Graduation 19

ATION 19

GRADUATION 2019

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Introduction / Voorwoord

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Master, Bachelor & Postgraduate Projects 18—19

Research in the Arts 18—19

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COMPLETED PROJECTS Michiel De Cleene, Reference Guide Hilde D’haeyere, Snow White Bathing Beauties Sergei Istomin, Variations on a Rococo theme Jelena Jureša, Denkmal oder Mahnmal?

Jan Kempenaers, Camera Image Making Elly Van Eeghem, (Dis)Placed Interventions A YEAR IN RESEARCH: PUBLICATIONS AND SELECTED HIGHLIGHTS

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MASTER OF VISUAL ARTS MASTER IN DE BEELDENDE KUNSTEN 14 Graphic Design / Grafisch Ontwerp 19 Autonomous Design / Autonome Vormgeving 23 Fine Arts / Vrije Kunsten 35 Textile Design / Textielontwerp 38 Photography / Fotografie 46 Fashion / Mode • MASTER OF AUDIOVISUAL ARTS MASTER IN DE AUDIOVISUELE KUNSTEN 47 Film 50 Animation Film / Animatiefilm • MASTER OF DRAMA / MASTER IN HET DRAMA 55 • MASTER OF MUSIC / MASTER IN DE MUZIEK 61 Performing Music: Classical Music / Uitvoerende Muziek: Klassieke Muziek 64 Performing Music: Jazz/Pop / Uitvoerende Muziek: Jazz/Pop 66 Composing Music: Composition / Scheppende Muziek: Compositie 66 Composing Music: Music Production / Scheppende Muziek: Muziekproductie 67 Master Of Music: Theory / Master In De Muziek: Muziektheorie 67 Musical Instrument Making / Instrumentenbouw 69 Advanced Master Contemporary Music / Master na Master Hedendaagse Muziek • BACHELOR OF DIGITAL DESIGN AND DEVELOPMENT (DEVINE) BACHELOR IN DIGITAL DESIGN AND DEVELOPMENT (DEVINE) 69 • BACHELOR OF INTERIOR DESIGN BACHELOR IN DE INTERIEURVORMGEVING 70 Focus: Interior Finishing & Advice / Interieurafwerking & Advies 71 Focus: Concept & Spatiality / Concept & Ruimtelijkheid 73 Focus: Furniture & Design / Meubel & Design 74 Focus: Temporary Installations / Tijdelijke Installaties • BACHELOR OF LANDSCAPE AND GARDEN ARCHITECTURE BACHELOR IN DE LANDSCHAPSEN TUINARCHITECTUUR 75 • ADVANCED BACHELOR OF LANDSCAPE DEVELOPMENT BACHELOR NA BACHELOR IN DE LANDSCHAPSONTWIKKELING 78 • POSTGRADUATES 79 Musical Performance Practice 80 Curatorial Studies 81 Digital Storytelling • TEACHER CERTIFICATION IN THE ARTS SPECIFIEKE LERARENOPLEIDING IN DE KUNSTEN 85

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Artistic Productions 18—19

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CLASSICAL MUSIC MIRY Concert Hall JAZZ, POP & MUSIC PRODUCTION

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Club Telex In Residence: KRAAK In Residence: JazzLab FILM KASKcinema CineSessies Film Music Seminar X-Ray KASK @ DOCLISBOA In Residence: Courtisane In Residence: Sabzian DRAMA

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VISUAL ARTS MAP – Masters Projects Space Zwarte Zaal BOEKS SPITS KIOSK DESIGN Maarten Van Severen Chair 2019 – Francesca Torzo LECTURE SERIES & A SUMMER ACADEMY Studium Generale KASKlezingen Lecture Series Keynotes 51st International Horn Symposium BOOKS & BOOK PRESENTATIONS Kunstenbibliotheek Essential Reading 1M3 ONRUST – KASK & Royal Conservatory's Magazine

BY THE STUDENTS STOCK DE VLOER OP MAANDAG Drawing Cabinet PA\WS Kavir Vodka Candy Radio Roeien Met Riemen

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Facts & Figures

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4

EEN GESPREK MET DECAAN WIM DE TEMMERMAN Dit is de laatste GRADUATION die je meemaakt in je functie van decaan.

Hoe kijk je na 14 jaar terug op het festival?

Wel, 14 jaar geleden was er helemaal géén festival.

Ze is uitgegroeid tot een soort van jaarboek.

Diverse afstudeerrichtingen hadden elk hun eigen Ons GRADUATIONfestival heeft intussen vijf vaste initiatieven, op diverse plaatsen in de stad, en luiken: tentoonstelling, modeshow, concerten, er was eigenlijk weinig eenheid of coördinatie. dramafestival, KASKfilms. Het basisconcept is zeer Om een publiek te bereiken was dat niet zo handig. eenvoudig, namelijk dat de masterstudenten die De ene tentoonstelling was open van 14:00 tot afstuderen, zich presenteren. Daarbij komt iedereen 18:00, de andere enkel in de weekends, nog elders aan bod, we maken geen onderscheid tussen bleef de deur gesloten omdat de studenten niet werk dat goed scoort en werk dat minder scoort… opdaagden, enz. Vaste waarden waren toen wel al Tegelijk is het festival dus een ideale staalkaart de mode­show en KASKfilms, maar dat laatste was waar de school voor staat en waar zij toe in staat zeer kleinschalig. Er waren ook weinig afstudeeris. Doel is om het werk van de afstuderende masfilms, je kon op één avond makkelijk alles zien en ters te presenteren aan het werkveld en het bredere tegelijk ook nog bijpraten met de makers. Dat is nu publiek. Ik moet zeggen dat we na een aantal jaren wel anders… Toen we de nieuwe gebouwen op de écht een soort van globaal kunstenfestival hebben Bijlokecampus in gebruik namen, in 2011, hebben weten te maken, waar immens veel werk van jonge we in één beweging ook alle tentoonstellingen beloftevolle makers te beleven is. Een aantal ondergegroepeerd op die campus en gewerkt aan de fordelen van het festival zijn vaste waarden geworden. mule van één afstudeerfestival voor beeldende en Enkel klassieke muziek zit nog maar beperkt in die audiovisuele kunsten en interieurvormgeving. Toen festivalformule en heeft organisatorisch nog een verzocht de opleiding Drama aan het hogeschoolweg te gaan, de concerten van master 2 zijn nog bestuur om van het Conservatorium naar KASK te verspreid over te veel weken en te zeer gekopte mogen overgaan, wat hun werd toegestaan. peld aan bachelorexamens, zodat het moeilijker Bijgevolg kwam er ook een dramaluik in het festival, is om een publiek te werven. Tegelijk kan je ook dat intussen een soort festival op zichzelf is geworbij klassiek ongelooflijke concerten meemaken die den met een zekere bekendheid in het professioals eindexamen fungeren. Graduation is, dat is een nele milieu. Met de oprichting van de school of arts aspect dat ik nog niet belichtte, tenslotte ook een en de integratie van KASK en de muziekopleiding moment waarop alumni terugkeren, om de nieuwe 5 van het Conservatorium, werd het eindejaarsfeest lichting die hun hemel bestormt te monsteren. nog breder, en kreeg het de naam GRADUATION. Engelstalig, ik weet het, maar met een stijgende instroom van Engelstalige masterstudenten, is dat te verantwoorden. Andere scholen in Vlaanderen zijn trouwens die naam beginnen overnemen, grappig eigenlijk. Ook de publicatie werd al snel tweetalig.

GRADUATION is op korte termijn een stevig festival geworden dus.

Wat zijn andere realisaties uit de voorbije 14 jaar waar je trots op bent?

Dat is een makkelijke vraag. Ik ben namelijk vooral trots op iets eenvoudigs, maar toch niet zo evident om realiseren: dat de studenten gelukkig zijn in onze school, hun tevredenheid en blijheid om zich hier te kunnen ontwikkelen. De kracht ook die dat losmaakt, want wie geluk ervaart is tot veel meer in staat dan wie met negatieve situaties moet omgaan. Ik krijg eerlijk veel signalen in die zin: dat de studenten hier graag zijn, dat ze de school als een goede plek ervaren.

Tweede ding, en daar moet ik evenmin lang over nadenken, tweede ding waar ik bijzonder trots op ben is het team van de collega’s, zowel lesgevers als mensen uit de omkaderende diensten, als onderzoekers… dat team is uniek. De immense kwaliteiten van al die mensen, elk op haar of zijn manier, vanuit de eigen kunde en kennis en ervaring. Dat maakt ook het geluk van de studenten mogelijk. Ik ben er heel trots op dat we in de voorbije jaren zo’n team hebben kunnen samenstellen.

Het ging met vallen en opstaan, financieel was het dikwijls niet makkelijk, er was steeds geld tekort

om optimaal onderwijs te organiseren, en toch hebben we het gedaan. Dat is op conto van al die collega’s te schrijven. Zelf heb ik hen, samen met vakgroepvoorzitters en leden van commissies, mogen selecteren. Ik ben heel trots op het resultaat, en zie dat als een waarborg voor de schitterende toekomst die onze school tegemoet gaat.

Wat die school betreft, en dat is ook iets waar ik toch trots op ben, iets dat we bovendien hebben kunnen realiseren op vrij korte termijn: ik denk dat zij zeer uniek is. KASK & Conservatorium is namelijk de enige kunstschool in België en zelfs tot een heel eind daarbuiten, die geconcentreerd op slechts twee campussen een zeer multidisciplinair aanbod heeft. Van alle mogelijk disciplines, van drama over beeldhouwkunst en textielontwerp tot jazz en klassieke zang en instrumentenbouw of landschapsarchitectuur… En dan noem ik er slechts een paar.

Dat is mijns inziens dubbel bijzonder. Enerzijds dat wij in zowat al deze disciplines excelleren. Er zijn heel weinig tot geen zwakkere opleidingstrajecten in onze school. Dat blijkt ook uit de visitaties van

deze opleidingen, waar we steevast bovenaan als de beste prijken. Bijzonder is dus dat al die disciplines van behoorlijke tot uitzonderlijke kwaliteit zijn. Tegelijk is het bijzonder, anderzijds dus, dat we er stilaan in geslaagd zijn al deze eersterangsopleidingen op mekaar te betrekken in één pedagogisch project. We doen dat binnen één stad, en niet zoals bijvoorbeeld een andere multidisciplinaire kunstschool, door over verschil­lende steden verspreid een divers aanbod te organiseren. Dat KASK & Conservatorium geheel dit aanbod hebben binnen twee op wandel­afstand van elkaar gelegen campussen, is uniek. Dat wordt ook internationaal opgemerkt. Om het te realiseren moesten we in

de voorbije jaren niet enkel de opleidingen van KASK met elkaar verbinden, in één project, maar ook de muziekopleiding integreren. KASK gaat 280 jaar terug, Conservatorium is zowat 180 jaar oud. Die twee culturen samen te brengen in één school is ons aardig aan het lukken, en geeft iets unieks aan onze muziekopleiding, maar evengoed aan onze film- en dramaopleiding, enzovoort.

Dit jaar startten we met de campus in Kortrijk, onder de vleugels van de samenwerking HOGENTHowest, dat wordt een nieuw zeer boeiend experiment van interdisciplinaire kruisbestuiving tussen DEVINE en onze andere opleidingen.

Waarom is het waardevol om voor een dergelijk profiel te kiezen?

Waarom zou een student dit soort school interessant moeten vinden?

Elke student moet de school kiezen die bij hem Dus ook samenwerking moet je niet verplichof haar past. Er is dus niet één model denk ik. ten, die ontstaat als jonge makers mekaar ontmoeDaarom is een veelheid van dezelfde opleidingen ten op informele plekken als KASKcafé, MIRYcafé, en een diversiteit aan schools of arts in Vlaanderen Club Telex of in de tuinen. Ik zie fotografen uit van groot belang: om student­gecentreerd te kunonze school samenwerken met popmuzikanten, nen werken. Maar om te antwoorden op de vraag of met modestudenten, studenten schilderkunst waarom een student dit profiel interessant zou met studenten animatiefilm, dramastudenten met kunnen vinden? Omdat in het werk­veld van de kunimprovisatoren uit klassieke muziek, enzovoort. De sten, waar die student later terecht zal komen, al mogelijkheden zijn einde­loos en worden zowel door deze disciplines ook op mekaar betrokken zijn de locatie als door het globale studieprogramma en samen­werken. Een muziek­theater­voorstelling ondersteund. Dat is vrij uniek en iets waar we wordt gemaakt door acteurs, zangers, muzikanten, allen samen, studenten en lesgevers, vrij trots op decor­bouwers, sceno­grafen, kostuumontwerpers, mogen zijn. Het wordt dus ook opgemerkt als een scenaristen, muziek­producers… die samenwerken. uniek profiel van de verschillende opleidingen, die Welnu, onze school reflecteert als geen andere samen altijd meer zijn dan de som van de delen.

6 de veel­heid en boeiende complexiteit van dat Kandidaten die instromen, halen het aan tijdens werkveld, en laat dus heel wat interacties toe die de de toegangsproeven. Wij zijn goed op weg om student ook later zal beleven als maker. De leeromons binnen het kunstonderwijs op internationaal geving is niet vervreemd van de werkomgeving. vlak te onderscheiden door dit open profiel Dat werd in de voorbije jaren ook ingeschreven dat de laatste tien jaar werd uitgebouwd. in onze onderwijsvisie, en gestimuleerd via de Een ander punt misschien om trots op te studie­programma’s. Studenten uit heel diverse zijn, is de artistieke projectwerking van de school. disciplines volgen samen reflexieve seminaries, Hoger kunstonderwijs heeft de beoefening van de praktijkminors, enzovoort. Ze participeren aan kunsten als decretale opdracht. Wij zijn een van gezamenlijke projectweken. Daar is nog heel de weinige scholen in Vlaanderen en omstreken wat groeimarge, maar je mag dat ook niet van die dat onderdeel ernstig neemt. KASKcinema bovenaf forceren, je moet geen interdisciplinaire heeft drie dagen in de week een programmatie. ontmoetingen gaan verplichten. Ik geloof trouwens Er zijn continu meerdere tentoonstellingen op de algeheel niet in verplichting als motivator voor Bijlokecampus, en er ontstonden enkele structurele kunststudenten. De motivator moet goesting zijn, initiatieven zoals KIOSK, MAP, recent ook De Vloer nieuwsgierigheid, verlangen. Daarom hebben we Op Maandag in de Kunsttoren en BOEKS aan de bij aanvang van de school of arts onmiddellijk, in Kunstenbibliotheek. Naast een resem toonmoklassieke muziek bijvoorbeeld, de verplichte minumenten met werk van studenten of externen in de ten hedendaags repertoire afgeschaft. Toch wordt Zwarte Zaal, hebben we het Paviljoen gecreëerd, het nog steeds gespeeld. Het is de taak van een projectruimte die artistiek in eigendom is van docenten om studenten een soort goesting te doen de studenten, en waar de laatste twee jaar heel krijgen. Verplichtingen en verboden passen niet in wat bewoog. Langs de kant van de muziek is er de kunstschool. Toen ik in HOGENT begon les te Club Telex met jamsessies en optredens van mugeven, komend van UGent, was er op de eerste zikanten die Gent aandoen, er is de programmatie verdieping in de Bijlokecampus een brede deur, in MIRYconcertzaal die nu haar zesde jaar ingaat. opvallend net als je de lift uitkwam, met daarop in En dan had ik het nog niet over de dramavoorstelgrote letters: Verboden voor studenten. Ik vond lingen die je zowat wekelijks kan bijwonen op de dat altijd pijnlijk om naar te kijken. Soms doken campussen, overal in de stad en in andere steden, er ook bordjes op: ‘verboden op het gras te parkeAntwerpen, Brussel, Kortrijk… Drama heeft nog ren’ of ‘tuinen verboden voor honden’. Ik liet ze de geen professionele theaterzaaltje op de campus, laatste jaren steevast weghalen. Niet dat alles moet dus externe projecten tonen zit er voorlopig niet in. mogen, maar een kunstencampus verdraagt geen atmosfeer van verbod en van verplichting.

Moet een kunstschool ook een culturele speler zijn?

De kunstschool is een culturele speler. Want ze brengen voor de studenten, uitvoerders en makers leidt toekomstige kunstenaars op, en vormgevers, die letterlijk langs komen en die de studenten kunmuzikanten enzovoort. Maar je bedoelt uiteraard of nen ontmoeten. Op die manier speelt onze school zij in haar concertzalen en tentoonstellingsruimtes vrij actief mee in het stedelijke culturele weefsel. ook andere dingen moet programmeren dan wat in Iets om trots op te zijn is ook dat we op dat de school ontstaan is. Laat ik eerst even bevestigen punt bijzonder veel realiseren met uitzonderlijk dat dat laatste heel belangrijk is, want het tonen, weinig middelen. Via constructies van sponsoring de interactie met een publiek, is zelf een intrinsiek en subsidiëring, maar ook via verhuur van lokalen onderdeel van zowat elk artistiek proces. Dus is en ticketing, betaalt de artistieke werking zichzelf het voor een kunstschool belangrijk dat zij profeszo goed als terug. Als je dan nagaat hoe groot sionele ruimtes heeft waar studenten dit kunnen de output is, zowel inhoudelijk, kwantitatief als uitproberen. Uiteraard lenen die ruimtes er zich ook kwalitatief, zowel voor studenten als voor publiek, is toe om ander werk te brengen, om er in interactie dat in mijn ogen een klein wonder. Een wonder dat met de school een artistieke werking te ontplooien. uiteraard verricht wordt door het harde en geënDaar zijn internationaal ook heel veel voorbeelden gageerde werk van de heel wat collega’s, zowel van, conservatoria en universiteiten met toonaangelesgevers als productiemedewerkers. En daarbij vende concertzalen in het buitenland, of beeldende moet ik ook de jobstudenten even vermelden. kunstopleidingen met een belangrijke galerie.

Heel veel studenten werken mee, als jobstudent, Historisch gezien was de voorloper van onze musea in hun eigen school, in de artistieke projectwerking zelfs onderdeel van de academies voor schone bijvoorbeeld. Zij zijn projectionist in KASKcinema, kunsten. In Gent was het ook een tijdlang letterlijk of bouwen tentoonstellingen op in KIOSK en zo dat het museum ondergebracht was in KASK. de Zwarte Zaal, ze zitten aan mengtafels tijdens Binnenbrengen van werk van kunstenaars in de concerten… De leeromgeving en de (toekomstige) schoolcontext is dus totaal niet nieuw. Om het de werkomgeving lopen door mekaar. voorbije jaren te activeren, daar zat wel een bewusEen laatste punt om bij stil te staan, als je te keuze en een visie achter: het kunstenveld in de vraagt waarop er trots valt te zijn, is voor mij de campus binnenhalen, door films te tonen, expo’s, uitbouw van een onderzoekscultuur in de voorbije concerten… Niet alleen met studenten en docenten jaren. We komen op dat punt zowat van nergens. maar ook derden. De school wordt deel van het 14 jaar geleden was er amper artistiek onderzoek. werkveld. Het zorgt voor een voortdurende dialoog We moesten alles uitvinden en ontwikkelen, in diamet spelers van buiten de school, die letterlijk langs loog met de universiteit en met het kunstenveld.

7 komen, wat nieuwe dynamieken op gang kan brenDe directie Onderzoek van HOGENT heeft daar gen. Tegelijk heb je zo een professioneel platform een zeer ondersteunende rol in gespeeld, door gecreëerd waar ook studenten gebruik kunnen van een vast kader te scheppen en zonder aarzelen maken. Vandaag staat het Arditti kwartet in MIRY, en te kiezen voor praktijkonderzoek in de kunsten morgen op datzelfde podium GAME, het ensemble als focus. We zijn er daarbij in geslaagd om tussen van onze master na master hedendaagse muziek…

Scylla en Charybdis te laveren, waar vele andere Schoolvoorstellingen zijn mijns inziens uit den boze. instellingen naar mijn indruk op de klippen zijn Elke voorstelling is een volwaardige voorstelling, gelopen. Het is niet gewoon de kunstpraktijk die zoals je elke student ook als kunstenaar benadert, als onderzoek wordt beschouwd, wat mogelijk ware en niet als student. Dat is deels utopie, want de geweest, en evenmin is het in universitair acadeonderwijsstructuren zijn alom aanwezig. Maar het is misme uitgemond, vervreemd van die kunstpraktijk. een goed uitgangspunt.

Het gaat om levende praktijken, waar het creatieve Er was hier en daar een zekere gewoonte dat en reflexieve hand in hand gaan. Dat eminente made school werk van docenten bracht. Daar is op kers in hun domein de weg gevonden hebben naar zich niets mis mee, maar ik heb het tegelijk nooit onze doctoraatsopleiding, zoals onder andere Gust aangemoedigd dat docenten hun eigen werk van den berge, Lander Gyselinck, Renzo Martens, zouden brengen in onze zalen. Het werk van hun Jeroen Billiet, Max Pinckers, Catherine Willems docenten kennen de studenten doorgaans al goed. (de lijst is lang), bevestigt dat de gemaakte keuzes, Indien het goeie studenten zijn, volgen ze dat actief. in al hun openheid, zinvol zijn. Het is tegelijk een Sterke kunstenaars hebben de school ook niet punt van trots te zien hoe deze onderzoekscultuur nodig om hun werk te tonen. Zij kunnen terecht in leerlijnen in het onderwijs wordt vertaald, zowel in het professionele veld. Zoals een uitmuntende in de bachelor via inleidingen tot onderzoek in de wetenschapper ook niet een door zijn faculteit kunsten, opleidingsonderdelen kunstenaarsteksten gepatroneerd tijdschrift nodig heeft, om een artikel en dossier… tot in de masterseminaries, de mastergepubliceerd te krijgen. Om al die redenen is het proef en de scripties. beter om met een zekere regelmaat kunstenaars naar de campus te halen die nieuwe dingen Wat heb je zien veranderen in die 14 jaar, ten goede en ten slechte?

Wel, al de opgesomde punten waarvan ik vind dat we samen trots op mogen zijn, heb ik uiteraard ten goede zien veranderen de voorbije 14 jaar.

Zeer belangrijk om nog te vermelden is misschien de infrastructuur van de kunstopleidingen. Zaten we 14 jaar geleden in aftandse en onaangepaste

gebouwen, vandaag ziet het er een pak rooskleuricontrolemechanismen hun werk goed hebben ger uit. De inbedding van KASK & Conservatorium gedaan, onderwijs, onderzoek en beoefening van in de Hogeschool Gent, sinds 1995, heeft op dat de kunsten in orde zijn. Dat indien het OK is op punt heel wat zaken versneld. Ik ben heel gelukkig papier, het dan op de werkvloer bijgevolg ook OK dat ik met de diensten van de hogeschool heel wat moet zijn. Maar afvinken van lijsten en checken van infrastructurele projecten kon initiëren en samen indicatoren schept geen kwaliteit. De meest voltot een goed einde brengen. Er was in 2011 de maakte administratieve flow, creëert geen interesverhuis van de Academie, na meer dan 200 jaar sant onderwijs voor de student. De specialisten die in de Academiestraat, naar de Bijlokecampus. deze systemen uitdenken en beheren, vermijden Daardoor werden initiatieven zoals KASKcinema, liefst de werkvloer van het kunstonderwijs. Wanneer KASKcafé, de Zwarte Zaal, de Cirque… mogelijk. zij zich daarop wagen, is dat op een expeditie Heel wat studierichtingen hebben de lokalen tussen ‘noble savages’. Anderen, de vakgroep- en gekregen die ze verdienen. Ik ben zeer gelukkig opleidingsvoorzitters, de decaan, de coördinatoren met de geslaagde renovaties voor de muziekbiuit het decanaat, moeten voortdurend de vermoeibliotheek en de kunstenbibliotheek. De buitenende pendelbeweging maken tussen de adminisrestauratie van het historische conservatoriumtratieve realiteit van de overheid en de hogescholen gebouw aan de Biezekapelstraat werd afgewerkt. enerzijds, en de realiteit op de werkvloer van de Instrumentenbouw kreeg nieuwe ateliers in de buurt kunstopleidingen. Die dagelijkse pendelbeweging van de lokalen klassieke muziek. Er werden ateliers is een energievreter. Weinig pendelaars verstijven ingericht voor Mediakunst en Performance. Jazz niet in een onhoudbare spreidstand: voor de admien Popmuziek kreeg een volledig nieuw gebouw. nistratie steeds deficiënt, voor de werkvloer steeds De omkaderende diensten huizen nu al een 10-tal vervreemd. Een bedrijfslogica valt moeilijk te rijmen jaren in nieuwe kantoren, enzovoort. Dat werk met vrijheid, die de absolute conditio sine qua non is niet af, maar er is op infrastructureel vlak heel is voor de kunsten. Toch werden in de voorbije wat ten goede veranderd.

14 jaar de administratieve systemen steeds domiWat zag ik veranderen ten kwade? Niet veel nanter. De insijpeling ervan leidde tot een aanwas eigenlijk. De belangrijkste evolutie die een bedreivan commissies, vergaderingen, werkgroepen… ging inhoudt voor het hoger kunstonderwijs (en In KASK & Conservatorium hebben wij getracht dit dat is een internationale tendens, en dus niet enkel op te lossen door vorming van een ‘werkgemeenbeperkt tot onze school of tot de Vlaamse situatie) schap’ waarin eigen administratieve omkaderende is de introductie van almaar zwaardere administradiensten en de zogenaamde ‘noble savages’ elkaar tieve systemen bovenop het gebeuren op de werkvinden. Om de administratieve uitrol te bufferen, vloer. Zeker voor het kunstonderwijs vormen die tegelijk toch het spagaat tussen beide werelden 8 een uitdaging. Een zware administratieve logica en te overbruggen en opnieuw te werken vanuit een de logica van de kunstenpraktijk verdragen elkaar ‘samen’. Die oplossing werkt. Persoonlijk zou ik in moeilijk. Extra problematisch is dat deze systemen dat ‘samen’ nog veel verder gaan, en bijvoorbeeld niet ontwikkeld werden vanuit de onderwijspraktijk, een regelgeving invoeren waarbij iedereen uit de maar copy-paste-modellen zijn uit het bedrijfsleadministratieve omkadering van HOGENT en van ven. Scholen werken nu ook met strategische en het decanaat school of arts jaarlijks een tijdlang paroperationele doelstellingen, met meetbare output ticipeert op de werkvloer van de kunstpraktijk. Een die vergeleken kan worden, met studie-efficiëntie jaarlijks bad in de realiteit van onderwijs, onderzoek en succescijfers op de arbeidsmarkt als referentieof artistieke productie. Wij doen dit mondjesmaat punt, met audits en doorlichtingen in consultancy. door bijvoorbeeld administratieve medewerkers Zowel het taalgebruik als deze systemen werden op te nemen in jury’s als verslaggever. in de voorbije 14 jaar onomkeerbaar uitgerold (dat laatste is een nieuw werkwoord dat zelf ook meekwam met de uitrol).

Meest problematisch aan de evolutie is de grondige misvatting die hieraan ten grondslag ligt: de idee dat wanneer de administratieve Welke boodschap heb je voor jouw opvolger?

Vooreerst, en het ligt zeer voor de hand, maar wordt toch dikwijls vergeten: het referentiepunt van alle doen en laten van de decaan moet altijd zijn: wat is het beste voor de studenten. Je wordt natuurlijk met immens veel agenda’s geconfronteerd, agenda’s van institutionele aard, van de overheid, externe actoren, directies van de hogeschool, persoonlijke agenda’s van individuele collega’s en groepen collega’s… de kunst is om steeds af te wegen wat een betere leef- en leerervaring realiseert. Voor elke beslissing is de simpele toetssteen finaal: wat is beste voor de studenten. Uiteraard in het kader

van een algemene visie waar men met de school naartoe wil, en niet zomaar involgend op elk detail dat zich ad hoc voordoet. Ik zou een opvolger aanraden om keer op keer de vraag te blijven tellen: ‘Wordt de school er rijker en interessanter van voor de student?’ Die boodschap voor een nieuwe decaan is de evidentie zelf, en toch wordt de functie in de praktijk dikwijls overwoekerd door agenda’s die niet in functie van de student zijn.

Een tweede boodschap die ik zeker zou meegeven is het personeelsbeleid uiterst zorgvuldig te voeren en te bewaken. Goed personeelsbeleid is

het alfa en omega van de kunstschool. Dat geldt dan zowel voor de keuze van profielen van les­ gevers, onderzoekers en medewerkers in omkaderende diensten, maar evengoed voor de juiste verhouding tussen stabiliteit en beweeglijkheid in het corps, tussen full-timers en mensen met een gespecialiseerde opdracht, tussen personen die zich in hoofdzaak ontwikkelden tot pedagogen van de kunsten en actieve kunstenaars die les geven, tussen statutairen, tijdelijken met contracten van onbepaalde duur, contracten van bepaalde duur, enzovoort.

Een probleem van veel kunstscholen is dat men ofwel teveel focust op een inner circle van lesgevers uit het informele netwerk van de lesgevers die er al zijn. Zo wordt men provinciaal.

Of dat men kunstenaars aan zet brengt met internationale naambekendheid maar zonder pedagogische capaciteiten. Dan wordt het ‘window­dressing’. Ik heb steeds geprobeerd

in geen van beide terecht te komen, noch provincialisme, noch ‘celebrity fucking’. Het is een continue evenwichtsoefening om een goed en stabiel en levendig personeelscorps aan te houden.

Aangezien het ook gaat over werkgelegenheid en over het loon van mensen, en vooral over hun arbeidsvreugde, en er in de onderwijsbegroting al jarenlang schaarste heerst, is hieromtrent heel wat druk. De jaarlijks terugkerende onderhandeling om alle lesopdrachten ingevuld te krijgen, zijn voor alle betrokkenen slopend. De school of arts scoorde binnen HOGENT in vergelijking met andere delen van de organisatie relatief positief op welzijnsenquêtes die werden aangevraagd door de vak­organisaties. Maar ook daar is groeimarge.

Afgaande op de recente verkiezingen belooft het een lange regeringsvorming te worden. Wat zou je de onderhandelaars bij wijze van memorandum voor het hoger kunstonderwijs willen meegeven?

Ik zie vooral twee structurele euvels op het vlak van Daar bovenop komt nog eens dat de overheid financiering. Iedereen vraagt continu meer geld, zo door een rekenfout onze school in de voorbije lijkt het, maar de feiten tonen toch ondubbelzinnig negen jaar miljoenen te weinig heeft uitbetaald. aan dat het hoger kunstonderwijs principieel anders Dat heeft onze mogelijkheden tot vernieuwing fel (dat betekent: slechter) behandeld wordt dan ingeperkt, en veel druk gezet op de organisatie en andere delen van het hoger onderwijs. Vooreerst op het personeel. Een snelle rechtzetting door de is er de loonschaal van artistieke docenten.

Vlaamse overheid lijkt me niet meer dan normaal.

Een groot deel van ons korps verdient nog altijd Essentieel zou voor mij vooral zijn dat men in 9 dertig procent minder dan hun collega’s in andere dat memorandum inschrijft dat de nieuwe regering opleidingen. Dat is onnodig en onaanvaardbaar. er mee zal ophouden om kunst vanuit haar succes Het plaatst ons ook als werkgevers sterk in het op de markt te taxeren. En om onze scholen nadeel op de internationale arbeidsmarkt. Sommige niet langer vanuit een bedrijfslogica te benaderen, lesgevers kiezen voor het buitenland, omwille van en met alle systemen van het bedrijfsleven te lijf te onze niet-competitieve lonen. En het valt moeilijker gaan. Met outputmetingen en kwantitatieve indicabuitenlandse lesgevers aan te trekken. Verder toren, waarbij de arbeidsmarkt het laatste referentieontbreekt het de kunstopleidingen aan een volwaarpunt is voor alles wat wij doen. Stel dat de regering dig financieel groeipad zoals dat bij de integratie beslist om scholen niet te zien als leveranciers voor van de masteropleidingen uit de hogescholen in de arbeidsmarkt, maar als plaatsen waar zingeving de universiteiten, voor al die andere opleidingen is en menswording tot stand komt. Plaatsen waar voorzien. Wel is er een groeipad voorzien voor de aan de mens en de menselijkheid wordt gebouwd. onderzoeksmiddelen, maar dat blijft achter bij de Uiteraard is de kans nihil dat het die kant opgaat. andere masteropleidingen. En wat onderwijs betreft, is er een voortdurende krimp van de middelen, door verdoken besparingen of directe besparingen.

Dat zijn dus structurele achterstellingen van het hoger kunstonderwijs, in vergelijking met de andere masteropleidingen in de universiteiten.

Hoe schat u de ruk naar rechts dan in, en wat kan ze voor het kunstonderwijs betekenen?

Ik ben argwanend en voorzichtig. Kunst is tamelijk afhankelijk van de politiek. Niet alleen financieel, maar ook qua beleid. Vertegenwoordigers van de rechterzijde komen nu in allerlei beheersraden terecht. Dat is hun volste recht want zij hebben veel stemmen behaald. Toch dreigt een zekere spanning met het kunstenveld. Rechts gaat op politiek vlak voor grotere sturing en voor versterkte autoriteit, desnoods met politioneel geweld… terwijl de kunstpraktijk net vrijheid nodig heeft en een open

democratische cultuur. Rechts gaat op economisch vlak voor een minder gebreidelde neo-liberale marktwerking, terwijl heel wat complexe en vernieuwende artistieke producten niet overleven in een louter commerciële omgeving. Rechts gaat op cultureel vlak voor duidelijke omschrijving van nationale of raciale identiteiten, met bijhorende waarden- en normenclusters. Maar je openstellen voor het andere dan jezelf en dus voor diversiteit is een vereiste van de kunsten. Hoewel er dus ook

rechtse kunstenaars zijn, en kunstwerken die een rechtse kijk op de wereld uitdrukken, zit rechts toch niet bepaald in het DNA van de kunstbeoefening.

