Graduation 2016
Naar aanleiding van de presentatie van de afstudeerprojecten 2016 aan KASK & Koninklijk Conservatorium / School of Arts Gent.
Published on the occasion of the presentation of the graduation projects 2016 at KASK and the Royal Conservatory / School of Arts Ghent.
Graduation 2016
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Research in the Arts 2015-2016 Voorwoord / Introduction PhDs in the Arts — Philip Huyghe: VillaNadine: An Artistic Investigation of the In-between — Catherine Willems: Future Footwear — Mekhitar Garabedian: To a Stranger From a Stranger — Jasper Rigole: The International Institute for the Conservation, Archiving and Distribution of Other People’s Memories 97 Research Projects — Stoffel Debuysere: Figures of Dissent: Cinema of Politics, Politics of Cinema — Lukas Huisman: Musical Complexity and Human Limitations — Sylvie Van Damme and Pieter Foré: The Frontzate — Stefanie Delarue and Pieter Foré: Technical Vade Mecum on Shrubs — Jan Debbaut: The Meta morphosis of the Art World 109 Post-Doctoral Research: Ongoing Projects — Jerry Galle: Pretext — Hilde D'haeyere: Cut-up Chaplin 121 Artistic Research Publications 125 Artistic Productions 2015-2016 127 Voorwoord / Introduction 129 Classical Music — MIRY Concert Hall — Gentsche Festspiele — In residence: The New What Now 136 Music Production, Jazz & Pop Music — Masterworks vinyl vol. 5 — In residence: KRAAK
142 Film — KASKcinema — In residence: Courtisane 145 Drama 146 Visual Arts — KIOSK — Visual Arts in the Zwarte Zaal — MAP Masters Projects Space — L’INTERNATIONALE — Het tekeningenkabinet — Collaborative exhibition initiatives 160 Design — Maarten Van Severen Chair 2015 — KASK Label – Extra Muros — Meet Agree Build Participation Project — Open Design Course 165 Landscape and Garden Architecture & Interior Design 166 General Lecture Series and Symposia — KASK Lectures — Studium Generale — Lectures and Symposia in the Zwarte Zaal 169 Libraries — 1M3 — KASK Artists' Books Collection — Exhibition and celebration Lucien Goethals — New libraries for KASK and Conservatory 174 KASK & The Royal Conservatory's Quarterly Publication –T05/T06/T07/T08 177 Master, Bachelor & Postgraduate Projects 2015-2016 180 Masters Projects in Visual Arts 204 Masters Projects in Audiovisual Arts 210 Masters Projects in Drama 213 Masters Projects in Music 220 Advanced Masters Projects in Music 221 Bachelors Projects in Interior Design 225 Bachelors Projects in Landscape and Garden Architecture 226 Advanced Bachelors Projects in Landscape Development 227 Postgraduate Project in Conservation and Exhibition Management of Contemporary Art (TEBEAC) 229 Facts & Figures CONSERVATORIUM
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INHOUD / CONTENTS
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CO – CREATIE
individuen kunnen plaatsvinden. Studenten leren van hun docenten en van elkaar. Slagen wij er voldoende in om samen met de studenten de campus tot een co-creatie-plek te maken, die zich onderscheidt van de vele scholen waar studenten een opleiding ondergaan en consumeren? De vraag moet keer op keer opnieuw worden gesteld, en het zijn soms initiatieven uit de periferie van de opleidingen die ons bij de les houden. Zoals de ‘Open Design Course’ voor oorlogsvluchtelingen, mensen in asielprocedure of met statuut van politiek vluchteling, die vanaf 2 mei 2016 gedurende acht weken liep onder bezieling van Bram Crevits, docent Mediakunst. Van de 70 aangemelde kandidaten konden er 12 participeren aan een leertraject dat consequent mee door de deelnemers werd beheerd en gestuurd, in een methodiek van co-creatie en peerlearning (opendesign.schoolofarts.be/ docs/OpenDesigncourse.pdf). Slaagt de School of Arts in haar geheel er voldoende in om haar op cocreatie geïnspireerde onderwijsvisie te realiseren? Als je externe experten mag geloven doet ze dat ruimschoots. Zo ontvingen de opleidingen Drama en Audiovisuele Kunsten (Film en Animatie) in academiejaar 2015-16 het eindrapport van twee externe visitatiecommissies die alle Vlaamse opleidingen Audiovisuele Kunsten en Drama bezochten en evalueerden. Onze opleidingen komen uit deze vergelijkende studie ondubbelzinnig naar voren als in hun soort de beste opleidingen in Vlaanderen. Externe experten zijn van mening dat de doelstellingen die wij stellen zinvol zijn om jonge kunstenaars op te leiden, dat die doelstellingen ook worden behaald, en dat ze kwaliteitsvol worden behaald. Wie in Vlaanderen Audiovisuele Kunsten of Drama wil studeren, moet dus in Gent zijn. Maar betekent dit dat onze campussen het beloofde land zijn op
Recent werd ik geïnterviewd door Laurens Mariën, masterstudent Autonome Vormgeving en samen met andere KASK-studenten lid van de fijne en zeer beloftevolle muziekband Soldier's Heart. Laurens stelde mij, en ook zijn medestudenten, vragen over onze school in het kader van zijn masterscriptie die een geëngageerde en stellingnemende tekst wil zijn over de opleiding en over het KASK en het Koninklijk Conservatorium. Het stemt keer op keer blij wanneer een student de plek en de instelling waar hij een lange en belangrijke tijd doorbrengt, actief onderzoekt, bevraagt en minstens ideëel naar zijn hand probeert te zetten. Ons opleidingsproject lijkt dan alvast gelukt. Want ‘de gelukkige mens zet de wereld naar zijn hand, hij schept’. Zo staat het nu al een aantal jaren in de inleiding van onze infobrochure voor kandidaat-studenten. Hij schept. Het werkwoord is niet toevallig gekozen. Creator worden… kandidaat-studenten die zich inschrijven wacht een ooit bovenmenselijk geachte uitdaging. In de onderwijsvisie van KASK en Koninklijk Conservatorium, die in de loop van academiejaar 2015-16 opnieuw werd geformuleerd (schoolofartsgent.be/nl/onderwijs/ onderwijsvisie) klinkt het dat ‘de mogelijkheid om zelf de regie op te nemen over de eigen ontwikkeling en over het pedagogische proces, essentieel is.’ In die zin is de opleiding eigendom van de studenten. Dit impliceert dat ook de regie over het schoolgebeuren en over het leven op de campus gedeeltelijk in hun handen ligt. Een uitdaging die zij samen aangaan. Want goed hoger kunstonderwijs is niet enkel creatie, maar vooral co-creatie. De school biedt het kader waar binnen ontmoetingen tussen lerende 6
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dat in 2016 ophef maakte, beschrijft Peter Wohlleben het zeer sociale leven van bomen, hun samenwerking in bossen, hun heel fijnmazige vormen van communiceren, hun vriendschappen en sociale zekerheidssystemen. Ook de mens zelf is deel van dat ruime sociale gebeuren van de natuur. We zijn dit gaandeweg vergeten, verblind door ons gevoel van macht over de natuur en door een massieve toename van geweld op de natuur. Geweld dat we vriendelijk handelskapitalisme (1350 e.v.) noemen, en industriële revoluties (1750 e.v.). De natuur werd herleid tot nuttig arsenaal van grondstoffen en energiebronnen, een arsenaal dat eeuwenlang leek te liggen wachten op onze kapitalistische handel en industrie. Dat gevoel van macht spreekt nog steeds uit de uitkijktoren op de campus Grote Sikkel van het Koninklijk Conservatorium. Hij werd gebouwd om de familie Van der Sickelen, pioniers van het vroegmoderne handelskapitalisme, toe te laten hun schepen met grondstoffen en handelswaar de Gentse haven aan de Graslei te zien binnenlopen. Tegelijk is er die andere realiteit waarmee we dagelijks leven binnen onze school, de binnentuinen van de Bijlokecampus bijvoorbeeld, en de rivier daarlangs. Onwezenlijk lang al stroomt het water, dat we Leie noemen, voorbij de plek die de Bijlokecampus is geworden, vanuit Noord-Frankrijk, over Wervik en Deinze… Langs de Leieoevers trokken schilders en dichters de pas geïndustrialiseerde stad uit, en vestigden zich in boerse dorpen zoals Latem, Deurle en Afsnee om dichter bij de natuur te komen en bij een ongecompliceerd landelijk leven. De meesten waren studenten van de belangrijke KASK-directeur Jean Delvin. De schilders herstelden een subtiele en complexe vorm van co-creëren met de natuur, ‘en plein air, sur le motif’. Zij waren pioniers 7
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vlak van co-creatie? De methodiek die deze visitatiecommissies zelf hanteren is alvast niet die van een co-creatieproces, al wordt het modieus wel soms zo voorgesteld. Visitaties zijn inegalitair qua opzet, terwijl co-creatie een zoekende ontmoeting tussen gelijkwaardige partners veronderstelt, en dus een democratische cultuur. Je zou democratie zélf een vorm van co-creatie kunnen noemen: samen op egalitaire basis de gemeenschap vorm geven. Buiten de campus wordt deze methodiek vandaag op heel wat plaatsen, overal ter wereld, bedreigd. Heel wat krachten en actoren proberen doelbewust de onmogelijkheid aan te tonen van een egalitair samen zoeken en van een open ontmoeten. Op 13 november 2015 in Parijs en op 22 maart 2016 in Brussel waren er terroristische aanslagen die veel leed veroorzaakten in ons land. Vlaggen op onze campussen moesten halfstok. Ook op 13 november, maar dan 68 jaar eerder, in 1938, schreef The New York Times ‘pathetic scenes were reported today from the German frontier where groups of Jews, attempting to leave the Reich, literally went to their knees in imploring Netherland officials to allow them to pass. Netherland frontier guards have been doubled and strict orders have been given to prevent any refugee invasion.’ Lastig om lezen is dit, want tamelijk herkenbaar. Het academiejaar 2015-16 werd getekend door een dramatische situatie aan de grenzen van Europa, en door een interne polarising van de discussies over ons samenlevingsmodel. Mensen van goede wil helpen elkaar. Want – naar John Donne's formulering – ‘any man's death diminishes me, because I am involved in mankind (…) No man is an island entire of itself; every man is a piece of a continent, a part of the whole.’ Mensen zijn daarin niet uniek. In Das geheime Leben der Baume, een boek
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van een co-creatie met de natuur die vandaag alom wordt gezocht. Zo laten ook wij de natuur opnieuw mee de agenda bepalen in de campustuinen van de Bijloke. En zo zetten collegae van de School of Arts ook actief in op Green Track, het project van Gentse culturele actoren dat milieuzorg en ecologische kennis in de artistieke praktijk en in de dagelijkse werking wil integreren. Slagen het KASK en het Koninklijk Conservatorium erin om de op cocreatie geïnspireerde onderwijsvisie voldoende waar te maken in de dagelijkse praktijk – zodat mensen onderling, samen met de natuur, hun eigen wereld scheppen waarin geluk mogelijk is? De vraag werd me herhaaldelijk gesteld de voorbije jaren, door studenten die mij als departementshoofd of decaan kwamen interviewen, zoals Laurens Mariën nog recent. Het leek me fijn om de rollen om te draaien, en zelf de studenten te interviewen over hun School of Arts. Peilen naar hun kijk op de poging tot co-creatie die KASKKoninklijk Conservatorium heet. Het werd een dialoog en we kwamen samen dikwijls tot verrassende conclusies. De neerslag ervan is op termijn verkrijgbaar in KASKbooks, het nieuwe verkooppunt van publicaties op de Bijlokecampus. Dat de studenten veel te vertellen hebben over hun school en er soms passioneel mee verbonden zijn, kan u reeds opmaken uit deze publicatie naar aanleiding van Graduation 2016, die overvloeit van beeld, tekst en tekening. Wim De Temmerman Decaan
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1 Telma Lannoo Bachelor of Graphic Design (Illustration) 2 Sofie De Cleene Bachelor of Animation Film 3 Jef Staut Master of Animation Film 4 Joachim Dumoulin Master of Graphic Design (Graphics) 5 Annika Wüthrich Bachelor of Interior Design, focus ‘Concept & Spatiality’ 6 Leda Devoldere Master of Textile 7 Dan Zhu Master of Fine Arts (Painting) 8 Dries Boutsen Bachelor of Fine Arts (Sculpture) 9 Emily Lefebvre Master of Animation Film 10 Exhibition view, FIXATIF, Zwarte Zaal (06.11 – 29.11.16) 11 Griet Van Biervliet Bachelor of Multimedia Design 12 Hamer Körmeling Bachelor of Fine Arts (Sculpture) 13 Maud Gourdon Master of Fine Arts (Drawing) 14 Hayeon Kim Master of Graphic Design 15 Matthias Callay Master of Graphic Design (Graphics) 16 Mats Wosky Bachelor of Fine Arts (Media Art) 17 Bert De Jonghe Bachelor of Landscape and Garden Architecture 18 Matthias Callay Master of Graphic Design (Graphics) 19 Mayke Belmans Bachelor of Landscape and Garden Architecture 20 Kim Van Tricht Bachelor of Fashion 21 Dan Zhu Master of Fine Arts (Painting) 22 Watcharita Aroon Master of Graphic Design (Illustration) 23 Hamer Körmeling Bachelor of Fine Arts (Sculpture)
24 Ronny Franceschini Master of Fine Arts (Painting) 25 Renske Doens Bachelor of Musical Instrument Making 26 Mayke Belmans Bachelor of Landscape and Garden Architecture 27 Simon Van Schuylenbergh Master of Drama 28 Leontien Allemeersch Bachelor of Multimedia Design 29 Niek Pladet Master of Graphic Design 30 Arne Naert Master of Photography 31 Zainab Rashid Bachelor of Interior Design, focus ‘Furniture & Design’ 32 Jean Delvin ‘Muscle man’ (1873-1874) Included in the Post Mortem exhibition at Cirque (16.10 – 20.12.15) From the KASK/School of Arts archives 33 Jolijn Baeckelandt Master of Fine Arts (Painting) 34 Susanna Scholten Bachelor of Interior Design, focus ‘Concept & Spatiality’ 35 Fanny Steppe Bachelor of Fashion
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1 Conservatory On Stage – Opera L'Enfant et les sortilèges, LOD Studio (20.02.16). Photo: Koen Broos 2 Conservatory On Stage – Symphony directed by Dirk Brossé and Geert Soenen during Projectweek 2, MIRY Concert Hall (18.03.16). Photo: Frederik Sadones 3 Conservatory On Stage – Orchestra rehearsals during Project week 2, MIRY Concert Hall (16.03.16). Photo: Frederik Sadones 4 Masterclass Stefan Dohr, Royal Conservatory Ghent (26.04.16). Photo: Frederik Sadones 5 Conservatory On Stage – Project week 1, entrance hall of the Royal Conservatory Ghent (06.11.15). Photo: Frederik Sadones 6/7 Conservatory On Stage – Opera L'Enfant et les sortilèges, LOD Studio (20.02.16). Photo: Koen Broos 8 Concert by GAME (the Advanced Master in Contemporary Music Ensemble) at SPOR Festival 2016 in Aarhus (Denmark) (01.10.15). Photo: Samuel Olandersson 9 Concert by Hypochristmutreefuzz (with Ramses Van den Eede, master of jazz/pop music). Photo: Leon De Backer 10 Concert by Milo Meskens (with Midas Wouters, master of jazz/pop music). Photo: Brecht Steenhouwer 11 Concert by Via Maris (with Marie Van den Bogaert, bachelor of jazz/ pop music), during De Nieuwelingen, Kinky Star (26.04.16). Photo: Frederik Sadones 12 Jam by Special Jam Combo (with Werend Van Den Bossche, bachelor of jazz/pop music), Kinky Star (20.04.16). Photo: Frederik Sadones 13 Concert by Steiger, during TUNES, Bijlokestudio (29.04.16). Photo: Frederik Sadones
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Schoenen en neonteksten, heesters en het onderbewuste van de kunstenaar, schrijvende software en gevonden foto's, slapstick en andermans herin neringen … Het onderzoek dat wordt gevoerd aan de School of Arts is divers, zoveel zal duidelijk worden in het overzicht op de volgende bladzijden. In verschillende types projecten, individueel en in teams, spitten onze onderzoekers kwesties uit die inherent aan hun artistieke of ontwerpmatige praktijk zijn verbonden, en brengen ze niet alleen nieuw werk tot stand maar ook nieuwe vormen van kennis en zelfs nieuwe manieren om onderzoek op te vatten en uit te voeren. Binnen deze brede variëteit aan projecten zijn echter drie inhoudelijke clusters te definiëren die onze voornaamste onderzoeksinteresses uitdrukken: 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 deze clusters heen bepalen de zeven vakgroepen van de school hun eigen focus. Zo versterken ze hun specifieke profiel in het veld en verzekeren ze een solide relatie tussen onderzoek en onderwijs. Wat volgt is een overzicht van projecten die in de loop van het voorbije jaar werden afgerond; doctoraten in de kunsten, dienstverleningsonderzoek, twee- tot vierjarige projecten en een senior fellowship. De output van dergelijk onderzoek kan vele, soms verrassende, vormen aannemen. Voorbeelden daarvan zijn de recente publicaties die we voorstellen, maar ook de bijdragen van twee van de postdoctoraal onderzoekers in de kunsten die momenteel een project uitvoeren. Een volledige lijst van alle lopende projecten staat op onze website.
Shoes and neon signs, the artist's subconscious and shrubs, writing machines and found photographs, slapstick and other people's memories … As is evident from the following pages, research at our School of Arts is diverse, to say the least. In different types of projects, individually and in teams, our researchers pursue issues central to their artistic or design practice, creating not only new work but also new forms of knowledge and even new ways of conceiving and conducting research. Within this wide range of projects, there are three conceptual clusters that make up our major concerns and research interests. 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 of Arts' seven departments define their own focuses to highlight their particular profiles within the field and to ensure a sustained connection between research and education. The following overview presents the PhD and other research projects in the arts, public contract research projects, and a senior research fellow project that were completed in the past year. The output of this kind of research can take many, sometimes surprising, forms. For a sampling of these, we have included an overview of recent publications, as well as contributions from two of the postdoctoral researchers in the arts who are currently being funded by the School of Arts. A complete listing of all ongoing projects can be found on our website.
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PHILIP HUYGHE ‘VillaNadine: An Artistic Investigation of the In-between’ In this project, Philip Huyghe set out to extend his artistic practice by further examining the space of the Mother, which he had previously explored in a series of works where he created a double of himself as his mother, adding a fictitious character to reality.
It is the house as device or machine that produces the moment of change. The house has a history, a symbolic value: each inhabitant continuously rearranges or changes elements and objects in his or her environment that realize a transformation of identity. The analogy between the house and the mind is an obvious one, giving rise to the concept of ‘mental housekeeping’. By making changes to the house and the mind, we also transform society.
To research the creative potential of the everyday, Huyghe posited his own space, the place where artistic creation takes place, in opposition to the space of the Mother, focusing mainly on the ambiguous relationship between art and life, between interpretation and representation, between illusion and reality. Gradually, his interest shifted towards the space between these spaces: an interstice of detachment where one steps outside the realm of order and authority (the space of the Mother) in order to evolve towards new insights (a place of experiment and art).
The discursive part of the PhD is presented in the form of a fictional story in which “the Master” takes a group of researchers on a tour of the Villa Nadine grounds. This walking tour serves as a structuring device, incorporating the thematic concepts of the project and relating them to the machinery and installations from the practical section of the project as they are introduced to the characters. The Master also triggers instances of reflection on these machines as the participants undergo a series of processes that revolve around self-examination. This in turn serves the redefinition and reinvention of the self. The story is presented from the perspective of an expedition participant who experiences the different devices and later reports and adds further commentary based on his memories.
Philip Huyghe looks upon this sixyear period itself as an interstice that yielded (new) perspectives to enrich his practice and, by extension, life, with an ‘alternative’ outlook. With his art, he essentially wishes to oppose a stifling, patronizing and discriminatory society that enforces rules of conduct, manipulates values and imposes ideals. His art is for him a place of ‘anti-structure’ or ‘counterstructure’, an alternative to the authority in which we are forced to be ‘happy’.
With this work, Philip Huyghe aims to further what he has been doing for the past thirty years: provide tools that spark reflection on the transition towards alternatives, a poetic choice for a world that is dramatically gasping for breath. For Huyghe, then, his work has a cathar tic effect, and it keeps desire intact.
Huyghe's dissertation VillaNadine consists of two parts. The visual section comprises seven projects realized and exhibited during the research period, including the final exhibition, Villanadine / Villanadien (Zwarte Zaal, 22.08 – 03.09.15). VillaNadine explicitly refers to architecture and uses the house in several guises as a nucleus, as a visual entity that enables architecture and transformative space to coincide. 80
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The Doublure (2010). Exhibition view, entrance hall Bijloke Campus, Collection BPS22, Charleroi. Photo: Wim Van Nueten
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(bottom) Map VillaNadine (2015), 420cm x 220cm, with: 1. De Middenplaats / 2. De Doublure / 3. Het Schaduwhuis – The Insomnia Tapes / 4. Chromophobia / 5. The Bride Re-Turned / 6. De Anatomie van de Verbeelding / 7. The Blue Grotto (De Blauwe Grot)
(top) Antichambre (2015). Exhibition view, Villanadine / Villanadien, Zwarte Zaal (22.08-03.09.15). Photo: Wim Van Nueten
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(bottom) The Anatomy of the Imagination (2015). Exhibition view, Villanadine / Villanadien, Zwarte Zaal (22.08-03.09.15). Photo: Wim Van Nueten
(top) The Anatomy of the Imagination (2015), video still.
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CATHERINE WILLEMS ‘Future Footwear’ Catherine Willems began her doctoral research in the arts in 2009. In Future Footwear, she focused on the creation and wearing of footwear in particular contexts. She explored the relations between materials, skills and design methods in various communities and questioned conventional thinking on design, production and creativity. In her research, she combined three disciplines – anthropology, design and biomechanics – and analysed pertinent cases for comparative research.
– footwear that does not jeopardize its sources, tax the function of our planet or constrict the feet – while offering protection, comfort and aesthetics. She argued that learning from the traditional footwear of indigenous communities and combining insights from different disciplines can guide the design of sustainable, minimal footwear, because walking with traditional footwear is often biomechanically similar to walking barefoot; local, handmade footwear is adapted to and sustainable for the environment; and 3D printing with laser sintering is closest to indigenous production in the amount of excess waste, tools and manpower.
