Graduation 2015

Graduation 2015

Graduation 2015

Naar aanleiding van de presentatie van de afstudeerprojecten 2015 aan KASK & Koninklijk Conservatorium / School of Arts Gent.

Published on the occasion of the presentation of the graduation projects 2015 at KASK and the Royal Conservatory / School of Arts Ghent.

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Voorwoord / Introduction

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In Text Enkele opmerkingen bij kunstenaars­teksten in het hoger kunstonderwijs / Notes on Artists' Writings in Higher Art Education – Helena De Preester Annotaties, ontwerpen en teksten door de studenten / Student Annotations, Drafts and Compositions

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Research in the Arts 2014-2015 Voorwoord / Introduction PhDs in the Arts: — Jan Steen: L'être et le jouant – Het zijn in het spelen – Being in Playing — Hans Roels: The Creative Process in Contemporary Polyphonic Music PhD in Art Science: Liselotte Sels: Türkü and Halay between Ghent and Turkey: An Ethnographic Study of Turkish Folk Music in a Transnational Context Artistic Research Publications

Masters, Bachelors & Postgraduate Projects 2014-2015 Masters Projects in Visual Arts Masters Projects in Audiovisual Arts Masters Projects in Drama Masters Projects in Music Advanced Masters Projects in Music Bachelors Projects in Interior Design Bachelors Projects in Landscape and Garden Architecture Advanced Bachelors Projects in Landscape Development Postgraduate Project in Conservation and Exhibition Management of Contemporary Art (TEBEAC)

149 Facts & Figures

69 Artistic Productions 2014-2015 71 Voorwoord / Introduction 73 Music — MIRY Concert Hall — Jazz, Pop & Music Production 78 Film at KASKcinema 80 Visual Arts and Design — KIOSK — Het Paviljoen — MAP Masters Projects Space — Zwarte Zaal — KASK Lectures — KASK Label Design Projects 90 Drama Projects 91 Collaborative Projects

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EN VOORBIJ DE POORT

BEYOND THE GATE

Een paradijs was oorspronkelijk een ommuurde tuin, afgeschermd van de wilde natuur. De Grieken noemden het letterlijk om-muurd, peri-teichos.

Uiteraard bevond zich in de muur een poort om in en uit te gaan. Meestal werden muur en tuin en poort ver weg gesitueerd, in een mythologisch buitenland. Onwezenlijk was het dus om twee visitatiecommissies, Audiovisuele Kunsten en Drama, in hun mondelinge terugmelding het woord paradijs te horen gebruiken in verband met onze campussen. Hoe kan een kunstencampus paradijselijk zijn?

Schoonheid heeft er zeker en vast mee te maken. Zij is voor de kunstschool even essentieel als steriliteit en hygiëne dat zijn voor een geneeskundecampus.

Schoonheid in handeling, beweging, plaats, klank, proces, object, gebaar.

Niet burgerlijk, voorspelbaar of per se genietbaar, maar wél schoonheid.

Een tweede voorwaarde is vrijheid.

Chris Dercon, directeur van Tate Modern, schrijft: ‘het is cruciaal voor (kunstonderwijs)instellingen om tijdelijk of permanent een ruimte te claimen, en dat die plaats doordrongen is van een gevoel van vrijheid. (…) Ik denk nooit over ruimte in termen van omvang, het heeft niets te maken met groot te zijn of klein. Voor mij gaat het over intensiteit. Uiteraard weten we dat we moeten vechten om onze ruimte te verdedigen en ons niet te laten opzij drummen door projectontwikkelaars.’

Vrijheid geeft fricties, en nu en dan een storm, ook onder studenten en lesgevers. Niet enkel in de landerige zomermiddag vol van zingeving, maar evengoed in hagel, wind en regen leert de toekomstige ontwerper, musicus, kunstenaar en theater- of filmmaker zichzelf te vinden. Voorwaarde daartoe is geborgenheid, die tot stand komt door vertrouwen en intense begeleiding van betrokken en ervaren docenten.

A paradise was originally a garden with a wall around it, protected from the untamed nature. The Greeks called it peri-teichos, literally ‘surrounded by a wall’. There was undoubtedly a gate in the wall in order to go in and out.

Usually that wall, gate and garden were located far away in some mythological foreign land. So it might seem a bit unreal to hear two visiting committees, in Audiovisual Arts and Drama, mention the word ‘paradise’ in their verbal reports about our campuses. How can an arts campus be called paradise?

Beauty clearly has something to do with it. For an art school, beauty is as essential as hygiene or sterility is to a medical campus—beauty in approach, movement, sound, place, process, object and gesture. Not in a bourgeois manner, not predictable or even necessarily enjoyable, just beauty. A second precondition is freedom. Chris Dercon, director of the Tate Modern, writes, ‘It is crucial for (art-education) institutes to claim a space, either temporarily or permanently, and for the place to be imbued with a sense of freedom. (…) I never think about space in terms of size; it's nothing to do with being big or small. For me, it is about intensity. Still we know we have to fight to defend our spaces and to not allow ourselves to be pushed aside by project developers.’ Freedom brings friction, and now and then a storm, amongst students and teachers as among anyone else. It is not only in the idyllic summer afternoon filled with deep meaning, but also in the hail, wind and rain that the future designer, musician, artist or theatreor filmmaker learns to find himself.

What he or she needs is trust, a sense of security that can only come about through intense personal guidance by engaged and experienced teachers.

The experience of paradise—that Garden of Eden—has its dangers. For this 5

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De paradijservaring houdt gevaren in.

Daarom is het inbouwen van een zekere afstand wezenlijk, afstand die tot stand komt in het verwoorden.

Nu stuit net het woord onder kunstenaars dikwijls op heel wat weerstand.

Zo schreef Eugène Delacroix exemplarisch: ‘ik moet mijn voorkeur bekennen voor de stille kunsten, voor die zwijgende dingen waarover Poussin zei dat hij er zijn vak van had gemaakt.

Woorden zijn tactloos; ze trekken je naar zich toe, houden je aandacht vast en lokken tegelijk een discussie uit.

De schilderkunst en de beeldhouwkunst lijken serieuzer – het is aan ons om hen te benaderen. Boeken daarentegen zijn opdringerig.’ Dat Delacroix dit onder woorden brengt, is uiteraard paradoxaal en wijst erop dat aan het woord moeilijk te ontkomen valt.

Enkele dagen na het noteren van deze overdenking, vervolgt hij: ‘het plezier dat ik beleef aan het in mijn aantekenboekjes herlezen van mijn overpeinzingen of de vermeldingen van wat ik op een bepaalde dag heb gedaan, wie ik heb gezien, waar ik was, zou me moeten genezen van mijn luiheid en me ertoe moeten aanzetten om vaker te schrijven.’

Ook al kozen beeldende- en audiovisuele makers, musici, ontwerpers en theatermakers in eerste orde niet het woord als medium, toch duikt het in de marge van hun bezigheden keer op keer op, waarbij zelfs één woord het verschil kan maken. ‘Zodra ik een fatsoenlijke drukproef heb van Jeux, zal ik u die sturen’, schrijft Debussy aan Stravinsky, ’ik ben benieuwd naar uw mening over deze muzikale grap… voor drie personen! Wat Jeux betreft, u verbaasde zich over de titel, u had het werk liever Le Parc genoemd! Heus, neem van mij aan dat Jeux beter is, in de eerste plaats is het nauwkeuriger, daarnaast zegt het op passende wijze iets over de gruwelijkheiden die zich tussen die drie personen voltrekken.’ Via de titels van hun werken begeven makers zich tussen de woorden. Maar evengoed

reason, it is essential to keep a certain distance, a distance created by verbal expression. Amongst artists, the word often batters against some serious resistance. Eugène Delacroix wrote, ‘I must confess my preference for the silent arts, for those unspeaking things about which Poussin said that he had made his profession. Words are tactless; they pull you towards them, keep your attention and at the same time encourage discussion. Painting and sculpture seem more serious—it is up to us to approach them. Books, in contrast, are obtrusive.’

The fact that Delacroix expressed this in words is wonderfully paradoxical, and points to the fact that the word is decidedly difficult to avoid. A few days after writing down this thought, he continued, ‘This pleasure that I experience in rereading my notes or the record of what I have done on a particular day, who I saw, where I was, ought to cure me of my laziness and motivate me to write more often.’

Despite the fact that visual or audiovisual creators, musicians, designers and theatre makers did not in the first place choose the word as their medium, it nonetheless reappears in the margins of all their activities, time and time again, in forms in which even a single word can make the difference. ‘As soon as I have a decent printer's proof of Jeux, I will send it to you,’ wrote Debussy to Stravinsky. ‘I am curious what you will think of this musical joke … for three people! Where Jeux is concerned, you were surprised about the title.

You would have preferred it to be called Le Parc! Truly, take it from me that Jeux is better. In the first place it is more precise and it moreover says something in passing about the horrors that take place amongst those three persons.’ By way of the titles of these works, these makers were engaged with words, just as they were in their diary notations, letters and interviews, in notations in the margins of their compositions, drawings or books, and in events, performances, critical 6

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analyses and theoretical tracts. Even such recalcitrant, reclusive artists as Paul Cézanne address us with their enlightening words. ‘Painting from nature is not copying the object,’ said Cézanne in conversation with Jachim Gasquet, ‘but the realization of sensations.’

In a nutshell, that statement reveals a theory about perception, being and appearing, which illuminates Cézanne's practice for the viewer and for his fellow artists. And this without the artist articulating a stable scientific theory. In this sense, it is exemplary how Robert Smithson concluded his brief article, ‘A Provisional Theory of Non-Sites’: ‘This little theory is tentative and could be abandoned at any time. Theories like things are also abandoned. That theories are eternal is doubtful. Vanished theories compose the strata of many forgotten books.’

The maker, musician, designer or artist has his or her own relationship to the word. In 2015, this was the subject of a symposium at KASK and the Royal Conservatory, and it is a point of focus in this book, published in association with the celebration of Graduation 2015. A handful of texts by our students, randomly interspersed, give a quick impression of the enormous diversity in writing practices. Professor Helena Depreester devoted an essay to the subject, primarily referring to the practices of researchers in the arts. Within our bachelor and master programmes, it is relevant to approach the history and the topicality of music, design, film, drama, architecture, photography or visual art from the work and the words of the makers themselves, not from the academic models of art theorists and social scientists. It holds up a mirror to the students, and in its own, engaged way, creates the required distance from and within their practices.

As already mentioned, in any wall around Paradise, there must be a gate. By way of that gate, all sorts can enter. We want that to be the case, because we certainly do not want to 7

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via dagboeknotities, brieven en interviews, via annotaties in de marge van partituren, tekeningen of boeken, via manifesten, kunstkritische essays en theoretische traktaten. Zelfs weerbarstig in zich gekeerde kunstenaars als Paul Cézanne adresseren ons verhelderende woorden. ‘Schilderen naar de natuur is niet het object copiëren’, aldus Cézanne in gesprek met Joachim Gasquet, ‘maar het realiseren van sensaties’. Daarin zit in een notedop een theorie vervat over waarneming, zijn en verschijnen, die Cézannes praktijk verheldert voor de kijker en voor zijn collegae kunstenaars.

Zonder dat de kunstenaar aanspraak maakt op stabiele wetenschappelijkheid.

Exemplarisch op dat punt is hoe Robert Smithson zijn kort artikel ‘A Provisional Theory of Non-Sites’ afsluit: ‘deze kleine theorie is een poging en kan op elk moment opnieuw worden verlaten. Theorieën laat men achter, net als objecten. Het is onwaarschijnlijk dat theorieën eeuwig duren. Verdwenen theorieën liggen opgestapeld in een hoop boeken die werden vergeten.’

De maker, musicus, vormgever of kunstenaar ontwikkelt een eigen verhouding tot het woord. Dat was in 2015 onderwerp van een symposium over kunstenaarsteksten in KASK en Koninklijk Conservatorium, en krijgt een focus in dit boek dat verschijnt naar aanleiding van het afstudeerfestival Graduation 2015. Een handvol teksten van studenten, kris kras door elkaar, geven even inkijk in een grote diversiteit aan schrijfpraktijken.

Docente Helena Depreester wijdde er een essay aan, vooral refererend aan de praktijk van doctorandi en onderzoekers in de kunsten. Binnen onze opleidingen is het relevant de geschiedenis en actualiteit van muziek, vormgeving, film, drama, architectuur, fotografie of beeldende kunst te benaderen vanuit werk en woord van de makers, en niet enkel vanuit academische modellen van kunst- en menswetenschappers. Het houdt studenten een spiegel voor en schept op een

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betrokken manier de nodige afstand binnen hun eigen praktijk.

Zoals gezegd is er in elke paradijsmuur ook een poort. Via die poort komt natuurlijk allerhande naar binnen.

Gewild, want we willen zeker niet wereld­vreemd zijn. Maar ook ongewild.

De besparing van de Vlaamse Overheid, bovenop de jarenlange erosie van de middelen van de hogescholen, snijdt zo hard in onze werking en in ons personeelsbestand, dat paradijservaringen ver te zoeken zijn. De armslag en de vrijheid, ook van de studenten tijdens hun schooltijd, blijven steeds relatief en contextueel. De ommuurde tuin ligt in een landschap. Daarom ga ik niet akkoord met Chris Dercon wanneer hij zegt: ‘de enige periode dat een kunstenaar nog vrij is, vreemd genoeg, is tijdens zijn laatste jaren in de kunstopleiding. Eens afgestudeerd, eindigt de vrijheid.’ Integendeel, de relatieve vrijheid van de student in de kunstschool zet zich voort in de relatieve vrijheid van de alumnus, die de school verlaten heeft. In de mate dat men de paradijservaring wist te interioriseren, neemt men haar overal mee, ook voorbij de poort.

be separated from the world. But we also do not want it to be true. Budget cuts by the Flemish authorities, on top of the years of erosion in the financial foundations of colleges for higher education have cut so deeply into our functioning and personnel that an experience of paradise seems far away indeed. Room to manoeuvre and freedom, including that of the students during their years of study, continue to be relative and contextualized.

The walled garden remains embedded in the landscape, and for this reason, I cannot agree with Chris Dercon, when he says, ‘The only time when an artist is still free, strangely enough, is during his last years in art education.

Once he graduates, the freedom comes to an end.’ On the contrary, the relative freedom of the student at art school perpetuates itself in the relative freedom of the alumnus who has moved on from the school. To the degree in which they have been able to make that experience of paradise their own, they take it with them wherever they go, even well beyond the gate.

Wim De Temmerman Decaan

Wim De Temmerman Dean References: – Chris Dercon, “Reshaping the Space: Conversation with Oscar van den Boogaard”, in The Institute, Lannoo/ HISK, 2015 – Eugène Delacroix, Diary, 23 September 1854 and 24 March 1855, translated into Dutch by Joop Van Helmond, De Arbeiderspers, 2007.

– Claude Debussy, letter to Igor Stravinsky 7 November 1912, translated into Dutch by Lucas Bunge, De Arbeiderspers, 2010.

– Robert Smithson, from an article written in 1968, published in Robert Smithson: The Collected Writings, edited by Jack Flam, University of California Press, Berkeley, California, (2nd Edition, 1996).

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EN ENKELE OPMERKINGEN BIJ KUNSTENAARSTEKSTEN IN HET HOGER KUNSTONDERWIJS*

NOTES ON ARTISTS’ WRITINGS IN HIGHER ART EDUCATION*

De academische ontwikkeling in het hoger kunstonderwijs vereist dat studenten over hun eigen praktijk en artistieke resultaten reflecteren. De vraag of deze reflectie moet worden neergeschreven, en “hoeveel” daarvan een geschreven vorm moet aannemen (en welke vorm dan precies), heeft tot een aantal discussies geleid in het hoger kunst­ onderwijs en in de ruimere kunstwereld.

Opmerkelijk hierbij is dat zeer weinig discussies rekening houden met de lange traditie van het schriftelijke en verbale discours van kunstenaars.

Het blijkt voor de academische wereld een lang en moeizaam proces te zijn om kunstenaarsteksten als een geldig (en reeds bestaand!) formaat voor discursieve reflectie te erkennen.

In de loop van de 20e eeuw hebben veel kunstenaars de dubbele rol van kunstbeoefenaar en schrijver op zich genomen. Het is deze dubbele rol die studenten in het kunstonderwijs vaak verwarrend vinden en zorgen baart.

Een tekst schrijven als kunstenaar is vaak een moeilijke oefening in het weer­ geven van het eigen perspectief zonder te vervallen in het schrijven van een autobiografische tekst. In de visuele kunsten waren de jaren '60 een belang­ rijke periode voor kunstenaarsteksten.

Kunstenaars werden zelfbewuster en stelden zich onafhankelijk op ten opzichte van musea, kunstgalerijen en critici. In de jaren '60 werd van kunste­ naars voor het eerst verwacht dat ze over hun werk en dat van hun tijdsgeno­ ten konden schrijven. Men zou kunnen stellen dat kunstenaars in deze periode bijdroegen tot een duidelijke emanci­ patie van het perspectief van de kun­ stenaar. Dat gebeurde precies door het schrijven, waarbij ze vaak op gespan­ nen voet stonden of zelfs in botsing kwamen met de kunstcritici van die tijd.

Academic development in higher art education requires students to reflect on their own practice and artistic output. The question of whether this reflection requires writing, and ‘how much’ of their research should take written form (and exactly which form) has led to discussions both in higher art education and the art world at large.

It is a remarkable fact that very few of these discussions take the long tradition of writing and verbal discourse by artists into account. Academia's recognition of artists' writings as a valid (and already existing!) format for discursive reflection has turned out to be a long and difficult process.

Throughout the 20th century, many artists took on a double role, as both practitioners and writers. It is this double role that often confuses and worries students in the arts today.

As an artist, writing—disclosing one’s own perspective without collapsing into autobiography—is often a difficult exercise. In the visual arts, the 1960s were a crucial period for artists' writings.

Artists had become self-confident, emphasizing their independence from museums, galleries and critics.

It was in the 1960s that artists were first being expected to write about their own work and that of their contemporaries. One could say that it was in this period that artists explicitly emancipated the artist's perspective in writing, often at odds or even in confrontation with the art critics of the time.

In the use of language as an artist's material, endowed with qualities of its own, text and image sometimes grew so closely connected that artists' writings could be both read and looked at. This led to a difficult discussion about whether a given 11

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Door taal te gebruiken als een materiaal, met intrinsieke kwaliteiten, werden tekst en beeld soms zo nauw met elkaar verweven dat kunstenaarsteksten tegelijk iets waren om te lezen en om te bekijken. Dat heeft geleid tot de moeilijke discussie of iets een kunst­ werk is dan wel een geschreven tekst.

De complexe verhouding tussen schrijven en de kunstpraktijk, tussen tekst en beeld, en tussen schrijven en het leven van de kunstenaar, zijn belangrijke factoren bij wat Kristine Stiles (2013) de ‘methodologische promiscuïteit’ van de kunstenaar bij het schrijven heeft genoemd.

Waren kunstenaarsteksten ooit een eerder obscuur en esoterisch genre, in het nieuwe millennium zijn ze alomtegenwoordig, en worden kunstenaars meer beschouwd als “kennisproducenten”. Hoewel er in kunstenaarsteksten veel vakgebieden aan bod komen, vindt er in deze teksten zelden een identificatie plaats met één van deze vakgebieden tenzij met kunst zelf. Kunstenaarsteksten zijn waardevol precies dankzij deze bijzondere relatie met andere vak­gebieden en door de afwezigheid van identificatie met een van deze domeinen tenzij met kunst zelf. Jammer genoeg wordt net deze particulariteit van kunstenaarsteksten uit het oog verloren in de discussie over reflectie en het schrijven van teksten in het hoger kunstonderwijs.

Anderzijds heeft de exponentiële uitbrei­ ding van de theorie in de kunsten de artistieke woordenschat (die precies in de jaren ’60 ontwikkeld werd) vervlakt.

Kristine Stiles (2013) schroomt niet op te merken dat veel kunstenaars, onder de academische druk om theoretisch werk te produceren, vandaag binnen een strikt afgebakend discours schrijven en spreken, terwijl ze ooit onconventionele, excentrieke en unieke taal aanwendden en een nieuwe woordenschat ontwikkelden.

Vroeger vreesde men dat de invoering van een masteropleiding in het hoger kunstonderwijs tot een academisering

work was a work of art or a piece of writing. The intricate relations between writing and art practice, between text and image, and between writing and the life of the artist, are important factors in what Kristine Stiles (2013) has called the artist's ‘methodological promiscuity in writing’.

In the new millennium, the once rather obscure and esoteric genre of artists' writings became ubiquitous, and artists began to be understood as ‘knowledge producers’. Although they make use of multiple disciplines, artists' writings rarely identify with any discipline except art itself. It is precisely this singular relation to other disciplines and the absence of identification with any but art itself that makes artists' writings so valuable. Unfortunately, it is this idiosyncrasy of writing by artists that is too often lost sight of in the debate on reflection and writing in higher art education.

On the other hand, the exponential ex­ pansion of theory in the arts has gener­ ated a flattening out or loss of many of the artistic vocabularies that had indeed developed in the 1960s. Kristine Stiles is not afraid to observe that, under academic pressure to produce theoreti­ cal writing, many artists today write and speak in a regimented discourse, where they once deployed unconventional, eccentric, and unique uses of language, formulating new vocabularies.

In the past, the introduction of advanced degrees in art education provoked a fear that this would lead to the fine arts becoming academic, in other words, that it would turn artists into scholars and harm their art practice. At the PhD level, a major reason for this was an accompanying concern that it would require artists to produce amounts of writing that were simply impossible (see James Elkins, 2009). Artists, so it was claimed, are not writers, and a writing artist would no longer be an artist. Many polemics have been and still are written against the idea of writing artists—or against the requirement that 12

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artists should write in order to obtain a degree in the arts. What is remarkable, however, is that the discussion focuses on artists' writings as something that (still) has to be invented, or something that is currently on its way to being invented (for example, in PhDs in the arts). This is striking, at least in view of the fact that a tradition of artists' writings already exists.

The present situation is roughly as follows. Within academia, the existence of artists' writings is being increasingly acknowledged. Artists' writings are proving to be interesting for experts from outside the practicing arts, for art historians, art critics and art philo­ sophers. Still, these artists' writings are not considered to be the equivalent of the writings of academics. The read­ ing of artists' writings is more on a par with the way works of art are looked at: they are objects of analysis; they are deciphered, interpreted, or simply enjoyed. In short, artists’ writings are not seen as forming a body of knowledge, and they are not consulted as such.

Artists' writings are, however, read by fellow artists, and for them, they function in a different way, not as an object of research, but as a body of knowledge that can be guiding and informing, with hypotheses and assumptions that can be rejected or accepted, with conclusions, claims, points of view, and arguments that can be valid or invalid, meaningful or lacking meaning within the context of art production and art perception.

The somewhat peculiar phenomenon, however, is that when they start to think about theory, discursive activities and writing, art students are inclined to turn to writings by art historians, art critics or philosophers. In other words, they turn to specialists from disciplines other than their own, and feel obliged to write like an art historian, a philoso­ pher, or an art critic. Unsurprisingly, this leads to a sense of helplessness and inadequacy.

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van de schone kunsten zou leiden.

Met andere woorden, deze soort opleiding zou van kunstenaars weten­ schappers maken en de kunstprak­ tijk schaden. Als belangrijkste reden hiervoor was er de bijkomende be­ zorgdheid dat kunstenaars onhaalbare hoeveelheden tekst zouden moeten produceren (cf. James Elkins, 2009).

Kunstenaars, zo klonk het argument, zijn geen schrijvers en een schrijvende kunstenaar zou niet langer een kun­ stenaar zijn. Er werd, en er wordt nog steeds, menig polemiek geschreven tegen de idee van schrijvende kunste­ naars – of tegen de vereiste dat kun­ stenaars teksten moeten schrijven om een diploma in de kunsten te behalen.

Opmerkelijker is echter dat de discus­ sie de kunstenaarstekst hoofdzakelijk beschouwt als iets wat (nog) moet worden uitgevonden, of als iets wat momenteel wordt uitgevonden (bijv. in recente doctoraten in de kunsten).

Dat is des te opmerkelijker aangezien een traditie van kunstenaarsteksten al bestaat.

De huidige situatie ziet er dus onge­ veer als volgt uit. Binnen de acade­ mische wereld wordt het bestaan van kunstenaars­teksten steeds meer erkend. Kunstenaarsteksten blijken interessant voor deskundigen buiten het praktisch-artistieke domein, bijv. voor kunsthistorici, kunstcritici en kunstfilosofen. Toch worden deze kunstenaarsteksten niet op gelijke voet gesteld met de teksten die academici schrijven. De manier waarop kunste­ naarsteksten worden gelezen is meer vergelijkbaar met de manier waarop kunstwerken worden bekeken: ze worden geanalyseerd, ontcijferd, geïnterpreteerd of gewoonweg op prijs gesteld. Kortom, kunstenaarsteksten vormen niet in de eerste plaats een verzameling van kennis en worden ook niet als dusdanig geraadpleegd.

Niettemin worden kunstenaarsteksten gelezen door collega-kunstenaars en voor hen hebben die teksten een andere functie. Ze fungeren niet als

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onderzoeksonderwerp maar als een verzameling van kennis die adviserend en informatief kan zijn, met hypothe­ ses en assumpties die kunnen worden verworpen of aanvaard, met conclu­ sies, beweringen, gezichtspunten, en argumenten die al dan niet waardevol kunnen zijn, betekenisvol of betekenis­ loos binnen de context van de kunst­ productie en kunstperceptie. Het ietwat merkwaardige fenomeen is dat studen­ ten in het kunstonderwijs, bij theoreti­ sche reflecties, discursieve activiteiten en schrijven, zich eerder tot teksten van kunsthistorici, kunstcritici en filo­ sofen wenden. Met andere woorden, ze richten zich naar specialisten van andere vakgebieden en voelen zich al snel verplicht om zelf te schrijven zoals kunsthistorici, filosofen of kunstcritici dit zouden doen. Het is dan ook niet verwonderlijk dat dit de studenten een gevoel van hulpeloosheid en onbe­ kwaamheid geeft.

Toch is de vraag niet waarom kunste­ naars naar teksten van andere vak­ gebieden grijpen maar, belangrijker, waarom ze geneigd zijn (of zich ver­ plicht voelen) om deze teksten als een voorbeeld te zien voor hun eigen schrijfactiviteiten. Kunstenaarsteksten zijn voorbeeldige reservoirs van kennis, geschreven vanuit het eigen en gespecialiseerde perspectief van de kunstenaar. Aangezien kunstenaars­ teksten vorm geven aan een perspec­ tief dat uniek is voor de kunstenaar, kunnen ze niet vervangen worden door het gezichtspunt van deskundigen die geen kunstenaar zijn. Als dusdanig verdienen ze veel meer aandacht dan ze tot nog toe kregen. Het soort kennis dat artistieke creativiteit voortbrengt, en dus de kennis inherent aan kunstenaarsteksten, zou naar waarde moeten worden geschat, ook al – of net omdat – ze een afwijkend karakter vertoont. Onder het mom van de academische verantwoordelijkheid worden daarentegen methodes van andere vakgebieden ingevoerd als het om geschreven teksten gaat.

The question is not why artists turn to writings from other disciplines, but more importantly, why they are inclined (or feel obliged) to take these texts as a model for their own writing. Artists' writings are exemplary bodies of knowledge, produced from the particu­ lar, specialist perspective inherent to the working artist. Revealing perspec­ tives that are unique to artists, artists' writings are written from a point of view that cannot be matched by non-artist experts. They deserve much more attention than they are currently receiving.

The kind of knowledge that artistic crea­ tivity brings—the knowledge specifically inherent to artists' writings—should be valued, notwithstanding or perhaps pre­ cisely because of its deviant character.

Nonetheless, in the name of academic responsibility, methods from other disciplines are introduced and adhered to in the writing requirements for artists working towards advanced degrees.

The artists therefore feel that they have a double duty—one that is inherent to them, which is making art, and another that is alien to them, which is the required writing. This supposed dichotomy between art (practice) and (theoretical) writing, sometimes stubbornly defended by the artists themselves, is nonetheless a false dichotomy. The true dichotomy lies in that between the two methods or the two epistemologies in higher art education, which function along­ side, and most often apart from each other.

The advantage of recognizing the longstanding tradition of artists’ writings may well lie in the development of an epistemology and a methodology specific to artists' writings. What we need is a recognition of the artist's perspective as an important perspective in its own right, not as a combination of perspectives from other (research) disciplines. What it does share with other research domains is a meth­ odological connection of questions 14

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and answers, but these questions and answers are specific to the domain of the practicing artist, and cannot be formulated or answered in terms of (a mix of) concepts, skills or perspectives from other domains.

What currently seems to be lacking is a recognition of the expertise of artists in terms of written, discursive perspectives that are specific and unique to the creation of art.

The perspective of the artist is not art critical, not philosophical and not art historical. It is artistic.

Just as art practice can be inspired by other disciplines, artists' writings can also be inspired by results from other disciplines, or by any field, in or out of the university, in the same way that anyone can be inspired by disciplines other than their own. But the reference to other disciplines must not take the form of borrowing the method of that discipline. The artist is not required to transgress his or her own discipline, just as the philosopher who reflects on physics does not become a physicist, but remains a philosopher, with a point of view, criteria, and writing and think­ ing practices appropriate to a philoso­ pher. In other words, referring to or borrowing from other disciplines does not lead to adopting or mixing those disciplines and should not be judged according to the criteria of whatever other discipline(s) from which an artist might borrow. Making use of sources from other disciplines does not imply leaving the boundaries of one’s own.

The arts should not await further devel­ opments in the textual modes found in the universities, but must exploit and further develop their own, already existing modes of writing, which evolved within the arts themselves.

If artists' writings are interesting, important and relevant for other disciplines, in addition to their own, it will only prove what artists (and not only artists) have proven so often: that their activities are relevant for a broad­ er field than just the arts themselves.

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Kunstenaars hebben het gevoel een dubbele taak te hebben, één die ze beheersen (kunst maken) en één die geforceerd aanvoelt (schrijven). Deze veronderstelde tweedeling tussen kunst (praktijk) en (theoretisch) schrij­ ven, soms hardnekkig verdedigd door de kunstenaars zelf, is nochtans vals.

De echte tweedeling ligt in de tweede­ ling tussen de twee methodes of de twee kennistheorieën die naast (en meestal losstaand van) elkaar functio­ neren in de hogere kunstopleidingen.

Het voordeel van de erkenning van de lange traditie van kunstenaarsteksten zou wel eens kunnen liggen in de ont­ wikkeling van een voor kunstenaars­ teksten geschikte methodologie en kennistheorie. Wat nodig is, is een erkenning van het kunstenaarsper­ spectief als een belangrijk perspectief op zich, niet als een combinatie van perspectieven van andere (onder­ zoeks)domeinen. Gelijkaardig aan andere onderzoeksdomeinen, is er een methodologisch verband tussen vragen en antwoorden. Deze vragen en antwoorden zijn echter specifiek voor de praktijk van de kunstenaar zelf en kunnen dus niet geformuleerd of beantwoord worden in termen van (of als een mix van) concepten, vaardigheden of perspectieven van andere domeinen. Wat momenteel lijkt te ontbreken, is de erkenning van de expertise van de kunstenaars in termen van een geschreven, discursief perspectief dat specifiek en uniek is voor de creatie van kunst.

Het perspectief van de kunstenaar is niet kunstkritisch, niet filosofisch en niet kunsthistorisch in strikte zin.

Het is artistiek.

Net zoals de kunstpraktijk inspiratie kan vinden in andere vakgebieden, kunnen kunstenaarsteksten ook worden geïnspireerd door de resultaten van andere vakgebieden of door elk ander domein binnen of buiten de universiteit, op dezelfde manier als iemand inspira­ tie kan vinden in andere vakgebieden dan die waartoe hij of zij behoort.

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Maar de verwijzing naar andere vakge­ bieden is niet hetzelfde als het ontlenen van de methodes van die gebieden.

De kunstenaar wordt niet verondersteld zijn eigen vakgebied te overschrijden, net zoals de filosoof die over fysica reflecteert geen fysicus zal worden maar een filosoof blijft, met een ge­ zichtspunt, criteria en een schrijf- en denkstijl die eigen is aan filosofen.