Dat zal onvermijdelijk extra spanningen opleveren.

Het uit zich op termijn zeker ook in het hoger kunstonderwijs. In het voorbije academiejaar bijvoorbeeld kwam in onze school heel wat los over eenzijdigheid van de canon (te mannelijk, te middenklasse, te wit). Men wil dat bijsturen via projecten van ‘dekolonisering’. Dat staat uiteraard haaks op waar de rechterzijde naartoe wil, zowel in de VS, in Rusland, in Europa, en dus ook bij ons.

Nochtans is Vlaamse (en Belgische) kunst een sterk – excuus voor de term – exportproduct.

Daar kunnen identitaire politici en economen die de vrije markt verheerlijken, niets op tegen hebben?

Het is een paradoxale situatie. Enerzijds pakt men graag uit met onze geslaagde kunstenaars, zij het muzikanten, filmmakers, choreografen, schilders, designers…. Als iemand zoals Lukas Dhont schittert in Cannes associeert iedereen zich daar graag mee, de media, de politiek, zelf onze eigen hogeschool en wijzelf zijn daar niet vrij van. Het maakt ons ook terecht trots wanneer de tentoonstelling rond Jan Van Eyck in Gent veel volk op de been zal brengen. Ook politieke partijen en economische spelers zoals haventyfoon Huts zien in dat die culturele uitstraling helpt om ons op de kaart te zetten op alle andere vlakken, ook economisch en politiek.

Maar eenzelfde enthousiasme merk je veel minder ten aanzien van het kunstonderwijs. Nochtans komen de Jan Van Eycks en Lukas Dhonts niet zomaar aanwaaien. Zij komen voort uit een diversiteit aan makers en die vergt dan weer een soort institutionele humuslaag waar veel trial en error plaats mag vinden. Het zijn de kunstscholen die voor die humus zorgen. En dat staat haaks op de ‘idée reçue’ dat er te veel kunstopleidingen zijn, dat het allemaal teveel kost enzovoort, iets wat je regelmatig hoort in politieke of economische middens, maar ook zelfs bij hogeschoolbesturen.

Wat is dan volgens u het belang van het (hoger) kunstonderwijs in de maatschappij anno 2019?

10 Wel laat ons kunst vooral niet reduceren tot een instrument van nationalisme, van politieke of van economische belangen. En ook niet tot een instrument dat onze nood aan ontspanning en plezier bevredigt. Kunst is en doet al die dingen, maar is essentieel iets anders. Dus als je vraagt naar haar belang, dan ligt dat volgens mij in haar rol als zingever.

Ons model van betrouwbare kennis, de moderne wetenschap, die vorm kreeg in de 17e eeuw en sindsdien een ongekend succesverhaal werd, dat model van kennis brengt de feiten in kaart en geeft ons macht over de natuur. Maar wat zinvolle feiten zijn, en een zinvol leven, daarover spreekt deze wetenschap zich amper uit. Het is ook niet haar ambitie. Toch hebben mensen een oriëntering nodig in die feiten, een idee van wat zinvolle feiten zijn, een zinvol leven, wat van waarde is en wat niet, wat verboden zou moeten zijn en wat aan te raden valt…

Kunst is, naast godsdienst en filosofie, een leverancier van narratieven, uitgedrukt in beelden, klanken, bewegingen, dans, objecten, voor­stel­ lingen… over het zinvolle en het zinloze leven.

Wat is een kast? Een houten constructie, met legplanken en laden, waarin je zaken veilig en netjes kan opbergen. Je ordent er je leven.

Kunstwerken zijn imaginaire kasten die ons toelaten het leven te ordenen. Om de chaos van onze ervaringen een tijdlang veilig en netjes op te bergen. Ook godsdiensten en religies zijn

leveranciers van dit soort kasten, maar dikwijls gaan die met een zekere dwang en inperking van de vrijheid gepaard. Er is maar één kast, en die is de weg, de waarheid en het leven. Filosofie is ook zo’n leverancier, maar voor heel wat mensen, en op heel wat momenten, is zij te abstract.

Dan bergen we onze ervaringen liever tijdelijk op in een liedje, in het beeld van een schilderij, in de verhaallijn van een animatiefilm of een stripverhaal, in de bewegingen van een danser, in de architecturale vormen van een traphal, in de kleuren en vormen van een tuin… Ze ordenen ons leven.

Uiteraard behoeft elk kunstwerk een maker, een kunstenaar, zoals een kast de schrijnwerker nodig had om in de wereld te komen. En uiteraard heeft zo’n schrijnwerker zijn vak ergens geleerd, zodat hij er een specialist in werd. Zo ook de kunstenaar. Daarom is er hoger kunstonderwijs.

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• MASTER OF VISUAL ARTS / MASTER IN DE BEELDENDE KUNSTEN 14 Graphic Design / Grafisch Ontwerp 19 Autonomous Design / Autonome Vormgeving 23 Fine Arts / Vrije Kunsten 35 Textile Design / Textielontwerp 38 Photography / Fotografie 46 Fashion / Mode • MASTER OF AUDIOVISUAL ARTS / MASTER IN DE AUDIOVISUELE KUNSTEN 47 Film 50 Animation Film / Animatiefilm • MASTER OF DRAMA / MASTER IN HET DRAMA 55

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• MASTER OF MUSIC / MASTER IN DE MUZIEK 61 Performing Music: Classical Music / Uitvoerende Muziek: Klassieke Muziek 64 Performing Music: Jazz/Pop / Uitvoerende Muziek: Jazz/Pop 66 Composing Music: Composition / Scheppende Muziek: Compositie 66 Composing Music: Music Production / Scheppende Muziek: Muziekproductie 67 Master Of Music: Theory / Master In De Muziek: Muziektheorie 67 Musical Instrument Making / Instrumentenbouw 69 Advanced Master Contemporary Music / Master na Master Hedendaagse Muziek 12 • BACHELOR OF DIGITAL DESIGN AND DEVELOPMENT (DEVINE) BACHELOR IN DIGITAL DESIGN AND DEVELOPMENT (DEVINE) • BACHELOR OF INTERIOR DESIGN BACHELOR IN DE INTERIEURVORMGEVING 70 Focus: Interior Finishing & Advice / Interieurafwerking & Advies 71 Focus: Concept & Spatiality / Concept & Ruimtelijkheid 73 Focus: Furniture & Design / Meubel & Design 74 Focus: Temporary Installations / Tijdelijke Installaties • BACHELOR OF LANDSCAPE AND GARDEN ARCHITECTURE BACHELOR IN DE LANDSCHAPS- EN TUINARCHITECTUUR 75

• ADVANCED BACHELOR OF LANDSCAPE DEVELOPMENT BACHELOR NA BACHELOR IN DE LANDSCHAPSONTWIKKELING 78

• POSTGRADUATES 79 Musical Performance Practice 80 Curatorial Studies 81 Digital Storytelling • TEACHER CERTIFICATION IN THE ARTS / SPECIFIEKE LERARENOPLEIDING IN DE KUNSTEN 85

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Master, Bachelor & Postgraduate Projects 18—19

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

01 LAURA ANDRIESSEN

02 SOPHIA ATTIGUI

03 JANTIEN CALLEWAERT

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04 LOUISE DANEELS

05 MICHELLE DANIËLSE

06 ROSA DE COSTER

07 CHARLOTTE LEMAIRE

08 NICOLAS MARQUEZ Y SANCHEZ

09 SOPHIA MSAOUBI

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10 YANA RAEYMAEKERS

11 LORE SNAUWAERT

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

01 LAURA ANDRIESSEN www.lauraandriessen.tumblr.com BEFORE INEVITABLY YOU PASS ON dog

What’s your name?

Gosh. I don’t really know. I think I had one but I lost it. Maybe I left it somewhere. dog Should I help you look for it? I have a good nose for names and lost souls. girl Am I a lost soul then? dog I don’t know. Depends on whether we find your name.

In the course of 4 months Laura Andriessen made 5 images a day, or at least tried to do so.

From this collection a (kind of) girl and a (kind of) dog came to the surface. Later came their story. girl

02 SOPHIA ATTIGUI www.sophiaattigui.com PLEASE FILL IN THE EMPTY SPACE

03 JANTIEN CALLEWAERT www.vimeo.com/336841728 TWO YEAR'S PIECE

Can you relax and just take in the whole sound­ You’ve never been sure about how to feel about scape? – Deep Listening by Pauline Oliveros the blanks required to be filled in identification forms. But you have been taught certain things about yourself and about what responses this self is supposed to develop for templates of that kind. So, fundamentally, you do know how to deal with it. You’ve received specific indications on 16 notions of belonging, identity, lifestyle and posterity.

And you’ve been turned by all parties into some kind of cultural artefact. So you’re thinking to your­ self: this space is not yet to be filled, it is pre-filled; and you slowly come to the realisation that you are not the author of it. You think of a quick Google search: how to not be part of a flowchart. How to sabotage a timeline. How to make space for, make disappear, erase. But then you’d be left with actual space. Turns out: you’re not scared of void.

04 LOUISE DANEELS 05 MICHELLE DANIËLSE www.cargocollective.com/michelledanielse MEMORY SHELVES Objects are memories, we are able to have a conversation with them. By being the archeologist of my own memories, I tried to bring the memories back to life in ceramic sculptures. The work wants to connect to people because it was grown out of the most ordinary everyday surroundings.

The automatic interaction with its audience brings up a memory-game of associations and stories.

So we can discover their poetic aura they contain from the inside.

HOLMESSS “One moment,” Holmes interposed, “your state­ ment is, I foresee, one of the most remarkable to which I have ever listened.” — Doyle, Sir Arthur Conan, ‘The Five Orange Pips’, The adventures of Sherlock Holmes

06 ROSA DE COSTER

07 CHARLOTTE LEMAIRE www.cargocollective.com/charlottelemaire THE VACATION

Stranger / the day my mother / was suspected of being a gypsy woman / in her own street We need to understand the man who called. / He’s seen drones fly before And anyway, if only we had come / to the burning of the Christmas trees /then they would have known us and it wouldn’t have come to this

The earth is mild and the sea stays still, on that day of spring.

A chunk of rock goes on vacation inside the book.

08 NICOLAS MARQUEZ Y SANCHEZ

09 SOPHIA MSAOUBI

MISE EN PLACE It was his grandmother that taught Vincent to cook and eat. Trying to continue this passion in his father’s restaurant, it turns out that there is a big difference between enjoying cooking and working in a kitchen. The products that are processed in the restaurant take Vincent back to his youth, even though the quality is of a completely different calibre. When moemoe’s memory gradually disappears, Vincent’s passion follows. In the kitchen, however, the show must go on.

10 YANA RAEYMAEKERS www.instagram.com/yanart_r

BRICKS AND CLICKS Everywhere we turn, the world is filled with generic products. While walking on the street, you recognize signs, products but it’s not bound to one specific look. What about the shift from city shops to purely shopping online? On the web today, shopping online has broken physical barriers and 17 it changed the traditional way of exchanging goods.

11 LORE SNAUWAERT STAINLESS For everyone I’ve dined with.

For everyone with whom I will still be dining.

12 SIEN VAN RENTERGHEM

13 LUCA VAN VLIET

14 RAMONA VANGRINSVEN

15 LOTTE VANSANTVOET

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16 MARTHE VERHOEST

17 VEERLE VERVLIET

18 STANS VRIJSEN

19 FINN WATERS

20 ARON WOUTERS

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

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01 ARTHUR W. DE MAEYER

02 CAROLIN HERZBERG

12 SIEN VAN RENTERGHEM www.sienvr.tumblr.com CASES OF HYSTERIA A young illustrator starts illustrating the bloody chamber, a collection of horrifying fairy tales

by Angela Carter. Gradually it transforms into something else…

A book about monsters, women and monstrous women.

14 RAMONA VANGRINSVEN

13 LUCA VAN VLIET A SMALL SPACE THAT MAKES A LOT OF NOISE It is cold in the sun. Days that consist of waiting, slowly flowing past.

Traveling in circles and never getting any further.

Clouds that glide past and seem closer and closer.

Looking for a touch but really only yours.

15 LOTTE VANSANTVOET ABOUT A GROUSE

Rosa is sitting in the chair / Chinese boudoir / Under a blanket, behind the window We drank beer in Mallorca / The bottles are ready in the altar / When water becomes wine / Prisoner’s celebration Caravaggio’s horse / There’s a sun, right? / A chevalier fell off his horse so he rode on on his own / Spent on the shore The coffee pot / Yellow jug no. 3 / When the coffee laughs at me in the morning At the cafe in Paris the woman wears the ceiling / the salty sea air turned her into a pillar / voyeurism / Where she kept watch night fell

16 MARTHE VERHOEST SOLD OUT It is about an image that we create around our­ selves. Sometimes we play with it and some­times we laugh about it.

A few weeks ago I was expected at a birthday party of a friend. The theme was Halloween. My favourite sound is that of pencil on paper. Such a party, … not the best place to enjoy it. On a night like this, my jokes are mainly about women’s rights and unconscious discrimination. After some beers I called my little sister to give her a life lesson.

I wanted to protect her from the uncertainties of the world. I said she was magnificent in every cell of her being. I said, ‘Sister, no one will ever make you believe the opposite! You are beautiful!

And I love you‘ She just heard her dead drunk big sister ignoring the importance of consonants.

A broody grouse had been on her empty nest for years when, at the crack of dawn, she lost her senses and became insane. From sunrise to sunset she swung her hen’s head from front to back and from back to front, tap tap tapping the wooden planks. The grouse did not come off her nest.

20 She didn’t eat anymore, barely drank anymore and didn’t go for a dust bath anymore. A dot of blood ran through her eye. It was a tear that rolled along her face down to the nail of her chicken leg. She kicked the tear into her nest, without knowing it.

That night her bleeding tear turned into a chick.

17 VEERLE VERVLIET www.all-the-worlds-a-stage.schoolofarts.be ALL THE WORD'S A STAGE “All the world’s a stage, and all the men and women merely players.” —William Shakespeare

18 STANS VRIJSEN

19 FINN WATERS VIRTUAL SPACES

DIAMANTEN OP

Simulation Artificial Ornamental

DEZE ZONDER-EN-DE MET-EROP-OFRING NET-ONDER-

20 ARON WOUTERS www.aronwouters.tumblr.com

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

FAGAZINE I think part of it is accepting that it’s so much beauty in being gay and that’s the thing that, I guess, I get emotional about because I’ve always known that.

I’ve always been proud to be gay. Never wanted to be nothing else. Loved everything about it, just…

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01 ARTHUR W. DE MAEYER DEATH WOULD BE NICE Any attempt by man to preserve things as they are is completely pointless. © 2017 Chris D. Thomas

02 CAROLIN HERZBERG BODIES THAT GATHER. The politics of the performance at the margin of the human surface. A clothing shop wherein you can tryon and possibly buy a basic (winter) collection item serves as an invitation to my work. The items on of­ fer are double-layered fashion pieces, which contain different amounts of fat. As a fashion designer, I ena­ ble the client to find a customized shape and design in a joint process of the fitting. Certain element out of the bondage techniques serve as a tool, others like the permeable fabric allow the client to perceive its surface differently as it is cared for with grease.

This scheme boosts the varieties of bodies (in public space). Unknown differences can therein provoke a complex trouble system, which aspires an equal complex resolution system, leading towards more sensitivity for the necessities and desires of bodies.

04 SIENE HOLLEMANS

05 JOANNEKE JOUWSMA

06 IRINA LAVRINOVIC

07 VANESSA ISABELLE MÃœLLER

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08 DARREN ROSHIER

09 KIM SNAUWAERT

10 CLÉMENTINE VAULTIER

11 JIETSKE VERMOORTELE

12 STÉPHANE VERVAEKE

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

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01 CARLOS ÁLVAREZ CLEMENTE

02 FONS ARTOIS

04 SIENE HOLLEMANS www.instagram.com/sienehollemans

05 JOANNEKE JOUWSMA

DYNAMICS OF SPACE Capturing the environment with as result a box, a box that contains elements of the spaces in which I have wandered around in the past two years. By taking these different elements together, a new entirety is created, a new space. This space is an instrument of awareness.

A space that can be assembled and constructed according to your own wishes.

A space where there is a possibility of wandering.

A space that is constantly in motion.

A space that can stand on his own.

Shatter / cross out / erase / rain out / turn over / burst / break / enlarge / stack / scratch / weigh / measure / copy / structure / unfold / wrinkle / carry / let loose / a page

06 IRINA LAVRINOVIC www.irinalavrinovic.com

07 VANESSA ISABELLE MÜLLER www.atelierbrieftau.be

FORM IN SPIRAL

SUPERFLUOUS

It is spring and the hive is in motion. An invisible Throughout history, the spiral has made many currier anticipated the arrival of manhood in promi­nent appearances in human culture. It is a the female realm. The rumour spreads quickly fact of nature and a sensed and perceived potential in the corridors and puts a strict protocol in within the human body, closely related to the flow motion. Bizarre and fascinating at the same and energy of consciousness. Spirit, spiral and time. Her Highness herself bedded each and inspiration all come from the same etymological root spirare, which is an intersection of fundamental 24 every one of you carefully at the bottom of your cradle. Padded from royal jelly and a view to the concepts related to life and art. court. They took care of you. Kept you company.

Irina Lavrinovic’s project is a practice of spiral Cleaned you. Nourished you. observations and manifestations. These happen But like the four seasons, their interests will through individual and group embodied move­ change. When the days get shorter and the night ments, through engagement of the voice and as an colder, flowers will fade and so does their love. action of drawing that leaves visual traces of spirals Your service is no longer required. They made you. on paper. She invites us to observe how presence They will break you. A thousand times. First the and expression are moved to change their form unborn, then the elder. Evicted. Erased. And by the by and through spiral. end of the summer, you will be gone. Superfluous.

08 DARREN ROSHIER 09 KIM SNAUWAERT www.kimsnauwaert.com www.darrenroshier.com GREY TRUTH Darren Roshier is an artist, a curator and a politician. The inspiration for Darren Roshier’s artistic work comes precisely from this multiplicity of roles. Like so many fractured identities, he proudly asserts his three-way role. In 2016, he failed to be elected mayor of his hometown in Switzerland. This political experience deeply shook his relationship to art and politics, and the link between them. He discovered the notion of dissensus and the artistic and political impact it could have. He also discovered that unfortunately, dissensus was the traditional consensus of the artworld. Trying to create a dissensus elsewhere than in the artworld then became an evidence. In 2019, he launched his YouTube Channel: Grey Truth, attempting to become an Internet Celebrity.

BETWEEN US (AND EVERYBODY ELSE) As we all know, if you want to keep a foreign national in the country, you can’t marry for papers only. You are expected to create and maintain a ‘sustainable community living’. That is what Belgian law prescribes*, otherwise the relationship falls into the category of fictitious marriages.

But what if you have two artists: one who must leave the country, yet both believing that if they stick together they would be able to create a ‘sustainable community living’? In 2018, without having a romantic affair, Kim Snauwaert and Anyuta Wiazemsky married exactly for this reason. Since no definition is given in the corpus of the civil code, they also sought to relate to, and define this ‘sustainable community living’. The whole process was transformed into a multidisciplinary work: Between Us: The Marriage.

10 CLÉMENTINE VAULTIER

11 JIETSKE VERMOORTELE

_ “Thermodynamics is the branch of physics that deals with heat and temperature, and their relation to energy, work, radiation, and properties of matter.

Thermodynamics applies to a wide variety of topics in science. Historically, thermodynamics developed out of a desire to increase the efficiency of early steam engines.” _ “People automatically arrange themselves in a circle when they want to look at something together. This probably gave rise to the form of the arena, the circus, and the trading posts at the stock exchange.”

A proposal of gathering around my research on warmth

Keep me home / A proposal by collecting. / What does one ask a -post-nuclear- house? / Always picking up what seems lost. / A leak. / Last night I dreamt / about your rooms and corridors. / 350 / All ducks swim / at my feet the land flattens out / on / running / bags of baking soda / Fancy some apple pie?

12 STÉPHANE VERVAEKE

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

STONES, FOREVER STONES She must have fallen asleep. She is holding her hands above her head. Is she in danger?

Have things changed colour? Is the atmosphere still the same? She straightens out and stays seated. The colours have indeed changed.

The animals have disappeared and the plants are keeping quiet suspiciously. She holds her lips together and breathes gently through her nose. She closes her eyes and imagines that she is elsewhere—not there. For a moment not there. She is holding on to herself. She feels the edges of her body. Her skin feels warm.

She thinks of safe places and beautiful colours.

A moment goes by.

01 CARLOS ÁLVAREZ CLEMENTE www.carlosalvarezclemente.com MOJAVE MOJAVE I went to the desert and I found a piece of wood.

I decided to bring it back to Europe because, you know, it has been some years now that I have been living abroad and as time goes by I understand less and less. Like, how we are depending of where we are? What frictions occur in this process? what do these frictions look like?

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02 FONS ARTOIS TOOLS FOR ANIMALS Tools for animals is an open source speculative design project to arm animals against humans.

The anthropocene has negative consequences for the fauna and flora on our planet. We are currently undergoing a 6th major extinction wave, one caused for the first time by a species, man. If nature were to recover through the process of natural diversification, it would take another 5 to 7 million years. If we want many species to continue to exist, alternatives must be explored. Is it possible that we can make ecology and technology work together in a harmonious way?

03 MYRTHE BAPTIST

04 ANNE BEUMER

05 DRIES BOUTSEN

06 JASMIEN BURSALI

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07 ALBERTO CATTANI

08 ANA CHADUNELI

09 ALICE CHAPLIN

10 NELLEKE CLOOSTERMAN

11 LEON DE BRUIJNE

12 ALIX DE JONGE

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13 SEPPE DE MEYERE

14 JOKE DE PEVER

03 MYRTHE BAPTIST

04 ANNE BEUMER

Myrthe Baptist works mainly with moving image, often starting from photographs, notes, letters and archival material. Through her work she explores relations between people, how they are connected and distanced from each other.

Caresse is a split-screen film installation that brings movement into still images. The camera guides our gaze over a choreographed selection of photographs. Disconnected moments from different places come together in the searching, caressing gesture of filming.

ooooo ooo o o Every / shape / is / a /letter, / when / put / together / it / creates/ a / word / and / its / character.

05 DRIES BOUTSEN www.driesboutsen.tumblr.com

06 JASMIEN BURSALI www.jasmienbursali.myportfolio.com

MYSTICAL GAZE WHY ARE WE DANCING WHILE WE TALK – De wegwijzer en het vloeibaar midden – SO GOOD Bestijg de berg. / Breek het portaal open. / The artistic practice of Dries Boutsen is driven Voel de groeven aan weerszijden van de grot. / by collage. He collects materials that appeal to Ga verder op de tast. / In de verte zie je negen him because of their abstract qualities, often the waterspuwers gloeien. / Raak ze één voor één traces that are the result of their former function. aan. / Sta stil bij de zevende, deze heeft / een When these are used as fragments in a new whole, scherpe tong. / Prik je vinger, rode waters vloeien. / they strip themselves of their initial context in order to generate new content within this whole.

28 Kijk naar rechts, daar zie je een gleuf – gevormd naar de transversale monoliet. / Kruip door The result are 2 or 3 dimensional constructions het zwarte heen. / Daal dieper en dieper tot de that are recognizable to the viewer, yet strange. randen warmer worden en het gruis je verzwelgt.

They have an architectural character, but follow / Ruik het verschroeide vlees. / Hoor de echo a logic that shows the hand of the maker. versnipperen.

– geef je over – Sluit de ogen, je wordt blind. /Laat je bodemloos zinken in het hete slijm. // (En transformeer) 07 ALBERTO CATTANI www.albertocattani.info WE ARE HERE AND THIS PLACE IS OURS ‘Some people believe football is a matter of life and death. I’m very disappointed with that attitude.

I can assure you it is much, much more important than that.’

08 ANA CHADUNELI www.anachaduneli.tumblr.com UNTITLED The work addresses our new perception of world, virtual reality and Digitization. with using different media like drawing and video, I want to create narrative of the space. Main idea is to dissolve boundary between digital and analog work.

Immaterial spaces which looks like playground for video game. object with deconstructed shape, place without character where viewer has to become part of it. It’s place where nobody belongs, only recreation of one’s own imagination. Mixed media installation will be played in gallery space as dialog between different objects, main aim is to create feeling of entire space.

09 ALICE CHAPLIN www.alicechaplin.nl

10 NELLEKE CLOOSTERMAN www.nellekec.wixsite.com/nellekecloosterman

FREE TIME ‘A promising start to an empty day.’

The concept of ‘free time’ owes its existence to the fact that there is such a thing as ‘nonfree’ or ‘filled in’ time. The term is usually used as a kind of intermezzo between periods that are not planned according to our will, such as wage labour, but also activities as sleeping and eating, since these are daily necessities. I am interested in the paradoxical character of leisure time, which on the one hand is characterized by non-commitment and amusement, but on the other hand seems unable to escape a culturally determined work ethic. In my work I look for ‘positive’ possibilities within a seemingly innocent subject.

In my work I link my everyday life to centuries-old, often lost, symbolism. The English poet John Keats wrote about ‘negative capability’, the ability to accept doubts, mysteries and uncertainties without looking for a fact or reason. It is a theory about artists having access to truth, without the pressure and framework of logic or science. According to him, a poet would have the power to do away with self-awareness and stay in a state of openness to all experiences. According to Keats, the inspiring power of beauty is more important than the search for an objective fact.

11 LEON DE BRUIJNE www.leondebruijne.nl

12 ALIX DE JONGE www.alixdejonge.be

REMORA ‘Remora’ is named after a fish called the ‘shark sucker’. The fish attaches itself to its host with a suction cup, while traveling along and enjoying protection at the same time. This interaction is a symbiotic relationship. To be more precise, it is a matter of commensalism, a relationship between two organisms where one party benefits and the 29 other suffers no harm. We speak of mutualism when both parties benefit from the relationship. Consider for instance the bluestreak cleaner wrasse.

It feeds on parasites of larger fish, who obviously benefit from this. Engaging in a selfless symbiotic relationship with the building and its residents, ‘Remora’ sucks itself onto the windows of KASK, creating a circular peephole during rain.

Alix De Jonge is a painter of the unaesthetic field of tension. She investigates the blindness of sight, through which she connects herself with such philosophers as Bataille and Lyotard.

13 SEPPE DE MEYERE www.seppedemeyere.com

14 JOKE DE PEVER www.instagram.com/jokedepever

CALIBRATING SENSIBILITIES The work of Seppe De Meyere characterizes itself substantially through replication and light. Provoked by atmospheres of unease, eeriness and stasis, his paintings constitute a slow digestion of the human form over time, often placed in ambiguous spaces. Tapping into the feeling of segmented scanners, his work creates a rippling gravitas that generates the perception of a faltering visual echo – his imagery is projected through the lenses of our contemporary vices, initiating a feeling of an uncomfortable familiarity, culminating in a recognizable, yet neoteric reality.

THE CELEBRATION OF THE MALE BODY Joke De Pever did research on how the male body is depicted in the arts. Through a feminist perspective she idealizes the beauty of the male body. Her work deliberately does not avoid the mere celebration and objectification of the male body. In addition to the focus on the male body, Joke, by means of photographs, immersed herself in her daily walks, utensils, places, etc.

This resulted in the dishwasher series, the still lifes and the dry sausages series on canvas and in a book form as well.

15 LUKAS DE RYCK

16 JONAS DEHNEN

17 POOJA HUKKU

18 HAMER KÖRMELING

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19 HAIDER LATEEF

20 AXELLE LENAERTS

21 JOCHEM MEIJNEN

22 AMBER MEULENIJZER

23 KOI PERSYN

24 FREDERIK POISQUET

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25 CHAREL PYCKE

26 YOERIE RAMAEKERS

15 LUKAS DE RYCK www.lukasderyck.com

16 JONAS DEHNEN www.jonasdehnen.com

On Monday, a drunk crosses the road and loses four coins, two feet and a head. On Wednesday, a lady finds in the road four coins that are slightly tarnished

by Tuesday’s rain. On Friday, a passer-by walking his dogs discovers a head in a ditch along the road. On Sunday morning, a couple finds two feet lingering in the passageway.

The heresiarch tried to deduce from this story the truth—that is, the continuity—of the four coins, two fee tand a head. ‘It is absurd’, he claimed, ‘to imagine that the head did not exist between Monday and Friday, the feet between the Monday and Sunday morning.

It is logical to assume that all these existed—if only in some secret way whose understanding is hidden from men—during each moment of these three periods of time.’ After J.L Borges ‘ Tlön, Uqbar, Orbis Tertius’

The fading but constantly recycled emblems of communities and their constructed visual identities serve as raw material. These cultural signifiers become degraded, fragmented and transfigured by simple gestures, slashes, splashes, scratches, scrapes, rubbing and scrubbing, on paper and canvas. Objects, figures and characters emerge.

They sprout hands, feet, limbs, boughs, branches, and put down roots. They combine into a dancing, marching, stamping, thrusting, and shuffling gang. They don’t deny their implicit violence, and vainly hope to perhaps attain a naive candour and lightness.

17 POOJA HUKKU

18 HAMER KÖRMELING

THINKING ART

DAG DAG

Science in my practice is continuing application of effort to discover and increase human knowledge of the physical and material world through experiment and observation. Technology is the tool and the subject. It engages all the five senses—touch, sound, smell, sight and taste—to understand the nature of creation and how science and technology 32 have become intrinsic part of that nature. I am trying to investigate the nature of object and the language through which we are able to experience a work of art. Installation engages with various aspect of senses. This is based on what I call Personal system—which is reformed through absorption and reflection on other world systems and technology systems.

19 HAIDER LATEEF haiderjabarlatif1986@gmail.com DANTE'S DIVINE COMEDY Image: CANTO lll, oil on canvas, 140 x 100 cm

20 AXELLE LENAERTS www.axellelenaerts.com OKAERI The first time I went to Japan I didn’t leave Tokyo.

I fell in love with the city at once. Six months later I went back to live there for a longer period of time. I was looking for an answer to what seemed like a simple question: Where does it feel like home? Ancient Japanese beliefs say humans come from water. I wanted to see if I could change too, if I could change my shape and adapt to my surroundings. Okaeri is the word my roommates shouted every time I entered the front door, it means ‘welcome home’.

21 JOCHEM MEIJNEN

22 AMBER MEULENIJZER www.ambermeulenijzer.tumblr.com

FERTILITY SERIES I paint to preserve fertility in the art form. As I see it, the medium of the canvas and the necessary substance of colour, shape and texture have the task to materialise the imagination. That imagination is then left on the canvas which starts to form a base from where the interaction with the substance continues, a kind of material thinking.

To knead a specific image in the abstract is not self-evident, not merely expressionistic either.

The archetypes of antiquity stare suspiciously at this modern art. Where is the order and meaning?

This type of painting doesn’t allow for a central meaning but does ask for the right to exist in the world to offer another kind of order.

The window sill, a shop window, man’s identity reduced, concentrated in a porcelain figurine, fake flowers or a sailing ship caught in a glass bottle.

The ultimate domestic in-between world, a vacuum between inside and outside, public space and private space. A very small part of our threshold, only a glimpse of a revelation to those passing by. What are the objects we place in the shrine of everyday life? What do these carefully orchestrated still lifes tell us? How do they relate to their surroundings? What stories do they contain?

23 KOI PERSYN www.koipersyn.tumblr.com

24 FREDERIK POISQUET

CURFEW

HYPERION

Box jellyfish have twenty-four eyes with panoramic It’s been seven hours and fifteen days / Since sight. Sunrise and sunset are displayed in the same you took your love away / I go out every night and peripheral vision. When ten eyes are closed the sleep all day /Since you took your love away other fourteen are open. Dreams and reality inhabit Since you been gone I can do whatever I want / the same sphere. When the brain is simultaneously I can see whomever I choose / I can eat my dinner asleep and awake, and the electric particles in a fancy restaurant / But nothing / I said nothing can take away these blues / ‘Cause nothing com­ 33 in the brain, activated by bright morning light, when opening one’s eyes from a night’s slumber, pares / Nothing compares 2 U will they be eternally free?

25 CHAREL PYCKE

26 YOERIE RAMAEKERS www.instagram.com/yoerie.r

In the past year, Charel Pycke has explicitly studied the shifting of functionality in decoration and floor patterns in architecture. With this in mind, he has been looking for a method that reconciles the semiotic, mathematical and purely artistic aspects of decorations.

With “complicated simplicity” as a principle, he limited himself to finding a working method in which the limitation of the size of a triangle became the challenge. The infinite possibilities that this specific method generates make up the artistic reservoire by which Charel Pycke creates a world where the precision of the artisan and the freedom of the artist complement each other.

The portrait is a common thread throughout my work, which takes two paths: drawings and video work. My drawings can be considered as composites that shape an (investigation into) identity by combining self-portraits, the self as an imitation of pop culture and pop culture elements and influences. My video work consists of collages of video material consisting of film scenes from Alfred Hitchcock’s oeuvre and tries to initiate a dialogue about gender, patriarchy and stereotypes.