This entailed living and working with cobblers in diverse communities, studying their crafts and skills, but also working together to create new shoes (inspired by their designs) for urban lifestyles, while (critically) exploring the modern global shoe industry and comparing different production methods to achieve sustainable production. The relevant bio-mechanics (kinetics, kinematics and plantar pressure distribution) and foot health were other research focuses.
In completing this research, Catherine Willems published articles in several internationally recognized journals, and presented her work in her The Re-birth of Footwear exhibition in the Zwarte Zaal in September 2015. The exhibition included sandals, shoes and boots inspired by four indigenous types of footwear, employing different types of production.
In extensive fieldwork, she collaborated with the Kolhapuri artisans of Toehold, a non-profit organization in Athani, Karnataka, and the juttee artisans of Dastkar, a grass-root social enterprise in Ranthambore, both in India. The material used for both the traditional Kolhapuri sandal and juttee shoe is vegetabletanned buffalo hide. In Inari, Finland, she collaborated with the artisans of Sogsakk, a Saami education centre, to make and analyse their traditional reindeer fur boots.
Catherine Willems now wants to establish an innovative Future Footwear Centre for collaboration between artisans and synergistic departments in academic institutes and the private sector around the world. By integrating overlapping and intersecting themes – PEOPLE (anthropology), PLANET (sustainable design & technology) and FEET (biomechanics) – the Future Footwear Centre aims to promote understanding of healthy footwear and human locomotion by studying and working with indigenous cobblers and coordinating multidisciplinary projects on design anthropology, sustainable production and biomechanics. See www.futurefootwear.org
At a time when landfills choke with the non-biodegradable remains of millions of shoes and (in)tangible cultural heritage is being swept away or commodified by market forces, Willems proposed creating footwear that is sustainable for the environment and the body 84
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(top) Tools needed for Indian indigenous production. Photo: David Willems
(bottom) Indigenous Saami reindeer boot (2011). Photo: Kristiaan D’Août
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Exhibition view, The Re-birth of Footwear, Zwarte Zaal (16.09—27.09.15). Photo: David Willems
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MEKHITAR GARABEDIAN ‘To a Stranger From a Stranger’ The main focus of Mekhitar Garabedian's doctoral research was ‘return’: return as in artistic ‘modes of repetition’ and return as in hauntology, the return of the dead, or revenants. He investigated these two central themes, as well as related themes such as the construction of identity and diaspora, artistically and theoretically. This resulted in diverse works of art, presented in solo and group exhibitions at various locations, including KIOSK (2010), S.M.A.K. (2011-2012) and BOZAR, the Centre for Fine Arts in Brussels (2015). He also completed several publications, including Yavreeges hokeet seerem (2010); Something about today (2011); Un bel été quand même (2014); Table, Gentbrugge (Living Room), 2012-2015 and Table, Gentbrugge (Kitchen), 2012-2015 (2015); and We are what we pretend to be, so we must be careful about what we pretend to be: Works & Publications, 2009-2015 (2015).
The first chapter explores ‘Unpacking My Library’ and ‘talking with the words of others’ as a conceptual artistic approach, using the methods of anachronism and displacement. The use of citation and references also comes from his interest in the idea that identity is always a borrowed identity, borrowed from others. The second chapter investigates the idea that identity is always already plural, that the self is a multiplicity. Becoming our selves and understanding ourselves always takes place in relation to the other(s). Truth and meaning are only possible through the other and through unexpected and unwilled encounters that reveal how much we are ignorant about ourselves. In the third chapter, Garabedian locates some of the complex and ambiguous conditions of diasporic subjectivity. He argues that diaspora has to be conceived and investigated as a process, as becoming, through its singularities, its effects on the formation of a self, its relation with the past – a past that remains in the present – and through its relation to power, as histories of dispossession and dispersion result from suppressive or colonial power.
In four chapters and an epilogue, Garabedian's dissertation To a Stranger From a Stranger (2015) investigates the themes of citation and reference, the construction of self and identity, diasporic subjectivity and diasporic haunting, and spaces of non-knowledge. Like his visual work, the text is deliberately constructed as ‘a tissue of quotations’ from cinema, literature, philosophy, theory, etc., a montage of carefully selected references. He interweaves writings, countering ‘ones with others’. He re-activates selected fragments from his library, tearing fragments out of their contexts and rearranging them in such a way that they illustrate one another and force new revelations; not to provide explanations that seek to accommodate causal, systematic or comparative connections, but to advance an attitude and to ‘think poetically’ about the themes and concepts he is investigating.
The fourth chapter explores diasporic loss: the condition of being marked by the memory of migration. What has been lost keeps returning, and continues to determine both the present and one's identity. This phenomenon of ‘being haunted’ also relates to our contemporary experience of history, which is defined by the ambiguous influences and latent presence of unresolved histories, of the ghosts that keep returning, or revenants. The epilogue explores the potentialities of embracing an openness towards unknowning, without reducing its destabilizing force or effects, and how works of art open up spaces of non-knowledge. 88
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fig. a, a comme alphabet (2012), handmade carpet, 2m x 3m. Exhibition view, Graphology, The Drawing Room, London (2012). Courtesy of the artist and Albert Baronian Gallery
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Table, Gentbrugge (Kitchen) (2014–2015), 67 slides, projection. Courtesy of the artist and Albert Baronian Gallery
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Untitled (Gurgen Mahari, The World Is Alive) (2015), neon, 200cm x approx. 60cm x 5cm. Exhibition view, Armenity/Hayoutioun, National Pavilion of The Republic of Armenia, Venice Biennale (2015). Courtesy of the artist and Albert Baronian Gallery
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JASPER RIGOLE ‘The International Institute for the Conservation, Archiving and Distribution of Other People's Memories’ In 2009, Jasper Rigole started his practice-based doctoral research, The International Institute for the Conservation, Archiving and Distribution of Other People's Memories (IICADOM). The artistic output of this research consisted of about 20 works included in the exhibition 81 Things I Thought I Had Forgotten, which took place at Z33 in Hasselt and subsequently travelled to the Brakke Grond in Amsterdam. The discursive part of this PhD was Addenda, a group of seven booklets, each in its own way reflecting on artistic practice and its underlying themes, thus providing insight into the methodologies that lie at its foundation.
memory. Due to several factors – mainly medium specific – these documents often fail to represent memory. At best, they function as a trigger for memories. In this sense, they are rather like contemporary versions of Proust's famous Madeleine. As Chris Marker stated in Immemory, his interactive CD-ROM (2008), ‘Thus one comes to call Madeleines all those objects, all those instants that can serve as triggers for the strange mechanisms of memory.’ It is important here to note that the screening of home movies used to be a social event, often performed in a family context, and it was at such occasions that memories were retrieved and therefore perpetuated. As the documents in Jasper Rigole's collections were removed from their original contexts, they lost this original souvenir value. Their original significance disappeared, offering space for new interpretations for both the artist and the spectator.
The IICADOM Project, the centre of Jasper Rigole's PhD work, took an ever-growing collection of orphaned ‘ego-documents’, sourced from flea markets, second-hand shops and garage sales, as a starting point. Although the main focus of this archive is 8mm and Super 8mm home movies, the archive also contains a large collection of videos, old photographs, audio tapes, personal documents and small objects, which are used in the creation of new audio-visual works and installations. The project started as a fictitious institute in which an ironic approach was a key factor, but it gradually transcended its original fiction, as the collection of home movies currently contains over 1000 reels of film and can be regarded as an archive in its own right, with significant cultural and historical value.
Similar to the execution of the artistic works, the Addenda publications were conceived in a way in which form and content are mutually reinforcing. The decision not to publish a single comprehensive book, but seven pocketsized booklets, allowed Rigole to employ different styles and linguistic registers, a strategy he often uses in his artistic practice. The booklets, intended to function as an addendum to the artistic practice, are at the same time addenda to one another. Through a tangle of references and footnotes, they are connected to each other on an intertextual level.
An important aspect of Rigole's practice – and a main reason why he still considers his institute as fictitious – is the fact that these documents are orphaned, ‘other people's memories’. They were the result of attempts to capture what has now passed and were meant to serve as a mediatized form of 92
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L’oeuvre Complète (2016)
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Original Copy (2016)
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Research Projects
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‘Figures of Dissent: Cinema of Politics, Politics of Cinema’ material presence of bodies and objects, or the apparitions and operations that diverge from this presence; the forms of life that appear in front of the camera lens or the forms of art that are produced by the filmmaker? Oscillating between resemblance and dissemblance, the personal and the impersonal, the polysemy of the word ‘figures’ seems to express the fundamental ambiguities and paradoxes that are inherent to the art of cinema, as well as the political promises and efficiencies that have been ascribed to it.
Researcher Stoffel Debuysere Project coordinator An van. Dienderen How can the relationship between cinema and politics be thought of today? This question was the starting point for Figures of Dissent, a four-year research project initiated in February 2012 with the generous support of the Arts Research Fund of University College Ghent. In an attempt to tackle this vast conundrum, which has been pondered and pontificated upon since cinema began, an extensive series of public encounters and screenings were organized at various locations in Belgium and abroad. The principal aim of this series, which came about through a broad network of organizations and institutions, was not to define or illustrate a theory that could somehow shed light on this cumbersome relationship, but to give impetus to a culture of exchange and inquiry that would allow for the sharing of a variety of views and insights.
Trying to come to grips with how these ambiguities can be dealt with today cannot but lead to an inquiry into the ways in which they have been met in the past. From the outset of the Figures of Dissent project, it was clear that tackling the conundrum of cinema and politics required a deep plunge into the topographies of positions and arguments that have defined the capacities and incapacities of cinema, and those of its spectators, for making sense of it all.
This project came into being as a wave of collective mobilizations erupted on the global political landscape. The Arab Spring and Occupy Wall Street were followed by protests in Bulgaria, Sweden, Turkey, Brazil and anti-austerity movements in Greece and Spain, to name but a few. The public events that were proposed in the framework of this project, however, did not profess to achieve any much-needed organization of collective dissent. They merely sought to bring about communal situations in which time and attention could be paid to remote figures brimming on the surface of the cinema screen.
As a tentative outcome of this plunge, a collection of writings will be published in July 2016 (by AraMER). They are in the form of five letters written to five addressees, as explorations of shared trajectories through the landscape where the territories and geographies of cinema intersect and collide with those of politics. Like the many encounters organized during the project, the writings that have accompanied them are provisional explorations of an inexhaustible question that allows for a multitude of departures, junctions and disjunctions. Like messages in a bottle launched into the expanse of possibilities, they are merely waiting to be furthered.
How does one make sense of these ‘figures’? Do they bespeak the represented characters and embodied emotions that tend to invite immediate identification, or the mute shapes and flickering shadows that resist identification? Do they denote the 98
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Danièle Huillet & Jean-Marie Straub, Umiliati (2003)
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‘Musical Complexity and Human Limitations’ space to subjective interpretation. Nonetheless, the resolution of the technical puzzles in these works is a way of offering insight into their musical meaning. The extent and the nature of this technical puzzle puts off many musicians, not least because in some cases it takes them past their professional expertise. This is true of the music of Iannis Xenakis, for example, who makes use of mathematical constructions. The intention in this research project was to generate answers to these questions, which leave space for a multiplicity of reasoned choices.
Researcher Lukas Huisman Project coordinator Geert Dhondt it was necessarY for davId tudor somethiNg a puzzle that he woulD solvE Taking as a bEginning what was impossible to measuRe and then returning what he could to Mystery Composition in Retrospect, John Cage (2008) Lukas Huisman long contemplated the correct approach to the works of Kaikhosru Shapurji Sorabji, Iannis Xenakis, Brian Ferneyhough and Michael Finnissy. By considering the idea of complexity in relation to these composers, it became clear that the only question that a performer can ask is, ‘How should this music be performed?’ Focusing on the traditional score as a medium, that question can be refined into, ‘What assembled knowledge about the performance of these works can again be incorporated into a score and passed on to successive performers?’ This question arises because all of the works concerned contain difficulties that fall outside standard performance practice and scare off many performers. Acquiring the necessary background information and indicating a path through all the pianistic problems has the potential to convince performers of both the performability and the intrinsic value of these beautiful works.
Although the focus lies on the performer and his or her contact with the score, people generally start out from a model in which the music is that which the listener perceives. That which cannot be measured – the mystery that John Cage referred to – can be interpreted in this way. It is a musical concept that, by way of many detours, reaches not only ourselves, but our entire body and consciousness, and moves us in every sense of the word. Music, or art, has a vital importance for our survival as a complex of biological processes, and it is capable of finding people in a spontaneous and incorruptible way. In addition, contemporary music tells us something about the world in which we live. Consequently, Art, as a connecting force in ‘the now’, fulfils a powerful function that, although interest in it is generally relatively limited, it will not lose anytime soon.
A relevant statement that can be seen as summarizing this research project is the above quote from John Cage, about the pianist David Tudor. Music often possesses an enigmatic aspect, characteristics that can never be absolutely determined, and this gives 100
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(top) Michael Finnissy, English Country Tunes, score excerpt (p. 15)
(bottom) Iannis Xenakis, Manuscript Evryali, score excerpt (final page)
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‘The Frontzate’ Public contract research project by Sylvie Van Damme and Pieter Foré (Architectural Design, Landscape and Garden Architecture & Landscape Development) Commissioned by the Province of West Flanders, Westhoek Region For the Province of West Flanders, the research unit in Landscape Architecture at the KASK/School of Arts Ghent developed a methodology for comparing visual and experiential values in realizing a plan for the polder region between Nieuwpoort and Diksmuide. The immediate incentive for the project was the planned redevelopment of the Frontzate recreation axis, an old railway track (route 74). During the First World War ‘de Frontzate’ was an important line of defence. It played an important strategic role, e.g. during the flooding of the IJzer plain, as the railway track functioned as weir. The government of West Flanders wanted to develop a regional plan that delineated guidelines for directing and executing the diverse developments, while at the same time providing a framework for its own projects. The study resulted in two research reports and a book, which include a plea to no longer perceive landscape as a neutral and technical object, but as a subjective and emotional place that is seen and experienced by people. An initial research report set out in search of a practical and manageable methodology for assessing visual and experiential value. To that end it evaluated a number of national and foreign plans for visual quality standards. A second research report describes the literature in investigations into the selection of criteria that offer a certain universal value in judging the visual and experiential qualities of landscapes. The book serves as a guide, using building blocks, recipes and ingredients in order to work towards the improvement of the visual quality of landscape, and thereby supporting the
desired development of the polders. The research proposes a methodology for making the visual and experiential value more explicit, based on eights building blocks for visual quality: spatiality, complexity, usability, the presence of nature, cohesion, readability, sensory quality and identity. Each of these building blocks gives another view of visual and experiential aspects, and it forces its users, as it were, to interpret the beauty of the landscape from a given perspective. Needless to say, there is sometimes an overlap. Each of the building blocks is in one way or another related to the others. A thorough analysis of the polders on the basis of these building blocks for visual quality gives insights into how and why the landscape has become the way it looks today. In addition, it investigated which changes can be expected and which are acceptable in the function of visual quality, and which are not. Subsequently, concrete themes were examined, in consideration of the improvement of the visual quality of the landscape. This resulted in accessible and readable recipes that use simple sketches and illustrative images to suggest to residents and visitors to actually help work towards the visual and experiential quality of the polder landscape. Co-creating the Polders sets out to identify the valuable characteristics and qualities of the landscape between Nieuwpoort and Diksmuide, and thereby stimulate the awareness of residents and users. Here, the landscape has been an invaluable source of information and a starting point for eventual transformation. The reading and interpretation of the existing landscape in the improvement of future scenarios for three-dimensional impressions and perspectives should ensure better understanding and insight into this beautiful, open polder landscape.
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(top) Removing the overhead cables and power lines along the access roads to the town restores the open quality of the polder landscape.
(bottom) A town square need not be paved to be functional. The treed square in Oostkerke breathes a rural calm.
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‘Technical Vade Mecum on Shrubs’ Public contract research project by Stefanie Delarue and Pieter Foré (Architectural Design, Landscape and Garden Architecture & Landscape Development) Commissioned by the Agency for nature and forests of the Flemish Government Harmonious Park and Green Space Management has become a generally accepted idea in public green space management in Flanders. This vision is supported by a series of technical vade mecums or guides. The Technical Vade Mecum (TV) on Shrubs for Harmonious Parks and Green Space Management is the last in a series of planting guides, following the TV Trees (2008) and TV Herbaceous Plants (2012). In public space, planned planting is indispensable. It fulfils a range of functions. Planting can be a cooling agent and can – if correctly done – positively influence air quality by absorbing fine dusts. Today, planting serves as a catalyst in improving social cohesion. Environments with attractive planting schemes are also more highly valued, and a well-planted green space positively impacts the value of nearby properties.
Many of the above-mentioned problems were addressed by strongly focusing the vade mecum on planting design as a stepby-step plan or menu of selections. To achieve this, we intentionally postponed the actual selection of plants in the design process. That selection can preferably take place after thorough analysis of the specific situation concerned, the determination of the desired functions of the plants and the drawing of a well-considered final visual image. The planting design also extensively considers the various plant forms and possible uses of shrubbery. The vade mecum also offers practical guidelines and points of focus for the planting and upkeep of shrubbery growth. As a result, it is not only a valuable reference work, but also a practical, usable document for departments of public works, landscape and garden architects, research agencies, regional landscape designers and landscape education.
In planting schemes for public space, shrubs forms an important and widely adaptable group of plants. In practice, we have identified a number of recurring problems. The growth of shrubs requires considerable maintenance (with associated natural waste). Shrubbery in public spaces tends to be monotonous, dated or outdated, or it tends to be identified as ‘dirty’ or ‘unsafe’. All this can be attributed to unfortunate design choices, the wrong plants or inappropriate management. One of the major challenges for landscape designers and green managers is therefore also the promotion of greater diversity in shrubbery in structural, visual and ecological respects. 104
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(top) Layered planting in the STAM museum garden (Ghent). The herbaceous layer makes for an extra visual experience, added attraction for fauna and – once closed – less intensive weed management. Photo: Stefanie Delarue
(bottom) Multifarious, layered planting in the historical garden of the Schwetzingen palace (Germany). The gardens were designed in the 18th century under Elector Palatine Charles Theodore, by the likes of Nicolas de Pigage and Friedrich Ludwig von Sckell. Photo: Stefanie Delarue
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‘The Metamorphosis of the Art World’ Senior artistic research fellow project by Jan Debbaut For outsiders, the international art world is often a closed and impenetrable entity that frightens off newcomers such as young artists or curators and collectors beginning their careers. The art world in fact is only in the news because of sensational stunts or insane prices at auction houses. Moreover, that art world is in constant change, and not just a little bit, but radically and structurally. Since the iconoclasm of conceptual art and institutional criticism in the 1960s, the world of contemporary art has been affected by dizzying, highspeed alterations, from rebellious avantgarde for the happy few to a world encompassing entertainment industry for millions and lifestyle for the jet set. We can speak of a true paradigm shift, or preferably of disruptive innovation. To concur with the Harvard Business School guru Clayton Christensen: ‘Disruption takes a left turn by literally uprooting and changing how we think, behave, do business, learn and go about our day-to-day lives.’ Uberpop and Bitcoins are spell breakers. In the contemporary art world as well, nothing is as it was, and all of us have to get used to it. Charging all of this, the analysis of the internal connections in the impact of that process of change are the subject of this research project.
There was also the fact that Jan Debbaut, in his long career as curator and museum director, has personally experienced all these changes, and he wanted to bring his own practical experience of these processes of change into the update and upgrading of this educational programme. The research resulted in an integrated analysis model, in which the direct impacts and internal interrelationships of major societal, social, economic, technological and intellectual developments were assessed in terms of contemporary art production, distribution and consumption. From postmodernism to relational aesthetics, from the growth of social inequality from Piketty to the experiential economy of Pine & Gilmore, from Youthquake to Gentrification, and from city marketing to the rise of independent curators, expansive museum architecture and the biennial exhibition culture. It also embraces the new history of art and museology, with attention to neocolonialism or gender studies to privatepublic partnerships, hybrid formats, pop-up museums and new actors. The final result of this study is an analysis and evaluation of the changing role in typology of the contemporary curator in the changing internal and external dynamics of the museum of arts in the international context.
The motivation was a twofold need. On the one hand, there was a need to design a substantive and insightful course for TEBEAC students (an acronym for Exhibitions, Conservation and Management of Contemporary Arts), a one-year postgraduate programme associated with the KASK/School of Arts Ghent (together with Ghent University and the Ghent museums) and as such, the only specialized programme for curatorial studies in Belgium. 106
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(top) With TEBEAC students at the 2013 Venice Biennial
(bottom) At the Ai Wei Wei exhibition in the Royal Academy, London (2015)
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Post-Doctoral Research: Ongoing Projects
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JERRY GALLE Jerry Galle's work is concerned with the relationship between the digital and the human – a relationship that remains difficult at times, even though digital technology is now fully embedded in contemporary culture. Expanding on his PhD research in the arts (Poetic Machine; KASK/School of Arts Ghent & Ghent University 2011), in his current postdoctoral project (2012-2018), he investigates the generative creative potential of algorithmic approximations of processes typically considered ‘human’. Alongside robot drawings and paintings and 3D-printed objects based on ‘found data’, he has recently developed Pretext, a combinatorial text-generating algorithm that rewrites existing and self written texts from the perspective of the machine. During exhibitions Pretext produces one single, site-specific book with machine texts. The postdoctoral project will culminate in the publication of an as of yet untitled illustrated novel by Pretext. www.fuzzylogic.be
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Hilde D'haeyere is a photographer and film historian whose practice-based research results in publications, visual works and lecture-performances. Her PhD in the arts Stopping the Show (KASK/School of Arts Ghent & Ghent University 2012) studied cinematography in Mack Sennett slapstick comedies, and in her postdoctoral project Snow White Bathing Beauty (2013-2018) she focuses on technological advances in film photography in the 1910s and 1920s, linking these developments to the quest for comedy effects. Currently she dissects the fascination the avantgardes hold for slapstick comedy. www.stoppingtheshow.be
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Artistic Research Publications
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Research that is not shared has no value, and an important part of conducting research is developing the tools and discourse to communicate with others — both peers and a broader audience — about that research. These considerations lie at the foundation of the School of Arts' policy of stimulating our researchers to publish. The resulting practical books-as-tools, artist's books and other writings take many forms, but are one and all fascinating publications.
Addenda (ARA / MER. Paper Kunsthalle, 2015), by Jasper Rigole.