Met andere woorden, de verwijzingen naar of het ontlenen aan andere vakge­ bieden leidt niet tot interdisciplinariteit en zou niet beoordeeld mogen worden op basis van de criteria van de domei­ nen waaraan de kunstenaar ontleent.

Het gebruik van bronnen van andere vakgebieden, impliceert immers niet dat men de grens van het eigen vak­ gebied overschrijdt.

De kunsten moeten de verdere ontwik­ keling van tekstmodi in universiteiten niet afwachten maar hun eigen, reeds bestaande schrijfmodi die binnen het eigen domein ontstonden, gebruiken en verder ontwikkelen. Indien kun­ stenaarsteksten interessant zijn, en belangrijk en relevant voor andere domeinen naast het eigen domein, dan bewijst dit enkel wat kunstenaars (en niet enkel kunstenaars) al zo vaak hebben bewezen: dat hun activiteiten relevant zijn voor een breder domein dan enkel de kunsten zelf.

James Elkins' (2009) bewering dat de programma's voor een doctoraat in de kunsten een taal verdienen die niet aan andere vakgebieden wordt ontleend, zou meer aandacht moeten krijgen.

Fundamenteel is dat kunstenaarstek­ sten zouden moeten bijdragen tot de kunst, niet tot theorie op zich. Ze moe­ ten leiden tot een betere kunstpraktijk, waarbij kunstenaars inzichten delen met collega-kunstenaars, om zo bij te dragen tot het maken van kunst. Als kunstenaarsteksten deel moeten gaan uitmaken van een “ernstig” acade­ misch discours, dan moeten ze vooral trouw blijven aan hun eigen vakgebied.

Dat betekent niet dat ze geen beroep kunnen doen op andere gebieden.

James Elkins' (2009) argument that programmes for PhDs in the arts de­ serve a language that is not borrowed from other disciplines should be given greater attention. The crucial thing is that artists' writings should contribute to art, not to theory per se. The result should be better art practice, with art­ ists sharing insights with fellow artists, insights that contribute to making art.

If artists' writings are to be included in so-called 'serious' academic discourse, they should remain faithful to their respective disciplines. This does not mean that they cannot call on other disciplines; it means that their finality is not in those disciplines, but in art itself.

The School of Arts Ghent supports the idea that we need to create the appropriate space for the written, discursive artistic perspective.

Bachelor students in art and design are introduced to the long-standing tradition of artists' writings. In the bachelor years, the practice of one's own writing complements the confrontation with the many different formats of writings by artists.

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Helena De Preester Professor of philosophy

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Het betekent dat hun finaliteit niet in deze vakgebieden ligt, maar in de kunst zelf.

De School of Arts Gent ondersteunt het idee dat we voldoende ruimte aan het geschreven, discursief artistiek perspectief moeten geven. Bachelor­ studenten worden geïntroduceerd in de jarenlange traditie van kunstenaars­ teksten op het vlak van kunsten en design. Tijdens de bachelor­jaren vormt een schrijfoefening een aan­vulling bij de confrontatie met de vele verschillende formaten waarin kunstenaars­teksten voorkomen.

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Helena De Preester Docente wijsbegeerte

References: – Helena De Preester (ed.), Not a Day Without a Line: Understanding Artists' Writings, 2013, Ghent, Academia Press – James Elkins, (ed.) Artists with PhDs: On the New Doctoral Degree in Studio Art, 2009, Washington DC, New Academia Publishing – Kristine Stiles, “‘I'm ready.’ Thinking about Artists’ Writings in a Global Context Today”, in Helena De Preester (ed.), Not a Day Without a Line: Understanding Artists' Writings, Academia Press, 2013, Ghent, pp. 175-201 * A more extended version can be found in the introduction to Not A Day Without A Line: Understanding Artists' Writings, edited by Helena De Preester, Academia Press, 2013.

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Pages from the book, Slijpsel

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JADE KERREMANS 3rd Bachelor of Graphic Design

GRADUATION

Pages from the book, Slijpsel

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Om als muzikante een esthetisch oordeel te vellen over muziek, helpt het mij vaak om analogieën op te sporen in andere kunsttakken. Mijn familiale roots liggen in de architectuur en dus vertrekt mijn zoektocht naar muzikale smaak van hieruit. Mijn grootvader zat op La Cambre in de tijden dat het Modernisme hoogtij vierde, en kreeg van zijn leraar Bourgeois de kwintessens van de stroming ingepeperd: wat geen nut heeft voor de constructie, moet weg. Op deze manier trachtten de modernisten tot de essentie van een gebouw te komen. Vanuit dit perspectief zit de ware schoonheid van de vorm van ramen en gewelven in de Gotiek, net in de structurele noodzaak ervan.

Dit principe toepassen op muziek is echter geen eenvoudig proces. Hoewel muziek net als architectuur een structureel aspect bezit, is het niet triviaal om deze structuur letterlijk in visuele zin te vertalen. Wat zijn de ‘pilaren’ van de muziek? Wanneer staat er iets te veel? Of nog moeilijker: hoe ver kan je een muziekstuk zo ontkleden tot de constructie zelf bloot wordt gelegd?

Een goed voorbeeld hiervan is virtuositeit: in de muziekgeschiedenis zijn er ontelbare virtuoze passages geschreven die geen structurele of inhoudelijk meerwaarde te bieden hebben.

Iets waar ik in de schilderkunst gemakkelijk de vinger op kan leggen is het gebruik van kleur.

Ik denk dat het vooral de combinaties van kleuren die de kunstenaar gebruikt zijn, die het doen voor mij. Ik kan kunstwerken waarvan ik de compositie of tekenstijl niet geslaagd vind maar waarvan de kleuren mij aanspreken, ontzettend mooi vinden. Omgekeerd, besef ik dat een ensemble van ‘lelijke’ kleuren heus wel een goed kunstwerk kunnen vormen, maar als de kleuren mij niet aanspreken haak ik toch af. Een soortgelijke ervaring heb ik in theater: de esthetiek van het decor en de verlichting, primeren voor mij op het narratief, de inhoud. Hier vinden we een parallel: het waargenomene (de kleur, vorm) gaat voor mij voor op het begrepene (de inhoud).

Tot slot nog volgende bemerking. Uit mijn ervaring blijkt dat hoe meer ik me verdiep in een zekere kunst of bezigheid, des te moeilijker het me valt om de esthetiek ervan te beoordelen. Waar leidt deze paradoxale gedachte mij naartoe? Het doet vermoeden dat experts niet meer spreekrecht zouden hebben dan een amateur, gezien de toename in twijfel. Tegelijkertijd is een oordeel dat tot stand komt na lange twijfel misschien wel verkieslijk. Of misschien ligt de waarde wel net in de neiging geen oordeel te vormen naarmate men aan expertise wint. Immers, ‘het oordelen’ staat haaks op ‘het studeren’ aangezien het een vergelijking omvat met het voorgaande; het vereist altijd een herkenning met het opgebouwde interne repertoire. Studeren daarentegen omarmt expliciet het onbekende, het afgraven van de lagen tot de ontginning van het kostbare zowel als het waardeloze. In die zin is de klassieke interpretatie van ‘een esthetica’ uiteindelijk een uiterst conservatief idee. Waarin kan volgende gedachte nu behulpzaam zijn in het vormen van een persoonlijke smaak? Misschien is het mogelijk om in de inschatting van esthetische waarde, het concept studeren te verwerken, eerder dan het oordelen. De schepper heeft de weg al afgelegd, maar de luisteraar, wel, die heeft de keuze.

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AN-SOFIE NÉDÉE 3rd Bachelor of Classical Music

GRADUATION

LIEN VAN LEEMPUT Master of Graphic Design

QUESTIONNAIRE Gelieve deze vragenlijst zo accuraat mogelijk te beantwoorden. Uw antwoorden zijn volledig anoniem. Het passende antwoord dient omcirkeld te worden.

01.

Zo neen, zou u ooit zielsveel van iemand willen houden ?

Hoe vaak vult u vragenlijsten in ?

NOOIT

ZELDEN

SOMS

VAAK

ALTIJD

JA 02.

JA 03.

NEEN

Zoja, houdt de persoon in kwestie ook zielsveel van u ?

SOMS

Vindt u vragenlijsten invullen vervelend ?

JA

04.

JA

Zoja, is de persoon in kwestie op de hoogte van uw liefde voor hem/haar ?

Liegt u soms (een beetje) wanneer u een vragenlijst invult ?

NEEN

JA

Kijkt u (soms) bij uw buurman of -vrouw wanneer u een vragenlijst invult en kopieert u dan zijn/haar antwoorden ?

JA

NEEN

Mocht u geld krijgen voor deze vragenlijst, zou u dan meer geneigd zijn deze oprecht in te vullen ?

JA

12.

SOMS

13.

NEEN

Hoe vaak verspilt u tijd ?

NOOIT

ZELDEN

NEEN

14.

EEN BEETJE

Gelooft u dat de kwaliteit van deze vragenlijst de kwaliteit van de uiteindelijk verzamelde data kan bepalen ?

JA

VAAK

ALTIJD

NEEN

Vindt u het vervelend wanneer een vraag uit nog een vraag en dan nog een vraag en dan nog een vraag bestaat en weet u dan soms niet meer wat de originele vraag was en haakt u daardoor af en recycleert u dan het papier van de vragenlijst die u zojuist niet helemaal invulde ?

JA

NEEN

Houdt u van vragen ?

JA

15.

NEEN

Houdt u eerder van vragen in een logische dan wel onlogische volgorde ?

LOGISCH

Kunt u hieronder de captcha kopiëren om te bewijzen dat u een menselijke gebruiker bent ?

JA

NEEN

ONLOGISCH

Houdt u van ja–neevragen ?

JA 10.

SOMS

Heeft u op dit moment zin in seks ?

JA

09.

NEEN

Heeft u vandaag al geroddeld over iemand ?

JA

08.

NEEN

Vindt u vragenlijsten invullen tijdverspilling ?

JA

07.

NEEN

EEN BEETJE 11.

06.

NEEN

NEEN

JA 05.

NEEN

Haakt u soms reeds af na de eerste vraag ?

NEEN

Houdt u op dit moment zielsveel van iemand ?

JA

NEEN

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OF

i.s.m. Charms, D., (1993), Tsjak i.s.m. Fo, D., (1997), Dagboek van Eva en andere teksten voor vrouwen i.s.m. Rogiers, F., (13/09/2014), Leonard Nolens, dichter onder de levenden met speciale dank aan Pascale Van den Abeele

i.s.m. Gogol, N., (2001), Dagboek van een gek i.s.m. Winterson, J., (1998), De wereld en andere plaatsen i.s.m. Bauby, J.D., (1997), Vlinders in een duikerspak i.s.m. Jelinek, E., (2006), De daad en het meisje

ARTS

Notitie: Vandaag heb ik zoiets raars meegemaakt.

“Wat is dat toch altijd voor janboel in je hoofd man?”

Ik moet zeggen dat ik sinds kort soms dingen zie en dingen hoor die niemand ooit gezien of gehoord heeft.

“Ai, ai…! niets, niets. Niets, niets.

Zwijgen! Niets.”

Alles wit en stil. Wit en stil. Stilte in mijn hersens, wit als het plafond. Wit mijn stem als ik probeer te praten. Wit mijn speeksel dat aan mijn mond­ hoeken kleeft. (…) Ik raap het op… zet het weer in elkaar… ik maak er een geheel van.

Nee. Nee… ik moet me verzetten… ik mag niet gek worden. Denken, den­ ken, ik moet denken…

Notitie: Denken.

Waar kom ik vandaan?

Waarom sta ik hier?

Wat zie ik?

Waar ben ik?

Dit is het verhaal van mij.

Dit is het verhaal van mij en… mij.

Dit is het verhaal van mij en ik en mezelf.

Dit is het verhaal van ik.

“Wat wil je worden als je groot bent?”: dat vraag ik mezelf vaak in de spiegel.

“Mezelf. Ik wil mezelf worden…”

Mezelf. En wie is dat?… Mezelf. Wat denkt u? “Ik denk omdat ik gewoon geen andere mogelijkheid had dan er te zijn, alleen voor mezelf.” Mezelf.

De spiegel was niet het waarom.

Hij was het wat. (…) Omdat ook ik mij weerspiegelde, was ik er, (…). Het is onmogelijk om er te zijn, zijn, en tege­ lijk weg te zijn. Er ontbrak niets aan mij, behalve ik. Ik was ergens anders.

“Kan het zijn dat u het bent en dat u

23

ergens daaronder zit? Kan het zijn dat u, u bent? Kan het zijn dat u mij bedoelt?”

Het moet zo zijn, anders waren wij hier niet. Dat wil zeggen; als u niet geko­ men was, zouden wij hier nu allebei niet zijn. Dat wil zeggen, zonder dat u gekomen was, bestond ik nu niet of in elk geval nog niet.

“Dat is niet het beeld dat ik van je had.” (…) Notitie: Wat voor persoon denken ze wel dat ik ben geweest?

Vanmorgen heb ik (…) verteld hoe ik heet. Gisteren wist ik zelf mijn naam nog niet eens. Ik had mezelf nog niet benoemd. (…) “Hoe heet jij eigenlijk?”

Nee. Wat nee?

Ik heb niets gezegd.

Wie heeft niets gezegd?

U heeft niets gezegd.

Wat heb ik niet gezegd?

U maakt volgens mij uw zinnen niet af.

Ik begrijp het niet.

Wat maak ik niet af?

“Wereldvreemd zeg jij, maar vreemd aan welke wereld?” (…) “Wie met zichzelf spreekt, spreekt met de wereld en dus de anderen.”

Notitie 1: Start zoektocht.

“Wat zoekt ge?”

“Dat wat onvindbaar is.”

“Dat is niet hier.”

“Is het misschien het dwaalspoor waarop u zich bevindt? Mag ik voorstellen dat u zichzelf als uw eigen toevlucht opgeeft?”

Notitie 2: Ik moet ergens anders op zoek gaan naar mij. Ik ga.

Notitie 3: En toen was ik weg.

Afgelopen. (…) Einde verhaal. Wie ben ik. Wie ben ik. (…)

CONSERVATORIUM

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BASTIEN DEVALCKENEER 3rd Bachelor of Interior Design focus ‘Concept & Spatiality’

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KATHARIEN DE VILLIERS Master of Fine Arts

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THOMAS MIN Master of Photography

GLANS Bij het doorbladeren van catalogi die ik gebruik in mijn werk, stootte ik op een overzichtsboek vol zilveren kandelaars, zegelstempels, borden en ander eetgerei. Het lijkt alsof alle beelden, die tussen informatieve teksten en voetnoten geweven zijn, formeel maar mooi in grijstinten zijn gefotografeerd en afgedrukt. Een zacht licht en een dégradé als achtergrond maken van deze banale objecten al snel aanlokkelijke plaatjes. Maar na een tijdje merkte ik een vreemde dynamiek op. De sierlijke voorwerpen blijken allesbehalve technisch perfect te zijn gefotografeerd. Geen enkel object beeldt immers uitsluitend zichzelf af. Het zijn de spiegelende delen die de overhand nemen en me in de foto trekken. Deze weerspiegelingen functioneren als een derde laag in het kijken, naast het onderwerp en de gedrukte afbeelding ervan.

Het is de reflectie van licht of ruimte in het object die de kijker dieper in het beeld en in het onder­werp lokt. Letterlijk: er ontstaat een negatieve ruimte die ik voordien niet opmerkte en die bestaat uit de gereflecteerde delen – een fragment van de studio waar de foto werd genomen, een raam of een lamp, een hand of het hoofd van de fotograaf. Zodra je vastgesteld hebt dat nog een ‘kijklaag’ onder de andere zit, voel je je als een door Antonioni geregisseerd personage dat op zoek gaat naar de ruimte die zich blijkt te bevinden in de objecten.

In de essentie van dit edel materiaal schuilt een contradictie. Zilver moet glimmen, en dat doet het inderdaad. Maar hoe meer contrastlijnen er in het ontwerp van het sierstuk zitten, hoe meer kans het licht krijgt om in deze groeven te blijven hangen of net niet, en bijgevolg hoe meer het opvalt dat het schittert. De reflectie onthult dus tegelijk meer en minder van het object.

Bij het fotograferen van voorwerpen die uit dit soort materiaal zijn vervaardigd, worden we dus geconfronteerd met een soortgelijke tegenstrijdigheid. Waar kijken we naar in deze beelden ?

Naar het materiaal of naar de reflectie ? Het voorwerp op zich is niet sterk genoeg om het goed in beeld te brengen. Je moet dus externe elementen toelaten om het ‘perfect’ weer te geven.

Niet voor niets is het fotograferen van een lepel een soort eindvereiste in een fotografieopleiding.

De lepel is het summum van de wisselwerking tussen object en reflectie. Wanneer bereik je het toppunt bij het fotograferen van een lepel ? Als er noch in het kuipje, noch in de steel ook maar iets te zien is van lijnenspel of contrasterende vlekken ? Als het materiaal onzichtbaar wordt ?

Of gaat het misschien om het vinden van het juiste evenwicht ? Om de balans tussen binnen en buiten, met het spiegelende oppervlak als grenspost of slagboom ?

Door (ongewild?) elementen te betrekken uit de omgeving die in het object worden gespiegeld, wordt een extra laag toegevoegd. Deze dimensie vertelt ons iets over het moment van de opname, want soms krijgen we een glimp van de fotograaf te zien, een flitsparaplu of een hoek van de studio. Even heb ik als kijker het gevoel dat ik die weerspiegeling in de hand heb.

Nu valt me een vierde en laatste dimensie op. Het glanspapier van deze catalogi heeft ook een eigen vorm en wil. Het speelt met het aanwezige licht op de plek waar ik het boek bekijk en doet me inzien dat ik niet verdwaald ben in een beeldenpark van briljant zilverwerk en schitterend servies, maar doodnormaal sta te bladeren in een in de ramsj terechtgekomen vergeten catalogus.

Fragment from the publication, At First Glance

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REMI ROELS 3rd Bachelor of Landscape and Garden Architecture

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TEBEAC From the collective exhibition project ‘No Performance Please.’

GRADUATION

YASMINA BOURAKADI, ROSA DE COSTER, FERRE LERICHE & FARYLDE SCHILTZ 1st Bachelor of Graphic Design

Het cv is het uitgelezen document, dat al onze ervaring bundelt, onze toegang tot de grote wereld waar men op een objectieve wijze onze competenties aftoetst aan wat er verwacht wordt. In dit tijdperk waarin elk aspect van ons leven en zelfs onze persoonlijke informatie gekapitaliseerd zijn, dringt een herziening en uitbreiding van het cv zich op, zodat het aan de hedendaagse eisen kan voldoen. Het hernieuwde cv zal het leven in makkelijk meetbare waarden uitdrukken.

U ziet er knap uit op uw foto U ziet er lang uit op uw foto U ziet er charismatisch uit op uw foto U ziet er heteroseksueel uit op uw foto U ziet er blank uit op uw foto U ziet er blij uit op uw foto U ziet er wakker uit op uw foto U ziet er aantrekkelijk uit op uw foto U ziet er goedgekleed uit op uw foto U heeft een decolleté op uw foto U ziet er verzorgd uit op uw foto U draagt een bril op uw foto U draagt noodzakelijk een bril op uw foto U heeft blauwe ogen op uw foto U heeft blond haar op uw foto U heeft geblondeerd haar op uw foto U ziet er opgemaakt uit op uw foto

From the series Curriculum vitae

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Uw naam

De moeilijkheidsgraad van uw voornaam

De herkomst van uw voornaam

Het y-gehalte van uw naam

De sociale klasse van uw voornaam

De welklinkendheid van uw achternaam

De Vlaamsklinkendheid van uw achternaam

De lachwekkendheid van uw achternaam

U heeft een Westerse achternaam

Het prestige van uw achternaam

U heeft een adellijke achternaam

De frequentie van uw achternaam

Uw gemeente/stad

Sociaal statuut van uw wijk

De rurale ligging van uw woonplaats

Marginale uitstraling van uw stad

Kansarmoede in uw wijk

Oppervlakte van uw huis

Zonnepanelen in uw wijk

Allochtone bevolking in uw huis

Allochtone bevolking in uw wijk

Kamers in uw huis

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JOANNA REUSE Master of Textile Design

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Fragment uit HET MANIFEST DOOR TERRORISM TOWARDS TERRORISM Terrorism Towards Terrorism is een fictieve en geweldloze terreurorganisatie opgericht voor mensen die er niet in slagen een standpunt in te nemen. Religieus, ideologisch, wetenschappelijk of politiek. We nemen voorbeeld aan terroristische bedrijven omdat ze enerzijds aan de rand van de maatschappij staan en anderzijds een fundamenteel standpunt kunnen innemen. Dat intrigeert, prikkelt en daagt ons uit om bepaalde acties te ondernemen. Wij willen ook radicaal zijn. Wij willen ook kunnen zeggen waar we voor staan. We willen kunnen declameren in de straten. We willen ons gif in de aderen van de oppositie injecteren. Twijfel is onze radicaliteit. Wat we belangrijk achten is het voortbrengen van een dreigend gevoel dat achteraf onbevlekte onschuld blijkt te zijn. Grenzen zijn er om bewandeld te worden. We moeten er enkel op toezien dat we niet langs de kant van het ravijn te pletter storten.

Terrorism Towards Terrorism staat synoniem voor het woord paradox. De ongedefinieerde inhoud staat in contrast met het typisch kenmerkende terroristische uiterlijk. Het paradoxale aan onze beweging is de ongedefinieerde inhoud die afsteekt tegen dat uiterlijk. De terreurorganisatie probeert op een ironische manier een antwoord te bieden aan de hedendaagse existentiële crisis die velen infecteert. Onze eigen radicale twijfel wordt geplaatst tegenover de standvastige ideeën van terroristische organisaties.

Dat maakt ons uniek. We zorgen voor nieuwe mogelijkheden binnen het terroristisch werkveld.

Terrorism Towards Terrorism is op zoek naar een vorm van autonomie. Doorheen de hele geschiedenis is de mens op zoek naar vrijheid. Vrij zijn van verlangens, vrij zijn van schuld, vrij zijn van gevoelens, vrij zijn van bezit, vrij zijn van mensen. De gedachte aan dergelijke soorten vrijheid zal mogelijke leden opwinden. Met een zo grootst mogelijke zekerheid kunnen wij beamen dat dergelijke vrijheid in de rationaliteit nader onbestaande is. Niemand zal ze u sierlijk verpakt cadeau geven voor uw verjaardag. En als dat kon was ze onbetaalbaar en enkel geschikt voor een kleine beau monde.

Gelukkig leeft Terrorism Towards Terrorism in een wereld bestaande tussen realiteit en fantasie.

In onze toegeëigende realiteit bestaat vrijheid echter wel. Ondanks onze twijfel weten wij u met spijt nooit te zeggen hoe deze te bereiken is. Onze overtuigingskracht reikt zodanig ver dat we er zeker van zijn dat u deze indien nodig zal bereiken. We geven er onze heilige zegen op.

Ik noem het besluiteloosheid, maar dat is slechts interpretatief. Wat zij (wie?) objectiviteit noemen is een gemaskerde, bijna subjectieve werkelijkheid. Maar ik besluit hen mijn waarheid te verzwijgen, want nooit eerder waren ze dichter bij de eindigheid.

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FIEN DEZWAEF 3rd Bachelor of Multimedia Design

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NICOLAS VERRAES 3rd Bachelor of Graphic Design

Pages from a diary

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NIKOLA KYOSEV Master of Classical Music Musical Time Travel

Music throughout the ages has undergone many transformations and today, we have the privilege of being able to listen to all of its “faces”. As easy as walking from one room to another, with a finger click, we can listen to different pieces from Vivaldi, Bach, Scriabin, Stravinsky, Cage, Xenakis, etc.

This “time travel” is so rich, so full of intensity, stepping into a new and different collection of colours, shapes and emotions, giving us the option to flick through the open pages of history and perceive something unimaginable for a person living 200 years ago.

This simple moment of exchanging one artistic world to another seems like a revelation; an effortless god-like ability that has the power to move us deeply, plunging us from one emotional state to another, through the use of different musical tools and techniques.

In this text, I would like to delve into the connection between Baroque and Contemporary classical music, and to show how those so different styles can go hand in hand. As an example of a well organised concert involving the periods mentioned above, I would like to present Alexei Lubimov's solo recital on 21 February, in MIRY Concert Hall, Ghent.

In my opinion, it is important for musicians to perform music from different periods, because compositions from centuries ago continue to have relevance and inspiration to us now. Not having this connection would be the same as having a country with no history. Only through knowing our past, through understanding the way our ancestors worked, can we be more linked to our present and future. Music as all other forms of art is a “living being”—constantly moving, constantly evolving. We should not forget the lessons taught to us by the old masters, but we must also be aware of the changes that happen in our own world and culture. As musicians, we need to be well-rounded so that we can meet the expectations of our varied concert goers.

In this sense, musicians, as any other performers, should be very versatile. There is no right or wrong way to playing music, but there must be an idea behind a performance. Sometimes it is important to ask ourselves – what do we want to say with this piece of music, what is the idea behind it, how should I interpret the ideas of Bach, Mozart or Stockhausen? How should I play this piece looked through the prism of my “modern” eye? The audience should have the feeling that the music of the past can sound like music of today. As if they are taken on a musical journey, strolling continuously and without interruption through different worlds of sound, shapes and styles. Though seemingly unconnected, we should take notice that baroque and contemporary music share some common grounds.

Looking at the musical history and analyses of both these styles, we see that composers from both periods are radical and in their own way, wild. They try to break free from the rules and expand the borders of music. They experiment with new sounds, look for new forms, and alter already existing or invent new instruments to fit their needs. In addition, it is also interesting to note that they both possess a poetic element in their music that does not comply with our traditional “romantic” concept of classical music- meaning that the baroque and contemporary composers have managed to create emotions and express their ideas without having to go through the often used pathos of 19th century music.

It was on a gloomy February night, when Ghent was illuminated by the presence of the esteemed Russian pianist Alexei Lubimov. Initially Lubimov gained his reputation by making his Moscow debuts (1968) of works by Cage, Riley, Schoenberg, Boulez and other modern composers.

However, his eagerness did not stop only with contemporary-classical music, since his interests were leading him in exploring the standard piano repertoire, as well as the early music repertoire for fortepiano. Lubimov is considered to be one of the most original interpreters of music due to his knowledge and skills of delivering music. His wide repertoire dedicated to principles of music and his passion for both baroque music, performed on traditional instruments, and works from the 20th century, makes him a most welcomed exception in the musical scene.

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His sound was the most captivating part of his performance; so sophisticated and pure as it flowed through the Fantasie by Haydn. A brilliant execution of all the ornamentations in the opening, and natural rubato movement throughout create a real feel of a fantasy, letting ones thoughts wander away from the hall. But it was not until the two sonatas by Scriabin and Stravinsky when we were taken on a complete journey throughout the centuries. Here we also got to experience the new and more modern sound of the Steinway piano. Scriabin had very strong ideas behind his sound-facade, avoiding personal emotions and working in somewhat simplified forms. The performance was more like a state of mind, drifting through the space of the concert hall.

The sonata by Stravinsky, although no doubt more modest than the famous ballets for example, is a piece often performed by the renowned pianist. The second movement of the Sonata was absolutely fantastic, a personal transformation of forms from the past. The invention-like third movement consists primarily of sixteenth notes which make it sound full of life and closer to the baroque music. Not only did he make us hold our breath in silence more than once, but Lubimov left no space in the hall for anything but the music.

Lubimov’s choice of seemingly different, but musically intertwined pieces made the whole concert an unforgettable experience. It concluded by the performance of three encore pieces, one of which the beautiful Arvo Pärt's Für Alina. This was another example of a composer who rejects the structures and complexities of common music in a search for reconnection with long-buried religious and spiritual feelings that require a new way of expression. Music is an ever evolving process that has never stopped because of people like Alexei Lubimov. Through the use of his skills gathered over the years, he convincingly shows us that this sonic art is one whole.

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The piano recital that Alexei Lubimov gave in MIRY Concert Hall was not only interesting from a purely technical view point—managing to combine performances on an early fortepiano in the first half of his concert and a modern—Steinway piano in the second, but it was a mix of styles in a most musically profound way. From opening notes of his performance with Bach’s Rondo in c minor, it was clear that the recital would represent the artistic principle and philosophy of complete immersion in music.

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JONAS LAUVRYS 3rd Bachelor of Photography

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Letter to Anna Luyten, lecturer in ‘Artists' texts’

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Delvaux In de hoek van de kamer staat een stoel, vlak naast de openstaande, hoge deur. Op de zitting van de stoel, die met witte stof is bekleed, staat een bruine, lederen tas. De tas glimt in het licht, dat door het venster naar binnen valt. Tussen de riemen van de tas steekt een gevouwen exemplaar van de International Herald Tribune. Nog ongelezen. Naast de stoel staat een blond kind op de tippen van zijn tenen. De jongen duwt met beide handen de lederen tas open, die onbewaakt in de kamer rust.

Zonder gêne steekt hij zijn neus in de tas. Hij kan er net bij. Wat hij zoekt is een raadsel, wat hij vindt evenzeer. Een boek. Parfum. Een agenda. Pepermunt. In elk geval geen lippenstift of Story, want het is niet zó een tas. Niet van zó iemand. Het is zo een tas waarmee deftige, degelijke heren naar hun werk in de hoofdstad gaan. Diezelfde heren kopen de International Herald Tribune. Of ze hem lezen weet ik niet. Dat hij maar oppast, dat blonde knaapje. Straks wordt hij betrapt tijdens zijn stiekeme snuisterij.

Zodra de tas door de eigenaar onbewaakt op de stoel werd achtergelaten, besloot hij – slim als hij is – toe te slaan. Vanuit de aangrenzende kamer sloop hij, langs de kast met de witte bloemen, naar binnen recht op zijn doel af. Geruisloos bovendien. De hoge deur stond open en blootsvoets trippelde hij over de parketvloer tot aan zijn prooi, de lederen tas. Zonder gêne steekt hij zijn neus in de tas. Wat hij zoekt is een raadsel. Wat hij vindt evenzeer. Misschien iets onkies. Dan toch lippenstift? Voor een heer? Is het zo iemand? Of een geweer? Een kind heeft een neus voor zo'n dingen. Pas maar op.

Part of a series of short texts that are literary translations of advertising images

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MATS MINNAERT 3rd Bachelor of Graphic Design

GRADUATION

ARNE WASTYN Master of Graphic Design Illusie van de tegencultuur

Na eigen onderzoek is gebleken dat een tegencultuur niet in werking treedt zoals gangbaar gedacht wordt, namelijk dat een tegencultuur per definitie de gevestigde orde omver wil werpen.

Voor mij is het duidelijk geworden dat de huidige maatschappij tegenculturen heeft ingecalculeerd in deze samenleving en hiervan zelfs gebruik maakt om de controle te behouden. Met het schilderij ‘de steenbrekers’ van Courbet in het achterhoofd wil ik dit kort uiteen zetten.

Courbet schilderde van 1849 tot 1850 het schilderij ‘de steenbrekers’. Het werk behoort tot het sociaal realisme. Op de achtergrond van het schilderij zien we een heuvel en een klein stuk van de horizon.

Dit suggereert dat de arbeiders fysiek en economisch gevangen zijn. Het is opmerkelijk dat wij geen oogcontact kunnen maken met de arbeiders. Hoewel Courbet aangeeft dat deze werklui gevangen zitten, kunnen zij hun vrijheid snel terug winnen. Het gereedschap dat de arbeiders gebruiken ervaren we als wapens. De arbeiders zitten gevangen in een systeem dat hen is opgelegd maar er is een mogelijkheid tot ontsnappen. Ze kunnen ervoor kiezen het werk neer te leggen,Als ze dit doen verliezen ze echter hun inkomen.

De reden waarom sommige mensen de nood voelen een tegencultuur te creëren, is aan te tonen aan de hand van de psychologie van Sigmund Freud. Volgens zijn theorie heeft de mens altijd kunnen kiezen tussen vrijheid en beschaving. Vrijheid betekent dat ieder individu doet wat hij / zij wil, naar het verlangen van de eigen driften. Beschaving betekent een algemene ontwikkeling van de maatschappij en voorziet ook veiligheid. In ruil voor een bloeiende beschaving zal je een stukje vrijheid moeten afgeven en andersom.