27 ANDITA SHABANAJ

28 PAULIUS SLIAUPA

29 LOUISE SOUVAGIE

30 SIMONA MIHAELA STOIA

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31 JIVAN VAN DER ENDE

32 HELENA VAN DRIESSCHE

33 LAURA VANDENBROUCKE

34 PHILINE VANRAFELGHEM

35 LISA VANTORRE

36 MATHIAS VINCENT

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37 RUBY WATER

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

27 ANDITA SHABANAJ

28 PAULIUS SLIAUPA www.sliaupa.com/portfolio SONDER

This master project deals with a language that is formed around collective memory consisting of poetry, folktales, and songs. It documents a quickly changing landscape of social and political events. This offers a method to understand how an artwork communicates in its context. It also involves understanding it as a cultural artifact engaged in its environment, being historically produced and received; including also the context that it is given today.

“Sonder“ is a 19 minute non-narrative film which is divided into the observation of everyday life in three different spaces: nature, a beach in the evening; a summer night, traveling in the outskirts of a city, discovering creatures observing you; urban life, a winter night in a frozen city, body fragments of a woman inside a flat, the macro world. The term sonder signifies the feeling of realizing that everyone, including strangers passing in the street, has a life as complex as one’s own, which they are constantly living despite one’s personal lack of awareness of it. Sometimes shadows of people appear in the film but their characters are not developed, they are merely suggestions that the film is a part of the bigger world shown through a subjective vision.

29 LOUISE SOUVAGIE www.louisesouvagie.com

30 SIMONA MIHAELA STOIA

REVEALING DISTANT CITIES So there’s been very many representations of Awe usually stems from large volumes, power or paradise. God only knows what that is. I could the experience of totality. Since the dawn of largeprobably guess, but I won’t. That’s the lion lying scale civilizations, people have built architectural down with the lamb. That’s this idea, that’s maybe structures that achieve this. In my practice I confront projected back in time, that there was a time, or the impact of this with (the recording of) minor maybe will be a time, when the horrors of life are no interventions to make the human presence tangible.

I try to combine the ability to take distance and to 36 longer necessary for life itself to exist. The horrors of life are, of course, that everything eats everything represent spaces with tactile, painterly proximity. else, and that everything dies, and that everything’s born, and that the whole bloody place is a charnel house, and it’s a catastrophe from beginning to end. This is the vision of it being other than that.

– Jordan B. Peterson

31 JIVAN VAN DER ENDE DRESS REHEARSAL In my work, different media, such as costume design, performance, photography, video, drawing and writing, merge into one another. I like to invite people and create situations in which they find themselves among the materials of my work. In this way my installations behave as possible sets for performances and change their actions into performative events. This way my work questions the different statutes of art objects and utensils.

An example of this is my use of textiles to explore artistic freedom. A garment is a tool by which we identify ourselves and can radically change shape in a simple way. This can offer us emancipation and a sense of freedom, but at the same time it is linked to the larger (global) whole of our culture, politics, economy and ecology.

32 HELENA VAN DRIESSCHE SLUIMERENDE VORMEN The search for forms that are dormant in ice and rock formations is a motive. Measured intuition.

Creating a proper spatiality that separates itself from the limitations of working on a twodimensional surface with specific dimensions and trying to break through it. Inherent duality of the fragile versus the monumental. Serendipity plays a—albeit subordinate but important—role in researching the medium.

33 LAURA VANDENBROUCKE A 1200°C JOURNEY

34 PHILINE VANRAFELGHEM www.philinevanrafelghem.be VILLA MÜLLER

You open the atlas and, with your eyes closed, put your finger somewhere. No, it won’t be a trip to Japan or Canada. Your finger finds itself surrounded by margin white, just next to the map. A dirty print remains. The structure demands your attention.

The lines travel past you and form walls around you. A certain naturalness creates a feeling of trust. Contrary to this, the artificial creates a sense of alienation.

In The Principle of Cladding, Adolf Loos writes: “The architect’s general task is to provide a warm and livable space. Carpets are warm and liveable.

He decides for this reason to spread out one carpet on the floor and to hang up four to form the four walls”. Loos refers to the principle of dressing of his teacher Gottfried Semper. The woven mat and its use as a floor, wall or suspension from a structure was seen by Semper as the origin of its architecture. The Müller villa series is the result of an interpretation of these fabrics and of the construction of the same name by Loos.

35 LISA VANTORRE www.lisavantorre.be

36 MATHIAS VINCENT UNDESIGNING THE PUBLIC BATH

Liever zonder woorden, want het is zo veel meer. Op de na-avond van mijn drieëntwintigste verjaardag wil ik u bedanken, omdat ik mij realiseerde hoe groot uw betovering is. De vonk die op mij oversloeg na het zien van uw Front was het laatste duwtje dat ik nodig had om te weten wat ik zou willen worden. Op dit ogenblik repeteer ik met verf, wat u als geen ander heeft kunnen vertolken. Ik schrijf dit vanavond omdat ik u nooit wil vergeten.

37 RUBY WATER www.rubywater.net LOST AND FOUND + FOR SALE In lost and found + for sale three different archives are being used. The artist family archive, anonymous archives bought on an online secondhand market and the GoogleMaps archive. Projected by a carousel slide projector and a beamer, the different relationships between analog, digital, private and public memories are investigated.

This project is based on a very free and intuitive design method.

It re-interprates many objects of the bath environment, and use the standard and cheap 1000L water tank to create a 1:1 functional, modular and mobile bathing environment that could be 37 installed in public or private spaces.

In the end, the space aims to emphasis on a very playful and spiritual aspect of the bathing action, which is too often neglected by designers and users. It also creates potentially a shared space where peoples, while bathing in an unexpected context, might adapt their habits regarding nudity and therefore question these.

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

01 CÉLINE MARENNE

02 RENÉE STRIKKELING

03 EMMA TERWEDUWE

04 MARIEKE VAN TRAPPEN

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05 ELENA VLOEBERGHEN

MASTER OF VISUAL ARTS PHOTOGRAPHY MASTER IN DE BEELDENDE KUNSTEN FOTOGRAFIE

01 FABRIZIO BILELLO

02 HANNE BRACAVAL

03 CHELSEA BULTEEL

04 DAVID DENIL

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05 MARIE DHAESE

06 EVA FACHÉ

01 CÉLINE MARENNE www.marenneceline.tumblr.com À LA RECHERCHE DU TEMPS PERDU

02 RENÉE STRIKKELING A LOOSE MECHANICAL EVOLUTION

Starting from an introspection and a dismantling of a childhood’s memory, my master project is structured around graphic, structural and textile researches, symbolizing this forgotten past in an involuntary way and tracing the contours of a subjectivity that accumulates unconsciously memories. All this experimental work have let me to build new proposals of spaces made of yarns that strengthen the sensory experience and memory experience. The body is confronted with this poetic space, almost dreamlike, created with lace and weaving. Space lived, rather than physical, where perception, memory and imagination are constantly interacting.

A loose mechanical evolution is a study concerning the starting point of textile: thread. Thread is a utilitarian particle from which the larger whole rises, the backbone of textile. Starting from the definition of thread, there is a constant interplay with both thread itself, as well as with its derivative components. Spinning, twisting, torsion, rhythm, binding, infinity and the imitation of the diagonal movement that evolves into a joyfully intertwined pattern. They all refer to the most simple, essential and elementary part of textile. The project offers a richly expansive view of the twisting of weaving structures that expand into new companions.

Thread, in its processed form, resonates with parts of its essence.

03 EMMA TERWEDUWE www.emmaterweduwe.com

04 MARIEKE VAN TRAPPEN STUFF RULES

What nerve all this stuff has! Thinking it can take A touch A Treasure – Overlays of Tactility / Our over the world… The name Leo Baekeland might hands, the space, our body, / Essential in shaping not ring many bells today. His memory however the textiles that surround us / The human ‘tools’ proved a lot more degradable than his invention. that give the flat surface a three dimensional value / Since the rise of synthetic polymers, man simply Only through interaction and use can we discover seems to decompose a lot faster than all that stuff of its full possibilities / Felting and manipulating cause wrinkling, shrinking, movement and distortion / 40 his. Lately we’ve become rather fed up with this lack of transience. The bizarre, plastic world of Marieke A play comes into being between visual depth and Van Trappen is certainly an ambiguous little space, real layers / Different tactilities come together on consisting of seductive objects that are entirely the body and in space / A monumental softness, made of industrial rubbish. Van Trappen, remarkably, a raw poetry, a minimalistic richness / The body doesn’t use any glue. She in stead capitalizes on becomes part of the fabric, shapes the fabric and a sort of generic ‘coincidence’ that makes unrelated disappears in it / Challenging the interaction with objects click together. This conveyor belt surrealism our tactile world puts us on the spot: should we be disgusted by disposable beauty or suckers for precious plastic?

A paradise of paradoxes.

MASTER OF VISUAL ARTS 05 ELENA VLOEBERGHEN PHOTOGRAPHY www.instagram.com/e.vloe MASTER IN DE BEELDENDE KUNSTEN FOTOGRAFIE A PERSPECTIVE ON A FALLEN OBJECT A solitary walk a veiled conflict a tacit compromise When do we become, does it become us?

Is it the tension between restlessness and calmness, passion and duty, vulnerability and resilience, open and closed, beautiful and interesting, destruction and creation, functional and artistic, that changes us?

Elena Vloeberghen weaves contradictions into a veiled conflict.

01 FABRIZIO BILELLO

02 HANNE BRACAVAL

ARCHIPELAGO Archipelago depicts a 4 years long journey inside eco-communities set at the cultural and political periphery of the European territory. Environmental sustainability, sexuality and spirituality are the interconnected themes that create the mapping of an imaginary archipelago formed by real microsocieties whose lifestyle contrast the narrative of consumer culture. Isolation, social experimentation and reconnection to nature are some of the topics explored in the work, which led Fabrizio to discover alternative and progressive communities in England, Portugal, Spain and Italy.

Since the age of seven, I have been passionate about photography. It made me feel like expressing my inner feelings through images more precisely than words could ever do. However, being truthful in the full sense of the word is a goal one can never achive. At that time, my portraits remained too sophisticated in order to capture my inner feelings.

I portray myself, via my iPhone. The colors are real. They reflect the reality of my being. In my photography, I want to capture my feelings, including pain, sadness, fear, frustrations, etc.

I also write poetry, in order express my painfull thoughts. According to me, photography and poetry are truthful expressions of my personal experiences of living with psychiatric disorders.

03 CHELSEA BULTEEL

04 DAVID DENIL www.daviddenil.com

A REMEDY FOR REGRET

LET US NOT FALL ASLEEP WHILE WALKING

Ukraine gained independence from the Soviet Union A tipping point, a moment that does not last longer in 1991 after which it declared itself a neutral state. than a fraction of a second. So elusively short yet In 2013, protests broke out in downtown Kiev after also agonizingly long, but above all overwhelmingly president Yanukovych’s government decided to definitive. A remedy for regret depicts the frustration, suspend the Ukraine-European Union Association anger, sorrow, despair, pain, powerlessness that Agreement and at the same time strengthen the such a moment leaves behind. The project is not so much about anything in particular, but became a 41 economic ties with Russia. Months of demonstrations and protests known as The Euromaidan, escalated way to deal with such a tipping point, in the summer into the 2014 Ukrainian revolution. of 2018. During walks I use my camera as a way to In collaboration with the citizens of Kiev, ‘Let Us ‘objectify’ my thoughts, to make them manageable Not Fall Asleep While Walking’ shapes their experias it were. ence into metaphorical depictions where time seems Through an interplay of static and dynamic frozen but dreams of hope still linger. The series, components that represent the complex emotions which consists of 137 photos to match the death toll after a certain tipping point, the installation creates of the Euromaidan riots, is an attempt to capture the an immersive experience. repercussions of this period for Ukrainian citizens.

05 MARIE DHAESE LOVE ME IN A CRISIS Little over 6 months ago Marie Dhaese teamed up with journalist Pello Mugica Gonzalez to collaborate on a project called Love me in a crisis . For this ongoing photo documentary they are traveling to different conflict areas around the world to capture the appearance of love between people in inhumane circumstances. The body, the interaction, the tension, the eyes, the feeling, the attraction; all can produce signs of love, even in the most conservative regions of the world. The work on display is made in Lebanon.

06 EVA FACHÉ LOCATION OF SACRIFICE The past six months Eva Faché lived and travelled through the north of Norway and Finland where she met people in remote communities. This project has taken her to some very isolated places around the Arctic circle. It has given her the possibility to experience the very intimate and private world of practitioners of modern-day shamanism. During her travel she let herself inspire by their way of living and their old beliefs. This world, a glimpse of which is very central to the work that she is making now.

07 SEBASTIAAN FRANCO

08 ELIZABETH GEERTS

09 MARIA LUIZA GRYMONPREZ

10 LUCAS LEFFLER

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11 FLOR MAESEN

12 MAX SCHMITZ

13 MARTHA T'HOOFT

14 VIKTOR VAN HOOF

15 CATO VAN RIJCKEGHEM

16 THOMAS VANCOPPENOLLE

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17 SYBREN VANOVERBERGHE

18 ILAN WEISS

07 SEBASTIAAN FRANCO www.sebastiaanfranco.com ANÁSHA Anásha is a word in Traveller’s cant or Gammon, used to point out something that’s out of the ordinary, to make someone pay attention. Irish Travellers are tradionally a nomadic group within Irish society. While living in clans they would travel across the country selling their wares or finding work with farmers to earn a living and move on. For over two years I’ve lived with Paddy Keenan and his family on their site in Finglas, Dublin. First being an intrusive outsider I gained their trust by photographing all their events and spending a lot of time with them. It got to the point where I was offered a trailer on their site which I had been living in until the Spring of 2019. I’ve experienced many joyful as well as heartbreaking moments with the Keenans and by becoming part of their family this project ended up being a visual diary of my life in a community that might not exist anymore in a few generations.

09 MARIA LUIZA GRYMONPREZ www.instagram.com/marialuizagrymonprez_foto BUM BUM/ PARTY ANIMAL To attract, to lead, to undergo. At this kind of place you’re not afraid to go that one step further. PULL UP. The Caribbean, African and Latin music makes your hips dance in a very sensual way. JIGGLE. This way of dancing gives rise to a sexual tension between two bodies, an arousel, touching and almost touching each other. REBOLA. BUmBUm/ Party Animal deals with the moment when the “thinking” is switched off, in favour of a full body experience. BAMBAM.

11 FLOR MAESEN THE ORIGINAL SIN In a wide variety of forms I have been looking for what makes a human being a human being. During that period a new deity was born, in the form of a sculpture of a self-sucking boy. An amiable autocrat of a realm in which man in his most fragile capacity wanders around. Boundaries between animal and man seem to dissolve.

08 ELIZABETH GEERTS www.elizabethgeerts.com THE OPPOSITE OF FORGETTING Our memory fails us more often than not, it is horribly untrustworthy. That’s exactly the reason why we photograph, images provide us with visual evidence of the past but at the same time are only a part of reality. To picture is not necessarily to remember. A remembered image is a construction of the past through the lens of the present.

Nowadays we’re able to photograph anywhere, any time. That way we easily collect hundreds of images. How do we cope with this constant urge to make visual memories? What happens to memories when there are over 10 000 images available?

And what if there aren’t any images at all? What is pictured, what is remembered and what do we want to remember?

10 LUCAS LEFFLER ZILVERBEEK / ☽ AN INDEX ON CHEMICAL AND GEOLOGICAL PROPERTIES OF SILVER Nearly a century ago, a man discovered silver in the mud of a creek in Antwerp. The reason was that a nearby photography factory producing films and photo papers discharged wastewater in the stream, which became known as the Zilverbeek (Silver Creek). In 1920 then, Lilly Kolisko was able 44 to demonstrate that there is a definite relationship between the moon and the metal silver.

These stories charmed Lucas Leffler and motivated him to re-enact them and to experiment with the silver element. Fascinated by the science and the technique of photography, these projects permit him to reveal an alchemical aspect of the process. A bivalent nature somewhere between the scientific and the magic dimension.

12 MAX SCHMITZ www.maxschmitz.nl SANS SOUCI “Our point of departure must be the conception of an almost childlike play-sense expressing itself in various play-forms, some serious, some playful, but all rooted in ritual and productive of culture by allowing the innate human need of rhythm, harmony, change, alternation, contrast and climax, etc., to unfold in full richness.” – Johan Huizinga Sans Souci is a series about a place in the south of France where Max Schmitz keeps returning to since his childhood. It’s a place that functions as his photographic playground, a safe zone for making mistakes, an area that gives an insight in the world he inhabits. In it nature no longer functions as an alien background, but becomes a tool for the artist to create his own magical universe.

13 MARTHA T'HOOFT www.mail.marthathooft.com/over PASO À PASO

14 VIKTOR VAN HOOF www.viktorvanhoof.viewbook.com FANFICTION

Paso à Paso, A social and artistic project in which food is used to make central American migration negotiable and where the focus is on the universal necessity of food in all its forms.

The work started in Mazatlan, Mexico with Las Patronas, a group of women who cook daily for passing central American migrants, where Martha T’Hooft was working as a volunteer for a couple of months. The work became a collection of recipes, intervieuws and pictures. The project can be seen as a trip through a no man’s land of culture, language, religion, origin, customs, taste, that symbolizes the wanderings of migrants.

The work of Viktor Van Hoof explores the golden age of Cambodian cinema, a period that lasted from 1960 to 1975. Nowadays, this era mostly survives in memory, as many of the actors and directors were killed, and films from this period were destroyed.

Through reenactments and interpretations of oral remnants, Viktor constructed a fictional archive of an era that has lost its documentation. A creation in which myth meets history.

15 CATO VAN RIJCKEGHEM www.catovanrijckeghem.com

16 THOMAS VANCOPPENOLLE

OUR LIFE IS FULL OF SUNSHINE The song of love drifts in the wind, / (…) Look at that beautiful revolutionary ideal. / Contribute youth and strength to the motherland. / (…) Our life is full of sunshine and full of sunshine.

These are lines from a song used in the 1980’s to introduce family planning to the people of China. The one child policy was supposed to be 45 a solution for a population problem but it caused more problems on its own. While the Govern­ ment is starting to fix his own damage, Cato Van Rijckeghem is researching the blank spaces that have been left behind. The photographer looks into the shared story of young Chinese women who were born in a country with a one-child policy. The culture-specific preference for a son constructed a challenging situation for the less desired daughters.

17 SYBREN VANOVERBERGHE 18 ILAN WEISS www.sybrenvanoverberghe.com CONFERENCE OF THE BIRDS Conference of the Birds shows an outtake from an analysis of the correlation between time and place.

How do places appear and disappear? How do we attach meaning to a certain site and in what way can photo­graphy deal with deconstructed icons in comparison to the (a-)historical palm tree sticking its tongue out towards the straight forward photographed Iranian landscape.

You see composed images of desolated ruins, artefacts and cultural heritage sites. Besides these photographs we also see the decor of a palm tree village. Here the photographs move in closer to the landscape in comparison to the other places documented. The installation is composed of framed photographs accompanied by a book that will be published by Art Paper Editions in September 2019.

MASTER OF VISUAL ARTS FASHION MASTER IN DE BEELDENDE KUNSTEN MODE

01 DELPHINE DE SMET

02 FLOOR ANNE DE WITH

03 TIMOUR DESDEMOUSTIER

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04 EVA EYSKENS

05 BART LAPERE

MASTER OF AUDIOVISUAL ARTS FILM MASTER IN DE AUDIOVISUELE KUNSTEN FILM

01 ANDREA BOLJAT

02 MENNO DE JONG

03 DORIAN JESPERS

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04 ZAUR KOURAZOV

05 CHARLOTTE LYBAERT

MASTER OF VISUAL ARTS FASHION MASTER IN DE BEELDENDE KUNSTEN MODE

01 DELPHINE DE SMET

wrap Absurd over hurt / A vacuum / A space / Filled Magic – / Wait a minute. /Will they ever meet? / Some are angry / Some FANTASIZE / To tear it down / To tear ungrammatical absurd down. / In between space / Binary Monsters are born. – / Trust me. Everything’s gonna be fine.

IIIIIIII II SIII

02 FLOOR ANNE DE WITH www.instagram.com/floorannedewith MECHANICAL AESTHETIC The Materials, / the desire to self pure. / the hard plastic, / soft fabric. / Bring us in a state of intoxi­ cation. / The Mechanical aesthetic, / is the dress up as a ritual. / The construction of the elegant pattern lines, / creates an illusion in the eyes.

04 EVA EYSKENS SO WHAT NOW? This collection is based on man’s unease in today’s society. Starting point is the question: ‘What does the perfect world look like for you?’.

The world is constantly changing, but it is not necessarily improving. The pessimism about the future is a general feeling that is familiar to many. Everyone has their own opinion about how we can improve the future of the world. It is on the basis of this diversity of solutions that I have come up with twelve types, twelve ‘world improvers’. In this way I want to make people think. What does your world look like? How do you contribute to our future? But also, how do you ensure that your answer contributes to a collective solution to the problems that we face?

03 TIMOUR DESDEMOUSTIER STUDY ON VULNERABILITY – I SAW MY MOM WATCHING THE NEWS It all started with a question on the body and its representations, particularly the ambiguity that can exist between its strengths and weaknesses. I was first brought to that matter through the work of a young gay male prostitute, who had contracted HIV. That is how I started to wonder if the disappearance 48 of a body was necessarily related to the disap­ pearance of an individual. Isn’t he or she going to last longer through his/her legacy and heritage?

Being from a multi-cultural background this question has shaken me. However, it never seemed to have any kind of influence on me. But, even if I don’t necessary feel like I am from different backgrounds, migration, even if I did not experience it, is a part of me and a matter, I think, is relevant to my story.

05 BART LAPERE www.instagram.com/brtlapere CABINET OF THOUGHTS A journey into the creative chaos and thinking process of my mind. By doing research on classic garments, transforming cinematic and historical references like Cabinets of curiosities and horror classics like The Exorcist a wardrobe is born.

MASTER OF AUDIOVISUAL ARTS FILM MASTER IN DE AUDIOVISUELE KUNSTEN FILM

01 ANDREA BOLJAT PICAFERAJ In a Croatian city Split, love for the local football club HNK Hajduk seems bigger than life itself.

And while love of supporters shines light on a city in which everything revolves around the football, one man remains unnoticed, and stays in the shadow.

02 MENNO DE JONG SO YOU DON’T GET LOST An afternoon in the life of Isolde, a seven-year-old girl who lives in the countryside. Her walk home after school runs past meadows, field roads, forest paths and a stream. The perception of the landscapes and the changing weather form the simple thread for this slow storytelling. Games and daydreams take up her time, until she experiences a very surprising encounter.

04 ZAUR KOURAZOV www.instagram.com/zaur_ Хан ю Han yu Time Is In a village in Chechnya a mother and a daughter speak about the return of an acquaintance.

03 DORIAN JESPERS www.dorianjespers.com SUN DOG Fedor is a young locksmith in Murmansk, a frozen city in the obscurity of the Russian Arctic.

Client after client, he roams through the alleys of concrete animated by a fantasy that isolates him from the city and its population. His dreams corrode his relation to reality and open the door 49 to a phantasmagoric universe; a second sun is rising above the Russian Arctic.

05 CHARLOTTE LYBAERT GYRE Alice finds it difficult to find a place in the group and thinks her girlfriend might be the cause. Banal incidents seem to leave their mark. Gradually Alice loses contact with reality. Her coloured reality takes on a dark tone. A fiction film about experience, how small things can have a big impact.

06 JADE MADOE

07 NOEMI OSSELAER

08 DORIEN PFAUTH

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

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01 JULIAN ARIAS GARZÓN

02 SACHA BRAUNER

03 RITA CASTRO

04 GEERTRUI DE VIJLDER

05 CHLOÉ GIRTEN

06 LISA KERCKX

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07 NILS MARTENS

08 CAPUCINE MULLER

06 JADE MADOE www.jademadoe.tumblr.com

07 NOEMI OSSELAER ERPE-MERE

EUPLEA A deserted, mysterious island in the Bay of Naples draws the attention of Eva, a young woman from Paris. The paradise-like, mythical surrounding at the foot of the Vesuvius volcano helps her to discover herself. All her worries seem to be forgotten for an instance when she strikes up a friendship with three Neapolitan youngsters.

Surrounded by the sound of nocturnal animals, a girl falls into a deep sleep. Gradually we are drawn into her dream, that unfolds into a cosmic journey through the meadows of Erpe-Mere.

08 DORIEN PFAUTH

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

BLOODY HORMONES Bloody Hormones investigates women’s experiences with contraception. From a teenage girl who wants to start taking the pill, to a room full of women who want to quit taking it. Together with their mothers, the filmmakers look back on their adolescence, in which the first boyfriend was the reason to start taking the pill. The film is driven by their thoughts and despair about the choice to stop taking the pill and the search for alternatives.

With the camera in their hands, the makers explore their body and natural cycle, which the pill had suppressed for years.

01 JULIAN ARIAS GARZÓN www.vimeo.com/juloarg NIEBLA Surrounded by mist you are lost. Time and space vanish, and all that remains are fragments of sound and images, of a story, of a dream or of a memory.

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02 SACHA BRAUNER www.sachimir.wixsite.com/sachabrauner JEUX À LA MER My film is about a little boy who hangs out alone somewhere by the North Sea. He meets a girl and together they play various beach games. At a certain moment the boy gets hurt and runs away.

Later he realizes that he can’t find the girl anymore and starts playing by himself again… Apart from what is shown, a space is created that the spectator can fill in with his imagination and the associations he or she makes between the different scenes.

The aim is ultimately to create a poetic, absurd and sometimes humorous atmosphere in a world that is recognisable, but which is alienated by the absurdity and absence of meaning.

03 RITA CASTRO www.rasto.hotglue.me AQUI ENTRE NÓS // HERE BETWEEN US

04 GEERTRUI DE VIJLDER www.geertruidevijlder.wordpress.com PARLER DE LA PLUIE ET DU BEAU TEMPS

A moving portrait of a relationship, the attempt to truly connect with the other, and the struggles in between.

A reflection on alienation, the feeling of not truly connecting, not truly belonging.

to say without speaking to listen without hearing to taste a language no need to understand look and see, telling gestures

05 CHLOÉ GIRTEN

06 LISA KERCKX

MEER VOGEL DAN HOND. 1 Don’t give up on yourself when you can’t seem to get inspired.

2 Accept that it’s OK, and maybe even advisable, to look to others for sources of inspiration.

3 Take a mental break to allow yourself to refocus.

4 Use spontaneity to your advantage.

5 Read something.

6 Teamup with others.

7 Realize that there are just some times in life when you won’t feel very inspired.

8 Break your inspiration down into manageable pieces.

07 NILS MARTENS BURL! When you are short of a mouth, it is hard to drink.

YOU You is some kind of music video, but in my own way. It is a very rhythmic work in which colour and sound play an important role. Like a pop song, my work has a romantic and sexual undertone. The film depicts a beautiful woman. The images are found footage and bring about a very nostalgic 53 atmosphere. The sound stream is rhythmic and I use a computer voice to incorporate text. This is a joke at the expence of pop songs since they are often criticized for relying too heavily on auto-tune.

All in all, it is a tribute to the protagonist of the film.

She is the most beautiful woman I know and she deserves to be seen in a music video. The title is You because I want to talk to her about it.

08 CAPUCINE MULLER www.vimeo.com/capucinemuller DUTCHGARIA In difficulties with an unknown language and struggling with the locals, follow the adventures of a french girl who just moved in a country called Dutchgaria.

09 ELINE MUYS

10 FREDERIKE NICKEL

11 SANTIAGO PÉREZ RODRÍGUEZ

12 LAUREN PLETINCKX

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13 JUSTIEN VANDER BORGHT

14 AMBER WYNANTS

MASTER OF DRAMA DRAMA PRODUCTIONS MASTER IN HET DRAMA DRAMA PRODUCTIES

01 SIMON BAETENS

02 SIMONE BASANI

03 FREEK DE CRAECKER

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04 NONA DEMEY GALLAGHER & MATS VANDROOGENBROECK

05 KHALID KOUJILI

09 ELINE MUYS elinemuys.wordpress.com

10 FREDERIKE NICKEL vimeo.com/rikenickel THIS IS HOW A PANIC ATTACK FEELS LIKE

MUNDELE An old man muses upon his time in Congo.

THIS IS HOW A PANIC ATTACK FEELS LIKE is the new video essay by Rike Nickel. Rikes videos aim to destigmatize mentally fragile issues through addressing them in a humorous way. THIS IS HOW A PANIC ATTACK FEELS LIKE offers the viewer an insight into what panic actually is, without laying too heavy on her*him. It suggests ways to integrate anxiety in our lives without seeing it as our worst enemy. Besides offering an interesting visual experience, the video wants one thing above all: inviting you to an open conversation about fragile subjects as this.

11 SANTIAGO PÉREZ RODRÍGUEZ www.behance.net/Santiagoperez

12 LAUREN PLETINCKX AURA

THE TASTE OF YOUR BONES

The search for our true nature is a very difficult task.

Aura is a short film full of symbolism about a little girl who goes on a quest to find her true nature, her future, her personality and of course also about the many obstacles that come with such a quest.

A series of poetic encounters between animals, industrial things and minerals.

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13 JUSTIEN VANDER BORGHT www.justienvanderborght.wixsite.com/ justienvanderborght THE ROAD TO NOWHERE

14 AMBER WYNANTS www.amberwynants.wixsite.com/amberwynantsart

During my days at KASK I have always worked with narration. Writing scenarios is right up my alley. For my master’s project I wanted to create a modern and structured story with a very specific subject: being young and not knowing what to do with your life. The film developed into a tragicomedy. Initially, I opted for stopmotion technique to counterbalance the emotionally charged subject perfectly. However, I had little experience with this technique. It was also impossible to maintain all the nuances of my scenario, because some things became technically unfeasible. Eventually I decided to focus on 2D computer animation. It felt like coming home, while the essence of the film was preserved. The sound and the music were created in a very spontaneous way together with composer Jérémie de Witte and guitarist Jonah Blummenthal.

How science may inspire an artist.

Orcam Orcim is a film about order and chaos, brittleness and malleability, light and darkness, fragility and hardness. Order may grow from a chaos of small components. Behind the smallest grains of earth lie countless forms.

Amber Wynants is an improvising animator who allows herself to be guided by the matter she happens to work with. The work she makes usually revolves around structures and textures. The whole forms an ordered chaos. A compelling, hypnotic film in which the viewer is invited to experience the process of the artist.

ORCAM ORCIM

MASTER OF DRAMA DRAMA PRODUCTIONS MASTER IN HET DRAMA DRAMA PRODUCTIES

01 SIMON BAETENS LIQUID DREAMS liquid dreams is a performance without performers on stage. It is a journey through imagination, dream worlds, (virtual) reality) and the interface of hard- and software which we use daily. Text becomes image, image becomes more than a collection of pixels. Can we imagine a world in which symbiosis between how we format and are being formatted, prevails?

02 SIMONE BASANI www.basaniciresola.com THE HOUSE WE HAVE BUILT The House We Have Built is about archeology of violence. The performance takes a trans-historical perspective on those sounds and images of violence that affect the perception we have of our cities, their private, public, “affective” architectures.

A series of thoughts, written down by an Italian soldier after his return from the colonial war in Libya, has inspired Simone Basani to face his own relationship to troubling memories. From here he starts looking into how figures of violence are collectively recalled and transmitted.

04 NONA DEMEY GALLAGHER &

MATS VANDROOGENBROECK THROUGH THE LOOKING-GLASS (AND WHAT WE FOUND THERE) Bastardo 1, 2 en 3 bevinden zich boemplots in een wel zeer pékulaire living. Als in een rêverie kunnen ze zich ni remembreren ni hoe ze daar verschijnselt zijn. Ze hebben elkaar nog nimmernooit ni gezien ni (of ni of wel of ni of wel?) Een gevoel van déjà-visie bekruipt de bastardi. Ze specu-palaveren. Moeten ze op zoek naar in- of exits? Of blijven ze beter intern? Zijn ze free willy of is hun lotto al maxi-lang getrokken? Hoe meer ze filo-sofistikeren, hoe meer ze in achtjes draaien. De sfeer wordt para-frigide, de communicatie spruttelt.

Vraag blijft: ‘Wat doen wij hier?

03 FREEK DE CRAECKER www.huisalma.be/programma/blablablues BLA BLA BLUES “Bla bla bla bla, bla bla blablaa, blabla. Bla bla blah blah blaah! Bla bla bla bla, bla blaaa. Bla bla bleuh blah bla bla bla? Bla blabla? Bla bla blablabla bla bla bla bla blaaa… Bla bla blaaaa blah. Bla bla blaaa bla blah! Blah! Bla bla blaha blahaha bla bla Bla Bla Blues!”

In a large apartment building, different 57 characters live together. They have been picked from of a distant past. Together they live next to, at, on, over, under and without each other. All of them have to deal with loneliness in a world where everything seems possible. They become entangled in a search for connection with each other, with themselves and their surroundings.

Bla Bla Blues is an absurd, visual performance for children of 8 years and up (and their families).

05 KHALID KOUJILI DON'T MAKE IT ABOUT YOU “Representation of the world, like the world itself, is the work of men; they describe it from their own point of view, which they confuse with absolute truth.” (Simone de Beauvoir) Half a century later, three young actors observe the same thing with a slightly different nuance.

In Don’t make it about you they ask al sorts of questions: Does theatre really represent society?

If theatre can be a representation, how does it relate to reality? How can we, as non-white actors, translate a role written for and by white people?

