic discipline within the audiovisual arts.The workshops were lead

by Hans Peter Kuhn (Berlin), Nicolas Becker (Paris), Larry Sider and Annabelle Pangborn (London),

Ben Zijlstra, Cilia Erens and Michel Schöpping (Amsterdam), André Bendocchi-Alves (Cologne), Martin Parker (Edinburgh), Els Viaene and Martine Huvenne (Ghent).

In the second semester the students developed a personal project in the different partner institutions, where they were coached by their proper mentor. The project work is expected to demonstrate a creative and critical approach to the medium or media employed and to sound as an artistic discipline. It will be presented on the 10th and 11th of September 2017.

EPAS is the result of a collaboration between different institutes and experts. Kask & Conservatorium, School of Arts Gent is the leading partner, and organizes the course together with NFA, Amsterdam and ifs Köln. Associated partner institutes are ENSATT, Lyon; Edinburgh College of Art (University of Edinburgh), UK and Goldsmiths University of London. www.epasound.org

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CATHARINA DHAEN PIETER JENNES AARON MAES RAF MICHIELS EMMA MORTIER MATHILDE VANDENBUSSCHE JONAS VANDERBEKE GIELES VAN DUYSE PAULINE VANHOVEN

DRAMA 01 EVE VAN AVERMAET

TEACHER CERTIFICATION IN THE ARTS SPECIFIEKE LERARENOPLEIDING IN DE KUNSTEN The teacher-training programme in the arts offers four options to match the master programme of visual arts, music, drama and audio-visual arts.

The nearly graduates enrol as interns in part-time art education, secondary art education and in the wider field of social-artistic work and art education.

In these diverse contexts students acquire 97 competences as expected from pedagogically qualified artists. This way, they get to know the diverse range and possibilities of art education and the social-artistic field. This practical approach gives the student an insight in how they can implement their artistic skills in our society.

AUDIOVISUAL ARTS / AUDIOVISUELE KUNSTEN 01 GERD DE KINDEREN 02 YORICK VAN DE WALLE 03 NIELS FAES VISUAL ARTS / BEELDENDE KUNSTEN 01 WATCHARITA AROON 02 CYNTHIA BALLASINA 03 CIELKE BESSEMANS 04 AFEF BOUCHRIKA 05 JEROEN CLUCKERS 06 RUTH DE JAEGER 07 LYNN DEVOS

CLASSICAL MUSIC / KLASSIEKE MUZIEK 01 NATALIYA ALEEKSEEVA 02 NIELS DE COCK 03 SEBASTIAN DE MEESTER 04 LIESELOTTE DE VUYST 05 GILLES DEMEURISSE 06 HANS JACOBS 07 EVELIEN LEEUWERCK 08 JELLE PROOST 09 LOUIS SNAUWAERT 10 EVGENY SUVORKIN 11 CEDRIC TROISPONT 12 MORAG UYTTERSPROT 13 WARD VAN HERTUM 14 JOKE VAN LENT 15 AMELIE VERHELLE 16 GERT VERMEULEN 17 SVEN YSEWYN JAZZ/POP 01 HELEEN ANDRIESSEN 02 KOBE BOON

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SANNE BOSTYN CELINE DE CUYPER EMILIE PIERRE JONAS VEIRMAN NILS VERMEULEN

MUSIC PRODUCTION / MUZIEKPRODUCTIE 01 NAOMI BENTEIN 02 ANNE VAN STEENWINKEL 03 MICHAÃ&#x2039;L VERLINDEN MUSIC THEORY / MUZIEKTHEORIE 01 MARIEKE TINEL MUSICAL INSTRUMENT MAKING / INSTRUMENTENBOUW 01 CHARLOTTE DE LEY

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• COMPLETED PROJECTS 102 Daan Janssens, (Paysages – études) 104 Lukas Huisman, Musical Complexity: Nature of Limits and Limits of Nature 106 Joris Vermassen, Flaubert’s Curse. Sacred Text, Ungodly Image: Towards a Reconciliation 108 Hilde Bouchez, A Wild Thing / Research into the phenomenological qualities of design objects 110 Kristel Peters, Rethinking High Fashion Shoes: Cradle-to-cradle inspired methods for designing and creating sustainable high fashion shoes • A YEAR IN RESEARCH: PUBLICATIONS AND SELECTED HIGHLIGHTS 112

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Research in the Arts 16â&#x20AC;&#x201D;17

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(PAYSAGES – ÉTUDES) DAAN JANSSENS PhD in the Arts, completed in 2016

pieces consciously or unconsciously refer to each other, and that these references have an impact on how pieces are perceived. I first demonstrated how composers today apply such musical referencing mechanisms through three case studies (ClausSteffen Mahnkopf, Jörg Widmann and Johannes Kreidler), after which I zoom in on how these insights have played an important role in my own artistic practice, in particular in works such as (...en paysage de nuit...), (...de l’Immense Infini.) or En dérive – (...paysage d’oubli...).

The project (Paysages – études) emerged from the idea that many 20th- and 21st-century musical compositions are characterized by the presence of multiple musical or structural relations between musical elements (within and outside the very composition). Nevertheless, these complex relations often cannot easily be perceived. In my own compositions, too, I was confronted with this problem. For instance, many such structural links can be found in my early string trio Gegeven/...

(Beweging)... (2004/2005) and can only be perceived through analysis.

In later compositions, I started to deal differently with elements such as musical structure and the development of musical material. In compositions such as ...Passages... (2005), Tableau – Double – (Passages II) (2005/2006) or (...nuit cassée.)

(2006/2007), time organization is organized much more freely and musical elements are connected in a more audible way, resulting in ‘freer’ musical forms. The study of these compositions raised a number of questions central to my project: how can musical objects in a composition be developed in such a way that their transformations are perceivable? Which features of these musical objects are responsible for the fact that their original and transformed form can be audibly connected? To what extent can this audible musical transformation generate larger, yet formally coherent musical structures?

My own compositional practice, as well as the analysis of particular key compositions made clear that – within my personal musical language – in order to audibly transform a musical object, the specificity of this object should be maintained, rather than the pitch organization or the specific internal rhythmic configuration. Moreover, in order to achieve coherent compositional structures, a crucial role is played by the very position of these recurring musical elements inside the composition, and by the global formal development of the work. Based on various examples from different composers (Beat Furrer, Simon SteenAndersen, Brian Ferneyhough, ...) and on my own compositions ((es), (2009) (Paysages – études) V (2011) and (face à moi) III (2012/2013)), I analysed to what extent the oriented, linear transformation of diverse musical elements (instrumentation, spatial use, degree of polyphony, …) structurally contributes to such coherent compositional structures. These elements merge in my chamber opera Les Aveugles (2011), as the work is characterized by audibly recurring musical objects, as well as linear transformation processes.

The last part of my research project, Verwijzende muziek, deals with the musical relations between different compositions. In the course of my dissertation, it is repeatedly shown that musical

Over the period 2007-2016, my project resulted in more than twenty compositions, over 100 performances, and an extensive essay in which the project was discussed and illustrated.

For more info: www.daanjanssens.be

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Les Aveugles, a chamber opera by Patrick Corillon (concept, libretto) and Daan Janssens (concept, music, libretto) after Maurice Maeterlinck. Produced by LOD muziektheater, 2012. © Kurt Van der Elst

Les Aveugles, a chamber opera by Patrick Corillon (concept, libretto) and Daan Janssens (concept, music, libretto) after Maurice Maeterlinck. Produced by LOD muziektheater, 2012. © Kurt Van der Elst

Daan Janssens, (paysages – études) V, 2011, score excerpt.

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Daan Janssens, (…nada.), 2015, score excerpt.

MUSICAL COMPLEXITY: NATURE OF LIMITS AND LIMITS OF NATURE LUKAS HUISMAN PhD in the Arts, completed in 2016 Some define the fascination with complex modern virtuoso piano music as the quest to attain a flow state, motivated by the habituation of the more analytical listener. Some mention a desire for transcendence, the longing for situations where man rises above himself. Others make art from a scientific attitude or prioritize the impact on the audience. The composers discussed in this research project have different reasons and use different techniques when composing. They, however, all aim for a similar energy and intensity in a live performance of their works.

This research project examined the works of four composers who explore the physical and mental limits of the performer, thereby creating scores that mould the performance in a more active way than most scores do. The subject was approached through their oeuvre for solo piano. The Opus Clavicembalisticum and the Symphonic Nocturne

by K. S. Sorabji, Evryali by I. Xenakis, Lemma-IconEpigram by B. Ferneyhough and Midsomer Morn (from the English Country-Tunes) by M. Finnissy were analysed. These works exemplify an excess of specification of one or more musical parameters.

logically structured score that takes the physical mapping of the notes into account reduces study time.

Complexity is an integral part of the examined works. Consequently, when studying and interpreting them, complexity is also the starting point, and uncovering all relevant information becomes a priority. Understanding the context and structure of a piece of music not only increases one’s knowledge of it, influencing the interpretation, but activates the memory more effectively, which facilitates the study process. As this research project set out to explore, extra aids in the score clarifying the underlying compositional principles, can therefore help a performer decode a score.

In the case of Evryali, the pianist must make the impossible possible, sometimes making the 104 radical decision to prioritize one musical element or parameter above another to the extent that it changes the musical text; a performer must choose to either omit notes or lower the tempo drastically.

As both possible paths through the work were used Sorabji: Symphonic Nocturne (First recording). Lukas Huisman, piano. Piano Classics, 2016. 2CD by different pianists and were both accepted by the Recorded at the School of Art’s own Bijloke studios, this release features the first recording of composer, a more thorough analysis of the merits of Kaikhosru Shapurji Sorabji’s Symphonic Nocturne for Piano Alone (1977-1978) as performed by Lukas Huisman in the context of his doctoral research project. both strategies was needed.

When analysing Lemma-Icon-Epigram, the most important issue was determining whether one is allowed to make a score that contains study aids, as the composer actively seeks to problematize the performer-work-relation. In the preface to the score, however, he asks the performer to develop whatever strategy necessary to enable a correct rendition of the rhythms, thus making a score with study aids a valid option.

The attitude to the performer in Midsomer Morn is at first sight very different. This composer generates near to impossible musical scenarios that result in very powerful musical situations in live performance that sometimes resemble music theatre. These moments of great musical impact are written to be performed in a ‘wilfully unpredictable’ manner, as the composer writes in the preface to the score.

The role of a new edition of the Opus Clavicem­ balisticum was analysed in an experiment in which different performers used different versions of fragments from the score. An article to be published in Empirical Musicology Review clarifies that a

Xenakis, excerpt from Evryali, Lukas Huismanâ&#x20AC;&#x2122;s Analytical Critical edition.

Finissy, excerpt from Midsomer Morn from English Country-Tunes, manuscript.

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FLAUBERT’S CURSE. SACRED TEXT, UNGODLY IMAGE: TOWARDS A RECONCILIATION JORIS VERMASSEN PhD in the Arts, completed in 2016 In his dissertation Flaubert’s Curse, Joris Vermassen investigated the problematic and ambiguous relationship between texts and images in literature and art. His search for a reconciliation between literary texts and artistic images led to the exhibition Alice and Louis. In text and image, Vermassen brought the two titular characters to life: a (fictional) elderly couple who are about to move to a service flat and must say goodbye to their familiar home and furniture. Words and images echoed each other in the exhibition space, setting the viewer/ reader’s own imagination to work.

In spring 2018, Vermassen’s dissertation will be published by Vrijdag as Heilige Tekst, Goddeloos Beeld: op zoek naar een verzoening.

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Joris Vermassen, Alice and Louis, cabinet space School of Arts Ghent, November 2016 (various materials). © Rachel Gruijters

Joris Vermassen, Alice and Louis, cabinet space School of Arts Ghent, November 2016 (various materials). © Joris Vermassen

Joris Vermassen, Alice and Louis, cabinet space School of Arts Ghent, November 2016 (various materials). © Rachel Gruijters

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Joris Vermassen, Alice and Louis, cabinet space School of Arts Ghent, November 2016 (various materials). Š Joris Vermassen

A WILD THING / RESEARCH INTO THE PHENOMENOLOGICAL QUALITIES OF DESIGN OBJECTS HILDE BOUCHEZ researcher 2013 – 2017 The results of this research project into the phenomenological qualities of design objects, of Van Severen and a number of other contemporary designers, can now be seen and read in a book and in the Ghent Design Museum’s current collection presentation Maarten Van Severen & Co: A Wild Thing. The exhibition illustrates the book’s intention and stages a dialogue between the work of Van Severen and some of his kindred spirits. Also on view are creations by KASK students from the ‘Heads over Hands’ minor that was also part of the project and was developed alongside the book.

What is this light that animates an object, regardless of the spotlights of marketing? To some it is the archetypical form that reaches beyond memory, to others it is a spiritual intention, as with the Kyrgyzstan felt artisans, or simply the soul of the tree that lives on in the furniture of someone like George Nakashima. Where the book’s musings take in designers, philosophers, artists and poets, the exhibition gathers kindred spirits around Van Severen’s silent objects. Invisibly, they weave a net across the room, they charge it, vibrate soundlessly with the soul of the visitor.