De vrijheid die we via computer en internet verkregen hebben door zoveel mogelijk kennis op te slaan, is echter een illusie. Alle vrijheid die we bezitten kan immers op elk moment gecontroleerd worden.

Dit brengt ons opnieuw bij ‘de steenbrekers’, die in de open lucht werken zonder zichtbare opziener en zo ieder moment kunnen weg stappen. De controle is er, maar we zien ze niet, net zoals bij het internet. De werkmannen lopen ook niet weg, want ze weten zich gevangen in het economisch, kapitalistisch systeem, vrezend hun loon te verliezen mochten ze dat wel doen.

Frustraties vanwege het afgeven van vrijheid zullen altijd aanwezig zijn, ook in het onbewuste.

Als deze frustraties zich opstapelen, zeker bij een grotere groep, is er kans op tegenreactie.

Als ik ‘tegenreactie’ en ‘groep’ combineer ontstaat een tegencultuur.

Tegenculturen verzetten zich tegen onderdrukking. Toch blijkt de maatschappij dit niet als bedreigend te zien. Het kapitalisme heeft een plaats voor deze zogenaamde tegenculturen voorzien in het systeem dat het hanteert. Het heeft een manier gevonden om ze te gebruiken in zijn voordeel.

De producent probeert zoveel mogelijk symbolen/uiterlijke kenmerken te verkopen van die tegencultuur. Een groot deel van de bevolking neemt de leuke dingen van de tegencultuur over, zonder zich het gehele ideaal toe te eigenen. De tegencultuur wordt dus groot op vlak van uiterlijk en consumptie, echter niet op vlak van idealen of ideologieën. Haar radicale context wordt hierdoor verminderd en de symbolen/uiterlijke kenmerken zijn niet langer revolutionair. De maatschappij neutraliseert de tegencultuur door de genotsmiddelen zo hoog op te stapelen dat mensen zelfs niet meer aan de revolutionaire ideeën denken. De tegencultuur gaat deel uitmaken van de mainstream cultuur en vormt geen bedreiging meer. Omdat de steenbrekers economisch gevangen zijn, hoeft de maatschappij zich geen zorgen te maken over de pikhouwelen die ze als wapen kunnen gebruiken.

De steenbrekers hebben geen andere keus dan er mee verder te werken.

De producent maakt gebruik van de tegencultuur om ons de illusie te geven dat wij ons afzetten tegen of onderscheiden van anderen. Ik hoef enkel aan te tonen waar ik nood aan heb en deze producten zullen geproduceerd worden. Hoe kan een tegencultuur dan nog effectief te werk gaan?

A summary of De invloed van immateriële arbeid op de tegencultuur.

The complete text can be found at illusievandetegencultuur.wordpress.com.

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The Image, a Parable The man turned to the other and asked him: ‘If this ‘image’ is so ubiquitous, could you at least give an example of one?’

‘Certainly,’ the other replied and showed the man a photograph.

‘But this is a piece of paper imprinted with tiny dots of a water-based ink.’

‘Well,’ said the other, ‘if you’re going to be like that, it is obvious that you will not understand me.’

The man was silent for a bit. Then he turned to the other once again and told him he will present a unicorn, upon which he produced a horse with a carrot tied to its face.

‘But,’ observed the other, ‘this is a horse with a carrot tied to its face.’

‘Well,’ the man answered, ‘if you're going to be like that, it is obvious that you will not understand me.’

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GUUS VAN DER VELDEN Master of Fine Arts

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TIM DUERINCK Master of Musical Instrument Making

Manifest voor de muziekinstrumentenbouw in de 21ste eeuw Stradivarius is een zegen en een vloek voor het ambacht van de instrumentenbouw. Een zegen omdat de mythevorming errond ervoor gezorgd heeft dat dit ambacht één van de enige is dat is kunnen blijven bestaan na de industrialisatie in de 20ste eeuw. Een vloek omdat instrumentenbouwers niet kunnen afwijken van de typische viool zonder scheef bekeken te worden door muzikanten.

Een instrument mag dan nog zo goed klinken, als het er niet oud of Italiaans uitziet krijg je het moeilijk verkocht. Als instrumentenbouwers zijn we mede verantwoordelijk voor dit probleem. Wij houden de mythe in stand.

We moeten losbreken.

We moeten stoppen met Stradivarius te analyseren en voor ons zelf leren denken. We mogen geen dogma's aanvaarden. Hoe kunnen we een instrument maken dat goed klinkt? Wat is een goede klank? Bestaan er nieuwe materialen die voor een goede klank kunnen zorgen?

Kunnen we instrumenten een nieuwe vorm geven? Kunnen we ze houdbaarder maken?

We moeten innoveren.

We moeten op zoek gaan naar nieuwe klankkleuren. Muzikanten en componisten die met nieuwe muziek bezig zijn smeken er bijna om. De tijd van de nieuwe instrumenten zoals de saxofoon ligt misschien achter ons, maar er zijn ontelbare mogelijkheden om gitaren, violen,… te maken met een andere klank. Het onderzoek in mijn thesis wijst bijvoorbeeld uit dat piepschuim superieure akoestische kwaliteiten bezit tegenover hout. Piepschuim bestaat al 50 jaar, de naam alleen al is een weggever: je moet geen genie zijn om de mogelijkheden van het materiaal te ontdekken.

Waarom bestaan er dan geen instrumenten uit?

We moeten overtuigen.

Componisten schrijven nu nieuwe muziek voor instrumenten die de laatste 200 jaar vaak onveranderd zijn gebleven. Muzikanten worden bijgevolg beperkt in hun mogelijkheden door de instrumenten die ze bespelen. Als nieuwe muziek relevant wil zijn moet ze mensen verwonderen, ze moet tot nadenken stemmen. In de culinaire wereld gaat men terug naar de basis. Lokale smaken hebben nood aan de puurheid van een kwaliteitsvol product. Als instrumentenbouwers moeten wij de nieuwe muziek dat nieuwe kwaliteitsvolle product aanbieden: nieuwe interessante klanken.

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Poems from the book, De nieuwe afstand is niet aftands

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TINEKE BACQUÉ 3rd Bachelor of Fine Arts

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Research in the Arts 2014-2015

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EN

De onderzoekers van de School of Arts nemen een voortrekkersrol op zich bij het uitzetten van het terrein van het onderzoek in de kunsten en design: ze creĂŤren actief een eigen discours en experimenteren met nieuwe vormen van onderzoek en kennisoverdracht.

Zo ontstaan de referentie­punten van de toekomst.

Diversiteit is een kernbegrip in de definitie van wat in dit onderzoek wordt nagestreefd, maar onze voornaamste onderzoeksinteresses zijn samen te vatten in drie inhoudelijke clusters: creatie en het creatieve proces, analyse van de historische en hedendaagse praktijk, en een kritische beschouwing van de maatschappelijke context waarin kunst en design functioneren. Binnen en over de clusters heen bepalen de acht vakgroepen van de school waar ze hun eigen focus leggen. Zo kunnen ze hun specifieke profiel in het veld versterken en een solide relatie tussen onderzoek en onderwijs verzekeren.

Dankzij de inzet van haar docenten en onderzoekers is de school uitgegroeid tot een steeds verder ontwikkelende onderzoeksomgeving van topniveau waar creativiteit, artistieke uitdrukkingskracht, academische discipline en een sterk bewustzijn van de maatschappelijke functie van de kunstenaar en de designer worden aangemoedigd.

In het volgende overzicht van de projecten die werden afgerond in de loop van het afgelopen jaar, vindt u voorbeelden van de verschillende soorten projecten en de verschillende vormen van output die ze opleverden. Een volledige lijst van alle lopende projecten kunt u vinden op onze website.

In the field of research in the arts and design, our researchers actively help to stake out the terrain by forging their own discourse and trying their hand at new ways of conducting research and contributing to public knowledge, creating tomorrow's reference points in the process.

Diversity is a key word in describing the research pursued here, but our major concerns and research interests are expressed in three conceptual clusters: creation and the creative process, analysis of historical and contemporary practices, and a critical awareness of the social contexts of art and design.

Within and across these clusters, the school's eight departments define their own focuses to highlight their particular profile within the field and to ensure a sustained connection between research and education. Thanks to the efforts of its lecturers and researchers, the school has become a continuously developing top-level research environment where creativity, artistic expression, academic rigour and a strong awareness of the artist's and the designer's place in society are fostered.

In the following overview of projects completed over the past year, you will find examples of the different kinds of projects and the diverse forms of output generated through them. A complete listing of all ongoing projects can be found on our website.

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PhDs in the Arts

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JAN STEEN ‘L'être et le jouant — Het zijn in het spelen — Being in Playing’ The topic of the doctoral research project, ‘L'être et le jouant – Het zijn in het spelen – Being in Playing,’ was ‘the actor's dramaturgy’, a concept borrowed from Eugenio Barba, who discusses it in his On Directing and Dramaturgy. Barba uses the term to refer to an actor's individual and creative contribution to a performance, as well as to his ability to root what he wants to communicate in a structure of physical and vocal actions: actions that have the quality to attract the immediate attention of the spectator. This particular quality of physical and vocal actions gives life to the ‘scenic presence’ of the actor.

The research focused on awarenessraising processes that are at the basis of an actor's scenic presence and the way in which he or she, from their own experiential point of view, can intensify that presence:

paradigms on scenic presence with the writings of dramatists, such as Barba and Zarrilli, who bridged the gap with contemporary theatre. In addition, Steen thought and acted from a more interdisciplinary point of view. His familiarity with Merleau-Ponty's Phenomenology of Perception and the work of the Japanese philosopher Yasuo Yuasa, the four-year teacher's course he attended to become a Feldenkrais practitioner, and the fundamental knowledge he acquired of the physiological and neurobiological processes that lie at the basis of body-mind acting have all ensured a continuous flow of feedback and dynamism in his research with the students in the studio.

Jan Steen has moreover directed and played in three performing arts productions. The first was ZONEN VAN / Tu es le fils de quelqu'un (You are someone's son), in collaboration with NTGent and KOPERGIETERY., co-produced by les ballets C de la B. In the second, he co-created and played H, an incident, directed by Kris Verdonck and produced

by ATDC and Kunstenfestivaldesarts.

The third production he created was 4.48 Psychosis, in collaboration with NTGent, a play which is still running.

‘Which awareness-raising processes are at the basis of the scenic presence?

As an actor, how can you improve the quality of your physical and vocal actions? How can you attract, generate and stimulate attention? How can you intensify the presence of your actions?

How can you unveil your own scenic presence? In what way are you present as an actor, both physically and mentally, not only during training situations and rehearsals in the studio, but also during performances, night after night?’

On the occasion of the finalisation of his doctoral research project, Steen presented the exhibition E-motion on the Bijloke campus (Zwarte Zaal, 17.09 – 05.10.14).

E-motion revealed the trajectory of Steen's investigation with the use of film recordings by drama student Pieter Dumoulin and photographs by theatre photographer Kurt Van der Elst.

During the research period (2008-2014) Jan Steen worked with over a hundred different students of acting at the KASK/ School of Arts Ghent, with whom he could experiment with different techniques and self-developed exercises that explore and stimulate the nature and the essence of scenic presence. Simultaneously, he re-examined the paradigms of classical acting methods in the primary texts of Stanislavski, Grotowski, Brecht and Artaud. Steen confronted these 54

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Photos by Kurt Van der Elst, taken during the entire research period (published in the book, Being in Playing by ARA / MER. Paper Kunsthalle and online at www.kvde.be).

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Exhibition view, E-motion, Zwarte Zaal (17.09 – 05.10.14).

Photo: Tom Callemin

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HANS ROELS ‘The Creative Process in Contemporary Polyphonic Music’ There are four main parts in Hans Roels's dissertation. First, several works related to the themes of contemporary polyphony and simultaneity were composed. Second, a study was made of the creative processes of eight composers, producing a short poly­phonic composition. In the next section, a self-study investigated loose, more independent composition activities.

In the final part, Roels's reflected upon the influence that the previous research activities have had on his own compositional practice.

from a ‘simple’ writing process.

The results of the self-study confirm the view of the creation of loose ideas as a relatively autonomous process. The ideas with unique content, which only appear once, and the groups of loose ideas without a connection to the finished compositions are the clearest examples of this autonomous status. At the same time, there are many inter-relations within loose ideas, and between loose ideas and other compositional processes. The loose ideas are not a scattered collection of singular ideas, as there appear to be several (often overlapping) groups of related ideas and processes, as noted through the analysis of the real-time and retrospective links and themes. The processes to which the loose ideas refer are in general not older than two years. The loose ideas also appear as the most innovative process: most new themes in this compositional practice emerge out of loose ideas.

One of the main problems dealt with in Roels's dissertation are the different and incomparable activities that emerge in studies of the creative process, given the lack of clarity about whether these differences are caused by the compositional processes or by the research methods.

In the group study, the main activities of eight composers are examined, using the same method and a designed analysis framework. Another problem arises as the literature suggests that compositional activities, such as sketching, take place without a clear connection to finished compositions. In existing studies, more independent compositional activities have not yet been investigated.

In Roels's reflections on the influence of this research on his artistic practice, he discovered effects in several domains of his practice. A higher awareness of activities, problems, practical issues and organizational matters evolved, and in a subsequent phase, this higher awareness changed the broad orientation of his compositional practice, in which the potential of past ideas and processes began to play a larger role. The research also led to new creative and inspirational ideas that were used in compositions, and finally, the experience and verbalization of his own and others' creative processes changed. Greater attention to retrospective experience and theoretical activities were the two main expressions of this change of experience.

The results of the group study show that the configurations, the selective presence and the order of the four main activities—exploring, planning, writing and rewriting—create the largest differences between the creative processes studied.

These configurations also disclose how the same compositional activity can have different functions and meanings. The rewriting activity appears in three forms, firstly as structural rewriting, where the structure of a composition is recursively adapted, secondly as revising, where local characteristics are adapted, and thirdly as ‘scaffolded rewriting’, in which the complexity of a full score is gradually built up, layer upon layer, starting 58

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(top) Tools for Eigengang (2011 – 12)

(bottom) Score excerpt from (fl)ASH (2012 – 14)

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Score excerpt (p. 4) from Centra (2013)

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Score excerpt (p. 9) from Centra (2013)

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LISELOTTE SELS ‘Türkü and Halay between Ghent and Turkey: An Ethnographic Study of Turkish Folk Music in a Transnational Context’ In our 21st-century globalized and glocalized world, shaped by highly transformative transnational processes, new conditions and contexts of musical performance, as well as new musical forms have emerged. Folk music, rooted in tradition, provides an interesting case for the study of musical and performance-related change. The 20th- and 21st-century development of Turkish folk music is well documented and provides rich material for study.

migration history and its large size (comprising 8 to 10 % of the city’s total population). Nevertheless, the music and music-making of the Turkish diaspora in Ghent has remained unstudied—as has the cultural and artistic production and consumption of other (post-)migrant groups in Flanders and Belgium.

In her six-year research project, Liselotte Sels explored, described and interpreted the ways in which Turkish folk music manifests itself musically, contextually and functionally in the transnational context of contemporary Turkey and the Turkish diaspora in Ghent. The interrelations between the different aspects and between the two larger research contexts are also identified. Forty-six musical events in different socio-cultural contexts in Turkey and in Ghent are ethnographically studied and subjected to qualitative inductive analysis. This is complemented by musical transcription and analysis of contemporary performance styles.

In addition, a contextualizing overview of the theory and practice of Turkish folk music in Turkey is provided, discussing, for example, the role of the cultural policies of the Turkish Republic and the TRT, and covering the understudied Emirdag˘ region. This research project, anchored in detailed ethnographic reality, aims to broaden and deepen insight into the status of Turkish folk music in the early 21st century, and add to the apprehension and appreciation of this multi­ faceted and topical genre.

The concept of ‘folk music’ is highly ideologically and politically charged in Turkey, since it was put forward by Atatürk as the only musical repertoire capable of representing Turkish identity and the Turkish nation. The state-coordinated constitution of a folk music archive (consisting of recordings and scores) has been a determining factor in defining what is considered as the folk music of Turkey.

The so-called ‘TRT repertoire’, an extended collection of selected and processed songs and dances, has become the basis of almost all urban folk music practice and discourse in Turkey and the diaspora.

A ‘modern’ concept of folk music has emerged, which is canonized and standardized, but not orally transmitted, not embedded in a rural context, and without a primary function. Furthermore, boundaries between the tradition-grounded folk music repertoire and ‘contemporary folk music’ have become increasingly blurred.

At the same time, a separate ‘living tradition’ of folk music, grounded in the rural cultural practices of Anatolia, still exists and continues to develop. Whichever definition of Turkish folk music is employed, the genre still occupies an important position in contemporary Turkey and the Turkish diaspora.

In addition to the dissertation and other publications resulting from this study, the results include a documentary film about the music of Emirdag˘ , a photographic exhibition documenting the fieldwork, an online music archive (www.liselottesels.com/turkishfolkmusic), and additional artistic and educational projects.

The Turkish diaspora in Ghent provides a rich case for study, with its 50-year 64

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(bottom) Exhibition view, Türkü and Halay between Ghent and Turkey, Images from the Field, Cirque (24.10.14 – 07.01.15). Photo: Gie Sels

(top) As˛ık Bayram Karagöz in Emirdag˘ (2011). Photo: Liselotte Sels

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Shepherd Playing the Kaval in Emirdag˘ (2011). Photo: Liselotte Sels

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Wedding Party in Emirdag˘ (2012). Photo: Liselotte Sels

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ARTISTIC RESEARCH PUBLICATIONS Jan Steen's research ‘L'être et le jouant – Het zijn in het spelen – Being in Playing,’ also resulted in the book Being in Playing, published by MER. Paper Kunsthalle.

The book includes six fictive conversations on the dynamism and processes that are at the basis of the actor's dramaturgy.

These conversations never really took place — or at least not outside the author's own thinking process. The interlocutors are not based on real people. They are gender-neutral ‘voices’ that speak and argue from their specific functions within the field of theatre. The six conversations are embedded in a practice in which reflection not only takes place ‘after the facts’, but in which the practice itself and the discourse about it are forms of reflection. To complement the text, photographs by Kurt Van der Elst and a DVD with footage by filmmaker Pieter Dumoulin are included to provide examples of the author’s work.

in the southern Westhoek, including their illustrious pasts, their tragic lot during World War I and the ensuing reconstruction. At the beginning of the 20th century, the southern Westhoek was one of the most important castle districts of West Flanders. The design and layout of the buildings and their parks and gardens reflected the lives and the visual ideals of the nobility and the bourgeoisie.

World War I marked the abrupt end of this dream world. Castles and estates became military headquarters or strategic outposts, and their romantic parks were transformed into some of the most horrendous battlefields of the First World War. Nonetheless, even today, they continue to serve as references in our landscape. This book offers the reader an exclusive insight into recent reassessments of a number of estates in this region by renowned landscape architects and designers.

This richly illustrated reference work came about through the incentive of University College Ghent. Steven Heyde studied the history of these aristocratic domains with an eye to the cultural historic context in which they were built.

Harlind Libbrecht and Joris Verbeken guided the project.

Being in Playing (published by ARA / MER. Paper Kunsthalle, 2014),

by Jan Steen. Photo: Laurent Fobe

March 2015 saw the release of Kasteeldomeinen in Vlaanderen, 1795-2015 (Castle Domains in Flanders, 1795-2015) written by Steven Heyde, a former research assistant at KASK. The book offers a unique view into the art of landscape design and gardening from the late 18th century through to today.

Mansions and their parks excite the imagination. They make us think of power and prestige, of beautiful salons, extensive gardens and monumental avenues and meadows. The book tells the story of castle and mansion grounds

Castle Domains in Flanders, 1795-2015 (published by Lannoo, 2015),

by Steven Heyde. Photo: Laurent Fobe

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Artistic Productions 2014-2015

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In de opleidingen van het KASK en het Koninklijk Conservatorium maken experiment, dialoog en presentatie essentieel deel uit van het traject van de studenten. Presenteren van het eigen werk in een optimale context is een intrinsiek onderdeel van het pedagogisch proces binnen de opleiding van jonge musici, ontwerpers, vormgevers, theater- en filmmakers, beeldende kunstenaars en fotografen. Dagelijks zijn er toonmomenten van studenten en/of onderzoekers, jamsessies, concerten, filmscreenings of dramavoorstellingen.

Het geeft de studenten de kans om elkaars werk te leren kennen, over de grenzen van de disciplines heen. Het faciliteert ontmoetingen met een intern en een extern publiek, dat op die manier kan zien, horen en voelen wat een nieuwe generatie in haar mars heeft.

Het KASK en het Koninklijk Conser­va­ torium willen tegelijk een broedplek zijn die de studenten voedt met nieuwe visies en praktijken van buitenaf.

Studenten worden geconfronteerd met kwalitatief hoogstaand werk dat aan internationale standaarden voldoet, zowel in KASKcinema, MIRY Concertzaal, Zwarte Zaal en KIOSK. Zo vormt de school een katalysator voor relaties met het culturele veld en houdt zij, in het kader van haar decretale opdracht tot beoefening van de kunsten, de vensters open op de (kunst)wereld. Dat leidt tot een productieve verwevenheid op regionaal, nationaal en internationaal vlak, en tot productieve interacties binnen de Gentse regio met S.M.A.K., HISK, Gent Festival van Vlaanderen, Film Fest Gent en Film-Plateau van UGent.

Wat volgt is een overzicht van de voornaamste initiatieven binnen de School of Arts in het afgelopen academiejaar.

Al onze activiteiten staan steeds open voor het publiek. Wie op de hoogte wil blijven van de activiteiten van de School of Arts kan zich inschrijven op de nieuws­brief via www.schoolofartsgent.be.

The Royal Academy of Fine Arts (KASK) and the Royal Conservatory offer art programmes in which experiment, dialogue and presentation are all part of the educational pathway.

Displaying artistic work is essential to the educational process of artists and designers, which is why the school focuses special attention to creating optimal circumstances for this to happen. Exhibitions by students and graduate researchers, jam sessions, concerts, film screenings and theatre performances are organized on a daily basis. This enables students to become acquainted with one another's work and to transcend the limits of the various art disciplines. It also encourages interaction with internal and external audiences, who are invited to hear and feel what our new generations are up to.

KASK and the Conservatory Ghent aim to serve as a platform to nourish students with new ideas and external artistic practice. Students are confronted with high-quality work at the MIRY Concert Hall, KASKcinema, KIOSK and the Zwarte Zaal. This way, the school also functions as a catalyst for relations in the cultural domain. In the context of the school’s task of participating in the arts, it opens the gates to the (art) world.

This leads to productive interactions on a regional, national and international level, and direct interactions with Ghent-based institutions, including SMAK, HISK, the Ghent Festival of Flanders, Film Fest Ghent and Film-Plateau UGent.

Here follows an overview of the School of Arts' principal activities during this last academic year.

All of our activities are open to the public. If you would like to be updated on all news related to the School of Arts, please subscribe to our newsletter at www.schoolofartsgent.be.

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During the school year, the School of Arts also distributes a bimonthly, printed publication with a calendar of activities, important publications, concerts and exhibitions, as well as in-depth analyses of the events.

This publication can also be consulted online, complemented with photographs and shorter articles on our blog, at: schoolofartsgent.tumblr.com.

Gedurende het academiejaar geeft de School of Arts ook een gedrukte tweemaandelijkse publicatie uit waarin naast een agenda een aantal activiteiten, belangwekkende publicaties, concerten of tentoonstellingen in de diepte geanalyseerd worden.

De publicatie is ook online te lezen en wordt aangevuld met foto’s en kortere stukken op onze blog: schoolofartsgent.tumblr.com.

First four covers of the KASK & Conservatory's bi-monthly publication, edited by Els Roelandt

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MIRY CONCERT HALL During the 2014-2015 academic year, the Royal Conservatory in Ghent began a programme of concerts at the MIRY Concert Hall, including the MIRY Masters series, MIRY Sundays, MIRY Contemporary and Conservatory on Stage.

MIRY Masters officially opened in September 2014 with a performance by pianist Daan Vandewalle and singer, actress and cellist Salome Kammer.

The programme included Ursonate by Kurt Schwitters, Hollywood Elegien

by Hanns Eisler, and Sonate Sauvage

by George Antheil. It was an evening in which Faust presented himself in various forms, and in which Salome Kammer more than equalled her reputation as a vocal magician. Just the day before, she had been awarded the title of Magister Artium Gandensis from the School of Arts. This honorary Masters Degree had previously been awarded to artists Gilbert & George and jazz musician John Zorn.

A second highlight in the MIRY Masters series was a concert by the Russian pianist Alexei Lubimov, which he preceded with a master class. In the first part of the recital, Lubimov played works on the pianoforte by Johan Sebastian Bach's best-known son, Carl Philipp Emanuel Bach, as well as Joseph Haydn. In part two, on a modern grand piano, he interpreted the rarely played 1924 Sonata by Stravinsky, Debussy's Preludes and Sonata No. 9 by Scriabin.

Master class with Pieter Wispelwey, the day after his concert, MIRY Concert Hall (29.04.15). Photo: Marian Coppieters

MIRY Sundays (in collaboration with the Queen Elisabeth Music Chapel), offer a podium to young, promising musicians from all across Europe.

This first edition of the programme witnessed performances by Andreas Böhlen (Germany), Revue Blanche (Belgium) and the Quatuor Hermès (France). Another superb moment was unquestionably the concert by the Russian pianist, Pavel Kolesnikov.

He treated his audience to an overwhelming interpretation of Robert Schumann's Fantasie in C, Opus 17, a work whose heart-wrenching first section is a declaration of love to Clara Wieck, whom Schumann would eventually marry, four years after composing the work.

In the MIRY Contemporary series, Spectra opened the season with a concert that explored the theme of spatiality. The musicians were spread throughout the hall to present sound

Pre-concert master class with Barnabás Kelemen, MIRY Concert Hall (27.03.15). Photo: Frederik Styns

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The MIRY Concert Hall was thereafter honoured with performances by the Hungarian violinist Barnabas Kelemen and the Dutch cellist Pieter Wispelwey who together with the young Australian pianist Anthony Romaniuk, presented works by Mendelssohn and Chopin.

The next day, the world-renowned cellist treated students of the Conservatory's cello instructor, Judith Ermert, to an unforgettable master class, a unique experience in the budding careers of these young musicians.

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Finally, Conservatory students developed and presented Conservatory on Stage, a series of diverse projects held throughout the entire year. One of the themes with which they worked this year was English music. In November of 2014, the young English conductor Tim Murray—associated with the Royal

sculptures by Hans Roels, as well as the masterpieces of tranquillity, Atlas Eclipticalis, by John Cage, and Tierkreis, by Karlheinz Stockhausen.

In the winter, in collaboration with KRAAK, there followed an honorary salute to composer Robert Ashley, who had died earlier that year. Sound artists Floris Vanhoof and Lieven Martens composed new works for the occasion, respectively the surrealistic multimedia composition, Ons Personage, and the opera concertante, Capolino.

Thomas Buckner, baritone and a close friend of the composer, completed the programme with a selection from Robert Ashley's own oeuvre.

Soundspotting took place in April of 2015. Under the curatorship of Dejana Sekulic, performances, concerts and art installations were to be seen and heard at fifteen different locations on the Bijloke campus, all setting out from the principle of the twilight zones of noise/sound, performer/installation and concert/sound dramaturgy. In the central hall, the GAME ensemble set Luigi Russolo's historic noise machines growling once again. The frosting on the cake of the contemporary productions were the Bestiaal jazz trio and their classical Doppelgänger, the Tiptoe Company.

Numbers composed by Bestiaal were responded to by the classical musicians with Free Square Jazz, by Matthew Shlomowitz, and New Cochlea, by Marcos Balter. A collective improvisation on a theme by Sebastiaan Vekeman rounded off an invigorating evening.

Symphony orchestra rehearsal during Project Week, led by Tim Murray, MIRY Concert Hall (12.11.14). Photo: Frederik Styns

Opera House, amongst others—worked with both the harmony orchestra and the symphony orchestra at the Conservatory.

The programme for the symphony orchestra included Edward Elgar's Cello Concerto (with soloist Judith Ermert, Conservatory cello instructor), as well as Elgar's Enigma Variations. The harmony orchestra, in turn, interpreted a megalomaniacal arrangement of Gustav Holst's The Planets. Their second orchestra production was led by incumbent conductor Dirk Brossé, again with English repertoire, this time with Jonathan Harvey, Benjamin Britten and others.

In addition, Conservatory students had opportunities for solo performances together with the orchestra. A number of students moreover composed works for both orchestras, with English music as a source of inspiration.

Bestiaal vs GAME / Tiptoe Company (detail Bestiaal), MIRY Concert Hall (22.04.15). Photo: Tomas Bachot

Concert of Timber by Conservatory on Stage, Ghent City Hall (27.05.15).

Photo: Marian Coppieters

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Throughout the year MIRY Concert Hall, located in the historic city centre of Ghent, hosts a variety of concerts and musical happenings.

The Conservatory itself offers a series of classical and contemporary concerts, inviting established masters as well as young, exciting ensembles that do not necessarily fit the safe zones of other venues in Ghent. Master classes, concerts and performance programmes for young musicians are organized in cooperation with such partners as the Ghent Festival of Flanders and the Queen Elisabeth Music Chapel. For the programme, see www.miryconcertzaal.be.

Opera scene by the singing class on Open Door Day, Miry Concert Hall (26.04.15). Photo: Mireille Capelle

The season was completed with the Gentsche Festspiele summer festival, and one of its fixed features being the series of piano concerts known as the Gentse Vleugels, and an evening programme, which this season included performances by Fulco Ottervanger, Joris Blanckaert, and master's students in classical music, jazz and music production.

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Following our annual tradition, this season included an opera production by the students of singing. This year's selection was Monteverdi's last opera, L’Incoronazione di Poppea, in a production directed by Caroline Petrick under the musical direction of Florian Heyerick. Students Jens Burez and Stijn Van Den Bulck were responsible for the decor and costumes, respectively.

There was moreover the choral production, Jahreszeiten, led by Johan Duijck, the Sang Couleur production under the leadership of Mireille Capelle and the concert on the theme of The New York Scene by the percussions class, led by Wim Konink and Gert D'Haese.

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a lecture performance, concerts and jam sessions at the smaller jazz venues of the city. The Ghent Jazz Festival helped develop coaching projects with students at the Conservatory.

MUSIC JAZZ, POP & MUSIC PRODUCTION During the academic year the jazz, pop and music production department of the Ghent Conservatory organized workshops, masterclasses, concerts and much more for upcoming musicians and producers. This while constantly looking for new challenges, collaborative projects and appropriate venues to stimulate the students to perform live.

Some best practices: each week, concerts and jam sessions took place in collaboration with the Trefpunt foundation.

This offers students-musicians of all levels the oppurtunity to perform live, but also hands-on practice of sound enforcement.

Each month, in collaboration with Film-Plateau and KASKcinema, conservatory students performed live in the context of FilmTonen, accompanying silent films. Further presentations and projects are organized with the Ghent Marriott Hotel and the Glimps Showcase Festival.

Concert by Yamantau during TUNES: A Jazz Night, Charlatan (30.04.14).

Photo: Laurent Fobe

New this year were De Nieuwelingen and Breaking Sounds, two special series spotlighting the students and their bands. Because of these initiatives, organized in close collaboration with Minard Concert Hall and the Trefpunt foundation, groups were given the opportunity to present their latest work and to test their repertoire by performing live before an audience consisting mainly of fellow students, teachers, members of the press and programmers.

Concert by Jens Van Esch & Steven De Wijngaert during TUNES: A Jazz Night, Trefpunt (30.04.14).

TUNES: A Jazz Night is a festival held every year in recognition of the annual UNESCO international Jazz Day. On 30 April 2015, for the fourth edition of TUNES, the jazz department of the Conservatory took to the streets, city squares and cafés of the Ghent city centre with jazz street parades,

Concert by Seiren during De Nieuwelingen, Trefpunt (07.05.15).