For whom is theatre actually made? Don’t make it about you is about sharing their experiences with the audience.

06 NATHAN OOMS

07 IMKE MOL, NAOMI VAN DER HORST & FLOR VANSEVEREN

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06 NATHAN OOMS

07 IMKE MOL, NAOMI VAN DER HORST &

FLOR VANSEVEREN WHO'S AFRAID OF VIRGINIA WOOLF?

SOME THINGS LAST A LONG TIME

What shall we do with Virginia Woolf (early in the morning)? As a young player, how do you put yourself in the shoes of a character with a history?

Four theatre students want to graduate playing the Play of Plays, Who’s advice or Virginia Woolf?

by Edward Albee.

HONEY: I love stories that are familiar… they are the best.

George and Martha indulge in their long lasting frustrations and drag along their guests, Nick and Honey, into this destructive game.

The actors, together with the characters, engage in a battle about truth and appearances. When is it just a game and when does the game become reality? How quickly do you expose yourself when there are guests? Who seeks comfort with whom?

On stage, two figures appear on the surface.

They experience the pleasure and the threat of an endless repetition. Their gestures suggest an incessant realisation of a catastrophe. Maurice Blanchot: “The disaster ruins everything, all the while leaving everything intact”.

This performance is the second collaboration between Anna Franziska Jäger and Nathan Ooms.

They explored different relations to abstractions by means of the human body. Time and again they collide with the limits of representation.

They believe in the constant rediscovery of the theatre as a place of ‘magic’, where the absent is made into the present and vice versa.

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MASTER OF MUSIC PERFORMING MUSIC: CLASSICAL MUSIC MASTER IN DE MUZIEK UITVOERENDE MUZIEK: KLASSIEKE MUZIEK 01 MEGAN BADDELEY www.meganpbaddeley.wixsite.com/ meganbaddeley EVENSONG A reflection on night, love, prayer, sleep and death, with songs and arias by Alban Berg (Sieben frühe Lieder), Giuseppe Verdi (Otello) and the lesser-known Welsh composer Morfydd Owen (the hymn Gweddi y Pechadur and other songs).

The British soprano Megan Baddeley was born and bred in Oxford, where she initially studied Classics, with plenty of singing on the side as a soloist and in choirs. In 2017 she moved to Belgium to study with Hendrickje Van Kerckhove at the Royal Conservatory, Ghent, where she sang Parasha in Stravinsky’s Mavra and Arminda in La finta giardiniera. Recent concert appearances include Mahler’s Des Knaben Wunderhorn, Ron Ford’s Follow thy Flight, Haydn’s Creation and D. Scarlatti’s Stabat Mater for 10 Voices.

04 ANA TERESA CANO MY PASSIONS

The best way to finish my studies in Ghent is to make a tribute to the countries that have made me grow as a musician and as a person: Spain and Belgium. For this I have chosen these two sonatas in myprogramme: – Sonata nello stile antico spagnuolo written in 1925 by the Spanish composer and cellist Gaspar Cassadó (Barcelona,1897 – Madrid, 1966) – Sonata in A major for cello and piano (1886) composed by the Belgian César Franck (Liège, 1822 – París, 1890) As an introduction to my recital I will play a small piece related to the Slavic music, topic of the school this year.

05 JOSUE CASTRO 06 ALESSIA CENTOFANTI BASS CLARINET RECITAL

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02 KOENRAAD BOTTELDOORN

Koenraad Botteldoorn (°1995) started his music studies at the age of five. He started playing the piano under Stefaan Desmet in Bornem and three years later took up percussion under Walter De Kunst in Puurs. At the Kunsthumaniora Brussel he was taught by Erik Taelemans, Jan Samyn and Jean-Philippe Komac.

Koenraad enjoyed internships at the Royal Chapels of Defence. He played with the orchestra of the Kunsthumaniora Brussel, Chamber Orchestra Sinfonietta, Flemish Symphony Orchestra, Young Brass Band Willebroek, Harmonieorkest Concordia Friends Kalfort and under conductor Silveer Van den Broeck. He was a soloist with Nuove Musiche.

He is the permanent percussionist of the VUB Symphony Orchestra. He regularly collaborates with countertenor Peter Ickx and is involved in the Arte Amanti Chamber Music Festival every year.

03 DAVY CALLENS

– Bass Clarinet Concerto, Geraldine Denny Green (1967) – Ronddolen for bass clarinet solo, Wim Henderickx (1962) – Sketch for bass clarinet solo and piano, Akira Toda (1951) – AutumnSonata, opus 226 (2013-14) for bass clarinet and piano, Michael Kibbe (1945) 07 EMMA DE BAKKER 08 BLANCA DÍAZ VERA 09 GUILLERMO GÓMEZ MARTÍN THE TRUMPET IN THE 20TH CENTURY

The 20th century has been a great period for the develop of the trumpet as soloist instrument.

As a result of that, the repertoire I have chosen for my recital focusses on modern pieces for the trumpet composed in the last century such as the Concertino pour Trompette by A. Jolivet, Rustiques by E. Bozza or Wickerwork for trumpet and Synthesizer by the Belgian composer J. Handermann.

10 SHENGYUAN HU 11 PALOMA JUAREZ MONTAGUT 12 NIELS MEIRE

piano with Valentin Rosen-Rhein at the Chajkovski school of music in Rybinsk. Winner of a number of piano competitions in Russia. At the age of 16 he made his debut as a soloist with the Symphony Orchestra of the Governor of Yaroslavl, performing a piano concerto by Mozart. Since 2014 he has been studying at the Royal Conservatory of Ghent with Vitaly Samoshko. For his final master’s exam ‘The art of piano’, he will perform the works of great composers, who were at the same time brilliant piano virtousos: Mozart, Liszt and Rachmaninoff.

17 SERGEY PAGONYSHEV

In music I make the connection with everything I experience in life. For me playing the guitar is the ideal way to express myself and my emotions. This translates into my repertoire of my masterrecital.

13 RAUL MENDOZA

Analysis and Perspective: Interpretative proposal of the first movement of the second sonata for clarinet and piano

by J. Brahms It is unbeliavable how these two years have passed so fast. The time spent in this beautiful town, the people I met, the experiences I got…

This experience ends with a recital, in which my desires of making music, my sensitivity and my emotions will be up on the stage for all the audience.

Reviewer: ‘One of your themes was very similar to one of Beethoven’s!’ Brahms replied, ‘Of course it is. Everyone steals—the important thing is to do it brilliantly.

14 IBEN NAESSENS 15 ANDRÉS NAVARRO GARCÍA 16 ALEXANDER NAZIMOV THE ART OF PIANO Alexander Nazimov was born in 1996 in Rybinsk, Russia. At the age of four he started playing the

18 ALANA PRUVOT 19 YANATE QUINTENS 62

20 ANTONIO ROBLES EXPÓSITO MY WAY

Take a look back and summarize my way here in approximately one hour of music, that is the story of my life through music. I have chosen three pieces honoring the three countries where I have lived, Spain, Germany and Belgium, and one more piece honoring Gent Conservatorium through the main topic of the present year, Slavic music.

– Sonata for Flute and Piano – Edison Denisov (1960) – Sonata “Appassionata” in F Sharp minor, Op.140 – Sigfrid Karg-Elert (1917) – Sonata in A Major for Flute and Piano – César Franck (1886).

– Palindromía Flamenca – Antonio Ruda Peco (arr. Carlos Guillén) 21 MARÍA ROMERO NÚÑEZ 22 BART ROSSEEL

23 FILOMENA SARCUNI

29 KIRSTEN VAN DER ELST PIANORECITAL: EL AMOR Y LA MUERTE Love and death: two gripping themes that not only touch our souls deeply, but are also very often expressed in the arts. During my master recital I like to take the listeners through romantic repertoire in which both subjects are clearly present in the tone of the music. The programme includes works by E. Granados, J. Duijck and E. Grieg.

24 FELIPE SILVA DE SOUZA 25 TIMOTHY VAN CEULEBROECK 26 LIESA VAN DE VOORDE MASTER RECITAL

30 LEANDER VAN GIJSEGEM

During this master recital you can expect a varied programme that covers a wide range of genres.

I would like to show you the versatility of the saxophone. I will take you from contemporary music to funk music.

27 AARON VAN DE WINCKEL 28 ELINE VAN DEN BROECK CLOUD 9 63

1. Cloud 9 by Simon Rogiest for alphorn, horn, 5 winds and cow bells i.c.w. Ferdinand Ensemble conducted by Dimitri Bracke) 2. Nocturne by Reinhold Glière for horn and piano (Ivo Delaere) 3. Pièce en Re by Henri Busser for horn and piano (Ivo Delaere) 4. Nimbus by Simon Rogiest for mixed choir and percussion i.c.w. Saevus conducted by Johannes Dewilde 5. Horn Quintet in E-Flat Major, K. 407 by W.A. Mozart for horn, violin, 2 viola’s and cello INTERMISSION 6. Cirrus by Simon Rogiest for Royal Harmony deKunstvrienden conducted by Peter Snellinckx 7. Mythical Creature(s) by Christiaan Janssen for horn and Royal Harmony deKunstvrienden conducted by Peter Snellinckx

As a singer, I have the great privilege of being able to be telling stories on music. Every note sung and every sound or utterance made on scene carries within itself a certain story—at least, that is how I see it.

In my Master’s recital, I’ll be telling a story showing the many faces a searching soul.

Sometimes man is searching for a place in existence itself, sometimes there’s a search for love.

Sometimes, a search for the divine, sometimes a quest towards the earthly realm. Sometimes, a search will never cease. Other times it’ll end in a brusque or gentle way. With music by Purcell, Landi, Bach and Britten, I will take you along in these quests full of joyful anticipation, bitter sorrow, sinister nightmares, wonderment and acquiescence of man.

31 NATHALIE VAN MEIRVENNE !KI?

Ki? Qui? Who? Who am I? Ik! Me!For the past five years I have been trying to find myself as a person and as a musician. I would love to show you what I already have discovered. With this program, I take you with me to my world. A world filled with dance, passion, traditional music, harmony and the never ending possibilities in the sound of the flute. programme – Suite Paysanne Hongroise, Béla Bartók – Intermezzi I, Misato Mochizuki – Sonate in mi klein BWV 1034, J.S. Bach – Glacier – Daj Fujikura – Chant de linos – André Jolivet

on the other hand, describes what the composer observed and experienced when he looked north in the middle of the central square on the Bijloke site. Despite the carefully noted rhythms, the whole is almost feels as an improvisation. Commissioned by myself, the young Dutch composer Renée Vos wrote a work that further compliments the recital.

34 HAN WANG HAN WANG, MASTER CLARINET RECITAL

32 NINA VANHOENACKER MASTER RECITAL CELLO This recital is a journey through Eastern and Central Europe of the 20th century with the cello at its centre, starting in 1924 when the Czech Leoš Janáček (1854-1928) released his imaginative Pohádka programme (‘fairy tale’). Ten years – Johann Stamitz (1717 – 1757) Clarinet later, the Russian Concerto in Bb major for Clarinet and Piano composer Dmitri – Sha Hankun (1926 – ) Pastoral, for Clarinet Shostakovich (1906and Piano 1975) wrote down his – Johannes Brahms (1833 – 1897) Trio in A minor sonata for cello and for Piano, Clarinet and Cello, Op. 114 piano in d minor, op.

Piano accompaniment: Alex Roosemeyers 40, one of his early works. An entirely different work 64 is the sonata for solo cello by György Ligeti (1923 35 YIFAN YAN – 2006) from 1953. In this work, Ligeti explores the broad sound spectrum of the cello in two contrasting movements. We conclude this journey MASTER OF MUSIC in Georgia with Nach dem Weinen (of Having Wept) PERFORMING MUSIC: JAZZ / POPULAR MUSIC by the contemporary composer Giya Kancheli MASTER IN DE MUZIEK (1935), an introverted work for solo cello.

UITVOERENDE MUZIEK: JAZZ/POP 33 DANYON VERHAEGE 01 NEIL AKENZUA ON THE EDGE OF IMPROVISATION NEIL'S GRADUATION CONCERT The end of an instructive and loving life chapter will be closed on Friday 21 June at 21h in Club Telex.

In this one hour concert I will share my own story through music. Self written and arrangements of existing songs. A story of the loss of loved ones but also of being loved and passing it on. A story of 6 months of Sweden Frank Bridge completed his only piano sonata that opened up many in the year 1924. The work embodies Bridge’s vistas for me. I shared so much love there that the sadness and indignation at the atrocities entire line-up on the 21st will be Swedish. that took place during the First World War. In The style of music will vary from solo piano, addition to very turbulent and virtuoso passages, filmic music, to jazz and electronic to more gospel Bridge occasionally leaves room for hope; it is like songs that my beautiful choir will perform precisely in these moments that the sonata feels for you. improvisational. Frank Nuyts’ 15th piano sonata,

02 DILYS COSEMANS

Dilys has been writing songs for some time now with partner in crime Gill Princen, behind the scenes so far. The time has come however to reach out. And what better occasion than the 2nd Master exam. The songs are about a life full of half-full and half empty glasses.

03 ALEXANDER DE BAEDTS 04 PACO DE PRINS 05 JEF DE SMET WEST AFRICAN TRADITIONALS IN A LINEUP Jef De Smet went to Dakar, Senegal to learn about traditional West African music. On djembé and sabar he learned different rhythms which, once back home, were converted into music for a contemporary pop combo. The songs are based on traditional vocal melodies, djembé/sabar grooves and breaks. All this is complemented by wind themes in the style of Afrobeat icons Tony Allen or Fela Kuti.

11 ROBBE DESMET BASS GUITAR GRADUATION PROJECT ROBBE DESMET For his graduation project, Robbe Desmet brings a set of his own songs. Among his influences are: ADHD, Dave King Trucking Company, Skuli Sverrison, …

Playing along: Warre Van de Putte, Tenor saxophone Nicolas Van Belle, Guitar Marcos Della Rocha, Drums 12 FRANK JAMES 13 ALEX LAGRANGE 14 WILLEM-ALEXANDER LANGLET 15 TOM PEETERS CROSSING THE RHYTHMIC BOUNDARIES A new project founded by Tom Peeters. Tackling the challenges of playing without a harmonic instrument, they create different sounds and atmospheres that can be interpreted differently for everyone who’s listening. The music consists of several well known jazz tunes and several songs composed by drummer Tom Peeters.

In these songs you can hear traces of jazz, groove, classical music, rock, …

16 NICOLAS VAN BELLE www.facebook.com/suuracollective SUURA 07 SIMON DECHAENE 65 Suura is a Ghent based trio, formed by Nicolas Van Belle. The music can best be described as dreamy, 08 RUBEN DEGEEST fluent, atmospherical landscapes combined with lyrical melodies with a focus on subtle details.

09 PIERRE DEHENNIN Each landscape unfolds an underlying thought and emotion in which we want to involve the spectator.

10 MARCOS DELLA ROCHA Werend Van Den Bossche, Alto sax www.soundcloud.com/hoshamusic Reindert Spanhove, Tenor sax (guest) HOSHA Nicolas Van Belle, guitar & composition Hosha was formed originally for a multimedia concert, Emanuel Van Mieghem, Double bass a project that combined animation loops with live free improvised music. Since then, the improvised mate17 WARRE VAN DE PUTTE rial was organized into fixed compositions while still keeping room for instant creation, such as a music 18 WEREND VAN DEN BOSSCHE journey with a few pre-agreed check-points in which To what extent can I bring together both impro­ any possible way could be taken to connect them. visational and extented techniques of the saxo­ The quartet explores the unusual formation of phone? A combination of a jazz approach and tenor and alto saxophones, Warre van de Putte and a more classical approach to the saxophone.

Werend Van Den Bossche, guitar by Nicolas Van A research into the saxophone as a solo instrument Belle and drums/percussion by Marcos Della Rocha with the emphasis on the possibilities and limits to search for a fresh way to play jazz, with influences of the instrument through my own compositions. of traditional masters such as Miles Davis and John By means of circular breathing I create my own Coltrane with a hint of modern exponents like Brian musical landscape.

Blade and The Fellowship Band, Omer Avital, AvisIn addition, the saxophone as part of a band. hai Cohen, James Farm and Ari Hoenig. Free music Playing my own compositions. As a source of artists such as Bobo Stenson Trio, Jim Black, Paul inspiration the 2nd quintet by Miles Davis. Because Motian Trio, Jakob Bro Trio are a great source of the sound of the saxophone is central to the inspiration for the group too. performance, in stead of a harmonic instrument With a non-bass formation as well live mani­ such as the guitar or the piano I added a bass, pulated electronic effects, Hosha invites the drum, tenor and alto saxophone. The drum and audience to embrace the contrasting music, bass for textures and rhythm. The saxes for sound opposing grounded and confortable moments and melodies. An extra instrument would push the with more instable and tense passages, band too much in one direction while in this context all immersed in the co-creative atmosphere.

06 RENAUD DEBRUYNE

the rhythm section provides a backbone and the saxophones can pretty much do their thing.

19 MELISSA VAN DER VEEKEN

MASTER OF MUSIC COMPOSING MUSIC: COMPOSITION MASTER IN DE MUZIEK SCHEPPENDE MUZIEK: COMPOSITIE 01 SINA RAHIMI FETRATI www.instagram.com/sina.rahimifetrati

My graduation project is a compilation of pieces from different composers, genres and styles. From traditional jazz ato more modern sounds. From rhythmically complex pieces to free and open, from polyphonic to simple… All this in a standard piano trio, with an occasional dash of guitar.

20 FINLAY VAN WYMEERSCH GROW

MASTER OF MUSIC COMPOSING MUSIC: MUSIC PRODUCTION MASTER IN DE MUZIEK SCHEPPENDE MUZIEK: MUZIEKPRODUCTIE 01 BRENT CLIQUET 02 DOMIEN CNOCKAERT www.facebook.com/domiencnockaert 66 MONDINGO

With ‘Grow’ Finlay brings a story that takes you through the process of growing. Everything around us is growing constantly and we ourselves are growing with it. We experience events that mark us for the rest of our lives and influence our decisions.

On the one hand this makes you stronger and better, on the other hand you may have to leave beautiful things behind. With trial and error, we endure everything that comes our way to become a better version of ourselves, to become who we want to be.

With a mix of covers and her own songs Finlay accompanies you through her story. A story about giving up, change and perseverance. About the pressure we feel to be ‘perfect’ to accept and love who we are.

21 RUBEN VANHOUTTE 22 DAJO VLAEMINCKX 23 NATHAN YSEBAERT

‘In my new project I’m trying to create something innovative by combining worldly elements with electronics. I invite people into the Mondingo world where everyone thinks they are in different places in the world and escapes their own reality’.

The emphasis is on dance, groove, entertainment but now and then there’s a deeper emotional touch to it.

03 LISE DAELEMANS UMM Lise Daelemans concludes her studies with a gig by her band UMM. A straightforward choice as this band was formed during her higher education. She entered the music production course as a singersongwriter using only guitar and vocals. Over the years her compositions became more layered,

PROMIS3 is the new project of Belgian house producer LIMITS, aka Andras Vleminckx, and Brent Dielen. LIMITS has a particular deftness for combining forward-thinking house beats with pop and songcraft leanings. One year ago he started working with Brent on PROMIS3. PROMIS3 is a young pop duo with an elevated focus on creating a total multimedia experience they call their simulated paradise. Here they explore the infinite possibilities of identity, sexuality, fashion, aesthetics and music genres. Leave everything behind and take a dive into PROMIS3’s simulated paradise.

more experimental and more electronic. She gathered four other musicians around her and together they worked on their own sound. Experimental pop with angular rhythms, intriguing song structures, prominent synths and rarefied, mysterious vocals.

Lisa Daelemans: vocals, synth Rose Denayer: vocals, synth Jonas Everaert: guitar, synth Hanne Vandekerkhove: vocals, bass, bass-synth Brent Buckler: drums

MASTER OF MUSIC THEORY MASTER IN DE MUZIEK MUZIEKTHEORIE 01 WARD DE JONGHE 02 LIESELOTTE DE VUYST 03 STEF VAN VYNCKT

04 JAMES DE GRAEF 05 JONAS DETAVERNIER

MASTER OF MUSIC MUSICAL INSTRUMENT MAKING MASTER IN DE MUZIEK INSTRUMENTENBOUW

06 MICHIEL RENSON 07 MATHIJS STEELS 08 WOUTER VAN ASSELBERGH A MATTER OF PERCEPTION

01 JASPER ANCIAUX

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One philosophical intro based on drums & feelings One Jazz Two concerts, One solo, One with Five Four with Lander Gyselinck Eight with Shht 09 ANDRAS VLEMINCKX www.promis3.com PROMIS3

02 BRAM DE MAN CHORDAE SECTILIS MENSURABILIS

The double bass has an extraordinary history.

In recent years I have been tracing back these roots. A lot of the literature, however, is severely outdated and to my knowledge there no longer exist any unmodified instruments. I therefore tried locating the most important instruments myself, which are mainly centred around the builder Gasparo Bertolotti. The study of these instruments brought me all over Europe and gave me a better understanding of the origins of the double bass, allowing me to develop a general hypothesis which I then applied whilst reconstructing one of the remaining (modified) instruments.

03 RENSKE DOENS RARE VIOLIN AND VIOLA OF NICOLAS LUPOT (1758-1824) During an Erasmus exchange in Poland Renske built the Viotti model of Stradivarius (1709).

This instrument is interesting because it was one of the first Italian violins that ended up in France, and with its style and Italian perfection it managed to convince the French luthiers to refine and standardise their style. Back in Belgium, Renske built a violin (1783) and a viola (1781) by Nicolas Lupot, who was a key figure in these reforms, often overshadowed by his contemporaries. Two unique instruments, from a time way before the adaptation of the Italian style, from a time before the French standard, showed us what a violin would have looked like, inspired by its father François Lupot and the German style under Jacob Stainer.

instrument. This resulted in a method that works most efficiently for me as a builder.

06 MATTHIAS VERHEIRSTRAETEN STRING QUARTET

04 BENJAMIN MAERTENS You serve soup with a ladle, you eat it with a tablespoon and whilst enjoying your afternoon tea you stir it with a As a luthier it is an honour, and an accomplishment teaspoon. Every type to make a string quartet. It’s a perfect time to do of spoon has got its so during your master. During this time, Matthias individual properties took the opportunity to go on erasmus to Poznan. fitting its intended Here he made the viola, under the supervision of purposes. Imagine violinmaker Honorata Stalmierska. The cello and doing everything with the two violins where made under the supervision a tablespoon… Why of Geerten Verberkmoes, Andreas Korczak and then would you perform Francis Ponseele. The quartet consists of copies Mozart or Beethoven of instruments, all made by the Silvestre family using clarinets who inbetween 1835 and 1889. were only developed during the 2nd part of the He reunited the makers from this family, 19th Century, instruments the composers couldn’t in onequartet. possibly have encountered? As a masterproject 68 I focused on making 2 models of German 07 DANIËL VERNOOIJ clarinets from the workshop of August (1720CLARINETS FROM THE FRENCH REVOLUTION 1807) and Heinrich Grenser (1764-1813), who do Daniël Vernooij built fit the time and place of a flowering period of that six clarinets based wich we now consider as classical music. on models from the late 18th and early 05 ROBBE VAN ASSCHE 19th century, from Leiden, Mechelen and Paris. While externally similar, the internal shape or bore is quite distinct for each model resulting in different musical possibilities.

The Paris Clarinet was made just after the French Revolution, where instrument maker Baumann found his place between the Conservatoire de Musique and the Conservatoire des Arts et Métier. The Leiden and especially the Mechelen clarinets testify a changed time, where the modern business had started to Robbe’s master project consists of three cellos, take shape and music had moved from Lefrèvre’s each built after the example of the cello from the classical melodies to the early Romantic virtuosity.

Vleeshuis museum in Antwerp. According to the label, this instrument was built by Breton, a 19th08 MATTIAS WIELFAERT century French builder from Mirecourt. However, EMBERGHER MANDOLINES Breton was not really the builder; after his death Luigi Embergher’s Italian mandolins were his name was used as a trademark by various considered valuable at the end of the 19th and builders from the 19th-century Mirecourt. The aim 20th centuries, when the instrument was popular, of the master project was to find a consistent way because of the craftsmanship, ingenuity and quality of building by testing different techniques on the with which they were made. Today they are still first cellos and bringing them together in the third

in great demand and many of them are getting old. For all these reasons, I have spent two years constructing mandolins. The result are faithful replicas of the tools and moulds as well as the instruments themselves. And as icing on the cake, I had the opportunity to reconstruct the machine heads from the first half of the 20th century.

They make the instruments shine even more.

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

GAME at the Ear to the Ground festival © David Helbich

Applying for an advanced master’s degree: 01 02 03 04

MARÍA DOMINGUEZ PÉREZ WARD GINNEBERGE CLARA LEVY ANNE ZEUWTS

BACHELOR OF DIGITAL DESIGN AND DEVELOPMENT (DEVINE) BACHELOR IN DIGITAL DESIGN AND DEVELOPMENT (DEVINE)

Students of the bachelor digital design and development are passionate about our constantly 2018-2019 has been an intensive season for changing, connected world. As digital creators GAME, the Ghent Advanced Master Ensemble. they investigate how services or products can be The musicians and singer have been performing improved. They bring change with innovations that in no less than 12 public concerts including SLOW 69 make life more pleasant, more restful, simpler, or festival in Concertgebouw Brughes, Ear to the perhaps indeed more exciting. User experience Ground festival in Music Centre De Bijloke (Ghent), is always central, forming the basis for decisions SMOG in Walter (Brussels), D’Apostrof (Deinze), made during the design and development process.

Q-O2 (Brussels), PostX (Deinze), Le Lac (Brussels), An exploring and creative attitude and approach on Zwarte Zaal (Ghent), Gaasbeek Castle and Opéra the part of students is essential. Problem-solving de Lille. Furthermore they attended workshops by, abilities are crucial, and digital technology is a among others, Fritz Hauser, David Helbich, Ulla means of finding answers. In this context, design Sickle, Stine Janvin Motland and Jürg Frey, and is not just a matter of graphic design, but it is a collaborated with P.A.R.T.S. In the context of these way of thinking, whereby solutions are sought, activities GAME has played compositions by Simon investigated, developed and communicated.

Steen-Andersen, Karl Naegelen, Ricardo Eizirik, Oscar Escudero, Ruud Roelofsen, Chirstophe For their bachelor project, students work in teams: Guiraud, Carolyn Chen, Christopher Trapani, Jürg Frey, Fritz Hauser, Jose-Maria Sanchez-Verdu, 01 LUCAS WILLEMS & Jonah Haven, Thomas Kessler, Rune Glerup, BRENT LE COMTE Klaus Lang, Jesse Broekman, Giacinto Scelsi, 02 LARISSA PEETERS & James Tenney, Catherine Lamb, Shiuan Chang, JESSY VANDOORN Michael Beil and Anastasia Guével. Some of these 03 BERT VAN DEN EECKHAUT & works were created for the first time or adapted SIMON VANDERSTEENE for GAME by the composer.

04 YANNICK VERCRUYSSE & JENS VAN STEEN 05 BILLIE VANDERHAEGHEN, TIM D'HOORE & ANNABEL DE POURCQ 06 LOUISE VANHOUCKE & SJOUWKE VAN PARYS 07 LAURA WYFFELS & STEIJE HILLEWAERT 08 FRAN LAMS & LINDE VAN WONTERGHEM 09 JÜRGEN PEUTEMAN & SERGUEY PUTILIN GAME at PostX © Leontien Allermeersch

10 NICOLAS NUYTTEN & JOLIEN VERVOORT 11 ARTHUR SEGAERT & YVES RIJCKAERT 12 THIBAULT MARICHAL & DANTE VERBAUWHEDE 13 JANA DESOMER & GREET STROBBE 14 SHEILA DECLOEDT & ASTRID SLINGERLAND 15 TARALD ROTSAERT & BENOIT BAERVOETS 16 LISA LAPON & SILKE DERUDDER 17 TOM CATRY & VIKTOR VANDAMME 18 KAREL VAN HAEVERBEECK & YACINE REDJALA 19 LUÏS DE ZUTTER & AARON ISRAEL 20 JENS DE WITTE & HOY HYM HO 21 FROUKE BUYSE & NADEZHDA MARUTYAN 22 VICTOR BYTTEBIER & ZENO HEYMANS 23 MILENKA DERUMEAUX & JOERY STOKX 24 JUSTINE VANDERPLANCKE & JEROM VERSCHOOTE 25 WOUT VANDESOMPELE & JARNE THORREZ 26 GIEL VANDEN HERREWEGEN & NICOLAS SCHAUS

03 THIBAULT CLAEYS

04 ANN DE CRAENE 05 JUSTINE DE CUYPER 06 JOLIEN DE GRAEVE

07 FEMKE DE KEYSER

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BACHELOR OF INTERIOR DESIGN BACHELOR IN DE INTERIEURVORMGEVING FOCUS Interior Finishing & Advice Interieurafwerking & Advies In the Interior Finishing & Advice focus, the complexity of pure design shifts to the specific questions of realization and finishing.

Students are first confronted with the entire design process in an extensive and often complex assignment with a public character.

A thorough analysis of the building, site and specific demands forms the basis on which students first draw up a balanced zoning plan and a functional organization chart. A second phase focuses emphatically on the technical execution of the design. Parallel to this large assignment, students are introduced to aspects of sales, project management, quantity surveys, advice and real service assignments, which familiarizes the students in the Interior Finishing & Adivce focus with the everyday practice of the interior designer.

Applying for a bachelor degree: 01 AYSEGÜL AGACLITEPE 02 TIMON BOUTTELISIER

08 LORENZO DE POORTER

09 FEBE DEJAEGER

10 LAURA FLEERACKERS

20 ALEXANDRA TANGHE

21 LOUISA VANTOMME 11 FEMKE FORÉ 12 SARA FROONINCKX 13 MAARTEN HAERINCK

22 IAN VERSTRAETE FOCUS Concept & Spatiality Concept & Ruimtelijkheid 14 VICTOR INGELS 15 EDIN KADIC 16 WARD LAMPAERT

17 VIRGINIE LEMAITRE 18 SOPHIE LOQUET

The Concept & Spatiality focus presents the students with design assignments of an advanced 71 complexity. For their bachelor’s project, students make a choice from a range of assignments in different fields. The emphasis in this field of specialization is on the phase of analysis and conceptualization and how these two aspects of the design process influence each other. A thorough analysis of the building, the site and a list of specific demands is not only carried out technically, focusing on structure, history and surfaces, but students are also expected to take up a motivated stance on the context of the assignment, the customer and the building. Both analysis and personal position will influence the choices made in the course of the ensuing design process.

This stimulates the students’ total awareness of their own design process.

Applying for a bachelor degree: 01 ANNELEEN BULCAEN 02 ARNO DE CABOOTER

19 DAIVA PESCARA PADILLA

14 JUDITH VAN ROBAYS 15 YENTE VAN WESEMAEL

03 JANNES DE MAN 04 DORIEN DE REU 05 JONAS DE VLEESCHOUWER

06 WILLEMIJN GEIRNAERT 16 IMANI VAN ZELE 17 PIETER VANDERMEEREN 18 ELLEN VANEECKHOUTTE

07 SARAH HERTEN

72 19 FIEN VANGHELUWE 08 09 10 11 12

ESTHER LAGA TINE MOENS CELINE NIELANDT THOMAS SEYNHAEVE TIJL STROOBANTS

20 SOFIE VERHEYEN 21 THOMAS VYVEY 13 EMILY TILLIEU

22 CHELSEY WATTHY

23 JORIEN WOUTERS 24 MAGDA ZIELINSKA FOCUS Furniture & Design Meubel & Design

02 TIM BOON 03 YASHA CONJAERTS 04 BERT DE CONINCK

05 EMMA DE SIMPELAERE 06 GIOVANNI MARIA FRANZINI 07 MICHIEL GOEMAERE

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 73 08 DUNJA IVENS view of the function and place they assume in an 09 STEFAN MARTIN PELUSO interdisciplinary and intercultural world. Professional 10 KAROLINA ROG designers who actively shape today what will be used 11 SÉVERINE STEVENS tomorrow—by the current and future generations— should pay special attention to the motivations behind a specific shape or design. As such, in this focus we trace the ‘rights of existence’ of pieces of furniture or design objects. Newly developed technologies or the negative—cultural, social, psychological or ecological—effects of a design object on its user can be adequate reasons for questioning an existing object and replacing it with a more effective alternative. For it is an absolute necessity to analyze and redefine designs that no longer fill a need in an evolved society or that even threaten a simple and healthy life.

12 PEPIJN TYVAERT Applying for a bachelor degree: 01 SAM APPELMANS

FOCUS Temporary Installations Tijdelijke Installaties

13 NATHALIE VAN DAMME 14 DANI VAN DE SIJPE

Flexibility and adaptability are central to the gra­ dua­tion focus temporary installations. The word ‘temporary’ refers to the durability of use in a specific configuration. Core concepts such as design method, production, manipulation, storage and transport are given a very different interpretation than in the other focus areas, because the preconditions within which the creative process takes place are of paramount importance. The assignments focus on scenography, exhibitions, fair stands, event design and design within the context of 'movable assets’, in which the design process can take its course, be it industrial, technical or artistic. Students are expected to provide answers to concrete situations and contexts. Only after a thorough analysis they develop their concept, that is transformed into an finished design with a lot of attention to the material technical and constructive requirements. We use narrative techniques to present this design in a clear way, both graphically and verbally.