While Maarten Van Severen is mainly known for his minimalist style, he himself resolutely rejected this emphasis. Not only because he had little or nothing in common with sixties minimalist art, but also because creating objects that embody the essence of their use demands a maximum of effort. He was more aligned with the social ideals of the modernists and the Bauhaus and their aim of a universal, status-free language in the service of people, with form as a logical consequence of function and necessity.

Much like an alchemist, Van Severen was passionate about turning matter into meaningful, charged objects. He sanded aluminium furniture 108 until they came to life and refused to varnish the wood he worked with, so that every day, his tables remind one of the night before. Traces of greed and festivity. Imprints of real life. His furniture was not tamed, it was wild just like himself. Everything he designed contains the soul of a wild animal bound by the laws of nature. He did not want to create tame objects that comply with the logic of consumption. His attitude was that of a craftsman, who has no choice but to serve his creation. His perspective was never that of style, but always that Hilde Bouchez, Het Wilde Ding/A Wild Thing. Art Paper Editions, 2017. English, 12 x 18 cm, 296 p., ills., edition of 500. ISBN 9789490800604. €20 of essence and harmony. Love and proximity were In a series of essays, Hilde Bouchez reflects on design history and the latest movements within the his motivations in anything he undertook. design world. She also presents a pheno­menological methodology that opens up a new, more poetic A Wild Thing is not an exhibition catalogue, but a collection of essays that looks for a new meaning for a discipline in crisis. Nowadays, design is often determined by status and an outspoken form that is no longer related to an underlying idea, ethical or otherwise. Moreover, today’s designer is responsible for tomorrow’s waste. So it makes perfect sense that the sector is focusing on new methods and principles: the makers movement, slow design, open design, cradle to cradle, social design … A Wild Thing brings them together and goes a step further, inspired by Maarten Van Severen and other designers on the one hand, and by phenomenologists and other thinkers looking for ‘the soul of things’ on the other. Jasper Morrison’s ‘aura’, or ‘the intrinsic glow of the inside of things’, as Joost Zwagerman wrote about the cups and pitchers in Giorgio Morandi’s still-lifes. Or yet, in Cees Nooteboom’s words, the ‘mystical allure’ of things.

approach to everyday objects for both maker and consumer. The texts are linked by the author’s search for a sustainability and meaning that transcends the organic component of materials.

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Hilde Bouchez, Het Wilde Ding/A Wild Thing. Art Paper Editions, 2017. English and Dutch, 12 x 18 cm, 304 p., ills., edition of 1000. ISBN 9789490800598. â&#x201A;¬20

RETHINKING HIGH FASHION SHOES: CRADLE-TO-CRADLE-INSPIRED METHODS FOR DESIGNING AND CREATING SUSTAINABLE HIGH FASHION SHOES KRISTEL PETERS researcher DIRK VAN GOGH coordinator 2012 – 2016 Every year, more than 20 billion pairs of shoes are produced, of which 95% end up in landfills after serving their limited time. For Europe alone, this means 1.2 billion tons of garbage every year. Shoes are complex structures, made up of combinations of leather, vinyl, plastic and other toxic materials that need from 25 to 40 years to decompose. Indeed, 80% of the total impact factor is to be traced to the material and production chain; the tanning industry, for instance, uses staggering amounts of water and is responsible for enormous carbon dioxide emissions. All of these factors add up to make the shoe industry’s impact on man and the natural environment highly pernicious.

In response, the Rethinking High Fashion Shoes project presents Je suis Alice, a modular shoe, as a way towards a potential solution for the problem created by the shoe industry. Alice is made through additive manufacturing, with a 3D-printed core or support structure. This print’s main features are also crucial tenets of a circular economy: the core is aimed at service design, custom production, repairability, local production, and recognizable materials, striving towards value creation in each link of the chain.

The shoe’s upper layer can be replaced according to wearers’ tastes and needs, and due to the modular nature this upper can be made through several design and production systems, from co-creation to DIY. For the upper’s material, Alice focuses on the restorative potential of natural resources in order to minimize the destruction of value in the total system, by experimenting with fungi such as Mycelium. This vegetal part of the fungus has qualities that make it very interesting for use in the production of shoes; it is light, hydrophobic, flexible and strong. Moreover, it can be cultivated on cellulose waste and grows much faster than leather, which makes it an economically profitable potential alternative for leather.

Je suis Alice combines new technologies with alternative bio-materials such as Mycelium leather as a statement against the staggering amounts of waste created by ‘fast fashion’.

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Growing shoes: research in shaping and substrate tests, 2015, Utrecht University. © Caroline Vincart

Alice, a modular shoe, upper made in Muskin, a 100% vegetable eco-alternative to animal leather Phellinus ellipsoideus, 2015, KASK. © Caroline Vincart

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Preliminary studies in shaping different cultures of Mycelium â&#x20AC;&#x201C; Schizophyllum commune, Trametes versicolor, Pleurotus ostreatus, 2015, Utrecht University. Š Caroline Vincart

A YEAR IN RESEARCH: PUBLICATIONS AND SELECTED HIGHLIGHTS

↕ A Glimpse of Where We’re Going, an exhibition by Elly Van Eeghem in the series City of Tomorrow, STAM, Ghent, 23.10.2016 – 07.05.2017.

The exhibition ties in with Van Eeghem’s research project (Dis)placed Interventions. © Phile Deprez

↑ Mekhitar Garabedian, Untitled (La Maman, Ferré/Piaf), 2016, in 28, cc Strombeek (Museum­cultuur Strombeek Gent), 06.01 – 08.03.2017. Garabedian is currently working on the postdoctoral project Collecting and Unpacking My Library. © Dirk Pauwels ↓ Conversation

between Stoffel Debuysere and Jacques Rancière, 30.03.2017, Minard Ghent, Courtisane Festival. The talk was part of the series DISSENT!, in the context of Stoffel Debuysere’s research project Figures of Dissent: Cinema of Politics / Politics of Cinema. © Michiel Devijver

↑ Stoffel Debuysere, Figures of Dissent: Cinema of Politics / Politics of Cinema. AraMER, 2016.

English, 21 x 14,8 cm, 256 pages, softcover. Design by Gunther Fobe. ISBN 9789492321244. €25 In this book, written as part of the research project of the same name, Debuysere brings together six lengthy letters to people he met in the context of the project, aimed at ‘creating resonance spaces to give expression to the infinity of resistant emotions, perceptions, movements, gestures and gazes that the universe of cinema has to offer.’

↑ Hilde D’haeyere, (announcement for) Cinemacine II, performative film lecture, presented

during the Visite film festival organized by De Imagerie, Het Bos, Antwerp, 16 – 26.02.2017.

Hilde D’haeyere is a postdoctoral researcher in film, her current project is titled Snow White Bathing Beauty.

↓→ Future footwear 2.0 is a postdoctoral research project at the convergence of indigenous

craftsmanship and modern technology, initiated by Catherine Willems. It aims to promote our understanding of human locomotion and sustainable footwear for body and environment by studying and working with indigenous cobblers and by integrating design anthropology, sustainability and biomechanics in multidisciplinary projects. Studio portrait by Kishor Geji (Athani, India); styling by KASK Fashion students Flora Blommaert and Neri Demeester.

↓ Jasper Rigole, Homeless Movies, an exhibition at Huis van Alijn, Ghent, 26.06.2016 – 15.01.2017.

After completing his PhD in 2016, Jasper Rigole is now working on a postdoctoral project on Expanded Narrativity. © Michiel Devijver

↓ Kosmografia, an exhibition project by curator Edwin Carels, who is currently working on the postdoctoral research project Counter-Archives. Croxhapox, Ghent, 18.10 – 15.11.2016.

Installation view with Philip Newcombe’s 6 pink gym balls liberated from a lifetime of physical abuse (2014).© Edwin Carels

↓ Anouk De Clercq, Atlas, 16mm, b/w, 4:3, silent, BE, 2016, 06:30. Exhibition view: The Odd

Hour Cinema, Gallery Sofie Van de Velde, Antwerp. Exploring the surface of a single frame from a black and white 16mm film through an electron microscope, PhD researcher Anouk De Clercq ponders over ways of seeing and the nature of cinema in this short. © Maxime Fauconnier

↑ Homeless Movies in the City, an exhibition by Huis van Alijn, Ghent, on locations throughout the city. Curator Edwin Carels and artist Jasper Rigole, both postdoctoral researchers, in conversation during the opening at KASKcinema. © Michiel Devijver

↑ Michiel De Cleene, Reference Guide, an exhibition at 019, Ghent, 30.09 – 30.10.2016.

Installation view with T.196.LPX Low Pressure Sodium Carousel Projector. The Reference Guide project starts from the paradox of authenticity and works towards an encyclopaedic documentary form based on cross-references. © Michiel De Cleene

↑ The

experimental Hyrel 3D print heads in the Formlab, an experimental research lab funded by a grant from the Hercules Foundation. →

↓ Researcher Renzo Martens concluded his 4-year research project with the inauguration (21 – 22.04.2017) of a quintessential White Cube on a former Unilever plantation in Lusanga, D.R. Congo. Designed by OMA, this White Cube is a central element of the Lusanga International Research Centre for Art and Economic Inequality (LIRCAEI). Located in the heart of the plantation system and at the crossroads of global inequality and climatological change, the research center aims to become a vector for a social and ecological shift. LIRCAEI is a joint initiative of the plantation workers’ cooperative Cercle d'art des travailleurs de plantation congolaise (CATPC) and the Institute for Human Activities (IHA). © Thomas Nolf

#3D Printshop: a Formlab workshop and exhibition, 15 – 19.03.2017.

↓ Eva Barois De Caevel & Els Roelandt, eds. CATPC: Cercle d’art des travailleurs de plantation congolaise / Congolese Plantation Workers Art League. Texts by Ariella Azoulay, Eva Barois De Caevel, Eléonore Hellio, Ruba Katrib, Alexander Koch, J. A. Koster, Renzo Martens, René Ngongo, Els Roelandt, Charles Sikitele Gize, Charles Tumba, Françoise Vergès, photos by Léonard Pongo. Sternberg Press, 2017 English/French, 15 x 21.5 cm, 456 p., 88 b/w ill., softcover. Design by Jurgen Maelfeyt, Jonas Temmerman, 6'56''.

ISBN 9783956793103. €28 A ‘first report’ on the activities of the CATPC, an association that attempts to rethink postcolonial power relations within the global art world. Initiated in 2014 by Renzo Martens in the context of his artistic research project Institute for Human Activities, together with René Ngongo, a Kinshasa-based biologist and environmental activist, this cooperative continues to develop independently and to redefine the relations between art, agriculture, industry, and value creation.

↑ Johan Opstaele, ‘Sombra Portuguesa’, 2016; exhibition view of Anatomy of a Moment at Zwarte Zaal, 25.11 – 11.12.2016. This show was the ninth exhibition project in the context of Johan Opstaele’s doctoral research project A la recherché du moment / Framing the Moment. © Rachel Gruijters

↓ Doctoral researcher Sergei Istomin, performing in duo with pianist Viviana Sofronitsky, Concerts de Midi, Liège, 11.05.2017. Sergei Istomin is currently conducting research on lefthand expression techniques in the violoncello repertoire of the 19th and early 20th century. © Maurice Leplat

↑ Jan Kempenaers, Composite. Roma Publications, 2016. 24 x 31 cm, 72 p. + signed and numbered C-print, ltd. edition of 600. Design by Roger Willems. ISBN 9789491843709. €65 In this new series, Kempenaers combines photographs of desolate large-scale monuments that refer both to the picturesque and to the documentary style with overlain and collaged details that add an element of abstraction, in line with his current postdoctoral research project.

↑ Jan Kempenaers, solo exhibition at Breese Little Gallery, London, 31.03 – 20.05.2017.

The new works on display are from the Composite series. © Benjamin Westoby

↓ Jan Kempenaers and Jerry Galle, exhibition at Panache Towers, Antwerp, 20.05 – 24.06.2016. Duo show in which the works of two postdoctoral researchers are confronted: Kempenaers’ recent experimental venture into abstraction and Galle’s explorations of the relationship between digital technology and contemporary culture. © Jan Kempenaers

↑ Kristof Van Gestel & Niek Pladet, Idiosyncratic Copy Machine. Art Paper Editions, 2016.

21 x 30 cm, 40 p., edition of 300. ISBN 9789490800505. €15 Idiosyncratic Machine is a shape-generating drawing method developed by Kristof Van Gestel in the context of his visual artistic practice. The space in between everyday objects becomes the basis from which unexpected abstract shapes are systematically derived. The artist then uses these abstract shapes in the creation of new works. In collaboration with Niek Pladet, a new procedure was developed that applies the logic of the Idiosyncratic Machine in the graphic realm. Two shapes were placed on the plate glass of a photocopier, copied and cut out. The resulting remainder then became the original for a new copy, again yielding a remainder to be worked with. These steps were repeated 30 times. This publication is the documentation of that process.

↓ Kristof Van Gestel, Idiosyncratische Machine, S.M.A.K., Ghent, 11.03 – 04.06.2017.

Participatory workshop with the ‘generative form machine’. © Dirk Pauwels ↑ Jerry Galle, Deep Text: Deep Learning 4 News Feeds 0-3, 2017. Part of a series of processed and visualized deep learning processes, related to Galle’s postdoctoral research project.

↓ Kristof Van Gestel, Idiosyncratische Machine, S.M.A.K., Ghent, 11.03 – 04.06.2017.