Two of the past year's PhD graduates have published their dissertations with MER. Paper Kunsthalle's ARA (Artistic Research Archives) imprint. Jasper Rigole's Addenda is a handsome set of seven booklets that create a network of references to one another and to Rigole's artistic practice, with a focus on the pivotal work, 81 Things which I Thought I had Forgotten. Are the books addenda to the others in the set or to the work, or is the work an addendum to the books?
Table, Gentbrugge (Living Room), 2012-2015 and Table, Gentbrugge (Kitchen), 2012-2015 (MER. Paper Kunsthalle & BOZAR, Centre for Fine Arts, Brussels, 2015), by Mekhitar Garabedian.
Mekhitar Garabedian's dissertation was published by ARA as To a Stranger From a Stranger. He also published a separate overview of works created during his PhD research in We are what we pretend to be, so we must be careful about what we pretend to be: Works & Publications, 2009-2015 (2015). Alongside these other ‘works & publications’, these new books yield fascinating insight into the artist's practice and the concerns and research that underpin it: Yavreeges hokeet seerem (My Beloved, Let Me Love Your Soul) (KIOSK, 2010); Something about today (S.M.A.K., 2011); Un bel été quand même (KIOSK, 2014); Table, Gentbrugge (Living Room), 20122015 and Table, Gentbrugge (Kitchen), 2012-2015 (MER. Paper Kunsthalle & BOZAR, Centre for Fine Arts, Brussels, 2015).
00A (Art Paper Editions, 2015), by Dominique Somers.
Something about today (S.M.A.K., 2011); To a Stranger From a Stranger (ARA / MER. Paper Kunsthalle, 2015); We are what we pretend to be, so we must be careful about what we pretend to be: Works & Publications, 2009-2015 (2015), by Mekhitar Garabedian.
Dominique Somers' PhD in the Arts deals with (flash) light and photography. From a collection of approximately 500 appropriated ‘first’ exposures on 122
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language and imagination. Part of the project is the non-copyrighted booklet, MLM-001 LEXICON. Find it online at ellyvaneeghem.be.
Satellite Building (A4A, 2014), by Kasper Andreasen and Jan Kempenaers.
Saaie boel hier: cartoons (Vrijdag, 2015), by Fritz Van den Heuvel.
To newspaper readers, researcher Joris Vermassen may be better known as cartoonist Fritz Van den Heuvel. A selection of Fritz' cartoons have now been published, with an introductory essay in which Vermassen outlines part of his doctoral research project and the cartoonist's place in today's world: Saaie boel hier: cartoons (Vrijdag, 2015).
Satellite Building (A4A, 2014) docu ments a site-specific project by artist Kasper Andreasen and photographer and post-doctoral researcher Jan Kempenaers. For the façade of the new Guildhall in Beveren, Andreasen and Kempenaers designed a rasterised ‘image’ based on aerial photography of the area. The re sulting ambiguity between readability and abstraction is characteristic of the more recent work and research of Kempenaers.
Thinking about Your Street with Children and Young People (HoGent, 2015).
MLM-001 LEXICON, by Elly Van Eeghem and the Laboratory for the Development of New Housing.
In the context of her (Dis)Placed Interventions research project, Elly Van Eeghem and the Laboratory for the Development of New Housing (LOW) created the twofold installation MLM-001, a utopian model for local urban development, with its own
More ideas for the future of our cities can be found in the do-it-yourself book, Samen (met kinderen en jongeren) denken over je straat (Thinking about Your Street with Children and Young People). The book was developed by KASK and the Faculty of Education, Health and Social Work's researchers of the KIDS — Children in Urban Spaces project. It is ideal for workshop use. 123
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analogue films, made by clicking the camera button to forward the film to its starting position, the first 317 were published by Art Paper Editions in a book entitled 00A. Presented in this way, these ‘throwaway’ images combine to question the conceptual and technical identity of photography.
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With this project, the researchers aim to further the recognition and involvement of children and young people as fellow citizens, researchers and designers of our neighbourhoods and cities.
the Polders) (Garant, 2016) combines an analysis of the elements that made the characteristic polder landscape what it is today with ideas on how to enhance its visual and experiential quality. Authors Sylvie Van Damme and Pieter Foré argue for landscape as a subjective and emotional place, seen and experienced by people.
Technical Vade Mecum on Shrubs for Harmonious Parks and Green (HoGent, 2015), by Stefanie Delarue and Pieter Foré.
The landscapes outside our cities are also studied by our researchers. Commissioned by the Flemish Agency for Nature and Forests, Stefanie Delarue and Pieter Foré wrote a Technisch Vademecum Heesters. Harmonisch Park- en Groenbeheer (Technical Vade Mecum on Shrubs for Harmonious Parks and Green Space Management). The result is a valuable reference work, as well as a useful tool for public works departments, landscape and garden architects and educators alike.
Co-Creating the Polders: Building Blocks for Visual Quality in the Polders (Garant, 2016), by Sylvie Van Damme and Pieter Foré.
From the same research team comes a guide to another landscape: De Polders mee-maken. Bouwstenen voor beeld kwaliteit in de polders tussen Nieuwpoort en Diksmuide (Co-Creating the Polders: Building Blocks for Visual Quality in 124
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De School of Arts organiseert tentoon stellingen, concerten, filmvertoningen, dramavoorstellingen, lezingen en congressen. De artistieke programmatie, die zich tot een ruim extern publiek richt, vervult een scharnierfunctie in de interactie tussen de school en de samenleving. Wat volgt is een overzicht van de voornaamste initiatieven die het afgelopen academiejaar op de campussen plaatsvonden. Ieder jaar kan deze lijst worden aangevuld met nieuwe tentoonstellings- of concertinitiatieven. Tijdens de lesweken zijn er quasi dagelijks toonmomenten waardoor je als student kan proeven van het werk van je medestudenten over verschillende disciplines heen of geïnspireerd kan worden door nieuwe visies en praktijken van buitenaf. De studenten worden geconfronteerd met kwalitatief hoogstaand werk dat aan internationale standaarden voldoet, zowel in KASKcinema, MIRY Concertzaal, Zwarte Zaal en KIOSK. Op de Bijlokesite heeft de KASKcinema een actieve programmatie op weekavonden tijdens het academiejaar. In de KASKgalerie stellen onder de noemer KIOSK internationale kunstenaars tentoon. In de Zwarte Zaal vinden talloze artistieke producties onderdak, waaronder heel wat tentoonstellingen. Op de campus Grote Sikkel vormt de MIRY Concertzaal het toneel voor een eigen concertreeks met producties uit eigen huis en recitals van gerenommeerde musici uit binnen- en buitenland. Daarnaast organiseren we ook wekelijks lezingen, panelgesprekken, symposia en studiedagen. Het afgelopen academiejaar gaf het Franse designer duo Ronan & Erwan Bouroullec lezingen in het kader van de Maarten Van Severen Leerstoel 2015 en waren onder meer de Israëlische auteur David Grossman, theatermaker Lotte van den Berg, en curatoren Nav Haq (M HKA) en Teresa Grandas (MACBA) te gast.
The School of Arts organizes exhibitions, concerts, film presentations, drama performances, lectures and conferences. The artistic programmes, intended for a broad external public, serve as a link in the interaction between the school and society at large. What follows here is an overview of the most important initiatives that took place on the School of Arts campuses during the past academic year. Every year, the list is expanded with new exhibition and concert initiatives. As classes take place, virtually every day sees moments of presentation in which students can experience the work of their fellow students in various disciplines and get inspired by new visions and practices. Students are confronted with works of very high standard, at KASKcinema, the MIRY Concert Hall, the Zwarte Zaal and KIOSK. On the Bijloke campus, on weekday evenings, KASKcinema has an active programme throughout the academic year. In the KASK gallery, KIOSK hosts international artists. Countless artistic productions, including numerous exhibitions, find a home at the Zwarte Zaal. On the Grote Sikkel campus, the MIRY Concert Hall is the stage for its own concert series, and hosts productions of its own as well as recitals by renowned musicians from Belgium and abroad. In addition, the School of Arts of University College Ghent also organizes weekly lectures, panel discussions, symposia and study days. In the last academic year, the Maarten Van Severen lectures were given by French designers Ronan & Erwan Bouroullec, while other guests included Lotte van den Berg and curators Nav Haq (M HKA) and Teresa Grandas (MACBA). In short, the shutters at the School of Arts are wide open to the outside world and the art world in particular, leading to highly productive interweaving at the regional, national and international levels. Within the 127
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Kortom, de vensters staan open op de (kunst)wereld wat leidt tot een productieve verwevenheid op regionaal, nationaal en internationaal vlak. Binnen de Gentse regio werken we samen met onder andere S.M.A.K., Gent Festival van Vlaanderen, Film Fest Gent, Gent Jazz Festival, Courtisanefestival en Film-Plateau van UGent. Wie op de hoogte wil blijven van de activiteiten van de School of Arts kan zich inschrijven op de nieuwsbrief via onze website. We geven ook een gedrukte tweemaandelijkse publicatie uit waarin naast een agenda een aantal activiteiten in de diepte geanalyseerd wordt. Deze publicatie kan online bekeken worden: www.schoolofartsgent.tumblr.com.
Ghent region, we work together with S.M.A.K., the Ghent Festival of Flanders, Film Fest Gent, Gent Jazz Festival, the Courtisane Festival and the Film-Plateau of Ghent University. Those wishing to keep informed of the activities of the School of Arts can register on our website to receive our newsletter. During the academic year, there is also a bimonthly publication which provides not only an activities calendar, but also gives thorough analyses of several of the activities taking place. This publication can also be viewed online at: www.schoolofartsgent.tumblr.com.
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of key technical and musical suggestions to the flute students, to help them give both historically and emotionally informed performances. At the same time, Olga Pashchenko introduced piano students to historical keyboard instruments, including the harpsichord and pianoforte.
MIRY CONCERT HALL This year, in addition to a first season with concerts, master classes and its own productions, the MIRY Concert Hall also hosted international guests, ensembles, student projects and so on. The already familiar series, including MIRY Masters, MIRY Sundays, MIRY Contemporary and Conservatory On Stage, were expanded this year with the MIRY Vocal series. This year's programme had a French touch, both in the works performed and the musicians who performed them. MIRY Masters The concert season began with a Belgian première. The Quatuor Danel, complemented by clarinettist Pascal Moragues and horn player Jérôme Rouillard played, amongst others, the Sextett by the German composer Wolfgang Rihm. The string quartet moreover gave master classes to the strings and clarinet students at the Conservatory. Additional musicians seen and heard in the MIRY Masters series offered a musical kaleidoscope and by no means avoided the confrontation between the present and the past. The Canadian duo, Les Voix Humaines, carried their audience on a journey along a series of diverse affects, from desolate melancholy to discerning humour. Earlier that day, they put the authenticity of a number of Bach works into question and made a plea for the arrangement of music for contemporary instruments, a lecture that was extremely well received by students of classical music as well as students of musical instrument building at the Conservatory. The French flautist Alexis Kossenko took the stage a little later in the year. Together with pianist Olga Pashchenko, he treated his audience to an impressive range of the history of the flute, played on both historic and modern instruments. The following day, he gave a master class in which he gave a number
Masterclass flute students by Alexis Kossenko, Classroom 24 (12.02.16). Photo: Frederik Sadones
The concert by researchers Jeroen Billiet, Ann Cnop and Sergei Istomin was unique, and took place in a double bill with 19th-century Romantic repertoire ranging from Schumann to Herberigs, played on the horn, cello and violin. At the Miry Concert Hall, viola player Antoine Tamestit performed a solo programme of Bach partitas and Ligeti's legendary sonata for viola, in which he explored the possibilities of this instrument, from rarefied high tones to the jazzy resonance of the low strings. Another of this year's highlights was undoubtedly the visit of the worldrenowned horn player Stefan Dohr. All of Belgium's horn lovers gathered at the Ghent Conservatory to listen and take part in his master classes. Nearly every music conservatory in Belgium was represented – a unique event! As the icing on the cake, Stefan Dohr's concert included a magnificent Brahms Horn Trio, with violinist Alessandro Moccia and pianist Luc Devos. The enthusiasm of the applause spoke volumes. MIRY Sundays MIRY Sundays are synonymous with a generation of talented musicians who are just beginning their careers but already attract international attention.
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Olga Pashchenko is a student of Alexei Lubimov (guest at the MIRY Concert Hall last year) and one of today's great young piano talents. Her solo concert at the MIRY Concert Hall also introduced the audience to the Russian composer Nikolai Medtner. Italian string quartet Quartetto Delfico, students of Alessandro Moccia at the Ghent Conservatory, worked together on their performance with flautist Toshiyuki Shibata, a student of Patrick Beuckels, and performed an arrangement of Haydn's London Symphony.
Masterclass piano students by Olga Pashchenko, MIRY Concert Hall (12.02.16). Photo: Frederik Sadones
The collaboration with the Queen Elisabeth Music Chapel continued this year. The Busch Ensemble performed a memorable version of Dvorˇák's Dumky Trio, and Elina Buksha presented a programme completely devoted to French violin sonatas. The last Sunday Concerts of the year were by Federico Toffano and Francesco Corti, who performed works by Venetian composers, and Lore Binon and Inge Spinette, who premiered their new programme of works inspired by the poètes maudits. MIRY Contemporary MIRY Contemporary opened audiences' eyes and ears to the very latest tendencies in the musical field. Young duo Jasper & Jasper toyed with audience perceptions in a virtual reality filled with live electronics, instruments they built themselves, and alter egos. The well-established SPECTRA ensemble, led by teacher Filip Rathé, performed an homage to the pioneer of electroacoustic music, Lucien Goethals. This
Ghent figurehead was a teacher at the Ghent Conservatory, which gave this concert an extra touch. SPECTRA played a cross-section of Goethals' vocal works, from twelve-tone works to free atonality, with an Argentinian flair. This year, researcher Lukas Huisman tread in the footsteps of musician Ian Pace, with whom he had a masterclass last year and performed works by Finnisy and Ferneyhough. This year, it was Lukas Huisman's turn: a world premiere of work by Sorabji. For two consecutive hours, he played ‘the unplayable’, a blood-curdling and magnificent highlight of his research project at the Ghent Conservatory. The New Year's concert was played by the familiar faces of De Beren Gieren, made up of Ghent Conservatory alumni, joined on stage by former piano student Yanna Penson. Together, they enveloped their audience in impressionist atmospheres. Then, De Beren Gieren's improvisations on Claude Debussy cast completely new light on the composer's piano sonatas, interpreted by Yanna Penson. Finally, Het Collectief hypnotized their listeners with Crippled Symmetry by Morton Feldman, a visual and auditory total experience, and the GAME house ensemble joined forces with Orpheus researcher Lucia D'Errico in a project that investigated how old music literature can be reconsidered beyond the framework of historical performance practice. MIRY Vocal In the MIRY Vocal series, two homegrown ensembles found a new podium this year at the MIRY Concert Hall. The Vlaams Radio Koor (Flemish Radio Choir) took the stage no fewer than three times, presenting three exceptional worlds: a New Year's concert with American idol Eric Whitacre, a distinguished men's club complete with cognac and cigars, and the belle époque, full of burlesque songs and poetic fragility, led on two occasions by the French conductor Hervé Niquet.
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MIRY Concert hall programme 2015-2016, design by Studio Jurgen Maelfeyt
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LOD musical theatre and director Inne Goris, excelled in the opera l'Enfant et les Sortilèges. Accompanied by an ensemble of Conservatory students and teachers, the singers performed this imaginative nightmare by Maurice Ravel for a hall that was packed to capacity.
MIRY Vocal – Concert Ex Tempore directed by Florian Heyerick, MIRY Concert Hall (10.03.16). Photo: Frederik Sadones
The Ex Tempore vocal ensemble, led by Conservatory teacher Florian Heyerick, was the Baroque counterpoint in the series. Together with the Mannheimer Hofkapelle orchestra, he presented a unique score from the library of the Conservatory: Christe Redemptor, by Gossec, which was thought to be lost. It was performed together with La Nativité, also by Gossec, and Franz Beck's Stabat Mater.
Conservatory On Stage – Opera L'Enfant et les sortilèges, LOD Studio (20.02.16). Photo: Koen Broos
Teachers and students of the Conservatory gave a special benefit concert on the 21st of November 2015 in aid of the war refugees. The programme included works by composers such as Scriabin, Debussy and Mozart and was completed with the clear message: Stop the War!, a composition by Frederic Rzewski, interpreted by piano teacher Daan Vandewalle.
Conservatory On Stage – Symphony directed by Victorien Vanoosten during Project week 1, MIRY Concert Hall (07.11.15).
Conservatory On Stage In addition to its numerous internationally renowned musicians, the MIRY Concert Hall is a podium for countless projects that emerge from within the walls of the Ghent Conservatory itself. This year, these included an orchestra production led by Dirk Brossé, as well as a production with the French conductor Victorien Vanoosten, the annual choir production directed by Johan Duijck and percussion and song productions. Here, the Conservatory's student singers, together with the
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 the Ghent Festival of Flanders, the Queen Elisabeth Music Chapel and others. For the programme, see: www.miryconcertzaal.be
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Traditionally, the MIRY Concert Hall's concert season is completed only in July, after the Gentsche Festspiele, the Conservatory and Trefpunt's Gentse Feesten programme.
Last year's highlights included the performances of jazz accordionist and School of Arts teacher Tuur Florizoone in the Belvedere tower and piano concerts by talented Conservatory students as well as great names such as Claire Chevallier, Stephanie Proot and Daria van den Bercken. The festival was expanded with a series of performances by new music collective The New What Now who invited children for an actual treasure hunt in the Conservatory in search of Karel Miry's lost melody.
Gentsche Festspiele, Royal Conservatory Ghent courtyard (22.07.15). Photo: Tomas Bachot
Each year the festival includes some fixed features, such as the Gentse Vleugels and Schoonzicht series and the Chamber Music Festival organized by Trefpunt. Gentse Vleugels is a piano festival where Conservatory students and alumni perform alongside such great names as Daan Vandewalle and Geoffrey Madge. With Schoonzicht, a series of jazz and popular music concerts takes place in the Conservatory's impressive Belvedere tower. The climb up 100 narrow steps is rewarded with a beautiful view of the city accompanied by the music of our jazz, pop and music production students.
Gentsche Festspiele – Gentse Vleugels with Nathalie Matthys, KANTL (25.07.15). Photo: Thomas Bachot
Gentsche Festspiele – Gentse Vleugels with Claire Chevallier, MIRY Concert Hall (25.07.15). Photo: Tomas Bachot
But there were also exciting performances later at night: two chamber music recitals by graduating Conservatory students, for instance, or the Bonte Avonden where alumnus Fulco Ottervanger (of De Beren Gieren fame) invited guests to experiment together, resulting in a programme brimming with improvisation, dance and stormy meetings between musicians. The programme was completed with the unique performance Tips & Tricks by actress Sarah Eisa and composer Joris Blanckaert. In this music theatre 133
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production, the mechanisms of integration and adaptation were investigated; a search characterized by melancholy and activism, trust and alienation. This year we present our fourth edition of the Gentsche Festspiele. Again our students will perform in the Schoonzicht programmes and alongside great names in the Gentse Vleugels. Expected highlights are the two piano duos Daan Vandewalle and Keiko Shichijo, and Elisa Medinilla and Frederik Croene who will play contemporary pieces by the likes of Michael Beil and School of Arts researcher Daan Janssens. Geoffrey Madge performs an entire book of preludes and fugues from Bach's The Well-Tempered Clavier during two evening concerts, and The New What Now presents another children's project. The MIRY Nights are transformed into the Ochtendstond series in which young musicians (including former students Jonathan Bonny and David Makhmudov) and the WOLF wind ensemble become your wake-up service with a wonderful programme of morning concerts.
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De Bakker. The music was performed by two wayward young cellists, Jolien Deley and Artem Shmahaylo.
The New What Now is a collective of young musicians and composers who came together at the Ghent Conservatory, breaking a lance on behalf of contemporary classical music by the youngest generation of composers. Since 2015, they are in residence at the Royal Conservatory and organize concerts on our campuses in which young musicians can be heard performing works by young composers.
Gentsche Festspiele – Children’s performance De Verdwenen Melodie by The New What Now, Royal Conservatory Ghent (25.07.15). Photo: Tomas Bachot
As part of the annual Gentsche Festspiele concert series at the KANTL and the MIRY Concert Hall in the summer of 2015, The New What Now realized a production for children: De Verdwenen Melodie (The Lost Melody). With narrative, drama, theatre and live music, they took their young audiences along on a treasure hunt in the imposing castle of the 19th-century composer Karel Miry. Conservatory students and School of Arts drama students worked on the production. For Maple Mood, The New What Now brought together two dancers, seven composers and two cellists in the Zwarte Zaal. Seven inspired composers were invited to write works that reached back to the classical cello suite. These musical pieces were connected to one another by a choreography by young dancers Fée Roels and Kaatje 135
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MUSIC PRODUCTION, JAZZ & POP MUSIC The Artistic Productions of the Department of music production, jazz and pop music at the Royal Conservatory in Ghent focuses on realizing jam sessions and concerts for our musicians and producers-in-training, and the organization of study trips and master classes. Appropriate partners are sought for each initiative and our concerts and jam sessions are integrated into existing concert series at large and small cultural venues. Each year, the Ghent Jazz Festival offers coaching projects for students, as well as a performance stage. This year, the Garden Stage hosted three bands, Bardo (jazz students coached by Joachim Badenhorst), Barefoot and the Shoes (pop and music production students coached by Frederik Segers) and Seiren (music production, pop and jazz students coached by Stijn Cools).
Concert during De Nieuwelingen
The Royal Conservatory regularly works together with Trefpunt vzw, for example on De Nieuwelingen, a concert series for new bands and bands with new repertoires. This year, Trefpunt hosted Bogus, Ellen Steegen, Mauro Bentano, Dolores, Brent Beukelaer, Simon Raman, The Lighthouse, Via Maris, Walther, Umm and Lucid. Monthly jam sessions with special guests are held in collaboration with Kinky Star. This year, guests included Frank Deruytter, Bram Delooze, Ben Sluijs and Steven Delannoye. In preparation
for selections in Humo's Rock Rally, try-out concerts were organized with Banker, Leonore, Rhea, Shht, Zorro's Dirty Sister and Mahler.