15 MARIE VAN DEN BERGHE

Applying for a bachelor degree: 01 SOFIE ARYS 16 NOOR VANDAMME

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02 SOPHIE DE BOEVER 17 INE VERHAEGE

03 MAREN DEVITS 18 EVELYN VROMAN

BACHELOR OF LANDSCAPE AND GARDEN ARCHITECTURE BACHELOR IN DE LANDSCHAPSEN TUINARCHITECTUUR

04 CATHERINE GILISSEN 05 LINDE MEIRLAEN 06 JORDI MERCKAERT

Landscape and garden architecture is an aesthetically based profession founded on an understanding of the landscape. As in the working field, designing is at the core of the bachelor programme. Designing is a a creative process which consists of exploration and inspiration in order to plan, design and manage outdoor spaces of all scales. The projects in our bachelor is based on realistic and mostly actual design cases.

Besides design skills and manual and computer based visualisation skills (for both communication and research by design), a landscape and garden architect needs to have knowledge of ecology, soils, hydrology, (plant) materials, horticulture, construction techniques, policy context, ICT, sociology, history, etc. in order to understand the landscape.

07 MICHIEL SAELENS

Graduation project: For their graduation project, the students could choose between 5 projects, varying in scale and theme, but who are similar in complexity of the requested design products. In this way, every student has the opportunity to choose the project that best suits his or her profile as a landscape and garden architect.

08 DENTÉ VANDEN BRANDE 75

01 WINGENE, INNOVATIVE ENTRE PRENEURSHIP AT WILDENBURG CASTLE

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The Wildenburg castle park is located in the hamlet of Wildenburg, municipality of Wingene.

Many historic estates in Flanders were largely self-sufficient in the past. Income from agricultural leases, forestry and the granting of hunting rights provided income to recruit staff for the management of historic buildings, gardens and parks. They were also often breeding grounds for innovation in the field of agriculture and forestry and found its way into the wider countryside. The financial problem is today a bottleneck for the restoration and maintenance of countless historic estates.

Moreover, country estates represent a wide range of social values. As a landscape architect, the student is asked to think along about new forms of social entrepreneurship within the castle domain.

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after opening hours, the permanent installation of a room now requires a different layout and other or additional forms of (shared) use of the room.

The assignment consists of developing a vision & master plan for the further development of the campus—both in terms of layout and in terms of use (outside space and in buildings) to make an open campus possible. This requires judgments at plot / building level, at the level of the South campus, at the entire Schoonmeersen campus and at the level of the city of Ghent (green climate axes, etc.).

04 SINT-NIKLAAS, INTERCOMMUNAL MIWA,

LEARNING GARDEN IN URBAN GREEN AREA

The strategic project for the military base of Koksijde is the result of the release of the military airport in Koksijde. The global military area covers approximately 365 hectares. Such a large area that until now was virtually "locked" opens many possibilities for the future and evokes many ideas as to what these areas to be released can mean for Koksijde and Veurne, for the wider coast and the polder landscape. In other words, a suitable reuse of these sites must be sought. The province's ambition is to guide the transformation of the military base into a dynamic development where an open accessible agricultural polder landscape The waste intermunicipal body for the Middle is guaranteed and a balance is found with Waasland (Sint-Gillis-Waas, Sint-Niklaas, Stekene, recreational purposes (sport flying, recreational Temse and Waasmunster), MIWA is responsible co-use, etc.). The pursuit of affordable living on the for the collection of waste at home, the exploitation coast and employment takes place as a qualitative of recycling parks and the awareness of waste. edge finishing of the urban context (s) for the MIWA recently purchased an adjacent plot of coastal front and Veurne and this in a coherent 76 approximately 4565 m2 with the aim of giving it interweaving with nature and landscape. an educational function. Raising awareness about waste is an important theme for the intermunicipal 03 GHENT, HOGENT, SCHOONMEERSEN company. Our assignment is to create an

CAMPUS SOUTH, AN OPEN GREEN CAMPUS educational place for MIWA that fits within a broader thematic and spatial context. We thereby need to make statements on different scales: about the plot, the zone and the entire green-blue lob of the lobe city of Sint-Niklaas. Work out this vision in relevant parts: implementation, use, materialization, closability, planting and management, etc.

05 LIMBURG, THE FRUIT TRAIL FROM

DRIESLINTER TO TONGEREN

HoGent has various campuses throughout the city.

The Schoonmeersen campus is an organically grown campus and currently consists of two parts, on the one hand Schoonmeersen 1 in the north and on the other hand Schoonmeersen 2 in the south. Unlike the—older—campuses of HoGent (or other universities / colleges), campus Zuid will always be publicly accessible. Closing a large green zone in the middle of an urban area is outdated. We also see the first steps in campus Noord where the neighborhood will also use the campus facilities—such as the Java Coffee House and Standaard Shop. This development is also stimulated from the city.

This development requires a different approach to a campus. Where previously the gates close

Around 1990 the government invested in what was to be called the “Fruit Railway”: an east-westoriented train track (“line 23”) from Sint-Truiden to Tongeren. The line has stations in Sint-Truiden, Melveren, Ordeningen, Hoepertingen, Borgloon, Kerniel, Jesseren, Piringen and Tongeren where fruit growers and other farmers, syrup distillers and traders could load their goods. From now on,

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the station area became a sought-after industrial zone with direct access to external markets, simple supply of raw materials and large possibilities for location and expansion. The railway line was constructed single-track and was never electrified.

Eighty years later—on September 29, 1957— passenger traffic on the line was discontinued.

Freight traffic continued to run until the 1960s and 1970s, but it was gradually phased out. The province of Limburg recently had the opportunity to buy the remaining lands from NMBS. The purchase and development of the bicycle track falls under the key project “tourism development of the region”. The fruit trail has become fragmented today due to changes to the track or its immediate surroundings. Also due to the various claims on the track—recreational cycle path, cycle highway, recreational walking path, nature reserve, private land, views and views, ...—a clear layout of the track is not easy. On the other hand, the ambition of the province of Limburg is high. The fruit trail must have a connecting function—both for landscape and ecological purposes, and for recreational use by cyclists and walkers, and functionally as a cycle highway. The fruit trail must have an international appearance—Cycling through the water in Bokrijk is cited as an example. And the cycle path must become an innovative project for the region.

This ambition means that the project cannot be limited to this one line, but must be viewed over a much wider area and with a broader perspective.

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ARNO ANTHEUNIS HANNAH ASIRU BABETTE AUDENAERT JASPER BAECK DYLAN BAEKELANDT JELTE BAESSENS SVEN BEKAERT MEREL BOER SIEBE BOSSIER THIBAULT BOUCKAERT GILLES BOUCKAERT ANTON BUCSÁN IBBE CAPPENDYCK ANNELIES CEYSSENS LORE COBBAUT

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ADVANCED BACHELOR OF LANDSCAPE DEVELOPMENT BACHELOR NA BACHELOR IN DE LANDSCHAPSONTWIKKELING The advanced bachelor’s programme in Landscape Development focuses on the landscape, and on the ways that landscape can be used in the context of environmental planning. This one-year programme aims to train competent professionals with the analytical and synthesizing skills that are necessary for an independent and critical understanding of landscape. This forms the basis for creative and substantiated planning and management proposals. The degree of complexity of the project assignments increases with each successive term. In the first term the projects focus on site analysis, with suggestions for planning and design.

In the second term, there is more emphasis on concepts and visions for design, while in the third term policy forms the framework of the planning and design process. As these projects respond to specific questions from the field, discussions between students and clients steer the reasoning process, with Geographic Information Systems (GIS) as an important tool. Students make projects for local authorities, provincial councils and nonprofit organizations. In the fourth term the students test and integrate the competences they have acquired in an internship in design firms, public institutions or administrations in Belgium or abroad, addressing landscape architecture in its broadest context, as well as the application of Geographic 78 Information Systems.

Projects developed in 2018-2019 IMPROVING OUR GLOBAL INFRASTRUCTURE The first project of 2018-2019 was part of an international partnership named “Improving our Global Infrastructure” between 110 universities and university colleges around the world. We investigated 10 landscape and landuse systems (e.g. green infrastructure, energy infrastructure, gray infrastructure, water infrastructure, agriculture, industry, …) in Kluisbergen, a municipality located in the south of the province of East-Flanders. Via geodesign we investigated different futuristic scenarios of improving a system and subsequently their influence on other systems and the landscape in general.

SPACE FOR DEMOLITION In Flanders we consume everyday 6 to 7 hectares of open space. The ambition of the Flemish Government is to reduce this number to zero by 2040. In the short term, policy attention seems to be mainly focused on the gradual decrease in the consumption of open space. Little focus is there on the reduction of it. We worked on seven unused or underused constructions. Starting from the region/ the landscape in which these objects are situated, we developed a vision. Next, we reflected on how the complete or partial demolition of these constructions—and other similar objects in that region—can be of significance for the realization of the vision.

RURAL ESTATES AS A LEVER FOR REGIONAL DEVELOPMENT IN THE LANDSCAPE PARK BULSKAMPVELD The Bulskampveld is characterized by forests, alleys and estates. From a historical and landscape point of view they determine the identity of the landscape park. This project assumes that historic estates can play an important role in the local and regional development of a region. Its social importance should not be underestimated: they are carriers of regional identity, recreation, culture, art, ecology and biodiversity and they make an important contribution to a qualitative and healthy living environment. We looked for holistic landscape strategies for maintaining and developing regional identity with estates as drivers by means of spatial scenarios and research by design.

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POSTGRADUATE MUSICAL PERFORMANCE PRACTICE 01 NATALIYA ALEKSEEVA WORKS BY ALEKSANDR SRIABIN Nataliya Alekseeva was born in Russia. At the age of 7 she started playing the piano. She continued her studies at the Mikhail Glinka State Conservatory in Nizhniy Novgorod. She regularly performed as an accompanist, but also as a soloist. She has also taken part in numerous masterclasses by various

Along with the students’ ambitious final curatorial project, entitled HARBINGER, in collaboration with Ghent University, Art@CMS and Kunsthal Gent – harbinger.schoolofarts.be – the 2018-2019 CS programme included the following two highlights:

well-known Russian musicians, including Vera Nosina, who is also a professor at the Moscow Conservatory. In 2012 Nataliya and her family moved to Belgium. At the KASK & Conservatory in Ghent she got additional training as a music pedagogue. She then enrolled in the postgraduate course Musical Performance Practice at the Conservatory of Ghent and continued her studies as a pianist with Vitaly Samoshko.

CREATIVE JAM SESSION (8 MAY 2019, DE KROOK, GHENT) In the context of the Tumultingent #7 Festival, CS students Gabriela Torres Freyermuth, Mobina Mohammadi Tabar and Monica Ruiz Loyola organized a creative jam session at De Krook library in Ghent. Taking as starting point the format of the jam session—improvisational events by musicians who have never played together before—Marie Borremans (writer), Dj Dejade (musician) and Hanna Van Dun (illustrator) came together for the first time. Over one hour each artist improvised in front of the public in his/her artistic field. They were challenged to complement the other artists’ work, while the audience witnessed this open-ended process driven by the combined creativity of the performers. Dj Dejade mixed music that provided rhythm to the story written by Marie. The writer Marie Borremans, while she was getting inspiration with books, used online google translate to communicate her story to the public in different languages. Hanna van Dun, who was following the story and illustrating it directly, created more than ten drawings which were given to the public as a souvenir and a trace of this event.

02 AKIKO OKAWA POSTGRADUATE CURATORIAL STUDIES Curatorial Studies at KASK & Conservatorium is an intensive one-year English-language postgraduate programme aimed at MA-level applicants with a background in the arts, humanities or sciences and a keen interest in contemporary art. Established in 1999, Curatorial Studies is the only postgraduate curatorial programme in Belgium, benefitting from a unique partnership between KASK, Ghent University, and the Municipal Museum of Contemporary Art, Ghent (S.M.A.K.).

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Hanna Van Dun, Marie Borrelmans and Dj Dejade © Tijs Van Nieuwenhuysen

WHAT ARE WE TALKING ABOUT WHEN WE TALK ABOUT DISTRIBUTION (20 MAY 2019, DE BRAKKE GROND, AMSTERDAM) CS students Peter Lemmens, Laurens Otto, Nasrin Tork, and Astrid Vereycken, together with the artist Timo Demollin, formed a study group to analyse the role of distribution in contemporary artistic and curatorial practice. The study was informed by input during informal discussions in Berlin from Tirdad Zolghadr (associate curator KW Institute for Contemporary Art), Kolja Reichert (critic at Frankfurter Allgemeine Zeitung), and Koen Haverbeke (General Representation of the Government of Flanders in Germany).

A sustained promotional campaign during the opening of the 2019 Venice Biennale led to a public discussion on 20 May at De Brakke Grond in Amsterdam, with Tirdad Zolghadr acting as moderator. To focus on the relationship between distribution and artistic production, the three artists Karina Beumer, Brenda Tempelaar, and Remco Torenbosch were invited to join the discussion as respondents. Among others, the following questions were raised during the evening: What forms do art derivatives take? How do the various models of distribution feed back into artistic practices? What would be a “best practices” of distribution, both for artists and institutions?

Hanna Van Dun signing drawings © Tijs van Nieuwenhuysen

As a follow-up to these discussions, the event From white paper to whiteboard—a visual discussion

fully understand BPD, I wasn’t even aware it existed.

Ignorance may be bliss in some situations, but in this one, it was detrimental to our relationship.

I often felt attacked and even fearful at times. I start­ ed investigating and learnt what borderline was.

on distribution in art took place at Extra City, Antwerp, on 20 June 2019 and an essay will appear in Metropolis M in Autumn 2019.

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ATENA ABRAHIMIA JOHANNES DE BRUYCKER LILIANA DO NASCIMENTO CHRISTOPHER DUPUIS LIESELOTTE EGTBERTS PETER LEMMENS ELISA MAUPAS LAILA MELCHIOR PIMENTEL FRANCISCO LUCIE MÉNARD MOBINA MOHAMMADI TABAR LAURENS OTTO MONICA RUIZ LOYOLA ANNA STOPPA NASRIN TORK GABRIELA TORRES FREYERMUTH MICHIEL VAN DAMME ASTRID VEREYCKEN LENNY VERVAEKE

03 LIJS BEECKMAN www.youtube.com/channel/ UCxbR3KYsvwno8hDxZLOGTGw LIJSISMORE

Lijsismore is my YouTube channel on which I post videos about veganism, thoughts and challenges on a weekly basis.

By creating more and consistent content and talking to experts, I hoped to find my way and style in the YouTube world.

POSTGRADUATE DIGITAL STORYTELLING 01 HANNE ALLIET www.hanne.schoolofarts.be MEET YOU THERE

04 KAAT BOSCH www.instagram.com/tunetea TUNETEA 81

I’m an avid traveler. There is nothing I like more than going out on the road and discovering new countries/cultures. Meet You There is my travel diary. Both for myself, family and friends so I can remember how a place made me feel and people can see how from trip to trip I grow more and more in the person I am.

02 NANOI ALLOO www.nanoialloo.wixsite.com/borderlinebestie BORDERLINE BESTIE My 2 best friends are struggling with the battle of borderline. Just living with someone that has this personality disorder, or being around them, can be extremely difficult.

Quickly changing mood swings and irritability: People with borderline personality disorder have issues managing moods and expressing emotions, leading to intense anxiety and irritability. I did not

Music triggers exactly the same region of the brain as heroin. This comes as no surprise. We all know music is a powerful trigger. It can spark a lot of emotions and more specifically it can trigger memories. What are the stories behind different songs and what do you feel when hearing them?

This digital project provides a platform for people to share their stories via Instagram and plays on your emotions by bringing you mixtapes in different moods. TuneTea. People spilling tea about tunes.

05 REBECCA BRAMLETT rbabroad.com/category/podcast RB ABROAD: THE PODCAST

Rebecca Bramlett is an American who has been living in Belgium since January 2016. Since moving abroad, she has been documenting her experiences as an expatriate through writing and photography on her blog, rbabroad.com, and on her social media accounts. For her graduation project, she has added RB Abroad: The Podcast to her blog. Through this podcast project, she explores the new techniques that are made possible to her through audio storytelling. In the podcast, she utilizes oral narratives, music, and other sounds to tell stories about her expat life in Europe.

06 DARA DE COENSEL www.vimeo.com/user49124126 WHERE NATURE MEETS CITY.

08 THIBAULT DEBAENE www.instagram.com/iamthibault1 IAMTHIBAULT

Thibault is a 22 year old, self-taught freelance content creator based in Belgium. In 2017 he discovered his love for photography and after a lot of experimenting with different styles he nowadays focuses his content on the following three subjects: portait, travel and lifestyle. With his content he first of all wants to show that following your creative instinct is one of the best things you can do in life.

Inspiring other people to create content and head out there themselves is one of his main goals. To offer a documentation of his content on a regular basis, he uses different media platforms such as a personal website, Instagram (iamthibault1) and Vimeo or YouTube.

Where nature meets city’, is a cinematic video about the beautiful city of Ghent. I chose this title because Ghent is a city with lots of culture, personality and nature, in contrast to other cities. This made me 09 LORI DEMIR want to make a cinematic video where the city of Ghent and Ghent’s nature meet. With this video 82 10 APRIL DOKPESI I want to create a soothing, dreamy feeling. This www.instagram.com/drunkdeep contradicts the usual urban experience, which DRUNK DEEP PODCAST is rather one of excitement. To get exactly the Drunk deep is a opposite I used slow motion images and different podcast, i started it to transitions to drag in the viewer. I also want to create awareness about encourage people to visit Ghent. alcohol consumption… but in a fun way.

07 CHRISTINA DE NEVE I decided to do this as www.kibbipixel.wixsite.com/readyplayer my project because GET ONE MILLION FOLLOWERS I wanted to make a ON INSTAGRAM statement that matters, and also, this is close to my heart. I know a lot of people who suffer from alcohol addiction and many more who are ignorant about it. I will use this platform not only to entertain, but also to educate and inspire. The name of the podcast is “drunk deep” this is a metaphor. First meaning relates to the contents of the main show.

The second meaning (just like the logo) implies drowning. At the end of the day, the goal is to save, My master project deals with becoming well known help, and make a change. We aim to impact lives on social media, focusing on the ‘Instagram’ by telling motivational stories and getting close platform. How do you get 1 million followers on enough to help those who need it! instagram? I share my experience of what I’ve done to get it. My project was designed and linked to my 11 SIM GEERTS artist’s name. As a small tribute. In my early teens www.instagram.com/lavie_encouleurs I wanted to become a model. I was not accepted LA VIE EN COULEURS in the fashion world because of my appearance, I’m Sim, and my favorite color is yellow. A year height and alternative style. That’s why I started and a half ago, I created the Instagram Page ‘la vie my own undercover life as a model, using my alter en jaune’, which was all about the colour yellow. ego ‘Kibbi Pixel’.

15 CAROLINE MONTHAYE www.instagram.com/ritueeltijd RITUAL TIME ‘Ritual time’ explores the possibility of trans­ formation through (contemporary) rituals.

Transformation has always been part of life.

Sometimes it is a natural process, sometimes it is induced by trauma.

When trauma (social, psychological, physical …) occurs, it never comes with a perfect map for healing. At a certain point in my own healing, the longing for final transformation popped up. Is there such a thing as an ultimate ritual? One of the things I learned on this journey is that a ritual becomes more powerful by carrying it out in the presence of people and by sharing it and growing connection.

That’s why I chose the social media platform Instagram to develop my project on.

Each photo had to have something yellow in it, so that the purpose of my Instagram Page was immediately clear when someone saw it for the first time. For my thesis I came up with the idea to change my Instagram page, which only paid attention to the colour yellow, to ‘la vie en couleurs’.

I chose 7 colours to focus on. The chosen colours are: red, orange, yellow, green, blue, purple and rose. Each week would revolve around a different colour. In addition, I was going to do something different every day concerning that particular colour.

12 EMIEL HUUGHE 13 MAXIM LAMBRECHT I KNOW, THEREFORE I VOTE

16 AREZOO MORADI Through our project we try to reconnect young people and politics by means of explainer videos on online platforms. As elections were coming up, we brought the necessary information in a way people could understand.

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14 AUGUSTO MARQUET www.viniciusmarquet.com TEST_270519_916PM.B_

Dream exploration that use virtual reality (VR) as an agent for storytelling. Interactive experience that aims to rise the question How virtual are our dreams? How real is VR? and What is named and accepted as “reality”? Test_270519_916pm.B_ is based in a personal dream and it is inspired

by The infinite dream of Pau yu by Tsao HsueKing in “Dreams of the Red chamber” This exploration is part of “Mapa Oniricos” (Oneiric maps), a community workshop that use UX low-fi prototype techniques and digital literacy practices in order to explore dreams.

Wil-ding is an immersive mental roadmovie, a combination of soundscape and 360° film. I tell the story of a young woman who has overcome many harsh ordeals. The audience may be inspired by the way she claims her experiences and finds strength in the darkest of places.

My intention was to make an intimate nonfiction documentary, but I also wanted to invoke the feel of a mysterious folktale. Even when told in a lighthearted manner, the old tradition of storytelling does not spare the audience from darker events and emotions.

18 FERRE PEETERS MASCULIEN The traits that are traditionally associated with contemporary western masculinity – strength, confidence, calmness – are not shared by everyone who identifies as male. A part is missing. Does this mean that these are lesser men? Or is this understanding too restricted and unsuited for the 21st century?

Masculien is a multimedia project consisting of video, photography, and text that does not aim to wholly dismantle the patriarchal understanding of masculinity, nor to replace it with an entirely new one. This project simply focuses on opening a dialogue on the question of what it means to be a man in 2019.

19 ANKE REILING LET IS COME DOWN

A virtual reality experience as a personal translation for that negative black cloud you sometimes encounter of which you don’t know when it will 84 appear, or when it will leave.

20 ANOUK ROBBEETS www.instagram.com/oracle.proj ORACLE “Oracle” symbolises mediation. Between past and present, between human and technology, between stories and real life. In this project Anouk Robbeets explores how the use of a voice-user interface contributes to a modern, more productive retelling of stories which have their roots in century-old oral traditions.

The myth of Narcissus and Echo hereby functions as a foundation for an interactive retelling which focuses strongly on both the creation of an equal conversation between human and device as well as on the reflection of contemporary issues, amongst which blatant self-obsession, unrequited admiration and imitation. The user is continuously encouraged to participate in the story in order to learn how to recognise themself in it.

21 GWENDOLIEN SABBE www.facebook.com/circusnomads CIRCUS NOMADS Circus Nomads shares online stories from circus performers past and present and their way of life.

I’ve started with a project unearthing a wealth of history on Belgian circus artists who journeyed to America between 1900-1940, working for Ringling Brothers, Barnum & Bailey and the vaudeville theatres. My goal is to tell these stories online.

While undertaking this research I came across a rich seam of circus artists past and present. This intriguing curveball that landed outside the remit of my original research parameters created this itch, an irresistible desire to share these unexpected stories too.

22 DAVY SPITAELS SINGLE USE

Single Use has grown out of a fascination with how men profile and objectify themselves on dating apps. A place where quantity is more important than quality and where centimeters are the new standard. “How many centimeters do I need to please you?”

23 KELLY VALENCIA Y RAMOS RIDERS DON'T DIE

‘Riders don’t die’ is a virtual reality experience for viewers who have no connection whatsoever with Flemish cycling. You enter a world of passion, a world of sport that for many Flemish people is a large part of their life.

Through 360° film and audio you are immersed in the personal experience of Freddy Maertens who becomes world champion a second time. Also in the film: Lien, ‘flower girl’ and rider’s wife, bar owner Eric and signalman Lucien.

24 JOCHEN VAN DURME BOOK OF LOVE In the podcast ‘Book of Love’ Jochen, together with a friend, answers the secrets and riddles that have to do with love. The four episodes each address a different theme, in which the makers share honest, sad or amusing experiences.

25 ISIS VAN LOON GRANDTALKS – THE GLORIES OF OLD STORIES

“Rian Touag” is my YouTube channel where I talk about design methodology, creativity and how to make things happen with a minimalistic point of view. In “Getting Shit Done”, I apply my design process to creative ideas. “Zero Gravity” focuses on the design methods and processes that are part of the creative workflow.

Both series feature on my channel and are part of my graduation project.

28 SALOMÉ VERDUYCKT The Ultimate Maintenance Guide is the end result of my personal project within the Postgraduate Digital Storytelling.

As I did my internship in T’Hooft Tuinmeubelen the guide covers all practical matters and tips for maintaining Life on earth is developing very quickly and garden furniture , barbecue, plancha, parasol people are adapting very easily to new tools and and other garden and terrace equipment. The techniques. In the past 75 years we can generally company specialised in the distribution of quality speak of five different generations! And with the and design garden furniture. This family business is word ‘different’, I mean really different. With the best known for its expertise and excellent service.

‘Grandtalks’ application I want to bring other 85 You can count on the purchase of beautiful objects generations closer together because I believe but also on a reliable after-sales service. young people can learn from elder people and vice versa. When youngsters visit their grandparents, they can open the ‘Grandtalks’ app. on their mobile TEACHER CERTIFICATION IN THE ARTS phone both on and offline. First the players have to SPECIFIEKE LERARENOPLEIDING fill in their names and afterwards questions, games and dilemmas linked to a person pop up. While playing the game, family members learn more about each other’s lives, generations and receive life advice.

26 GILL VANDER CLUYZEN www.instagram.com/gar.dy.loo GARDYLOO When you’re 20 something it can feel like your life is falling apart and falling togheter at the same time.

Because this can be a confusing period in your life I created a place where young adults can share their life experiences. I want everyone to know that, despite what your grandparents say, it is okay not to be a nobel prize winning entrepeneur, raising 3 kids, while cooking your hardworking perfect husband dinner at 20 something.

27 RIAN VELDERS www.youtube.com/c/RianTouag GETTING SHIT DONE

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AUDIOVISUELE KUNSTEN 01 SOFIE DE CLEENE 02 GEERTRUI DE VIJLDER 03 NINA EGGERMONT 04 IRIS KUNTKES 05 SAMUEL VANCLOOSTER BEELDENDE KUNSTEN 01 VICKY BRUWIER 02 INES CLAUS 03 MAÏTÉ DE BIÈVRE 04 TOMMY DE BLOCK 05 ANNE DE BOECK 06 LIEZE DE MIDDELEIR 07 IRIS DEZUTTER 08 REIN DUFAIT 09 SIMONE LEENSLAG 10 SYLKE OPHALVENS 11 MARC PALMER 12 DIETER RAVYTS 13 JOACHIM VAN DE STRAETE 14 LENJA VAN LAEKEN 15 FLORENCE VANDENBUSSCHE 16 MEGHAN VANDERBRUGGEN DRAMA 01 MANON DE BAECKE 02 SARI VEROUSTRAETE 03 JUDITH VINDEVOGEL MUZIEK 01 NAOMI BEHAEGHEL 02 MAURO BENTEIN 03 KOENRAAD BOTTELDOORN 04 JHOMAYRA CEVALLOS ORDÓÑEZ 05 JASPER COULIER 06 LISE DAELEMANS 07 DIETER DE BRUYN 08 JONATAN DE JONGHE 09 SIEMEN DE MAN 10 BART DE ROY 11 STEVEN DE WIJNGAERT 12 JOVANKA DEPAUW 13 LAURE DERMAUT 14 JONAS DETAVERNIER 15 CATHARINA EVENS 16 MART FLECIJN 17 JAN HEIRMAN 18 ISSA HELLEBAUT

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PAUL HEYMAN JOOST LAMBERT ANZHIM MEDETBAYEVA AMBER MEERT WIM PELGRIMS JONAS PIETERS ESTHER-ELISABETH RISPENS KARLIJN ROBBERECHTS LAYA SAFIEDDIN ARDEBILI ELLEN STEEGEN SANDER STUER MONA VAN BEVER ANA-FLORENCE VAN CRAEN KIRSTEN VAN DER ELST MELISSA VAN DER VEEKEN SASKIA VAN HERZEELE ZJEF VAN STEENBERGEN HANNE VANDEKERCKHOVE GEERT VANDEN BROECK SIMME VANDERSTEEN NINA VANHOENACKER JEREMY VETTOREL ELLEN WILS OLEKSANDRA ZHOLOBOVA

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• COMPLETED PROJECTS 90 Michiel De Cleene, Reference Guide 92 Hilde D’haeyere, Snow White Bathing Beauties 94 Sergei Istomin, Variations on a Rococo theme 96 Jelena Jureša, Denkmal oder Mahnmal?

98 Jan Kempenaers, Camera Image Making 100 Elly Van Eeghem, (Dis)Placed Interventions • A YEAR IN RESEARCH: PUBLICATIONS AND SELECTED HIGHLIGHTS

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REFERENCE GUIDE HBL Plutonium 238 pacemaker, transcript of a telephone conversation, P.733.HBT Plutonium 238 pacemaker, battery, P.733.KDB Plutonium 238 pacemaker, the crematorium as a dirty bomb, P.733.LIC Plutonium 238 pacemaker, left in a cupboard, P.733.OPS Plutonium 238 pacemaker, in a surgeon's hands, P.733.PRP Plutonium 238 pacemaker, as radioactive waste, P.733.PTC Plutonium 238 Pacemaker, display model [Tolochenaz], R.957.NAD A lost nuclear-powered listening device on Nanda Devi, R.957.RRR Mount Robson's remarkable resemblance to Nanda Devi, S.715.ISM Isla Melones, a growing island, S.913.CDA Cap d'Antifer, deepwater outport, T.472.FSW Fisherman on Ishinomaki's sea wall,T.495.PVI Ishinomaki, a panoramic view, T.613.RHI Reinforced hillsides in Ishinomaki, T.613.TPO Three people looking out over crumbling Mount Fuji at the Osawa failure, T.613.UOF Reinforcements along Mount Fuji's Osawa failure, U.178.CSH Conversation along a sodium lit highway [transcript], U.568.PEN Penryn, artificial nightlight mesocosm-experiment, U.699.PFI Penryn, overlooking the experiment, sighting of the fire, U.699.PFJ Penryn, in search of the fireground, W.299.BGR Grotto, W.392.CMC The Mysterious Cave, W.552.RUB Paleolithic caves hollowed out by the Rubicon, along the N666, W.568.BSR Cern, transcript of a conversation on the BSRT camera, W.568.CMS Cern, scale model on display in the CMS control cavern, W.568.

DUN Cern, DUNE, W.569.EXC Cern, towards building 282, in search of excavation samples, W.672.OPL BSRT, optical lab, W.763.BSP BSRT, public images, Y.359.CUI UFO sighting in Chemainus, Y.365.UTI A routine control of every utility pole with binoculars, Y.552.DAW Dovecote in a former air watchtower [KLD], Y.797.PRR Pigeon rings on a rope [internal perimeter], Y.815.

FLT Flint, Y.863.RRS Retrieved rock samples [Cern], Y.863.VAY Cavity, Y.957.BRE Bridge [Nautical], Y.957.WSS Wooden scale model in the home of a retired submariner, Y.978.FLL 12:13, flashlight in a dark corner of the oval room,

MICHIEL DE CLEENE 2015 — 2018 Reference Guide is a collection of entries on ships, forests and pacemakers. The cross-references between those entries not only determine the characteristics of the collection and its use, but they are also the mechanism behind its expansion.

All 1 entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.

2

Reference Guide allows each reader to construct his or her own path through the different entries.

This movement is similar to the one you might make within l’Encyclopédie, Winkler Prins, Encyclopaedia Britannica, Wikipedia, etc.; a movement that might take you from the entry on the aorta, to the heart, to surgeon, to scalpel, to knife, to axe, to forestry only to end up at silver birch or—with a different turn somewhere along the way—at windmill, oil painting, carbon monoxide, the moon or keel.

The DIN A4-pages in this book are a uniform way of presenting the heterogeneous material this project consists of. The collection incorporates modified carousel projectors, two pacemakers taking each other for a heart, transcripts, framed pictures, manuals, short films, a giant billboard, recordings, altered batteries, a collection of lowpressure sodium lamps, a carpet, a pronouncing dictionary, postcards, eighty pigeon rings on a rope, seven scale-models of a Himalayan mountain, etc.

This book is the reference guide to this collection: for each entry, it gathers both the DIN A4-page(s) and—in the margins—the provisional set of crossreferences 2.

An updated version of this reference guide accompanies every iteration of the collection, whether it manifests itself as an exhibition, an archive, a lecture, a website, a guided tour, etc.

1

Although the main focus of Reference Guide lies within moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.