Exhibition by postdoctoral researcher Van Gestel with participatory workshops on co-creative models and the work of art as social object. © Kurt Stockman ↑ Performing Objects, End to End / Raversijde: 18.09.16 – 13.11.16. Enough Room for Space, 2017. English, 24 x 33 cm, 88p., ills., edition of 200. Design by Lauren Grusenmeyer and Kristof Van Gestel. €24 This publication documents and summarizes End to End / Raversijde (2016), an artwork based on protocol and process developed by Performing Objects, an artist collective/ research project initiated by Marjolijn Dijkman and School of Arts researcher Kristof Van Gestel. Together with numerous other participants, Bie Michels, Kristof Van Gestel, Lauren Grusenmeyer and Leontien Allemeersch set up this process at Private Tag, an exhibition made by colleague Isabelle De Baets and organized by Vrijstaat O. at the Atlantik Wall Museum in Ostend. The work was constantly activated and transformed by four participants at a time for twelve different times throughout the exhibition.

↓ French horn ‘model Lejeune’, Ferdinand Van Cauwelaert, Brussels, 1901 (CG 8).

This instrument, together with six other rare historical horns from the Ghent Conservatory’s collection, was analysed and repaired in 2016 in the context of Jeroen Billiet’s PhD project Brave Belgians of the Belle Epoque on the roots and legacy of the late-Romantic Ghent horn school. © Bieke De Meyer

↑ Kristof Van Gestel & MANOEUVRE kunstenplek, Vormfrakken. Texts by Chris Rotsaert & Ernst Maréchal, Isabelle De Baets, Kristof Van Gestel, Lise Godschalks & Kristien Bultheel.

MANOEUVRE Kunstenplek, Kristof Van Gestel & KASK/School of Arts, 2017. Dutch/ English, 22.5 x 31 cm, 136 p., ills., edition of 400. Design by Raf Vancampenhoudt & Joris Van Aken. ISBN 9789082679502. €28 As part of the Vormfrakken project Kristof Van Gestel and MANOEUVRE Kunstenplek have developed together since 2014, a great many co-artists have created Vormfrakken in a variety of settings. They started out from Van Gestel’s form-generating method, the Idiosyncratic Machine. They then turned this method to their own purposes by themselves helping to determine the choices, the design and the techniques for their own interpretation and scale. In this way, about forty relational objects in textile on a 1:1 scale with the human body were created in the course of two years. These Vormfrakken were made in various settings. These Vormfrakken are not an end in themselves; they can be explored and extended by others. For this purpose, presentations are being organized in the course of 2017 at Performatik (Kaaitheater, Brussels), the Design Museum in Ghent (as part of the Plain-Purl exhibition) and elsewhere.

This book presents an extended report on the course of the creative process, supplemented by splendid portraits that Sanne Delcroix took of all the Vormfrakken and their makers.

↓ Co-directors Chokri Ben Chikha and Johan Simons during rehearsals for the NTGent/ Action Zoo Humain production Onderworpen, based on Michel Houellebecq’s Submission.

The project allowed postdoctoral researcher Chokri Ben Chikha to study artistic strategies concerning the adaptation of a controversial contemporary novel into a complex stage production, in a collaboration/confrontation between two outspoken artistic views. © Phile Deprez

↓ Chokri Ben Chikha with Action Zoo Humain in Join the Revolution. The production was adapted to the French context for two performances at Festival AH?, Parthenay, 27 – 28.01.2017. Chokri Ben Chikha conducts research on the critical value of injecting fiction into reality, and the potential role of drama in a ‘post-truth’ era. © Kurt Van der Elst

↑ Max Pinckers, in collaboration with Dries Depoorter, Trophy Camera v0.9, installation view of the exhibition Braakland, FOMU, Antwerp, April 2017. The Trophy Camera v0.9 is ‘the first prototype of an A.I. powered camera that only makes award winning pictures.’ Pinckers is currently conducting doctoral research on the structures and conventions of documentary photography. © Max Pinckers

↑ An van. Dienderen, Lili, 2015. Researcher An van. Dienderen’s short film was developed in the context of her ‘multichronotopic’ project “China Girls” and the Color Genie in which she studies cross-cultural cinematographic practices and their relation to ‘colour quality control’. The film has been screened at numerous events and venues across Europe. www.vandienderen.net © Lisa Spilliaert ↑Bauke Lievens & Alexander Vantournhout, Raphaël (a forced duet), a circus choreography performed by Vantournhout and Raphaël Billet. The production premiered in February 2017 as the second creation developed in the context of Bauke Lievens’ research project on a methodology for artistic research in contemporary circus. © Stine Sampers

←

Bauke Lievens, The Myth Called Circus. Open Letters to the Circus #2. School of Arts / KASK, 2016. English, folded broadsheet. free The second in an ongoing series of letters that appear in print and online, an open invitation to the world of contemporary circus makers for dialogue and reflection. Read it online at www.e-tcetera.be/myth-called-circus

↑ Clara

Vankerschaver. March 2017, Reed Textile: Collaboration with local craftsmen and Atelier Luma, Arles (FR). Thriving in the marshes of the Camargue, reed – called sagne, in local French – is a wild plant with a long-standing tradition of winter harvest. Promoting practice-based research, the project aims to develop new takes on what has been produced locally so far, respecting the seasonality of harvest and the natural plant cycle

↑ Bauke

Lievens & Alexander Vantournhout, Aneckxander, A tragic autobiography of the body, is ‘a solo in a minimal setting for one acrobatic body, a handful of carefully selected objects and three variations on a piece of piano music by Arvo Pärt.’ This first creation in the context of Bauke Lievens’s research project was first performed in 2015 and has since been touring all over Europe. ↑ The

European Network for Child Friendly Cities’ biennial Child in the City conference in November 2016 was a perfect occasion to highlight the work of the interdisciplinary research team of the KIDS project (School of Arts and Faculty of Education, Health and Social Work) and their collaboration with the City of Ghent. Hosted by the City in the School, the conference invited children’s professionals, city planners, geographers and policy makers to share knowledge, good practice and research findings to promote collaboration and liveable, sustainable designs, services and projects that support the well-being of children and promote their active engagement in the life of their communities. © Patrick Henry, City of Ghent

← Hari Sacré, Pieter Foré et al., Kids-Gids: Samen met kinderen en tieners de stad van morgen plannen. Garant, 2016. Dutch, 20 x 27.5 cm, 208 p., ills., softcover. Design by Pieter Foré. ISBN 9789044134780. €29 The planning of child-friendly urban spaces is a highly relevant interdisciplinary challenge for anyone involved in creating the city of the future, whether from a spatial, pedagogical or social perspective. More than ever, the involvement of children and teens in these processes is regarded as condition to attain a liveable and sustainable urban environment. To recognize these young people as valuable co-researchers and –planners demands an openness that is not always obvious. This publication was developed in the context of a research project by School of Arts and Faculty of Education, Health and Social Work researchers and combines valuable insights with a set of practical tools to facilitate the exercise of children’s citizenship in processes for planning and changing urban spaces.

• CLASSICAL MUSIC 124 MIRY Concert Hall 126 Gentsche Festspiele 127 In residence: The New What Now • JAZZ, POP & MUSIC PRODUCTION 128

Vinyl Vol. 6 130 In Residence: KRAAK 131 In Residence: Jazz Lab Series • FILM 132 KASKcinema 134 Magister Artium Gandensis 2017 – Béla Tarr 135 CineSessies 136 Film Music Seminar 137 In Residence: Courtisane 138 In Residence: Sabzian • DRAMA 139 • VISUAL ARTS 140 KIOSK 142 Zwarte Zaal 144 MAP – Masters Projects Space 122 147 STOCK 148 DIY TWF 149 Het tekeningenkabinet 150 1M3 – KASK Artists’ Books Collection 152 Lecture Series Curatorial Studies 153 Collaborative Projects: — L’ Internationale 154 — Public Poster Program 155 — Copy Construct 156 — Homeless Movies in the City 157 — It’s Never Too Much Late 158 — Inside | Outside • DESIGN 159 Maarten Van Severen Chair 160 Rechts / Averechts – Textiles Between Art & Design 161 International Textile Expert Meeting 162 KASK @ BAD & Inside Out • GENERAL LECTURE SERIES AND SYMPOSIA 163 Studium Generale 164 KASKlezingen Lecture Series 165 Keynotes • ONRUST – KASK & CONSERVATORY QUARTERLY PUBLICATION 166

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Pierrot Lunaire, concert during Open Day 2017, MIRY Concert Hall (23.04.2017). © Marian Coppieters

MIRY Concert hall programme 2016-2017, design by 6'56"

CLASSICAL MUSIC

MIRY CONCERT HALL

Throughout the year, in the historic city centre of Ghent, MIRY Concert Hall hosts a variety of concerts and musical happenings. Situated within the Royal Conservatory, the concert hall itself offers a series of classical and contemporary concerts, inviting established masters, as well as young, exciting ensembles that do not necessarily fit the safe zones of other 124 venues in Ghent. Master classes, concerts and performance programmes for young musicians are organized in cooperation with the Ghent Festival of Flanders, the Queen Elisabeth Music Chapel and others.

In 2016-2017, MIRY had a special focus on Vienna and its impressive musical heritage. Musicians and audiences had the opportunity to immerse themselves in the often contradictory history of this epicentre of musical activity. With such representatives as Haydn, Mozart, Beethoven, Schubert, Brahms, Mahler, Schönberg, Webern and Berg, the city of Vienna more than once rewrote the blueprint for Western music. The leitmotif of this musical metropolis is filled with both grandeur and melancholy – consider the carefree tones of the Imperial and Royal Prachtstil, or the Biedermeierliederen, versus the darker sides of Mozart, Mahler, Schönberg and Kranebitter. In order to paint – or repaint – Vienna’s musical landscape in all its diverse shades, the MIRY Concert Hall called on experienced masters, including the Raschèr Saxophone Quartet, Vlaams Radio Koor, Il Gardellino, Ex Tempore, Belgian Brass and Vineta Sareika.

Promising young ensembles and soloists, such as Quatuor Arod, Frederik Neyrinck, Kerson Leong, International Opera Academy and Tmesis achieved equally high musical peaks, as did the members of GAME (Ghent Advanced Master Ensemble), who impressed us no fewer than three times, once in an alliance with P.A.R.T.S. All this is still without having mentioned the Conservatory's own intense productions,

including the Wiener Werkstätte and Liederabend, the percussion concert Credo in US, two major project week productions with symphonic and harmony orchestras, the choral production Radetzkymars, and the lauded opera production, Don Chisciotte in Sierra Morena. www.miryconcertzaal.be

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Opera Don Chisciotte in Sierra Morena, MIRY Concert Hall (01.04 – 02.04.2017). © Koen Broos

Radetzky Mars, choir production during Open Day 2017, MIRY Concert Hall (23.04.2017). © Marian Coppieters

Concert by GAME (the Advanced Master in Contemporary Music Ensemble) + Ictus, during BIG BANG Athens (21.05.2017). © Onassis Cultural Centre Athens

Gentsche Festspiele – Gentse Vleugels with Michael Beil’s Doppel, MIRY Concertzaal (17.07.2016). © Frederik Sardones

Gentsche Festspiele – Schoonzicht with Parel, MIRY Belvedère (19.07.2016). © Frederik Sadones

GENTSCHE FESTSPIELE During the 2016 Gentse Feesten, MIRY Concert Hall and its associated pop-up terrace in the central courtyard were the focal point of the fourth edition of the Gentsche Festspiele. In collaboration with Trefpunt and KANTL, the tradition of the eight-day Gentse Vleugels piano festival was duly honoured. Under the title of Schoonzicht, students of Jazz & Pop 126 presented a range of concerts in the small tower on the Achtersikkel.

There was moreover a series of morning concerts, with a performance

by WOLF of Mozart’s Gran Partita attracting an especially large audience.

The morning concerts were interspersed with a well received children’s performance by The New What Now, in collaboration with various young composers, musicians and Lannoo publishers.

Gentsche Festspiele – Gentse Vleugels with Daan Vandewalle and Keiko Shichijo, MIRY Concert Hall (18.07.2016). © Frederik Sadones

Gentsche Festspiele – Gentse Vleugels with Lieselotte De Vuyst, KANTL (18.07.2016). © Frederik Sadones

Gentsche Festspiele – Children’s performance Het Verhalenkasteel by The New What Now, Royal Conservatory Ghent (21.07.16). © Frederik Sadones

Gentsche Festspiele – Children’s performance Het Verhalenkasteel by The New What Now, with reciter Wim Oosterlinck, Royal Conservatory Ghent (21.07.16). © Frederik Sadones

IN RESIDENCE: THE NEW WHAT NOW The New What Now is a collective of young musicians and composers who came together at the Ghent Royal Conservatory, breaking a lance on behalf of contemporary classical music by a young generation of composers. Since 2015, The New What Now have been in residence at the Conservatory and have been organizing concerts on our campuses.

127 In the summer of 2016, in the framework of the Gentsche Festspiele concert series, The New What Now collective organized the children’s performance, Het Verhalenkasteel. They composed new music to stories published by Lannoo and De Eenhoorn, amongst others. For Mirrors, they brought together composers and video artists – including KASK Media Art students. Eight young composers and eight young video artists spent months working on a performance in which their disciplines came together in visualized sound and images made into sound. www.thenewwhatnow.com

Concert by Le Manou, part of the De Nieuwelingen concert series, Trefpunt (20.04.2017).