Jam by Stan Maris, Kinky Star (20.04.16). Photo: Frederik Sadones
Breaking Sounds is an annual concert held in collaboration with Minard Concert Hall and the City of Ghent. Bands performing here are a step further along. From the framework of their training, we offer extra opportunities in further advancing their careers. Seiren and Milo Meskens proved resounding playbills. Unesco's annual International Jazz Day is an opportunity to put our jazz department in the spotlight, at the TUNES festival. For this year's fourth edition, a concert was organized in collaboration with UrgentFM and Muziekmozaïek at the Bijloke Studio with Steiger (with students), Compro Oro (former students) and Trio Defoort / Van Oost / Thys (conservatory teachers). Music production students were responsible for the recordings, which were broadcast by UrgentFM in their Jazz Rules programme.
Concert by Compro Oro, during TUNES, Bijlokestudio (29.04.16). Photo: Frederik Sadones
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Finally, during the Gentse Feesten, bands from the De Nieuwelingen series performed on the big stage of St-Jacobs Church, which has also hosted Faces on TV, Ides Moon, Mamzel, Seiren and the Mós Ensemble. During the festivities, students performed every day in the Belvedere tower of De Grote Sikkel – a unique venue at a great height. The city of Ghent has much to offer its students of music production, jazz & pop music. Many of our students are actively involved in the city's thriving jazz and pop scene, and the Conservatory organizes jam sessions, concerts and coaching sessions with such partners as Ghent Jazz, Kinky Star and Trefpunt. Students, alumni and lecturers all make substantial contributions to annual events, including TUNES, Ghent Jazz, and the Ghent city festival, Gentse Feesten.
Gentsche Festspiele – Schoonzicht with Tuur Florizoone, Belvedère tower (23.07.15). Photo: Tomas Bachot
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The School of Arts hosts two Project Weeks per year. The departments of music production, jazz & pop music then organize a range of master classes and field trips. This year's Project Weeks included projects with Renaat Vandepapeliere (R&S Records), Wim Thijs (AKS), Hannes Demaeyer (film music composer), Roland, Moog Synths, Otomachine, 3/4Peace, Fay Claasen (jazz singer), Simon Rigter (saxophone), Babl (Netsky Live), Eric Didden (Gentle Management) and Beo. During the Graduation Festival, all Master 2 students in jazz and pop present their final projects at the Minard Theatre. Master 2 students in music production introduce and prepare the results for the press and the public. The resulting annual Masterworks album features contributions by new graduates in the form of songs they wrote themselves. Now, with five vinyl editions with unique songs and focus on the artwork, these are becoming true collectors' items.
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Masterworks vol. 5 vinyl album cover (2016), design by Studio Jurgen Maelfeyt
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Sasha Van der Speeten (music journalist for De Standaard and music coordinator for Brussels FM) was invited to write the liner notes for Masterworks vol. 5, which we copy here: The turbulent times that our 21st century has borne us cry out for contemplation, for tranquillity and reflection. As the news media render us ever less cheerful, we want to hear no more megaphone rally calls, but wise souls who soothe and anoint, who offer glowing escapism on a silver platter, whispering that all will be well with us, with mankind. Here it is. In 2016, the music production department of the Ghent Conservatory triumphs in that state of quiet redemption. It is no surprise that it was here that such established assets as Absynthe Minded, Balthazar and Amatorski learned their trade. The producers of today and tomorrow sow liberally with melancholy introspection, with warm-blooded sounds that set deep roots. Fragility is a basic ingredient for this new generation of sound magicians. They need not deal wholesale in ballads. Take, for example, ‘There's No Room for Us to Dance’ by Naomi Bentein: muscular rock in which female voices meander through a mist of reverb. In pop music, it is best to know what you're dealing with. Bentein pays homage to recent rock history and cleverly takes over the pop vocabulary. Her song raises a fist, while at the same time keeping a clear head and an expression of dreams. We find the same fingerspitzengefühl with Nicolas Delépine and his Tyger, who have reconciled the psychedelic 70s with contemporary retro soul. We again hear, ‘We are the rootless children of our time,’ a statement also lodged in this clever pop song. It is the product of a generation for whom digital and analogue were born of the same womb. Electronics and vintage acoustics are
swiftly interlinked. How could it be otherwise in times when the music police are breathing their last breath? Everything is possible; everything is allowed. Thank goodness. But we are always taken aback by someone who has elegantly opted for simplicity and tradition. Stef Lenaerts, for example, evokes melancholy with a firm, minimalist piano and a lonely, echoing guitar. On the back seat of the song is a tender harmony, and the bass guitar peeks over the hedge at Gainsbourg. Tom Soetaert has also made optimal use of space in a pop number, with homage to the silence between the notes. Producers who understand that the absence of sound is sometimes more important than the sound an sich are few and far between. But ‘Charlie’ is a song like the tender whisper of a breeze. What does your absence sound like? It sounds like this. The compelling electronic rhythm in the tail of the number steers it into the clouds, where the lead vocals disperse in the atmosphere. There is ample escapism in ‘I just Said Hi’, by Jussi De Nys. A pretty, rolling snare drum, Bart Maris' lonely Mariachi trumpet, which manically seeks out jazz halfway through, and a hypnotic guitar riff: it's as if Calexico is making a night of it at L'Archiduc, Brussels' nest of night owl clubbers. On the other hand, anyone planning a trip across the simmering highways of America's scalding deserts in a Plymouth Fury will certainly take this along as their soundtrack. How do we get the moaners and the sceptics on our side? We exude unambiguous, unadulterated hope. Take Joren Cautaers' fragile, super cooled pop song, which hypnotizes with its merciless groove. Or Anne Van Steenwinkel, who lets in the sunlight through a thick green canopy. ‘Into the Wild’ sees her reined-in euphoria enmeshed in melancholy. Listen to those expectant keyboards and, most of all, the angelic choir, as it anticipates a refrain of power.
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Hear how the song breaks open towards the end, with tinkling cymbals and pounding drum work. The great art of omission has also duly concealed itself in ‘Tangled’, by Michaël Verlinden. It is a hollowed-out, bleached out blues song, full of clever punctuation. Powerful, provocatively slow drums carry along a vocal part doused in Weltschmerz, while keyboards colour the light of the painting, surprisingly enough, in pastel tints rather than pitch black. We hear a songwriter who is not afraid of standing naked and exposed. ‘What you see is what you get,’ which is how Verlinden succeeds in sounding well worn yet never worn out. Kurt Wagner from Lambchop would be proud of him. See here a small horde of producers for whom less is inevitably more. Do they realize the great degree to which the manipulation, the subjugation and the bastardization of sounds can make a song rise, glow and blossom? So that just a song can make someone's day, or rescue them for a moment. Or even better, so that a song can promise us that all will be well in the end.
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Since 2015, the KRAAK concert organization and experimental music label has been a resident at the Bijloke campus. Since then KRAAK organised several concerts in the KASK and Conservatory buildings. In December, at the Zwarte Zaal, they produced Grijze Zone (Gray Zone), with a line-up of musicians who have risen up from the slipstream of ‘technoise’: Lorenzo
Gray Zone, Zwarte Zaal (10.12.15), organized by KRAAK. Photo: Claire Stragier
Senni (IT), Dale Cornish (UK), Adam Asnan (UK) and Jung An Tagen (DE). Transcendental, minimal techno-beats filled the space. This year, KRAAK and KASK also joined forces to add a musical segment to the opening of the Graduation exhibition. The exhibition opened with concerts by Shetahr, Colombey and Oscar Wyers.
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FILM KASKCINEMA KASKcinema's Tuesdays are occupied by the programming of Ghent University's Film-Plateau, a series of classic films. Highlights from 2015-2016 included Sergei Eisenstein's Aleksandr Nevskiy, Roberto Rossellini's Viaggio in Italia, The Night of the Iguana by John Huston, Lars von Trier's Dancer in The Dark, Fassbinder's Angst essen Seele auf, Death in Venice by Luchino Visconti and Theo Angelopoulos' Eternity and A Day.
KASKcinema poster (January/February, 2016), design by Studio Jurgen Maelfeyt
a programme of cult, pulp and genre films. This series included Scream, Possession, several old Batman films, The Babadook, The Big Lebowski, etc.
Luchino Visconti, Death in Venice (1971), film still
Wednesday means One Shot Cinema. In collaboration with Film Fest Ghent, the cinema screens recent (festival) films not released to regular theatres, for example the Spanish love drama, 10,000 KM, Alex Gibney's documentary
Andrzej Zulawski, Possession (1981), film still
Alex Gibney, Going Clear: Scientology and the Prison of Belief (2015), film still
Going Clear: Scientology and the Prison of Belief, I Nostri Ragazzi, Tangerine and many more. New in the 2015-2016 season was KNT (Children Not Allowed),
On Thursdays, a variety of audio-visual works are presented. This year included the documentary Something Better to Come, Pedro Costa's Cavalo Dinheiro, Todd Haynes' Safe, animation shorts by KASK faculty members and alumni, Johan Van der Keuken's Amsterdam Global Village, a double bill with Felix Van Groeningen's early films, and so on.
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On 25 March, KASKcinema celebrated its 5th Anniversary with two films featuring David Bowie, the opening of CALL ME, a phone booth right outside the door which serves as a micro-cinema, and a photo exhibition in our foyer.
Opening Call Me phone booth, during KASKcinema's 5th anniversary celebrations (25.03.16). Photo: Frederik Sadones
David Lynch, Wild at Heart (1990), film still
Filmtonen is a series of silent classics with live music accompaniment by students at the Royal Conservatory. Led by Bart Maris and other music faculty, they bring new, partly improvised soundtracks to the films. Film is more than the film itself. KASKcinema welcomed Belgian and international filmmakers Simon Pummell, Gust Van den Berghe, Emmanuel Gras, Guido De Bruyn, Nina de Vroome, Jos Stelling, Zachary Formwalt and others to enrich the cinematic experience of their films. The films are often accompanied by introductions by film experts. Film is not just for adults, either. It appeals to the youngest of audiences. Every month, KIDScinema offers a thematic selection of older or contemporary shorts, and is wildly popular.
KASKcinema is devoted to screening films overlooked by the regular cinema circuit. A broad range of genres and styles includes contemporary feature films, documentaries, shorts, animation films, cult classics, audio-visual landmarks, as well as video art and experimental works. To guarantee the best that is on offer, KASKcinema collaborates with Film-Plateau UGent, Film Fest Ghent, Courtisane, Cinematek, Democrazy, Europalia, Quatre Mains, Buda and more. KASKcinema is an initiative of the non-profit Forum K and University College Ghent School of Arts. KASKcinema is supported by the Flanders Audiovisual Fund and the City of Ghent. For the full programme, see www.kaskcinema.be.
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KASKcinema also organizes events, such as Live Track Cinema, in which the boundaries between music and film or moving image are redefined. In 2016, music talents CHVE (Colin H. Van Eeckhout, of Amenra) and STUFF. were invited to do their thing in combination with visual material. Experimentation with live dance takes place on the Day of Dance – with a screening of Yuri and the Frustration of our Ponies accompanied by a dance performance in front of the screen. Other events included the Halloween Night of the Horror (in 2015 with a nocturnal walk through the Post Mortem exhibition), Night of the Palms and Goldmineties, our 1990s highlights, including screenings of David Lynch's Wild at Heart, Princess Mononoke, Pulp Fiction and many more.
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IN RESIDENCE: COURTISANE Since 2002, Courtisane has been organizing a yearly film festival in Ghent and since 2010 they organize it from their office on the Bijloke campus as a KASK resident. Each festival edition, visitors to KASKcinema, Sphinx Cinema, the Paddenhoek and the Minard Schouwburg enjoy a diverse selection of new audio-visual works, older or rediscovered films and videos by artists and filmmakers who work in the expanding field of moving image practice. This year (23-27 March 2016), the artists in focus were the English artist, filmmaker and musician Luke Fowler and the Palestinian filmmaker and writer Michel Khleifi. Fowler's 16mm films focus on communities, contrary thinkers and the history of the political left. The films by Khleifi shown at the Courtisane Festival bear the traces of turbulent times that Palestine and Israel have experienced in recent decades. In collaboration with the Vooruit arts centre, a series of performances also took place at the Minard Theatre, with Charles Curtis, Terry Jennings, Richard Youngs, Marcus Schmickler, Luke Fowler and others. Finally, the In Between Times programme presented a selection of British films that aimed to chart the changing political landscape between the mid-1970s and the early 1990s.
Musical performance by Luke Fowler in dialogue with Marcus Schmickler during Courtisane Festival, Vooruit (24.03.16). Photo: Michiel Devijver.
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DRAMA KASK DRAMA presented a full programme of performances. Among others, audiences could experience Master Projects including Plainfield (Lobke Leirens), A Fish On Animal Planet (Mourad Baaiz), Session (Mathilde Strijdonk), The Winter's Tale (Lisaboa Houbrechts), Memoria (Ilan Daneels), Über-Gang (Evelyne Verhellen), Di-visi-bi-li-ty (Sebastiaan Eggermont) and Ohne Intuition ist ein Mensch in der Dunkelheit (Mira Bryssinck).
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Young talent takes to the stage in KASK DRAMA. Budding theatre makers and performers create remarkable productions on the Bijloke campus and at various locations in and around Ghent (Campo, Minard, NTG, les ballets C de la B, LOD, Gouvernement, …). For the programme, see www.kaskdrama.be.
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Image from Atanapotininja, drama project by Julie Kurris (2016). Photo: Leontien Allemeersch
Third-year Bachelor students in drama presented their own drama projects and performed in five additional projects, in which they were guided or directed by diverse professional drama artists. These included: Medium (Eleanor Bauer), Glitter Bending Octopus (Sara Manente and Marcos Simoes), Angst und Geometrie (Marc Vanrunxt), School in Residence (Compagnie Marius & 't Barre Land), and Onder de kluiten (Marijke Pinoy).
Image from Angst und Geometrie, the result of a four-week workshop with Marc Vanrunxt (2016). Photo: Leontien Allemeersch
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balancing act. The weavings, seemingly sagging carelessly, assimilated into the climate of their surroundings.
KIOSK KIOSK opened its new season with the solo exhibition, I Stand like a Mirror before You, by the Portuguese artist Leonor Antunes (b. 1972). She used the entire KIOSK space with a specifically conceived ensemble of works. Materials such as leather, brass, Plexiglas and rope were incorporated in freestanding constructions, or folded and knotted according to traditional techniques into hanging net and grid works. New contrasts and perspectives were sought. From the vantage point of the open, semicircular space, a single glance towards the corridor oversaw the entire ensemble, while a dense network of possible lines of sight was revealed from the more enclosed cabinet rooms. Concepts of transparency and screening, rational geometry and spontaneous gravity tugged and pulled, in a delicate
Miet Warlop, performance during the opening of Crumbling Down the Circle of My Iconoclasm (27.11.15). Photo: Tom Callemin
Leonor Antunes, exhibition view, I Stand Like a Mirror Before You (19.09 – 15.11.15). Photo: Tom Callemin
The second exhibition was a two-artist presentation featuring the work of Belgian artists Miet Warlop (b. 1978) and Nel Aerts (b. 1987). Both create universes that, in various guises and with different media, leave an immediate, poetic impression. Under the title Crumbling Down the Circle of My Iconoclasm, visual and performance artist Miet Warlop presented an installation in which objects, props, gestures and performers interacted and set out an ever-changing choreography within the set chronology of the exhibition. All elements were interconnected in a spinning loop of references that took the form of a pair of revolving legs, a plaster cymbal, and a crumbling skirtshaped object revealing circles on the floor. For her Billenkoek (Spanking) exhibition, Nel Aerts assembled a new 146
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Digitalis exhibition poster, design by Boy Vereecken
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company of characters in collages, drawings, textile works and a selection of old and new paintings. During a residency at the Vincent van Gogh House in Zundert, Aerts created a new series of drawings. Zelfportretten uit Zundert (Self-Portraits from Zundert) relates a non-linear, black-and-white tale without beginning or end, in which the artist stages herself: fifty-two freeze-frames of 52 momentary moods. The drawings were flanked by two monumental selfportraits in textiles, which also served to screen the space.
Nel Aerts, exhibition view, Billenkoek (28.11.15 – 31.01.16). Photo: Tom Callemin
British-French artist duo Daniel Dewar (b. 1976) and Grégory Gicquel (b. 1975) brought together a series of sculptural representations that formed a landscape charged with meaning under the title Digitalis. The title is the botanical name for the foxglove plant; ‘digitalis’ meaning ‘of the finger’, a reference to the shape of the flower. The floral motif of the purple digitalis flower was repeated in the details of several new works. The configuration of cypress-wood benches, ceramic feet and boots, an oak trough and embroidered flowers and moths could be seen as a reflection of a contemplative perambulation through a rural environment, a simulacrum that evokes idyllic life in the countryside. Dewar & Gicquel's use of local materials and subjects also attached a reference to their personal working environment, rural Brittany, to Digitalis.
Daniel Dewar & Grégory Gicquel, exhibition view, Digitalis (13.02 – 10.04.16). Photo: Tom Callemin
KIOSK invited German artist Peter Wächtler (b. 1979) to create the season's final exhibition, and the image and sound of his Untitled (2014) video work took centre stage at KIOSK. Trumpets reverberated throughout the space, as a boat glided through a flat expanse of water. Majestically, they introduced the narrator, addressing us with a monologue. From a helicopter perspective, we slowly followed the winding river as it led into the city, with the narrator relating a stream of anecdotes. In search of meaning and sense, he meandered from fantasy to absurdity, finally flowing into a nine-page oration. There was a disconnection between text and image, between action and non-action: personal, every day micro-narratives were combined with anonymous macro-level visuals of a big city. In the exhibition, 9, Wächtler called forth visual language and verbal images. His narratives are translated in various media, including drawings, animations, sound works and, as was the case here, film and sculpture. His complex, fantastic plots create an atmosphere of humour, satire and alienation.
Peter Wächtler, exhibition view, 9 (23.04 – 12.06.16). Photo: Tom Callemin
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KIOSK is an initiative for contemporary visual art, organizing a diverse exhibition programme with emerging and established artists, with strong emphasis on the creative process and the artist's individual trajectory. Each year KIOSK hosts four exhibitions in the KASK exhibition space. KIOSK began in a small glass pavilion, but since 2010 has been permanently housed in a former anatomical theatre on the Bijloke campus. KIOSK is an initiative of the non-profit Kunstensite organization and University College Ghent's School of Arts. 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.
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VISUAL ARTS IN THE ZWARTE ZAAL The Zwarte Zaal is now thoroughly integrated into the daily comings and goings of the KASK/School of Arts. More and more students, faculty, researchers and external partners are finding their way to the Zwarte Zaal in order to organize their own projects and exhibitions there. At the beginning of the academic year, Philip Hugyhe and Catherine Willems each had a solo exhibition to complete their PhD projects. Huyghe's Villanadine/ Villanadien exhibition included his polyptych VillaNadine and two new works that further investigated the idea of the ‘in-between space’: the video work De Anatomie van de Verbeelding (The Anatomy of Imagination) (2014/2015), with the Cirque anatomical theatre and KASKgalerie as his subject matter, and the maquette and video work, The Blue Grotto (2015). In her The Re-birth of Footwear exhibition, Catherine Willems presented the core of her research: sandals, shoes and boots inspired by traditional, indigenous forms of footwear. Hand-made traditional footwear was shown alongside adapted designs, hybrids produced in Portugal, as well as 3D-printed products and experiments, and other tools with which they were produced. For many students, exhibitions in the Zwarte Zaal provide a perfect opportunity to present their work to the public. This year, exhibitions, jury and presentation events were initiated from the studios in fine arts, animation film, drawing, photography and drama, as well as the applied arts. For example, the exhibition Een Continu Uur was a collaboration between teacher and artist Honoré δ'O and installation art students. The process-oriented presentation led up to a performative moment of one hour. Part of this performance was the VIBRATIONS OFf the Format book launch, realized in co-operation with KASK/School of Arts and Kristof
Image from Een Continu Uur, performance with Honoré δ’O and installation art students during the opening of the exhibition, Zwarte Zaal (29.10.15)
De Clercq gallery. Under the title Wall Drawing Experiment #3, bachelor students in drawing took up the challenge, now for the third time, of using the six movable walls of the Zwarte Zaal as their canvas or background for a threedimensional intervention. Moving On was an exhibition and film programme with KASK animation film alumni. The combination of these two initiatives sought the field of tension between cine ma and the museum context. The fact that animation can take on extremely diverse forms was illustrated in works by Rob Breyne, Tom van Brugghe, Steffie Van Cauter, Pieter Coudyzer, Luc Degryse, Simon Lynen, Thomas Peters, Diane Rabreau, Rijsbrecht Verschaffel and Evelyne Verschoore.
Exhibition view, Wall Drawing Experiment #3, Zwarte Zaal (13.02 – 14.02.16). Photo Niloufar Nematollahi
The department of fine arts also used the Zwarte Zaal for experimentation and feedback in intermediate or final pre sentations. Ideas were translated into physical shape and presentations suited to the space, and new confrontations 150
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Exhibition view, Zonder Werkschoenen, Zwarte Zaal (18.03 – 20.03.16). Photo: Gilles Dusong
with fellow students were put to the test. Six third-year bachelor students in sculpture presented their most recent work in the exhibition Zonder Werkschoenen, and that was followed by Please stay in an orderly fashion, the work of second and third-year bachelor students in installation art, in dialogue with one another. Under the umbrella term Tryouts, workshops about presentation and trial arrangements took place together with Simon Delobel (Trampoline Gallery).
Exhibition view, Fixatif, Zwarte Zaal (06.11 – 29.11.16). Photo: Henri Jacobs
Exhibition view, Please stay in an orderly fashion, Zwarte Zaal (08.03 – 12.03.16), with a work by Linde Dumolein. Photo: Martijn Petrus
The Zwarte Zaal is not affiliated with any one department, which explains why it is host to so many encounters in various disciplines, media and working methods. The Fixatif working group, for example, was set up to organize an eponymous exhibition about drawing today, including all the different departments of the School of Arts. This enabled the students to transcend the limits of the various art disciplines. For drawings, a fixatif or fixative is a
Another interesting collaboration was the exchange project with the Art Academy of Münster, Germany. Amongst other things, this resulted in an exhibition at the Zwarte Zaal with work by students at Münster and KASK, and teachers Henk Visch and Stefaan Dheedene (more information on page 155). Since 2011, the Zwarte Zaal multifunctional space on the Bijloke campus hosts numerous artistic productions each year. The Zwarte Zaal has no strict programme, making it able to respond to the educational and artistic needs of the visual and audio-visual arts programmes, as well as colla borations with other art schools and cultural organizations.