A.132.APC Authenticity in Plymouth Sound, postcard, A.132.ASA Authenticity at the scrapyard, Aspropyrgos, A.132.ASD Ships bunked in anchorage area in Aspropyrgos, A.132.ASF Fishermen in Aspropyrgos, A.132.ASM Aspropyrgos Bay and the Thriasian Plain, seen from Mount Egaleo, A.132.ASR Aspropyrgos refinery, A.132.ELA Fishermen in Elefsina, A.132.ESM Elefsis shipyard & Mount Egaleo, A.132.ITY The names ending in -ITY, A.132.MPC Two weeks aboard the Authenticity, A.133.CLP Chemainus, where the Authenticity's position was last received, A.134.JAD Disappearance of Authenticity, A.134.KSB Shipspotters at Kiel Canal, A.134.KWO Authenticity in Kiel Canal [25.02.2006], A.134.NZK Authenticity, Noordzeekanaal, anno 1983, A.135.ACC Letter to the owner of the Authenticity, A.135.ASH First sighting of the Authenticity [in front of Harstine Bridge], A.135.ATA Aboard the Authenticity, J.957.SJB Sant Juan Bautista [scale model], J.957.SJR The restored masts of the Sant Juan Bautista [replica], J.958.TFL TFL 44 [the restored masts of the Sant Juan Bautista], J.960.NAK Transcript of an interview with Ms. Nakazawa, J.962.CKB Inside the crumbling keel of the Sant Juan Bautista, J.973.BOR The original masts of the Sant Juan Bautista replica, J.973.LPL Lumber in the parking lot of the Sant Juan Bautista Museum, L.463.ESH Mount Egaleo's shadow, L.463.ILL Traces of logging on Mount Egaleo, L.769.PAC Port Alberni conversation, M.193.SDY Nuclear submarines queuing in Devonport Yard, M.199.GSW Wreck of the Glen Strathallan, M.199.RBO Boeing 737 artificial reef, Chemainus, M.234.KLD KLD, hiding as a means for conservation, M.251.TES Temporary storage of slightly radioactive material, M.253.TER Telerad, M.392.DST Dark structure in a former atomic command bunker, M.392.TNK Kitchen of a former atomic command bunker, P.567.EXP Explanted pacemaker, P.733.FLP Plutonium 238 pacemaker, the plutonium might escape, P.733.GHP Plutonium 238 pacemaker, G.H. displays a nuclear heart pacemaker, P.733.

Each copy of Reference Guide is a paused record in the midst of an unrelenting cross-referential expansion.

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Michiel De Cleene, Reference Guide Roma Publication 345 245 x 320 mm, 176 p., ISBN 9789492811400, € 35

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P.733.PTC Plutonium 238 Pacemaker, display model [Tolochenaz]

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SNOW WHITE BATHING BEAUTIES HILDE D'HAEYERE Postdoctoral research project, 2013 — 2018

drawing from archival research in film archives and libraries, a range of academic articles, visual essays, and conference papers are dealing with, among others, slapstick movies that picture the comic hardships of making movies, the impact of natural colour cinematography on comedy, imaginations of photography as comedy subjects in screen comedies, Chantal Akerman's aspirations as slapstick comedienne, and colour jokes. Each of these subjects sits on a crossroads between comedy, colour and women in cinema.

‘Snow White Bathing Beauties’ is a post-doctoral research project that studies technological advances in film photography in the 1920s and 1930s, and links these developments to the quest for comedy effects. The project originated in my doctoral research on cinematography for American slapstick comedies, of which several aspects unexpectedly spilled over. The core of the project is the figure of Snow White, the perfect embodiment of the tensions that surround comedy, colour, and women on film.

The original Snow White-figure is Marge Belcher, whom I met in the summer of 2011, after which she gave me full access to her personal archives.

A young ballerina in Los Angeles in the early 1930s, Marge Belcher was the model for Snow White, the fairy-tale figure described by the brothers Grimm, for the feature-length animation film Snow White and the Seven Dwarves, released

by Walt Disney in 1937. Marge Belcher's acting and dance improvisations were filmed and retraced frame-by-frame to animate the individual drawings into the smoothly moving character of a silly girl with skin white as snow, lips red as blood, and hair black as ebony.

From this core concept, research questions venture out into the realm of ‘cinema-to-graphics’, studying the ways in which bodies in the early twentieth century were subject to rhythmic, anthropometric, and motion analyses under the influence of technology-based aesthetics drawn from (animation) film, (high-speed) photography, colour dye processes, and efficiency studies.

Talking to Marge Belcher was a time-confusing experience. On the one hand it drew me close to film history as a lived existence—Marge had actually been acquainted with Charlie Chaplin in Hollywood—, yet on the other hand the deep divide ingrained in academic research became very clear: studying archival materials and reading historical sources does not guarantee accurate insights or truthful images of earlier times at distant places. In order to reanimate history, one needs to take more liberties. That is the premise of a series of lecture-performances I developed, called ‘ciné-mains’ or ‘hands-on cinema’: a performative format in which I analyse histories by handling, manufacturing, and manipulating archival images and objects in front of a live audience. Grasping hold of archival materials, fingering their textures, and leafing through images, not only reclaims the grip of manual work in the era of industrial labour for today's touch-screen audiences, it also continues history as the handing down of stories, while possibly generating comedy.

Alongside performing, a second work mode defined my artistic practice: publishing. Mostly

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Publicatons 2013-2018, for details see: expertise.hogent.be

Motion study for Snow White by Marge Belcher, 16mm Kodachrome, c. 1934

Ciné-mains, Cinémathèque française Paris on 14 February 2019

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Picture postcard, undated [Le Havre, education physique sur la plage]

VARIATIONS ON A ROCOCO THEME, OP. 33, PYOTR TCHAIKOVSKY AND KARL FRIEDRICH WILHELM FITZENHAGEN – A CREATIVE COLLABORATION SERGEI ISTOMIN PhD in the Arts, completed in 2019 The topic of the present artistic research Variations on a Rococo theme, Op. 33, Pyotr Tchaikovsky and Karl Friedrich Wilhelm Fitzenhagen—a crea­tive collaboration’—might be viewed as super­fluous by music historians who believe that every­thing is already known about the Variations’ history. However, in many ‘mainstream’ scientific publications, Fitzenhagen is accused of arbitrarily reshaping the sequence of the Variations and therefore altering the tonal structure of the work.

Indeed, we should keep in mind that nearly all contemporary research publications are based on a relatively limited amount of mid-20th-century Soviet sources. It is necessary every so often to reassess ‘certainties’ and to decipher the facts by proposing another look for the sake of grasping the truth of the matter. Therefore, the time has come to shed new light on previous methods of analysis, reconsider current views, revise the existing musi­ cological works and musical texts, and revisit the period when Tchaikovsky’s Rococo Variations were composed, performed and published.

It is important today to emphasise the positive side of this particular composer–performer colla­ boration. Fitzenhagen’s name is inextricably linked to Tchaikovsky’s Variations specifically because this work was initially dedicated to the cellist. Moreover, Tchaikovsky was on friendly terms with Fitzenhagen, and on several occasions asked him to proofread and if necessary adapt cellistically a number of his compositions.

The conceptual clarification of historical, texto­ logical and editorial evidence supported here by a number of documents, such as the manuscripts of the Variations’ fortepianovioloncello score, the violoncello-solo part (both are the initial eight-variations version), first editions, the full text of Fitzenhagen’s letters to Tchaikovsky and photographs that are, for the most part, new to English readers.

The thesis also comprises selections of texts from Russian and European methods on perfor­ mance practice that were readily available in Russia through­out the mid-19th century and into the beginning of the 20th century—the time of the Variations’ creation and first publications.

More specifically, treatises by authors such as Charles de Bériot and Karl Davydov were actually in Tchaikovsky’s personal library.

In addition to the thesis, Sergei Istomin has performed a series of concerts related to his research, and has recorded the Variations and other pieces for release by Passacaille.

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© Gerda Bats

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DENKMAL ODER MAHNMAL? HOW SHOULD ONE COME TO TERMS WITH TRAUMATIC PASTS AND WHAT IS HUMAN IN THAT CONTEXT JELENA JUREŠA PhD in the Arts, completed in 2018

the performative nature of correspondence can be perceived as a ‘way of drawing closer to—almost “staging”—a problem that otherwise seemed to resist analytical treatment’. The book, actually, restages the process of conceiving an artwork, exploring and challenging the notion of ‘truth’ by raising difficult questions that lurk at the margins of official historical narratives. Still, it is through the details and personal memories through which the larger historical turmoil drips.

The issue of how to write about Yugoslavia emerged at a time when ‘Yugoslavia was no more’, and when the questions of how to rethink Yugoslavia in the context of current affairs began to arise (Maria Todorova).

As various decisions had to be made regarding both the conceptualization of the artworks included in the thesis portfolio and the plans for the dis­ cur­sive part of the thesis, especially decisions that pertain to the issues of artistic appropriation of the archive and of personal memories, it could be said that the personal turned political.

The thesis derives from extensive research on history, meta-history, philosophy, the politics of archives, and from questioning the veracity of personal memories, questioning that served as a driving force for creation of both artistic projects.

Both artworks (Mira, Study for a Portrait and Song) address historical events before, during, and after the war in Yugoslavia, and the questions they raise linger on into the present. What Yugoslavia represented, or rather, what it represents after its breakup—this is not a question that can have a single or final answer.

Samuel Beckett writes about not wishing to reproduce reality, but to unveil what lurks behind language by drilling ‘one hole after another’.

It is almost as if one can communicate what seems unknown at first, if one drills holes under the surface of the unfamiliar by zooming into the details and intimacy of one’s wound. As Andreas Huyssen observes, the potential which can be found in the inevitable ‘fissure’ of catastrophic events is actually the gap between experiencing an event and remembering, as every re-membering requires re-presentation. Sometimes, or most of the time, it seems that the only way one can possibly reflect on violence is either by ‘drilling’ holes or squinting through cracks.

The notion of time as a distinct memory vacuum, explored in both artworks, led to the spiral composition of the written part of the thesis.

In the book titled It is not red, it is blood (Not blood, red), the artworks are put in a dialogue, making two poles around which the book structure is established. At first glance, the book is constructed as a performative response to a letter received from performance scholar Christel Stalpaert, written in April 2016 for the Reader of the exhi­ bition held at the Museum of Contemporary Art in Belgrade. The correspondence, as a form of testimony and an interpretation of the artistic process, can be seen as the closest possible approximation of an inner dialogue which pers­ ists during the construction of an artwork.

Following Italian philosopher Giorgio Agamben,

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CAMERA IMAGE MAKING: PROCESS AND MEANING OF ABSTRACTION IN PHOTOGRAPHY BELGIAN COLONIAL MONUMENTS JAN KEMPENAERS Postdoctoral research project, completed in 2018

shots of the Novy Arbat avenue from the window of a Moscow apartment, my experiments included the layering of images, both digitally and in screenprinting, to produce abstract images derived from figurative photographs.

Belgian Colonial Monuments presents a catalogue of the remaining statuary devoted to the country’s colonial past. It is the final exhibition and book project realized under the umbrella of my postdoctoral track and in a stylistic sense, it is a return to a more direct form of landscape photography, after having experimented with degrees of abstraction over the past six years.

The project started when I came across a historical reel in the Bremen Kunsthalle of a large brick elephant, bearing the inscription ‘Unseren Kolonien’. It turned out the monument is still there, only the inscription has been removed and the park it is in is now called the Nelson Mandela Park … Back in Belgium I found about forty monuments of this ilk and photographed them, although completeness was never part of my ambition. The choice of this topical subject obviously already entails taking a kind of position, and of course I have some ideas myself about what the future of these monuments could be, but I see this project mainly as a cataloguing effort: to show what is there in order to fuel the discussion, and so that other people can do further research —much like what happened with the monuments in former Yugoslavia after I documented them in the Spomenik project (2010).

Still, the series certainly raises some remarkable conclusions and questions: not only are some monuments being restored; two new ones were actually erected in 2005 and 2006, which very few people outside of these particular towns might be aware of. Showing these alongside older ones will hopefully provide food for thought.

Framing and presentation are other factors that can be taken to hint at my own views although these are obviously also determined by aesthetic concerns: I always aim at creating the ‘ultimate shot’ of any subject. In these mostly urban contexts, colours made the images rather banal, so they became square black-and-whites. Angles and choices of which parts to focus on and which to leave outside the frame are always determined by a combination of concerns. In Ostend, Leopold on horseback is disregarded in favour of the more interesting scene below made all the more relevant by the removal of a hand by activists. The framing of Father De Deken’s statue in Wilrijk not only makes the picture more interesting and even magical, but also emphasizes what is really happening there: the priest’s knee resting on the back of a black man, the hand hovering over his head …

This series comes after a number of projects in which I investigated the potential of abstraction in my practice. Sparked by a series of night-time

In Hoboken, the process was programmatic: layers were selected and combined according to a predetermined format, and intuition came in only to take away layers again in order to come to the most interesting images. For Composite, I selected the details to be layered myself. Both projects presented the original series of photographs interspersed with the more abstract ones. Layered screen-prints also found their way into exhibitions, and digital reproductions of them were sequenced to more cinematic ends in YXur gujss if asegood as minM, a duo show with Jerry Galle.

If there are traces of abstraction in Belgian Colonial Monuments, they are much subtler than in these previous projects. In that sense I am returning to a more documentary style, but the experiments certainly fed my practice, and who is to say when or where I might return to them in the future.

Belgian Colonial Monuments is on view at Mu.ZEE, Ostend until 13.10.2019.

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www.jankempenaers.info

The book is published by Roma Publications

22 x 22 cm, 72 p., Dutch / English, € 24 Other titles available from Roma Publications

Hoboken, 2017. 104 p. + C-print, 30 x 21 cm, € 56 Composite, 2016. 72 p. + C-print, 24 x 31 cm, € 66

Untitled #7, 2014

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VNSEREN KOLONIEN, Bremen, 2018

(DIS)PLACED INTERVENTIONS ELLY VAN EEGHEM PhD in the Arts, completed in 2019 Elly Van Eeghem’s artistic practice is rooted in an endless fascination for urban development and the astonishing gap between plans and reality. In her doctoral research, she developed a procedure of ‘displacement’ that she applied three times in different settings. She makes a documentary video about a remarkable metro­ politan situation abroad, and shows this in one of Ghent’s peripheral neighbourhoods before embarking with the local residents on a search for resonances with their own context in the shape of a collective and collaborative community project. Along the way, urban textures, stories and lives become tangled up.

A first displacement took place between Asnièressur-Seine and the Bloemekenswijk neighbourhood in Ghent. Due to a profit-driven tangle of specu­ lation, high prizes and deliberate decay, the Quartier des Fleurs in the Parisian banlieue has seen a great reduction in social housing infrastructure despite a great need for just such accommodations and the area is marked by a high level of vacancy and terrains vagues.

were linked in the third displacement. Counter to Montreal’s reputation as a hospitable and multi-cultural city, the busy six-lane highway and metal fence between the affluent Town of Mount Royal and the working-class Park Extension neighbourhood speaks of another reality. One that is mirrored, albeit in a less dramatic fashion, in the Ghent neighbourhoods of Nieuw Gent and Sterre.

Although the area is marked by green spaces, these are often inaccessible on non-public grounds, hospital and university campuses. Van Eeghem and the local residents set up a design studio for public spaces here in an attempt to rediscover and reinstate the original meaning of ‘campus’: an open field. A pavilion at the centre of five walking trails through the area saw a festive inauguration with a parade, and open spaces were activated with co-created swings, bridges and benches.

In the past year, this research also led to a book and an audio-visual performance in coproduction with Vooruit. Both are aimed not simply at sum­ marizing the work accomplished but above all also at stimulating both public and policy makers to get involved in urban development and do so in a way that is truly imaginative and collaborative.

www.ellyvaneeghem.be This reminded many residents of the Bloemekens­ wijk in Ghent of one particular infamous street in their own area, where boarded-up residential 100 blocks dominate the view. To counter the lack of a community meeting place, Van Eeghem sug­ges­ ted building a cinema in the area. This place not only continued the legacy of a cinema that was once an important hub in the area, but its barrackslike look, with construction materials salvaged from the containers of young renovators, also recalled the row of emergency houses where some of the older residents had stayed in after the Second World War. (Dis)placed interventions: Making public space in urban landscapes In Neukölln, Berlin, Van Eeghem found the inspi­ 18 x 24 cm, 200 p. ration for a second iteration of the displacement method: the Hufeisensiedlung there, an iconic garden estate, was designed in the 1920s as whole­some residences for the working classes.

Miscalculations made the horseshoe-shaped estate unaffordable for this intended public, however, and the now UNESCO World Heritagelabelled site has since only risen in reputation and prices. This gap between intentions and reality, between sales pitches and everyday experience was certainly recognizable to residents of the Malem neighbourhood in Ghent, where one project developer managed to refer to the street as a ‘paved garden’. Together with the residents of Malem, Van Eeghem developed a lexicon of neologisms to describe a utopic future for the area, which then became the foundation for scalemodels and a large installation.

Two neighbourhoods each to some degree marked by physical and social divisions and inaccessibility

© Michiel Devijver

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Displacement #3, The Town of Mount Royal / Park Extension (Montreal)

A YEAR IN RESEARCH: PUBLICATIONS AND SELECTED HIGHLIGHTS

↑ Mekhitar Garabedian, Washing-up (Gentbrugge), 2013-2018. 2019, 152 slides, slide projection, dimensions variable. Courtesy of the artist and Baronian Xippas Gallery Here shown as part of the exhibition ‘Mekhitar Garabedian: Non. J’ai changé d’avis. J’ai envie d’aller à Hambourg comme dans la chanson d’Édith Piaf’ at Galerie Albert Baronian, 12.01.2019 – 16.02.2019. Mekhitar Garabedian is currently working on a postdoctoral research project titled ‘Collecting and Unpacking My Library’. © Isabelle Arthuis

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↑ After-talk with filmmaker Rosine Mbakam after the screening of her film Les deux visages d’une femme Bamiléké as part of the symposium organized by The School of Speculative Documentary at Kaaistudios, Brussels, 25.02.2019. The ‘School’ is an initiative of photo­ graphers Max Pinckers and Michiel De Cleene, theatre-maker Thomas Bellinck and film­maker An van Dienderen, all researchers at KASK. Together, they founded a research group that functions as an interdisciplinary meeting space to question the documentary act. © Max Pinckers ↓ Michiel De Cleene and Thomas Bellinck presenting the Manifesto of the School of Speculative Documentary at the opening of the symposium. © Max Pinckers

↓ ressObject is a project by Jerry Galle in collaboration with Elias Heuninck, Kristel Peeters and María Boto Ordonez. A 3D-printed object filled with growing mycelium lies on a pedestal. While this shape is being overgrown and deformed by mushrooms, it is also being scanned by a camera attached to an inquisitively probing robot arm. On a screen attached to the robot arm an AI program is trying to recognize the image camera feed with short paragraphs, resembling internet memes or tweets. The images are recognized by the AI, albeit with an amount of uncertainty. Sometimes the AI recognizes the Ressurected Object as a chocolate grinder, sometimes as a dying fish. The installation was shown in the exhibition Fibre-Fixed at Design Museum Ghent (26.10.2018 – 22.04.2019) and during the Printemps Numerique festival at Kanal–Centre Pompidou, Brussels (23 – 24.03.2019). © María Boto Ordonez

↑ Alex Arteaga and Heike Langsdorf (eds.), Thinking Conditioning through Practice.

11,2 x 17,7 cm, 96 p, paperback, English, design: 6'56", edition of 500. Art Paper Editions, June 2018.

The first book out of five included in the series Choreography as Conditioning. Rooted in a cycle of work sessions titled CASC at KASK, in which students work together with invited guests, the essay writing explores the notions of choreography, understood as ways of organizing subjects in their surroundings, and conditioning in both art-making and society-making. Where, how, and by whom are things organized and what kind of landscapes of experience are made (im)possible by the practices we enact and encounter?

Contributors: Alex Arteaga, Julia Barrios de la Mora, Julien Bruneau, Laetitia Gendre & Miriam Rohde, Heike Langsdorf, Kristof Van Baarle.

↓ Un pays plus beau qu’avant (Hannes Verhoustraete, 2019) is a film about Congo made in Brussels. The wanderings of Jean-Simon, a small-time business man, reveal the outlines of a microcosm of informal commerce within the Congolese diaspora. His everyday economic urgency connects with the political urgency regarding the situation back home as experienced from a distance by the Congolese living in Europe. The film orbits around these two impera­ tives, in a constant negotiation between here and elsewhere, the past and the present. This film was made in the framework of Hannes Verhoustraete’s artistic research project at KASK.

↓ Testing microalgae pigments and biomass for screen printing, A collaboration between Laboratorium, the experimental lab for art/design and biotechnology at KASK, and Industriemuseum Gent. © María Boto Ordonez

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

Bauke Lievens, Negotiating Distance: 2 letters and 3 conversations on artistic research in contemporary circus. Self-published, 2018. English and Dutch editions. € 30.

←

Microalgae-pigmented 3D-printed filaments by María Boto Ordonez and Elias Heuninck, in which experiments from the Color Biolab project and the Formlab come together. These research laboratories are open to students and researchers alike and have become centres of creative exchange and driving forces behind new projects. See tools-for-things-and-ideas. github.io and laboratorium.bio. © Elias Heuninck

↓ View of the exhibition ‘YXur gujss if asegood as minM’ (Zwarte Zaal, 22.09 – 07.10.18), a collaboration between Jan Kempenaers and Jerry Galle to mark the completion of their postdoctoral projects. Kempenaers showed a cinematic sequencing of abstract screen-prints labelled by a visual recognition script (left) opposite Galle’s ‘hyper-communicative software entity’ DITTO (right). © Rachel Gruijters

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This book presents an extensive documentation of the I.M. project that has been developed ↓ Kristof Van Gestel, Idiosyncratic Machine/Idiosyncratische Machine.

20 x 15 cm, 280 p, ills colour, paperback, Dutch/English, design and editing: Bureau Grusenmeyer. in co-creation since 2011. The book comes in an edition of 500 with unique wrappers made out of the cut-up drawings from the Idiosyncratic Machine workshops at S.M.A.K., Ghent.

Art Paper Editions, May 2019.

↑ Violin Sonatas: Historical Performance on Period Instruments (3CD, ExyLyre, 2018) features performances based on Ann Cnop’s doctoral research on violin playing techniques in which she studied original scores produced by the composers or their close friends and other historical documents. These violin sonatas can now be experienced as heard by Beethoven, Mendelssohn, Schubert, Schumann and Brahms.

↑ The Conversation Room is a free study place for dis/connecting with a thing, ‘oneself’ or others that was installed on the campus by Heike Langsdorf in collaboration with Adva Zakai and Elli Vassalou. The Room is part of the project ‘Distraction as Discipline’, an investigation into the function of attention and participation in performance art and pedagogy, writing and thinking practices.

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↓ Els Roelandt and Catherine Willems (eds.), Do You Want Your Feet Back? Barefoot Cobblers.

19 x 27 cm, 148 p, ills colour, dust jacket, English, design: 6'56", edition of 1500. Photographs

by Thomas Nolf. Art Paper Editions, December 2018.

See www.futurefootwearfoundation.com

“What makes Catherine Willems' work on ‘future footwear’ so appealing is its promise to leapfrog more than 150 years of industrialisation, with all its attendant afflictions, depletion of natural resources, extreme global inequality—and bring us straight into a cleaner and fairer future, while taking cues from ancient knowledge and new technology.” – preface by Christine De Baan

↓ Field trip organised by the researchers of the architectural design department in the context of the Interreg project ‘Innocastle: Innovating policy instruments for historic castles, manors and estates’, Gruuthuyse estate Oostkamp, 10 May 2018. © Steven Heyde

↑ To kick off their research project ‘The Futurology of Cooperation’, Anna Czapski and Diederik Peeters invited Maja Kuzmanovic to give a lecture and lead a workshop, introducing and context­ ualising futures in the context of the arts. The Art of Futuring, the workshop (Performing Arts Forum, St-Erme-Outre-et-Ramecourt, 28.02, 3.03.2019) was designed and facilitated by FoAM, as part of this project and supported by Spin and Kunstenpunt. © Maja Kuzmanovic, FoAM

↓ 3D-printed

works by Ives Maes shown as part of the exhibition ‘Sanguine. Luc Tuymans on Baroque’, Prada Foundation Milan, 18.10.18 – 25.02.19, curated by Luc Tuymans. © Ives Maes

↑ Raha Raissnia, Mneme, 2017, exhibition view from ‘Blackout’ (Greylight Projects, Brussels, 5 – 14.04.2019) organized and curated by Edwin Carels in the context of his postdoctoral project titled ‘Counterarchives’. The show highlighted the lingering influence of the magical lantern in

contemporary art, in bringing together works that combine the slow speed of slide projections that results in successions of light and literal blackouts with a preoccupation with historical amnesia and collective ‘blackouts’.

↑ Thomas

Bellinck in his performance Simple as ABC #3: The Wild Hunt, the third instalment of a growing series on the Western migration management machine. It follows a theatrical audio essay about cutting edge detection technology and a documentary musical about the digitisation of the EU border, and is related to Bellinck’s doctoral research project. © Laura Van Severen

← ‘Ruimte voor sloop’ is an exhibition in the series BWMSTR Label at deSingel, Antwerp (24.04 — 16.06.2019) that presents the work of students, researchers and teachers from the landscape development programme at KASK and from the architecture and urban planning department at KULeuven. The potential for demolition and the recreation of open spaces is further explored in a video work and photography by De Cleene De Cleen, also researchers at KASK.

• CLASSICAL MUSIC 110 MIRY Concert Hall • JAZZ, POP & MUSIC PRODUCTION 111

Telex 112 In Residence: KRAAK 112 In Residence: JazzLab • FILM 113 KASKcinema 114 CineSessies 114 Film Music Seminar 114 X-Ray 115 KASK @ DOCLISBOA 115 In Residence: Courtisane 116 In Residence: Sabzian • DRAMA

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MIRY CONCERT HALL

two operas. Together with the Conservatory Symphonic Orches­tra they tackled Stravin­sky’s Mavra, as well as his Le Rossignol. Further­ more, the Conservatory Choir performed Dvořák’s Mass in D. The MIRY Concert Hall does not shut its doors

Mavra © Maite de Lorenzo

© Leontien Allemeersch

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

Le Rossignol © Maite de Lorenzo

The 2018-2019 seagrand shape. We were son saw Paul Van also happy to chat Nevel and his Huelgas up with some of our Ensemble bring to proper alumni. Emma life his new book Posman and accomon nature and popanist Bert De Rycke lyphony. Supported brought French and 110 by the Flemish German songs, whereRadio Choir and the as Tom Goossens Brussels Philharmonic DESCHONECAMPANIE Ensemble, soprano deconstructed Mozart’s Lore Binon and pianist Così fan tutte.

www.miryconcertzaal.be

Deschonecompanie, Così © LeontienAllemeersch

© Thomas Bachot

in July, but instead opens them wide to host the Gentsche Festspiele. These included usual suspects as Schoonzicht series, Gentse Vleugels, Gentse Feesten Debatten, Il Cinema Repubblica and the International Chamber Music Festival, but also music theatre for kids.

Ola Gjeilo shrouded the concert hall in November darkness with the program Death Speaks. On a more cheerful note SPECTRA celebrated its 20th birthday and Czech music was honoured by the St. George Quintet in

In the Conservatorium op Scène segment, The BLATTwerk ensemble created several works of composition students commenting on Ligeti’s Ten Pieces for Wind Quintet. As is the custom the singing class took on an opera, or in this case,

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© Joselito Verschaeve

The jazz, pop and music production department facilitates concerts and jam sessions for our musicians and organizes study trips and master classes. Suitable partners are sought for each particular initiative, and many of the projects are integrated in the existing concert series of both major and smaller venues.

This way, our students immediately take part in the rich Ghentian music scene.

Each year, the Ghent and Footprints Jazz Festival offers (Belgian Jazz Late 111 us a coaching project Night Showcase: Bram and a stage (this year De Looze, Pentadox, featuring UMM, Screens Stéphane Galland & and RAMAN.). We also (the mystery of) KEM,

Warre Van de Putte of Screens © Aïsha Baert

UMM, project van Lise Daelemans (zang gitaar keys) & Brent Cliquet (drums) © Babeth Albert

expanded our collaborations with Jazzlabseries (Criss Cross Europe, Jazz Eats Borders), De Bijloke Muziekcentrum (jam sessions), Demo­ crazy (concert Noah Vanden Abeele, Briskey, Adriaan De Roover), CC Evergem (Double Bill with Walther & RAMAN.)

Baron/De Looze/ Verheyen, Taxiwars, Eos, Otto Kintet, Delvita).

Furthermore, we are especially proud of our collaboration with A School Called Tribe.

Central to this project is the connection between art and social challenges. It invites

musicians, rappers and producers to collaborate in bringing to the stage a live mix of jazz, hip hop and slam poetry, that are grown from the different musical and textual ‘flavors’ of all those involved. We believe art and music education should always reflect our diverse society and not turn a blind eye to problems such as social exclusion and unequal opportunities. Together with ASCT we want to deepen the perception of art and use music and words to strengthen ourselves.

Jazz (Cookin’ Wednes­ days) and pop jam sessions (Jammin’ Wednesdays) are held every week, with great focus on bands that are emerging, or have emerged, during the members’ student years. We also present final exam concerts to the general public.

Work by graduating students in jazz, pop and music production are released on vinyl (the Masterworks LP series).

Isolde Lasoen (Daan), Gertjan Van Hellemont (Douglas Firs), Simon Segers (De Beren Gieren), Lander Gyselinck (Stuff).

Finally, Project Weeks are organized twice each year, boasting a range of master classes and field trips. In 20182019 our students had the privilege to work with Steve Coleman and Five Elements, Marie Daulne (Zap Mama), Max Taylor (Mika), Joey Baron, Bobby Sparks, Bojan Z, Frank Michiels, OTO Machine, The Sessions with Dom Famularo, Paul Quin, Christine Ohlman and Carlos Guzman, Gabriel Rios, David Demeyere, etc.

The Paddenhoek building is also equipped with its own concert hall: Club Telex, named after the Belgian trio Telex and its leading man Marc Moulin who played a role as bridge builder between jazz, pop and music production. It has a professional stage for tryouts, jam sessions and exam concerts by our jazz, pop and music production students, and is equally suited for master classes, workshops and concerts by renowned pop and jazz artists.

Exhibition view during the opening of The Fluid Computer, by Floris Van Hoof, Zwarte Zaal © Maite de Lorenzo

Also in 2018, from the Horta Corridor, KRAAK supported off-stream musical currents. In KASK, they found a perfect partner to present and publish music that operates under, above and in parallel to the so-called mainstream. www.kraak.net

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Werend Van Den Bossche of Suura © Aïsha Baert

The start of the academic year saw the festive opening of KASK & Conservatory’s new music campus.

The completely renovated building in the Paddenhoek is centrally located in the city centre, housing state-of-the-art music studios, a theory room, practice areas and recording facilities.

The official inauguration was topped off with exclusive concert by alumni: Maarten Devoldere & Jinte Deprez (Balthazar),

the press. We organize events for the sharing of expertise and networking (Jazz Forum) and co-organize The Belgian Jazz Meeting, a weekend of showcases for an international audience of programmers. Since 2008, we have been working more internationally,

www.clubtelex.be IN RESIDENCE: KRAAK

Three years ago, we had the pleasure of welcoming JazzLab as residents on the Bijloke campus. JazzLab is a network that promotes the Belgian jazz scene by organizing concert tours with the aid of more than twenty different partners around the country. We encourage professional excellence in presenting the concerts, pay appropriate fees to the musicians and organize promotion and attention from

Musical performance by Christophe Clébard in the context of the PRESSURE BREAKS GLASS BUT IT ALSO CREATES DIAMONDS event in collaboration with STOCK © Pieter-Jan Verheyen

Alex Koo © Robert Hansenne

for example, as project coordinator for Criss Cross Europe, organizing tours for young jazz musicians in several European countries. www.jazzlab.be

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KASKCINEMA KASKcinema is devoted to screening films that tend to be overlooked by the regular cinema circuit. A broad range of genres and styles is covered: contemporary feature films, documentaries, shorts,

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foyer KASKcinema © Titus Simoens

animation, (cult) classics, video art, experimental work and so on.

KASKcinema’s Tues­ days are for FilmPlateau. This is a series of classic films, mostly screened on 35mmprint. Wednesdays and Thursdays are devoted to other programmes.

Touki Bouki, Djibril Diop Mambéty (1973), film still

tion with Kinoautomat, a fan/expert gives an in-depth introduction to a film of his choice.

Other events include Night of the Horror (three horror films!), Game Night (gaming on the big screen), Classics Restored

Festival (3 days of classics), Filmtonen (classics + live music), Live Track Cinema (a pop/rock-band makes a new soundtrack for a film), Night of the Palms (KASK students show their one-minute films), Radio Cinema (podcasts), Seuls (investigation Belgian film histories with Sabzian) and KIDScinema.

In this past year, KASK­cinema invited (inter)national 113 film-makers Philippe Grandrieux, Leslie Thornton, Lukas Dhont, Valeska Grisebach, Boris Lehman,… to present their respective work in person.

In addition to the cinema hall, we also have a micro-cinema in front of the entrance.

Call Me is in fact an old phone booth in which we screen experimental shorts, animation, podcasts and so on, in loop.

To guarantee the very best there is to offer, KASKcinema works together with several partners,

CALL ME © Bert Lesaffer

including Film-Plateau UGent, Courtisane, Kinoautomat and others.

KASKcinema is an initiative of Forum K, a non-profit organization, and the School of Arts Ghent, and is supported by the Flanders Audiovisual Fund and the City of Ghent. www.kaskcinema.be

visits by film directors Philippe Grandrieux (FR), Valeska Grisebach (DU), Boris Lehman (BE), and Ben Rivers (UK) in addition to our own Lukas Dhont and the people from CineMaximiliaan. In addition, we travelled to the International Film Festival Rotter­ dam to meet with the acclaimed French director Claire Denis.

© Michiel Devijver

CINESESSIES CineSessies comprises collective moments that call on all students and

Claire Denis © Hilde D'haeyere

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between film composer, sound designer and filmmaker, the function of music and sound in film and on the way sound and music can be intertwined in a soundtrack. The impact of music and sound on the audience is huge and more than the evocation of emotion.