Concert by Rhea, part of Breaking Sounds, Minard (13.03.2017)

JAZZ, POP & MUSIC PRODUCTION The City of Ghent has much to offer its students of jazz, pop and music production. Many of our students are actively involved in the city’s thriving jazz and pop scene. Here, the Conservatory’s jazz, pop and music production programming plays an important role by making concerts and jam sessions possible for students, as well as by setting up cooperative projects.

128 The ideal partner is sought for each initiative, and the projects are integrated into existing concert series at both large and small cultural venues.

Each year, the Ghent Jazz Festival provides a coaching project and a podium (this year with Ivy Falls, Brain//Child and Mount Soon).

We collaborate with Trefpunt on De Nieuwelingen concert series for new bands and existing bands with new repertoires (Via Maris, Eclectiv, Sweetsalt, Parel, Orkatrofee, Mermaid, Madame Blavatsky, Le Manou, UMM and Schemer). Breaking Sounds is an annual concert organized together with the Minard Schouwburg and the City of Ghent for better established bands (this year with Bardo and Rhea). We also regularly work together with BackStay Bar, Jazzlabseries, the Bijloke Music Centre, Democrazy and MuziekMozaïek.

In the past year, weekly jazz and pop jam sessions have been held, with considerable attention going to bands that were created during their members’ student years. The work of graduating students in Music Production has once again been released on vinyl, this time as Masterworks vol. 6. During the Gentsche Festspiele, students gave daily concerts in the tower of De Grote Sikkel (Raman, Via Maris, MaanZonMaan and others). Finally, there were the two project weeks, filled to the brim with master classes and extra ventures, including events with Julien Bruneau, Simon Casier (Balthazar), Gert van Hoof (Cochlea Mastering), Simon Rigter, Yves Ruth and more.

Masterworks vol. 6 vinyl album cover (2017), design by 6'56"

MASTERWORKS VINYL VOL. 6 Masterworks is the series of LP albums produced each year with works by students graduating in Music Production. During the Graduation Festival, the sixth edition of Masterworks was presented to the press and the public.

In response to the release, freelance copywriter and journalist wrote a review, which included the following excerpt: 129 The Conservatory’s programme in Music Production, of which Amatorski, Absynthe Minded, Balthazar and Douglas Firs are all graduates, offers its students an independent place where they do not need to pay attention to sales figures, media attention or airplay time. The only demand made of these students is that they develop their own sound and vision. The spirit of our times can be subtly heard in the songs of this new Masterworks. It is not that the youngest generation has suddenly and en masse begun to piece together protest songs. Not that. These songs do not take aim at political theory, but reach out all the more strongly to the grooves of your soul. They try to seek out what still matters in these turbulent times: beauty, for example, and love, or the painful lack thereof.

Performance by VA AA LR, Ear to the Ground festival, Bijloke (13.05.2017).

Henry Andersen at work, record release of ‘Stanzas’ or ‘The Law of the Good Neighbour’

by KRAAK, Damien & The Love Guru (24.05.2017).

IN RESIDENCE: KRAAK KRAAK, the School of Arts’ off-stream music platform, is a strong partner in the support of music that operates under, above, or beside the so-called mainstream. Tramzwart was an ideal location at which to present the Polish duo, WIDT, the young people of Napalm Tree, the Pancrace Project overtone collective, as well as the Glorias Navales independent folk group. Living 130 legend Thomas Buckner was once again a guest at the Royal Conservatory, with a master class for master candidates in singing. On the invitation of the Bijloke Music Centre, KRAAK served as a fellow curator in their in situ festival, Ear to the Ground. Here, performances by Will Guthrie and VA AA LR redefined the established definitions of what a concert actually is. Finally, KRAAK also released a debut album by Henry Andersen, a promising composer and multimedia student at KASK. www.kraak.net

Concert by Criss Cross Europe band, with cellist Ernst Reijseger and Belgian saxophonist Mattias De Craene, Kraakhuis, De Bijloke (02.10.2015). Š Leon De Backer

IN RESIDENCE: JAZZ LAB SERIES In the past year, we have also had the pleasure of welcoming the Jazz Lab Series as new residents on the Bijloke campus. Jazz Lab Series maintains an active and high-level network that engages with contemporary jazz in Belgium in order to provide the best possible conditions to present music to a wide public. From straight jazz to innovative experimenting 131 and crossover projects that integrate music from other cultures, Jazz Lab Series can pride itself on being the largest organizer of jazz concerts in Flanders, with nearly 30 permanent partners in Belgium and another ten in neighbouring countries, all dedicated to helping achieve our mission.

Together with our colleagues at Les Lundis dâ&#x20AC;&#x2122;Hortense, each season of JazzTour exchanges sees a new bridge to help join the jazz scenes in Flanders and Wallonia. www.jazzlabseries.be

Bernardo Bertolucci, The Dreamers (2003), film still

KASKcinema poster (September 2016), design by 6'56"

FILM KASKCINEMA KASKcinema is devoted to screening films that tend to be overlooked in the regular cinema circuit. A broad range of genres and styles is covered: contemporary feature films, documentaries, shorts, animation, (cult) classics, video art, experimental work, and so on. To guarantee the best, KASKcinema collaborates with Film-Plateau UGent, Film Fest 132 Ghent, Courtisane, Democrazy, Quatre Mains and more. KASKcinema is an initiative of the non-profit organization Forum K and KASK School of Arts Ghent.

KASKcinema’s Tuesdays are occupied by Film-Plateau, bringing series of classic films, mostly screened on 35mm. Highlights from the 20162017 year included Rear Window, Peeping Tom, Roma città aperta and Singin’ in the Rain. Wednesdays are for One Shot Cinema, a programme in collaboration with Film Fest Ghent, which screens recent films, such as Looking: The Movie, Suntan and Midnight Special. Late night screenings on Wednesdays focus on cult, pulp and genre films, including Naked Lunch, Ghost in the Shell, The Fountain, etc. Once a month, we also organize a programme together with the Media Arts department, called X-Ray, screening and discussing a series of experimental films. Other events include Night of the Horror (why see 1 horror film when you can see 3?), Game Night (XL gaming), Day for Night (24 hours of film), Filmtonen (classics + live music), Live Track Cinema (a pop-rock band creates a new soundtrack to a film), Night of the Palms (KASK students present their one-minute films) and Goldmineties (a focus on cinema of the Nineties during the month of January).

Film is more than the film itself. This past year, KASKcinema welcomed national and international filmmakers Els Van Riel, Sebastian Buerkner, Ana Torfs, Christoph Girardet, Makino Takashi, Salome Lamas and

Maaike Neuville. The climax came in May, when we hosted the legendary Hungarian director Béla Tarr for the Magister Artium Gandensis Award and the triple screening of his Sátántangó. www.kaskcinema.be

133 Argyris Papadimitropoulos, Suntan (2017), film still

George Melford, The Sheik (1921), film still

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Alfred Hitchcock, North by Northwest (1959), film still

Ana Torfs, Zyklus Von Kleinigkeiten (1998), film still

Béla Tarr, Sátántangó (1994), film still

Edwin Carels in conversation with Béla Tarr, in the context of the presentation of the Magister prize, Cirque (07.05.2017). © Tom Callemin

MAGISTER ARTIUM GANDENSIS 2017 AWARDED TO BÉLA TARR Since 2010, University College Ghent has offered a prize in the arts, entitled Magister Artium Gandensis. It is awarded to artists who excel at the international level and who are decisive forces in their respective disciplines, who represent an artistic approach which is related to the vision of education, research and practice of the arts at the HoGent 134 School of Arts (KASK). Past recipients of this prize have been Gilbert and George, John Zorn and Salome Kammer.

On the recommendation of KASK School of Arts, the 2017 Magister Artium Gandensis prize has been awarded to Béla Tarr. This Hungarian director and scenario writer of meditative and poetic fiction films has personalized an artistic production that can be seen as inspiring and offering direction to students at the School of Arts. The work of Béla Tarr is the result of a unique cinematographic density in which the human condition reveals itself in all its vulnerability and strength. In the context of the presentation of the Magister prize, KASKcinema hosted Béla Tarr in Ghent from 6 to 8 May. In addition to the presentation, students of film at KASK attended a master class with Béla Tarr, and Béla Tarr’s seven-hour masterpiece, Sátántangó, was shown three times at KASKcinema.

Ruben Demasure in conversation with Eduardo Williams, KASKcinema (29.03.2017).

CINESESSIES CineSessies are collective moments that call on all students and teachers of film. On six occasions during the year, we invite national and internationally renowned filmmakers, film editors, composers, cinematographers and so on for an extended discussion, lecture, interview or presentation about their work, with135associated presentations of fragments and films. In this context, we have this year enjoyed visits by film directors Johan Grimonprez, Joachim Lafosse, Salomé Llamas, Eduardo Williams and Béla Tarr, as well as the film editor, Marie-Hélène Dozo.

An intimate setting in a cinema filled with filmmakers is an inspiration for the fundamental issues shared by us all. The aim is simple: making the acquaintance of very diverse approaches for working with film and discussing film. In this way, we hope to inspire individual work, nourish ambitions in the film world and sharpen critical reflections.

In addition, watching film once again becomes an active event that is experienced collectively.

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Film Music Seminar with Jeff Russo, Jeff Beal and Martine Huvenne, Film Fest Gent, Kinepolis (18.10.2016). © Michiel Devijver

Film Music Seminar with Karsten Fundal and Johan Grimonprez, Film Fest Gent, Kinepolis (18.10.2016). © Michiel Devijver

FILM MUSIC SEMINAR Each year, KASK School of Arts Ghent and Film Fest Ghent work together in a seminar on music and sound design, curated by Martine Huvenne.

In 2016, music for film vs. music for television was the main topic covered with the Japanese composer Ryuichi Sakamoto, American composers Jeff Beal and Jeff Russo, Denmark’s Karsten Fundal and Belgian 136 audiovisual artist Johan Grimonprez as guests. Some scholars assert that the line between film and complex TV dramas is becoming thinner than ever. But what does this mean for film music? Is it a television music composer’s job to stir up the audience’s emotions, to enable them to remain glued to the screen, or is he or she expected to unify the different episodes of a series to form a whole? In what way does this task differ from a classic film composer’s craft?

Film Music Seminar with Ryuichi Sakamoto, Film Fest Gent, Kinepolis (18.10.2016)

Screening of Projektor, by Dušica Dražic´ & Wim Janssen, Courtisane Festival, MINARD (01.04.2017). © Michiel Devijver

Premiere of Inside the Distance, by Elias Grootaers, Courtisane Festival, Sphinx (24.03.2016). © Michiel Devijver

IN RESIDENCE: COURTISANE Since 2002, Courtisane has organized an annual film festival in Ghent.

In 2010, as a new resident at KASK, they began organizing the festival from their new location on the Bijloke campus. During each festival, visitors to KASKcinema, Sphinx Cinema, the Paddenhoek and the Minard Schouwburg all enjoy a diverse selection of new audio-visual works, films 137 and videos by artists and filmmakers who work in the expanding field of moving image practice.

This year, from 29 March through 2 April 2017, the artists in focus were Peter Nestler and Ute Aurand. In the selection were new films by Eduardo Williams, Wang Bing, Laida Lertxundi, Kamal Aljafari, Dusica Dražic´ & Wim Janssen, Kevin Jerome Everson, Fairuz Ghammam, Elias Grootaers and more, often in dialogue with older or rediscovered films. Finally, the Of Time and Struggle programme presented a selection of documentaries by the Japanese film collective, Ogawa Productions. www.courtisane.be

Abbas Kiarostami, Close-Up (1990), film still. Sabzian refers to the main character of the film.

Abbas Kiarostami, Close-Up (1990), film still.

IN RESIDENCE: SABZIAN Films do not just float about in thin air, but comprise a radical part of the world. For this reason, Sabzian is devoted to deepening the discourse about what we imagine cinema to be. Writing about cinema opens space for talking about cinema, relating to cinema, sharing cinema and, of course, watching cinema. By giving the experience of film a framework, 138 so that it can be treasured over time, a thriving film culture is created.

The core of Sabzian’s work can be found on its website, www.sabzian.be, which offers space for ideas about cinema, as well as a substantive film calendar and agenda. As a new resident on the Bijloke campus, Sabzian has taken on responsibility for a number of annual events for film lovers within the walls of KASK, contributing reflection, research and analysis to the moviegoer’s sensibilities. www.sabzian.be

Abbas Kiarostami, Close-Up (1990), film still.

Image from De Meeuw, drama project by third-year students, under de guidance of Marijke Pinoy (2017). © Johan Pijpops

Image from Stil(l), drama project by Loes Swaenepoel and Tim Taveirne (2017). © Tim Theo Deceuninck

DRAMA Young talent takes to the stage in KASK DRAMA. Budding theatre makers and performers create and present remarkable productions on the Bijloke campus and at various locations in and around Ghent, including Campo, Minard, NTG, les ballets C de la B, LOD, Gouvernement and more. This year, audiences were able to experience new Master projects, including 139 De Heer Bonifakius (by Anna Carlier and Indra De Bruyn), Solo with Zebra (Simon Van Schuylenbergh), Stil(l) (Loes Swaenepoel and Tim Taveirne), De Vergissing (Max Pairon) and Don Juan (Tom Goossens).