Photo: Marian Coppieters

The publication, Book a Band, gives an overview of the jazz and pop bands associated with the school and provides a unique tool to promote these bands to a variety of concert halls both in and outside of Ghent.

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and the Conservatory organizes jam sessions, concerts and coaching sessions with such partners as Democrazy, Ghent Jazz and Trefpunt.

Students, alumni and lecturers all make substantial contributions to annual events, including TUNES: A Jazz Night, the Glimps showcase festival, Ghent Jazz, and the Ghent city festival, Gentse Feesten.

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Concert by King Calico during Lokale Helden, Charlatan (30.04.14).

Photo: Laurent Fobe

During the recent Graduation Festival, the newest edition of the annual recording and compilation of graduating students Music Productions was introduced: Masterworks vol. 4.

The annual Masterworks LP, No. 4, 2015

In 2014-2015, extra attention was given to international artistic exchange with a visit to the Musikmesse in Frankfurt, Germany, the jazz, pop and music production departments organized a trip to New York, USA. And students participated in the Intensive Programme in Jazz & Film Music at the Bellini Conservatory in Palermo, Italy.

The city of Ghent has much to offer its students of jazz, pop and music production. Many of our students are actively involved in the city's thriving jazz and pop scene, 77

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FILM AT KASKCINEMA KASKcinema is devoted to screening films that are often overlooked by the regular cinema circuit. A broad range of genres and styles is covered, including contemporary feature films, documentaries, shorts, animation films, cult classics and audiovisual landmarks, as well as video art and experimental works.

Federico Fellini, Amarcord (1973), film still

Miroslav Slaboshpitsky's The Tribe, and Guillaume Niclaoux's L'enlèvement de Michel Houellebecq. On Thursdays, a variety of audiovisual works is programmed. In this last year, we screened Gregg Araki's Mysterious Skin & Doom Generation, Richard Linklater's Waking Life, Ruben Östlund's Involuntary, Antonio Camposs' Simon Killer, Tim Burton's Ed Wood, Ed Wood's Plan 9 from Outer Space, and many more.

KASKcinema poster image (September/October, 2014) Miroslav Slaboshpitsky, The Tribe (2014), film still

KASKcinema's Tuesdays are devoted to the programming of Ghent University's Film-Plateau, which presents classic films. Highlights from the 2014-2015 season included a double bill with La Jetée by Chris Marker and Alain Resnais' Nuit et Brouillard, Tarkovski's Solaris, Fellini's Amarcord, M – Eine Stadt Sucht Einen Mörder by Fritz Lang, and many more. Wednesdays are reserved for One Shot Cinema. This programme, in collaboration with Film Fest Ghent, screens recent (festival) films not released in regular movie theatres. They included, for example,

KASKcinema organized additional events, such as Live Track Cinema, in which the boundaries between music and film or moving image are redefined.

In 2015, Compact Disk Dummies' Lennert Coorevits created a new soundtrack to Steven Spielberg's Duel, which he performed live during the screening. Filmmaker/artist Tine Guns did a mix of film footage on Condor Gruppe's music show. Music is a factor in Filmtonen, a monthly screening of classic films accompanied by live music.

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To guarantee the best that is on offer, KASKcinema collaborates with cultural partners, including the Film-Plateau UGent, Film Fest Ghent, Courtisane, Cinematek and Democrazy. KASKcinema is an initiative of the Forum K non-profit organization and KASK and Conservatory / School of Arts Ghent.

KASKcinema is supported by the Flanders Audio­visual Fund and the City of Ghent. For the full programme, see: www.kaskcinema.be.

Lennert Coorevits (from Compact Disk Dummies) accompanied the film Duel by Steven Spielberg (1971) with live music, part of the Live Track Cinema programme. Photo: KASKcinema

Michael Haneke, Funny Games (1997), film still

Film is much more than just the film itself. KASKcinema welcomes (inter) national filmmakers to enrich the cinematic experience of the films being shown. Gustav Deutsch, Griet Teck, Sergei Loznitza, Renzo Martens, Zelimir Zilnik, Frank Van Passel, Nicolas Philibert, NoĂŤl Burch and Jonathan Hodgson all joined this last academic year. Film is moreover not only for adults. It appeals to the youngest of audiences. The monthly KIDScinema programme offers a thematic selection of old and contemporary shorts, and is hugely popular.

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triple bill, Night of the Horror, Night of the Palms and Goldmineties, our focus on the 1990s etc. Amongst the films screened were Michael Haneke's Funny Games and Hayao Miyazaki's Porco Rosso. KASKcinema also provides opportunities for the screening of short films in Kort Applaus, an initiative in which shorts are presented before the feature films.

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VISUAL ARTS AND DESIGN KIOSK In the autumn of 2014, KIOSK opened its new season with a solo exhibition

by Runa Islam (b. 1970). For her Anatomical Study, Islam took a new approach, extending her research into visual mechanisms, especially those of the film form. Alongside two existing works—including a 16mm film and a 16mm projector lens, which was cast from silver that had been retrieved from exposed film stock—the film medium was dissected and analyzed in a series of new sculptures and silverpoint drawings. Back in the early 1900s, KIOSK functioned as an anatomical theatre for medical students. Engaging this history, Runa Islam's series of new sculptures continued in the same vein: the ‘raw’ film silver, for example, was presented as a stack of bars, as casts of pencils and an orchid plant. Alongside Islam’s own works were also 19th-century, hand-made wax orchids from the collection at Kew Gardens in London.

Reflecting on various disciplinary methodologies, Runa Islam made meticulous use of separate fragments such as these, cutting and combining them into a narrative to fit the exhibition space.

Katja Mater, film still from Fields on a Line (2014).

for ‘outcomes’ that carry a potential for transformation and loss of control.

Mater’s Fields on a Line was conceived in a step-by-step capturing of the painting of the exhibition room walls and floors in four different colours, and the subsequent repainting in white. The result was a 16mm video installation with the exhibition space itself as a subject.

For her Nebenwege exhibition, Katinka Bock brought together existing sculptures and a new work in progress called Moskau (November) in the hemicycle room. The sculptures, the way they related to each other as separate building blocks, and their relation to the room, were all based in movement, in the idea that everything could be interconnected. During the exhibition, Bock drew in the exhibition gallery every day, creating otherwise unnoticed micro-processes, like streams of water or light through movement, letting these daily routines physically interact with her work.

Runa Islam, exhibition view, Anatomical Study (20.09 – 09.11.14), detail of Anatomical Study (Instruments), 16mm projector lens cast in silver recuperated from film processing (2014). Photo: Tom Callemin

The second exhibition was a two-artist presentation featuring the work of the German artist Katinka Bock (b.

1976) and Dutch artist Katja Mater (b. 1979). Both engaged in a dialogue with the exhibition space in a search 80

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Katinka Bock, exhibition view, Nebenwege (29.11.14-01.02.15).

Photo: Tom Callemin

In celebration of its fifth anniversary, KIOSK presented the group exhibition, Vibrant Matter. The great importance for artists of the materiality of an object or work of art has been a recurrent topic throughout KIOSK's trajectory. Vibrant Matter brought together different ‘material’ approaches, in a show that featured both artists who have exhibited with us before and new names: Katinka Bock, Edith Dekyndt, Thea Djordjadze, Matias Faldbakken, Karsten Födinger, Camilla Løw, Valérie Mannaerts, Benoit Platéus, Eva Rothschild, Analia Saban and Kato Six. Built on the power of association, a simple gesture, the autonomous form and a minimum of material used for its own sake, the works presented were ‘poor’, often radically austere, but had a surprisingly tangible effect.

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a sculpture and video piece that were the result of a collective performance created during the show's opening, in and around the exhibition space.

In different ways, the works on view examined notions of authorship, participation, and the artistic identity.

The works began with performance scripts meticulously elaborated by Falsnaes, yet the actual performances were given over to others. The works were shaped only in the process, and regardless of the artist's presence, by way of variable actors, including an interactive app, the show's visitors, and particular involved persons, such as choreographer and dancer Kareth Schaffer and KIOSK’s artistic director.

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Christian Falsnaes, film still from Front (Kareth Schaffer) (2015).

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

Each year KIOSK hosts four exhibitions in the KASK / School of Arts Ghent exhibition space. KIOSK is an initiative of the non-profit Kunsten­site organization and KASK and Conservatory/School of Arts Ghent. KIOSK is generously supported by the Flemish Community and receives additional funding from the City of Ghent. For past and upcoming exhibitions, see www.kioskgallery.be.

Watch interviews with the artists at www.vimeo.com/kioskgallery.

Exhibition view, Vibrant Matter (14.02-29.03.15), detail of Trophy

by Eva Rothschild (2014). Photo: Tom Callemin

For the season’s final exhibition, Danish artist Christian Falsnaes (b. 1980) was invited. The title of the exhibition, Front (Kareth Schaffer), refers to the show's central eponymous work, 81

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inside and the outside of Het Paviljoen were transformed into a greasy hamburger joint where art—in the form of burgers—was made and sold.

VISUAL ARTS AND DESIGN HET PAVILJOEN In its second season, 2014-2015, Het Paviljoen (The Pavilion) focused on the experimental character of the exhibition space. The space itself was approached as an object and as an active player in the creation of artistic presentations.

The season opened with Loading.

This exhibition was a collaboration between artists Seppe Van Den Berghe and Bart Vermeiren. Sam Sterckx, current coordinator of Het Paviljoen, invited the artists to respond to the original function of the space as a waiting room. Visitors were confronted with past, present and future stories of Het Paviljoen as a space for contemporary and experimental art.

Time is What Happens When Nothing Else Does was the second exhibition, curated by Dries Douibi, in which Het Paviljoen was seen and treated as a ‘malleable’ object, instead of simply an exhibition space. This exhibition focused on signs of the times, characterized by an almost indigestible information overload. In a surprising dialogue, and by means of in situ interventions, artists Hannelore Van Dijck, Benjamin Verhoeven, Edith Dekyndt, Max Pinckers, Jesse Cremers and Stephen Verstraete responded to the theme.

Exhibition view, Art Burger Palace (20.11.14 – 11.01.15).

Photo: Tobias Verstrepen

It's a Kind of Magic (an exhibition in six acts) transformed Het Paviljoen into a stage for performance. Curators Glenn Geerinck & Sam Sterckx invited six (inter)national artists: Michael Curran (UK), Peter Morrens (BE), Ria Pacquée (BE), Murray Gaylard (SA/DE), Ryan Rivadeneyra (USA) and Sarah & Charles (BE) redefined the glass pavilion as a stage for weekly performances and ‘magical’ interventions.

Exhibition view, It's a Kind of Magic – Act I, The Sacred and Profane Love Machine (19.02 – 25.03.15). Photo: Tobias Verstrepen

Exhibition view, Time is What Happens When Nothing Else Does (19.09 – 02.11.14). Photo: Tobias Verstrepen

In Art Burger Palace, artist Kasper De Vos transformed Het Paviljoen into a fast food eatery. In dialogue with curator Nadia Bijl, both the

Exhibition view, It's a Kind of Magic – Act II, Peter Morrens (19.02 – 25.03.15). Photo: Tobias Verstrepen

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For the next exhibition, Samuel Vanderveken curated Temple of Maybe with artists Oshin Albert and Melissa Mabesoone, known as Buren, Dominiek Colpaert, Geert Koekoeckx, Warre Mulder, Tom Poelemans, Samuel Vanderveken and Katleen Vinck.

Temple of Maybe united the individual views of these artists and transformed Het Paviljoen literally into a temple for a multitude of possible viewpoints, a place for exchange, confirmation, idolatry and for reflection and contemplation.

In June of 2015, Het Paviljoen celebrated the end of the season with a surprise three-day surprise solo exhibition by artist Benjamin Verhoeven. Verhoeven transformed Het Paviljoen into fragmented film sets, linking past perceptions to new forms and interpretations.

The show was curated by Driewerf H, a curatorial collective founded by Saraï Cachet, Ward Dupand & Sam Sterckx.

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Het Paviljoen opened in March 2013 as a new collaborative project between the Institute for Fine Arts (HISK), the KASK / School of Arts Ghent and the Museum of Contemporary Art (S.M.A.K.), taking place in and around the glass pavilion in the front yard of the Cloquet building on the Ghent Bijloke campus. Het Paviljoen is an autonomous space for contemporary and experimental art where young creators collaborate and present their work in a professional framework.

As an architectural skeleton stripped of its historical function as a waiting room, the glass pavilion has been transformed into an empty display case that offers room for imagination and experiment. For the full programme, see www.paviljoen.org.

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sculptural, photographic, video and performance works by four master's candidates in multimedia design: Sofie Beys, Rachel Gruijters, Lize Pede and Louisa Vanderhaegen.

Master's Project #28 (21.01 – 08.02.15) For Everyday Occasions, Karmen Ayvazyan (Master in Photography) presented a series of photographs in both print and book form. As we leafed through the books and walked past the photographs, we became part of Ayvazyan's staged situations, in which beauty is combined with mystery and the absurd.

Master's Project #29 (13.02 – 28.02.15) Something that Always Works by A. Liparoto (Master in Fine Arts) transformed the glass corridor into a building site in quarantine, an indeterminate transition zone. At the same time, this in-between zone was filled with personal stories and self-portraits. This led to a space in a 'floating' state, one that does not reveal itself through traditional structures or attributes.

VISUAL ARTS AND DESIGN MASTERS PROJECTS SPACE (MAP) The following 11 Master's Projects were presented in the glass passageway next to the Zwarte Zaal during the course of the academic year: Master's Project #24 (20.09 – 12.10.14) Laura Van Severen (Master in Photography) presented I'm Here/ You See, a new series of photographic works of a desolate, industrial landscape that has been defined not by its specific location, but through the way Van Severen plays with scale, perspective and colour.

Master's Project #25 (31.10 – 16.11.14) For 001-207, master's students in graphic design Anke Wouters & Daphne Vermeersch selected images from their own archives in order to confront them with one another. They established a new visual form and structure for the archives with the help of glass display cases, enlargements, numerically coded labels and video projections.

Master's Project #26 (29.11 – 14.12.14) With what seemed a maximum of effort and a minimum of result, Guus van der Velden's Master in Fine Arts presentation, David, comprised the trail of a motorcycle burnout, which left barely visible tire tracks.

A. Liparoto, exhibition view, Something that Always Works (13.02 – 28.02.15)

Master's Project #30 (05.03 – 18.03.15) Wooden constructions by Mathias Prenen and works cast in concrete by Liesbeth Henderickx, both sculptors and Master in Fine Arts candidates, were brought together both in and outside the glass passageway in I always Try to Add an Architectural Ingredient. Each element built further upon the last, presenting itself as dependent on the whole in the process of creating a balanced landscape of stacks and towers.

Guus van der Velden, before the exhibition, David (29.11 – 14.12.14)

Master's Project #27 (18.12.14 – 11.01.15) , Gisteren (, Yesterday) comprised 84

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Mathias Prenen and Liesbeth Henderickx, exhibition view, I Always Try to Add an Architectural Ingredient (05.03 – 18.03.15)

Master's Project #31 (24.03 – 05.04.15) Amina Saâdi (Master in Graphic Design) comes from Versailles, a suburb of Brussels, and took her encounters there and its daily life as a starting point for her physical and online presentation, Versailles City.

Amina Saâdi, exhibition view, Versailles City (24.03 – 05.04.15)

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Master's Project #33 (11.05 – 26.05.15) Master in Fine Arts candidate Katharien De Villiers presented The Palace of Illness in Beauty, a personal universe in which a castle and catapults, ‘wolkentrappers’ and arrows made of sponge led the way.

Master's Project #34 (28.05 – 07.06.15) Contouren (Contours) by Lien Van Leemput (Master in Graphic Design) recorded a range of spontaneous human interactions in the form of photographs, film, sound and text. With this work, she explored the contours of everyday communications: ‘Can we, by intensively looking at the everyday, learn to perceive its contours, banality, absurdity and beauty?’

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Lien Van Leemput, poster image Contouren (28.05 – 07.06.15)

Master's Project #32 (29.04 – 10.05.15) The SIFT exhibition brought photographic work by Jeroen Vranken and Mira Verstraeten (Master in Photography).

Vranken digs up memories with his images, while Verstraeten digs into the photographic material itself, by zooming in on fragments, scanning them and transforming them.

The MAP Masters Project Space was set up in 2012 as an additional platform for the work of Master students in fine arts, multimedia design, photography and graphic design. Since then, the glass passageway of the Cloquet building has so far been the setting for 34 public presentations and transformations.

Mira Verstraeten, exhibition view, SIFT (29.04-10.05.2015)

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For this exhibition, curators Jerry Galle and Peter Beyls selected works by 22 artists from Belgium and other countries.

VISUAL ARTS AND DESIGN ZWARTE ZAAL Last year, students, graduate researchers and external partners have shown their enthusiasm and their engagement for projects and exhibitions at the Zwarte Zaal. At the beginning of the academic year, Jan Steen presented his exhibition, E-motion, to complete his PhD in the Arts. E-motion revealed the trajectory of Steen's investigation with the use of film recordings by drama student Pieter Dumoulin and photographs by theatre photographer Kurt Van der Elst. In Ombres, PhD researcher Johan Opstaele presented an interim status quo in the form of four video installations that played with the projected image as a shadow, appearing and disappearing again.

Exhibition view, Generative Art (13.11 – 16.11.14). Photo: Tom Callemin

For many students, exhibitions at the Zwarte Zaal are the ideal opportunity for working towards public presentations in either interim or final form.

In short, it is a space for experimentation, bringing with it the opportunity for the necessary feedback. In this past academic year, it saw exhibitions and moments of presentation that were initiated in the autonomous arts and drama departments, as well as from the applied arts, including textile design.

A number of examples included the Don't Steal My Moment workshop, which was the result of a collaboration between the Master of Fine Arts programme and the Rita McBride studio at the Düsseldorf Art Academy in Germany. After a series of exchanges and meetings, 20 students began a workshop centred on the concept of authorship. The Zwarte Zaal was transformed into a place where the notion of ownership of an idea was temporarily null and void.

Second-year Bachelor students in drawing bundled their strengths for Inondation, a collective, monumental and three-dimensional drawing that transcended the traditional limitations of the art of drawing. Responding to a tendency in which more and more students are developing film animation in an installation setting, MOVINGanimation brought together works that are not seen on the traditional film screen.

Johan Opstaele, exhibition view, Ombres – Work in Progress (25.03 – 05.04.15). Photo: Laurent Fobe

Two new books were published by artists associated with KASK. De God Die Zijn Vrouw Had Opgegeten, a new book by Paul De Vylder (instructor of semiotics at KASK from 1982 through 2002) and Simple Thoughts, a monograph about the work of interdisciplinary artist and pioneer of digital media art Peter Beyls (visiting Professor of Media Art and former researcher at KASK). In the framework of his book presentation, KASK also presented De Vylder's monumental photographic work, Machinae (1997-2004).

Coupled with the presentation of Peter Beyls' book was the exhibition Generatieve Kunst (Generative Art).

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Exhibition view, From Where We Stand (03.02 – 04.02.15).

Photo: Thomas Min

The Zwarte Zaal was additionally the setting for several public events, including conferences, lectures and initiatives by external cultural organizations. One of these collaborative projects took place in the context of the two-day Global Fashion Conference, organized by the School of Arts and the Faculty for Nature and Technology at University College Ghent. The theme of the conference was Rethinking & Reworking: Challenges and Solutions for the Conjunction of Creation and Technology. With more than 200 participants, the conference proved a highly authoritative international discussion platform for designers, researchers, academics and professionals.

Exhibition view, Inondation (06.03 – 08.03.15). Photo: Liene Aerts

Exhibition view, MOVINGanimation (13.03 – 18.03.15), detail of Bleu de Landes by Wietse Palmans. Photo: Patrik Berx

Since 2011, the Bijloke campus’s multifunctional space, the Zwarte Zaal, has hosted numerous artistic productions each year. The space does not work with a strict programme, which makes it possible to respond to the educational and artistic needs of the visual and audiovisual arts programmes, as well as organizing collaborations with other art schools and cultural organizations.

As of this past year, the Zwarte Zaal was also put to use by the Master in Photography candidates. Their presentations bore such titles as Between Tides and From Where We Stand, with the accent on ‘work in progress’. Each year, more and more people seem to be finding their way to the annual photo auction of the photography Master students, with the Zwarte Zaal as an ideal presentation setting. This year, the Zwarte Zaal was moreover the podium for drama presentations, including the 87

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new work, Negative Space, by Mole Wotherell and his Reckless Sleepers theatre collective, and performances by drama students R’m Aharoni and Stine Stampers.

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Keynotes Lecture Series: Director of Design Vlaanderen, Johan Valcke (09.10.14); Brussels resident and inspiration for Brukselbinnenstebuiten vzw, Joris Sleebus (23.10.14); architect Philippe Allaeys (06.11.14); Dertien 12 Architects (18.12.14); furniture designer, Houtd furniture, Dries Warlop (12.02.15); exhibition walk-through at STAM by Lars De Jaegher and Rika Deltour (26.02.15); professor of architectural science Piet Lombaerde (12.03.15); and architects Koen Dekeyser and Patrick Lefebure (26.03.15).

KASK LECTURES KASKlezingen Lecture Series: Austrian filmmaker Gustav Deutsch, together with KASKcinema (10.10.14); curator Karen Verschooren (BE) with Z33 (16.10.14); curator and museum director Charles Esche (UK) (30.10.14); curator, visual artist and theorist Peter Weibel (DE) with Zebrastraat (06.11.14); graphic designer Yves Peters (BE) (13.11.14); The Extrapolation Factory design studio (USA) with Z33 and Studium Generale (18.11.14); Želimir Žilnik (RS) with Courtisane and KASKcinema (27.11.14); visual artist Berlinde De Bruyckere (BE) with S.M.A.K. (04.12.14); theatre maker Chokri Ben Chikha (BE) (11.12.14); designers Eugenia Morpurgo (IT) and Juan Montero (GB/SP) (22.01.15); film director and actor Nicolas Philibert (FR) with KASKcinema (29.01.14); graphic designer Hans Gremmen (NL) (05.02.15), choreographer Eleanor Bauer (USA) (19.02.15); animation filmmaker Leevi Lehtinen (FI) (05.03.15); Open debate on Onderwijs op School of Arts/Education at the School of Arts (19.03.15); Not a Day Without a Line (2): Symposium over Kunstenaarsteksten/Symposium on Artists' Texts (02.04.15); museum director Phillip Van den Bossche (BE) (23.04.15).

Keynote lecture at STAM, visit to the Maquettes, Imagination to Scale exhibition with a guided tour by Lars De Jaegher and Rika Deltour (26.02.15). Photo: Christian Overdeput

KASKlezingen is a platform for reflection on design, fashion, visual arts, photography, film and theatre. Each year, about twenty speakers are invited to present their artistic or theoretical work for dissection in the Cirque, a former anatomical theatre, and engage in dialogue with the audience.

The interior design and the landscape and garden architecture programmes launched the Keynotes lecture series in 2012. For the full programme, see: www.kasklezingen.be.

KASKlezingen lecture by Eleanor Bauer, Cirque (19.02.15)

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KASK LABEL DESIGN PROJECTS In the course of the academic year, KASK Label initiated two open calls for design students, from which they selected a number of projects. These were then presented on campus with the intention of marketing them and making them known to a wider public. KASK Label First Call nominated Stroom, by Nikita Verhelst (multimedia design), and Bril,

by Heleen Van Valckenborgh (fashion

KASK Label presents a selection of design products created by students in the design programme. The process of marketing these products is initiated by the KASK Label experts group, a creative enterprise platform for KASK students. Through a learningby-doing approach, the platform aims to stimulate students and graduate researchers, both individually and collectively, to reflect on design in marketing contexts, in order to develop creative entrepreneurial skills.

Students are coached and guided by a team of lecturers and experts who judge all products and concepts in terms of their creative, functional, innovative and commercial value.

KASK Label is an initiative of KASK / School of Arts Ghent and the Centrum voor Ondernemen (Centre for Enterprise).

Heleen Van Valckenborgh, Bril, 2014 & Nikita Verhelst, Stroom, 2014

design). Following the KASK Label Second Call, the following designs were presented: Basten Basstanie's Thanatos en de Selkie (fashion design),

Basten Basstanie, Thanatos en de Selkie, 2015

Tim Deurlinck & Matthieu Libeert's De carbon ukelele (musical instrument building), Pieter-Jan Verschelde's Tag Light (interior design, furniture & design), Glenn Declercq + collective's Pirate Radius (graphic design and new media), Rosaline Fiems' De Grid + (textile design), Fiemke De Vylder's 89

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Little UFO (interior design: furniture & design), and finally, Nele Sarens' Frailities (fashion design).

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DRAMA PROJECTS DRAma Ghent (the KASK drama department) presented a full series of dramatic performances. Amongst others, audiences were able to experience Master projects and performances by School of Arts Master alumni, including: Fernweh (Yuri van der Hoeven), Bestiaria (Diede Roosens and Femke Platteau), And Who Wants Peace?

(R’m Aharoni), Press (Marjan De Schutter), Salut Copain (Dounia Mahammed), Over de geordende materie (Anjana Dierckx and Seppe Decubber) and Herberg (Bosse Provoost and Kobe Chielens).

In the framework of his Master's research, drama teacher Jan Steen also presented his performance of 4.48 Psychosis by Sarah Kane, in collaboration with NTGent.

Third-year Bachelor students in drama presented their own drama projects and also performed in six other projects, in which they were guided or directed by diverse professional drama artists. In As Long As I Still Got It, Adva Zakai and several students of drama and multimedia design investigated the question, ‘How Does a Performer Survive When He Has No More Body?’ Simon Allemeersch worked with drama and multimedia design students. With Nach der Nikolajevic heimweh hat, the audience could make the acquaintance of the only person on Earth who could remember being in the womb.

Fumiyo Ikeda and Marc Vanrunxt both worked together with KASK students and an Erasmus student from the Department of Acting (Näty) at the University of Tampere in Finland.

Audiences could appreciate the results in Ikeda's Gay Sons of Lesbian Mothers and Vanrunxt's Anthem.

In the framework of the 50th anniversary of NTGent, Marijke Pinoy directed three KASK students and an Erasmus student from the Brussels Conservatory

Image from Gay Sons of Lesbian Mothers, a performance production directed by Fumiyo Ikeda, 2014. Photos: Leontien Allemeersch

in Zalig de onwankelbaren, a contemporary reworking of the classical script, Voorjaarsontwaken (Spring Awakening) by Frank Wedekind.

Joachim Robbrecht worked with a team of drama students on DING in the Universe, a performance in which the words by Andy Warhol, ‘Making money is art and working is art and good business is the best art,’ were raised to a new level.

Young theatre talent takes to the stage in DRAma Ghent. Budding theatre makers and performers create remarkable productions on the Bijloke campus and at various locations in and around Ghent. For the programme, see www.dramagent.be.

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L’INTERNATIONALE ONLINE KASK / School of Arts and L'Inter­ nationale have launched a new online platform for research, information and discussion: L'Internationale Online.

Screen print image of the L’Internationale website in September 2014

This website went live on 18 September 2014. The publishing platform is a collective initiative of the confederation L’Internationale and KASK, working in the context of the five-year programme, The Uses of Art – The Legacy of 1848 and 1989. The School of Arts coordinates this online platform together with SALT. To mark this exceptional occasion, Vasif Kortun (Director of Programmes & Research, SALT, Istanbul/Ankara) and Francesco Salvini (Fundación de los Comunes) debated the role of cultural institutions in today's democracy. This debate took place on the Bijloke campus at the occasion of the launch and was moderated by Nataša Petrešin-Bachelez (Managing Editor of L'Internationale Online at KASK) and Steven ten Thije (Project Leader of L'Internationale, Van Abbemuseum, Eindhoven, NL).

The research fields of “Politics of Life and Death”, “Decolonising Practices”, “Real Democracy” and “Alter Institutionality” intersect the commissioned essays, e-pub books and transversal compilations from the collections and archives of the members of L'Internationale.

A lively discussion is instigated through the Opinion section, to which a selected group of bloggers contribute. A seminar is in preparation and will run 91

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at KASK in the coming scholar year.

It will be co-organised by Nataša Petrešin-Bachelez and Steven ten Thije in connection to the topics discussed on the platform.

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VIBRATIONS OFf From 16 November through 21 December 2014, visiting professor of fine arts Honoré ∂'O worked on the exhibition project, Vibrations OFf, in collaboration with KASK / School of Arts Ghent (with students working in the installations programme, the master's programme in graphic design and the fine arts working group), Kristof De Clercq Gallery and the Universität für angewandte Kunst (with artist ManfreDu Schu) in Vienna.

The idea was to establish a creation with like-minded artists, students, thinkers, curators, poets, museum directors and the public, so that galleries and exhibitions would completely blend

Exhibition view, Hat of Filliou, by Honoré ∂'O, Kristof De Clercq Gallery (02.01.15). Photo: Honoré ∂'O

The students kept diaries and a blog (www.vibrationsoff.tumblr.com), in which daily contributions were recorded and the evolution of the work could be followed. Interim publications were produced during the exhibition, developed in collaboration with alumni and students in graphic design.

This ultimately resulted in an overall publication, designed by alumnus Kahil Janssens and comprising an anthology of the visual material produced during the exhibition and texts by eight different authors.

Exhibition view, including Rite Versus Ritual, by Mark Grootes & Martijn Petrus; Suprematic Reconstruction by Yoeri Daniels; At least 2-3 Minutes on Average, Part B by Abigail Liparoto; and Kathariñas by Katharien de Villiers, Kristof De Clercq Gallery. Photo: Emily van Dijk

together with artists and their public.

Honoré ∂'O began by writing a ‘libretto’ that worked as an open-ended guide, primarily with bachelor's students of installation art and master's students in fine arts. This resulted in a continually evolving exhibition that could take on a different appearance with every visit. Artists and students inspired one another and built further on each other's work. Honoré ∂'O continued to oversee the project and sought links between the diverse works of art, performances, installations and indeed, his own work. As a result, Vibrations OFf became a meeting place where art, philosophy, poetry, music and drama all engaged with one another.

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ment for the dissemination of arts and culture, Governor Jan Briers, the Caermersklooster provincial cultural centre, LUCA School of Arts Ghent and KASK / School of Arts Ghent.

In the spring, the exhibition The Governor's Mansion took place, in which seven young artists, all recent graduates of KASK / School of Arts Ghent and LUCA School of Arts Ghent, responded to the invitation of Jan Briers, Governor of East Flanders, to engage in a dialogue with the classical interior and rich history of

Exhibition view, The Governor's Mansion (06.02-15.03.15), detail of камера

by Benjamin Verhoeven (2015). Photo: Melissa Annie B

his official residence at the Vlasmarkt.

Their interventions resulted in a surprising and exceptional exhibition in which diverse lines were to be seen, with reflections, narratives and repetitions forming a ‘loop of delay’ of what the various elements in this residence are or could be. The participating artists were Melissa Annie B, Benjamin Verhoeven, Buren (Oshin Albrecht & Melissa Mabesoone), Eva Vermeiren,

Exhibition view, The Governor's Mansion (06.02 – 15.03.15), detail of Vertekende Hoefslag by Nina de Vroome (2015). Photo: Melissa Annie B

Nina De Vroome and Sven Dehens.

The exhibition was a joint effort of the Province of East Flanders' depart93

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ism and late capitalism. From the 1970s through the 1980s, almost all criticism of capitalism seemed to have disappeared. The new criticism arose in the late 1980s, as a result of growing problems on a global scale in the domains of ecology, economics and politics. This new sociological, philosophical and artistic critique of capitalism has been consistent with 20th-century cultural criticism inspired by Karl Marx.

This year's annual project week was held from 16 to 20 March. The overall theme chosen for the week was Tools, the instruments we use, whereby students from the studios of design and furniture, multimedia design, woodworking, media art, textile design, fashion, and the printmaking and new media studios in graphic design all took part. The initiative was focused on critical examination and the social aspects of the practices of makers, designers, builders and artists from the perspective of the key function of the tools they employ. The meaning and effect of tools were tested in practice, enabling a critical approach to forms of education, to how the contemporary form and organization of education can be transformed by the introduction of tools that can facilitate different pedagogical beginnings. In other words: an investigation into Open Tools.