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liquid sprayed on to a pastel or charcoal drawing to protect colours and prevent smudging. Generally, a fixative is used to preserve or stabilize biological material prior to microscopy or other examination. Fixatif became a fascinating, changing exhibition of a huge number of drawings selected from all the different disciplines, aimed at presenting the countless qualities, functions, and forms of drawing. The exhibition was a continuum, switching faces over the days with constantly changing presentations in a variety of accents. Fixatif took place concurrently with The Bottom Line exhibition at S.M.A.K. in Ghent and the Salon Fixatif lecture on drawing.
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MAP MASTERS PROJECTS SPACE During the academic year, the following 13 Master's Projects were presented in the glass passageway adjacent to the Zwarte Zaal, known as MAP, the Masters Project Space: Master's Project #35 (21.10 – 01.11.15) In Acte I: Phenomena, photographic work by Lore Horré and Elies Van Renterghem (master of photography) became three-dimensional, made-tomeasure for the glass corridor with the help of photo strips on plexiglass and paper, as well as video. Master's Project #36 (05.11 – 22.11.15) Voorbij de begrenzing (Beyond the Barrier) was a work in progress by textile design master student Leda Devoldere. A colourful collage evolved, made of adhesive foil, wood and fabrics, whose reflection reached beyond the barriers of the walls, the floor and the glass.
by Elleke Frijters & Fenna Van Espen took over the MAP space. Their materials and textures contrasted with the grey concrete, the clean glass and the cold steel, as if they had arrived from some other universe. Master's Project #39 (28.01 – 07.02.16) Eva Claus (master of photography) developed her fascination for water, which for Hierro, she attempted to translate into linguistic, photographic and filmic forms, with a quote by Robert Bresson at the back of her mind: ‘Traduire le vent invisible par l'eau qu'il sculpte en passant.’
Eva Claus, poster image Hierro (28.01 – 07.02.16)
Master's Project #40 (12.02 – 21.02.16) Vazengänk took the glass corridor itself, and how we see it, as its subject matter. After sundown, eight vases appeared on eight plinths. Graphic design students Hermine Cooreman, Jade Kerremans, Niek Pladet, Ferre Marnef, Mats Minnaert, Amina Saâdi, Emma Vanhille and Helen Van de Vloet each presented one of the vases. Leda Devoldere, exhibition view, Voorbij de begrenzing (05.11 – 22.11.15)
Master's Project #37 (27.11 – 08.12.15) Reinout Dewulf and Roeland van Trigt, master students in multimedia design, reconstructed the corridor into an artistic miniature golf course, called The Rising Hope. For a few euro coins, visitors could investigate the course, discovering that the four handmade golf courses were conceived more as dysfunctional installations. Master's Project #38 (09.12 – 20.12.15) With Invasie (Invasion), the sculptures
Exhibition view, Vazengänk (12-21.02.16)
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Emily Lefebvre, poster image Opening (25.02 – 02.03.15)
Master's Project #42 (07.03 – 15.03.16) Marthe Coolens (photography) and Simon Malotaux (multimedia design) sought a collaboration that resulted in experiments with the aesthetics of mechanics and online image search engines. Meets the Eye revealed the unexpected beauty that this can excavate. Master's Project #43 (03 – 05.16) With OCUPAI, Anne Marie Sampaio (fine arts) presented an intervention that was made up of three actions spread over three months, in which the public experienced the space in three different ways: through 100 bicycles, a group of dancers, and herself.
Master's Project #44 (14.04 – 24.04.16) The Zwart Wild artists collective took over the MAP space with Dit is ons domein (This Is Our Domain). They explained the nature of their occupation with the words of Georges Perec from his book Species of Spaces: ‘Leaving an apartment. Vacating the scene. Decamping. Clearing up. Clearing out. Making an inventory, tidying up, sorting out, going through. Eliminating, throwing away, palming off…’ Master's Project #45 (04.05 – 15.05.15) Emilie Neyt and Maxime Thys (fine arts) created a dialogue in the glass corridor, entitled Materiality. Both artists study and reshape everyday tactilities and materials. In the corridor, the working methods they used shifted almost imperceptibly into one another. Master's Project #46 (17.05 – 24.05.16) Naar goede gewoonte (According to Custom) followed Achiel Buyse's (fine arts) investigation of lost traditions and customs in Belgium. For the presentation, he used a farm bell to announce the rhythms of the school day. Master's Project #47 (30.05 – 05.06.16) Tomas Bachot questioned his own position and by extension that of the documentary photographer in his project Those who eat fish from the cyanide lake improve their sex life. For his case in point, he took the gold mines of Romania and their inhabitants and occupiers. The MAP Masters Project Space was set up in 2012 as an additional platform for the work of master students in fine arts, multimedia design, photography, film and film animation, graphic and textile design. The glass passageway of the Cloquet Building has to date been the setting for 47 public presentations and transformations.
Exhibition view, OCUPAI Action 1 (17.03 – 21.03.16)
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Master's Project #41 (25.02 – 02.03.15) While animation films by alumni were being shown at the Zwarte Zaal, several master students in animation film presented drawings, paintings, video works and sculptures. Opening included work by Filip Anthonissen, Jasmijn Cedee, Emily Lefebvre, Vincent Lynen, Joke Van den Hof and Yorick Van de Walle.
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HET TEKENINGENKABINET
L'INTERNATIONALE ONLINE PLATFORM AND LECTURE SERIES
Het tekeningenkabinet (the drawings cabinet) is a new exhibition initiative of the drawing studios, focusing on a certain facet of drawing, two times each year. Every visual arts product or practice was at one point first seen in the form of sketches, scribbles and drawings. These activities are the very foundation of visual thinking, but they often disappear into the background when the artist presents the ‘finished’ work. By organizing exhibitions that are specifically concerned with drawing, one can keep track of this often unseen aspect of the artistic process. The small and closed character of the exhibition cabinet, the space in which the exhibitions take place, is ideal for showing the fragile and unpolished aspects of these preliminary processes.
During the spring of 2016, L'Internationale and KASK organized a series of lectures on the theme of ‘Art and Countercultures in the 1980s: The Beginning of Today’. Prominent speakers came to the Cirque auditorium to talk about this theme: Borut Vogelnik, artist and member of IRWIN (Ljubljana); Nav Haq, curator at M HKA (Museum of Modern Art, Antwerp); Teresa Grandas, curator at MACBA (Barcelona); and Muntadas, artist (New York).
Lecture of Teresa Grandas (curator, MACBA), at Cirque (11.04.16). Part of the seminar The 1980s. Today's Beginnings? Photo: Ma Dolors Tapias
L'Internationale is a confederation of six major European modern and contemporary art institutions and partners whose current project is the five-year programme entitled The Uses of Art – The Legacy of 1848 and 1989 (2013-2017). One of the main sites where research and debate related to this project takes place is the newly developed publishing platform, L'Internationale Online. This online platform – www.internationaleonline.org – is co-ordinated by KASK and was launched in 2015.
Exhibition view, het tekeningenkabinet #1: Tipping Point III (26.02 – 13.03.16). Photo: Stephane Vervaeke
The first edition of het tekeningen kabinet, Tippingpoint III, was designed and organized by three multimedia design students: Leontien Allemeersch, Tessa Wilders and Stéphane Vervaeke. In November 2016, sculpture students will design an exhibition concerning the relation of drawing practices and sculptural investigation. Graphic design students will take on the responsibility of the third exhibition in the series.
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Exchange Project with the Münster Academy of Fine Arts For the second time, KASK worked together with the Art Academy in Münster, in two exchange projects. In February, our master students were invited to present their works at Rundgang 2016. The annual Rundgang can be compared to our final graduation exhibitions. Artist and teacher Stefaan Dheedene curated the exhibition Zum ende, eben der versierteste Zuschauer seiner Rundgang in dem Vorlauf verlassen würden, with works by master candidates in fine arts and graphic design (Nicolas Bal, Tim Bruggeman, Giammarco Cugusi, Emilie Neyt, Maxime Thijs, Elian Stolarsky and Fenna Van Espen). The second segment of the exchange took place on our campus during the open house, for which the Münster and KASK students, together with teachers and artists Henk Visch en Stefaan Dheedene, presented the exhibition, Dit betekent dat zelfs de bewandertste Kijker crashen op halverwege zijn Tour.
Exhibition view, Zum ende, eben der versierteste Zuschauer seiner Rundgang in dem Vorlauf verlassen würden, Münster Academy (04.02 – 07.02.16). Photo: Stefaan Dheedene
The exhibitions were not based on a specific concept. All master students in fine arts were free to apply, with the emphasis on three-dimensional work. Faculty member Stefaan Dheedene phrased its evolution as follows: ‘This exchange with the Art Academy of
Münster began a few years ago, on the initiative of artist Guillaume Bijl. I made an exhibition in Münster and he did the same for our Zwarte Zaal. Bijl retired shortly thereafter and passed the project on to Henk Visch. The principle is simple: creating an exhibition with diverse students who are guests at an art school. It was a bit of an adventure, given that even our own students did not always know one another's work. We constructed the exhibition around the students' works, not a preconceived concept. Students need to engage in a discourse with each other, learn to understand each other's work.’
Exhibition view, Dit betekent dat zelfs de bewandertste Kijker crashen op halverwege zijn Tour, Zwarte Zaal (17.04-19.04.16). Photo: Sarah Jupea
Post Mortem The Post Mortem exhibition took on the confrontation with the dead body from the perspective of a dialogue between the sciences and contemporary art. The boundaries of the taboo were tested, as was the fine line where fascination and repulsion flow into one another. The concept came about through a collaboration between the Ghent University Museum and KASK/School of Arts of University College Ghent and the travelling art exhibition, Fabrica Vitae. The exhibition took place between 16 October and 20 December 2015, at two geographically close locations: the Rommelaere Institute at Ghent University, which until January 2015 housed their department of forensics, and Cirque, the former anatomical theatre of the newly restored Cloquet Institute. 155
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Poster image exhibition Zum ende, eben der versierteste Zuschauer seiner Rundgang in dem Vorlauf verlassen wĂźrden, design by Tim Bruggeman
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In the framework of Post Mortem, KASK proposed two presentations at Cirque. In the cabinet, Tekenen na Vesalius (Drawing after Vesalius) presented a diverse selection of works, drawing methods and media, reflecting the context of the specific time period and academic culture in which they came about. Framed anatomical figures are part of the rich collection of 18th, 19th and 20th-century academic drawings in the School of Art's archives. Chronologically arranged drawings gave a picture of the evolution of anatomical drawing, a skill that is still taught at KASK/School of Arts today. The series of 19th and 20th-century musclemen by primus students moved on to contemporary work, such as anatomical sketches made by KASK students during the Dissection Drawing Days workshop, led by teacher and artist Geert Clarisse. In addition, ten KASK students were further inspired by the seven-volume anatomical reference work, Fabrica, by Andreas Vesalius. The auditorium saw the work Atlas for Animate Bodies – Volume One, by artist Simon Pummell come to life. X-ray beams, medical scans and routine airport screenings make our bodies transparent. We move through the world like living anatomies. The installation turned digital animations with traditional figure drawings into a new atlas of the human body. The presentation was an initiative of the Cœur Volant platform for the animated image.
The context of Post Mortem also occasioned several lectures and a film evening. In collaboration with KASKlezingen, Eleanor Crook spoke about her wax works and anatomical sculptures. There was a public brain dissection at Cirque, conducted by professors of anatomy Katharina D'Herde and Paul Simoens, and preceded by a lecture by curators Chantal & Pascale Pollier. Simon Pummell gave an illustrated lecture about his project at KASKcinema, followed by a screening of his film Body Song. KASKcinema set its traditional Night of the Horror in the context of the human body with the presentation of two unforgettable horror films.
Exhibition view Post Mortem (16.10-20.12.15), video installation by Simon Pummell, Cirque. Photo: Clara Hanssens
The Governor's Mansion 2016 In the spring, the second edition of The Governor's Mansion took place, in which six young artists, all recent graduates of KASK and LUCA, responded to the invitation of Jan Briers, Governor of East Flanders, to engage in a dialogue with his official residence at the Ghent Vlasmarkt. This second edition, A Perfect Storm for Business, brought together artists Sidney Aelbrecht, Ingeborg Deglein, Alejandra Hernández, Julie Lesenne, Rachel Monosov and Matthias Nuytten. They began a dialogue with the symbolic character of the governor's residence, which, as they say, ‘offers shelter to exceptional opportunities for conducting unusual business’. 157
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Exhibition view Post Mortem, Cirque (16.10 – 20.12.15). Photo: Clara Hanssens
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The exhibition was a joint effort of the Province of East Flanders' Department 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.
Exhibition view, The Governor's Mansion (11.03 – 17.04.16), detail of Het magisch theater by Sidney Aelbrecht (2016). Photo: Thomas Nolf Exhibition view, The Governor's Mansion (11.03 – 17.04.16), detail of Two Big Pinks by Alejandra Hernandez (2016). Photo: Thomas Nolf
A Perfect Storm – an exceptional combination of circumstances – raised both challenges and questions for the young artists. Their search led them to works of art that held both similarities and contrasts, as well as stormy encounters. Furniture and works of art were removed, with the exception of a few specially selected paintings, tables and chandeliers. This was done from the conviction that empty spaces – the uncovered, shiny floors and marks left on the walls that consequently became visible – also have their own stories to tell. They were silent witnesses to the fact that the space was both a living and working space, as well as a temporary exhibition space, and is owned by both the Flemish authorities and the Belgian federal government. They removed the royal portraits and the series of flags that, according to protocol, adorn the interior and the façade. In their place, they hung their own ‘neutral’ flags and painted portraits of Adam and Eve. The artists were selected by Liene Aerts, Wim Lambrecht and Wim Waelput.
TUMULTINGENT#4 @ KASK This year, the fourth edition of TUMULTINGENT by UrgentFM took a completely different direction. The festival expanded from one to 3 1/2 days (24 – 27 March 2016) and selectively chose its central locations. For the fourth consecutive year, KASK was a partner in the event and produced an arts festival in its own right. It included tours and exhibitions by Daniel Dewar & Grégory Gicquel in KIOSK and film presentations at KASKcinema, while Jenz Burez took over the glass corridor for a series of trial arrangements in preparation for his new film, and Katja Ebbel Frederiksens also presented a work in process, in the form of a perpetually growing installation of handmade paper, at Cirque. For the four days of TUMULTINGENT, the Zwarte Zaal functioned as a temporary creative network, a working and exhibition site, both behind and in front of the curtain. In-between moments and transitional stages that normally remain unseen were part of The Green Room. The title is understood in show business as the place where 158
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performers wait, before or after their stage appearances. Here too, artists and works of art temporarily gathered, as their practices expanded and became part of a collaborative network. The Green Room presented itself as a script with different presentations of work by twenty young artists, students and alumni. Seven exhibitions spread over four days inhabited four different exits and entrances. The Green Room was organized and designed by Marthe Coolens, Rachelle Dufour, Lore HorrĂŠ, Elies Van Renterghem and Mira Verstraeten, in dialogue with the artists.
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Public Poster Program # 04 with Thomas Bayrle, Cowboy, Montana Kid (red/blue) * – Cowboy Death Valley (black/yellow)* (March 2016). Photo: Thomas Min Exhibition view, The Green Room, during the TUMULTINGENT#4 festival, Zwarte Zaal (24-27.03.16). Photo: Thomas Min
Public Poster Program Public Poster Program is a one-year exhibition programme initiated by MOREpublishers, consisting of 12 individual contributions (for example Robert Barry, Thomas Bayrle and Jonathan Monk). Each month of 2016, an artist is invited to develop a work, a large industrially screen-printed poster. Over the course of 2016 these posters will be on view, one by one, in officelike metal and glass display cases in public areas. These displays function as an autonomous exhibition space with a regular time-based programme. The first display cases are installed at the entrance hall of KASK, Ghent, the front window of MuZEE, Ostend and at the bar of M HKA, Antwerp. Over time more display cases will be installed in Belgium and abroad. The programme/exhibition is on view simultaneously, in different places. 159
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founders invite eminent contemporary designers to express their personal vision of the state of design today. Both the Maarten Van Severen Foundation and KASK seek to promote reflection on design. In addition, both institutes consider it important to test the oeuvre of Maarten Van Severen against the work of his contemporaries and thereby examine the relevant influences and collaborations.
MAARTEN VAN SEVEREN CHAIR 2015 In 2015, the Maarten Van Severen Foundation and the Department of Design at KASK/School of Arts Ghent established the Maarten Van Severen Chair. Each year, the chair is held by an international authority in the world of design who has an affinity for the work of Maarten Van Severen. The first of these were the French brothers Ronan and Erwan Bouroullec, active as a design team since the 1990s. As did Maarten Van Severen, they have had a long-term working relationship with the Swiss furniture manufacturers, Vitra. Despite the generation difference, their work has shared elements with that of Maarten Van Severen, not least the directness of their formal language, as well as their preference for modular systems and their appreciation of the ‘nomadic’ character of furniture, their backgrounds in the arts and their feeling for both industrial and handcrafted production processes. The 2016 Maarten Van Severen chair will be held by the German designer Konstantin Grcic. The Design Museum Ghent and the Archipel architectural association are permanent partners for this initiative.
Maarten Van Severen signing .03 during the launch, 1998. © The Maarten Van Severen Foundation
February 21st 2015 was the 10th anniversary of Maarten Van Severen's death. In establishing this chair, the
Ronan and Erwan Bouroullec with Vegetal Chair. © Studio Bouroullec
Over the past year, the Bouroullec brothers gave two lectures and a master class in the context of the Maarten Van Severen Chair. In the lectures, they presented their own work and illuminated a number of aspects, making use of the Maarten Van Severen archives preserved in the Ghent Municipal Archives. They then held a three-day master class for 12 design students at Belgian and other design schools (Aalto University in Finland, Universität der Kunste Berlin, La Cambre in Brussels, KASK, the Design Academy Eindhoven and Royal College London). For more information: www.mvsc.be.
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Ronan & Erwan Bouroullec
lecture 19.11 Miry dialogue 01.12 Cirque
VU: Wim De Temmerman, Jozef Kluyskensstraat 2, 9000 Gent Grafisch ontwerp: Studio Jurgen Maelfeyt
een initiatief van
in samenwerking met
tickets en info: schoolofartsgent.be aff_mvs_A2.indd 1
28/10/15 15:45
Bouroullec lectures poster (2016), design by Studio Jurgen Maelfeyt
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KASK LABEL – EXTRA MUROS In the coming year, as a platform presenting the final projects of design students to the broader public, KASK Label will be reaching out to an international, more specialized audience by taking part in the Dutch Design Week in Eindhoven. Dutch Design Week is a major, large-scale event in which the city of Eindhoven becomes the European Union's centre of international design for nine full days. At the design fairs, several exceptional student projects will be promoted. Hereby, KASK Label focuses primarily on more experimental and interdisciplinary works, well-developed projects that distinguish themselves from others.
Femke De Vylder, Little UFO, 2015
KASK Label presents a selection of design products created by design students. Through a learning-bydoing approach, the platform aims to stimulate students and graduate researchers, both individually and collectively, to reflect on design in marketing contexts, developing creative entrepreneurial skills. KASK Label is an initiative of KASK/School of Arts Ghent and the Centrum voor Ondernemen (Centre for Enterprise).
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The Meet Agree Build participation project was built on a simple idea: take the metaphor of building a new society literally, and together, build a new city, with wooden blocks. How does it work? Two people, a refugee and a local resident, meet each other for the first time at the Refugee Centre in Doornzelestraat, Ghent. Together, they take a tram to the Huset coffee house in the Hoogstraat, where a big wooden table and wooden blocks in different shapes invite them to think about the important decisions made by the architects of the new city: What, for you, is an important public space? Where exactly would you like to live? What cultural and social services do you think are necessary? The two participants have to discuss and agree on their answers before the wooden blocks can be glued to the table. They then build their new city. More importantly, new meetings between people and new dialogues have taken place. Creating a work of art together proved a fertile ground for truly social interaction. Building with blocks is never just childish and meaningless play‌.
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MAB participants Mia and Adnan after the build
took part: Pieter Dewulf, Fien Dezwaef, Anse Heestermans, Dennis Janssens, Marijs Kempynck, Felix Vandenbroeck. Antonin De Kimpe, Ruben D'hont, Kristof Van Gestel, Elly Van Eeghem, An De bisschop and Catherine Willems. Clara Vankerschaver initiated and supervised the project.
Work made by all MAB participants
The project was part of two courses at the School of Arts: a master seminar on participation and the arts, with various staff members, and a socio-artistic project for teacher training at the School of Arts. The following students 163
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OPEN DESIGN COURSE This year, KASK School of Arts Ghent initiated and offered a new, eightweek Open Design course for asylum seekers and refugees currently staying in Belgium. The course focuses on Open Design approaches in media, product and systems design, following a method of collaborative creation and peer learning, with an emphasis on technological and new media literacy. The course theoretically and conceptually contextualizes Open Design as an innovation practice and a practice of artistic expression, as well as a practice of civic engagement. This course introduced and discussed a broad spectrum of tools and methods and their underlying narratives. For this project, Open Design is approached as a potential basis for various related fields in art and design. Open Design is the development of objects, communication media or systems through the use of publicly shared design information, alternative design methods and/or open tools for design. It is a heterogeneous field closely tied to the socio-technical implications of the internet (e.g. peer-to-peer processes), and tools of digital creation and fabrication. It can be situated as much in the realm of applied design as in experimental media art or the broader context of online or network culture. As a cultural phenomenon, it can also be seen as a field of discourse, critically expanding our notion of design and conceptions of society. Beginning in May 2016, these students studied the subject of Open Design both as a technological and as a cultural, artistic or critical practice. For more information, see: www.opendesign.schoolofarts.be.
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people involved with historical gardens and parks in Flanders.