Third-year students in drama presented their own drama projects, as well as performing in additional projects, in which they were guided or directed by diverse professional drama artists. These works included Escape nightmare super-calm useless interaction silence again (Fumiyo Ikeda), 50,000,000 Elvis Fans Can’t Be Wrong (Simon Allemeersch), Hall05 (TAAT in collaboration with CAMPO, Design Museum Ghent, Triënnale voor Vormgeving, KABK), Powder (Volmir Cordeiro) De Meeuw (Marijke Pinoy) and In Koor (Willem de Wolf and Myriam Van Imschoot, a collaboration with CAMPO and De Koe). www.kaskdrama.be

Jérémie Gindre, exhibition view, Kamp Kataloog (24.09 – 20.11.2016) © Rachel Gruijters

Jérémie Gindre, exhibition view, Kamp Kataloog (24.09 – 20.11.2016) © Rachel Gruijters

VISUAL ARTS KIOSK KIOSK is an initiative for contemporary visual art, organizing a diverse exhibition programme with emerging and established artists, with strong emphasis on the creative process and the artist’s individual trajectory.

Each year, KIOSK hosts four exhibitions in the KASK exhibition space, a former anatomical theatre on the Bijloke campus. KIOSK is an initiative 140 of the non-profit Kunstensite organization and University College Ghent’s KASK School of Arts.

KIOSK opened its new season with the solo exhibition, Kamp Kataloog,

by Swiss artist and author Jérémie Gindre. The exhibition was conceived in a series of three episodes. The first ‘campsite’ was installed at La Criée contemporary art centre in Rennes, the second at La Kunsthalle in Mulhouse, and it concluded with episode three at KIOSK. Like a panoramic landscape, these temporary ‘camps’ evolved with the seasons, developing numerous new stories along the way. Following Gindre’s exhibitions, Dorothy Iannone presented Lineage of Love. A self-taught artist focusing on issues of emancipation, sexuality, politics and spiritual awakening, Iannone has been developing her singular body of work for over half a century. This was her first solo exhibition in Belgium. The third solo exhibition, Drawing in the Dark, by Indian artist Shilpa Gupta, brought together a new series of clandestine stories and personal experiences from borderlands, in this case notably those dividing India and Bangladesh. Our final project, Show Me Your Archive and I Will Tell You Who is in Power, combined an exhibition with a public programme to present stories and testimonies from the history of feminist struggle in Belgium and beyond. It featured both archival works and newly commissioned works of art by Marwa Arsanios, Saddie Choua, Amandine Gay, Kapwani Kiwanga, Ato Malinda, Eva Olthof and the collective Study Group for Solidarity and TransActions. www.kiosk.art

Dorothy Iannone, exhibition view, Lineage of Love (03.12.2016 – 29.01.2017) © Tom Callemin

Dorothy Iannone, exhibition view, Lineage of Love (03.12.2016 – 29.01.2017) © Tom Callemin

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Shilpa Gupta, exhibition view, Drawing in the Dark (11.02 – 16.04.2017) © Tom Callemin

Shilpa Gupta, exhibition view, Drawing in the Dark (11.02 – 16.04.2017) © Tom Callemin

Exhibition view, Show Me Your Archive and I Will Tell You Who is in Power (29.04 – 16.06.2017) © Tom Callemin

Exhibition view, Show Me Your Archive and I Will Tell You Who is in Power (29.04 – 16.06.2017) © Tom Callemin

Exhibition view, Experimental #3D Lab / JODI # Formlab # Mediakunst # to print or not to print, Zwarte Zaal (15.03 – 19.03.2017). © Hendrik Leper

Exhibition view, We Hate It When Our Friends Become Successful (13.01 – 15.01.2017), Zwarte Zaal. © Willem Vermoere

ZWARTE ZAAL The Zwarte Zaal multifunctional space on the Bijloke campus hosts numerous artistic productions each year. The Zwarte Zaal has no strict programme, making it able to respond to the educational and artistic needs of the visual, audio-visual and applied arts programmes, as well as collaborations with other art schools and cultural organizations.

142 A selection from the series of exhibitions, jury assessments and performance moments initiated by the art studios includes the following: We Hate It When Our Friends Become Successful, an exhibition resulting from a collaboration between master students in photography and guest curator Ann-Françoise Lesuisse. In Wall Drawing Experiment #4, for the fourth time, bachelor students in drawing rose to the challenge of transforming the six white walls of the space into experimental wall drawings, created in just a few days. Soyons Courageux, Soyons Fous was an exhibition and a film programme by master students in animation film, in which humour was definitely taken seriously. Experimental #3D Lab / JODI # Formlab # Mediakunst # to print or not to print presented the results of a two-month collaboration between bachelor and master students of media art, together with the art duo JODI and Formlab.

In Educational Product, third-year bachelor students in sculpture sought out both the interior and exterior space of the Zwarte Zaal. Bachelor and master students of textiles and fashion presented their work under the titles of Textiel toont Textiel and Historical Costumes. Master students in fine arts engaged in a dialogue with the space with Settlement: under the guidance of artist and stage designer Vladimir Miller, they carried out experiments during an intensive nine days, all with the idea of collective practices and shared working environments in mind. For the students of the European Postgraduate in Arts in Sound, or EPAS, the Zwarte Zaal became a sound

box in which all kinds of experiments were set up in collaboration with sound designer and composer Nicolas Becker, as well as with sound artist and field recorder Els Viaene. The space moreover serves as a decor for drama presentation, for example with De Heer Bonifakius, by graduating students of drama Anna Carlier and Indra De Bruyn. It also housed more experimental theatrical settings, as for Topos Sonos, a spatial performance by alumni of media art Karel Verhoeven, Emi Kodama and Elias Heuninck, in which visitors were guided on a tour along stories, electronic equipment and land maps.

Once again, the past year also saw a series of collaborative projects undertaken with external partners, including Huis van Alijn, University of Ghent, and Cultuurcentrum Mechelen (see Collaborative Projects).

Between the exhibitions, the Zwarte Zaal is also the setting for public events, including conferences, lectures, networking meetings, symposia and study days. These included the Child in the City symposium, a study day entitled Psychoanalysis and Culture – for Your Pleasure?, as well as the fifth edition of The Day of Philosophy, and the International Textile Expert Meeting, which examined the future of education in textile design.

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Exhibition view, Settlement, Zwarte Zaal (29.01 – 06.02.2017). © Vladimir Miller

Exhibition view, Textiel toont Textiel, Zwarte Zaal (08.02 – 10.02.2017). © Diane Steverlynck

Elli Vassalou, exhibition view, Syntrofi* Lunch#1 (03.02.2017).

Maud Gourdon, exhibition view, A.Mon seul désir.R (07.10 – 27.10.2016).

MAP – MASTERS PROJECTS SPACE The MAP Masters Project Space was set up in 2012 as an additional platform for the work of master students in fine arts, multimedia design, photography, film and film animation, graphic and textile design. Master students are invited to make proposals for this glass passageway, adjacent to the Zwarte Zaal. It is a corridor where many people pass by 144 every day, with little wall space but a lot of glass, so students are obliged to work with elements that may or may not be at hand. This is a space that calls for making things to measure. During the past academic year, the following 18 in situ Master’s Projects were presented: Master’s Project #48 (07.10 – 27.10.2016): Maud Gourdon filled the glass passageway with serial plants and grid motifs, with the mysterious motto, A.Mon seul désir.R. Master’s Project #49 (11.11 – 25.11.2016): Tom Van den Wijngaert attempted to imagine and register the traces left by passersby in Your Presence Will Be Noticed.

Master’s Project #50 (02.12 – 13.12.2016): Jade Kerremans and Louise Delanghe worked together on Polyvalent, an installation in movement, as in ‘Bed becomes cupboard, cupboard becomes table, table becomes wall, wall becomes carpet, carpet becomes bed.’

Master’s Project #51 (09.12 – 20.12.2016): Jan-Willem Vandenberghe summarized this MAP event as a happening made up of two parts: Act I: First Encounter, and Act II: Withstand, a counter-reaction to Act I. Master’s Project #52 (13.01 – 22.01.2017): For Ideal X, Joren Van Acker concentrated on the form of shipping containers and the motion or visual experience that these can generate in a long corridor surrounded by glass.

Master’s Project #53 (26.01 – 29.01.2017): MindMAP was a collective project between Lore Tyrions (textile design), Nathan Vandekendelaere (installation art) and Leslie Page (multimedia design).

Master’s Project #54 (31.01 – 06.02.2017): In Open vraag: het gordijn van de tijd, Marijs Kempynck investigated such questions as ‘Do we have the wind behind us or against us?’ and ‘Are we fighting windmills?’

Master’s Project #55 (03.02.2017): As the flags of Kempynck bravely fluttered in the breeze, Elli Vassalou assembled a group of people around the dinner table for Syntrofi* Lunch#1. It was the first in a series of performative lunches that explored the notion of inclusion and exclusion.

Master’s Project #56 (11.02 – 19.02.2017): Under the appropriate title of Resonance, sculpture students Gilles Dusong, Simon Masschelein and Olivia Van Impe brought together a selection of resonating sculptures.

Master’s Project #57 (03.03 – 12.03.2017): It was still freezing outdoors when the sisters Ines Claus (fine arts) & Romane Claus (animation) took over the glass corridor with a plethora of colours and textures. In their temporary Jardin d’Hiver, palm trees were interspersed with cypresses.

Master’s Project #58 (16.03 – 26.03.2017): In Light, Dance, Chantal van Rijt brought the sun together with mechanics: ‘Projections transform the image and bring the objects to life: a dance in a world of facts.’

Master’s Project #59 (31.03 – 16.04.2017): In Temporary Situation of Material Girls, Janne Claes (multimedia design) and Maranne Walravens (fine arts) sought out each other’s145 work and found one another in their instinctive affinity with material, form and colour.

Master’s Project #60 (21.04 – 23.04.2017): Page Space Fold Page was a follow-up to a workshop within the Master’s programme in Fine Arts, in which ten students produced an artist’s book, with the guidance of Stefaan Dheedene. It includes work by Rebecca van Bockel, Maud Gourdon, Giammarco Cugusi, Tom Van den Wijngaert, Jan-Willem Vandenberghe, Ines Claus, Florien Allemeersch, Rebecca Jane Arthur and Luis Ramos.

Master’s Project #61 (29.04 – 07.05.2017): Overgrown with Moss and Becoming a Forest Themselves was a collaboration between N. Bencova and M. Schneiberkova, which they describe as a monologue of words that move in space.

Master’s Project #62 (12.05 – 18.05.2017): In Voor de hongerigen (For the Hungry), Linde Dumolein dissected all kinds of mundane domestic materials. She turned such substances as butter, oil and dough inside out, into container shapes, or smeared them on windows, creating a series of perishable sculptures.

Master’s Project #63 (19.05 – 21.05.2017): The sculptures, photographs and sentence fragments in Martijn Petrus’s Borrowed View toyed with artificiality and nature, with how these dissolve into one another, while equally rejecting one another.

Master’s Project #64 (25.05 – 04.06.2017): In We Knew It Could Not Be Done, That Is Why We Did It, Jonito Aerts Arguelles (photography) investigated the positive afterimage, while the painting of Ezra Veldhuis (fine arts) ‘scanned’ the universe. Time and time again, both engage in (impossible) attempts to comprehend such issues as these.

Master’s Project #65 (06.06 – 09.06.2017): Haryo Sukmawanto (photography) and Maxime Jean-Baptiste (fine arts) examined the Notion of nation in their installations on display.

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Martijn Petrus, poster image for Borrowed View (19.05 – 21.05.2017).

Ines & Romane Claus, exhibition view, Jardin d’Hiver (03.03 – 12.03.2017).

Linde Dumolein, exhibition view, Voor de hongerigen (12.05 – 18.05.2017).

Maranne Walravens, exhibition view, Temporary Situation of Material Girls (31.03 – 16.04.2017).

Performance during opening night of STOCK Collection #4: Time is Money (15.03.2017).

Performance during opening night of STOCK Collection #4: Time is Money (15.03.2017).

STOCK This year, STOCK was set up by KASK students and presented work by students in and around the glass pavilion in the front yard of the Cloquet building on the Bijloke campus. STOCK wanted to take pause to consider some of the sore spots in art: establishing value, assigning names, reproducibility, originality, and so on. These conventions were examined 147 in the organization of collections and think tanks. In this way, STOCK attempted to create space for a dialogue between the school at Pavillion and the studio as a context for the work of art, and the society in which the work finds itself. The STOCK framework included a range of collection presentations, performances, exchanges and think tanks. STOCK was made possible by Barbara, Toon, Ines, Dries, Stéphane, Cato, Annelies, Linde, Felix, Esther, Ezra, Tineke, Fleur, Jeddy, Pedram, Anyuta, Dries, Florien, Marijs, Sofie, Stans, Thomas, Tille, Sybren, Jules, Jasmien, Alix, Niloufar, Gilles, Felix, Iris, Filip, Mats, Leontien, Linus, Dries and Koi. STOCK presented: STOCK Collection #1: Untitled (07.10 – 21.10.2016) STOCK Collection #2: Copy Paste (11.11 – 25.11.2016) STOCK Collection #3: STOCK.Tumblr.com (03.12 – 16.12.2016) STOCK Collection #4: Time is Money (16.03 – 23.03.2017) STOCK Collection #5: Exchange (30.03.2017) Barbara Prada: Memory Shop (23.04 – 28.04.2017)

Drawing from the guest book of Hotel Belle Vue, by Sarah Hambrouck (2017).