With Nicholas Britell (Moonlight, 2016 and If Beale Street Could Talk, 2018), Carter Burwell and Skip Lievsay as our guests

© Michiel Devijver

Regisseur Valeska Grisebach met filmstudenten Suzanne Debaene en Marieke Elzerman © Hilde D'Haeyere

teachers of film. On four or five occasions during the year, we invite national and internationally renowned film-makers, editors, composers, cinematographers, video artists and so on for an extended discussion and presentation of their work, with associated screenings of their films, in the intimate setting of KASKcinema.

This year we enjoyed

FILM MUSIC & SOUND SEMINAR Each year, KASK School of Arts Ghent and Film Fest Ghent work together in a seminar on music and sound design in film & TV projects, curated

by Martine Huvenne.

In 2018 this film music seminar reflected on the collaboration

we discovered step by step what music and sound exactly do to us as an audience.

Whereas Britell is still in the beginning of his career, Burwell and Lievsay have been working with the Coen brothers for more than 30 years.

X-RAY Film is many things, all at once – a medium, a technology, an object, an art form, a story, an experience. With the X-RAY programme series at KASKcinema, each month, Atelier Mediakunst proposes an evening in which film is shown and challenged in all its facets and tangibility. In the meantime, we presented work

by Chantal Akerman, Salomé Lamas, Zoe Beloff, Makino Takashi, John Smith, Girls Like Us, Douglas Gordon & Philippe Parreno, Sebastian Buerkner, Aura Satz, Leslie Thornton, Goodiepal, Floris Vanhoof, Elephy and more.

X-RAY, March 2019, Aura Satz

X-RAY January 2019, Zidane, a 21st century portrait, Douglas Gordon & Philippe Parreno

X-RAY, November 2018, Leslie Thornton, Peggy and Fred in Hell

KASK @ DOCLISBOA

DocLisboa, Adina Balatova Manon Desutter Meltse Van Coillie © Hilde D'haeyere

In October 2018, our film department was invited as partner school at the leading documentary film festival DocLisboa. For the third time in a row, the festival invited a film school which it felt connected to. After the famous FAMU school in Prague and the film school in Karlsruhe, this year KASK & Conservatory were honoured to be their guest. DocLisboa is a festival that offers contemporary films at the margins of the commercial circuit: young filmmakers, films with a documentary or

experimental touch, films that look at the world today. An important part of DocLisboa festival is the Green Years programme that is specifically dedicated to young makers and debut films. In this context, the festival showed no less than 12 KASK graduation films.

Thanks to a subsidy from the City of Ghent, the entire film class that graduated in 2018, was able to travel to Lisbon to enjoy the international avant-premières of their graduation films and to put Ghent in the spotlight as a film city.

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

IN RESIDENCE: COURTISANE Since 2002, Courtisane has organized an annual film festival in Ghent. In 2010, as new residents at KASK, they began organizing

Tsuchimoto Noriaki, JP (1984), film still

This year, from 3 to 7 April 2019, the artists in focus were Alia Syed and Tsuchimoto Noriaki. The selection included new films

by Sarah Vanagt, Eva Giolo, Akram Zaatari, Vincent Meessen, Louisiana Mees Fongang, Juliette Achard, Lawrence Abu Hamdan, Eduardo Williams, George Clark, Ute Aurand, Luke Fowler, Jayne Parker, Virgil Vernier,

Sky Hopinka, Laida Lertxundi and more, often in dialogue with older or rediscovered films. Finally, the Breaking Sacred Ground Scale programme presented a selection of films by the African American filmmakers Kathleen Collins, Bill Gunn, Charles Lane, Wendell B. Harris Jr., Fronza Woods, Edward Owens, Camille Billops & James Hatch. www.courtisane.be IN RESIDENCE: SABZIAN Films don’t just float around in a vacuum, but are radically part of the world. That’s why Sabzian is committed to deepening the discourse on and the imagination surrounding cinema.

Writing about cinema opens a space for talking about cinema, for sharing cinema and, therefore, for watching cinema. The website www.sabzian.be is at the heart of Sabzian’s activity and provides room for reflections on cinema and for a content-driven film agenda.

Since the end of 2017, Sabzian and KASK­ cinema have been running a series of film nights called Seuls.

Singuliere momenten uit de Belgische filmgeschiedenis [Seuls. Singular Moments in Belgian Film History]. These programs are accompanied by the publication of unique texts by Belgian filmmakers and writers on Sabzian’s website. This season, for the third Seuls program, Sabzian showed a compilation of short

Noriaki Tsuchimoto, Aru kikan joshi, An Engineer's Assistant (1964), film still

films that are intimately connected with surrealism, from filmmakers Jean Calvel & Roger Livet, Ernst Moerman, Luc de Heusch, Marcel Mariën and Marcel Broodthaers.

Last March, for the 116 fourth Seuls program, Sabzian had the honour of welcoming the Belgian filmmaker Boris Lehman for a masterclass, a screening of two of his films and a conversation. www.sabzian.be

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Young talent takes to the stage in KASK Drama. Budding theatre makers and performers create and present remarkable productions on the Bijloke campus and at various locations in and around Ghent, including Campo, Vooruit, NTGent, Minard, les ballets C de la B, Gouvernement and more. This year, audiences were able to experience new Master Projects, including Who’s afraid of Virginia Woolf? (by Imke Mol, Naomi van der Horst, Flor Van Severen together with Mitch Van

Landeghem), Through the Looking-Glass (and what we found there) (Nona Demey Gallagher and Mats Vandroogenbroeck together with Timo Sterckx), BLA BLA BLUES (Freek De

Affichebeeld BlaBlaBlues © Leontien Allemeersch

Craecker), The House We Have Built (Simone Basani), Don’t make it about you (Khalid Koujili), liquid dreams

(Simon Baetens) and Some Things Last A Long Time (Nathan Ooms together with Anna Franziska Jäger).

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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,

MAP#85 Victoria Holdt & Kristen Rästas Stop! Breaking the fourth wall is a bad idea!

Some things Last A long Time © Axel Himburg

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

Third-year students in drama presented their own drama projects, as well as performing in other productions, in which they were guided or directed by diverse professional drama artists. These works included 20something (Gabel Eiben), SHOW ÉÉN | SHOW TWEE (Herwig Ilegems), what are you looking for (Youness Khoukhou), ZALM (Marijke Pinoy), and UNAPOLOGETIC (Nora Chipaumire in collaboration with Vooruit). www.kaskdrama.be

Victoria Holdt & Kristen Rästas, exhibition view, Stop! Breaking the fourth wall is a bad idea!

multimedia design, photography, film and film animation, graphic and textile design. Master students are invited to submit proposals for 117 this glass passageway, adjacent to the Zwarte Zaal. It is a corridor that many people pass by every day, with little wall space but a lot of glass, so students are obliged to work with elements that may or may not be at hand. This is a space that calls for making things to measure.

During the past academic year, the following 16 in situ Master Projects were presented: MAP#82 Elizabeth Geerts, het tegenovergestelde van vergeten. 1438.

MAP#83 Flor Maesen, Inside Conversations MAP#84 Jivan van der Ende, De Casting

MAP#86 Axelle Lenaerts & Vanessa Isabelle Muller, (okaeri) / Reckless Intimacy

Axelle Lenaerts & Vanessa Isabelle Muller, exhibition view, (okaeri) / Reckless Intimacy

MAP#87 Leon De Bruijne, Remora

Leon De Bruijne, exhibition view, Remora

MAP#88 Alberto Cattani, Artificial Crowds MAP#89 Carlos Álvarez Clemente & Mathias Vincent, To Go Through

MAP#90 Mats Wosky, Receptie

ZWARTE ZAAL The Zwarte Zaal multifunctional space on the Bijloke campus hosts numerous artistic productions each year.

The Zwarte Zaal has no strict, preconceived programme, allowing it to respond to the educational and artistic needs of the visual arts, audio-visual and applied arts programmes, as well as collaborations with other art schools and cultural organizations. Between exhibitions, the Zwarte Zaal is also the setting for public events, including lectures, symposia and study days.

research projects. They played out two separate projects against each other in the form of two projections controlled by computer scripts. On one side of the space, DITTO came to life via the website www.jerrygalle. xyz as a hypercommunicative software entity that every so often generates new critical reflections. On the other side of the projection wall a computer script processed a series of screen prints

by Jan Kempenaers.

Both series of images were subjected to an apparent intelligence with so-called answers,

Mats Wosky, exhibition view, Receptie

MAP#91 Clubbing at 7 MAP#92 Illustratie, Every movie is sort of the

MAP#95 Elena Vloerberghen & Cato Van Rijckeghem

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MAP#93 Sybren Van Overberghe, Birds No Longer Elena Vloerberghen & Cato Van Rijckeghem, exhibition view

MAP#96 Thomas Vancompenolle, Papillon: A Sense of Place Sybren Van Overberghe, exhibition view, Birds No Longer

MAP#94 Lucas Leffler, nothing is lost, nothing is created

MAP#97 Jonas Dehnen, Nur für dich glänzt im Auge die Träne

Affichebeeld liquid dreams Exhibition views, YXur gujss if asegood as minM, by Jan Kempenaers and Jerry Galle © Rachel Gruijters

Lucas Leffler, exhibition view, nothing is lost, nothing is created

A selection of projects: The Zwarte Zaal open­ ed the academic year with a duo exhibition YXur gujss if asegood as minM, a collaboration between visual artists and researchers Jerry Galle and Jan Kempenaers to conclude their postdoctoral

but in the end their findings were thrown back into our faces as question marks.

The Open Einde research project indeed came to an end. It was eulogized as an interdisciplinary attempt to develop new physical

Exhibition view, Departure – INTO THE UNKNOWN © Patrik Berx

Exhibition view, Norms © Paul Casaer

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and mental spaces for farewell rituals in a secular society. Together with students, the faculties of Mens en Welzijn, KASK & Conservatory and researchers Joris Van Poucke and Barbara Raes devoted three years to farewell rituals. What are the needs today? How do we give meaning to death in a largely secularised society?

How can the healthcare sector respond to this? And how can artists and designers contribute to this? The process culminated in an exhibition, a book, a series of performances and public events.

Open Einde, Vorming+ and Studium Generale, for example, organised an afternoon in which philosophy, literature and poetry were approached as kintsugi, a practice of understanding trough verbal aesthetizing.

both bachelors and masters, that dealt with the formation of ideas during the creative process and the sometimes unexpected results. For the sixth time already, drawing students from the second bachelor showed experimental murals under the title WALL DRAWING

Mavra © Maite de Lorenzo

Wall Drawing Experiment #6.

Amber Wynants, Kim Gillis, Mia Fernandez Medinacelli © Ives Maes

EXPERIMENT. The as yet nomadic PA\WS initiative is driven by a desire to look beyond the various disciplines and are all about collectivity, sharing practices and reinventing space.

They were guests in the Zwarte Zaal in October 120 2018 and transformed

For the first time Zwarte Zaal hosted the annual opera project of the Conservatory. The singing and instrument students performed Mavra and Le Rossignol by Igor Stravinski.

and performance programme, titled The Liquid Computer.

It consisted of 3 installations that took over the Zwarte Zaal, the Glazen Gang and the courtyard gar-

Exhibition view, Tussen Droom en Daad © Willem Vermoere

As usual the photography master's students set up an exhibition under the supervision of a curator. In Tussen Droom en Daad, curator Joachim Naudts tried to create a space where the world of the ‘maker’ and the critical gaze of the ‘other’ could meet. Departure – INTO THE UNKNOWN was an exhibition by animation students,

it into an open workplace, conceptualizing and building ‘The Platform’, a constellation of image, sound and performativity. How do different media and their creators interact with each other? What drives the dialogue?

How and why are practices brought together?

How can we break away from individualism within the arts?

View on Talking Gongs, by Floris Van Hoof, part of the exhibition The Fluid Computer © Maite de Lorenzo

In collaboration with the school and artist Floris Vanhoof, the concert organisation KRAAK, which is in residence on the campus, presented an exhibition, film

den with geometric forms and electronic sound waves.

BOEKS

This collection of texts offers some perspectives on (higher) art education. BOEKS started a reading group initiative and organised a film night to open up further discussion on this theme.Finally, Maud Gourdon presented her new publication and installation

Cover of the A Flower is Speaking to a Dog publication by Maud Gourdon Exhibition view, BOEKS 01: De Kousen van De Keyser © Raf Michiels

In January 2019, KASK and the Kunsten­biblio­ theek saw the birth of a new initiative: BOEKS, short for books.

This new presentation platform for books was established in the 15th-century gallery of the former monastery that connects the Kunstenbibliotheek with STAM. BOEKS wants to offer context and support to a book, i.e. to its creator, the practice or the initiative that lies behind it. The platform does not operate on its own, but is constantly looking for new collaborations with authors, makers, designers, publishers, bookstores, art institutes or something in between.

BOEKS celebrates all sorts of printed matter: young and old, unique and serial, readable and illegible. But above all, BOEKS loves and puts the spotlight precisely on those books that deserve it, because they are simply good, unprecedented or tired of sitting on shelves or being locked up in boxes. In order to give each book the most appropriate spatial form, each presentation

starts out from an empty space as if it were a blank sheet of paper.

BOEKS already focus­ ed on Stoppen met lezen (‘Stop reading’), after the eponymous Since its launch, self-help book by pubBOEKS has taken on lisher Troebel Neyntje. a different form every BOEKS 03 introsix weeks, resulting in duced Frik, Pedant, a series of tailor-made Schoolvos (‘Frik, exhibitions and public pedant, school fox’), events in its gallery as the first issue of the well as the adjoining new periodical and 121 library. First there was editorial group of the De Kousen van De same name: 't Verzetje.

Keyser (‘De Keyser's Stockings’), in which Raoul De Keyser's blue socks filled the gallery.

These works were collected in a publication

A Flower is Speaking to a Dog. The book was deconstructed page by page in the form of several spatial interventions in the BOEKS gallery.

Exhibition view, BOEKS 04: A Flower is Speaking to a Dog © Rachel Gruijters

www.boeks.gent

De Kousen van De Keyser publication with texts by Roland Jooris, Steven Jacobs and Paul Demets, compiled by Hilde D’haeyere and Liene Aerts, graphic design

by Kahil Janssens, publisher BOEKS, 2019 © Rachel Gruijters

and accompanied by a number of texts that place the sock motif in an art historical and poetic perspective.

Immediately afterwards,

Performance during the opening of BOEKS 02: Stoppen met lezen © Leontien Allemeersch

Cover of the Frik, Pedant, Schoolvos publication, edited by ’t Verzetje Vol. 1, No. 1, March 2019, graphic design by Erwin Wittevrongel, cover by Gerard Herman.

SPITS

KIOSK

SPITS is a new exhibition initiative of the drawing department and is located under a neo-Gothic pointed arch in the entrance hall of the Pauli building. Drawing takes on different forms within KASK. SPITS is a new platform for exhibiting the medium, in which teachers and students work together to develop thematic presentations twice a year.

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, the production of new works and the artist’s individual trajectory. Each year, KIOSK hosts four exhibitions in the KASK exhibition space, a former anatomical theatre on

Exhibition view, SPITS No. 1: Ontkaderd © Rachel Gruijters

For the first presentation, SPITS No. 1: Ontkaderd (‘Deframed’), students Luna Dieleman, Isaac Barbé, Noa Verkeyn and Ambika Sena made a small selection from their own archives in collaboration with teacher Kasper Andreasen.

SPITS No. 2: Depot

the Bijloke campus.

KIOSK is an initiative of the non-profit Kunstensite organization and University College Ghent’s KASK School of Arts.

Parade through Ghent with a life-sized Charles V on horseback during the opening of the exhibition Plus Ultra by Daniel García Andújar © Rachel Gruijters

by Spanish artists Daniel García Andújar.

In his multi-media installation Andújar brought together several stories on historical moments of public display of power in Ghent. As part of the opening, a parade was organized, passing by historic sites in the city centre before reaching KIOSK. The second exhibition, Assembly (KIOSK) by Agency, displayed a selection

122

During the third exhibition, Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…), Caribbean-French artist Julien Creuzet invited us along for a meandering narrative in which phrases and sounds echo in the form of songs, poetry, performance, video and sculpture.

Agency Assembly #1: ‘Thing 001928 (Give Up Yer Aul Sins) gathering in the framework of the Assembly (KIOSK) exhibition by Agency © Eva Giolo Julien Creuzet, Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…) © Tom Callemin

Agentschap, Assemblee (KIOSK) © Tom Callemin

The final exhibition of the season, Family Nexus by Sophie Nys, united a number of

Exhibition view, SPITS No. 2: Depot © Rachel Gruijters

consisted of a selection of drawings by bachelors and master students, selected by Luna Dieleman and Noa Verkeyn in collaboration with teachers Kasper Andreasen and Henri Jacobs.

During the build-up of the exhibition Plus Ultra by Daniel García Andújar © Liene Aerts

KIOSK opened its season with the solo exhibition Plus ultra

of juridical cases and controversies involving intellectual property.

both minimal and monumental interven­ tions, unique and

Sophie Nys, Family Nexus © Tom Callemin

D

E

S

I

G

N

MAARTEN VAN SEVEREN CHAIR 2019 FRANCESCA TORZO

123 Sophie Nys, Family Nexus © Tom Callemin

serial objects, personal acquaintances and obscure figures from 16th-century prints.

Next to its regular exhibition program, Kunstensite vzw (KIOSK) and School of Arts Ghent offered

program of this new learning and working platform focused on Open Design approaches in media-, product- and systems design. The course method is based on co-creation and peer learning, and puts an emphasis on technological literacy and new media literacy.

Every student developed his own work during the course and these results, work in progress, thoughts and struggles were exhibited in KIOSK. www.kiosk.art

Open Design Course for Refugees and Asylum Seekers © Leontien Allemeersch

a course in Open Design for Refugees and Asylum seekers currently staying in Belgium. The course

© Francesca Torzo

In 2015 the Department of Design of KASK / School of Arts Ghent and The Maarten Van Severen Foundation established a chair with the aim of conveying the relevance and significance of Van Severen’s work for today’s designers.

Every year a leading designer, whose work has an affinity with the work of Maarten Van Severen, gives a lecture and a masterclass. The first editions were in the hands of Erwan Bouroullec, Alfredo Haeberli and Aldo Bakker.

Holder of the chair in 2019 was the Italian architect-maker Francesca Torzo

(1975). She studied architecture in Delft, Barcelona, Mendrisio and Venice [IUAV].

She worked for architect Peter Zumthor and Bosshard Vaquer­ architekten, Zurich.

In 2008 she started her own architectural practice in Genoa.

She designed and built—to name a Belgian project— the recent expansion and renovation of Z33 in Hasselt. www.mvsc.be

LECTURE SERIES & SYMPOSIA STUDIUM GENERALE 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.

Hessels and Dominique Van Malder), about the complexity of being a man (Stichting Nieuwe Helden), about climate change (Philipp Blom), about three stories of goodbyes, distance and gossip (Sien Volders), about the revolting man (Brigitte Herremans), about the answer of all your questions (Laura Van Dolron) and the answer to the question ‘crayor wise?’. www.studiumgent.be

Studium Generale

WE MOETEN SCHOPPEN, AAIEN, VRAGEN, ROEPEN, FLUISTEREN EN OPNIEUW BEGINNEN.

This year’s theme was ‘Engagement’, about wanting change without boundaries, about meaning something, about not knowing (Lucas De Man), about the strength of social media (Rashif El Kaoui), about poverty and inequality especially for kids (Isil Vos), about empathy (Joris

Peter Fengler

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 broad audience.

Students at KASK & the Conservatory can follow these lectures as a minor.

This year, we invited the following artists: Angie Keefer, Sirah Foighel Brutmann and Eitan Efrat, David 124 Bade, Grace Ndiritu, Eli Cortiñas, Peter Fengler, Lodewijks, Jenny Watson, Mark Schaevers, Nikolaus Gansterer, Samah Hijawi, Daniel García Andújar, Hadassah Emmerich, Mohanad Yaqubi and Roy Villevoye. www.kasklezingen.be KEYNOTES: YOUNG, CREATIVE AND KICKING

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,

Maat-werk, atelierwoning Mariakerke

Keynotes are an annual series of exclusive evening lectures, presented by designers and others who stand with both feet squarely on the ground in practicing the professions of the respective disciplines The Keynotes deal with what's going on in Flanders (and beyond) in terms of architecture, interior, landscape and photography. From these professions, we ask the speaker(s) to give different views on their vision, approach to projects, challenges as a young designer, what they have achieved from education …, in the broadest sense.

The Keynotes rely on a broad, interested audience, but are principally intended to confront students with the diversity of ideas in the concrete working domains of interior design, landscape and architecture

design, and motivate them to engage in active dialogue with the speakers, as well as critically reflect on their own presentations.

During the last year, Keynotes welcomed

BOOKS

&

BOOK

PRESENTATIONS

KUNSTEN­BIBLIOTHEEK

• RAAMWERK architects – Gijs De Cock & Freek Dendooven • Felixx Landscape Architects and Planners – Michiel Van Driessche • Bieke Depoorter, Photographer • Marge architects Thomas Roelandts & Steven Schreurs 51ST INTERNATIONAL HORN SYMPOSIUM The Ghent Royal Conservatoire has been passionate about the horn from its very first day. The institute was founded in 1835 by horn virtuoso MartinJoseph Mengal who set high standards for a legacy of horn playing that has been vital to horn playing worldwide.

Hence, our horn teachers Rik Vercruysse and Jeroen Billiet were more than proud to host the 51st International Horn Symposium for the first time ever in the Benelux countries, together with the International Horn Society, whose purpose it is to promote musical education with particular reference to the horn. In and around the conservatory they organised over 170 activities, including concerts, lectures, workshops, masterclasses, exhibitions, competitions and a world record attempt to bring together the largest horn ensemble ever.

(Kunstenbibliotheek is can be consulted by • Publications linked a contemporary library appointment. to the activities of that holds collections Kunstenbibliotheek Kunstenbibliotheek’s of books and magis a place for books different partners azines of the KASK and study and a live(KASK, Design (Koninklijke Academie ly environment that museum Gent, voor Schone Kunsten/ keeps track with toHISK, SMAK, STAM, 125 Royal Academy of day’s artscene on Gentse Gidsen).

Fine Arts), S.M.A.K. and beyond KASK. Kunstenbibliotheek’s (StedelijkMuseum of Kunstenbibliotheek collection wants to Contemporary Art), weekly presents new become an accurate Design Museum Ghent, aquisitions. Next reflection of the activSTAM (Stadsmuseum to general collecities of collaborators, Gent/Municipal tion development, staff, guests, alumni Museum Ghent), HISK Kunstenbibliotheek or students) (Hoger Instituut voor focussed in 2018• Positions from the Schone Kunsten/ 2019 on the so-called geographiHigher Institute for Fine following themes: cal and/or intellectual Arts) and the Gentse Gidsen in one location.

Kunstenbibliotheek is a specialized library in visual arts, with particular focus on contemporary art, design, the city of Ghent and urbanity.

The collection includes more than 100,000 exhibition catalogues, monographs and reference works about art history, art theory, philosophy, drama, performance, film, Floordrawing and Furniture by architects De Vylder Vinck Taillieu as part of Essential Reading #7.

Courtesy Maniera, Brussels © Els Roelandt photography, architecture, landscape archi• The city of Ghent, periphery: publicatecture and design. It books on artists, tions on art and art moreover includes an designers, architects theory from Asia, exceptional collection or writers born or Middle East, Africa, of artists’ books that living in Ghent.

South America with

a special attention for decolonization theory, gender and LGBT studies.

• a first catch-up movement is made in collecting publications about and from female artists and/or authors or curators.

Kunstenbibliotheek launched it’s website this year: it is a place to discover new acquisitions, library news, bookprojects and that ofcourse gives access to the full library catalogue.

Reading also resulted in two exhibitions that took place in the cellar of Kunstenbibliotheek: Inge Vinck and Architecten DeVylder Vinck Taillieu made a floor drawing that is now a permanent work in the library and publishers Topo Copy presented their zine collection in May-June 2019.

ONRUST – KASK & THE ROYAL CONSERVATORY’S QUARTERLY PUBLICATION

1M3

ONRUST magazine °8

are published every year, with the final issue focusing on the Graduation Festival.

kunstenbibliotheek.be

Onrust can be viewed and consulted online at issuu.com/school ofartsgent and medium.com/onrust.

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

ESSENTIAL READING Kunstenbibliotheek (Arts Library) organizes the Essential Reading book project.

Essential Reading aims to enlarge, diversify and enrich the Kunstenbibliotheek’s book collection. Which books are really indispensable for an art library today? In the library, Essential Reading invites guest speakers to bring together and present the books that they consider most valuable in their own lives and work.

Essential Reading #7 Inge Vinck (Architecten De Vylder Vinck Tailleu)

Essential Reading guests in 2018-2019 included architect Peggy Toté, architect Inge Vinck, artist Valérie Mannaerts, artists Atelier Bildraum, publishers Topo Copy and KASK researcher Laura Nsengiyumva.

This year’s Essential

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Exhibition view, 102 Craters on Venus, selected by Sophie Nys

1M3 is a space of just one cubic metre, dedicated to artists’ books from the Kunstenbibliotheek (Arts Library collection). This academic year 1M3 presented the following projects: Thomas Desmet: Absent without leave; Jurgen Maelfeyt: Feldman, Horvitz, LeWitt, Prince, Templeton & van der Weijde and Sophie Nys: 102 craters on Venus.

Onrust is the KASK & Conservatory’s calendar magazine. It contains an overview of the panoply of cultural events in which our students, researchers and teachers are involved, as well as a wide variety of other 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. Four issues

BY

THE

STUDENTS

During each month of the last year, Stock, a collective of KASK students, sent a single student on a blind date with another artist. For that entire month, the two put their heads together and worked side by side in the pavilion. At the end of

each working period, they presented their collaborative projects to the public. This year there was also the outdoors group exhibition Marginalia i.c.w. In De Ruimte and Pressure Breaks Glass But It Also Creates Diamonds closing party i.c.w. KRAAK.

DE VLOER OP MAANDAG

STOCK

Stock presented the following collaborations: STOCK #13 Hilde Onis & Rudolfs Štamers STOCK #14 Leon de Bruijne & Akane Yorita

Untitled (blue glitter), by Ann Veronica Janssens (2015). Exhibition view, De Vloer op Maandag – collectie­presentatie S.M.AK., curated by Philippe Van Cauteren

© Leontien Allemeersch

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STOCK #15 Alix De Jonge & Marie-Fleur lefebvre

© Leontien Allemeersch

STOCK #16 Kamiel de Waal & Pieter De Clercq STOCK #17 Hamer Kormeling & Robert Soroko STOCK #18 Hooman Jeddy & Sibran Sampers

De Vloer Op Maandag is an initiative of the Installatie Department.

The new architecture of the studio on the ground floor of the Kunsttoren is the new meeting point where students regularly show work or have events.

DRAWING CABINET

© Leontien Allemeersch

This year Drawing Cabinet saw two presentations from our Animation Department: Nog ’n Minuutje, which included works by

Ada Güvenir, Amber Wijnants, Ellen Meers, Pedram kargar, Sacha Brauner and Vincent Van Driessche. There was also a presentation under the name Wanneer is dan? featuring works by Ada Güvenir and Filip Anthonissen. In addition, Robin Verslegers, a student of autonomous design, presented some of her drawings. This has grown into a larger presentation at the Cirque which included sculptural work by Robin as well.

PA\WS

KAVIR

Helena, De Jonge Alix, Mattot Celeste, Nematollahi Niloufar, Souvagie Louise and Vrijsen Stans. The magazine is designed

by Veerle Vervliet.

PA\WS (performative arts \ work space) is an organization looking to share practices and provoke encounters.

RADIO ROEIEN MET RIEMEN Radio Roeien Met Riemen has had a pretty good year: it decentralized itself several times and has been trying to transcend the boundaries of inclusiveness quite constantly.

Furthermore, it was a great source of delight for KVR enthusiasts, who were more than happy to have their creations on air.

© Pommelien Koolen

This year was all about different ways to create encounters within a range art practices.

The starting event was held in July (PAWS \ Fest). In order to share research a five-day open workshop was organized in the Black Hall which led to a first publication. PAWS \ Publication 1 consists of a magazine and a soundtrack, which was launched in February in the Cirque. Outside the school PA\WS took part in Tumultingent, where several works were curated live in response to a need for ‘perfor­ mativity’. PA \ WS also collaborated with the I.A.I. in CC Strombeek, sharing an intervention and performance.

Within the framework of PAWS \ Shares such projects saw the light of day as One-oone as and NOON I.

© Pommelien Koolen

The former also being part of the Sorry Not Sorry street art Festival.

The PA WS \ Fest takes places during the summer.

www.rrmr.be

Decor by Lizzy Vandierendonck and Niloufar Nematollahi © Viktor Vanhoof

In Farsi, ‘kavir’ means desert. Not a dry no man's land, but a mixture of millions of equal particles that create a unity. KAVIR is a collective that brings together visual artists and musicians from Iran and Belgium, propagating but also challenging both cultures through image and sound. Among the events this year were a party + exposition in the cinema galleries in Brussels, a concert evening in collaboration with Vooruit and a film + concert evening in collaboration with KASKcinema.

The collective consists of Pieter-jan Verheyen, Jonathan Cant, Dietger Vanwynsberghe and Niloufar Ematollahi.

Stans Vrijsen is in charge of the collective’s graphic identity.

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VODKA CANDY

© Vodka Candy

Vodka Candy is a magazine founded some five years ago by seven painters which appears every two months.

It is a platform created for the visual works that did not end up on canvas, but which are still autonomous elements within their painterly practices.

Vodka Candy is Bursali Jasmien, Ceuppens

Facts & Figures

129

DEGREES GRANTED TO STUDENTS IN THE ACADEMIC YEAR 2017-2018 (ARRANGED ACCORDING TO PROGRAMME AND GENDER)

total count (597)

NUMBER OF UNIQUE STUDENTS FOR THE ACADEMIC YEAR 2018-2019 total count (2108)

Bachelor of Audiovisual Arts (16) male (963) female (1145)

Bachelor of Visual Arts (84) Bachelor of Interior Design (83) Bachelor of Landscape and Garden Architecture (45) Advanced Bachelor of Landscape Development (20)

Count of 05.06.2019 of all enrolled students with a degree contract.

—

Bachelor of Music (59)

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

Bachelor of Drama (11)

total count (1798)

Master of Audiovisual Arts (24)

Antwerp------------------------------------------------------- 259 Brussels-Capital Region--------------------------- 45 Hainaut----------------------------------------------------------- 12 Limburg---------------------------------------------------------- 84 Liège------------------------------------------------------------------ 1 Luxembourg---------------------------------------------------- 3 Namur--------------------------------------------------------------- 4 East-Flanders-------------------------------------------- 767 Flemish Brabant--------------------------------------- 177 Walloon Brabant-------------------------------------------- 6 West-Flanders------------------------------------------- 440

Master of Visual Arts (66) Advanced Master in Contemporary Music (6) Master of Music (50) Master of Drama (6) Master Audiovisual Arts (2) Master of Fine Arts (16) Master of Music (45) Postgraduate Curatorial Studies (14) Postgraduate Digital Storytelling (22) European Postgraduate in Arts in Sound (7) Postgraduate Performance Practice (1) Postgraduate Soloist Classical Music (2) Bridging programme for the Master in Audiovisual Arts (2) Bridging programme for the Master in Visual Arts (11) Bridging programme for the Master in Music (2) Teacher Certification in Audiovisual Arts (3) Teacher Certification in Visual Arts (8) Teacher Certification in Drama (1) Teacher Certification in Music (21) Prepatory programme for the Master of Audiovisual Arts (2) Prepatory programme for the Master of Visual Arts (6)

Count of 05.06.2019 of all enrolled students with a degree contract.