Graphic Design students at work during the Open Tools project week (16.03 – 20.03.15)

Nine studios set up 13 different projects.

They included both theoretical (such as the open debate in the framework of KASKlezingen) and practical approaches (resulting in the creation of Radio Radius, Mirror Website, Serverbook, Leksik, etc.). Participants worked on the idea of instruments both old (bronze tools, shoe design, etc.) and new (book scanner, Pirat Box, etc.). How do artists and designers relate to industrial or to craftsman's (hand) tools? What does the choice of one tool or another imply? What other skills do specific new tools require and what does this actually mean for the artistic process? Finally, the larger question of how the school itself can be seen as a tool was examined.

Copying in a Victorian Drawing Class, from Vaughan Nelson's New Drawing Class, campaign image for the Open Tools project week (16.03 – 20.03.15)

Theoretical attention to instruments, implements, tools or objects that serve as aids is not new. Since the 1990s, this focus on the meaning and role that tools play in the organization of production, work and the broader society — which during the last decade has primarily grown in the design context — has received considerable attention from philosophers, sociologists and cultural critics in their efforts to describe and analyze the evolution of neoliberal94

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TUMULTINGENT#3 On Wednesday, March 25th, the third edition of TUMULTINGENT, took place at the Bijloke campus, once again in partnership with the School of Arts. The TUMULTINGENT#3 festival was broadcast live from the KASKcafé.

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of the exhibitions in the Zwarte Zaal, the glass passageway, Het Paviljoen and tours held at KIOSK, the Royal Conservatory presented a series of concerts in the Bijloke studio and at KASKcinema. In addition, TUMULT came up with performances, theatrical productions and exceptional installations by students and other artists, filling the corridors and classrooms of the entire campus for just a single day.

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Performance, TRIPUDIOMETRIE n°2 (Vogelwichelarij anno hodie)

by Sibran Sampers, from the TUMULTINGENT#3 festival (25.03.15).

Photo: Liene Aerts

The Bijloke campus went all out, with a series of presentation moments and initiatives for and by young talented people. In addition to the openings

Performance, Powers of TENTEN by Hayeon Kim, from the TUMULTINGENT#3 festival (25.03.15). Photo: Liene Aerts

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KRAAK, a non-profit organization, this year became an official resident at the School of Arts' Bijloke campus. From here, KRAAK organizes concerts, concert series and festivals.

This year, the BRAUBLFF (Materie und Laut) series held two editions, posing questions about how and why language flows into music. BRAUBLFF (Materie und Laut) 2 was with Dieter Schnebel (DE), Chris Newman (UK), Daan Vandewalle (BE), Ariane Jessulat (DE) and Christian Kesten (DE). BRAUBLFF (Materie und Laut) 3 highlighted Leif Elggren (SE) & Daniel Löwenbrück (DE), Stine Janvin Motland (NO) and Valeri Scherstjanoi (RU). In December 2014, an accolade was held in honour of cult mucisian Robert Ashley, who died in March 2014, with Tom Buckner (USA), Floris Vanhoof (BE), Lieven Martens Moana (BE) and Francesco Cavaliere (IT).

KRAAK and Courtisane are two organizations in residence with KASK. From this vantage point, they organize cultural events on the Bijloke campus, at the MIRY Concert Hall and other locations.

Courtisane, in residence at KASK from 2010, organized a new edition of the Courtisane Festival (1 – 5 April 2015).

Visitors to KASKcinema, Sphinx Cinema, the Paddenhoek and the Minard Schouwburg enjoyed a diverse selection of—in the words of the organizers—both recent and historical works which have been associated with the insatiable desire for adventure, a personal cachet and a sense of resistance.

This year's festival centred on films

by Pedro Costa and Thom Andersen, but the selection was also coloured by such names as Joaquim Pinto, Luke Fowler, Lav Diaz, Virgil Vernier, Wang Bing, Jean-Marie Straub and Beatrice Gibson. The L.A Rebellion segment of the festival included socially relevant gems produced by and about African Americans.

Campaign image for the concert and performance by Leif Elggren during BRAUBLFF (Materie und Laut) 3, organized by KRAAK and Conservatory, MIRY Concert Hall (18.12.14)

Concert and screening with percussionist William Hooker, providing Oscar Micheaux's film Body and Soul with a live sound band performance during the Courtisane Festival, Minard Schouwburg (01.04.15).

Photo: Michiel Devijver

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KASK

SCHOOL

OF ARTS

Masters, Bachelors & Postgraduate Projects 2014-2015

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GRADUATION

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KASK

SCHOOL

139 Music Theory / Muziektheorie

Master of Visual Arts / Master in de Beeldende Kunsten

100 Graphic Design / Grafisch Ontwerp

140 Musical Instrument Making / Instrumentenbouw

110 Multimedia Design / Autonome Vormgeving

113 Fine Arts / Vrije Kunsten

140 Soloist Contemporary Music Solist Hedendaagse Muziek

118 Textile Design / Textielontwerp

118 Photography / Fotografie 122 Fashion / Mode

Master of Audiovisual Arts / Master in de Audiovisuele Kunsten

142 Focus: Concept & Spatiality / Concept & Ruimtelijkheid 143 Focus: Furniture & Design / Meubel & Design

127 Animation Film / Animatiefilm

145 Focus: Temporary Installations / Tijdelijke Installaties

Master of Drama / Master in het Drama

132 Dramaproducties Drama Productions

Bachelor of Interior Design / Bachelor in de Interieurvormgeving

141 Focus: Interior Finishing & Advice / Interieurafwerking & Advies

125 Film

Advanced Master of Music / Master na Master in de Muziek

145 Bachelor of Landscape and Garden Architecture / Bachelor in de Landschapsen Tuinarchitectuur

Master of Music / Master in de Muziek

147 Advanced Bachelor of Landscape Development / Bachelor na Bachelor in de Landschapsontwikkeling

135 Performing Music: Classical Music / Uitvoerende Muziek: Klassieke Muziek

148 Postgraduate: Conservation and Exhibition Management of Contemporary Art / Postgraduaat: Tentoonstelling en Beheer van Actuele Kunst (TEBEAC)

137 Performing Music: Jazz & Popular Music / Uitvoerende Muziek: Jazz / Pop 138 Composing Music: Composition / Scheppende Muziek: Compositie 139 Composing Music: Music Production / Scheppende Muziek: Muziekproductie 99

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INDEX

OF

GRADUATION MASTER OF VISUAL ARTS

02 BEECK MARION marion_beeck@hotmail.com marionbeeck.tumblr.com Free as a Bird

GRAPHIC DESIGN GRAFISH ONTWERP

MASTER IN DE BEELDENDE KUNSTEN

01 BAEYENS MEREL merel.baeyens@hotmail.com

An ode to being free as a bird in deafening silence.

A visual journal about my complete isolation in a bird sanctuary. Wandering across the endless Flemish flat landscape in a continuously moving world of plenty and masses.

Looking at small things and how background actions gradually come to the fore. Like an archaeologist digging in his own soul, not knowing where he will end up, like some-

03 BIGLARI POUR ZEYNAB Zeynab.bp@gmail.com

Re-

I find that we, in the West, have estranged from the objects that surround us. We buy. A lot. And just as soon we get rid of things again.

We have become unaware of the complex process that precedes our acquiring a product. The information we receive about the production process rarely goes beyond ‘Made in …’.

In ‘Re-’, I show the infinite cycle of buying and discarding in our consumer culture. But I also look for

one refining his animal instincts through loneliness and fears. By living among birds, I become their equal.

Hatching an egg or an idea in a quiet place.

My music is lifeless

ways to create a stronger involvement between the person wearing the T-shirt and the T-shirt itself. The materials that I used to create a series of alternative T-shirts all carry a story in them.

In various ways, interaction is created between the wearer and the shirt.

Movement and communication are everywhere: we cannot imagine life without them.

With ’communication’, we primarily think of a language we can speak —French, or Chinese, for instance. But there are also non-spoken forms of communication, such as braille or sign language.

In sign language, words are mostly expressed by a (unique) gesture.

For this project, I have

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analysed these gestures as if they were drawings, to make them intelligible to the viewer. Capturing these words in drawings forms the basis of ‘my’ new language and master's project.

KASK

SCHOOL 06 CANDAELE ROBIN robincandaele@gmail.com robincandaele.tumblr.com

40/40

‘40/40’ is a selection of 40 books, re-designed by means of a classification that is not based on genre or author, but on the experience of the book by its owner. Every quality or experience is linked to a formal element (typographical style, paper, format, etc.). This results in a formal instead of a numerical and/or alphabetic code for the books. For instance, to a book received as a gift one particular page layout

Wormholes

will be assigned, while one bought by the owner himself will get another layout: the book is shaped by the system. The project highlights the relationship between a book and its owner, the life of a book, but it is also a study of the formal elements that constitute a book.

05 CAIN HEATHER cainheather@outlook.com cainheather.tumblr.com

Our way of dealing with information (looking, experiencing, associating) is changing rapidly by living with computers and screens and our constant connectedness with the internet and other networks.

All of these tools and means of communication have become extensions of our bodies and minds.

They influence our place in the flood of information we produce and consume on a daily basis. ‘Wormholes’ 07 CAROLI LORENZA lorenza.caroli@hotmail.it

tapping it gently, breaking it slightly, the egg stands on its end

War memoirs, 1914-1915

While immersing myself in the history of the First World War, I stumbled upon K.J. Cornillie's ‘Herinneringen uit de oorlogsjaren 19141915’ (‘War memoirs, 1914-1915’), a book I found exceptionally fascinating as it takes place in the area where I was born. When making my drawings, I project myself into the writer and relive the war through him and his memories. After read-

ing the book, I put it aside.

As such, the drawings are my own memories of the text. Together with some excerpts of the text, they constitute a new book.

tells this story through the use of graphic design and shows how time and space related to information can be interwoven in fundamentally different ways.

This project illustrates a year of research on printmaking in which personal meditations were combined with a thorough analysis of the technical aspects of the medium.

Faced with the rigid set of rules and limitations pertaining to the materials and actions that distinguish this medium, we are confronted with the question how and how much this influences the relation between man and

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printmaking? How does this affect the creativity of the artist? Are the limits inherent to printmaking an obstacle to creativity or rather an impetus for a new definition of creativity?

The project's title refers to the famous apocryphal anecdote of ‘Columbus' egg’.

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04 BOUCHRIKA AFEF

OF

GRADUATION 08 CLAERHOUT LIEN lien.claerhout@hotmail.com

10 DE MYLLE FLEUR fleur.demylle@gmail.com

alternative glyphs

In our digital age, the act of writing by hand is gradually replaced by the ‘typewritten word’. In this process, our identity in our (digital) ‘hand’ fades away. How then can we distinguish ourselves in our written signs? What if we were able to chose shapes and thus to compose our writing ourselves?

In my master's project I have expanded the glyph set and created several particular shapes, designs

verzinnebeeld

or images for each character. This agreed-upon set of characters is obviously meant for representing legible signs with the ultimate goal of writing down and expressing thoughts, ideas, and concepts. With this typographical experiment I examine whether we can compose a personal digital hand in order to distinguish ourselves from one another.

09 DE KINDER LIESBETH liesbeth.dk@gmail.com www.liesbethdekinder.be

I find it fascinating to see how a work of art is interpreted in various ways by an audience. Often while interpreting, we introduce associations from our personal lives, and we read things in a work that are related to our own inner lives, our own problems. With this master project, I give the audience the freedom to formulate their personal interpretations of my illustrations.

It seems interesting to me 11 DE RUYTTER JONAS jonasdrevent@gmail.com www.jonasderuytter.be

Origin²

What would it have been like to discover the world, back when there was still so much to discover? How would it have felt to wander virgin jungles for the first time, without ever having seen colour photographs of them? Imagine the awe one must have felt, being cast ashore on an island of volcanic rock and giant tortoises, when all you had known before was rural England.

Work it (W.XXX)

Is discovery still possible today? Or has Google Earth taken away our sense of wonder?

With this master project, I want to evoke the sensation of entering an entirely new world—my world —through the eyes of a curious explorer.

‘Work it (W.XXX)’ is a project in which the design process is being used as a result instead of as a means to a result. This project finds its source, and derives its name, from a song titled ‘Work it’ by American hiphop queen Missy Elliott.

One of the aspects of this project is the use of data as the primary medium in creating a complete narrative system informed and driven by combined processes within design.

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to reverse the process and, instead of creating illustrations to a story, stir the viewer's imagination with my drawings and allow them to narrate an interpretation. I asked people to name five random nouns, which I then combined in a single illustration. Then I asked other people to make up a story from these illustrations.

KASK

SCHOOL 14 DEMEYERE STEPHANIE stephanieroosdemeyere@gmail.com maritabellomal.tumblr.com

Denkbeeld

The English cottage where we used to go on holiday on a yearly bases, seemed to consist entirely of hidden corners, little rooms, mysterious closets and a multitude of staircases. In reality, there were five rooms and a staircase.

I once went to sit outside the house, with two cardboard boxes and a plank, where I sold chestnuts to the people queuing in front of my little shop on the road. In reality, after about

forced silence

an hour my grandmother came to ask me what on earth I was doing, and she bought one of my chestnuts. What I remember differs entirely from what really happened. Apparently, my imagination or childlike experience distorted my perception. Time goes on, what remains is the distortion of memories and photographs.

13 DE VRIESE LISA lisadevrieseillustration@gmail.com thepsychedelicoctopuss.wordpress.com

Just let it all pass until something jumps out, an unfamiliar detail to others that is meaningful to you it may refer to previous experiences or a colour, for instance: the way she tucks her hair behind her ears.

In other words these moments can point towards other things, they are continuous references that trigger the brain don't try and explain, just let it be, let it go, just let it pass

15 DEPOORTER DRIES

As always

During 2013-2014, I made a drawing each day about what had happened to me. After a year it became clear to me that the impact of my past on my present was greater than I had expected. To visualize this, I made use of a story closely related to mine: George Lucas' sci-fi trilogy Star Wars.

I gathered all of this in three sequential comics.

PS: The prequels never happened.

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12 DE VRIES KATJA katja@katjadevries.nl www.katjadevries.nl

OF

GRADUATION 16 EZE NOONAH

18 GHIRINGHELLI ALESSANDRA ghiringhellialessandra@gmail.com

Digital Diet

All around people cling to their smartphones, laptops and computers, connected to the internet.

Is this really necessary, though? Uninterrupted connection to the worldwide web has become the norm. A life without internet has become unimaginable, let alone desirable.

But are we living with the internet, or is the internet living us?

What happens when you say goodbye to the

Do you observe something there that I do not see?

internet? I tried to find out, as a human being, as a ‘digital native’, but above all as a graphic designer. I went offline for four months.

My master's project is a report on that period.

The result of this experiment is not a plea in favour of an offline life, but a documentation of the experience of living analogously in times of digitalisation.

17 GEIREGAT EMMELINE emmelinegeiregat@gmail.com emmelinegeiregat.tumblr.com

“Et j'écris, vous voyez, quand même j'écris. C'est parce que j'en écris que je ne sais pas que ça peut être écrit. Je sais que ce n'est pas un récit. C'est un fait brutal, isolé, sans aucun écho. Les faits suffiraient.

On raconterait les faits.”

— Marguerite Duras

19 GOOSSENS INNE inne.goossens@gmail.com

Two shades darker and five kilos bigger

Caye Caulker, is an island in the Caribbean, also known as ‘Paradise on Earth’, a place where life is one big holiday. Ever since I have experienced living on this island, it’s been hard to leave it behind.

My yearning for this island is the starting point for this master's project.

To deal with this, I rewrote my diary by combining memories and notes I took while I was there.

I illustrated a number

of isolated moments, focusing on showing how I felt at those times.

I brought the fragments of text and the images together in a book that centres around my experience with utopian feelings.

Dreamy, fleeting emotions that are hard to grasp.

Exercices de Style

Digitalization has brought tremendous changes to graphic design.

The dynamic nature of the digital results in an interactive, modular way of communicating, while the analogue variants get bogged down in stasis.

But this graphic constancy also evokes a certain recognizability, a distinguishing individuality that makes them arche­ types. But are these graphic forms still relevant

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in today's digitallydominated world?

Taking a cue from Raymond Queneau’s ‘Exercices de Style’ (1947), I developed a series of style exercises to study these questions and create a new, more relevant language for these so-called archetypes.

KASK

SCHOOL 22 HAEYAERT LODE lodehaeyaert@hotmail.be lodehaeyaert.wordpress.com

Rodnaya

Immigration starts with language, an essential part of the process of integration. The longer one lives in a country, the more one distances oneself from the native country.

There is a certain liberty, comparable perhaps to an astronaut’s weightlessness, the alien. Freed of everything he is nothing.

All aliens are however bound to their mother tongue. It is their true native country from 21 HAASE CARL

The African way

which they can never migrate.

Inspired by my own experience of integration, I tried to capture language in a three-fold way.

Three publications display the difference between here and there. A sound installation completes the photographic project and conveys the essence of language to the viewer.

To what extent can conventional technologies of reproduction (e.g. woodcuts, etching, lithography or screen printing) take part in a conversation about contemporary art? Can the present-day graphic arts be contemporary without giving up the aesthetic qualities of their visual language?

I search for balance between extremes, for a possibility of merging the valuable qualities of

separate media. I attempt to bridge this gap with photographic materials.

The many diverse perspectives of the technical image offer room for an artistic interpretation.

Each step is meant to result in a tension. Each action undertaken outside the ‘natural’ process of the image must be artistically justified.

23 JACQUES LIES liesjacques@hotmail.com liesjacques.tumblr.com And in Europe it was hot, sister

As children, we hardly asked any question. Everything was simply one big adventure. There were no murky dreams, desires or regrets yet. Now, our heads are filled with crucial questions to which we often have no answers.

Is my life on hold? Have I made the most of my years as a student? Have I chosen the right training?

We share these questions with anyone else who feels somewhat uncertain about

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leaving the parental home where everything was familiar and safe. In the book ‘En in Europa was het warm, zus’ (‘And in Europe it was hot, sister’), the reader is allowed a glimpse into the minds of two sisters looking for themselves.

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20 GORICHENKO ANNA anna.gorichenko@gmail.com cargocollective.com/annagorichenko

OF

GRADUATION 24 LATEUR LOUISE louiselateur@gmail.com louiselateur.tumblr.com

26 MAEKELBERG MAÏTÉ maitemaekelberg@gmail.com maitemaekelberg.tumblr.com

De Koffietafel

28.02 – 31.05

‘De Koffietafel’ is an illustrated book of recipes for a funeral luncheon.

Its aim is to help people cope with their loss through smells, tastes and memories. But above all it is a tribute to what or who we have to live without.

In what ways do newspapers shape and distort our worldview? What do they conjure up before us, and how do we respond?

Is the news really as objective as it claims to be?

Are newspapers still a useful medium or are they being surpassed by the digital stream of information? Are the papers' topics still topical?

Or is it a medium that will soon be looked back on with nostalgia?

25 LAUDELOUT CORALIE Coralie108@gmail.com coralielaudelout.tumblr.com

27 MICHELET STEF stef.michelet@telenet.be www.stefmichelet.be

Clothilde's secret

The Uytebroek family gets in the car to go visit grandma and grandpa. Along the way, the reader is immersed in the world of an unusual cult. This hoard of fanatics is religiously devoted to outward appearances, with plastic surgery a favourite practice. The better one looks, the more divine one is. But rosy appearances are punctured by horrifying news bulletins …

We have to make them into our own stories.

The news buds, both visually and in terms of content. It is a game of subjectivity and objectivity.

It is an exaggeration, and a parody.

Other Ways Of (…)

Recognizability and corporate identity are classic concerns in graphic design. The process of developing a corporate identity is dreadfully ossified, however. Traditionally, a set of shapes and visual elements is appropriated by an organization to function as recognizable gimmicks.

It is indeed a rather obsolete idea to think that only formal qualities can serve as the fundamental building blocks of an identity.

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By shaking up the traditional methods, ‘Other Ways Of (…)’ wishes to show that there are other possibilities.

The result is a corporate identity that is developed by means of parameters.

The input determines the results, which gives the corporate identity a self-sustaining quality.

KASK

SCHOOL 30 STRIJBOL FEMKE femke_strijbol@hotmail.com

On The Back Of The Beast

A constantly changing environment destroys my stability. Evanescent pleasures are my dose of oblivion, but in this lethargy I become more fragile.

I can't build a fortress on the surface of a river and the failed attempts make me suffer. Considering myself a victim—this is the dark side of my weakness.

The fear gives birth to aggression. I am a fearful animal ready to fight back.

The most dreadful thing

a victim can become is an attacker. If I imagine my nightmares as a beast, I must know how to tame the carnivore, in order to use its power consciously.

This is the only way for me to break the victim-attacker circle. My mortality is my guide.

29 SCHARMANN PAULINE paulinescharmann@gmail.com www.pauspaulus.be Claptrap

Theater slang, c. 1730, derived from clap and trap.

I. A trick or device to gain applause.

II. Empty verbiage or nonsense Some people believe in God, some believe in Oprah Winfrey or in Macintosh, maybe some believe that the brown Smarties contain more chocolate than the blue ones, that the Jedi’s can

be saved with a fluorescent lamp, or that the gas chambers in Auschwitz were used to debug clothing… in communism some also believe, or in homeopathy.

What we believe in is more determined and manipulated by our culture than we would like to believe. ‘Claptrap’ plays with the point when our beliefs turn out to be nonsense, farfetched, irrational, overdone but beautiful nonsense.

The initial question behind this project was whether it is possible to tell or illustrate a story with abstract work, instead of through traditional illustrations. I chose Sophocles' Oedipus as test case, and attempted to visualize this tragedy.

The process became a search into the development of style and narrativity in my work, resulting in a series of images that explore the boundaries

between graphics, illustration, and theatre.

Although these works developed from Sophocles' tragedy, they are no longer inextricably bound up with it. They are autonomous pieces, a report of my visual research into —and personal search for—the potential of illustration as a medium and form of art.

31 SWAANS NINA echtnina@gmail.com allinotneed.tumblr.com yeahninayeah.tumblr.com (In)tangibles

The past year I have worked with the stuff my parents have collected in their attic. Every conceivable object from my youth is kept there, enabling me to analyze, visualize, deconstruct and reassemble my personal myths.

My complex affinity with these objects resembles that of primitive peoples with the fetish: the ‘dead’ object that once—in a distant past—got animated, so that now it not only

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represents a protective power, but also holds a narrative force. With ‘(in)tangibles’, I reveal the characteristics of this ‘attic collection’ by removing the objects from their context and creating new conditions for their representation.

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ARTS

28 PRAMATAROV BORIS b.pramatarov@gmail.com boris-pramatarov.blogspot.be

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GRADUATION 32 TAVEIRNE FELINE feline_taveirne@hotmail.com felinetaveirne.tumblr.com

34 VANDERSTRAETEN NORA nora.vanderstraeten@gmail.com

places I lived.

In the course of my youth, I have lived in many places, nine, to be precise.

I never went back to any of these places, until now.

Memories and impulses guided me in making these images.

“I would like there to exist places that are stable, unmoving, intangible, untouched and almost untouchable, unchanging, deep-rooted; places that might be points of reference, of departure,

Post-digital Publishing

of origin. My spaces are fragile: time is going to wear them away, to destroy them. Nothing will any longer resemble what was, my memories will betray me, oblivion will infiltrate my memory, I shall look at a few old yellowing photographs with broken edges without recognising them.”

— Georges Perec, ‘Species of Spaces’

33 VAN LEEMPUT LIEN lienvanleemput@hotmail.com lienvanleemput.tumblr.com

Post-digital refers to a period in which the digital is embedded in daily life in such a way that it is taken for granted in which the digital revolution has passed and everything is produced, distributed, mediated or affected by digital means. A state in which the internet is moving offline and digital images are increasingly constructing our reality. In a post-digital age we are mainly engaged in the way digital media

35 VANDOMMELE STEF stefvandommele@hotmail.com

Contours

“To question the habitual. But that's just it, we're habituated to it. We don't question it, it doesn’t question us, it doesn’t seem to pose a problem, we live it without thinking, as if it carried within it neither question nor answers, as if it weren't the bearer of any information. (…) But where is our life? Where is our body? Where is our space?”— Georges Perec (The Infra-Ordinary, 1973)

Spatial experiences

Our everyday communication is saturated with contours. We remain unaware of them. We ‘simply’ got used to them. But what if we were able to focus on these contours of everyday communication? What would they tell us about ourselves and about our interaction with others?

and traditional media are related to each other, trying to make the digital tangible, giving it a place in our physical world.

This is sparking a ‘webto-print’ in which data found on the web, are translated to a tactile, analogue experience of printed matter, using digital technologies.

This graduation project is a series of illustrations based on spatial experiences in which architecture plays a significant part.

Starting from my own experience, I attempt to illustrate the particular sensations a building, space, or place evokes. With the texts from the '50 Fictional Buildings’ issue of the literary journal DWB as a basis, I have made illustrations of fictional and real spaces in relation with people.

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SCHOOL 38 WIJNENDAELE JENS jens.wijnendaele@gmail.com jens-wijnendaele.tumblr.com

Where words fall short

What is it exactly, this ‘illustration’? How can bare words contain the rich world of the image? Is it at all possible to come up with a definition? These questions so consumed me that I left our land of the Belgians to travel around Europe for eight weeks, from illustrator to illustrator, in order to discover their visions and illustrate together with them. Analogous with the seven cities I visited

EXIBET.

—Rotterdam, the Hague, Frankfurt Am Main, Leipzig, Copenhagen, Warsaw and St. Gallen—I unfold the story of my travels on seven panels. With the help of illustrations, sketches, photographs, videos, audio material and descriptions of my experiences and the meetings with the various illustrators, I tell my story.

37 VERPLANCKE ASTRID verplanckeastrid@gmail.com cargocollective.com/Astridverplancke

A web project that lets you bet on human extinction: RISK. The number of existential risks humanity is facing has risen exponentially since the industrial revolution. Most of these are man made. In the digital age the amount and variety of risks are growing with an even greater speed.

BET: to place a bet on human extinction the player needs to provide the exact date and the exact

39 WOUTERS ANKE anke_wouters@telenet.be

Triptych

Bony heads, clear abstractions and botanic elements, with these three focuses, I explore the boundaries between illustration and autonomous work in ‘TRIPTIEK’ (‘Triptych’). Guided by the Van Eyck brothers’ masterpiece, I paint expressive impasto work on wooden panels. It is a study of composition. Form and colour attempt to communicate within a dynamic instrument, the altarpiece.

scenario in which this event will take place. With the quick pick method the player can generate a random date and scenario to bet and reflect upon.

WIN: when an extinction event takes place, all monetary means will become worthless. The money collected by EXIBET is used to fund independent research on solutions to prevent existential risks.

Lifting of eyes

It is not about the perfect photograph, but about the gaze.

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36 VANLERBERGHE SUZAN

OF

GRADUATION MASTER OF VISUAL ARTS

02 BEYS SOFIE sofiebeys@hotmail.com The home as portrait

MULTIMEDIA DESIGN AUTONOME VORMGEVING

MASTER IN DE BEELDENDE KUNSTEN

01 BASTIAANSE OT tijdvoorotje@gmail.com

Objects and places are projections of who we are.

We enlarge our selves in space. Those who care to look closely discover more than those who merely see.

When objects are removed from a room, all that is left are traces. They have a nostalgic quality. The traces are homely, fragile, intimate, but at once also quite universal.

In my work, I render the gradual emptying of a house in colours, shapes,

and materials. The pieces are subtle, brittle, and positioned seemingly at random. They refer to the close study of the house and its traces, to the chance discovery of the nearly invisible. The materials and colours make tangible what has disappeared, and visualize my view on the slowly disappearing house and the memories that belong to it.

03 CARRARA LINDA info@lindacarrara.com www.lindacarrara.com I'm a still life

When you enter my workshop, you can immediately understand that my passion for the still life is not just an artistic choice, but also a personal means to analyze reality.

It is as if I try to live in my own work, in order to fully understand it. In our times we can own objects from any period and any place, but not one of them is able to tell about the place it comes from, so ultimately we can't be sure of its ori-

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gins. It is not the subject as such that can make a work more or less interesting but its aesthetic sense and pictorial qualities. This is also the case with video or installation.

The representation of an object is merely an excuse for the act of representing, or painting.

KASK

SCHOOL 06 GRUIJTERS RACHEL info@rachelyves.com www.rachelyves.com

(...) Parcels (...)

ARTS

04 DESMET SARAH sarah.desmet@telenet.be sarahdesmet.com

Lovingly Put Away (In a Box You'll Remain)

(she packs) Parcels (Because she used to work with a delivery company and her mother ran a packaging business).

In mid-April she received the keys to an empty studio. She had never worked on her own in an (actual) studio before. She moved in her stuff and waited curiously for what would happen.

She screwed the legs to a tabletop, emptied a box, and then packed it.

“I’m just asking everyone what they remember about my mother” — “Gee, how long have you got?”

The girl taps her nail against her teeth.

“Two years.” She’s almost 23 years old. That is 2yrs/23yrs x 100 = 9% versus 18mos/(23yrs x 12mos) x 100 = 7%. Seven per cent of her life was spent with a mother and nine per cent of her life spent constructing a memory of that first

05 FALCONE GIAMMARCO www.giammarcofalcone.com

07 NAEYAERT JOLIEN jolien_naeyaert@hotmail.com

Luca Fa Presto

Luca Giordano was an Italian painter of the Late Baroque. He acquired the nickname of Luca Fà-presto (Luca work-fast) because of the great speed with which he could paint and design as well as his versatility, which enabled him to imitate others. Luca Fà Presto symbolizes the arrogance of painting as an “Art Noble” by means of excessive detail and precision. Historian Daniel Arasse wrote that this

seven per cent. Two years in which she discovered that her mother was Snow White. Or is, maybe. That she loved sleeping and that she had difficulty getting pregnant. That she was a daydreamer.

A myth became a human being and sometimes even “mommy”, if only in thought.

“Lovingly Put Away (In A Box You’ll Remain)” consists of photographic work, a website and short film.

... am wOAndering ...

arrogant kind of painting wiped out all marks of physical action so that “it shows, looking at it closely, the lack of effort.”

Some of my work responds to this by removing the main subject from the original composition.

That way the canvas becomes an empty space and details start to expose unclear and confusing aspects of a new painting.

What is my ‘experience world’? How do we look at the world and how is our gaze shaped by the built or unbuilt spaces we navigate? Fascinated by Depardon's errance and Debord's dérive, I attempt to research these questions by wandering around, in and around Belgium.

With a trailer as vehicle, home, and tool, I try to grasp how this ‘world of experience’ is shaped gradually, and how new

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methodologies may be tested in my architectural/ artistic practice. The trailer as a place where the landscape is always changing.

The internet, roadmaps and satnav systems are put aside, in favour of other criteria and the development of a relationship with the landscape that fully embraces the act of ‘wandering’.

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GRADUATION 08 OLIVIER ANN-SOPHIE annsophieolivier@hotmail.com annasophieaolivier.tumblr.com

10 PEDE LIZE pedelize@gmail.com www.cadaver.be

Drawing is my language

As an illustrator I do not consider myself only a draftsman, but also an artist, because I create things that tell a story.

My story should make the viewer think. My drawings may be personal works of art that reflect my inner thoughts, yet viewers are always free to use their imagination. Although my works are illustrative, they leave room for interpretation, through their specific uses of colorization, lines, 09 PARKER JUSTIN

Ich bin ein Grosse Fresser

and figuration based on existing images.

The entire work is conceived somewhat as a patchwork inspired by everyday life. The combination of autonomously developed elements of colour, lines, and shapes evokes an emotionally charged atmosphere.

As such, the image can only be completed by the viewer.

‘Ich bin ein Grosse Fresser’ is an exhibition with living sculptures, based on Calvino's ‘Cosmicomics’ and Kafka's short story ‘Fellowship’.

11 POLLET EMMA polletemma@gmail.com Untold

My work is a search for that which moves between us. I focus on what circulates around and between things. Random newspaper articles served as inspiration through the white that surrounds the words. This sparked an interest for the typographical white and the many questions that it raises. Can we read the white without the black? And what does the black mean when the white takes on a different shape?