Paper hat for ‘open call’ DIY TWF, design by Ferre Marnef

DIY TWF This year, a new project was begun with the title DIY TWF, for Do It Yourself Together With Friends. It is a platform where bachelor and master students can share their craziest ideas, from curating exhibitions to experimenting with space, organizing a zine festival, and so on. Anything is possible; the only limitations are the students themselves. The idea is that students 148 organize things together with friends, with the school providing space and coordination for the projects. The first DIY TWF initiatives took place at the Cirque, as well as in the adjacent cabinet space and entrance hall, with, among others, the collective project, Daar mag je alleen maar naar kijken (You Can Only Look), with in situ sculptural interventions by Nienke Baeckelandt, Liese-Lore Avermaete, Lisa Vantorre and Dries Van Laethem, musical accompaniment by Aron Wouters, Romane Claus and Ines Claus, as well as a performance by Janes Zeghers. Another project was Belle Vue, with Hotel Bellevue by Telma Lannoo, Figgts Eich/Daniel Scott’s animation and jamsessions ft Linus Bonduelle Gang and a waiting room filled with students’ books and papers.

DIY TWF is always looking for new ideas: see diy.twf@gmail.com.

Exhibition view, het tekeningenkabinet #3: Hommage David Stone Martin (26.02 – 13.03.2016).

Chloe Girten, poster image for het tekeningenkabinet #3: Hommage David Stone Martin (26.02 – 13.03.2016).

HET TEKENINGENKABINET As an exhibition initiative, het tekeningenkabinet (the drawings cabinet) focuses on a specific facet of drawing, two or three times each year. Almost every visual arts product or practice at one point first saw the light of day in the form of sketches, scribbles and drawings. By organizing exhibitions specifically concerned with drawing, one can keep track of this often 149 unseen aspect of the artistic process. The small and closed character of this exhibition cabinet is ideal for showing the fragile and unpolished aspects of these preliminary processes.

The second of the drawings cabinet presentations, MASS, was designed and organized by sculpture students Alma Greiner, Valgerður Sigurðardóttir, Dries Van Laethem, Dries Boutsen, Chris Houben, Marloes Tyrions and Julie Van Mechelen. The third edition had its framework within the context of the larger exhibition initiative, Soyons Courageux, Soyons Fous, for which the Zwarte Zaal, the MAP space and KASKcinema were all requisitioned for a number of days by the department of animation art. Graphic design students took on the responsibility for het tekeningenkabinet #4, with two third-year bachelor students, Rosa De Coster and Andita Shabanaj, selecting work

by Linus Bonduelle, Lies Hermans, Vennica Sidibanga Kaseye and Flore Tanghe. Second-year bachelor students produced another edition under the editorial guidance of Josue Aliendre Carvani and Ferre Leriche, resulting in the publication of Have You Seen My Work?.

Exhibition view, Lubok Verlag (21.09 – 04.11.2016)

Exhibition view, Nieves (11.11 – 16.12.2016)

1M3 — KASK ARTISTS’ BOOKS COLLECTION 1M3 is a space of just one cubic metre, dedicated to artists’ books. It is the exhibition space of the KASK Artists’ Books Collection, part of the KASK Library. On the initiative of Kasper Andreasen, 1M3 houses six exhibitions per year, each with a different guest curator, who is asked to make a selection of artists’ books and present them in the 1M3 display cases.

150 Accompanying texts, bibliographies and posters provide information about the curator’s selections. In the 2016-2017 academic year, 1M3 housed the following presentations: — Lubok Verlag, selected by Katia Ballegeer (21.09 – 04.11.2016) — Nieves, selected by Gerard Herman (from Groepsdruk) (11.11 – 16.12.2016) — MA Photo Books, selected by Jan Kempenaers (21.12.2016 – 27.01.2017) — The World Is a Book Is a Word, selected by Daniel Dobbelaere (03.02 – 23.03.2017) — Quadrilateral Variations, selected by Gudlaug Mia Eythorsdottir (27.03 – 05.05.2017) — The books of Leonid Miroshnik, selected by Paul Buschmann (08.05 – 07.06.2017) — I am forgetful of everything, but seeing you again, selected by Mekhitar Garabedian (09.06 – 07.07.2017) www.kaskbooks.tumblr.com

Exhibition view, The World Is a Book Is a Word (03.02 – 23.03.2017)

Exhibition view, MA Photo Books (21.12.2016 – 27.01.2017)

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Exhibition view, Quadrilateral Variations (27.03 – 05.05.2017)

Exhibition view, I am forgetful of everything, but seeing you again (09.06 – 07.07.2017). © Céline Butane

Exhibition view, The books of Leonid Miroshnik (08.05 – 07.06.2017)

CS Lecture #3, Marysia Lewandowska, Cirque (18.04.2017)

CS Lecture #2, John C. Welchman, Cirque (28.03.2017)

LECTURE SERIES IN CURATORIAL STUDIES This academic year, the postgraduate program in curatorial studies (CS) began a new series of lectures in Cirque. As their first guest speaker (in collaboration with SMAK and CC Strombeek), they hosted the American artist John Knight. For the second lecture, Professor of Art History in the Visual Arts John C. Welchman gave a splendid overview of the oeuvre of 152 Guillaume Bijl, followed the next day by a seminar that touched on John’s many interests, from conceptualism and jokes to the work of Mike Kelley.

As CS guest lecturer #3, Polish artist Marysia Lewandowska offered fascinating insights into her artistic practice, with particular emphasis on her recent experiences in Asia. www.cs-kask.tumblr.com

Screening of La conférence des femmes, Naïrobi '85 by Françoise Dasques, KIOSK (29.04 – 16.06.2017). © Tom Callemin

Conversation between Paola Bacchetta and Françoise Vergès, Cirque (27.04.2017). Part of the public program of Show Me Your Archive and I Will Tell You Who is in Power. © Rachel Gruijters

COLLABORATIVE PROJECTS

L’Internationale L’Internationale is a confederation of six major European modern and contemporary art institutions and partners, whose current project is the five-year programme entitled The Uses of Art – The Legacy of 1848 and 1989 (2013-2017). One of the main sites where research and 153 debate related to this project takes place is the publishing platform, L’Internationale Online. This online platform – www.internationaleonline. org – was launched in 2015 and is co-ordinated by KASK staff member Nataša Petrešin-Bachelez. In addition, she and Wim Waelput curated the exhibition Show Me Your Archive and I Will Tell You Who is in Power at KIOSK, as well as the associated public programme on the Bijloke campus, the final joint project in the framework of The Uses of Art – The Legacy of 1848 and 1989. The public programme included among others discussions between feminist and political scientist Françoise Vergès and feminist and sociologist Paola Bacchetta, as well as between Dolle Mina’s Chantal De Smet and Jacqui Goegebeur, performances by Kapwani Kiwanga and Samira Saleh, film screenings by Amandine Gay, Chantal Akerman and Françoise Dasques, and a lecture by philosopher Mara Montanaro.

Poster by Rirkrit Tiravanija, Untitled, 2017 (do we dream under the same sky) (April 2017).

Poster by Jimmie Durham, The World (February 2017).

COLLABORATIVE PROJECTS

Public Poster Programme Each month during 2016, an artist was invited by MORE publishers to develop a work in the form of a large, industrial screen-printed poster.

Over the course of the year, the posters were on view in public areas, one by one, in office-like metal and glass display cases. These functioned as 154 autonomous exhibition spaces with a regular, time-based programme.

The first display cases were installed at the entrance hall of KASK School of Art in Ghent, the front window of MuZEE in Oostend and at the bar of M HKA in Antwerp. In 2017, a second year of the programme followed (with Rikrit Tiravanija, Jimmie Durham, Ryan Gander and others), with a different and variable rhythm. Once the poster programme is completed, it can be repeated endlessly, month after month, year after year.

Poster by Wilhelm Sasnal, Poor Spring (May 2017).

Exhibition view, Copy Construct, curated by Kasper Andreasen, CC Mechelen (25.03 – 04.06.2017). © Jan Kempenaers

Exhibition view, Copy Construct, curated by Kasper Andreasen, CC Mechelen (25.03 – 04.06.2017). © Jan Kempenaers

COLLABORATIVE PROJECTS

Copy Construct The Copy Construct exhibition at the Culture Centre in Mechelen began from the perspective of different artist’s practices and works of art based on the idea of ‘reproduction’ or ‘copy’. The selected works all have an immediate connection with the notion of printed matter and/or artists’ 155 books. In addition to 25 works by the artists, about 300 artists’ books from the KASK collection, as well as from diverse collections in Belgium and England, were also exhibited. The exhibition was curated by KASK instructor and artist Kasper Andreasen and was designed and installed

by Kris Kimpe & Koenraad Dedobbeleer. In 2018, Copy Construct will be reconceived anew from the space of the Zwarte Zaal, with a focus on video works and a partially new selection of artists’ books from the KASK collection, complemented with work by alumni and other artists with a connection to KASK.

Film booth with Mekhitar Garabedian’s film in the Cloquet front garden on the Bijloke (15.10.2016 – 15.01.2017). © Huis Van Alijn

Edwin Carels in conversation with Mekhitar Garabedian, during the avant premiere of Homeless Movies in the City, KASKcinema (14.10.2016). © Huis Van Alijn

COLLABORATIVE PROJECTS

Homeless Movies in the City The Huis van Alijn in Ghent was a guest at our campus for the launching of the project Homeless Movies in the City. A museum for everyday life in the 20th century, the Huis van Alijn has a large collection of home movies and family films. Together with guest curator and KASK faculty member Edwin 156 Carels, they invited six artists to immerse themselves in their collection of home videos and to distil a new short film from what they found. Films

by Mekhitar Garabedian (teacher and researcher at KASK), Eva Giolo (master of fine arts, 2016), Katrin Kamrau, Jasper Rigole (teacher and researcher at KASK), Meggy Rustamova (multimedia design alumna) and Lisa Spilliaert (photography alumna) were first presented to the public at KASKcinema and the Zwarte Zaal. They then spread across six film venues in the centre of Ghent. The film booth in the Cloquet front garden on the Bijloke campus, for example, was home to Mekhitar Garabedian’s film.

Installation view, STILL by Jelena Juresa, part of It’s Never Too Much Late, Zwarte Zaal (21.09 – 30.09.2016). © Rachel Gruijters Installation view, Untitled (I believe in miracles/I still believe in miracles, Douglas Gordon, 1994) by Mekhitar Garabedian, part of It’s Never Too Much Late, entrance hall Cloquet (21.09 – 30.09.2016).

COLLABORATIVE PROJECTS

It’s Never Too Much Late The University of Ghent (UGent) organized Re-Moving Apartheid, an international conference about post-dramatic and post-narrative forms of dealing with trauma. On the periphery of this conference, artists Jelena Juresa (Basileus researcher at UGent157and KASK) and Mekhitar Garabedian (postdoctoral researcher at KASK / School of Arts Ghent) presented It’s Never Too Much Late, with work in and around the Zwarte Zaal.

Installation view, Untitled (I believe in miracles/I still believe in miracles, Douglas Gordon, 1994) by Mekhitar Garabedian, part of It’s Never Too Much Late, entrance hall Cloquet (21.09 – 30.09.2016).

Keynote John Körmeling, during Inside | Outside conference, Cirque (05.05.2017).

Keynote John Körmeling, during Inside | Outside conference, Cirque (05.05.2017).

COLLABORATIVE PROJECTS

Inside | Outside The three-day Inside | Outside conference on the Bijloke campus was an initiative of the School of Architecture of the University of Queensland in partnership with the Department of Architecture & Urban Planning of UGent and KASK. The conference focused on specific examples or ‘cases’ 158 of two-way directions of transaction: artists adopting architectural means on the one hand, and architects adopting artistic strategies oautonon the other. In particular, it studied both historical and contemporary examples of the transposition of means and strategies from architecture to art, and vice versa, up to the point where their status, meaning or function is dislodged and transformed. We were pleased to welcome artist Sarah Oppenheimer and architect John Körmeling as keynote speakers at our Bijloke campus. Other scholars from Europe, the United States and Australia each presented concrete cases of the reciprocal trade between art and architecture.

First exhibition and book launch MVSC01 at Biennale Interieur 2016 Kortrijk. © Frederik Sadones

DESIGN

Master class by Alfredo Häberli with students from 5 European art schools (05.12.2016). © Thomas Nolf

MAARTEN VAN SEVEREN CHAIR

In 2015, the Design & Vormgeving working group of KASK / School of Arts Ghent and the Maarten Van Severen Foundation established the Maarten Van Severen Chair (MVSC), with the purpose of expressing the contemporary meaning of the work of the designer. Each year, an authority from the world of design, who has demonstrated an affinity with the work 159 of Maarten Van Severen, gives a lecture and a master class. Each event is documented in an MVSC cahier. Erwan Bouroullec was responsible for the successful first edition.