Our professional bachelor programmes in Interior Design and Landscape & Garden Architecture organize symposia focused on specific themes, initially responding to specific audiences, both internal and external, but at the same time welcoming the wider, interested public. Duurzame Dagen Symposium During the Project Week in March 2016, Interior Design and Landscape & Garden Architecture organized a series of lectures, workshops and visits focused on ecologically responsible and sustainable design and execution, called ‘Duurzame Dagen’ (‘Sustainable Days’). The symposium centred on sustainability in landscape and architectural conversions. Concrete examples of re-use and repurposing were an important source of inspiration. Thomas Van der Velde, head of the training programme committee for interior design, summarized the aim of this project: “As an educational institute, we feel the need to familiarize our future designers with the more fundamental principles of ecology and sustainability. With this initiative, we do not only hope to inspire them, but to shape them into designers for whom the sustainable use of location and landscape becomes a natural reflex, even an axiom.” Erfgoed & Ontwerp Study Day On 29 April 2016, the department of Landscape and Garden Architecture held a Study Day with the theme, ‘The Green Patrimony of Flanders: The Future of the Past in Design’. The intention was to assess the actual design of private and public gardens, parks and specific landscapes as public heritage. The question of how landscape architecture can be created and grow out of both its visible and its invisible past was discussed. The lectures were intended for professionals and
Lecture during the Heritage and Design symposium, Cirque (29.04.16). Photo: Luc Deschepper
The structure for the lectures was gleaned from the various steps in the process of a design project: research, design, execution and management. After the welcome by dean Wim De Temmerman, and the introduction by the head of the practical studios Rik De Vis, the first lecture concerned the opening up of our patrimony in a broad sense. Kristl Strubbe (general director of Herita) spoke about ‘Open Monuments: the Importance of Opening Heritage Sites.’ The added value of concrete information research about terrain was illustrated by Steven Heyde (landscape architect and researcher). He indicated the wealth of information that came to light during the analysis of historic castles and parks in the southern Westhoek. The two following talks dealt with the relation between heritage and design practice. Andy Malengier (landscape architect) discussed the beauty and spirituality that heritage radiates, and Paul Deroose (landscape architect) addressed the challenge of extending the timeline of heritage in the context of legal restrictions. The final talk was about the management and layout of heritage sites. Thomas Van Driessche and Paul Van den Bremt (researchers at the Agentschap Onroerend Erfgoed, and authors of Methodologie voor het beheer van historische tuinen en parken in Vlaanderen) ensured a historical grounding.
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Stefan Beyst, with Studium Generale (08.03.16); artist duo Irene Kopelman & Praneet Soi (10.03.16); artist and KASK faculty member Kristof Van Gestel, concurrent with the opening of the exhibition Een plank met 10 boeken
KASKLEZINGEN LECTURE SERIES This year's lectures included: filmmaker and artist Simon Pummell, together with KASKcinema (05.11.16); curators Chantal & Pascale Pollier, with a public brain dissection by anatomy professors
A public brain dissection by professors of anatomy Katharina D'Herde and Paul Simoens, part of the KASKlezingen & Post Mortem collaboration, Cirque (12.11.15).
Katharina D'Herde and Paul Simoens (12.11.15); sculptor Eleanor Crook (19.11.15); Salon Fixatif, a discussion about drawing, with practitioners from various disciplines, coinciding with the Fixatif exhibitions at KASK and The Bottom Line at S.M.A.K. (26.11.15); artist Christian Falsnaes, together with KIOSK (03.12.15); author David Grossman at the MIRY Concert Hall, with Studium Generale (08.12.15); theatre maker Lotte van den Berg (17.12.15); artist Jelena Juresa in conversation with Pieter Vermeulen (21.01.16); the debate, ‘Art and reality in Palestine and Israel’, with Annelies Devet, Frank Ostyn, Lukas Pairon and Phara de Aguirre, in collaboration with Broederlijk Delen (28.01.16); a conversation about art and protest in Palestine with Els Roelandt (editor of KASK & Conservatory) and Samah Hijawi (researcher and artist), in collaboration with Broederlijk Delen (11.02.16); film presentation of The Wanted 18 directed by Amer Shomali, with KASKcinema and Broederlijk Delen (18.02.16); abstract film and kinetic installation artist Joost Rekveld (03.03.16); author
Kristof Van Gestel’s book shelf (after Joe Scanlan), as presented during the Een plank met 10 boeken exhibition, coinciding with his KASKlezingen lecture, Cirque (17.03.16). Photo: Tom Callemin
(17.03.16); dramatist and KASK faculty member Bauke Lievens (14.04.16); Guido De Bruyn, who makes programmes and documentaries on art for Flemish Radio and Television (VRT), with KASKcinema (21.04.16). KASKlezingen is a platform for reflection on design, fashion, visual art, 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 their audience. For the full programme, see: www.kasklezingen.be.
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STUDIUM GENERALE For this year's theme of ‘Me, Myself and I: Over identiteit’ (About Identity), ten international experts were invited to reflect about the question of who or what are ‘I’, ‘self’ and ‘identity’, each from the standpoint of their own disciplines. How do you define your cultural identity? What is your ‘iDentity’ or digital identity, or your gender identity, your social identity, your genetic or other kinds of identities?
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David Grossman (08.12.15); writer Annelies Verbeke (09.02.16); director of the RHEA expertise centre at the VUB (Brussels Free University), Gily Coene (23.02.16); author Stefan Beyst (08.03.16); professor of psychiatric epidemiology Jim van Os (22.03.16); and journalist and writer Frank Westerman (12.04.16).
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Studium Generale is University College Ghent's podium and forum for students, teachers and interested parties to reflect on society, art, culture and science. This is based on ten lectures per year, organized around a given theme. The contents and organization of the Studium Generale lectures are further developed by the School of Arts. For the full programme, see: www.studiumgent.be.
Studium Generale lecture by David Grossman, MIRY Concert Hall (08.12.15). Photo: Frederik Sadones
The ‘Me, Myself and I’ lectures included writer and essayist Yves Petry (06.10.15); literary translator and theorist Els Snick (20.10.15); a conversation between media maker and philo sopher Paul Bottelberghs and singersongwriter Zem (03.11.15); writer Fikry El Azzouzi (17.11.15); professor of clinical psychology and psychoanalysis Paul Verhaeghe (01.12.15); writer
Studium Generale lecture by Stefan Beyst, MIRY Concert Hall (08.03.16). Photo: Stijn Heyvaert
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LECTURES AND SYMPOSIA IN THE ZWARTE ZAAL Between exhibitions, the Zwarte Zaal is also the setting for public events, including conferences, lectures, networking moments, symposia and study days. An example is the Portfolio Master Class, for which KASK served as host. This interactive learning and networking moment for beginning creatives was initiated by Generation M and Ministry of Makers. Students of graphic design, digital design and illustration at KASK and LUCA received hands-on advice from experienced experts. And on April 9, the annual Philosophy Day was organized on the Bijloke campus for the second time. The theme of ‘Across the Border’ was explored in lectures, debates, screenings and workshops. We also organize our own symposia, like the Kiezen voor kunst Study Day:
During Philosophy Day, Zwarte Zaal (09.04.16). Photo: Tim Deschaumes
‘Kiezen voor kunst’ (Deciding on Art) after secondary school was the subject of a Study Day held on 8 December 2015. It centred on those who facilitate taking that step to a higher education in the arts: teachers and mentors in secondary and part-time art education and organizations involved in study (re) orientation. The Study Day concerned itself with the unique character of advanced education in the arts. From the perspective of their own practices, alumni and artists spoke about the importance of a well-grounded arts education. Professionals in secondary
art education sat down with their colleagues in part-time art education and the wider workplace, in order to unravel the processes involved in education in the arts, as well as gaining better insight into the opportunities offered by higher degrees in the arts.
During ‘Kiezen voor kunst’ Study Day, Zwarte Zaal (08.12.16). Photo: Frederik Sadones
In the keynote speech, colleague and poet Paul Demets suggested that higher arts education was a reconnaissance quest, in an analogy to Robert Walser's 1917 book, The Walk. Standing in his surroundings, the walker thinks only of that environment, and all other thought recedes. For the art student, it is the same: he or she concentrates on the study of art, motivated by a certain longing for the outside world, but especially the sense of perpetually searching to be yourself, be present in the moment, in this case, the moment of creation. Afterwards, a tour of the different studios showed the participants what Walser must have been talking about. The ‘Deciding on Art’ Study Day further investigated a shared concern on the parts of young people about the decisions they make about higher education. Such initiatives as non-binding orientation try-outs help young people avoid making the wrong decisions. In this sense, for many, a career in the arts is an exceedingly rewarding one, which they should be able to embark on from the very start of their advanced education.
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LIBRARIES 1M3 — KASK ARTISTS' BOOKS COLLECTION 1M3 is the recently opened exhibition space of the KASK Artist's Book Collection, part of the KASK Library. The collection evolved in response to the lack of artists' books available to students, teachers and the wider public, and was initiated in 2001 by librarian Katia Ballegeer. In early 2005, a working group was established to develop a broader and more contemporary collection. Artists Kasper Andreasen and Sébastien Conard are current members.
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Exhibition view, De Enschedese School, ‘Front Page News’, magazine spread, 1980
1M3 is a space of just one cubic metre, dedicated to artists' books. Under the supervision of Kasper Andreasen, 1M3 houses 6 to 8 exhibitions per year, each with a different guest curator, asked to make a selection from the artists' books and present them in the 1M3 display cases. Accompanying texts, bibliographies and posters provide information about the curator's selections. For more information, see: kaskbooks.tumblr.com
Exhibition view, De Enschedese School, selected printed matter, 1976-1983
1M3 kicked off with the following three presentations: – De Enschedese School, selected by Kasper Andreasen, 03.03 – 18.04.16 – KI-KOKEKWA, selected by Henri Jacobs, 29.04 – 27.05.16 – Welcome to Imschoot, Uitgevers! selected by Joris Dockx, 03.06 – 01.07.16 169
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EXHIBITION AND CELEBRATION LUCIEN GOETHALS 2016 marked the tenth anniversary of the passing of Lucien Goethals, the composer from Ghent with an Argentine soul. As a pioneer of the new electro-acoustic music, Goethals was one of the most important composers of his generation. In commemoration, SPECTRA selected his best recordings for release on a CD that was launched during a concert. Centre for New Music MATRIX commissioned poet and musicologist Jelle Dierickx to compile a publication on Goethals' many-faceted musical personality and his life-long love of (Spanish-language) poetry and literature. The Centre mined the archives of the Ghent Conservatory library and IPEM (Institute for PsychoAcoustics and Electronic Music) and set up a modest exhibition on Goethals' life and works in collaboration with these partners. The result was presented in part on the Conservatory campuses and in part in an online exhibition. The CD and book launch, and the SPECTRA ensemble concert took place on March 23, 2016, at the Miry Concert Hall.
Lucien Goethals. Photo: Michiel Hendryckx
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portions of the collection, including a number of historical treasures, found safe haven – lions yet no mice here! – in the former gold safes of the National Bank of Belgium. In contrast to the gold standard, the value of old paper is still subject to the caprices of chance.
Running Metres by Régis Dragonetti Both the Ghent Conservatory and KASK can boast of a long history, and all their librarians have known it. Numerous in years, more numerous in books. Each new running metre that their collections consume brings the new challenge of incorporating all these titles and volumes in the appropriate manner, conserving them and making them accessible. Bookshelves can be inclined to sag and break, index cards lost, and there is always the unavoidable physical fact that full is full. For both libraries, it was time to find another arrangement, although both are still close to their old homes. With De Wijnaert and the Huis van de Abdis buildings, the movers will have walked fewer metres than the metres of shelving they are moving. Here Are Lions Hic sunt leones. Here are lions. With this slogan, cartographers of the ancient world and the Middle Ages were thrown off track when they wanted to indicate regions that had not yet been explored. Today, satellite photography has revealed most of those geographic puzzles, but for those who look deeper, exotic treasures are still there. Roos Van Driessche's team has been combing the archives for years, in order to thoroughly document the collection, but works that still await their rediscovery inevitably remain hidden away. Moving house offers an exquisite opportunity to find them. At the end of 2014, the Ghent Conservatory library moved into the De Wijnaert building. The charming but out-of-date spaces under the roof of the Grote Sikkel building were exchanged for spacious open shelving systems in which students can browse through current reference works, composer monographs or exciting contemporary titles. The older
Conservatory library, De Wijnaert (2016). Photo: Korneel Boeve
The fact that the collection includes the original score of De Vlaamse Leeuw, the official anthem of Flanders, is no longer news, but last year, teacher Florian Heyerick proved that there are other valuable cats lurking about by digging out an unknown motet by FrançoisJoseph Gossec from under the dust. It may not be an undiscovered Beethoven, but it was still a discovery of some musicological importance that should not be silently passed by. The feathers could be further raised when the score landed on the music stands of Ex Tempore and the Mannheimer Hofkapelle. Directed by Heyerick, they played an exciting late 18th-century music programme at the Miry Concert Hall, with Gossec's motet as plat de résistance.
Conservatory library, with view of Geo Verbanck’s plaster Orpheus, De Wijnaert (2016). Photo: Korneel Boeve
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Someone who spends a great number of hours in these archives is Jeroen Billiet, MA. In the course of his research into the influential Ghent horn school, he came across a treasure trove of historical documents. As he explains, he passionately paces amongst the racks and continues to point out boxes, labels, files and folders. ‘It is unbelievable, what I have found here,’ he says as he leafs through a small, elongated book. ‘This is a collection of reviews of concerts that the Conservatory Orchestra gave at the end of the 19th century. It's very interesting. The liberal newspapers, for example, were full of admiration, which says something about the political inclinations of the director at the time. And that is just the tip of the iceberg. Everything, really everything, has been saved here. At one point, it is an invoice for a violin bow or the reception desk's list of those present. At another, things are rather more juicy. I am thinking of nasty correspondence with city officials or the disciplinary files of badly behaved teachers. In other libraries, documents like these have generally been lost. They offer an almost voyeuristic insight into the music practices of the day. My colleagues in other countries can hardly believe their ears when I tell them about everything I have found here.’
Conservatory library, with view of the original vault door, revealing the building’s past as the home of the National Bank, De Wijnaert (2016). Photo: Korneel Boeve
Pigeons Were Here Until recently, those entering the Bijloke campus on the side of the STAM, the Municipal Museum of Ghent, passed a somewhat dilapidated little building on their right-hand side. In bygone times, it belonged to the abbess of the nearby Cistercian Abbey, which was located here. The building was neglected in recent years by its inhabitants, a decidedly impious family of urban pigeons. At KASK's incentive, the lion's share of the building was thoroughly renovated and made ready to provide a home for some 1800 running metres of books. Today, the façade is brighter than ever before, and the unwanted feathered friends have finally taken flight.
Restored façade of the Huis van de Abdis, Bijloke campus (2016), designed by Avapartners Architects & Planners Photo: Korneel Boeve
The abbess's residence is of course more than just a façade. In order to take full advantage of its capacity, no fewer than five different institutes joined forces in order to combine their arsenal of printed matter into what is to become Flanders’ largest arts library. First, of course, there is KASK itself, which along with its collection, provides Katia Ballegeer and Suzy Castermans and their team. A second important contribution is from S.M.A.K., the Municipal Museum of Contemporary Art. Their exquisite collection of art books, with numerous limited editions, will now be open to the public for the first time. In addition, there are also contributions from the Design Museum Ghent, the HISK Higher Institute for Fine Arts and the Ghent Guides. 172
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If the old KASK library was perhaps the more picturesque location, the Huis van de Abdis has made things a good deal more pleasant. Sara De Bondt's signposting design gives the whole a modern graphic identity. Toon Heyndrickx and his students designed furnishings in light-coloured wood, with colour tones reminiscent of the Bauhaus. The refreshing interior will undoubtedly discourage blitzkrieg air attacks, as the original gallery, now fitted with large glass windows, is a corridor filled with magazines and periodicals. The latest issue of H ART magazine can now be perused while sipping a coffee with a view of the courtyard. Those in search of peace and quiet have countless places to work. The open character of the building is further reflected in making the collection as active as possible. For the first time, all books printed after 1980 are on open shelves. The many drawings from the antiquarian library (which was not moved) and a large number of KASK's artists' books are already digitally accessible via the image bank. But off-line as well, there is much to be discovered. In an analogy with the 1M3 project, in which different curators illuminate their personal selections, there will also be miniature exhibitions at the Huis van de Abdis. We write ‘will be’ because these are planned to begin in the 2016-2017 academic year.
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Nor do we acknowledge the frozen immobility of our attitudes. In the end the past owns us.” (Edward Wadie Said, After the Last Sky: Palestinian Lives, Columbia University Press, New York, 1999) I like the ending in how memory and nostalgia can also hold us back. That inspired the performance in which I worked with things that invoke memory, as an entry point to ask questions about the imaginative representation of Palestine and how that has been formed and re-formed over time. The way people visualize their homeland affects how they talk about it, and that affects their identity in general.’
The academic year at KASK and the Royal Conservatory sees the passing of a wide range of activities: lectures, film screenings, musical performances, exhibitions, discussions, concerts, presentations and so on. Many of these events may seem rather ephemeral when reflected on after the academic year is over, while others leave strong and lasting impressions, and become treasured memories. In either case, they embrace the heart of what preoccupied us at the School of Arts, University College Ghent when we were not in the classroom. To keep track of all these activities, two years ago, the School of Arts launched a modest magazine that not only informs, but also analyses and discusses the activities taking place. The magazine publishes texts in a variety of forms, in interviews, open letters, speeches, poems and so on, commissioned and written by teachers, administrators and students. In this way, the magazine creates a particular memory of a given year at KASK and the Royal Conservatory. T06 published the words of Palestinian artist Samah Hijawi, from an interview about her performative lecture, A Wandering Singer of Tales: ‘The title of my work came from a quote that really struck me, on how we hold on to memories and how memories take hold of us: “These intimate mementos of a past irrevocably lost circulate among us like the genealogies and fables of a wandering singer of tales. Photographs, dresses, objects severed from their original locale. (…) Sometimes these objects, heavy with memory – albums, rosary beads, shawls, little boxes – seem like encumbrances. We carry them about, hang them up on every set of new walls we shelter in, reflect lovingly on them. Then we do not notice the bitterness, but it continues and grows nonetheless. 174
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Covers of the KASK & Conservatory’s bi-monthly publications T05, T06, T07 & T08, design by Studio Jurgen Maelfeyt, edited by Els Roelandt
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Master, Bachelor & Postgraduate Projects 2015-2016
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Master of Visual Arts / Master in de Beeldende Kunsten
219 Music Theory / Muziektheorie
180 Graphic Design / Grafisch Ontwerp
220 Musical Instrument Making / Instrumentenbouw
186 Multimedia Design / Autonome Vormgeving
189 Fine Arts / Vrije Kunsten
220 Soloist Contemporary Music Solist Hedendaagse Muziek
195 Textile Design / Textielontwerp 197 Photography / Fotografie 203 Fashion / Mode
Master of Audiovisual Arts / Master in de Audiovisuele Kunsten
204 Film 207 Animation Film / Animatiefilm
Master of Drama / Master in het Drama
210 Dramaproducties Drama Productions
Master of Music / Master in de Muziek
213 Performing Music: Classical Music / Uitvoerende Muziek: Klassieke Muziek 216 Performing Music: Jazz & Popular Music / Uitvoerende Muziek: Jazz / Pop 217 Composing Music: Composition / Scheppende Muziek: Compositie
Advanced Master of Music / Master na Master in de Muziek
Bachelor of Interior Design / Bachelor in de Interieurvormgeving
221 Focus: Interior Finishing & Advice / Interieurafwerking & Advies 222 Focus: Concept & Spatiality / Concept & Ruimtelijkheid 223 Focus: Furniture & Design / Meubel & Design 224 Focus: Temporary Installations / Tijdelijke Installaties 225 Bachelor of Landscape and Garden Architecture / Bachelor in de Landschapsen Tuinarchitectuur 226 Advanced Bachelor of Landscape Development / Bachelor na Bachelor in de Landschapsontwikkeling 227 Postgraduate: Conservation and Exhibition Management of Contemporary Art / Postgraduaat: Tentoonstelling en Beheer van Actuele Kunst (TEBEAC)
218 Composing Music: Music Production / Scheppende Muziek: Muziekproductie 179
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02 MEREL BAEYENS
Ripples, between forever and a while
GRAPHIC DESIGN GRAFISH ONTWERP Time teaches us, feeds us, touches us, hurts us.
Ripples is a visual investigation of the passing of things and the possibilities this opens.
We lose and win. Without time there is no life, without life there is no time. MASTER IN DE BEELDENDE KUNSTEN
1 WATCHARITA AROON saamielola.blogspot.be ar.watcharita@gmail.com this was planned months in advance Ghent, May 8, 2016
Dear reader, With this official letter I open the library of Watcharita Aroon, which documents the surrounding world with drawings and photographs of seemingly banal objects. As an artist-archivist, she arranges cloud atlases, patterns and naively concrete deconstructions of language in geographic maps. Situationist mental maps that describe the way for safaris of amazement.
I like to cite names like Georges Perec and John Cage. Artists who documented the concretely unfamiliar in a masterly way. They rid themselves of high-romantic emotions, and showed in their concrete poetry the direct, matter, and the actual. The library breathes that same poetry. Each item in it is a self-contained document within a magnificent whole of intuitive, Zen anti-art. Be invited, Best Regards, Niels
03 TIM BRUGGEMAN www.timbruggeman.be bruggeman02@hotmail.com Moment of Impact
What exactly is your project? A book of crashes? A medical study? A sensational documentary? Global traffic? — David Cronenberg, screenplay for Crash (1996)
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SCHOOL 06 HERMINE COOREMAN
The Inhabitants
I. The Script: A collection of one hundred found images is used as a basis to write one hundred short texts, producing a multi-linear transversal narration. A book – the Script – unifies the collection and texts inside a hypertextual synoptic system, unravel ling structural and narrative correspondences between the units. II. The Movie: What is showed of the Movie is
Hermine Madeleine
a scattered bunch of digressions, sublimations and narrative peaks linked to the Script's questionings. In the form of photography, video and 3D spaces, the elements of the ensemble act as so many teasers (or fragments) for a movie that doesn't exist: The Inhabitants.
The internet has given rise to a new form of communicating. We can now fully manipulate the image of ourself that we send off into the world, and everyone with an online profile does this to some degree, merely by deciding what to post and what not. To create an authentic image, people post a lot of pictures. A lot of selfies. In this project I study the staging of a life. There is no show without
05 MATTHIAS CALLAY www.facebook.com/caletum matthiascallay@gmail.com YOU MUST PULL THE LEVER ONCE EVERY CYCLE
7 FELIX D'HUYS felix.dhuys@gmail.com
At the age of 15, I was going to school while working in a factory. I was doing early-morning shifts cleaning trucks. At the age of 19, I had a part-time job. Until now, my life has been intensely tied to the notion of labour and everything it implies. In the final year of my M.A., I'm working full-time in the financial sector. Why am I telling this? Because my artistic practice is an extension of this economic
‘The expelled is the Other of others. Which is to say, he is other for the others, and the others are other for him. He himself is nothing more than the Others of him. In this manner, he is able to “identify”. His advent in exile allows the original natives to uncover that they are unable to “identify” without him. Because of this advent in exile, the “self ” is rent asunder, opening it up to others, to a being-with-others.’
labour. It's filled with the same repetition that the factory worker knows in his day-to-day reality. It's filled with the same sense of ‘time’ that one knows while spending one's days behind a desk. I've always liked writing and calligraphy. In a certain way, I find all the qualities noted above in the act of writing.
some drama, but neither is there without an audience.