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The idea that the white —or the nothing—is so much more than a space, yields infinite possibilities.

In my graphic and spatial installations, the white becomes an opening, a passage, a line and a spatial experience.

Through collage, tape, strips of wood, and video, I make interventions that often suggest a trompe-l'oeil.

KASK

SCHOOL MASTER OF VISUAL ARTS

die andere

FINE ARTS VRIJE KUNSTEN “In Vanderhaegen's products and productions, we discern a personal hand. The hand of a perceptive artist who resists easy classification of interpretation. She works in the borderland between activated white cube spaces and site-specific work.

This time, we encounter her in the theatre.”

— René van Gijsegem MASTER IN DE BEELDENDE KUNSTEN

13 VAN HEE TOM

01 BALLET SAM samballet91@hotmail.com samballet.tumblr.com

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12 VANDERHAEGEN LOUISA louisa.vanderhaegen@gmail.com www.louisavanderhaegen.be

OF

GRADUATION 02 BEZDENEJNYKH VERONIKA bezdenejnykh.veronika@gmail.com

04 CULOT FRÉDÉRIQUE frederique.culot@gmail.com frederique-culot.com Perceptual beginnings

I study the elements that trigger nostalgia.

Through a primitive translation of memories, I create sculptures and installations that evoke playfulness.

Colour and shape are the means by which I study the area of tension between a viewer's expectations and the work of art. Often isolated from their contexts, my works allow the viewer a freedom of interpretation.

Play is a central concept in these works.

03 CALLEMIN TOM tomcallemin@gmail.com www.tomcallemin.com

05 DE BRUYCKER NEEL neeldebruycker@gmail.com neeldebruycker.wordpress.com

Confrontation and transition

There is no such thing as objective visual registration. At all times, the medium or the operator influences what or who is in front of the camera. What metamorphosis does the pictured subject undergo?

And what part can the experience of time or duration play in this context?

These questions generated several works that try to visualize what the implications of photographic representation are.

Toys are a direct link to my past. As a child of the nineties, the latest Pokémon gadgets meant acceptance by the group. The toys that are the basis of my works are distilled into concrete, primitive images that evoke nostalgia to me.

An added dimension is created by the vulnerability and fragility of these memories.

to win the race you have to be in the race

During the master programme, Neel De Bruycker mainly focused on the artist's practice and the coherent combination of different media within this practice. In addition to the laying of the foundations for a consistent oeuvre based around installation, sculpture, drawing, and site-specific works, he has studied these works both within the context of an exhibition and as autonomous pieces.

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2015

In each definitive form, De Bruycker strives for an embodiment of its own concept; what you see is what you get. At the centre of his work are notions of alienation, humour, being out-of-place, and the every day.

KASK

SCHOOL 08 KIM HAYEON kim.hayeon778@gmail.com hhhhayeonkim.tumblr.com

.../a map of the patterns and visions of thought\

You’re sitting still and the space is being performed in front of you. Everything is in motion. This not only applies to comprehensive systems, but also to our perception of a given space and to our interaction with other people. All these relationships are evolving and they are not merely situated in the midst of their time; rather, they are of time.

Although my work can be described as systematic

and is rooted in obsessive repetition and continual exploration, it's outcome can not be determined.

It is founded on a type of tension between mythology, fiction and the real, accumulated over time and yet compounded in space free of time. Mental labyrinths? Burroughs, which tunnel, connect and interfere eternally?

It depends, since there is nothing real beyond our perception of reality.

07 HENDERICKX LIESBETH liesbethhenderickx@hotmail.com

Kim's Marathon Path

‘Kim's Marathon Path’ starts from the question of what making art is in the contemporary era.

This question moves to the analysis of the western art history, particularly the history of painting.

The project offers a collective scene on the process of picturemaking in-between the act and the image by the act of drawing. It reveals a circular optical journey from representation to

09 LIPAROTO A. abigail@abigailliparoto.com www.abigailliparoto.com

concrete (understanding)

Liesbeth Henderickx’ concrete sculptures consist of incrementally assembled rounded shapes.

These two-dimensional basic shapes that are transformed and stacked are the starting point of her search to introduce space, light, and movement into her sculptures.

She proceeds meticulously and with great attention to detail, in a manner that stands in contrast to the concrete that

sign and abstraction in picturemaking.

The meaning of a symbol is given through the process of representation.

The representation is embodied by the basic elements from abstraction.

Abstract elements then have the potential to be represented as a symbol.

Andrew has his period. (Anecdotes of Androgyny)

brings mainly associations of heavy construction.

The harmony and peace invoked in and around her sculptures belies their origins in austere two-dimensional digital drawings.

Questions: a. How I am adhering to the gender norms of my natal sex? b. Practically how can I live as a man? c. How does taking on the atypical gender norms make me feel about my own gendered existence? d. How is it perceived by the world around me? e. To what capacity can I create my own gendered reality?

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Answers : a. More than I ever thought. b. Binder, protein shake and classic cut t-shirts. c. Mind fuck. d. I'm either a gay man or a lesbian. e. Working on it.

Bonus Question: Was it real?

Answer: As much as ever.

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ARTS

06 DE VILLIERS KATHARIEN kathariendv@gmail.com kathariendv.tumblr.com

OF

GRADUATION 10 PRENEN MATHIAS mathiasprenen@gmail.com www.mathiasprenen.com

12 SCARABELLO ALESSANDRO alessandroscarabello@libero.it www.alessandroscarabello.com

Daikokubashira#

“Now I no longer pursued the Illusion of a Golden Temple in nature and in the objects that surrounded me. Gradually the Golden Temple came to exist more deeply and more solidly within me.

Each of its pillars, its Kato windows, its roof, the phoenix at the top, floated clearly before my eyes, as though I could touch them with my hands.

The minutest part of the temple was in perfect 11 SAMAIN LOUIS louis.samain@gmail.com

accord wIth the entire complex structure. It was like hearing a few notes of music and having the entire composition flow through one's mind: whichever part of the Golden Temple I might pick out, the entire building echoed within me.” — Yukio Mishima, ‘The Temple of the Golden Pavilion’

I focus on the impact of the power of authority and modern consumerism on the individual. By combining the human figure with natural contexts, I create atmospheres that are subtly threatening and caustic. While committed to figurative painting I explore the possibilities of abstraction.

13 SERPETTI DAVIDE davide.serpetti@gmail.com The Inner Circle

Davide Serpetti analyzes popularity and modern-day trends through the portrayal of celebrities and everyday people.

With his portraits he aims to rediscover the meaning of representation, with a sensitivity to physical forms and emotional dysfunctionality.

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KASK

SCHOOL 16 VAN NUFFEL CHARLOTTE vannuffel.charlotte@gmail.com Mouches Volantes

I am primarily interested in cognitive structures and intuition. Spontaneous play within this polarity generates a process-based practice in which individual works range from traditional to new media, and are considered momentary materializations that lead to new paths in-between the rational and the impulsive.

In the installation process I attempt to reopen this generative space.

Here I have specifically considered drawing practises.

15 VAN DER VELDEN GUUS gvandervelden@gmail.com www.geeveedeevee.com As a little boy I dreamt of works in neon

I was told the school offered to translate our short texts into intelligible English for us. Therefore, I can only say my work tolerates cosiness, wish everyone joy of it, and hope nothing gets lost in translation.

For this work I was inspired by medical conditions and the ways in which these affect one's view of the world and of one's body, drawing upon both my own experiences and testimonials of others.

A constant and important factor in the development of my drawings is structure.

17 VLAEMMINCK LISA lisavlaemminck@gmail.com www.anniegentilsgallery.com/artist/ lisa-vlaemminck/selected-works

“In her sometimes comical, but always ominous works, Lisa Vlaemminck shows how things appear and disappear. An exceptionally intense sense of perception makes codes and contours vanish. Things lose their names. What appears, is what was caught inside contours, constricted by its name. They refuse to be named, and this enables the painting. We see things before they were named.

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They appear as body instead of as idea.”

— Vincent Geyskens

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14 SWART CHRIS chris.a.swart@gmail.com

OF

GRADUATION MASTER OF VISUAL ARTS

02 VANDENBUSSCHE MATHILDE vandenbusschemathilde@gmail.com On the hinges of the body

TEXTILE DESIGN TEXTIELONTWERP

MASTER IN DE BEELDENDE KUNSTEN

A hinge, a bending point or link is a fragile thing, sensitive and vulnerable.

With the human body in motion as a starting point, I performed research into knitting with flexi­ bility, elasticity, stretching, pulling, extending, bending, folding, distortion and tension as key elements.

Just as the body’s muscles make up patterns of lines, threads play with colour and motifs.

01 REUSE JOANNA joanna.reuse@hotmail.com

The research was executed both manually and industrially. What are the differences between hand and machine? And how can we manipulate an industrial process to reach the desired aims?

The result is a collection of fabrics that cover, wrap, and protect the body in motion, becoming a source of comfort.

MASTER OF VISUAL ARTS

c+o+n+n+e+c+t

PHOTOGRAPHY FOTOGRAFIE A meeting of materials: tie. bundle. couple. knot. envelop. combine. hitch. weave. knit. stitch. hammer. join. paste. link. pull. detach. fix. close.

A series of connecting objects attached to the existing space, joined and detached with only your hands for tools.

MASTER IN DE BEELDENDE KUNSTEN

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2015

KASK 03 DE KORT ODE odedekort@gmail.com www.odedekort.be

Skinny Dynamite & Other Stories

Fold/Unfold

To fuck is to be brave, she said.

To fuck is to get hot and not many people get hot.

Skinny wanted to excite the world to make it move.

“It was a place as blank as a sheet of paper.

It was the place I had always been looking for.

Out train and car windows, in my imagination, and on my walks through more complicated terrain, flat expanses would call to me, promising walking as I imagined it. And now I had arrived at the pure plane of a dry lake bed where I could walk uninterrupted and utterly free.

The desert holds many

02 AYVAZYAN KARMEN karmen.ayvazyan@hotmail.com www.karmenayvazyan.be

04 DELCROIX SANNE contact@sannedelcroix.be www.sannedelcroix.be

of these dry lake beds or playas, washed long ago or annually to a surface as flat and inviting as a dance floor when dry. These are the places where the desert is most itself: stark, open, free, an invitation to wander., a laboratory of perception, scale, light, a place where loneliness has a luxurious flavour, like in the blues.” — Rebecca Solnit, ‘Wanderlust’

Can't put my finger on it

“If at first the idea is not absurd, then there is no hope for it.”

— Albert Einstein

A face resists close scrutiny. It is only through the detour of the portrait that it becomes possible to be alone with the face and the gaze. Sanne Delcroix (1987) sees the act of taking a portrait as a frank encounter. The ease and informality of the situation create a special relationship between photographer and subject. Behind this lack of inhibition however, there lies an eye for detail, framing and meticu-

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01 AGBONZEE JR. MONDAY mondayagbonzee@gmail.com cargocollective.com/mondayjr

SCHOOL

lous timing. By working predominantly in closed spaces, the photographer pulls the viewer into the familiar surroundings of the subject of the portrait, with the visible walls seemingly shutting out hectic reality. The result is that both she herself and the viewer step outside of time for a spell.

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GRADUATION 05 GEURTS AURÉLIE aurelie_geurts@hotmail.com www.aureliegeurts.com

07 MICHIELS RAF raf@rafmichiels.com www.rafmichiels.com Family Ties

I have been working on a documentary project with a Romanian family in Ghent for a number of years now. My curiosity for family dynamics also took me to Shanghai, to Mia and Lena, two young girls. In these projects, I remain loyal to my initial methods. I am a very close observer in the lives of my subjects and gladly go along in anything that occupies them.

A young, passionate guy was born in Ghana (there) and raised in Belgium (here). His difficult youth he owes to his Belgian mother who took him away from his Ghanaian father and family after just a couple of months.

Two years ago, they traced him through social media, and he gained a family he had never known while growing up in Belgium.

I accompanied him to Ghana and England to

06 HOUTTEQUIET MARIE mariehouttequiet@hotmail.com

08 MIKO PAULINE me@paulinemiko.com www.paulinemiko.com

meet this family for the very first time. So far, he has only spoken to his father, who resides in the US, through Skype, and he is no longer in contact with his mother who he feels has neglected and cheated him. He has accomplished largely on his own where he stands today, and is still struggling to gain a place in society.

A Project For Later

“Je suis l'espace où je suis” — Noël Arnaud, ‘L'état d'ébauche’

At at the age of twelve, I buried a metal box in the garden of a friend. It contained two photographs and a letter I wrote to my future self. Ten years later, the box was dug up and its contents were revealed.

In 2013, I decided to start burying new boxes.

Five boxes are buried in Ohio, USA ; Ourika Valley, Morocco ; Reykjavik, Iceland ; Nikko, Japan and Ghent, Belgium. I keep a trace of every buried box

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2015

in a journal, using pieces of evidence, notes, pictures, names of locations, geographical coordinates and descriptions, in order to be able to retrieve the boxes in the future, eventually.

This journal has transformed into a book. This is a project about time, memory and photography.

It’s a game, a dialogue between my past, my present and my future … and you.

KASK

SCHOOL 11 TEMMERMAN STEFAAN stefaan.temmerman@gmail.com www.stefaantemmerman.com

The Perfect Document

The protagonist of this project is the object. It is directed—shown, staged, and transformed—through photography. The starting point was the question how objects end up with and are experienced by viewers, potential buyers or passers-by through photographic reproductions. What could the nature of the relation be between a sculptor and the photographer who captures his sculptures

Amenra 2009-2014

and thus determines the angle? In what sense does the phenomenon of the ‘catalogue’ function as a space for the representation of objects? These are some approaches for a study of the fascination for representation, that result in a combination of two-dimensional images and spatial interventions in which images tend to become freestanding sculptures.

10 PROVÉ QUINTEN quinten.prove@gmail.com quintenprove.wordpress.com ‘Antlered doe, detail 1’ ‘Stuffed antlered doe, detail 1’

In the Belgian heavy music scene, Amenra is royalty. Unrelentingly, the band searches for extremes. At the heart of their musical practice is a continuous interplay of light and darkness.

My photographs are an interpretation of that dynamic. I freeze the band in time, allowing the balance between light and dark to become a narrative that transcends the performance. Not only what is

portrayed, matters to me.

Regardless of whether it concerns a portrait or live photography, I am invariably looking for that precise moment when the subject is situated between light and darkness.

12 VAN DE WALLE JOSEPHINE v.josephine@hotmail.com josephinevandewalle.com Stuw

“Reality disappears, therefore the photographer must reinvent it. The autonomy of photography is based on the awareness that reality ceases to exist, that it will be less and less possible for us to grasp reality directly. Only indirectly, through the medium of photography, does reality come back to life. However, even this life is only a reduced, limited one. Silence permeates everything, everywhere.”

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(after Wieland Schmied, ‘Photographs from the real world’, 1993.)

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09 MIN THOMAS thomas.min@hotmail.com

OF

GRADUATION 13 VAN SEVEREN LAURA laura.van.severen@hotmail.com www.lauravanseveren.be

15 VRANKEN JEROEN vrnknj@gmail.com eversomber.tumblr.com

LAND

On the brink of some formidably complex matters.

Land is a brief memory of a landscape.

The landscape is a construction, or one could say, a destruction of what it once was or will be. When moving, the surrounding landscape is slowly shifting. The different layers of the landscape slide over each other continuously. Concepts like distance, size and

Tamam Shud — He is dead, and he is going to die

scale become relative.

These overlaps demand my attention. By also using this transformation as a technique, the images and the landscape merge together in a new world.

In 1948 a man was found on a beach in Australia. He was killed by an unknown poison and had a note in his pocket that read “Tamam Shud”. Later they found his suitcase in the train station. It contained clothing, a toothbrush, some bills and some coded notes. After years of thorough investigation, the man remained unknown.

This is a story I tell people when they ask me about my father. A man

14 VAN PARIJS KAREL www.karelvanparijs.com

I know as a name only.

He washed up upon my shore two years ago, in the form of a box full of objects. Objects my mother kept. I started to photograph all these objects, interviewing my mother about them and returning to the places they originated from. All in attempt to construct an idea of who my father was and the marks he left.

MASTER OF VISUAL ARTS

Pralien

FASHION MODE Observation of a house cat.

MASTER IN DE BEELDENDE KUNSTEN

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2015

KASK 03 KOPEC ELISE elisekopec@outlook.com

Thanatos and the Selkie

A Tribute to Women Who Blossom in Secret

‘Thanatos and the Selkie’, is a graphic and sculptural translation of Basten Basstanie's gothic novel ‘Thanatos en de Selkie’. The story is about Thanatos, God of Death, who falls in love with a mythological animal that he tries to please and conquer.

‘It is a work of Art.’ Cilia, a woman of few words. Our perception of the world around us depends on how it is depicted. The very essence of a composition. Artistic expression lies in “the composition of a painting taken as a whole”. The play of light and colour on the canvas depends on the mood and free expression of the artist, rather than on the requirements of science or social conventions.

02 DE MAESSCHALCK CHARLOTTE lottedm@hotmail.com www.charlottedemaesschalck.be/

04 LAMBRECHT ELZE elzelambrecht@gmail.com

Take my breath away

I leap into the depth of the unknown, One last time.

They'll be there to catch me,. And take my breath away.

I fear, I hope, I trust.

A few carefully selected details elevate the composition as a whole to a more intense level of experience. With a proud posture and an ineffable appearance, this woman became the protagonist of a number of canvases painted from memory, tributes to “all the women who blossom in secret”.

— Cilia. Muse of the Swedish modernist painter Tora Vega Holmström.

Silky Sullivan

Horse racing is a sport for the elite. It originated in Great Britain. The race takes place on an artificial track with hedges, shrubs, hurdles, and ditches.

The tracks are reminiscent of the traditional English garden, to which they owe their prestige. This association inspired me in the development of an outspoken visual style for these races. The combination of natural elements constricted into geometric

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01 BASSTANIE BASTEN basten.basstanie@gmail.com

SCHOOL

shapes, the green grass, the plants, the bright sporty colours in the outfits of jockeys and horses: all of this I represent in a clear graphic style in prints and cut. Changing times also play a part. Where the audience used to consist solely of the upper classes, nowadays there are spectators from all classes.

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GRADUATION 05 SARENS NELE nele.sarens@gmail.com nelesarens.tumblr.com

07 VERCLYTE SOFIE

Shine on

‘Shine on’ is based on Victor Margueritte's 1922 novel ‘La garçonne’, which tells the story of a young woman making her way in these eventful, influential times. After a series of setbacks, she decides to make up her own rules and she plunges herself into a bustling nightlife. The descriptions of dark rooms in which fragile, glittering materials light up the protagonist’s skin, were an important source of

RECORD – COPY – PLAY – ERROR

inspiration, as were the works of Sonia Delaunay, Gustav Klimt, and Isadora Duncan.

06 VAN DEN BULCK STIJN stijn.vandenbulck@hotmail.com www.svdb-menswear.be

██ ███████ ██ █ ████ █████████ ████ ███ ███ ██ ████████ ████████ █ ██ █████ ██ PLAY IT BACK ████ ███ ████ AGAIN AND AGAIN UNTIL THE RESONANT FREQUENCIES ██ ███ ████ REINFORCE THEMSELVES SO THAT ANY SEMBLACE OF ██ ██████ ████ ███████ ███ ████████ ██ ██████ IS DESTROYED. WHAT YOU WILL SEE,

08 WYLLEMAN GUDRUN gudrun.wylleman@hotmail.com gudrunwylleman.wordpress.com

Woah, my love.

“I promise to be blind to the imperfections you make up.” – Stijn.

THEN, ARE THE NATURAL RESONANT ██████████ ██ ███ ████ ██████████ ██ ██████. ███████ ████ ████████ █████ ██████████████████████ IRREGULARITIES ██ ████ █████ ████.

Alvin Lucier

i draw a line…

One night, a young girl decides to leave home.

She wants to get away from everything. She wants to see the stars… As she paces through her childhood bedroom, she gathers up her favourite stuff: Duvet, Pillow, Cuddly Toy, Curtain, Carpet, and her yellow Wellies. Snugly wrapped in her stuff, she steps outside. When she crosses the threshold, she takes a piece of chalk from her pocket. She places it

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on the ground, and sets out on her adventure. Always drawing that line, to stay connected to her home.

KASK 02 DE TAEYE LENNERT lennertdetaeye@gmail.com Zero Distance — zɪərəʊ| |ˈdɪst(ə)ns|

FILM

MASTER IN DE AUDIOVISUELE KUNSTEN

01 BUREZ JENS jensburez@hotmail.com

Zero distance is the name of a process aimed at reducing the distances between all of the elements in this world to zero, in the hope of definitively coinciding with the other.

It is the continuation of a historical process of reification that also erases a fruitful interstice: the essential spaces in-between. It transforms a great distance into a smaller distance that nevertheless feels greater.

In the remaining small

03 HENDRIKX JOOSJE joosjehendrikx@gmail.com

The many deaths of John Hurt

I believe a filmmaker directs his actors in order to create footage with which to direct his audience. This project was an attempt to skip the first step and direct the audience directly. The immediate world becomes fictional and visuals are created that move an audience.

distance, man is reduced to data. The problem is disguised as a solution. While our senses slowly lose depth, our body disappears unnoticed. Shapeless.

Zero distance is the opposite of love.

Småland

“Unconnected to the life of love, uncolored by love, the world resumes its own, its natural and callous importance. This is first a blow, then an odd consolation. And already I felt my old self—my old, devious, ironic, isolated self—beginning to breathe again and stretch and settle, though all around it my body clung cracked and bewildered, in the stupid pain of loss.”

— Alice Munro, ‘Lives of Girls and Women’

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When Susanna travels to Sweden to perform a cello concerto, she receives unexpected news. Starting points were themes such as the lack of security and comfort, the many forms and expressions of grief, and the study of one's own identity during a crisis.

The result is an intimate portrait of a troubled woman wrestling with a personal decision in unfamiliar surroundings.

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MASTER OF AUDIOVISUAL ARTS

SCHOOL

GRADUATION 04 HUYGHE DOMIEN domien@earlybirds-films.be www.earlybirds-films.be

06 NUIJTEN THOMAS t.g.nuyten@gmail.com www.thomasnuijten.com

This is how I disappear

With compulsory euthanasia for anyone over 65 or terminally ill, dying has become a brave act of solidarity. It provides a solution for overpopulation and the rise in ageing population, and it earns the social security system money on top. Ella and Fien, young and old, meet where those about to die spend their last days.

Just before their forced departure, they develop a strange but genuine

The End of Monica

friendship that stands in stark contrast to the cold world they are about to leave.

05 MEHRI VIDA vida.liza.m@gmail.com vidamehri.com

‘The End of Monica’ is a cinematographic portrait of a subway operator, Monica, that takes place mainly in the dark tunnels underneath the city.

Monica seems trapped in a web of habit. When she receives a voicemail from someone from her past, her well-organized life slowly starts to fall apart.

In ‘The End of Monica’, I subtly and suggestively try to give emotions and charged

07 VAN DEN BRAND JANET janetvdbrand@hotmail.com www.janetvdbrand.com

Ayan and the White Balloon

The white balloon returns to her home country, Iran, after 5 years of living in Europe, to ask her old friends to play in her film. Looking for spontaneous collaborations in troublesome times, she asks them to replay scenes of bribery. To her surprise her friends are reluctant to help her, blaming her for going along with European stereotypes.

Frustrated of having to insist, the white balloon

subjects a universal power, and offer the viewer room for reflection, interpretation, and projection.

gets into a fight with her best friend Ayan.

Dog Days

The night drones.

A thunderstorm rumbles in the distance. Dogs bark and a man takes flight.

Three young sisters awake in an empty house. Their parents are nowhere to be found and the air is still charged with the unrest of the past night. A long, hot day stretches out before them. The natural world around the sisters starts to buzz and in the background a miracle takes place.

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‘Dog Days’ tells the story of three sisters coping with the sudden disappearance of their father.

Past and present blur and slumbering emotions are vented through the oppressive weather. Brooding nature and lurking madness culminate as the thunderstorm breaks and the rain comes down.

KASK

SCHOOL MASTER OF AUDIOVISUAL ARTS

Flor de Mil Colores

ANIMATION FILM ANIMATIEFILM ‘Flor de Mil Colores’ is an intimistic portrait of Emiliana, a mother struggling to survive in a remote Bolivian mining camp 4896 meters above sea level. Life in Mina Argentina revolves around the exploitation of tin. Those who find ore, eat; those who don't, don't eat. The landscape, however, is like a magical painting, with the grey of the mountains running into the blue sky, while the miners march

towards the darkness below and watch the drifting clouds. The film portrays a mother's everyday struggle with inhospitable surroundings to provide for her children.

09 WINDELINCKX BRIAN brianwindelinckx@hotmail.com

MASTER IN DE AUDIOVISUELE KUNSTEN

01 BISSER 2xbisser@gmail.com www.facebook.com/Bisser.art

Et Dimanche, le Déluge

A Sunday morning.

Mathieu wakes up with a dreadful hangover. He's lost his keys, his phone and his wallet.

He doesn't recognize the apartment, or the girl who greets him.

Moving Walls

Who: Bisser What: Documentation of several experiments Where: Louvain, Ghent, London, Cyprus, Lisbon, New York How: Stop motion, mural, film, photo ...

Why: For fun

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CONSERVATORIUM

ARTS

08 VAZQUEZ GUADARRAMA KAREN karen_vg@hotmail.com

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GRADUATION 02 CZEKAJ ANIËLA aniela_c@hotmail.com anielaczekaj.tumblr.com

04 DESCHAMPS GILLES

Smallbrain

A child's brain functions differently from that of an adult. To a child, everything is still new, and an unbridled imagination is a natural thing. But they can also be utterly selfish, from a simple lack of empathy.

In ‘Kleinbrein’ (Smallbrain), two little girls give free rein to their imagination, but their exclusive focus on themselves brings them to a confrontation.

03 DE KINDEREN GERD gerd_dekinderen@hotmail.com

05 GHYSSAERT MERLE ERL IDRIS merle-erl-idris@hotmail.com

New Moon

Ik ben een hand

Sun and moon are colleagues and opposites.

Between them: a woman.

‘New Moon’ is a story about the alternation of day and night, of conflict and desire. A story that takes place in a banal cosmos. Under the heavens a house, in the house a room. A triangle made up of a woman and two celestial bodies; of light, darkness, and appearances.

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SCHOOL 08 LYNEN SIMON simonlynen@hotmail.com

Carp Street

A hodgepodge of story, sound and image.

A collage of movement, tinkering, visually sung frames, characters, monologue and fun.

A hex enduction hour chapel road through funky forest.

A multiplicity trapped between pen and paper.

A month of concentration after two years of intense chaotic inspiration.

A rhapsody born from the minds of Kim Jacobs,

Dannyboy

Fritz tape, Elzar Mehwuando and Ricky Martin.

An unfinished thought manifesting itself amid monuments to conviction.

A film about too many things and too confusing but with a song as accompaniment.

A carp street with a beginning and an end.

07 KAMOEN JOACHIM joachimkamoen@hotmail.com www.studiocafia.com

09 MARJAI PETRA LILLA petralillamarjai@gmail.com www.pcsmf.tumblr.com

Pol & Lutje

Every morning, at the break of dawn, the jolly pair Pol & Lutje are surprised by the appearance of a new object in their magical chest.

The adventure begins. ‘Pol & Lutje’ is the pilot project of what is to become a complete children's series. Creativity and imagination take the lead.

Eki & Coco

A story in which two ordinary young ladies tell us about their needs, their desires and the surprising truth that so far nothing turned out the way they imagined.

The fact that they constantly feel not so fantastic calls for help: they summon an old hag with a highly developed sense of reality who tries to save the day.

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CONSERVATORIUM

ARTS

06 JACOBUS KIM jacobus.kim@gmail.com biggieboxdim.tumblr.com

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GRADUATION 10 MOLENSTRA BLOMME blommemolenstra@hotmail.com www.blommemolenstra.be

12 PALMANS WIETSE wietse_palmans@hotmail.com

EasyCare

Bes

A laundromat for humans, where the elderly and enthousiasts are washed. In technical terms, a combination of stop motion (for the physical) and live action (for physiognomic expression).

Two brothers growing into opposites. Two brothers growing from the same mother. Two brothers are two worlds.

11 ÖZBILGE SINE sineozbilge@outlook.com vimeo.com/sineozbilge

13 ŠPURA ELI¯ NA eliah.ornicans@gmail.com

The Three-Ring Circus

You are invited to a journey through the ‘Three-Ring Circus’: a girl's subconscious reflection on the absurdity of the world based on Albert Camus' philosophy. We are taken to a place where reality mixes with dreamlike imagery and obscure creatures play their final acts in this distorted yet fantastic circus. The imagery of the movie is a visualized parody of proverbs. Wise words, taken too literally,

The Whitest Boy In Town

become silly things.

In the end, isn't life a three-ring circus indeed?

Feeling awkward is the start of making something original. This project consists of three separate videos: ‘Unarmed’, ‘Nagger’, and ‘The Whitest Boy In Town’. The title ‘The Whitest Boy In Town’ is just a space to spark thought, a bit of situationism. To me it is about inequality. But issues of race are always a grey area. I can't tell you what your experiences of race are, and you can't tell me what mine are. I can't

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talk for black America, or for people in the UK. So it’s good to start these conversations. I want people to talk about it, positively or negatively, so that it’s out there.

KASK

SCHOOL 16 VERHAEGEN TIM veurre@hotmail.com www.vimeo.com/timverhaegen

Aesop's Vlogs

Modernized, talking fable animals share their stories with the world in their video blogs, inspired by the human vlog community. One is a cheerful beauty bunny with a love for all things cute and pretty, the other a lonely badger prone to anger who considers himself an intellectual—as most internet dwellers do.

The silver tongued fox becomes a master troll both online and offline.

15 VELZ ANNE-SOPHIE velz_anso@hotmail.com

Ma Reine

Commenting, liking and responding as real online personalities, these creatures reveal more of their life and enviroment bit by bit: video by video.

Find them on YouTube and subscribe. It would make them very happy.

Or pester them if you must. It would make them very upset.

A house that has been empty for years is to me as a trove of memories.

Change is coming and I captured its last moments on film.

17 ZHANG JIYUN jiyunzhang@foxmail.com www.facebook.com/JiyunZhang

Behind the Light

Behind the Light is an animated documentary about a rare and dangerous skin disease called Xeroderma Pigmentosum.

A young woman talks about her daily routine and how she gets along with this disease.

The Song of the Maple Tree

The film is about an ancient song of an ethnic group who lost their written culture. For more than 250 years, they passed on knowledge from generation to generation by singing. The song of the maple tree is about the origin of life in ancient Miao epic verse.

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ARTS

14 VAN SOMPEL XANTIPPE Xantippe.van.sompel@hotmail.com namelessprojects.wordpress.com

OF

GRADUATION MASTER OF DRAMA

02 CHIELENS KOBE & PROVOOST BOSSE kchielens@gmail.com Herberg

DRAMA PRODUCTIONS DRAMAPRODUCTIES

MASTER IN HET DRAMA

01 AHARONI R'M reemaha@gmail.com www.reemaharoni.com

“It's a little bit an in-between place. It's like a dirty, little, forgotten, hidden corner. And I love those areas. You can discover secrets. They're little truthful places, but they're not obvious. You have to sink in and find them, and you don't even know sort of what they are till the elements come together.

Then they start talking to you and you start seeing more about the truth of the thing. At first you fall

03 DE SCHUTTER MARJAN marjands@hotmail.com

And Who Wants Peace?

On November 11, 1936, in London, England, the artist Eric Gill delivered a speech titled ‘And Who Wants Peace?’. It was addressed to a group of Christian Pacifists. In his speech, Gill pointed out the entanglement of industrial war, artistic creation and financial gain.

From 2015 on, the artist R'm Aharoni travels throughout different environments and carries out the same speech.

in love with them but you haven't started sinking in yet.” — David Lynch on Eraserhead

PRESS

This gesture is an invitation and a meeting point, which aims to implement the past in the current reality.

You are cordially invited.

About two sisters who became great champions.

Or champions, at least.

Or who won all sorts of stuff anyway … Or who accomplished quite a bit and won things as well, in any case. And in fact lost some things as well.