In 2016, the honour fell to Alfredo Häberli, an established figure in the international design world. Based in Zürich, he works for leading companies in the design industry, including Alias, BD Barcelona, BMW, Camper, FSB, Georg Jensen, Iittala, Kvadrat, Luceplan, Moroso, Schiffini and Vitra.

Häberli’s design is sometimes described as expressive and emotional.

Alfredo Häberli gave a master class and a lecture about his work in which he spoke both about his own personal work and about how it relates to the oeuvre of Maarten Van Severen. In conjunction with the MVSC, the Design Museum Ghent presented Het wilde ding, the second in the Maarten Van Severen & Co series, a presentation of contemporary design that investigate what design meant for Maarten Van Severen.

Exhibition view, Rechts / Averechts (Plain/Purl), Design museum Gent (31.03 – 01.10.2017). © Design museum Gent

Exhibition view, Rechts / Averechts (Plain/Purl), Design museum Gent (31.03 – 01.10.2017). © Design museum Gent

RECHTS / AVERECHTS – TEXTILES BETWEEN ART & DESIGN

The exhibition Rechts / Averechts (Plain/Purl) at the Design Museum Ghent marked the 10th anniversary of the department of textile design at KASK School of Arts. The open vision that is inherent to this training was the consistent thread underlying the exhibition, which juxtaposed work by international artists with that of KASK alumni, in an immersive, experiential 160 exhibition. Works of art, designs and drawings which blur the distinctions between art and design, and in which the design phase and the final results were treated equally, were central to the exhibition. It included work by Petra Blaisse, Louise Bourgeois, Ronan & Erwan Bouroullec, ChevalierMasson, Berlinde De Bruyckere, Sonia Delaunay, Martine Geyselbrecht, Hella Jongerius, Christoph Hefti, Muller Van Severen, Bertjan Pot, Pascale Marthine Tayou, Rosemarie Trockel, Rinus Van De Velde and Franz West, as well as alumni from the textile design department. Valerie Mannaerts, Kristof Van Gestel, Joel Gomez, Manoeuvre and Henri Jacobs all produced new work for the exhibition.

During the International Textile Expert Meeting, textile studio at Campus Bijloke (27.04 – 28.04.2017). © Aaron Lapeirre

During the International Textile Expert Meeting, Zwarte Zaal (27.04 – 28.04.2017). © Aaron Lapeirre

INTERNATIONAL TEXTILE EXPERT MEETING

The department of textile design also took the initiative of hosting an international textile expert meeting on the Bijloke campus, focused on the future of education in textile design. This two-day meeting brought representatives from educational institutions, the textile industry and other professionals together to share their views on textile design. The first 161 day’s focus was on input, the exchange of pedagogical knowledge and innovations in textiles. Keynote presentations concentrated on the visions of different educational approaches and on industry and education, given by, among others, Diane Steverlynck (KASK / School of Arts Ghent), Hilde Hauan (Bergen National Academy of the Arts, Norway) and Anne Masson (ENSAV, La Cambre). The second day of the meeting centred on research, global interactions and engagement, with keynote presentations by, among others, Magalie Delbeke (experience ETT in TextileLab, Tilburg), Eric Chavez (coordinator of Popular Arts and Production Projects at the Alfredo Harp Helú Foundation) and Hector Manuel Meneses Lozano (Director of the Textile Museum in Oaxaca, Mexico).

Finishing the tables in the wood shop of KASK. © Kurt Van Maldegem

One of the tables on display at the BAD Belgium Art & Design fair, ICC Ghent (16.02 – 19.02.2017). © Kurt Van Maldegem

KASK @ BAD & INSIDE OUT

The department of design (design & vormgeving) at KASK was present with a stand at the BAD Belgium Art & Design fair at the ICC in Ghent, as well as at the Inside Out in Flanders Expo interior design fair, also in Ghent.

Students of interior design, multimedia design, landscape and garden architecture, and instrument building, designed and completed a series 162 of tables for the restaurant at the BAD fair.

Preparing the KASK booth at Inside Out interior design fair, Flanders Expo (10.03 – 19.03.2017). © Kurt Van Maldegem

Entrance of the KASK booth at Inside Out interior design fair, Flanders Expo. © Kurt Van Maldegem

Drawing made by Jade Kerremans during Studium Generale lecture by Alain Platel & Geert Van Hove, MIRY Concert Hall (07.03.2017).

Studium Generale lecture by Alain Platel & Geert Van Hove, MIRY Concert Hall (07.03.2017). © Stijn Heyvaert

GENERAL LECTURE STUDIUM GENERALE SERIES AND SYMPOSIA Studium Generale is University College Ghent’s (UGent) podium and forum for students, teachers and other interested parties to reflect on society, art, culture and science. It is based on ten lectures per year, organized around a given theme. The contents and organization of the Studium Generale lectures are further developed by KASK School of Arts.

163 This year’s theme was +/- Kan minder meer zijn? Studium Generale once again invited ten new speakers. They were Alicja Gescinska, Jim van Os, Wouter Deprez, Wim Cuyvers & Peter Aers, Ignaas Devisch, Marente de Moor, Erik Thijs, Alain Platel & Geert Van Hove, Matthijs van Boxsel and Federico Demaria. Each of them, from the perspective of their own professional area, took stock of whether less is effectively more. Or indeed, does the master reveal himself to be effective within his limitations, and if so, where is it that that extra value is found?

In 2016-2017, Studium Generale and Theater Aan Zee proposed a new series of publications. Karakters comprises stimulating literary material in a small format, published four times a year by Lannoo/Academia Press.

Each of the Karakters publications comprises wilfully unique texts about the given Studium theme, inviting reflection, discussion and debate.

This year, authors Alicja Gescinska, Wim Cuyvers, Marente de Moor and Matthijs van Boxsel offered their critical commentaries about the hyped, yet exhausted concept of ‘less is more’. The Karakters publications were highlighted and discussed on the Studium Generale podium in the Miry Concert Hall. www.studiumgent.be

KASKlecture by Richard Hollis, Cirque (16.02.2017). © Jurgen Maelfeyt

KASKlecture by Shilpa Gupta, Cirque (09.02.2017).

KASKLEZINGEN LECTURE SERIES

Each academic year sees the organization of two KASK lecture series, in the autumn and in the spring, with leading speakers in the fields of the visual arts, audiovisual arts, design, drama, music and literature.

The lectures take place on Thursday evenings, at Cirque, a former anatomical theatre. They are free of charge and open to a wide audience.

164 Students of KASK & the Conservatory can follow the lectures as an elective. This year, we invited the following artists and initiatives: Girls Like Us, Voebe de Gruyter, Rudi Laermans, Pierre Bismuth, Alain Platel & Geert Van Hove, Femmy Otten, Richard Hollis, Shilpa Gupta, X-Ray: Makino Takashi, Radio Vrijpost, Enough Room for Space (Maarten Vanden Eynde), Critical Clouds, Wim Cuyvers, Kurt Deruyter, Jozef Wouters, Stuart Bertolotti-Bailey.

Keynote by Mark Cloet & Janna Huyghe, Cirque (16.11.2016). © Marc Cloet

KEYNOTES

Keynotes are a series of evening presentations by speakers who are engaged in the fields of architecture, interior design, landscape and garden design, and so on. These Keynote presentations can be included as an elective for second-year bachelor students in interior design, but the programme aims to reach a much wider group of interested parties.

165 Keynotes returned to the Cirque this year with a varied programme, with Mark Cloet & Janna Huyghe, Thaïs Pons, Steven Delva, Caroline Lateur & Stefanie Everaert, Eli Devriendt and Nicolaas Blondeel.

Cover of the first issue of ONRUST, design by 6'56".

Cover of the second issue of ONRUST, design by 6'56".

ONRUST – KASK & THE ROYAL CONSERVATORY’S QUARTERLY PUBLICATION The academic year at KASK and the Royal Conservatory sees the passing of a wide range of activities: lectures, film screenings, musical performances, exhibitions, discussions, concerts, presentations and so on. Some of these events may seem rather ephemeral when reflected on in retrospect, after the academic year is over, while others leave strong 166 and lasting impressions, becoming treasured memories. In either case, they embrace the heart of what preoccupied us at the School of Arts when we were not in the classroom. To keep track of all these activities, the School of Arts launched a modest magazine that not only informed, but also analyzed and discussed the activities taking place. It published texts in a variety of forms, in interviews, open letters, speeches, poems and more, commissioned and written by teachers, administrators and students.

In this way, the magazine created a particular memory of a given year at KASK and the Royal Conservatory.

In 2017, the effort to compile an overview of the panoply of cultural events in which our students, researchers and teachers are involved, and to communicate them to a wider audience, resulted in its tenth issue, the last of this particular series. Spring then saw the birth of its replacement, our new agenda magazine, Onrust. This publication boasts a more radical and luxurious design and is slightly larger. It also contains more pages and a wider variety of items, including interviews, theatrical excerpts, artist portfolios, reviews, essays, annotated lyrics and much more. For each issue, we invite a student to design a maze for the back cover. Beginning in October 2017, Onrust will appear bimonthly, and can be read online or picked up at appropriate locations in all major Belgian cities.

Onrust can be viewed online at issuu.com/schoolofartsgent and medium.com/onrust.

To stay informed of the activities of the KASK & the Royal Conservatory / School of Arts Ghent, you can also receive our newsletter by registering on our website: www.schoolofartsgent.be.

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Facts & Figures

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DEGREES GRANTED TO STUDENTS IN THE ACADEMIC YEAR 2015-2016 (ARRANGED ACCORDING TO PROGRAMME AND GENDER)

total count (540)

NUMBER OF UNIQUE STUDENTS FOR THE ACADEMIC YEAR 2016-2017 total count (2197)

Bachelor of Audiovisual Arts (22) male (1018) female (1179)

Bachelor of Visual Arts (92) Bachelor of Interior Design (85) Bachelor of Landscape and Garden Architecture (53) Advanced Bachelor of Landscape Development (26)

Count of 25.05.2017 of all enrolled students with a degree contract.

—

Bachelor of Music (51)

NUMBER OF BELGIAN STUDENTS FOR THE ACADEMIC YEAR 2016-2017, PER PROVINCE

Bachelor of Drama (7)

total count (1908)

Master of Audiovisual Arts (15)

Antwerp------------------------------------------------------- 243 Brussels-Capital Region --------------------------- 65 Hainaut------------------------------------------------------------- 9 Limburg---------------------------------------------------------- 74 Liège------------------------------------------------------------------ 3 Luxembourg---------------------------------------------------- 6 Namur--------------------------------------------------------------- 2 East-Flanders-------------------------------------------- 845 Flemish Brabant--------------------------------------- 185 Walloon Brabant-------------------------------------------- 5 West-Flanders------------------------------------------- 471

Master of Visual Arts (71) Master of Music (43) Master of Drama (8) Master Audiovisual Arts (English) (3) Master of Fine Arts (English) (12) Master of Music (English) (3) Advanced Master in Contemporary Music (5) Postgraduate Curatorial Studies (8) Prepatory programme for the Master of Visual Arts (5) Prepatory programme for the Master of Audiovisual Arts (1) Teacher Certification in Visual Arts (7) Teacher Certification in Audiovisual Arts (3) Teacher Certification in Drama (1) Teacher Certification in Music (16) Bridging programme for the Master in Visual Arts (2) Bridging programme for the Master in Music (1)

male female

Count of 25.05.2017 of all enrolled students with a degree contract.

The category ‘other’ covers Belgian students who are domiciled abroad.

170

— NUMBER OF FOREIGN STUDENTS FOR THE ACADEMIC YEAR 2015-2016, PER NATIONALITY

total count (2197) Albania--------------------- 1 America------------------- 4 Australia------------------- 1 Belgium------------ 1838 Bolivian-------------------- 2 Bosnian-- ------------------ 1 Brazil----------------------- 10 Bulgaria------------------- 1 Chili--------------------------- 1 China------------------------ 7 Colombia----------------- 3 Croatia--------------------- 7 Czech Republic----- 5 Ecuador------------------- 1 Estonia--------------------- 3 Philippines-------------- 1 Finland--------------------- 4 France-------------------- 17 Germany---------------- 17 Greece--------------------- 3 Honduras---------------- 4 Hungary------------------- 3 Iceland--------------------- 2 Iran---------------------------- 9 Israël------------------------- 1 Italy-------------------------- 27 Japan----------------------- 7 Kazakhstan------------- 2

Kosovo--------------------- 1 Latvia------------------------ 3 Lithuania------------------ 3 Macedonia-------------- 1 Mexico---------------------- 3 Moldova------------------- 1 Montenegro------------ 2 Pakistan------------------- 1 Peru--------------------------- 1 Poland---------------------- 4 Portugal------------------- 4 Romania------------------ 7 Russia-------------------- 13 Serbia----------------------- 1 Slovakia------------------- 2 Slovenia------------------- 1 South Africa------------ 2 South Korea----------- 3 Spain---------------------- 14 Sweden-------------------- 2 Switzerland------------- 2 Thailand- - ----------------- 2 The Netherlands ------------------------------ 129 Turkey----------------------- 3 Ukraine-------------------- 6 United Kingdom---- 4 Viëtnam-------------------- 1

Count of 27.05.2016 of all enrolled students with a degree contract.