Chaos
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— Villem Flusser, Exile and Creativity (1984)
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04 REBECCA BRUNET www.rebeccabrunet.com rebecca.brunet@live.fr
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GRADUATION 08 RUTH DE JAEGER ruthdejaeger.tumblr.com dejaegerruth@gmail.com
10 KATJA DE VRIES www.katjadevries.nl katja@katjadevries.nl
Flicka Foxie Fisk
Värgen äter fisk (the wolf eats fish) This is a story about mould snow rabbit silver fox woolly fluff tundra furies pubis a berry bearberry the fruit geisers mothers musk
Everyone carries a room about inside of him
I love the species of life
09 FLEUR DE MYLLE fleur.demylle@gmail.com
For my graduation project, I turned to the writers who have inspired me for a long time. At home, for as long as I can remember, there have been posters of Topor on the wall, even though I didn't really understand what was on them when I was younger. Later, I got to know his stories as well, and ever since, I have been wanting to use these in a project. So I decided to combine Topor's texts with
11 JOLIEN DEMEY jolien_demey@hotmail.com
Jazzzoo
I used to hate jazz. ‘You're just too young for it. Just you wait, you'll understand it later on,’ my father used to say. To which I stubbornly replied, ‘I don't like it and I never will.’ But four years ago, that changed. I discovered that jazz encompasses so much more than what I had thought until then. I was blown away. I would like to turn back time to introduce my younger self to the right jazz, because
other writers of absurd stories. This led me to Franz Kafka and Daniil Kharms, and a couple of weird old newspaper clippings. The selection is diverse enough, I feel, although they go very well together. The final result is a collection of writers and stories that inspire and fascinate me, combined with my illustrations.
()=)(
I only knew ‘jazz-forgrown-ups’ back then. That is why I started this project. I want to give children a taste of the kind of jazz that I think is accessible to them. With my illustrations I want to highlight the playfulness of the music.
I always regarded my stammering as a negative. It was an avoidable defect and I was ashamed of it. Precisely because it was a sensitive subject, I wanted to banish rather than mention it. But I've kept this silence for too long now, and I want to address the matter. In this work I analyze myself and my stammering. Can I visualize my train of thought? Can I show the essence of stammering?
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I open up part of my personal life and search for my own space to improve myself. No more evasive behaviour: I put myself on display, for myself and for the public. A weakness becomes a strength.
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SCHOOL 14 MAAIKE FRANSSEN maaike.franssen@gmail.com RGBcmyk
Colour is a constant in life. It holds an unfamiliar and formidable power to influence the human body. The perception and distinguishing of different colours is an essential aspect of the visual faculty. What if your life is coloured differently? The colourblind have a more limited spectrum than others. Because colour is such a constant presence in my life, I find the limitation 13 JANNAH FIELD http://fieldjannah.tumblr.com jannahfield@mail.com
15 ELINE HOUGARDY eline.hougardy@gmail.com
a robber in space
In most cases, as an illustrator you work either with an author and publisher, or with your own stories. I wanted to challenge that, and involved children whom I asked to write stories and make drawings for them. Together with them, I create a story that is never entirely fixed. Then the ‘playing’ begins, and I introduce their characters to the drawings made by myself and others. What
of an impaired perception of colour very fascinating. Both groups remain completely ignorant of each other's ability. What if that ability is irrelevant in terms of colour, and it is only approached as a concept? To look beyond the obvious and make both groups meet as equals and offer an alternative way of looking at colours. This is not about how colours work, but about how we think of them.
Freedom Julius Mahlanga
fascinates me above all is the absurdity and confusion that arises when looking at my installations or presentations – often a wall full of illustrations in all manner of sizes, styles and colours. Everything appears to blend together. Each page has its own story, wile also complementing the total structure and plot. Eventually it becomes unclear where my drawings are and where those by the children are.
This is the story of Freedom Julius Mahlanga, a small but brave taxi driver who blunders his way from one accident to the next on his quest for riches, freedom and happiness. But especially riches. One day he is informed that his immensely rich grandfather is about to breathe his last. With a terrific inheritance in his aim and with nothing but a backpack and his loyal ride for company,
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Freedom sets out on the journey of a lifetime. A journey on a road through rugged valleys and desolate landscapes, that leads him to pilots, poachers, magicians and evil spirits.
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12 JOACHIM DUMOULIN joachimdumoulinart.tumblr.com joachim.dumoulin@gmail.com
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GRADUATION 16 HAYEON KIM kim.hayeon778@gmail.com
18 NORMA NARDI www.normanardi.me norma.nardi@me.com
How to draw (like) Klee
Paul Klee completed the painting Hovering (Before the Ascent) in 1930, which points to the formal study of the Bauhaus. Under its new director Hannes Meyer, the Bauhaus shifted its orientation entirely towards the constructive and the functional. Klee's investigation of questions of geometry and construction manifested itself in hundreds of planimetric
1980
designs produced in the context of his teaching at the Bauhaus. How to draw (like) Klee copies Hovering with analytic silkscreen techniques. In the project, the act of duplication serves the aesthetic strategy; the project indicates the choice of the work as a historical image and questions the birth of modern visual language and its development.
17 FERRE MARNEF ferre.marnef@gmail.com
This project began around the kitchen table. My parents and their friends would sit there remembering stories. With a vein of nostalgia, they recalled a time when our town in Northern Italy seemed to be the best place for starting a revolution. In 1980, their idealism was seething on the dirt roads of our rural province, fearing nobody. But everything was about to change ... 19 JULIE PITTEVILS juliepittevils.tumblr.com pittevilsjulie@gmail.com
Turks Fruit
Hetzelfde Oordeel Met Onmogelijke Nieuwe Indrukken En Mogelijkheden
1980 is a graphic novel that plays with the idea of orally transmitted memory and its visual representation. Quoting novelist Dave Eggers, this story ‘though all essentially true [...] has been written from memory, and reflects both [...] memory's limitations and [...] imagination's nudgings’.
Sans serif serif, serif sans serif.
Heel Onwaarachtig Maar Ogenblikkelijk Neutraal In Elk Moment
Hier Onderzoekt Men Oude Nietsnutten Ingewisselde Enkelingen Massaproductie
I set out to develop a new font that contains both a serif and a sans-serif letter within the same family. Why? There is much more to the fonts we know than we realize. Why not look for more variations within font families? Research into both serif and sans-serif variations of a single font may be quite fruitful. It would enable them to be used together as a coherent whole. The first phase
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in this research was the further development and elaboration of a particular font. This yielded a new variation that can be used both separately and in combination with the original.
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SCHOOL 22 AMINA SAÂDI www.aminasaadi.be vrs1120.tumblr.com aminasaadi240@hotmail.com Versailles City
VAZES
‘I do think social issues can be raised through an art project. It is a question of the surroundings, the environment, the reality.’ — Thomas Hirschhorn
Het ingebeelde uitgebeeld
21 SIMON RUAUT simonruaut.net simon.ruaut@gmail.com
23 SANDER VAN IMPE vanimpes@gmail.com
Unrealized Projects
So many projects which never see the light of day. There are many reasons for this, often good ones too, but sometimes they appear to be unclear. What happens to these unrealized projects? In order to highlight the different approaches, practices and theories concerning this question, I have conducted research into cinema, architecture, fashion, graphic design etc. Are the projects that
defined as undefinable, a strange situation
haven't been realized always failures? Would the issue be different if the author decided to share it? How can these projects be opened up to a wider audience? My approach is to try and cover this topic by presenting several graphic devices and to contribute to the exposure of these projects as well as presenting my own vision on them.
That which deviates from what is expected. Exceptional, un-common is that which is set apart from the common, everyday condition; extra-ordinary, that which cannot be measured along ordinary standards. One could also use the word wonderful, by which is implied that the unusual has a mysterious quality, whereas bizarre is a strange word that combines the notions of strangeness and wonder.
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Defined as undefinable, a strange situation is a series of books consisting of a collection of unrepro ducible prints in which the medium determines the content. The content is self-evident, but keeps one waiting as well. Imagination runs wild but reason plays the knowit-all. It is a balancing act between what one is allowed to do, and what one wants to do.
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20 NIEK PLADET pladetniek@gmail.com
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GRADUATION 24 ELLA VANDENBUSSCHE ellavandenbussche@telenet.be
MASTER OF VISUAL ARTS
Taking into account the most common circumstances
MULTIMEDIA DESIGN AUTONOME VORMGEVING Paved stretches easily lead us from point A to point B. From the curb to the front door, from the pavement to the letterbox. The letterbox must at all times be easily accessible. In addition to the trimming of boxwood hedges, our enthusiasm for the imaginative experimentation with bits of lawn, gravel and concrete fence panels is unlimited. Functionality combined with aesthetics.
In this, we are free to make our choices.
MASTER IN DE BEELDENDE KUNSTEN
25 DAPHNE VERMEERSCH www.daphnevermeersch.be/ vermeerschdaphne@gmail.com
01 BIANCA APOSTOL www.behance.net/biancaapostol biancaapostol@gmail.com
fe/male
The Hollywood picture is the pre-eminent terrain of woman, even in films that do not deal with her explicitly. The cinematic narrative and representation cannot function without this female element. It is the woman who is looked at, the image, mediated by a male character. The danger threatening the male character is that he is ‘feminized’. A man displaying the ‘typical’
keet
qualities of womanhood, is unacceptable. In the visual context of Hollywood, the qualification of ‘belonging to the male or female sex’ is not an easy matter at all. References: • Eric De Kuyper, Filmische Hartstochten, 1984. • Eric De Kuyper, De verbeelding van het mannelijke lichaam, 1993.
‘Did you knit the blan kets yourself? Why not?’ ‘It looks heavenly.’ ‘Cool.’ ‘This is sooo coool.’ ‘Cozy.’ ‘Are you trying to see how far you can go with parasitism?’ ‘Oh, it looks like a shed that people have to keep garden tools’. ‘Why do you keep a dog? Are you aware dogs are associated with poor people?’
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‘What is the meaning of these hanging plants?’ ‘Aren't you cold in winter?’ ‘How do you do it when you have a fight with each other?’ ‘It reminds me of going camping.’ ‘I can't sleep at night thinking about you. Can't you live in a normal house? I can buy you a normal house!’ ‘Wow. I'm impressed.’ ‘Is this even legal?’
KASK
SCHOOL 4 JMF CASEY www.jmfcasey.com jmfcasey@hotmail.co.uk
moving mountains
Moving mountains is an attempt to create choreographic devices which visitors can interact with directly, without the mediation of performers. Following a basic score, the visitors can engage themselves and navigate their own experience, at their own time and according to their own wishes. The scores are not a set of instructions, they are objects with which the visitors play.
Heartland
Moving mountains privileges a sensorial encounter with the object and the environment. The visitors are invited to rely on playful and intuitive modes of interaction with the objects. The aim is not to have a detached apprehension of the work, but to immerse oneself in it. It is through immersion that the sense of the work might appear, somewhere in between the object and our selves.
03 EVELYNE BLEYENBERG eyebee82@gmail.com
In Heartland we meet the ‘Hagiographer’ as he traces the past journey of ‘Faith’, a saint-like figure, into the landscape where she sought to escape her troubles. Like a ghost, her voice speaks to him through the notebooks and drawings she has left behind. As well as an exercise in storytelling Heartland is also a psychogeographical portrait of Middleton Moor (Derbyshire, UK) and the
I disliked the pauses in the audio tracks so I decided to use my own recordings. To be clear, I find sounds, I do not create them; I was just present there and merely pushed the button on the recorder. I treat the recordings as textures that are weaved together. I don't manipulate the recordings by using sound effects or by creating a narrative.
abandoned quarries that are gouged into it like colossal wounds. The history of the land is warped by this fictional tale and takes on an allegorical meaning. Themes are evoked from the lives of historical saints and mystics: those that renounced society in order to seek answers in solitude, those that sought in nature the language of the absolute, and those that humanity never allowed to fully escape.
05 LENNERT COOREVITS
Dragged through Silence on the Back of a Cat
My work intends to create an experience that is felt inside the body and rather particular to each member of the audience, for you to really feel the responsibility (and freedom) of interpretation. I started my research by playing random sounds from two sides of a dark space. I turned away from visually dominant input to create immersion. The vast dark space is a companion and a pool of possibilities.
ARTS
02 FABIÁN BARBA
Allerzieligen
Allerzieligen (a port manteau conflating ‘All Souls' Day’ and ‘pitiful’) is a performance written and directed by Lennert Coorevits. An unexpected turn of events forces three men, a father and his two sons, to meet each other again in the parental home, after many years and despite great differences. Actors Joris Hessels, Flor Van Severen and Luc Vanautreve struggle their way through an
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evening of new emotions and old wounds. They are accompanied by live music by drummer Elias Devoldere, the rhythmic backbone of Nordmann and Hypochristmutreefuzz.
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GRADUATION 06 KATRIJN DE COOMAN
08 REINOUT DEWULF reinoutdewulf.tumblr.com reinout.dewulf@gmail.com
Grand parade and small garrison
This master's project is a collaboration between Katrijn De Cooman (master's student in Autonomous Design) and Jitse Huysmans (student in Drama Therapy). Together they are the Elan(d) collective and they invite you to take place at a little table and make yourself comfortable. In this visual performance, they serve you a sprawling torrent of words. How do we communicate, and when
does connection enter? Only in silence, in between the words, the essence becomes visible. So grab a chair and help us digest.
07 STEPHANIE DESMADRYL stephaniedesmadryl@gmail.com
‘Art? Nah, lad, that's not in my line.’
‘G'day, ma'am, how can I help you?’ ‘Got any art today, sir? A little bargain artistic project, maybe?’ ‘Lemme see, ma'am, in fact, I think I might have exactly the thing for you.’ Why do we go to a museum to see, to experience, ‘art’? Why do so many people lose interest once you mention the word ‘art’? Isn't it weird, that ‘art’ is not as established as cooking rice?
09 SIMON MALOTAUX www.facebook.com/flusme simonmalotaux@gmail.com
I keep looking at the light on the wall
waiting silent room floor (sun)light observing simmering windowsill waiting lying atmosphere mirroring curious anxious
In my master's project – a jumble of concrete actions, participative projects and ideas for future projects – I search for the value of art in our society and in people's everyday lives. It is my conviction that art is, or should be, something that everyone benefits from.
Empathy for the object
The vacuum cleaner was linked, in my view, to the mechanical movements of other objects, because they both have the same organic feeling. The random behavior of the vacuum cleaner that moves around the house, creates a sort of phantasm, as if the vacuum cleaner could have a free will. Maybe more than the real human-oid, that has a fake aura to begin with.
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SCHOOL 12 ROELAND VAN TRIGT
NEIN – Curator as Artist as Curator
Laurens Mariën started the curators' collective NEIN in his second year at the school. It is a platform for thinking about alternative ways of exhibiting art. Exhibitions, he believes, should be dynamic and surprising, and he aims to appeal to the widest possible array of people. Over the past years, NEIN has collaborated with CAMPO, Croxhapox, Het Paviljoen, …
Get rich or die tryin
I'd started a secret service disguised as establishment. Then I got involved in a tourist trap. Know that I'm building my very own secret society.
11 GOLNESA REZANEZHAD PISHKHANI
MASTER OF VISUAL ARTS
It's not a fiction; stitches tell you a true presence
FINE ARTS VRIJE KUNSTEN This is a participatory work with a mixed group of Belgian and migrated people in a social creative textile work institute, Manoeuvre. In this project I try to introduce a new method to the group members to enable them to add their personal photos to a piece of patchwork. The project evidences the role and function of artistic media in mutual learning and sharing, social integration
and participation. The aim of this participatory work is to re-image an image based on the participants' archived memories (personal photos) by applying their domestic daily ‘handicraft’ skill as an artistic medium to share their stories over different time periods with the wider society. MASTER IN DE BEELDENDE KUNSTEN
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10 LAURENS MARIËN www.facebook.com/beapartofnein laurens.marien@gmail.com
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GRADUATION 01 JOLIJN BAECKELANDT www.jolijnbaeckelandt.com jolijnschool@hotmail.com
03 MAXIME BRIGOU maximebrigou.tumblr.com maxime.brigou@hotmail.com
NOM NOM
Jolijn Baeckelandt draws her inspiration from her immediate surroundings. Sentences, images and ideas are translated into daily drawings in a sketchbook. From these diaries, a deliberate selection and combination of images is made with a particular focus on the interaction between language and image. Texts not only serve as initial impetus, but are also employed to add
Map to Nowhere
multiple associations to the works. The work serves a communicative function. In that sense, the choice to work in a cartoon-like style is revealing. Her ‘drawings on canvas’ try not to give in to formalism but instead question the history and current position of painting. Central themes in the work are man among the masses and man's helpless ness, depicted invariably with mild mockery.
02 CYNTHIA BALLASINA www.cynthiaballasina.com cynthia.ballasina@hotmail.com
My sculptures can be seen as materialized energy. The chaotic and irrational aspect of these works functions as a counterpart for the rationality of everyday life. Just like in this world, insecurity, coincidence and unpredictability are the core of my artistic practice. Rather than to fight these elements, I try to manipulate them to my advantage; in this way I try to make sculptures
that balance between anxiety and tranquillity. To me, my sculptures are an endless game of intuitive, impulsive acts and revision. A sculpture can never be finished.
04 ACHIEL BUYSE achielbuyse.tumblr.com a.buyse@gmail.com
Matrix Ex Machina
I have seen many faces, have been many as well. As a child I saw what grown-ups did wrong, as a (sort of) grown-up I see what children were right about. I see that one can only be great by being small, when desires are not wrapped up in lies, coerced by a society master-brain. When the children's laughter went out the nihilist door, we found ourselves stuck in a room, like some sort of Alice,
not knowing which cookie to eat first. We found ourselves huge compared to our small hearts, separated from our bodies. If the ultimate sacrifice had to be made and we had to give up the most precious part of our bodies, we would not know any better than to give up our brains because the rationalization of desire would not strike ourselves, but a heart frozen since childhood.
‘And there, beyond the bend, passing underneath the cool of the four tall linden trees, we came to the open field, in the glare of the sun. So suddenly we were immersed in it, with a single blow we felt the sun's beams in all their might. […] It seemed to me […] a cry of jubilation of an inebriated lust of life, whose song covered the trees, the crops and the entire universe.’ — Stijn Streuvels, Evening Rest, 1898.
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My grandfather was the last of the family to carry on the flax farm. When he quit, it was the end of a tradition of hard labour for a fragile crop. Vague notions are all that is left of that era, sketches of a different world. The result is a series of sculptures, photographs and interventions in nature that refer to lost Flemish traditions.
KASK
SCHOOL 7 CATHARINA DHAEN www.catharinadhaen.com catharina.dhaen@gmail.com
Archilectron
For my project Archilectron, I started from the idea to create a place that is literally accessible, playing with the relation between sculpture and architecture. The massive oak beams I employ allude to the countryside of my youth, but may also refer to menhirs, obelisks, totem poles or other megalithic structures. The aluminium structures on the other hand were cast to fuse with the oak beams, recalling
the visual language of circuit boards and giving the century-old beams a certain sci-fi aura. With this work I try to create a monument of our time, but also for our time, which could be considered a sort of interstice.
6 TINE DEBOELPAEP tinedbp@hotmail.com
Painting is a game of chess. To Catharina Dhaen, a painting is a report of that game; it is the only narrative that really matters and that is put down factually. The rest is subject to change in time and space. Painting is playing. Dhaen's paintings express the desire to comprehend. Everything is always about perception. A story. A look. The light. The paintings also express the desire to
capture what is fleeting, to make tangible what is transitory. And always at the back of the mind, these words from Een schilder is als Oedipus onderweg (‘A painter is on the way like Oedipus’): ‘Painting is not a heroic battle with the material. The essence of the artistic is to turn matter into ‘spirit’. To turn paint into light.’
08 RONNY FRANCESCHINI www.ronnyfranceschini.com ronnyfranceschini@gmail com IL GULLIVER
I am fascinated by the tension of unfettered nature and the scientific study of nature that defines it. These phenomena function as the basic elements I use to develop a formal language in which the organic and inorganic are connected. Organic elements are combined with a geometric design. In my work I manipulate a material tension between the chaotic and intuitive on the one hand, and the
rigid and hermetic on the other. To this end I employ traditional sculpture and ceramics techniques in a very idiosyncratic, unconventional manner. The sensitive formal language is playfully combined with bright colours and contrasting elements. This gives my works an obstinate character: they are at once tender and stubborn.
Although Gulliver's Travels is now mostly relegated to the children's shelf, I find Jonathan Swift's book says a lot about our contemporary – adult – world. Its style, intensity and astute analysis of society and politics were all inspirations to me. In this project I investigated ideas and opinions on what I consider to be relevant issues today, particularly the pernicious
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influence of different religions, European policy, and the eternal contrast between the ancient and the modern. With the basic material of texts, books, and my usual stock of over 5000 images, I produced the initial collages employing post-situationist techniques such as cannibalism and appropriation.
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05 LANDER CARDON cardonlander@hotmail.com
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GRADUATION 09 ELLEKE FRIJTERS ellekefrijters.wix.com ellekefrijters@hotmail.com
11 EVA GIOLO evagiolo.com gioloeva@gmail.com
Life with material, spatial shapes
‘The world is teeming with conspicuous things that nobody notices.’ My work is always rooted in perceptions of everyday life — call it a visual radar. It is often either the subtle or common things that usually escape attention, these interesting objects, materials or patterns, that attract my fascination. I toy with them in my mind and detach their shapes from function, context and
Still Life
environment. Changes start to occur, in scale, structure and colour. And from this, sculptures are born whose meaning does not become clear at a single glance. Viewers must construct a meaning for themselves when faced with these sculptures that are neither abstract nor figurative, neither entirely alien nor immediately recognizable.