Lost too much, perhaps.

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Over de Geordende Materie

06 PLATTEAU FEMKE & ROOSENS DIEDE femkeplatteau@gmail.com diede.roosens@gmail.com www.vlooienkabinet.be Bestiaria

Things have to make copies of themselves (this is called replication).

They have to make small mistakes when they do this (this is called mutation).

These mistakes have to be the same in their copies (this is called heritability).

These conditions are very rare, but they are possible, and they cause life. And it just happens.

It could end up with anything. (Mark Haddan)

the earth rests on nothing that is why beneath the earth stands an angel beneath the angel's feet there lies a ruby rock beneath the rock there stands the bull kujata he is so enormous it takes five hundred years to look from his one eye to the other beneath kujata there swims the fish bahamut and beneath bahamut there is water

05 MAHAMMED DOUNIA dounia.mahammed@gmail.com

07 VAN DEN EEDE ANS vandeneede.ans@gmail.com www.hofvaneede.be

SALUT COPAIN

‘I think I ask questions, but the questions ask me.’

A wondering performance about the self and the other.

About looking for a connection between things.

About being together or not-being together.

A performance of thoughts.

Joyous, wild, questioning, scared, brief and longer thoughts.

and beneath the water there is darkness and beneath the darkness there is the serpent fakta between whose fangs are six hells and our knowledge reaches no further than that yet

The Weiss Effect

In ‘The Weiss Effect’, we see what can happen if we choose the beauty of fiction above reality. In scene are three people so consumed by their admiration for artist Edgard Weiss that they almost forget who they are. The distinction between what is real and what one would like to be real is blurred. ‘The Weiss Effect’ examines the place that art holds in our lives.

Do we want stories that are true, or is it enough for

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them to be beautiful?

The title refers to the famous Werther effect, in which Goethe's masterpiece, The ‘Sorrows of Young Werther’, drives readers to suicide. ‘The Weiss effect’ is just the opposite: people are inspired to take action. What they see is a creative seeing: they quote, they celebrate and they wrestle.

CONSERVATORIUM

OF ARTS

04 DECUBBER SEPPE & DIERCKX ANJANA Seppe.decubber@gmail.com www.seppedecubber.be

SCHOOL

GRADUATION 08 VAN DER HOEVEN YURI y.vdhoeven@gmail.com FERNWEH

A woman, alone in her world, a circle of light. Behind her the great gaping void of darkness. Figures, people? Borders blur. She is looking for something to hold onto, for beauty, she yearns for recognition and love. Retreating into her imagination to escape loneliness may seem innocent, but what happens when she starts to lose control over that imagination?

FERNWEH is a visually appealing location per-

formance that makes use of paper dolls to speak of existential loneliness. The protagonist attempts to escape loneliness by constructing a fantasy world, but she loses control which only makes her loneliness more pervasive. The performance heavily relies on the audience’s suspension of disbelief, as the boundary between puppet and puppeteer is blurred.

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MASTER OF MUSIC

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

01 ALLEGAERT DENNIS 02 ASSELBERG KOEN 03 BERTRAND BENJAMIN 04 BIAN XIAORAN xiaoran.bian.u0825 @student.hogent.be Violin recital My graduation project for the master in performing classical music is a final recital, where I will perform two pieces: The famous and demanding ‘Violin sonata No.6’ by Eugène-Auguste Ysaÿe and ‘Violin concerto in D minor, Op.47’ by Jean Sibelius, one of the greatest violin concertos of all times.

05 BINGÉ WOUTER 06 BONNY JONATHAN jonathan_bonny@hotmail.com jonathanbonny.wix.com/ jonathanbonny Master recital Jonathan Bonny ‘Velocities’ – J. Schwantner ‘Trois Rivières: Delta’ – K. Saariaho ‘Rain Tree’ – T. Takemitsu * ‘(creatie)’ – J. Bonny * ‘Sonata K98’ – D. Scarlatti * with Headliner 07 BOONEN NINA nina_boonen@hotmail.com Master recital saxophone In her final project, Nina wishes to charm the listener with saxophone music from various genres. She performs the truly classic ‘Ballade’

by Frank Martin, as well as Robert Groslot's ‘Concerto for Saxophone and Orchestra’. For this concerto, performed in the piano reduction version, she will be joined by Geert Claeys. By imitating the Japanese shakuhachi flute in the solo piece ‘Mai’ by Ryo Noda, Nina takes her audience on a spiritual journey, before transporting them to sultry Africa, with Wim Henderickx' ‘Africa Suite’ for soprano saxophone and percussion. For the recital’s finale in William Albright's ‘Pit Band’, Nina is accompanied by two spirited ladies on bass clarinet and piano.

08 BOVIJN FREYA 09 BRASSAERT SØREN

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Master class with Pieter Wispelwey, the day after his concert, Miry Concert Hall (29.04.15). Photo: Marian Coppieters Pre-concert master class with Barnabás Kelemen, Miry Concert Hall (27.03.15).

Photo: Frederik Styns Opera scene by the singing class on Open Door Day, Miry Concert Hall (26.04.15).

Photo: Mireille Capelle Concert of ‘Timber’ by Conservatory on Stage, Ghent City Hall (27.05.15).

Photo: Marian Coppieters

10 BRYS ELINE elinebrys@hotmail.com Les Miroirs et ses reflets The first piece I play for my graduation project was Maurice Ravel’s ‘Miroirs’ (1905); something I have dreamt of performing for many years. It also became the basis for the rest of the programme, with two more compositions from the same era: ‘Baigneuses au soleil’ (1908) by Déodat de Séverac, and Manuel de Falla's ‘Piezas Espagnolas’ (1906-1909). The Spanish theme of the latter also ties in nicely with the ‘Alborada del gracioso’

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passage of ‘Miroirs’. To make the programme somewhat lighter, and above all more personal, I complete it with pieces from François Couperin's ‘Pièces de clavecin’ (1668-1733), and ‘Paysage’ from Emmanuel Chabrier's ‘Pièces pittoresques’ (1880). This last piece may be considered a mirror of my personality.

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11 BUA ROBERTA My master's recital will consist of Beethoven's ‘Violin Concerto’ and Bach's ‘Ciaccona dalla seconda partita’.

I decided to invite an italian trio (Torino) to mix different styles and expose the Ghent public to repertoire reaching from Haydn to Shostakovich.

As the manager I learned what it means to organize a concert.

12 CLEGG ELISA 13 COUTIGNY MIREK 14 DE BOCK CATHY cathy.debock@gmail.com The Night DEBUSSY – ‘Pour que la nuit soit propice’ from ‘Chansons de Bilitis’ (fluit en piano) HINDEMITH – Sonata (flute and piano) KARG-ELERT – Suite Pointillistique JOLIVET – Part IV from ‘Asceses’ COPLAND – Duo (flute and piano) COENEN – Nocturne (flute and string orchestra) GAUBERT – ‘Soir sur la plaine’ from “Deux Esquisses” 15 DE CLERCQ FLORIS floris.floflo@gmail.com www.turmali.be Guitar recital My graduation recital showcases the versatility of the guitar. I selected a programme that is varied in stylistic and in historical terms. Starting off with a piece by Baroque composer Couperin, the ‘variations across the centuries’ by Italian composer Castelnuovo-Tedesco provide the perfect bridge to the 20th-century music of Brazilian composer Marlos Nobre.

The 19th-century Manjon brings us to a contemporary guitar concerto by Malcolm Arnold. Leonard Duna is accompanying me on piano.

16 DE CUYPER SIMON simondc@gmail.com www.simondecuyper.be Master recital Piano With Cowell's experimental piano techniques, Adams' minimalist ‘process music’ and Debussy's exotic ‘prints’, Simon De Cuyper's graduation recital presents a polychrome programme. He finishes with Chopin’s emotional second sonata, the finale to an agreeable and poignant recital.

CONSERVATORIUM

GRADUATION Aeolian Harp (1923) – Henry Cowell (1897-1965) China Gates (1977) – John Adams (1947) Estampes (1903) – Claude Débussy (1862-1918) The Tides of Manaunaun (1917) – Henry Cowell (1897-1965) Sonate n°2 in bes Op. 35 (1837-1839) – Frédéric Chopin (1810-1849) 17 DE LEY LUCIE utelemper_de@yahoo.fr Master recital ‘Quelques touches de clair-obscur’ This work embraces compositions from the 20th century, such as Shostakovich's second ‘Sonata op.61, Ravel's Sonatine, a Prélude Elégiaque’ written by Dukas, ‘un Adieu’, by Scelsi, as well as De Ley’s own compositions, ‘Toccata Enchantée’. These different works alternately convey a certain darkness or brightness, and result in a chiaroscuro. ‘The Toccata Enchantée’ is an original combination of modern classical piano with jazz singing.

Personal artistic project: ‘Across My Universe’ is a project that consists of eclectic arrangements of songs by the Beatles. De Ley initially wrote these arrangements for piano and voice solo, the piano part being quite fleshed out, adding a rhythm section as typically used in a jazz combo (drums and bass).

18 DE SCHEPPER FLORIAN 19 DE SMEDT JONAS 20 DEBLAERE ANTHEA antheadeblaere@gmail.com Master recital clarinet How to distinguish oneself in a musical landscape full of clarinet players? I resolutely avoid the standard repertoire and play what I want to play: contemporary music, preferably by composers I know personally. ‘Sueño Andaluz’ (Bart Picqueur), ‘Shadows’ (Bart Watté), and the ‘War Concerto’ (Dirk Brossé) are three colourful pieces that convey a story. A story that touches people, a story that I wish to tell. Three compositions of which I sincerely hope they may one day find their way into each clarinettist's repertoire. Jacob TV's ‘Garden of Love’ is perhaps the odd one out on the programme. The piece was composed for oboe or soprano saxophone, and tape. It is hardly ever performed on clarinet, but I’m confident that this will change!

21 DENEIR KATRIJN katrijn.deneir.r5882 @student.hogent.be Master recital My repertoire was carefully selected in consultation with my instructor Vitaly Samoshko, with the emphatic concern to present a wide variety of music.

Accompanied by Vitaly Samoshko, who joins the orchestra on second piano, I start with Mozart's delicate and marvellous ‘Piano Concerto in A, KV 488’ (1786).

Next comes a selection from Liszt’s first ‘Années de pèlerinage’ suite, ‘Suisse’. Liszt's programme music inspired by his travels through Switzerland ranges from virtuoso pyrotechnics to subdued, intimate, and emotional sketches. To conclude, I present a couple of Debussy's early pieces: a ‘Ballade’, the ‘Valse Romantique’, and the ‘Danse Bohémienne’.

30 KYOSEV NIKOLA n.h.kyosev@gmail.com www.nikolakyosev.co.uk ... I write on the wind... ‘... I write on the wind...’ offers a varied programme that will take listeners on a trip, exploring different styles and nuances of the flute playing. A careful mix between accompanied repertoire, chamber music and solo playing has been selected, aiming at keeping the listeners entertained throughout the whole recital.

You will have the chance to listen to pieces by C. Reinecke, A. Karastoyanov, E. Carter, N. Rota and J. Ibert

22 EECLOO BIRGIT

31 LOPEZ MURO MARTIN

23 GEERARDYN ISABEL

32 LUO XIAO zoeluo326@gmail.com Clarinet recital My graduation recital consists of four pieces. I start with ‘Fantasy pieces’ for clarinet and piano by Robert Schumann. Secondlly, I perform Première rhapsodie for clarinet and piano by Claude Debussy, followed by the solo piece ‘Fantasy’ by Jörg Widmann. The last piece is the ‘Concerto for clarinet’ by Henri Tomasi – Allegro, Nocturne and Scherzo.

24 GINNEBERGE WARD 25 GOOSSENS NELE nelegoossens3@hotmail.com serranokwartet.com Master recital saxophone Nele Goossens en Tom Hondeghem Nele Goossens and Tom Hondeghem present a unique duo recital where they will perform some gems from the classical and contemporary saxophone repertoire accompanied by two bands; KHSC Zele (cond.

Bart Picquer) and KH Ypriana (cond. Nico Logghe). Katrijn Friant and Mirek Coutigny provide piano accompaniment. For the premiere of a new composition for saxophone and sax choir by Tom. The Conservatory’s sax choir under the direction of Rik Vaneyghen joins them.

26 HAKOBYAN ARPENIK arpin87@yahoo.com Masters cello recital exam On Friday June 19th, I invite everyone to be present at my graduation exam recital of Cello. During this concert I will be performing compositions from various composers of the contemporary period.

27 HONDEGHEM TOM tomhondeghem@hotmail.com www.tomhondeghem.be Dubbelrecital en Seven Deadly Sins Nele Goossens and Tom Hondeghem present a unique duo recital where they will perform some gems from the classical and contemporary saxophone repertoire accompanied by two bands; KHSC Zele (cond. Bart Picquer) and KH Ypriana (cond. Nico Logghe).

Katrijn Friant and Mirek Coutigny provide piano accompaniment. For the premiere of a new composition for saxophone and sax choir by Tom, they are joined by the Conservatory's sax choir under the direction of Rik Vaneyghen.

28 JACOBS HANS 29 JOORIS SILKE

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33 MARKEY SARA markeysara@gmail.com Decisive considerations in composing the programme for my final recital, were variation of styles, and significance for the clarinet repertoire. Carl Nielsen's ‘Clarinet Concerto’ opens the concert, and is followed by a Fantasie for solo clarinet by Jörg Widmann. After the chamber music of Francis Poulenc's ‘Sonata for clarinet and piano’, American clarinet player Artie Shaw's swinging ‘Concerto for Clarinet’ concludes the programme.

34 MEES BERT 35 PROOST JELLE 36 RUIZ GARCIA LEIRE leire.ruiz@gmail.com The Clarinet in Time I made a journey through the clarinet repertoire, in which solo and accompanied pieces for clarinet and for bass clarinet are presented. Widman's jazzy ‘Fantasie’ is a smooth opener, and followed by what I consider the central piece of the programme: Bernaola's ‘Solo para clarinete’. As a Spanish and Basque musician, I feel I owe a lot to this Basque composer. The third piece on the programme is a solo piece for bass clarinet by Von Koch. This is followed by Penderecki's ‘Three miniature pieces’ and Françaix' ‘Tema con Variazioni’. The last stop is Brahms' Second Clarinet Sonata Op. 120. The clarinet and piano duo was a rare combination in Brahms' era, and his two clarinet sonatas are considered a major contribution to the repertoire.

2015

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SCHOOL

38 SUVORKIN EVGENY 39 TIEGHEM VEERLE 40 UYTTERSPROT MORAG 41 VAN DEN EYNDE HADEWYCH 42 VAN LENT SAM

02 DE RIJCKE MATTIAS matti_der@hotmail.com www.facebook.com/ MattTMahony Get your shit together The Matti De Rijcke quartet is a European quartet that originated in Groningen. Matti met Finnish saxophone player Adele Sauros and Polish double bass player Michal Nienadowski. Hitting it off both personally and musically, they became the ‘four foreigners trio’, with an imaginary drummer for a fourth member. On this occasion, the fourth spot is filled in by Simon Raman. These musicians join Matti in performing both original compositions of his, and standards.

Programme: Get your shit together (Matti De Rijcke); Make it smallish (Matti De Rijcke); Humidity below (Matti De Rijcke); Seriouslee (Matti De Rijcke); Come rain or come shine (Harold Arlen); Invitation (Bronislau Kaper); Minor mood (Michal Nienadowski); Bird Killer (Adele Sauros).

43 VANHUFFEL LENNY 44 VERHELST ROBIN robin_verhelst@hotmail.com Benedetto Marcello – Sonata in a Paul Hindemith – Sonata Joseph Jongen – Aria and Polonaise Jef Maes – Concert piece Willem Kersters – Rhapsody Jean Absil – Suite for trombone and piano 45 VERMEIR HANNELORE vermeir.hannelore@gmail.com travalone.bandpage.com Loop that clarinet like a Boss RC-3 Hannelore Vermeir performed the Introduction and Fugue from Belgian composer Henri Vieuxtemps' (1820-1881) suite ‘Six Morceaux pour Violon Seul Op. 55’ for the opening nocturne of the exhibition ‘Een Hollander in Mechelen’ (‘A Dutchman in Malines’), in a collaboration with AmuseeVous and the Malines municipal museums. For her performance of the piece in an adaptation for clarinet and bass clarinet, she made use of a loop station: a face-lift for the music of the United Netherlands! The exhibition was part of the Hollandse Maatjes festival to commemorate the twentieth anniversary of the ‘cultural treaty’ between Flanders and the Netherlands.

46 XU ZHENZHEN jojoxzz@hotmail.com Labyrinth Franz Schubert – Arpeggione Sonata in a (arr. for flute and piano) Johann Sebastian Bach – Seele, deine Spezereien from Oster-Oratorium BWV 249 Toshio Hosokawa – Vertical song I Sergei Sergeyevich Prokofiev – Sonata for flute and piano in D, Op.94 MASTER OF MUSIC

PERFORMING MUSIC: JAZZ / POPULAR MUSIC UITVOERENDE MUZIEK: JAZZ / POP

MASTER IN DE MUZIEK

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Concert by ‘Seiren’ during ‘De Nieuwelingen’, Trefpunt (07.05.15).

Photo: Marian Coppieters ‘Elias, Nils & Cyriel invite Christian Mendoza’, jam during ‘TUNES: A Jazz Night’, Hot Club De Gand (30.04.14). Photo: Laurent Fobe Concert by ‘Kafska’ during ‘De Nieuwelingen’, Trefpunt (07.05.15).

Photo: Marian Coppieters Concert by ‘Stadt’ during ‘TUNES: A Jazz Night’, Trefpunt (30.04.14).

Photo: Laurent Fobe

01 BOON KOBE kobe_boon@msn.com mòs ensemble Atmosphere, tone, energy, improvisation, and through-composed works, these terms describe the essence of the mòs ensemble.

Starting from Kobe Boon's compositions and arrangements, collectively making music takes precedence, full of surprises. The unusual constitution, with two singers and two saxophones, contributes to the ensemble's personal timbre.

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03 DEFRAYE ROBBE robbedefraye@gmail.com For his final trombone exam, Robbe performs a programme that takes the listener on a tour along his musical experiences and encounters. With a changing line-up, he performs music by Art Blakey and the Jazz Messengers, Roy Hargrove, Brian Lynch, Kenny Wheeler, and others.

Line-up: Loic Dumoulin (trumpet) Thomas Van Gelder (tenor saxophone) Robbe Defraye (trombone) Thomas Kint (piano) Kobe Boon (bass) Simon Raman (drums) 04 JACOBS CHARLOTTE charlotte_jacobs_@hotmail.com Seiren Together with two fellow students, Charlotte presents the ‘Seiren’ project. During her training, she developed a passion for songwriting.

Her background in jazz determines the sense of harmony and melody in her compositions, although the arrangements are largely electronic or even cinematic.

Charlotte has always felt drawn to other cultures and traveled frequently during her studies—from America, over Lithuania, to Nepal.

The skeletal songs she pens during her travels are later fleshed out,

CONSERVATORIUM

ARTS

Line-up: Astrid Creve & Marta Del Grandi (vocals) Ambroos De Schepper (alto & soprano sax) Benjamin Hermans (baritone sax & bass clarinet) Artan Buleshkaj (guitar) Kobe Boon (bass & composition) Simon Raman (drums)

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GRADUATION often with the help of producer Jens Paeyeneers, drawing inspiration from the repertoires of the likes of Björk, Becca Stevens, Robert Glasper, and Tori Amos.

At the heart of the mechanical blend of intelligent sound is the voice.

05 STROBBE ROOS roosje.strobbe@gmail.com soundcloud.com/user1693355 In-vloed 06 VANHOECKE MATTIAS mattias_vanhoecke @hotmail.com Gertrude Perkins Graceful as a Nordic tern, Gertrude Perkins dives into the northern lakes to root in the sediment of traditions on the bottom. The result is a combination of original compositions and a selection of pieces from the European jazz repertoire (Kenny Wheeler, Anders Jormin, Bobo Stenson), performed in trio. The group was founded in the context of Mattias Vanhoecke's graduation project and consists of students who accompanied him on his search at the Ghent conservatory.

Line-up: Mattias Vanhoecke (piano) Kobe Boon (double bass) Simon Raman (drums)

Line-up: Thijs Troch (piano) Jan Daelman (flute) Nils Vermeulen (bass) Elias Devoldere (drums)

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09 VLERICK TOON MASTER OF MUSIC

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COMPOSING MUSIC: COMPOSITION SCHEPPENDE MUZIEK: COMPOSITIE

MASTER IN DE MUZIEK

07 VERHAEGHE BRAM bramverhaeghe@gmail.com Grote Prijs Nijlpaard Bram Verhaeghe presents original work, performed together with bassist Kobe Boon (Steiger) and drummer Elias Devoldere (Nordmann, John Ghost, Hypo­ christmutreefuzz). Billed as Grote Prijs Nijlpaard, the trio serves up a heavy dose of crushing jazz. Bram brings into these traces of progressive rock (King Crimson, Zappa, Univers Zero), metal (Meshuggah), mathcore (The Dillinger Escape Plan), classical (Bartok, Berg) and, yes, also jazz (The Bad Plus, Craig Taborn). The eclectic piano trio combines through-composed pieces with free improvisation.

Afternoon concert organized by teacher Lucien Posman, in which musical works by students of Composition are performed by students of Classical Music.

Photo: Marian Coppieters Afternoon concert organized by teacher Lucien Posman, in which musical works by students of Composition are performed by students of Classical Music.

Photo: Marian Coppieters Students perform a composition by Jelle Proost, directed by the composer.

Photo: Frederik Styns ‘Voorwaarts maart’ festival with students of Composition, 2015 edition, De Bijloke Music Centre. Photo: Philip Van Ootegem

01 CORTEN PIETER pietercorten@hotmail.com The Seven Deadly Sins The challenge for a young composer is to render in sound something that is different for each listener. My strategy has consisted in selecting for each sin that aspect that seemed the most universal.

A second challenge, to transform these ideas into a coherent musical whole, I tackled with the method of Holst's ‘Planets’: similar to that work, my composition has a single conceptual theme (the seven deadly sins), yet the distinct parts are compositionally entirely unrelated.

The piece also contains less demanding passages, however.

This was a deliberate decision, made in the assumption that rest allows for concentration, and may thus help to sustain the attention for the full 45 minutes of the work.

02 DE BRUYCKER HENK henk.debruycker@Hotmail.com Master recital Composition For my master's project, I have created two compositions in the wake of Nelson Mandela’s death.

The passing of charismatic people and inspiring leaders, who succeed in carrying through fundamental changes in the political and/or social fabric of society, stirs the composer's imagination.

His creations are coloured by research into the roots and motivations of these people and their times.

03 HOUSEN PATRICK info@patrickhousen.com www.patrickhousen.com Master recital All too often, life is focused solely on the future, and the past is a continuous reminder of who we (still/not yet) are. Infused with a good dose of introspection, “my past/my roots” and “my view of the future/evolution” are merged in music, to the sole moment of fundamental importance: “the Now”.

This concert, with the performance of three pieces, constitutes a journey through the aural landscape I have developed during my master training at the Conservatory. “The past and the present are real only insofar we think of them.”

— Alain (1868-1951)

08 VERMEULEN NILS nils_dumoulin@hotmail.com KABAS KABAS tries to produce any sound that is required by the composition being created on the spot.

This makes the four members more than just musicians or performers —they are four composers joining in creation. Together they paint a volatile canvas; a work that allows itself to be grasped for no more than a moment. Indeed, this quartet leaves behind the traditional division of roles in its avid search for new sounds. KABAS takes its inspiration from the moment, from reason and madness, and translates it into music that leaves no listener unaffected.

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COMPOSING MUSIC: MUSIC PRODUCTION SCHEPPENDE MUZIEK: MUZIEKPRODUCTIE

MASTER IN DE MUZIEK 01 CLIQUET SANDER sander.cliquet@icloud.com Seasoner

I have composed, performed, arranged and produced a four-track EP. As for most music production students, the five years of the programme became a search for an ‘individual’ sound. Whether I have succeeded, I leave to the listener’s judgement. The ‘Seasoner’ EP, however, is a display of my entire musical personality, in all of its facets: one side embraces the acoustic and organic, while the other highlights the electronic and artificial.

Combined, they make up the present, the here-and-now.

02 DE BRUYNE ROEL morphinemilkshake@gmail.com facebook.com/ morphinemilkshake Morphine Milkshake — The Very Best Of Morphine Milkshake

Morphine Milkshake is born: the rumours are now officially confirmed by the release of an EP and the announcement of a defloration concert. The EP is called ‘The Very Best of Morphine Milkshake’ and will have four or five catchy tunes and perhaps also an intro ditty on it. Contributing their musical talents are The Mysterious Mister Mojo and Ömer The Trömpet Wizard. La Guapa designed the artwork. Billed as The American Oil Sheiks, Morphine Milkshake is currently touring Iraq incognito in preparation of the defloration concert of June 18, 2015 at the Ghent Minard theatre.

On this occasion, the EP will be made available to the public for the very first time, along with a pleasant surprise!

03 PAEYENEERS JENS dr.jenske@gmail.com seirenband.tumblr.com SEIREN

grew to develop a project around it.

He decided to record metro rides, while taking notes about the things that caught his attention. This resulted in four songs that evoke Paris and its metro lines.

MASTER OF MUSIC

MUSIC THEORY MUZIEKTHEORIE

MASTER IN DE MUZIEK

01 DEVISCH FILIP fiip.devisch1@telenet.be Gospelproject

Seiren was founded in 2009 by producer and keyboard player Jens Paeyeneers. Throughout the years, the project has seen a number of radical shifts in style and periods of inactivity, before the arrival of singer Charlotte Jacobs and drummer Gert Malfliet in 2014 ushered in a new phase. Seiren brings songs in Dutch and in English, cinematic soundscapes, hyperactive sequencers, melancholy jazz ballads, and an eclectic blend of all of the above.

Live, the music is enhanced by the musicians' love of chaos. File under: Bambi on LSD, with lasers.

02 VAN WYNSBERGHE LARA laravanwynsberghe@gmail.com Between Sign and Sound: Musical notation as reference for intelligent software

04 VERSTAPPEN TOM stappemail@gmail.com www.byronbay.be Paris 14' Ep

For his graduation project, Tom Verstappen decided to record an EP. After several visits to Paris, Verstappen got fascinated by the city's metro system. Soon, the idea

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I have composed a series of post-tonal works and a school fugue, and I worked on the humanization of MIDI. In my thesis, I explore the potential of the notation methods used by a number of 20th-century composers to serve as references for intelligent music software.

I considered the opportunities, limitations, and the workability of their systems for making a technological performer sound ‘musical’ without additional manual adjustment of parameters. This research was applied in practice during my internship with Logos Foundation,

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GRADUATION where I create MIDI orchestrations of Kurt Weill's ‘Dreigroschenoper’ for the robot orchestra.

MASTER OF MUSIC

MUSICAL INSTRUMENT MAKING INSTRUMENTENBOUW MASTER IN DE MUZIEK 01 DUERINCK TIM timduerinck@hotmail.com www.timduerinck.be The experimental cello

Elize Naessens decided on reconstructing two cellos. The first was a four-string instrument by Marcus Snoeck from the collection of the Brussels Musical Instruments Museum. Snoeck was an instrument maker at the Brussels court in the early eighteenth century. This particular cello dates back to 1722, and was constructed entirely in the traditional manner. The original neck is missing and had to be reconstructed on the basis of other instruments by Gaspas Borbon, Egidius and Marcus Snoeck, and Benoît-Joseph Boussu.

Elize reconstructed a five-string instrument by Marcus Snoeck from the same period from the collection of the Boston Museum of Fine Arts.

03 SMEETS STIJN smeetsstijn@hotmail.com Four in one!

Stijn Smeets built musical instruments for a string quartet with wood from one tree.

Tim Duerinck studied the potential of new materials for the construction of acoustic musical instruments, applied specifically to the cello.

Duerinck started his master training with copying a French cello

by Paul Bassot as an exploration of the construction of the traditional cello. During an internship in Yann Porret’s studio in Paris, he deepened his understanding of French instrument construction. A passion for acoustics and physics drove him to explore the qualities of polystyrene and carbon and apply these to the construction of an experimental, alternatively shaped cello. His measurements of the velocity of sound through different types of polystyrene indicated that the material made for a valuable alternative to tonewood.

02 NAESSENS ELIZE naessens.elize@hotmail.com Reconstruction of two Marcus Snoeck cello's

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3

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4

Bestiaal vs GAME/Tiptoe Company, Miry Concert Hall (22.04.15).

Photo: Tomas Bachot GAME playing at the Big Bang Festival during ‘Ballet Mékanique’, Centro Cultural de Belém, Lisbon (17 – 18.10.14).

Photo: Wouter Van Looy GAME, Ictus, SPECTRA and Trio Mediaeval performing the multi-media oratorio ‘Shelter’, by D. Lang, M. Gordon and J. Wolfe, De Bijloke Music Centre (24.03.15).

GAME playing Mauro Lanza on the Intonarumori at ‘Soundspotting’, a musical parcours at the Bijloke campus (02.04.15). Photo: Liene Aerts

01 DE BRUYCKER CÉDRIC J. Fontyn – ‘Mime 2’ K. Saariaho – ‘Duft’ F. Donatoni – ‘Clair’ B. Mantovani – ‘L'ère de rien’ P. Boulez – ‘Domaines (cahiers originaux)’ S. Sharifpour – ‘Pièce pour clarinette solo’ 02 DELCAMBRE VÉRONIQUE vetoile170286@hotmail.com Piano J. Fafchamps – Lettre soufie Z1 for viola, piano and electronics B. Mantovani – Trio for flute, clarinet and piano J. Fontyn – Mime II for clarinet and piano D. Borrello – Six pièce S. Orlando – Stéphane, Pavana e Saltarello G. François – Bip Test for piano, electronis and dancers (premiere)

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04 KEMPS SARA 05 MANEYROL BENJAMIN Contemporary music For my graduation project I will play both solo pieces for different clarinets and chamber music pieces in trio and quintet with ensemble Fractales. My programme matches the general direction of our ensemble: to play new pieces, work with young composers, and perform contemporary classical pieces.

— ‘Assonnances II’ (1989)

by Michael Jarrell for clarinet bass solo — ‘Pungi-Ophis-Zyclos’ (2015)

by Gianni Bozzola for clarinet solo — ‘Gelöschte Lieder’ (1999)

by Enno Poppe for flute, clarinet, cello, violin and piano.

— ‘Ftera’ (2015) by Yann Robin for bass clarinet, viola and piano.

06 MASHKIN DANILA 07 MATHEUS PONTE GIAN 1. Enno POPPE – Gelöschte Lieder (Fl/Pic, Cl, Vln, Vcl, Pno) 2. Yann ROBIN – φτερά – Fterá (B. Cl, Vla, Pno) 3. Jonathan HARVEY – Nataraja (Fl/Pic and Pno) Ensemble Fractales: Hannah Reardon-Smith (flute) Benjamin Maneyrol (clarinet) Kaya Kuwabara (violin/viola) Diego Coutinho (cello) Gian Ponte (piano) 08 PELLENS PIETER Eindexamen — ‘Crack’ (2001) for alto sax, flute and tape by Mikel Kuehn.

— ‘Sequenza 7b (1993) for soprano sax by Luciano Berio.

— ‘Zwei Akte, Grand Duo’ (1988) voor saxophone and harp

by Mauricio Kagel.

09 SEKULIC DEJANA dejana.sekulic@gmail.com dejanasekulic.com microMACRO / Creature Thoughts Microcosm of macrocosm becomes macrocosm of its own, when focus shifts, showing throughout sound the pixels of different worlds—words, sounds, senses, insects, anything living, anything for living …

Salvatore Sciarrino: Sei Capricci (selection) Simon Steen-Andersen: Study for String Instrument #1 Georges Aperghis: I.X. Sound installations: — ‘Liv(e)-IN(g) instROOMent’ is a “live in instrument. a living instrument. a living room = a space as instrument”.

— ‘in the blink of an ear’ is

envisioned as an interactive installation for one spectator at a time—for “The experience of listening to life”.