TEACHING AND ADMINISTRATIVE STAFF OF THE SCHOOL OF ARTS FOR THE ACADEMIC YEAR 2016-2017 total count (526) male (337) female (189) Abels Grégory Aerts Liene Akdag Kadir Alliet Patrick Andreasen Kasper Antico Susanna Arteaga Fernandez Alejandro Baeckelandt Peter Baele Marijke Baele Dirk Bakkers Godart Bal Vincent Balcaen Bert Ballegeer Katia Bartoletti Paola Beert Inés Bellanger Sven Bellinck Thomas Bellinkx Ruben Belpaeme Geert Beme Johny Ben Chikha Chokri Berden Laurence Berlaen Wouter Berx Patrick Beuckels Patrick Billiet Jeroen Blanchaert Dirk Blanckaert Joris Blank Martin Blomme Pieter Boeykens Beatrijs Bonne Marleen Boonen Jo Borremans Michael Bos Eva Boto Ordonez Maria Bouchez Hilde Boucque Katrien Boulaich Aouatif Boumon Caroline Braeckman Dirk Brants Bart Breynaert Willem Breyne Rob Broché Patricia Broekaert Rilke Brossé Dirk Brouwers Anke Bruneel Janos Brusselmans Martine Bryssinck Hans Buschmann Paul Bussens Claudine Butaye Céline Buyse Christine Caers Stef Campens Angelique Capelle Mireille Cardinael Miel Carels Edwin Caroen Laura Carrijn Johan Caruso Giusy

Casaer Paul Casale Vincenzo Castelein Ingrid Castermans Suzy Chantrain Jan Cheng Xin Cielen Fia Claes Koenraad Claeys Geert Clarisse Geert Clierieck Martine Cneut Carl Cnop Ann Cocquyt Wendy Colruyt Godelieve Conard Sébastien Cools Frank Coquette Michel Cornel Marleen Cornelis Dirk Corstjens Danny Crevits Bram Crismer Pascal Cusimano Antonella Daenen Johan Davidts Wouter De Backer Karel De Baets Isabelle De Baudringhien Filip De bisschop An De Bondt Katia De Bondt Sara De Boodt Maria De Braeckeleer Dominique De Brauwer Greta De Bruyckere Joan De Buck Noël De Busschere Bruno De Cleene Michiel De Clercq Anouk De Cock Sabine De Cock Nele De Cock Johan De Cock Karel De Coster Cindy De Coster Wendy De Fleyt Karin De Gheselle Ruben De Haas Jan De Keyzer Carl De Langhe Hilde De Meûter Ingrid de Mey Anne De Meyer Nancy De Pauw Jan De Poorter Simon De Pot Marina De Preester Helena De Schepper Elisa De Schrevel Stephane De Smet Helena De Smet Peter De Temmerman Wim De Vis Hendrik De Vleeschhouwer Luc De Vos Eric De Vuyst Hildegard De Wilde Leen De Wit Dries de Witte Geert De Wolf Sandy de Wolf Willem

De Wulf Mia Debaene Mario Deblauwe Dirk DeBlock Hugo Deboosere Marie Debuysere Stoffel Decorte Wouter Defoort Bart Defrancq Evert Degryse Luc Dehaese Sandra Delaere Ivo Delarue Stefanie Delecluse Fabrice Deleu Luc Deliège Glenn Delva Deborah Demets Paul Demeyer Jean-Marie Demyttenaere Siegrid Den Hond Ilse Depestel David Depestel Bart Depoorter Emmanuel Deprey Kris Derks Peter Derycke Laurent Derycke Johan Derycke Luc Deschepper Luc Desimpelaere Pascal Desmet Thomas Devlieger Jan Devolder Steven Devos Joris Deweerdt Herwig Dewulf Bernard Dezwarte Els D’haese Gert D’haeyere Hilde Dheedene Stefaan D’herde Nele Dhondt Geert Dielman Martine Dietrich Helena Dockx Joris Dombrecht Patrick Doumen Björn Dragonetti Régis Druart Michel Dua Raphaël Duerinck Tim Duijck Johan Duprez Caroline Duquenne Ronny Eeckhout Wim Emmerich Hadassah Engels Tom Ermert Judith Eyckmans Filip Fabré Marijke Fevery Bruno Florizoone Jan Florizoone Tuur Foré Pieter Forment Bruno Fostier Johan Fransen Christiane Frederickx Manu Friant Katrien Gabriel Kurt Galle Jerry Garabedian Mekhitar Gerritse Arnoud Geyskens Vincent Geyssens Cindy Goddeeris Isidoor Godfroid Marc Goossens Frederik

Govaert Véronique Grabinska Dorota Graulus Myriam Grimonprez Johan Grootaers Elias Gruijters Rachel Gulinck Luc Guns Senne Gyselinck Lander Gyselinck Wannes Haegeman Arthur Haesaert Katrien Hallaert Veerle Hannes Nick Hemerijckx Els Herman Gerard Heuninck Elias Heyde Steven Heyerick Florian Heyndrickx Tony Hoedelmans Thomas Hofman Koenraad Högner Christiane Hollevoet Mia Hudek Antony Hutsebaut Valerie Huvenne Martine Huygelen Elisabeth Impens Vincent Isselée Johan Istomin Sergei Jacobs Gert Jacobs Henricus Jans Erwin Janssens Thomas Janssens Daan Jespers Bram Joye Ruben Junnonen Anu Juresa Jelena Kars Anita Kempenaers Jan Kerckhof Marc Kermaire Franky Keunen Gert Kimpe Kris Kivrikoglu Ibrahim Kodama Emi Konink Jan Willem Korczak Andreas Kusters Liesbet Kwakkenbos Laurentius Lamal Hans Lamont Paul Langsdorf Heike Lapauw Dieter Laplanche Amélie Le Roy Frederik Lemahieu Katty Leper Hendrik Lesaffer Bert Lesage Peter Lhoest Leon Libbrecht Harlind Libens Daniël Lievens Bauke Lievens Dirk Lodewyckx Tom Louwyck Liesbeth Luyten Anna Maas Koen Macbean Ibernice Maelfeyt Jurgen Maes Elly Maes Ives Maeseele Wim Marchal Guy Mariën Laurens Marievoet Sven

Maris Bart Martens Renzo Martin Ronny Masson Marc Mathysen Pieter Mees Bob Meillander Nadine Mendonck Greet Mendoza Christian Mertens Lode Metten Philip Meuleman Rob Meuret Geneviève Michiels Ignace Minten Raf Mistiaen Carlo Moccia Alessandro Moelants Dirk Moens Els Moretto Graziano Mortier Pieter-Paul Mulder Arjen Mulhall Gustavo Navratil Tomas Neels Femke Neetens Steven Nuytten Pieter Op De Beeck Hans Opstaele Johan Overdeput Christian Ovodova Ksenia Pauwels Dominique Peeters Julie Peeters Yannick Pegorim Getacine Peire Sarah Pensaert Werner Penson Michaël Penson Guy 171 Peters Kristel Petresin-Bachelez Natasa Piedboeuf Sabine Pierins Vincent Pinckers Max Pint Kim Platel Alain Poissonnier Pascal Pollet Emma Ponseele Francis Popelier Marc Posson Nathalie Poullier Caroline Pujol Marcos Raes Barbara Ramon Mieke Raspoet Iris Rathé Filip Raymaekers Willem Rekveld Joost Rigole Jasper Robyns Gert Roelandt Els Roels Hans Rogiers Peter Rondelez Katrien Roosemeyers Alex Ruchel-Stockmans Katarzyna Ruigrok Mirella Ryckaert Tim Saelaert Arlette Saelens Ann Samoshko Vitaly Scheerlinck Danny Schoenmaekers Raf Schollaert Stijn Scholliers Hans Schreinemacher Sophie Segers Catharina

Sel Dries Senden Yves Senepart Gillis Smalbrugge Sara Smet Valérie Snauwaert Marie Soeffers Katrien Soenen Geert Somers Dominique Sonck Christophe Steen Jan Steverlynck Diane Storms Yves Stragier Claire Stragier Jan Stroobants Herman Styns Frederik Suys Diederik Teirlinck Nathalie Temmerman Jonas Termont Sandra Theys Hans Thomaere David T’Hooft Wim Thuriot Philippe Tilkin Michel T’Jonck Pieter Tomme Klaas Tordoir Narcisse Torres de Benito Maria Luisa Tosseyn Tom Vaiana Pietro Valibouse Arielle Van Beeck Martien Van Bockstal Piet Van Burm Stéphane Van Cauter Steffie Van Daele Liselotte Van Damme Sylvie Van Damme Bram Van De Geuchte Linda Van De Velde Gwendeline Van De Velde Martin van de Ven Raf Van De Woestyne Mieke Van den Abeele Lieven Van den Abeele Tim Van den Berghe Gust Van Den Bossche Bart Van der Gucht Sandra van der Poel Celine Van Der Veken Jan Van der Velde Thomas van Dienderen An Van Dingenen Martina Van Dionant Toon van Driel Willy Van Driessche Marie-Rose Van Eeckhaut Marijke Van Eeghem Elly Van Elslande Brecht Van Gestel Kristof van Gogh Dirk Van Gysegem René Van Herck Astrid Van Herreweghe Mats Van Ingelgem Samuel Van Isacker Carl Van Kerckhove Hendrickje Van Langenhove Herlinde Van Lierde Wigbert Van Maldegem Kurt Van Malderen Jeroen Van Oost Hans Van Petegem Karen Van Reeth Griet

Van Rossem Stijn Van Ryckeghem Steve Van Tornhout Wouter Van Trier Kris Vanbergen Reinhard Vanbroekhoven Ivan Vandamme Sofie Vande Veire Frank Vandenberghe Peter Vandenbussche Jorre Vander Linden Jacky Vanderbeke Katrien Vanderlinden Carole Vandermaelen Johan Vandeveire Bram Vandevelde Ludwig Vandewalle Daan Vaneyghen Rik Vanfleteren Stephan Vanhalewyn Jan Vanhecke Françoise Vankerschaver Clara Vanommeslaeghe Raf Vanoosthuyse Eddy Veirman Anja Venlet Daniel Verberkmoes Geerten Vercaemer Geert Vercruysse Rik Vergauwe Geert Vergucht Harold Verhamme Nicole Verheyen Hildegarde Verhoeven Siegfried Verhoeven Benjamin Vermassen Joris Vermeersch Pascal Vermeersch Peter Vermeulen Maria Vermeulen Patrick Vermeulen Erik Vermoere Willem Vermoortel Pieternel Vermote Petra Verschoore Evelyn Verschueren Bert Verschuren Ronald Viaene Els Viaene Patrick Vlaeminck Annelies Vloemans Sam Voet Kathleen Voets Andrea Vos Hans Vuylsteke Vanfleteren Katrien Waelput Wim Walgrave Cindy Wambacq Judith Wautier Chrystel Weber-Krebs David Wellekens Tom Welvaert Veronique Westerduin Saskia Weyler Maarten Wiame Benjamin Wiewauters Dries Wille Jeroen Willems Catherine Windels Veerle Wittevrongel Erwin Wouters Jozef Yee Marina Yoshioka Tae Ysabie Peter Zakai Adva Zoete Dirk Zolotareva Olga Zonnenberg Nathalie

www.graduation2017.be www.schoolofartsgent.be

Publication issued on the occasion of Graduation 2017, the presentation of bachelors, masters and postgraduate projects 2017 at KASK & Conservatory / School of Arts Ghent. Graduation 2017 comprises an exhibition, a drama festival, the premiere of KASKfilms, fashion shows and concerts.

DRAMAFESTIVAL June 16, 17, 18 and June 24, 25, various locations in the city centre of Ghent FASHION SHOW 2017 June 15 & 16, Eskimofabriek Ghent CONCERTS • May 31 — June 29, open exams students Jazz, Pop, Classical Music and Composition at MIRY Concert Hall and Minard Schouwburg • June 13, presentation LP Masterworks 2017 and concerts students music production at Minard Schouwburg • June 28, concerts students post­ graduate Musical Performance Practice and postgraduate Soloist Classical Music at MIRY Concert Hall • June 29, concerts students Advanced Master in Contemporary Music at MIRY Concert Hall KASKFILMS • Premiere: June 27, cinema Sphinx • Screenings: June 28 – July 2, KASKcinema EXHIBITION Masters, Bachelors and Postgraduate projects exhibition • June 28, opening night, Bijloke campus • June 29 – July 2, Bijloke campus — Publication coordination and editing: Liene Aerts, Ilse Den Hond, David Depestel and Claire Stragier Design: Jurgen Maelfeyt and Jonas Temmerman (6'56'') Image cover: On the filmset of Al was het maar voor even (‘If Only For a Moment’), a film by master’s student Sophie Kurpershoek (2017). © Nana Vaneessen Translation: David Depestel and Mari Shields Copyediting: Liene Aerts, Ilse Den Hond, David Depestel, Régis Dragonetti, Maxim Schelstraete, Mari Shields and Claire Stragier Website: Claire Stragier and Arthur Haegeman Printing: Graphius Group, Ghent ISBN: 9789491564055 Edition: 1200 copies School of Arts Ghent Jozef Kluyskensstraat 2 B-9000 Ghent

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