—

130

NUMBER OF FOREIGN STUDENTS FOR THE ACADEMIC YEAR 2018-2019, PER NATIONALITY

total count (2230) America------------------- 3 Armenia------------------- 3 Bolivian-------------------- 1 Bosnian-- ------------------ 1 Brazil------------------------- 2 British----------------------- 4 Bulgaria------------------- 1 Canada-------------------- 1 China------------------------ 4 Colombia----------------- 3 Congo---------------------- 2 Croatie--------------------- 3 Cuba------------------------- 1 Denmark------------------ 2 Ecuador------------------- 1 France-------------------- 13 Germany---------------- 11 Greece--------------------- 1 Honduras---------------- 4 Hungary------------------- 3 Iceland--------------------- 1 Irak---------------------------- 1 Iran---------------------------- 9 Italy-------------------------- 12 Japan----------------------- 7 Kazakhstan------------- 1 Kosovo--------------------- 1

Latvia------------------------ 3 Lithuania------------------ 4 Luxembourg----------- 1 Mexico---------------------- 6 Morocco------------------ 1 Nigeria-- -------------------- 1 Norway--------------------- 1 Pakistan------------------- 2 Philippines-------------- 1 Poland---------------------- 4 Portugal------------------- 9 Romania------------------ 3 Russia-------------------- 12 Serbia----------------------- 1 South Africa------------ 1 South Korea----------- 1 Spain---------------------- 24 Syria-------------------------- 3 Switzerland------------- 3 Thailand- - ----------------- 1 The Netherlands ------------------------------ 119 Turkey----------------------- 5 Ukraine-------------------- 2 Viëtnam-------------------- 1 White Russia---------- 2

Count of 05.06.2018 of all enrolled students with a degree contract7 male female

TEACHING AND ADMINISTRATIVE STAFF OF THE SCHOOL OF ARTS FOR THE ACADEMIC YEAR 2017-2018 total count (537) male (351) female (186) Abels Grégory Aelterman Antonia Aerts Liene Aerts Wibert Akdag Kadir Allemeersch Leontien Alliet Patrick Al Timimi Haider Alyacoubi Mohanad Andreasen Kasper Antico Susanna Arteaga Fernandez Alejandro Asselin Mathieu Baeckelandt Peter Baele Marijke Baele Dirk Bakkers Godart Bal Vincent Ballegeer Katia Bartoletti Paola Beckers Feiko Beert Inès Bellanger Sven Bellinck Thomas Bellinkx Ruben Bellon Daniël Belpaeme Geert Beme Johny Ben Chikha Chokri Berden Laurence Berlaen Wouter Bernheim Nele Berx Patrick Beuckels Patrick Billiet Jeroen Blanchaert Dirk Blanckaert Joris Blank Martin Blommaert Flora Blomme Pieter Boeykens Beatrijs Bonne Marleen Boonen Jo Bos Eva Boshoff Marié-Alice Bosma Wout Boto Ordonez Maria Bouchez Hilde Boucque Katrien Boud Nicola Boulaich Aouatif Boumon Caroline Braeckman Dirk Brants Bart Breynaert Willem Breyne Rob Broché Patricia Broekaert Rilke Broekman Jesse Brossé Dirk Brouwers Anke Bruneel Janos Brusselmans Martine Bryssinck Hans

Buschmann Paul Bussens Claudine Buyse Christine Caers Stef Callemin Tom Callier Toon Calu Celien Campens Angelique Capstick Richard Cardinael Miel Carels Edwin Carrijn Johan Casaer Paul Casale Vincenzo Castermans Suzy Cedee Jasmijn Ceuppens Godelieve Chantrain Jan Cheng Xin Cielen Fia Claeys Geert Clarisse Geert Cleppe Birgit Clierieck Martine Cneut Carl Cnop Ann Cocquyt Wendy Colruyt Godelieve Conard Sébastien Cools Bert Cools Frank Coquette Michel Cornel Marleen Cornelis Dirk Corstjens Danny Coucke Patrick Damm Kerstin De Backer Karel Debaene Mario De Baudringhien Filip De bisschop An Deblauwe Dirk Deblock Hugo De Bondt Katia De Bondt Sara De Boodt Maria Deboosere Marie De Brauwer Greta De Bruycker Wim De Bruyckere Joan De Buck Pauwel De Busschere Bruno Debuysere Stoffel De Cleene Michiel De Clercq Anouk De Clercq Céline De Cock Sabine De Cock Johan De Cock Karel De Cock Nele De Cock Tom De Corte Corneel Decorte Wouter De Coster Cindy De Coster Wendy De Fleyt Karin Defoort Bart Deforce Arnoud Defrancq Evert De Gheselle Ruben Degryse Luc Dehaese Sandra De Jaeger Evelien De Jaegher Lars De Keyser Ignace Delaere Ivo

De Langhe Hilde Delarue Stefanie Delbeke Magalie Delecluse Fabrice De Leersnyder Benoît Deliège Glenn Delobel Simon De Maeyer Hannes Demets Paul De Meûter Ingrid De Mey Annelies de Mey Anne De Meyer Nancy Demeyer Jean-Marie De Munck Marlies Demyttenaere Siegrid Den Hond Ilse De Pauw Jan Depestel David Depestel Bart Depoorter Emmanuel De Poorter Simon De Pot Marina De Preester Helena Deprey Kris Derks Peter De Roo Bert Derycke Laurent Derycke Johan Derycke Luc De Schepper Elisa Deschepper Luc De Schrevel Stephane Desimpelaere Pascal Desmedt Peter De Smet Hilde De Smet Helena De Smet Peter Desmet Thomas De Somere Sophie De Swaef Emma De Taeye Lennert De Temmerman Wim De Vleeschhouwer Luc Devlieger Jan Devolder Steven De Vos Eric Devos Joris de Vries Jaap de Vroome Nina De Wilde Leen De Wit Dries De Wolf Sandy De Wulf Mia Dezwarte Els D'haese Gert D'haeyere Hilde Dheedene Stefaan D'herde Nele Dhondt Geert Dierick Phyllis Dietrich Helena Dolzan Polona Dombrecht Patrick Doumen Björn Dragonetti Régis Druart Hans Druart Michel Dua Raphaël Duerinck Tim Duijck Johan Duprez Caroline Duquenne Ronny Eeckhout Wim Elias Poles Hala Emmerich Dámaris

Enckels Raf Engels Tom Ermert Judith Eyckmans Filip Fevery Bruno Florizoone Jan Florizoone Tuur Foré Pieter Forment Bruno Fostier Johan Fransen Christiane Frederickx Manu Friant Katrien Gabriel Kurt Galle Jerry Garabedian Mekhitar Geerts Sander Gerritse Arnoud Geyskens Vincent Geyssens Cindy Ghekiere Hanne Godfroid Marc Goethals Tamara Goossens Frederik Goossens Tom Govaert Véronique Grabinska Dorota Graulus Myriam Grimonprez Johan Grootaers Elias Gruijters Rachel Gulinck Luc Guns Senne Gyselinck Femke Gyselinck Lander Gyselinck Wannes Hadji Heydari Anaraki Shila Haegeman Arthur Haesaert Katrien Hallaert Veerle Hannes Nick Hemerijckx Els Herman Gerard Hestrin-Grader Tamar Heuninck Elias Heyde Steven Heyerick Florian Heyndrickx Tony Hoedelmans Thomas Hofman Koenraad Högner Christiane Hollevoet Mia Hudek Antony Huisman Lukas Hulpia Hester Hutsebaut Valerie Huvenne Martine Huygelen Elisabeth Huysmans Debby Impens Vincent Isselée Johan Istomin Sergei Jacobs Gert Jacobs Henricus Jacobs Lisa Janssens Thomas Janssens Daan Jespers Bram Joye Ruben Junnonen Anu Kars Anita Kempenaers Jan Kerckhof Marc Kermaire Franky Keunen Gert Kimpe Kris Kivrikoglu Ibrahim Kodama Emi

Peters Guy Konink Jan Willem Piedboeuf Sabine Korczak Andreas Pierins Vincent Kovacevic-Juresa Pinckers Max Jelena Pinte Marc Kwakkenbos Platel Alain Laurentius Poissonnier Pascal Lamal Hans Ponseele Francis Lamont Paul Posson Nathalie Langsdorf Heike Poullier Caroline Lapauw Dieter Proot Goran Laplanche Amélie Pujol Marcos Lemahieu Katty Pyl Josse Lenssens Tim Ramon Mieke Leper Hendrik Raspoet Iris Le Roy Frederik Rathé Filip Lesaffer Bert Rekveld Joost Lesage Peter Reynolds Alexandra Lesuisse Anne Rigole Jasper Lhoest Leon Robyns Gert Libbrecht Harlind Roelandt Els Lierman Sally Roelens Jonas Lietaer Xavier Rogiers Peter Lievens Bauke Romaniuk Anthony Lievens Dirk Rondelez Katrien Llaurens Anouk Roosemeyers Alex Lodewijks Bart Ruchel-Stockmans Lodewyckx Tom Katarzyna Louwyck Liesbeth Ruigrok Mirella Luyten Anna Ryckaert Tim Maas Koen Saelaert Arlette Macbean Ibernice Saelemakers Samuel Maelfeyt Jurgen Saelens Ann Maes Elly Samoshko Vitaly Maes Ives Schade Dorine Maeseele Wim Scheerlinck Danny Marievoet Sven Schoenmaekers Raf Maris Bart Schollaert Stijn Martin Ronny Scholliers Hans Masson Marc Mathysen Pieter 131Schreinemacher Sophie Mees Bob Segers Catharina Meganck Marjan Sel Dries Meillander Nadine Senden Yves Meirlaen Ann Six Kato Mendoza Christian Smalbrugge Sara Mertens Lode Smet Valérie Metten Philip Snauwaert Marie Meuleman Rob Soeffers Katrien Meurisse Quentin Soenen Geert Michiels Ignace Somers Dominique Minten Raf Sonck Christophe Mistiaen Carlo Stal Cornelis Moccia Alessandro Steen Jan Moelants Dirk Stevenheydens Ive Moens Els Steverlynck Diane Moretto Graziano Stoop Jean-Pierre Mortier Pieter-Paul Storms Yves Mulder Arjen Stragier Claire Mulhall Gustavo Stragier Jan Nagtzaam Marcus Stroobants Herman Navratil Tomas Sultana Gabriella Neels Femke Suys Diederik Neetens Steven Swerts Carla Nevejans Annelies Teirlinck Nathalie Nsengiyumva Temmerman Jonas Uwizeye Termont Sandra Nuytten Pieter Op De Beeck Hans Theys Hans Thomaere David Opstaele Johan Overdeput Christian T'Hooft Wim Pauwels Dominique Thuriot Philippe Tilkin Michel Peeters Julie T'Jonck Pieter Peeters Yannick Tomme Klaas Pegorim Getacine Tordoir Narcisse Peire Sarah Torfs Michel Pensaert Werner Vahsen Céline Penson Michaël Valcke Martin Penson Guy Valibouse Arielle Peters Kristel

Vanbergen Reinhard Van Bockstal Piet Van Brempt Laure Vanbroekhoven Ivan Van Burm Stéphane Van Cauter Steffie Van Daele Liselotte Van Damme Bram Van Damme Mattijs Vandamme Sofie Van Damme Sylvie Van De Geuchte Linda Van den Abeele Lieven Van den Abeele Tim Van den Bergen Kelly Van den Berghe Gust Vandenberghe Peter Van Den Bossche Bart Van den Broucke Jakob Vandenbussche Jorre Van den Eynde Thomas Vandenweghe Gert Vanderbeke Katrien Van der Gucht Sandra Van der Linden Dirk Vander Linden Jacky Vandermaelen Johan Van Der Veken Jan Van der Velde Thomas Vande Veire Frank Van De Velde Martin Vandevelde Ludwig Van De Voorde Karen Vandewalle Daan Van De Woestyne Mieke van Dienderen An Van Dionant Toon van Driel Willy Van Driessche Marie-Rose Vandyck Gerda Van Eeckhaut Marijke Van Eeghem Elly Van Elslande Brecht Vaneyghen Rik Vanfleteren Stephan Van Gestel Kristof Vangheluwe Joke van Gogh Dirk Van Gysegem René Vanhaeren Kobe Van Herck Astrid Vanhercke Eva Van Herreweghe Mats Van Ingelgem Samuel Van Isacker Carl Van Kerckhove Hendrickje Vankerschaver Clara Van Langenhove Herlinde Van Lierde Wigbert Van Maldegem Kurt Van Malderen Jeroen Vanneste Jonas Vanommeslaeghe Raf

Van Oost Hans Vanoosthuyse Eddy Van Petegem Karen Van Reeth Griet Van Rossem Stijn Van Ruyskensvelde Erwin Van Ryckeghem Steve Van Schuylenbergh Esther Vanslembrouck Klaas Van Tomme Karen Van Tornhout Wouter Van Wassenhove Andre Vastesaeger Mattijs Velghe Frauke Venlet Daniel Verberkmoes Geerten Vercaemer Geert Vercruysse Rik Vergauwe Geert Vergucht Harold Verheyen Hildegarde Verhoeven Siegfried Verhoustraete Hannes Vermassen Joris Vermeersch Pascal Vermeersch Peter Vermeulen Patrick Vermeulen Marie-Godelieve Vermeulen Erik Vermeulen Valery Vermoere Willem Vermote Petra Verraest Sofie Verschaffel Martha Verschoore Evelyn Verschraege Renée Verschueren Bert Verschuren Ronald Verstappen Ria Verstraete Stephen Viaene Els Vlaeminck Annelies Vloemans Sam Voet Kathleen Vurdelja Nina Vuylsteke Vanfleteren Katrien Waelput Wim Walgrave Cindy Wambacq Judith Wautier Chrystel Weber-Krebs David Wellekens Tom Welvaert Veronique Westenberg Pieter Westerduin Saskia Weyler Maarten Wiame Benjamin Wiewauters Dries Wille Jeroen Willems Catherine Wittevrongel Erwin Wouters Jozef Yamazaki Hiroko Yee Marina Yoshioka Tae Ysabie Peter Zakai Adva Zoete Dirk Zolotareva Olga Zonnenberg Nathalie

Publication issued on the occasion of Graduation 2019, the presentation of bachelors, masters and postgraduate projects 2019 at School of Arts Ghent (KASK & CONSERVATORY). Graduation 2019 comprises an exhibition, a drama festival, KASKfilms, fashion shows, classical music and jazz / pop concerts.

CLASSICAL MUSIC June 11 till June 18, MIRY Concert Hall JAZZ & POP MUSIC June 18 till June 26, Minardschouwburg & Club Telex FASHION SHOW 19 June 13 - June 14, Eskimofabriek Ghent DRAMA FESTIVAL June 14 till June 16, various locations in the city centre of Ghent KASKFILMS • Premiere: June 25, cinema Sphinx • Screenings: June 26 — 30, KASKcinema EXHIBITION with Master, Bachelor and Postgraduate projects: • June 26 / opening night • June 27 — 30, Bijloke campus — Publication coordination and editing: Régis Dragonetti, David Depestel, Claire Stragier, Ilse Den Hond Graphic design: Jonas Temmerman Copyediting and translation: Liene Aerts, David Depestel, Régis Dragonetti and Claire Stragier Website: Arthur Haegeman and Claire Stragier Printing: Albe De Coker Edition: 1500 copies School of Arts Ghent Jozef Kluyskensstraat 2 B-9000 Ghent

Image cover: 1 Exhibition view, Departure – INTO THE UNKNOWN, with the students of animation film in collaboration with curator Serge Onnen, Zwarte Zaal © Patrik Berx 2 Exhibition view, Tussen Droom en Daad © Willem Vermoere Image inside cover: 1 Drama project by Simon Baetens liquid dreams © Leontien Allemeersch 2 Wouter Van Asselbergh, master student Composing Music: Music Production Image section, in order of appearance: 1 Masterclass Drawing 2 Bernadette Kretzschmar, 1BA Textile Design 3 Nicolas Van Belle & Werend Van Den Bossche of Suura © Aïsha Baert 4 Exhibition view, MAP #84: Jivan van der Ende, De Casting (voor) NOTITIES, GEDICHT of een soort van SCRIPT © Johan Pijpops 5 Exhibition view, SPITS No. 1: Ontkaderd © Rachel Gruijters 6 Masterclass by Francesca Torzo 7 Tekeningenkabinet #10: Robin Verslegers 8 Transborder Networks, part of Somewhere in Between, BOZAR, Brussels, 20 June–19 August 2018.132 Room curated by Christine Denamur & Nathalie Papillon and Hélène Jacques & Romuald Demidenko.

Photo: © Yannick Sas. 9 © Charlotte Danielse 10 Master students in fine arts during their collaborative project The Art of Exhibiting, Zwarte Zaal © Jivan van der Ende 11 STOCK #17 Hamer Kormeling & Robert Soroko © Leontien Allemeersch 12 Cello lesson by Judith Ermert © Stine Sampers 13 Study trip to Calcutta with the students of Drawing © Henri Jacobs 14 Exhibition view, Departure – INTO THE UNKNOWN, with the students of animation film in collaboration with curator Serge Onnen, Zwarte Zaal © Patrik Berx 15 PA\WS (Performative Arts / Work Space) at work in the Zwarte Zaal © Pommelien Koolen 16 © Charlotte Danielse 17 Arte Konjusha at the piano © Stine Sampers 18 De Vloer Op Maandag 19 © Charlotte Danielse 20 Seats of MIRY Concertzaal during a rehearsal © Stine Sampers 21 © Charlotte Danielse 22 © Charlotte Danielse 23 Student music production Elias Devoldere © Charlotte Danielse 24 Exhibition view, Tussen Droom en Daad © Willem Vermoere

25

GAME at the Zwarte Zaal performing Fritz Hauser’s Schraffur © Joris Blanckaert 26 One of Daniel Scott’s ‘multi-effects’ lunchbox machines in full use, during the opening of the exhibition Departure – INTO THE UNKNOWN, Animation Film, Zwarte Zaal © Liene Aerts 27 Exhibition view, MAP #83: Flor Maesen – Inside Conversations © Flor Maesen 28 Untitled (blue glitter), by Ann Veronica Janssens (2015).

Exhibition view, De Vloer op Maandag – collectie­presentatie S.M.AK., curated by Philippe Van Cauteren © Liene Aerts 29 Marble studio in Carrara © Willem Vermoere 30 Classical music students perform Igor Stravinsky's opera Le Rossignol © Maite de Lorenzo 31 KASKcinema © Charlotte Danielse 32 Educational master in arts 33 © Charlotte Danielse 34 © Charlotte Danielse 35 Students landscape- and garden architecture witnessing the last flight of the Sea King on a field trip to Koksijde 36 Students of Performance during Museumnacht in S.M.A.K. 37 Poster BOEKS 02 Stoppen met Lezen, graphic design: Mona Schrevens, Veerle Vervliet, Finn Waters en Aron Wouters © Liene Aerts 38 Singing students perform Igor Stravinsky's opera Mavra © Maite de Lorenzo 39 © Charlotte Danielse 40 Drama project by Bjorn Floréal, The Factory © Alexander Deprez

www.graduation2019.be www.schoolofartsgent.be

GRADUA A Atena Abrahimia 81 Laura Adams 79 Aysegül Agaclitepe 70 Neil Akenzua 64 Nataliya Alekseeva 79 Hanne Alliet 81 Nanoi Alloo 81 Carlos Álvarez Clemente 23 Jasper Anciaux 67 Laura Andriessen 14 Floor Anne de With 46 Arno Antheunis 77 Sam Appelmans 73 Julian Arias Garzón 50 Fons Artois 23 Sofie Arys 74 Hannah Asiru 77 Sophia Attigui 14 Babette Audenaert 77 B Megan Baddeley 61 Jasper Baeck 77 Dylan Baekelandt 77 Benoit Baervoets 70 Jelte Baessens 77 Simon Baetens 55 Linde Balthazar 79 Myrthe Baptist 26 Simone Basani 55 Lijs Beeckman 81 Naomi Behaeghel 86 Sven Bekaert 77 Mauro Bentein 86 Anne Beumer 26 Fabrizio Bilello 39 Merel Boer 77 Andrea Boljat 47 Tim Boon 73 Kaat Bosch 81 Siebe Bossier 77 Koenraad Botteldoorn 61 Gilles Bouckaert 77 Thibault Bouckaert 77 Dries Boutsen 26 Timon Bouttelisier 70 Hanne Bracaval 39 Rebecca Bramlett 81 Sacha Brauner 50 Vicky Bruwier 86 Anton Bucsán 77 Anneleen Bulcaen 71 Chelsea Bulteel 39 Jasmien Bursali 26 Frouke Buyse 70 Victor Byttebier 70 C Davy Callens 61 Jantien Callewaert 14 Helena Camerlinck 79 Ibbe Cappendyck 77 Rita Castro 51 Josue Castro 61 Tom Catry 70 Alberto Cattani 26 Alessia Centofanti 61 Jhomayra Cevallos Ordóñez 86 Annelies Ceyssens 77 Ana Chaduneli 26 Alice Chaplin 27 Matilde Cillissen 79 Thibault Claeys 70 Ines Claus 86 Brent Cliquet 66 Nelleke Cloosterman 27 Domien Cnockaert 66 Lore Cobbaut 77 Laura Coertjens 77 Marjolijn Coninckx 77 Yasha Conjaerts 73 Dilys Cosemans 65 Jasper Coulier 86 Masha Cremers 77 D Tim D’hoore Lise Daelemans Louise Daneels

69 66 14

Michelle Daniëlse 14 Manon De Baecke 86 Alexander De Baedts 65 Emma de Bakker 61 Maïté De Bièvre 86 Tommy De Block 86 Anne De Boeck 86 Sophie De Boever 74 Leon de Bruijne 27 Johannes De Bruycker 81 Dieter De Bruyn 86 Arno De Cabooter 71 Sofie De Cleene 86 Annelore De Cocker 77 Dara De Coensel 82 Bert De Coninck 73 Rosa De Coster 15 Freek De Craecker 55 Ann De Craene 70 Justine De Cuyper 70 James De Graef 67 Jolien De Graeve 70 Menno de Jong 47 Alix De Jonge 27 Ward De Jonghe 67 Jonatan De Jonghe 86 Stijn De Keersmaecker 79 Femke De Keyser 70 Thomas De Loof 77 Bram De Man 67 Jannes De Man 72 Siemen De Man 86 Seppe De Meyere 27 Lieze De Middeleir 86 Christina De Neve 82 Joke De Pever 27 Lorenzo De Poorter 70 Annabel De Pourcq 69 Paco De Prins 65 Dorien de Reu 72 Bart De Roy 86 Lukas De Ryck 30 Emma De Simpelaere 73 Delphine De Smet 46 Jef De Smet 65 Geertrui De Vijlder 51, 86 Jonas De Vleeschouwer 72 Lieselotte De Vuyst 67 Sonja De Weert 79 Steven De Wijngaert 86 Jens De Witte 70 Luïs De Zutter 70 Thibault Debaene 82 Bruno Debaenst 79 Jasmine Debeer 77 Renaud Debruyne 65 Simon Dechaene 65 Sheila Decloedt 70 Hannes Decrop 77 Stijn Decubber 77 Ruben Degeest 65 Joppe Dehandschutter 79 Pierre Dehennin 65 Jonas Dehnen 30 Febe Dejaeger 70 Marcos Della Rocha 65 Nona Demey Gallagher 55 Lori Demir 82 David Denil 39 Jovanka Depauw 86 Laure Dermaut 86 Silke Derudder 70 Milenka Derumeaux 70 Timour Desdemoustier 46 Robbe Desmet 65 Jana Desomer 70 Friedel Dessoy 79 Jonas Detavernier 67, 86 Maren Devits 74 Arthur Dewolf 79 Iris Dezutter 86 Marie Dhaese 39 Liliana do Nascimento 81 Lisa Dobbelaere 77 Renske Doens 67 Jolan Doffijn 77 April Dokpesi 82 María Dominguez Pérez 69 Rein Dufait 86 Christopher Dupuis 81 Blanca Díaz Vera 61

E Nina Eggermont Lieselotte Egtberts Catharina Evens Eva Eyskens

86 81 86 46

F Eva Faché Wout Fieu Victor Fioen Mart Flecijn Laura Fleerackers Bavo Folens Femke Foré Sara Frooninckx

39 77 77 86 71 77 71 71

G Elizabeth Geerts 42 Sim Geerts 82 Willemijn Geirnaert 72 Anthony Geniets 77 Nele Geysen 77 Catherine Gilissen 75 Ward Ginneberge 69 Chloé Girten 51 Laurens Godecharle 79 Michiel Goemaere 73 Jasper Gosseye 79 Guillermo Gómez Martín 61 Muhammed Görgöz 77 H Maarten Haerinck Mike Havermans Jan Heirman Issa Hellebaut Sarah Herten Carolin Herzberg Arno Heyerick Paul Heyman Zando Heymans Inaki Heymans Steije Hillewaert Stive Hoflack Siene Hollemans Korneel Hoorens Jebbe Houttekier Shengyuan Hu Pooja Hukku Pooja Hukku Emiel Huughe Hoy Hym Ho

71 77 86 86 72 19 77 86 70 77 69 78 22 79 79 62 30 32 83 70

Brent Le Comte 69 Wout Ledure 79 Simone Leenslag 86 Louise Lefebvre 79 Lucas Leffler 42 Charlotte Lemaire 15 Virginie Lemaitre 71 Peter Lemmens 81 Axelle Lenaerts 30 Nora Leroy 78 Clara Levy 69 Sophie Loquet 71 Maria Luiza Grymonprez 42 Gilles Luyckx 78 Charlotte Lybaert 47

M Jade Madoe 50 Benjamin Maertens 68 Flor Maesen 42 Céline Marenne 38 Louise Marescau 78 Giovanni Maria Franzini 73 Thibault Marichal 70 Augusto Marquet 83 Nicolas Marquez y Sanchez 15 Nils Martens 51 Thaïsa Martens 78 Stefan Martin Peluso 73 Nadezhda Marutyan 70 Elisa Maupas 81 Anzhim Medetbayeva 86 Amber Meert 86 Jochem Meijnen 31 Niels Meire 62 Linde Meirlaen 75 Laila Melchior Pimentel Francisco 81 Raul Mendoza 62 Jordi Merckaert 75 Amber Meulenijzer 31 Simona Mihaela Stoia 34 Tine Moens 72 Mobina Mohammadi Tabar 81 Imke Mol 58 Tim Mons 78 Caroline Monthaye 83 Arezoo Moradi 83 Sophia Msaoubi 15 Capucine Muller 51 Eline Muys 54 Lucie Ménard 81

I Victor Ingels 71 Vanessa Isabelle Müller 22 Aaron Israel 70 N Dunja Ivens 73 Arno Nachtegael 78 Iben Naessens 62 J Andrés Navarro García 62 Frank James 65 Alexander Nazimov 62 Dorian Jespers 47 Frederike Nickel 54 Joanneke Jouwsma 22 Celine Nielandt 72 Paloma Juarez Nicolas Nuytten 70 Montagut 62 O K Akiko Okawa 80 Edin Kadic 71 Catherine Ongenae 83 Lisa Kerckx 51 Nathan Ooms 58 Thijs Klein Ovink 78 Maxime Oosterkamp 78 Khalid Koujili 55 Sylke Ophalvens 86 Zaur Kourazov 47 Jens Oplinus 78 Iris Kuntkes 86 Noemi Osselaer 50 Hamer Körmeling 30 Laurens Otto 81 L Esther Laga 72 Alex Lagrange 65 Tine Lambert 78 Joost Lambert 86 Nick Lambrecht 78 Maxim Lambrecht 83 Ward Lampaert 71 Fran Lams 69 Willem-Alexander Langlet 65 Bart Lapere 46 Lisa Lapon 70 Haider Lateef 30 Irina Lavrinovic 22

P Sergey Pagonyshev Marc Palmer Tom Peeters Stijn Peeters Ferre Peeters Larissa Peeters Wim Pelgrims Koi Persyn Daiva Pescara Padilla Jürgen Peuteman Dorien Pfauth Jonas Pieters Jonathan Pillen Lauren Pletinckx

PUBLISHED ON THE OCCASION OF THE PRESENTATION OF THE GRADUATION PROJECTS 2019 AT KASK AND THE ROYAL CONSERVATORY / SCHOOL OF ARTS GHENT.

62 86 65 78 83 69 86 31 71 69 50 86 78 54

Frederik Poisquet 31 Alana Pruvot 62 Serguey Putilin 69 Charel Pycke 31 Santiago Pérez Rodríguez 54

Q Yanate Quintens 62

R Yana Raeymaekers 15 Sina Rahimi Fetrati 66 Yoerie Ramaekers 31 Cedric Rasschaert 78 Jasper Ravelingien 79 Dieter Ravyts 86 Yacine Redjala 70 Anke Reiling 84 Michiel Renson 67 Yves Rijckaert 70 Esther-Elisabeth Rispens 86 Anouk Robbeets 84 Karlijn Robberechts 86 Antonio Robles Expósito 62 Karolina Rog 73 Wout Roggeman 78 María Romero Núñez 62 Darren Roshier 22 Bart Rosseel 62 Tarald Rotsaert 70 Monica Ruiz Loyola 81 S Gwendolien Sabbe 84 Michiel Saelens 75 Laya Safieddin Ardebili 86 Tommy Sanic 79 Filomena Sarcuni 63 Nicolas Schaus 70 Max Schmitz 42 Arthur Segaert 70 Thomas Seynhaeve 72 Andita Shabanaj 34 Felipe Silva de Souza 63 Paulius Sliaupa 34 Astrid Slingerland 70 Lore Snauwaert 15 Kim Snauwaert 22 Alexander Snick 78 Louise Souvagie 34 Davy Spitaels 84 Siebe Spittael 78 Ellen Steegen 86 Mathijs Steels 67 Saskia Steenmeijer 78 Séverine Stevens 73 Joery Stokx 70 Anna Stoppa 81 Renée Strikkeling 38 Greet Strobbe 70 Tijl Stroobants 72 Louis Strubbe 78 Sander Stuer 86 Emma Syroit 78 T Martha T’Hooft 43 Alexandra Tanghe 71 Janne Teerlinck 79 Ana Teresa Cano 61 Emma Terweduwe 38 Jarne Thorrez 70 Emily Tillieu 72 Simon Torfs 79 Nasrin Tork 81 Gabriela Torres Freyermuth 81 Jo Tubex 79 Pepijn Tyvaert 73 V Kelly Valencia y Ramos 84 Robbe Van Assche 68 Wouter Van Asselbergh 67 Nicolas Van Belle 65 Mona Van Bever 86 Oscar Van Biervliet 78

Timothy Van Ceulebroeck 63 Ana-Florence Van Craen 86 Nathalie Van Damme 74 Mathijs Van Damme 78 Michiel Van Damme 81 Bert Van Den Eeckhaut 69 Warre Van de Putte 65 Dani Van de Sijpe 74 Joachim Van de Straete 86 Liesa Van de Voorde 63 Aaron Van de Winckel 63 Marie Van den Berghe 74 Werend Van Den Bossche 65 Hannah Van den Broeck 78 Kirsten Van Der Elst 63 Klaas Van der Elst 78 Kirsten Van Der Elst 86 Jivan van der Ende 34 Naomi van der Horst 58 Melissa van der Veeken 66, 86 Puck van Dijk 78 Helena Van Driessche 34 Jonas Van Eeckhout 78 Leander Van Gijsegem 63 Karel Van Haeverbeeck 70 Saskia Van Herzeele 86 Viktor Van Hoof 43 Lenja Van Laeken 86 Sarah Van Malderen 78 Nathalie Van Meirvenne 63 Anthony Van Nieuwenhuyze 78 Sjouwke Van Parys 69 Sien Van Renterghem 18 Cato Van Rijckeghem 43 Judith Van Robays 72 Emma Van Severen 78 Jeroen van Sprundel 78 Jens Van Steen 69 Zjef Van Steenbergen 86 Marieke Van Trappen 38 Luca van Vliet 18 Vincent Van Vooren 79 Stef Van Vynckt 67 Yente Van Wesemael 72 Linde Van Wonterghem 69 Finlay Van Wymeersch 66 Imani Van Zele 72 Samuel Vanclooster 86 Thomas Vancoppenolle 43 Viktor Vandamme 70 Noor Vandamme 74 Giel Vanden Herreweghen 70 Hanne Vandekerckhove 86 Denté Vanden Brande 75 Geert Vanden Broeck 86 Laura Vandenbroucke 35 Florence Vandenbussche 86 Justien Vander Borght 54 Gill Vander Cluyzen 85 Meghan Vanderbruggen 86 Billie Vanderhaeghen 69 Pieter Vandermeeren 72 Alicia Vandermeulen 78 Justine Vanderplancke 70 Simon Vandersteen 69 Simme Vandersteen 86 Wout Vandesompele 70 Jessy Vandoorn 69 Mats Vandroogenbroeck 55 Ellen Vaneeckhoutte 72 Fien Vangheluwe 72 Ramona Vangrinsven 18 Nina Vanhoenacker 64, 86 Louise Vanhoucke 69 Ruben Vanhoutte 66 Sybren Vanoverberghe 43 Philine Vanrafelghem 35 Lotte Vansantvoet 18 Flor Vanseveren 58 Michiel Vansteenkiste 79 Louisa Vantomme 71 Lisa Vantorre 35 Clémentine Vaultier 23

NAAR AANLEIDING VAN DE PRESENTATIE VAN DE AFSTUDEER­­­PROJECTEN 2019 AAN KASK & KONINKLIJK CONSERVATORIUM / SCHOOL OF ARTS GENT.

Rian Velders 85 Dante Verbauwhede 70 Mathijs Vercraeye 79 Yannick Vercruysse 69 Arthur Verdonck 78 Hanne Verdoodt 79 Salomé Verduyckt 85 Astrid Vereycken 81 Danyon Verhaege 64 Ine Verhaege 74 Matthias Verheirstraeten 68 Sofie Verheyen 72 Marthe verhoest 18 Luuk Vermeulen 78 Jietske Vermoortele 23 Daniël Vernooij 68 Sari Veroustraete 86 Jerom Verschoote 70 Ian Verstraete 71 Stéphane Vervaeke 23 Lenny Vervaeke 81 Veerle Vervliet 18 Jolien Vervoort 70 Jeremy Vettorel 86 Mathias Vincent 35 Judith Vindevogel 86 Dajo Vlaeminckx 66 Andras Vleminckx 67 Elena Vloeberghen 38 Sam Vluymans 78 Renée Volckaert 75 Stans Vrijsen 19 Evelyn Vroman 74 Thomas Vyvey 72

W Arthur W. De Maeyer 19 Han Wang 64 Ruby Water 35 Finn Waters 19 Chelsey Watthy 73 Ilan Weiss 43 Jani Wellens 78 Mattias Wielfaert 68 Lucas Willems 69 Ellen Wils 86 Kyle Wittock 78 Aron Wouters 19 Jorien Wouters 73 Laura Wyffels 69 Amber Wynants 54 Y Yifan Yan Nathan Ysebaert

64 66

Z Anne Zeuwts 69 Oleksandra Zholobova 86 Magda Zielinska 73