04 DE WAELE SOFIE

PROFESSIONAL BACHELOR

INTERIOR DESIGN INTERIEURVORMGEVING

05 DEPOTTER BRECHT 06 DEREERE VINCENT 07 DESTADSBADER NICOLAS 08 GEBOERS VALERIE 09 KIMPE MATTHIAS 10 LANSSENS EVELIEN

PROFESSIONELE BACHELOR FOCUS: INTERIEURAFWERKING & ADVIES INTERIOR FINISHING & ADVICE In the Interior Finishing & Advice focus, the complexity of pure design—the conceptualization— shifts to the specific questions of realization and finishing. Students are first confronted with the entire design process in an extensive and often complex assignment with a public character; ranging from shop fitting to designs for public libraries and hospitals. A thorough analysis of the building, site and specific demands forms the basis on which students first draw up a balanced zoning plan and a functional organization chart. A second phase focuses emphatically on the technical execution of the design and a detailed elaboration of design decisions.

This involves choices of material and technique and the elaboration of construction and realization details.

Parallel to this large assignment, students are introduced to aspects of sales, project management, quantity surveys, advice and more in a series of smaller, real service assignments.

This combination familiarizes the students in the Interior Finishing & Advice focus with the everyday practice of the interior designer.

11 MARTENS SARAH

12 NAEYAERT LARA

13 OP DE BEECK KATRIJN 14 RAVAUT GUILLAUME 15 SCHELFHOUT MAAIKE

Participation in bachelor's project: 01 ACUNA VALDIVIA GABRIELA 02 BAUDÉ FLORIAN 03 BRUNEEL VIKTOR

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03 HEUVELMANS BOB

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GRADUATION 16 SONCK TESSA 17 STROOBANDT YANA 18 VANHAUWAERT OLE

19 VANHECKE LAURENCE 20 VERDEYEN BIRTE

21 VOET EVA

Participation in bachelor's project:

09 DE CLERCQ THOMAS

01 ABABIO NINA

02 BALDUYCK THOMAS 03 BONNE THEO 04 BRACKX STEVEN

10 DECLOEDT BO

11 DEPUYDT PHEBE 05 BYTTEBIER MARIE

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

06 CARDOEN ANNELIES

07 CLOET EMMELY 08 CROMBEZ AMELIE

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13 DUMOULIN KAAT

2015

KASK 20 PUERS JOKE

30 VENNEKENS ZITA

21 SANVERDI EMILIE 22 SCHEIRE ISABEAU 23 SCHOTTE CELINE 24 STEENACKERS MARNIX 15 FRAEYE LISA

16 KERSMAEKERS STEFAN

31 VERMEULEN NIELS

25 STEENBRUGGE ROSAN

17 KEYMEULEN MILAN

26 STOFFERUS SYLVESTER

18 LAIGNEIL MARIE-JO 19 OP DE BEECK JOLIEN 27 VAN BEEK ELLIS

28 VANDER MEIREN JOSIEN 29 VANRYSSELBERGHE ELLEN

FOCUS: FURNITURE & DESIGN MEUBEL & DESIGN Popular TV shows on product development and design have made the concept of design accessible to all. The design of everyday functional objects livens up our homes and working environments, as ever new variations of chairs, tables and beds are mainly designed to look trendy.

The Furniture & Design focus, however, engages in a critical reflection on both industrialized and traditional design. We consider designing as the attribution of meaning to our material surroundings, and the products and objects we create are developed from the point of view of the function and place they assume in an interdisciplinary and intercultural world. Professional designers who actively shape today what will be used tomorrow—by the current and future generations—should pay special attention to the motivations behind a specific shape or design.

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

Participation in bachelor's project: 01 BEERNAERT JOYCE

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14 EULAERS LISA

SCHOOL

GRADUATION 02 CASTEL ELLA

06 DESMET ELIAS

10 LOOTENS AXEL 11 OPSOMER OLIVIER

03 COUCKE CÉLINE

12 PAGE LESLIE 13 PASCAL STÉPHAN 14 RIEKAERT DAVY 15 VAN DAMME JAKOB

04 DE VYLDER FEMKE

16 VAN DAMME NANE

07 GANTOIS MAXIM

05 DE WITTE STEFAAN

08 ISEBAERT TIM 17 VAN DEN STEEN EMMA 18 VANDEMEULEBROUCKE THOMAS 19 VERSCHELDE PIETER-JAN

09 LIBEERT MARIE

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KASK 07 DE ROCKER MILEEN 08 DEKEERSMAEKER EVELYN 09 DELOMBAERDE ANNELIES

17 VANCAUWENBERGHE ELLEN 18 VANDEPUTTE RICO

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

Flexibility, adaptability and reusability are central concerns, but aspects of transportation, lighting and more are also extensively dealt with.

Apart from this rather technical dimension, there is of course also a focus on the specific conceptual approach to temporary installations.

Students should not merely provide solutions to specific design questions, but should also take matters of context into account: a company's corporate identity in the case of fair stands, the atmosphere and narrative in a set design for film or theatre.

Participation in bachelor's project: 01 AMEYE LAURA

10 FAES ANN-SOPHIE

19 VANHOOREN JORDI

11 FEYS RIK JUNIOR

20 VEREECKEN LAURA

12 GOOSSENS JELTE 13 HÉBERT DAMIEN

21 VERMEIRE JESSIE

14 IYARE FAITH

PROFESSIONAL BACHELOR

15 PLUQUET JONAS

02 ANRYS AURELY 03 BOUQUET ANN-SOPHIE 04 CATTRYSSE TOM 05 CLINCKSPOOR EVA

LANDSCAPE AND GARDEN ARCHITECTURE LANDSCHAPSEN TUIN­ ARCHITECTUUR

06 COOREMAN ANNELIEN 16 ROUSSEEUW KENNY

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20 WARDENIER EMMA

SCHOOL

GRADUATION Participation in bachelor's project: 01 ADRIAEN STIJN 02 AELBRECHT STEVEN 03 AKKERMANS BJORN 04 ALLIET ELIEN 05 ALLUYN BERT 06 BATAILDE AUBERTIN 07 BOLANOS ALEJANDRA 08 BULTEEL DOMINIQUE 09 CANT CITA 10 COCHUYT ABEL 11 COOLS VALERIE 1 2 3 4 5 6 7

Niels De Couvreur, Dieter De Vreese, Len De Wulf & Jonathan D’hooge Anton Storms, Robin Vangheluwe, Toon Vanhuyse & Kjell Vercaemst Maurice Van Damme, Mara Van den Breen & Jeroen Weststrate Jonathan Nachtergaele, Tom Vandelannoite, Robin Vandenberghe & Stijn Vyncke Bjorn Akkermans, Abel Cochuyt, Karl De Bonte & Antoine Deroose Gert-Jan Timmerman, Gerben Van Bever, Gerben Van Schoote & Ewout Vanvooren Rein Vergauwen

The final project for the 20142015 Bachelor of Landscape and Garden Architecture programme took place in the context of a social service assignment for the School of Arts from the City of Bruges. This study project, entitled Lappersfort Park: Surprising Green 36 HA, suited the educational and methodological objectives of our professional bachelor's programme. The project touched on all possible opportunities to activate the envisioned development of the competencies, skills and architectural creativity of our students.

The City of Bruges considers it highly important to design a high-quality and durable renovation of this former railway yard (brownfields) that will be appropriate to the people, the environment and nature.

For this reason, the city, and in particular its department of outdoor spaces and planning, set up this social service project in the form of ‘an academic design exercise’. As a result, our future landscape architects were able to develop their creative and innovative vision of a new urban park from a ‘realistic project context’.

At the same time, the City of Bruges and her individual departments can use the various plans and ideas to establish open communications with its residents. The qualitative spatial and social aspects and objectives for the area concerned can moreover be more sharply described and upheld during the planning process, resulting in a win-win situation for all involved.

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12 D'HOOGE JONATHAN 13 DE BONTE KARL 14 DE COUVREUR NIELS 15 DE VREESE DIETER 16 DE WULF LEN 17 DEBAERE LAURENT 18 DECRUY MARLIES 19 DELEU KELLY 20 DEPUYDT KEVIN 21 DEROOSE ANTOINE 22 DESMIDT DIEGO 23 DHONT ALINE 24 DOX MAARTEN 25 DUERINCKX ELIEN 26 JACXSENS WOUT 27 KERREMANS JULIAN 28 LAUWERS NELE 29 LECOMPTE SOPHIE 30 LERNOULDT NICOLAS 31 LEROY BENOIT 32 LUYPAERT WOUTER 33 MAES ELI 34 MERCKX THIBAUT 35 MORTIER ROBBE 36 NACHTERGAELE JONATHAN 37 NACHTERGAELE THOMAS 38 NELISSEN BO

2015

39 PAILLOT OLIVIER 40 PERSOONS JAN 41 PIETERS GILLES 42 PIETERS KOEN 43 QUINTELIER LORAN 44 ROELS REMI 45 SNAET KENNY 46 STEURS KOEN 47 STORMS ANTON 48 SYMOENS JONAS 49 TIMMERMAN GERT-JAN 50 VAN BEVER GERBEN 51 VAN DAMME MAURICE 52 VAN DEN BREEN MARA 53 VAN DER ELST TOBIAS 54 VAN KERKHOVE LAURA 55 VAN LOOVEREN MICHAËL 56 VAN SCHOOTE GERBEN 57 VANDEKERKOVE LUDOVINE 58 VANDELANNOITE TOM 59 VANDENBERGHE ROBIN CHRISTOPHE 60 VANDEWALLE KJELL 61 VANFRAECHEM EVERT 62 VANGHELUWE ROBIN 63 VANHUYSE TOON 64 VANVOOREN EWOUT 65 VERCAEMST KJELL 66 VERGAUWEN REIN 67 VERSTRAETE ARNO 68 VYNCKE STIJN 69 WESTSTRATE JOHANNES CORNELIS ADVANCED BACHELOR

LANDSCAPE DEVELOPMENT LANDSCHAPS­ ONTWIKKELING BACHELOR NA BACHELOR

SCHOOL

OF

The advanced bachelor's programme in landscape development focuses on the landscape, and on the ways it can be used in the context of environmental planning. This oneyear programme aims to train competent professionals with the analytical and synthetic skills that are necessary for an independent and critical understanding of the landscape.

This forms the basis for creative and substantiated planning proposals. The degree of complexity of the project assignments increases every term. In the first term students are dealing with relatively simple problems, focusing on site analysis. Planning and instruments enter the picture in the second and third term. Geographic Information Systems (GIS) are an important tool in this phase. In many cases these projects evolve as responses to specific questions from the field.

In the course of the projects, as well as in the final stages, discussions are organized with students and clients.

As such, our students have already presented studies and projects to local authorities, provincial councils, non-profit organizations and a number of private partners. The eight weeks of the fourth term are entirely devoted to an internship, in which students get the opportunity to test and integrate the competences they have acquired. Preferred internships are in design firms, public institutions or administrations (such as the Flemish Government, the provinces and communities), at home or abroad, in which both landscape planning in its broadest context, and the application of Geographic Information Systems are addressed.

of the landscape between the communities of Aalst, Affligem, Merchtem, Opwijk and Asse. Research through design and co­production were the leading concepts in the elaboration of options and recommendations for an innovative and integrative approach.

ARTS

KASK

Projects developed in 2014-2015: — Visual landscape analysis of the Zwin area This project was elaborated in close cooperation with the Province of West Flanders. It analyses the landscape structure of the Damse Vaart canal with a focus on landscape pattern and its perception. Specific design proposals were linked with a walking and bike trail.

(Re)Discovering the Emerald Necklace – Colentina River, Bucharest, Romania This project was part of an international student competition of the fourth Landscape Forum of the LE:NOTRE institute. It focuses on the Colentina river, which flows through Bucharest (Romania).

The aim was to develop ideas for urban and peri-urban areas by means of integrated and holistic landscape planning.

08 LONCKE KENNY

Applying for a bachelor degree: 01 CASIER LANDER 02 CLAEYS EMIEL

03 D'HAESE VINCENT 04 DIERICKX THOMAS 05 FREDRICK JENS 06 GOTEMANS FREDERIK

07 HEEMAN MATHIJS

09 NYS VINCENT 10 PIETERS NATASCHA

11 ROELS ANNELEEN

— Strategic project Erembald-Kravaal As an answer to a question of the Regional Landscape ScheldeDurme and the Province of East Flanders, creative ideas were formulated for the development

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GRADUATION with practical experience and guest lecturers ensure the embedment of the programme and its students in the contemporary arts field. One of the programme courses results in the concerted realization of an exhibition project.

This academic year the graduating students would like to bring the following information to your attention concerning their collective exhibition project: No performance please. Concerning the impossibility of excluding performances with SOILcollective and Rosa Sijben.

“The performative artist performing an object performed by the audience. The performative object performing an audience performed by the artist. The performative audience performing the artist as performed by the object.”

Performativity is everywhere.

The society we all function in today, characterized by individuality and a high performance culture, demands constant performativity. Consciousness regarding this need to prove ourselves is growing, making us all performers in one great big show of constructed versions of who we are.

So how does this relate to the visual arts? What is the role of the contemporary artist, the contemporary art object and the contemporary art audience in relation to this notion of performativity? A question we unravel with Rosa Sijben at BUDA arts centre and SOILcollective in These Things Take Time.

12 SCHOBBEN FREDERIC

13 SLEYPEN STEVEN

14 SMETS DYLAN 15 VAN HOVE LANDER 16 VAN WEVERBERG FOEKE 17 VERMEULEN KORNEEL

Guided by: Pieternel Vermoortel (FormContent) Curated by: 01 DE VLEESCHOUWER WOUTER POSTGRADUATE

02 JANSEN LOES 03 LEGGE ROBIN 04 MEEUS RIET

CONSERVATION AND EXHIBTION MANAGEMENT OF CONTEMPORARY ART TENTOONSTELLING EN BEHEER VAN ACTUELE KUNST (TEBEAC)

POSTGRADUAAT

05 SIMONS EVELYN 06 STAES JEROEN 07 STUYCK PAMELA TEBEAC, the postgraduate programme of exhibition and conservation of contemporary art, is co-organized by University College Ghent, S.M.A.K. and Ghent University. TEBEAC focuses on contemporary exhibition practices, museological issues, conservation, collection building, and collection management. The training offers a varied programme including traditional academic lectures, discussion seminars, an internship, workshops, the curating of an exhibition and study trips. Academics, professionals

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08 SWILLEN ANNELEEN 09 VAN BOS ISABEL 10 VAN LAEKEN LENJA 11 VAN WOLFEREN EMMA 12 VANDENBORRE CHARLOTTE 13 VANDENECKER STÉPHANIE 14 WIJNANT EVA

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Facts & Figures

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GRADUATION DEGREES GRANTED TO STUDENTS IN THE ACADEMIC YEAR 2013-2014 (ARRANGED ACCORDING TO PROGRAMME AND GENDER)

NUMBER OF ENROLLED STUDENTS FOR THE ACADEMIC YEAR 2014-2015 (ARRANGED ACCORDING TO PROGRAMME AND GENDER)

total count (535)

total count (2057)

Bachelor of Audiovisual Arts (20)

Bachelor of Audiovisual Arts (118)

Bachelor of Visual Arts (106)

Bachelor of Drama (48)

Bachelor of Interior Design (71)

Bachelor of Interior Design (395)

Bachelor of Landscape and Garden Architecture (42)

Bachelor of Landscape and Garden Architecture (196)

Advanced Bachelor of Landscape Development (17)

Bachelor of Landscape Development (22)

NUMBER OF BELGIAN STUDENTS FOR THE ACADEMIC YEAR 2014-2015, PER PROVINCE

Bachelor of Music (282)

total count (1697)

Bachelor of Music (50) Bachelor of Drama (6) Master of Audiovisual Arts (13) Master of Visual Arts (75) Master of Music (31) Master of Drama (8) Master of Fine Arts (English master) (17) Master of Music (English master) (9) Advanced Master in Contemporary Music (4) Postgraduate in Exhibition & Preservation of Contemporary Art (15) Preparatory programme for the Master of Visual Arts (6) Preparatory programme for the Master of Music (2) Preparatory programme for the Master of Drama (2) Teacher Certification in Audiovisual Arts (1)

Bachelor of Visual Arts (432) Master of Audiovisual Arts (40) Master of Audiovisual Arts (English) (7) Master of Drama (20) Master of Music (145) Master of Music (English) (30)

NUMBER OF UNIQUE STUDENTS FOR THE ACADEMIC YEAR 2014-2015 total count (1935)

male (920) female (1015) count of 01.12.2014 of all enrolled students with a degree contract

count per province/region Antwerp 226 Brussels-Capital Region 20 Hainaut 11 Limburg 76 Liège 3 Luxembourg 2 Namur 3 East-Flanders 700 Flemish Brabant 162 Walloon Brabant 4 West-Flanders 485 Other 5 count of 01.12.2014 of all enrolled students with a degree contract. The category 'other' covers Belgian students who are domiciled abroad

Master of Soloist Contemporary Music (27)

NUMBER OF FOREIGN STUDENTS FOR THE ACADEMIC YEAR 2014-2015, PER NATIONALITY

Master of Visual Arts (173)

total count (238)

Master of Visual Arts (English master) (31) Postgraduate programme for Exhibition & Preservation of Contemporary Art (14) Preparatory programme for the Master of Drama (1) Preparatory programme for the Master of Music (6) Preparatory programme for the Master of Visual Arts (8)

Teacher Certification in Visual Arts (11)

Preparatory programme for the Master of in Audiovisual Arts (1)

Teacher Certification in Drama (1)

Teacher Certification in Art & Design (27)

Teacher Certification in Music (18)

Teacher Certification in Drama & Performing (1)

Albania 2 America 5 Armenia 1 Belarus 1 Brazil 1 Braziliaanse 4 Bulgaria 2 China 9 Colombia 2 Costa Rica 1 Croatia 1 Czech Republic 1 France 11 Georgia 1 Germany 4 Honduras 5 Hungary 3 Indonesia 1 Irak 1 Iran 2 Israël 2 Italy 13 Japan 5

count of 01.12.2014 of all enrolled students with a degree contract

Teacher Certification in Music (33) count of 01.12.2014 of all enrolled students with a degree contract

male female

150

Kazakhstan 3 Kosovo 2 Latvia 2 Lithuania 1 Mexico 5 Moldova 1 Peru 1 Poland 3 Romania 3 Russia 14 Serbia 1 Slovenia 1 South Africa 2 South Korea 2 Spain 5 Sweden 1 Taiwan 1 Thailand 1 The Netherlands 94 Turkey 3 Ukraine 5 United Kingdom 4 Vietnam 1

2015

KASK

total count (481)

male (329) female (152) Aerts Liene / Afschrift Timme / Alliet Patrick / Andreasen Kasper / Antico Susanna / Baeckelandt Peter / Baele Dirk / Bal Vincent / Balcaen Bert / Bartoletti Paola / Beert Inès / Bellanger Sven / Bellinkx Ruben / Belpaeme Geert / Ben Chikha Chokri / Berden Laurence / Berx Patrick / Beuckels Patrick / Beyls Peter / Blanchaert Dirk / Bleyen Mieke / Boeykens Beatrijs / Boon Jan / Bos Eva / Bosschem Johan / Bouchez Hilde / Braeckman Dirk / Brants Bart / Braude Nathan / Brewaeys Luc / Breynaert Willem / Breyne Rob / Brosse Dirk / Brouwers Anke / Brusatto Geoffrey / Bryssinck Hans / Buyse Christine / Campens Angelique / Capelle Mireille / Cardinael Miel / Carels Edwin / Carrijn Johan / Casaer Paul / Casale Vincenzo / Castelein Ingrid / Chantrain Jan / Cielen Fia / Claeys Geert / Clarisse Geert / Clierieck Martine / Cluckers Jeroen / Cneut Carl / Cnop Ann / Cocquyt Wendy / Colruyt Godelieve / Conard Sébastien / Cools Francky / Coppieters Frank / Coquette Michel / Cornelis Dirk / Corstjens Danny / Coryn Frank / Cottyn Kersten / Crevits Bram / Cusimano Antonella / Daenen Johan / Davidts Wouter / De Baets Isabelle / De Baudringhien Filip / De bisschop An / De Bodt Saskia / De Boeck Christoph / De Boer Manon / De Bondt Katia / De Boodt Maria / De Brauwer Greta / De Bruyckere Joan / De Buck Noël / De Cleene Michiel / De Clercq Anouk / De Cock Nele / De Cock Sabine / De Fleyt Karin / De Haan Cathy / De Haas Jan / De Jonckheere Jan / De Keersmaeker Yolente / De Keyzer Carl / De Langhe Hilde / De Meuter Ingrid / de Mey Anne / De Pauw Jan / De Poorter Simon / De Preester Helena / De Rycker Pieter / De Schepper Dirk / De Schrevel Stephane / De Smet Helena / De Smet Peter / De Temmerman Wim / De Vis Hendrik / De Vleeschhouwer Luc / De Vos Eric / De Vuyst Hildegard / De Wilde Leen / De Wit Dries / De Wolf Sandy / de Wolf Willem / De Wulf Mia / Debaene Mario / Debbaut Jan / Deblauwe Dirk / DeBlock Hugo / Deboosere Marie / Debuysere Stoffel / Decorte Wouter / Defoort Bart / Defrancq Evert / Defurne Bavo / Degryse Luc / Dekeukeleire Thijs / Delaere Ivo / Delarue Stefanie / Delecluse Fabrice / Deleu Luc / Demets Paul / Demeyer Jean-Marie / Demyttenaere Siegrid / Den Hond Ils / Depestel Bart / Depestel David / Depoorter Emmanuel / Deprey Kris / Derks Peter / Derycke Johan / Derycke Laurent / Derycke Luc / Deschepper Luc / Desimpelaere Pascal / Desmet Thomas / Devlieger Jan / Devolder Steven / Deweerdt Herwig / Dewulf Bernard / Dezwarte Els / D'haese Gert / D'haeyere Hilde / Dheedene Stefaan / D'herde Nele / Dhondt Geert / Dielman Martine / Dombrecht Patrick / Doumen Björn / Dragonetti Régis / Druart Michel / Dua Raphaël /

Duijck Johan / Duna Leonard / Duprez Caroline / Duquenne Ronny / Eeckhout Wim / Ellertz Kristof / Enckels Raf / Engels Tom / Ermert Judith / Eyckmans Filip / Fabré Marijke / Florizoone Jan / Florizoone Tuur / Foré Pieter / Fostier Johan / Fransen Christiane / Frederickx Manu / Friant Katrien / Gabriel Kurt / Galle Jerry / Garabedian Mekhitar / Gerritse Arnoud / Geyskens Vincent / Ghammam Fairuz / Gleizes Mireille / Goddeeris Isidoor / Godfroid Marc / Goossens Frederik / Gorissen Pieter / Govaert Véronique / Graste Gertruda / Gratton Maude / Graulus Myriam / Grimonprez Johan / Grootaers Elias / Gulinck Luc / Guns Senne / Gyselinck Wannes / Hallaert Veerle / Hannes Nick / Hemerijckx Els / Hendrickx Sébastien / Herman Gerard / Hesters Delphine / Heuninck Elias / Heyerick Florian / Heyndrickx Tony / Heynssens Veerle / Högner Christiane / Hollevoet Mia / Huisman Lukas / Huvenne Martine / Huygelen Elisabeth / Huyghe Philip / Ikeda Fumiyo / Impens Vincent / Isselée Johan / Istomin Sergei / Jacobs Gert / Jacobs Henri / Jans Erwin / Janssens Daan / Janssens Thomas / Jespers Bram / Joye Ruben / Junnonen Anu / Kars Anita / Kempenaers Jan / Kerckhof Marc / Kermaire Franky / Keunen Gert / Kibushi Ndjate Wooto Jean-Michel / Kimpe Kris / Kivrikoglu Ibrahim / Konink Jan Willem / Korczak Andreas / Kusters Liesbet / Kwakkenbos Laurentius / Lamal Hans / Lamont Paul / Langsdorf Heike / Lapauw Dieter / Laplanche Amélie / Lauwers Liza / Le Roy Frederik / Lefèvre André / Lemahieu Katty / Leper Hendrik / Lesaffer Bert / Lesage Peter / Lhoest Leon / Libbrecht Harlind / Libens Daniël / Lievens Bauke / Lievens Dirk / Lodewyckx Tom / Louwyck Liesbeth / Luyten Anna / Maas Koen / Macbean Ibernice / Maelfeyt Jurgen / Maes Ives / Maeseele Wim / Marchal Guy / Marichal Nicolas / Marievoet Sven / Maris Bart / Martens Renzo / Martin Ronny / Masson Marc / Mathysen Pieter / Matthys Marc / Matthyssen Elke / Mendonck Greet / Mendoza Christian / Mertens Lode / Metten Philip / Meuleman Rob / Michiels Ignace / Minten Raf / Mistiaen Carlo / Moccia Alessandro / Moelants Dirk / Moens Els / Monbaliu Jean-Paul / Moretto Graziano / Mortier Pieter-Paul / Mulder Arjen / Mulhall Gustavo / Navratil Tomas / Neels Femke / Neetens Steven / Nerinckx Erik / Nuyts Frank / Nuytten Pieter / Op De Beeck Hans / Opstaele Johan / Overdeput Christian / Pairon Lukas / Paridaen Sjoerd / Paskevic Irina / Pauwels Tom / Peeters Julie / Peeters Yannick / Pegorim Getacine / Peire Sarah / Pensaert Werner / Penson Guy / Perz Andrzej / Peters Kristel / Petresin-Bachalez Natasa / Petrick Caroline / Pierins Vincent / Pinckers Max / Pinoy Marijke / Pint Kim / Piselé Lars / Platel Alain / Poissonnier Pascal / Ponseele Francis / Popelier Marc / Posman Lucien / Posson Nathalie / Poullier Caroline / Pujol Marcos / Ramon Mieke / Raspoet Iris / Rathe Filip / Raymaekers Willem / Rigole Jasper / Robyns Gert / Roelandt Els / Roels Hans / Rogiers Peter / Rondelez Katrien / Roosemeyers Alex / Ruigrok Mirella / Ryckaert Tim / Saelens Ann / Samoshko Vitaly / Scheerlinck Danny / Schoenmaekers Raf / Schollaert Stijn / Scholliers Hans / Schrager Pazit / Segers Stijn / Sel Dries / Senden Yves / Senepart Gillis / Smalbrugge Sara / Smet Valérie / Snauwaert Marie / Soenen Geert / Somers Dominique / Sonck Christophe / Steen Jan / Steverlynck Diane / Storms Yves / Stragier Claire / Stragier Jan / Stroobants Herman / Styns Frederik / Tcherneva-Verschuren Youliana / Teirlinck Nathalie / Temmerman Jonas /

151

Termont Sandra / Theys Hans / Thuriot Philippe / Thys Nicolas / Tilkin Michel / Timmermans Ante / T'Jonck Pieter / Tordoir Narcisse / Tosseyn Tom / Vaiana Pietro / Valibouse Arielle / Van Beeck Martien / Van Beveren Wilfried / Van Burm Stéphane / Van Cauter Steffie / Van Damme Bram / Van Damme Sylvie / Van De Velde Gwendeline / Van De Woestyne Mieke / Van den Abeele Lieven / Van den Abeele Tim / Van Den Bossche Bart / Van den Hauwe Joris / Van der Biest Francine / Van der Gucht Sandra / Van Der Veken Jan / Van der Velde Thomas / van Dienderen An / Van Dionant Toon / Van Eeckhaut Marijke / Van Eeghem Elly / Van Elslande Brecht / Van Gestel Kristof / van Gogh Dirk / Van Gysegem René / Van Ingelgem Samuel / Van Isacker Carl / Van Kerckhove Hendrickje / Van Kerckhoven Annemie / Van Langenhove Herlinde / Van Lierde Wigbert / Van Maldegem Kurt / Van Oost Hans / Van Opstal Filip / Van Paesschen Bram / Van Petegem Karen / Van Reeth Griet / Van Rossem Stijn / Van Ryckeghem Steve / van Stapele Nicoline / Van Steenkiste Bart / Van Tomme Karen / Van Tornhout Wouter / Vanbergen Reinhard / Vanbroekhoven Ivan / Vandamme Sofie / Vande Veire Frank / Vandekerkhove Henk / Vandenberghe Peter / Vandenbussche Jorre / Vander Linden Jacky / Vanderbeke Katrien / Vandermaelen Johan / Vandeveire Bram / Vandevelde Ludwig / Vandewalle Daan / Vaneyghen Rik / Vanfleteren Stephan / Vanhalewyn Jan / Vankerschaver Clara / Vanommeslaeghe Raf / Vanoosthuyse Eddy / Vantroyen Frank / Veirman Anja / Venlet Daniel / Verbeke Wim / Verberkmoes Geerten / Vercaemer Geert / Vercruysse Rik / Vergauwe Geert / Vergucht Harold / Verhamme Nicole / Verheyen Hildegarde / Verlinden Leo / Vermaele Jeanne / Vermassen Joris / Vermeersch Pascal / Vermeersch Peter / Vermeire Kaatje / Vermeulen Erik / Vermeulen Maria / Vermeulen Patrick / Vermoere Willem / Vermoortel Pieternel / Vermote Petra / Verschoore Evelyn / Verschueren Bert / Viaene Patrick / Vlaeminck Annelies / Voet Kathleen / Vos Hans / Vuylsteke Vanfleteren Katrien / Waelput Wim / Waterschoot Tony / Wautier Chrystel / Weber-Krebs David / Wellekens Tom / Welvaert Veronique / Westerduin Saskia / Weyler Maarten / Wiame Benjamin / Wiewauters Dries / Wille Jeroen / Willems Catherine / Windels Veerle / Wittevrongel Erwin / Wouters Nathan / Yee Marina / Zoete Dirk / Zolotareva Olga

CONSERVATORIUM

OF ARTS

TEACHING AND ADMINISTRATIVE STAFF OF THE SCHOOL OF ARTS FOR THE ACADEMIC YEAR 2014-2015

SCHOOL

GRADUATION COLOPHON Publication issued on the occasion of Graduation 2015, the presentation of bachelors, masters and postgraduate projects 2015 at School of Arts Ghent (KASK & CONSERVATORY). Graduation 2015 comprises an exhibition, a drama festival, the premiere of KASKfilms, fashion shows (MOVEMENT#22) and concerts.

DRAMAfestival June 19 – June 27, various locations on the Bijloke campus and in the city centre of Ghent Movement #22 Fashion shows: June 18 & 19, Eskimofabriek Ghent Concerts – June 17, 19 & 20, concerts by students Jazz and Pop, Minard Schouwburg – June 18, presentation LP Masterworks 2015 and concerts students music production, Minard Schouwburg – June 22, recitals by students music composition, MIRY Concert hall – June 25, concerts by students classical music, MIRY Concert hall KASKfilms – Premiere: June 23, cinema Sphinx – Screenings: June 24 – June 28, KASKcinema EXHIBITION Masters, Bachelors and Postgraduate projects exhibition – June 25 – June 28, Bijloke campus – June 24, opening night Publication coordination and editing: Liene Aerts, Wim De Temmerman, Ilse Den Hond, Els Roelandt and Claire Stragier Design: Studio Jurgen Maelfeyt Translation: David Depestel, Anne D'Hondt and Mari Shields Copyediting: Liene Aerts, Martine Clierieck, Régis Dragonetti, Els Roelandt and Mari Shields Website: Claire Stragier Thanks to: Tom Callemin, Jeroen Cluckers, Wendy Cocquyt, Bram Crevits, Ilse Den Hond, Helena De Preester, Dirk De Schepper, Fabrice Delecluse, Pascal Desimpelaere, Régis Dragonetti, Laurent Fobe, Johan Isselée, Anna Luyten, Hans Roels, Katrien Rondelez, Liselotte Sels, Jan Steen, Sam Sterckx, Frederik Styns, Sylvie Van Damme, Brecht Van Elslande, Thomas Van der Velde and Erwin Wittevrongel Fonts: Life & Swiss Printing: New Goff, Ghent ISBN: 9789491564031 Edition: 1500 copies School of Arts Ghent Jozef Kluyskensstraat 2 B-9000 Ghent www.graduation2015.be www.schoolofartsgent.be schoolofartsgent.tumblr.com

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2015