Still Life is a portrait of an Irish family living out of time in the seclusion of the countryside. Residing in the simplicity of the moment, the waiting, the repetition of days, through slow actions. This is a place where there is no space for imagining a future other than the perpetual repetition of the present. This is a place for survival, to be strong, alone with the wind, eyes burnt by the light. A place
of unspoken tenderness, a landscape of silence and solitude in which there will always be someone. HD video, color, 16:9, stereo, English spoken, BE, 2016, 24'32"
10 CAMILLE GÉRENTON camille.gerenton@gmail.com
12 TESSA GROENEWOUD www.whydopeoplekeepphotographs.net tessa@tessagroenewoud.nl
we should leave it at that
Scattered found connected searched
Dans l'idée les éléments du décor auraient du s'agencer de façon plus harmonieuse. C'est ce que Léonard a dit, c'est ce que son assistante Lisa a suggéré aussi, et, c'est ce que, à peine une semaine plus tard, tout le reste de l'équipe chuchote à l'arrière des panneaux de bois qui cercle la scène. Le montage a duré une semaine, durant lequel six hommes et une femme ont travaillé à assembler ce qui
devait être le salon des Mr et Mme Shaftesbury. [...] Nous avons parlé de tapisseries flamandes délicates, d'un tableau de Botéro […]. Nous avons évoqué les fantômes de ces lieux, comme des spectres indolents, invisibles et inévitables. Léonard a même invoqué ces fantômes de longues heures durant, au travers du texte bien sur.
Our relationship with the on- or offline photo graphic image and the image repository are motifs that are fundamental to my work. I am intrigued by the reality effect of online image search engines as everyday visual tools. Important references are notions such as browsing, searching, watching, taking away, comparing, keeping, collecting, and remembering in times of image saturation.
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My work displays a playful approach in which readymade images provoke a potential narrative structure, as an invitation to reconstruct the image's meaning and genesis. On the other hand, its formal material qualities and its conceptual approach attest to a research component that is closely linked to the history of photography and the contemporary way of dealing with digital and online images.
KASK
SCHOOL 15 EMILIE NEYT emilieneyt.tumblr.com emilieneyt1@hotmail.com
Visitor movements in the work's autonomous space
As a sculptor, my focus is on the material as it ‘appears’ in my outlook on the world. It is in this world of matter that I act and think. I search for the essence of a material to represent it as faithfully as possible in a minimal idiom. In the form, the material appears. Body, space, and their relationship are important aspects of my works, which I see as bodies/ identities in a space created
by the works themselves. That space is open to the visitor who is aware and feels the urge to enter into a physical relation with the work. The object's ‘being’ is activated only by the visitor's presence. Both the scale of my works and the fact that I present them without plinths are important in terms of their presence, as this makes the physical relation more direct and pure.
14 EMMA MORTIER emmamortier.wix.com/emmamortier mortier.emma.em@gmail.com
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The concepts of form and matter are two important elements in my artistic practice. I’m always looking for objects that are already exquisite in themselves. As such, my works are often made up of everyday or reject materials. Minor interventions make these objects lose their memory of their previous context or function and introduce a particular aesthetic. These interventions are
16 TINE PEUTEMAN www.tinepeuteman.tk tine.peuteman@hotmail.com
On the sea and the painting
For her recent works, Emma Mortier drew inspiration from nature, especially the colours of the sea at the Rio de Janeiro coast. It did not seem blue, nor did the beaches seem sandy brown, but it contained more green and grey, and the beaches appeared red after high tide. She introduces nature to an environment where it cannot be admired in all of its idyllic beauty but merely
isolated in fragments. After completing a number of paintings on the spot, she got to work in her studio, where more paintings were developed on the basis of photographs. In addition to impressions of the sea, there are also elements in her paintings that are reminiscent of mountains. These refer to the traditional format of the landscape painting. […] — Carla Van Campenhout
inspired by the material itself. The combination of different things makes for the fact that the works often contain contradictions – a tension, for instance, between recognizability and abstraction. Forms become visible by the addition of colour. In immobile materials I search for speed. Changeable materials I tend to freeze in the state I find most appropriate.
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Tine Peuteman mainly focuses on painting and drawing her own environ ment. The images refer to both spontaneous and staged situations containing an abundance of personal objects and tools. The creation of a recurring alter ego is often the starting point. This persona enjoys the close ness and cleanliness of the home but has an escapist nature as well. Although she likes collecting objects
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with which she ‘builds’ her home, her cocoon, she desperately yearns to escape the sanctuary she built; to the actual world where situations are hard to predict, and are often dark and sinister, but also far more colourful, less controlled. In her work she tries to connect these two yearnings: the comfort of home and the excitement of adventure. This results in a mysterious atmosphere.
CONSERVATORIUM
ARTS
13 CISKA L'ECLUSE www.ciskalecluse.tumblr.com ciskalecluse@hotmail.com
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GRADUATION 17 CAMILLE PICQUOT camille.picquot@hotmail.com
19 EVI STEYAERT evi_steyaert@hotmail.com
Hollow hours
Reality can be consid ered as a successful fiction, through video, photo graphy and writing. The images that result from this conception, no matter if they are set up or captured, play with the dialectics of contraries, and the boundary between temptation and threat becomes porous. It is an attempt at restoring the density of reality to the screen of the human mind, through narrative, or staging, an attempt at
taking the pulse of our time by confronting our current myths with new stories. Hollow Hours is a 36 minute film showing the everyday life of two children who behave like adults, somewhere in a Western city. A cameraman – attracted by their nonchalance – tries to follow them. Thisfictional documentary tends to construct an unconventional double portrait.
For two years, I made casual drafts on things in the media that I experienced as proble matic. These drawings were systematically and casually put down on A3size paper and became the basis for the development of a personal ideology in the last year of my master's project. With this philosophical system I attempt to offer solutions to the problems from my drafts. The ideology is
18 ANNE MARIE SAMPAIO annemariesampaio.com/ anne.sampaio@gmail.com
20 ELIAN STOLARSKY www.elian-stolarsky.com stolarskyelian@gmail.com
Caminante
The Spanish poet Antonio Machado once wrote: ‘wanderer, there is no path, the path is made by walking’. If there is no path but the one we create while walking, the scenario around the track is also absent until it becomes alive in the presence of the walker. It can be revealed by a different look at every day routes, or in crossing less tangible roads. Sampaio's Caminante used the act of walking
shaped through geographic maps I recombine into a new whole.
Inherited Landscapes
in Ghent as their start ing point. The walks strengthened her will to find the borders of the city, which later would evolve into a will to discover more intimate limits, the limits of a house for example. If some works relate to details of urban life, others take the inverse step and walk backwards towards shelter, reflecting on how it is to live far from one's homeland.
Inherited Landscapes is an installation composed of handmade textiles, drawings and etchings. The images sewed on linen are derived from abstract pencil drawings that I made from 20th and 21st-century war pictures. The sewing process was a way to digest and comprehend, if possible, the violence inherited throughout the archival images. No one teaches how to deal with horror
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and even less how to read those testimonies. The textile becomes a way to address this pain and at the same time to sublimate it. Throughout the process of retaking a ritual tradition as sewing, I am bringing collective and individual memory together in one material object that could be inherited, transmitted and conserved.
KASK
SCHOOL 23 JONAS VANDERBEKE www.jonasvanderbeke.com jonas.vanderbeke@gmail.com
Jonas Vanderbeke collects different types of images from the internet in a personal archive that is linked to his personal environment and homo sexuality. Mass media, and how anything can be found through the internet, play a crucial part in this. The images are constructed in Photoshop in a collage-like manner and precisely placed and combined on the virtual canvas. Using the result as 22 FENNA VAN ESPEN fennavanespen.tumblr.com vanespenfenna@yahoo.com
a guide, he then transfers the image onto the canvas with paint as exactly as possible. He uses painting as a tool to realize his work, making an extra dimension surface – the painted. He is fascinated by the conflict between the graphical and the painter's hand. Textual elements are meant to convey a sugges tion of text and merge into the image and the composition of the work.
MASTER OF VISUAL ARTS
Welcome to the other side
TEXTILE DESIGN TEXTIELONTWERP Whatever happened to chivalry? Does it only exist in 80s movies? I want John Cusack holding a boombox outside my window. I wanna ride off on a lawnmower with Patrick Dempsey. I want Jake from Sixteen Candles waiting outside the church for me. I want Judd Nelson thrusting his fist into the air because he knows he got me.
Just for once I want my life to be like an 80s movie, preferably one with a really awesome song for no apparent reason. But no, no, John Hughes did not direct my life. — Easy A
MASTER IN DE BEELDENDE KUNSTEN
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21 MAXIME THYS maximethys@hotmail.com
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GRADUATION 01 MAGALIE DELBEKE www.magaliedelbeke.be magaliedelbeke@gmail.com
03 YANA PELLEGRINI pellegriniyana@hotmail.be
beyond the surface
Accumulated Rhythms
A yarn, a hand, a tool. A surface is made. Immersed in systems. Shape, make volumes, mount. An object is built: a place in a space.
Making textiles is a rhythmic game with materials and techniques. While the actions and motions during the process of making are the starting points of the game, its qualities can be found in the texture and deformation and the results of leading and deriving colour. For my graduation project I have developed an assembly of designs in which every piece is
02 LEDA DEVOLDERE ledadevoldere@hotmail.com
04 SOPHIE SCHREINEMACHER sophieschreinemacher@hotmail.com
Guidelines
How can something be related to the associated space? Can the line between the floor and a wall stop us from being creative or is it possible to ignore that line and start seeing the floor and wall as one big field? Imagine a field where a three-dimensional drawing can take place. I have created objects for that field that can be seen as several forms to make a composition.
neutral and can therefor have different applications. Accumulated Rhythms is a poetic accumulation of lines, textures, colours, rhythms, transparencies and deformations.
Fragile Stability
A composition that can grow and change in unlimited ways. The objects can be placed alone but the playing starts when they are combined. The forms and colours in the objects are a stimulation for the creative eye: red stripes could be connected but they can also be placed next to a blue rectangle. Don't feel limi ted in this field. There are no rules, only guidelines. Use the guidelines to create space and play.
The Fragile Stability project is an investigation of the boundaries between textile and architecture. The Dutch words for roof, ‘dak’, and for blanket, ‘deken’, come from the same root: to cover, to protect. They embody their essential shelter function in very different ways. Whereas a blanket is a soft, flexible, compact, temporary and rather fragile piece, the roof is a solid, fixed, large and permanent construction.
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The objects in the project refer to architectural elements such as floors, walls and roofs. Their unexpected flexibility give it a playful touch, thus transforming the object completely. An ordinary setting creates the context in which the object can come to life in search of playful suggestions for applications and a new spatial meaning.
KASK
stuff
a play between material movement and colour a search for unity and life an encounter between things and people the act of bringing to life things that do things to us and not just the things we want them to do
MASTER OF VISUAL ARTS
01 TOMAS BACHOT www.tomasbachot.com tomasbachot11@gmail.com Those who eat fish from the cyanide lake improve their sex life
I met Matei during a student job in a chocolate factory. He told me about gold mines reopening in his homeland Romania. Later he showed me pictures of the street protests against these foreign mining companies and also from Geama˘na, a village flooded by the toxic waste of a mine. (…) In 2015 I took a bus to the Golden Quadrilateral in the Apuseni Mountains of Transylvania. One day after
dinner with my hostess' family I showed my pictures from the first trip. “These pictures have no value for me”, her mother said furiously. “They give a shallow and negative impression: remote, filthy, run-down…” I felt she was right. I had come with a preconceived image of the region and had only been looking for confirmation. After seven trips, my relationship with the people and the landscape shifted.
02 JASPER BAECKELANDT jasper-baeckelandt@hotmail.com Derniers signes de la civilisation
PHOTOGRAPHY FOTOGRAFIE
MASTER IN DE BEELDENDE KUNSTEN
Derniers signes de la civilisation shows a series of objects detached from their original meaning. Subject to the at times slow natural processes, a transformation takes place. Some objects get inextricably bound up with their new habitat. Other images were made in a world of my own creation, in which the transformation took place not only outside the frame but also in the medium
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itself. Through light and camera, new layers of meaning arise. A search along the boundaries between man and nature.
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OF ARTS
05 JENKA VAN HOECKE jenka.vanhoecke@gmail.com
SCHOOL
GRADUATION 03 EVA CLAUS www.evaclaus.com ev.claus@gmail.com
05 SHANNA DAVID www.shannadavid.be shannadavid32@gmail.com
HIERRO
Can I stay here forever?
HIERRO chronicles the experience of a monthlong stay on an island. Static durational shots facing out to sea reveal the time spent observing the natural landscape. By looking and listening to the film, the viewer is invited to explore the relation between time and space. HD, color, 16:9, sound, 18'
This photographic series portrays individuals who deliberately choose to withdraw from society. They live alone or have only casual relationships with others. They choose to live in quiet seclusion, unfettered by the expectations and unrelenting haste of contemporary society. Yet living outside of society is practically impossible. Contrary to what is often thought, these people are
04 MARTHE COOLENS marthe.coolens@gmail.com
06 MARLIES DE BOECK www.marliesdeboeck.be marliesdeboeck@hotmail.com
Aesthetic of the Diverse
These images were once at home in the digital realm. They were content there, serving a purpose. I like to approach my work in terms of a trajectory. A kind of chronology or step-by-step that precedes these images. Still better, however, I like the concept of the shortcut – a road I take in order to encounter these images with an open mind. This quicker way of rummaging about not merely gives me access to
not unsociable. They do, however, seem to long for a freedom that allows them to simply be themselves and to live by their proper rhythm, which often means turning away from basic facilities. Their ideal of independence from social care systems implies self-sufficiency, so they fall back on an impressive inventiveness to deal with the benefits and limitations of their environment.
Ilulisaq
these images, because of the distance between us it seems to present them to me as gifts. When these images leave the nest and get separated from their context, they can undergo an endless amount of transformations. They allow me to play a game in which images are like words that leave behind the structural coherence of prose to develop their own language.
Ilulissaq is a visual narrative about daily life in one of the most isolated places on earth: Greenland. I stayed with a number of families there to observe their life and record their personal stories. The series paints an intimate picture of the towns of Sisimiut, Nuuk and Ilulissat that saw a tremendous evolution because of Danish colonization, forcing the Greenland Inuit to search for a new balance between
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their traditional culture – that adheres to the ideal of harmony with nature – and the rapid introduction of Western values and customs. It is a search in which the Greenlanders run the risk of losing their identity and self along the way.
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SCHOOL 09 IPHYGENIA DUBOIS iphygenia.tumblr.com iphy.dubois@hotmail.com
the kids are(n't) alright
the kids are(n't) alright is a series of photographs on young people growing up in an ‘open institution’. Although their individual stories differ greatly, a problematic home situation is a recurring theme. They are under the supervision of a judge of the juvenile court and are in ‘Special Youth Care’. But what I see is mainly people with bad luck, people who have suffered blows that will
INSULA / The Island of Reil
mark not only their youth but their entire lives. But still they are standing, and despite the obstacles they make plans for the future. The will to do everything different and better is great. I also see counselors who do everything they can to give these young people a life approaching normalcy as closely as possible, even though the love and security of a family is hard to match.
08 CHEYENNE DEKEYSER cheyenne_dekeyser@hotmail.com
Deep in the cerebral cortex, composed of folded grey matter, lies a region of the brain with an important role in consciousness; a person's awareness or perception of something. People diagnosed with being hypersensitive show greater activity in this particular part of the brain. It can feel like you are living with your nerves exposed, and I for one get aroused or stimulated by 10 RICHARD DUYCK
Pink memories
From my childhood, I remember a bright pink sky, hanging threateningly over our house, ready, it seemed, to engulf my world and everyone I loved. In reality, it must have been an ordinary sunset giving the sky a soft pink glow. In Pink Memories, I present the spatial illusion in which reality is dimmed and manipulation gains the upper hand. False associations and an absurd
the smallest details around me. The infrared-film in my camera functions as a second insula, outside of my body, that records stimuli so that I am able to organize it later and so that I don’t get overwhelmed by what is taking place around me. All images in this series are taken in Platja De Aro, Spain, a coastal town where my family and me have been going on vacation ever since I was a young girl.
Kunstenaarsportret
dream image serve as a guideline in this work. Context and time are important, but so is the tension between man and nature. This gives rise to a world that is not governed by reason but must above all be experienced.
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CONSERVATORIUM
ARTS
07 JOLIJN DEGRANDE www.jolijndegrande.be info@jolijndegrande.be
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GRADUATION 11 TRUI HANOULLE www.truihanoulle.be truihanoulle@yahoo.co.uk
13 LUCIE MACH www.luciemach.fr lucie.mach@yahoo.fr
White Nights, Untold Journeys
Night talks are peculiar. The darkness enwraps, and creates its own intimacy and thought fulness. In Dostoyevsky's ‘White Nights’, the narrator wanders through Petersburg at night and meets a heartbroken woman he willingly lends his ear. The story runs five consecutive nights. The narrative as such is not my starting point, yet I do use the idea of nocturnal, emotional encounters.
Irrespective of cultural context, I inquire into intense emotions and the crucial events emerging from them.
Whenever Wherever
The musical success stories of Esther Forero, Joe Arroyo and Shakira keep inspiring a new generation of singers in Barranquilla, Colombia. Whenever Wherever catches a spark in the daily lives of seven young singers whose ambitions are torn between hope and doubt.
12 LORE HORRÉ www.lorehorre.be lore@horre.be FOLD UNFOLD FOLD AGAIN (a choreography amongst images)
14 AARON MAES aaronmaes@hotmail.com
fold / unfold / fold / again / a choreography / amongst images / again / the act of folding / feels like framing / again / no scale / no frame / again / touching borders / stretching the frame / again / in search of a state / it was before / and again / something different happens / again / when you see / again / what is it / again / what you expect / again / it is / reinventing / again /
For my master's project I went to Belfast, the capital of Northern Ireland, to make a documentary. I went searching for traces of the Troubles, the civil war between protestants and the British army on one side, and catholics on the other side, which lasted from the early 1970s till 1998. I went to look how people live there today and how they look back on
a facsimile, but / again / nor a fixed choreography / nor a fixed line / again / translucent / again / in between / a pulse / disappearing / again / again / resonating / rehearsing / again / as if a new / composing / building / weaving / again / an extension / again / along sightlines / a dance / again / momentary matter / again / beyond / again / fold / unfold / fold / again
Northern Ireland: Separated together
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that dire period of violence and terror. I also looked at the different communities' traditions of remembering the civil war.
KASK
SCHOOL 17 TYSJE SEVERENS tysjeseverens.wix.com/tysjeseverens tysje.severens@hotmail.com
The house, the head
Paul Beanti is a selftaught French artist who squats a house in Ghent. He does not only paint on canvas. He uses the walls of the house itself as surfaces to express his thoughts and visions. The house, the head is an experimental documentary film based on digital photography and 3D modeling. It draws the viewer into an audiovisual trip, wandering along fragments of Beanti's
house and meeting the artist from time to time in one of the rooms. The artist himself is never visible; only his voice and movements are heard. This way, the spectator catches a glimpse of Beanti's thoughts, works, and way of living. The audio in this film was created with help from Emma Vanhille and Bart Fierens.
16 FRANK OSTYN www.frankostyn.com frankostyn@gmail.com
From a very young age, I've been fascinated by advertising. As a child, I could not resist the magical images the advertisers fired my way with infallible aim. Everything seemed to work perfectly, and everyone I saw there seemed blissfully happy. Later on, my view of that magical world became more critical, obviously. Although ‘advertising’ is the main theme of this series, it is not my inten18 SIDNEY TERNEU www.sidneyterneu.com sidneyterneu@gmail.com
Memories of Palestine
Memories of Palestine shares stories from Palestinians who live in the Diaspora. After many years of conflict, the majority of them lives outside of Palestine. I have interviewed people in Belgium, the UK, Canada, Chile, the USA, Australia and the Emirates. We talk about their journey, how they live in a new country and about their memories. The interviews are published on www. memoriesofpalestine.com.
tion to produce actual advertising images. What I do intend is to create my own personal world by recycling the typical elements of advertising in my own visual idiom. These include humour, bright colours, slogans, women as bodies, surrealism, magic, aesthetics, beauty and glamour … My work is not functional in nature, but it balances on the thin line between the artistic and the commercial.
Le silence des espaces infinis
Listening to these stories has resulted in some rewarding moments of empathy. Too often, we hear about Palestinians as victims: angry and potentially dangerous. The people I meet are so much more than that. As I wander through Israel and Palestine, their stories travel with me. I feel like a storyteller, creating my version of memories that were passed on for generations.
The ancient Greeks had two words for time: Chronos, referring to clock time and Kairos, referring to moments in time. Clock time, and its linear thinking, dominates our modern society and has created an anxious feeling of losing time. My work is about the importance of trying to escape the hectic and fast-moving flow of life and rid the mind of excess. By excessively capturing those moments of escape,
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I try to become aware of the, often brief, moments where I lose myself into reveries. I believe when one is able to rid the mind of the overabundance and come into a state of non-thinking one is able to stop noticing the passage of time (Chronos) and therefore is able to find space and time (Kairos) to process the excessive stimuli and find stillness or peace of mind.
CONSERVATORIUM
ARTS
15 ARNE NAERT arne_naert@hotmail.com
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GRADUATION 19 ANNELIES VAN DEN BERGH www.anneliesvandenbergh.com vdb_annelies93@hotmail.com
21 LIZA VAN DER STOCK www.lizavanderstock.com lizavdstock@gmail.com
Trennungslinie
After sixteen years we were leaving our house. My initial response was a sense of relief, because the place had always frightened me as a child. But after a while I started to feel a certain loss. In Trennungslinie, I immerse myself in memories. I collect pieces of the puzzle in my mind, all of them intuitive impressions that keep haunting me. Guided by memories of my youth, I photographed the house
Hybrid Maasai identity
that were leaving after so many years. I captured all of the frightening and distinctive things. I did the same in my native town in Germany, a town the memories of which are quite vague and childish, full of colour and sunshine – so unlike those of of my old home in Belgium.
20 MAARTEN VAN DEN BOSSCHE www.maartenvandenbossche.com vandenbossche.maarten@gmail.com
For a number of years and in different projects, I have been working on gender issues, precarious groups and social taboo on the crossroads of socio logy and photography. My aim with this work is to further the public's awareness of these topics and to overturn prejudice and stereotypes through an enhanced social frame work. My master's project starts from the flat Western view of the Tanzanian
22 ELIES VAN RENTERGHEM www.eliesvanrenterghem.com eliesvanrenterghem@gmail.com
The Birds Know More
Een beeldverhaal over de zoektocht van een man. Oskar leeft in harmonie met zijn omgeving. Een beschermend bos met daartussen enkele rivieren. Op een nacht worden tientallen bomen omver geblazen. Oskar vraagt zich af waarom. Wie en wat is deze mysterieuze kracht? In zijn observatoria pro beert hij aan de hand van verschillende onderzoeksmethoden en installaties het onzichtbare te begrijpen.
Maasai community and counters this with a focus on their hybrid identity. The prevailing Western picture of ‘the’ Maasai is mainly based on documentaries that portray them as an unchanging, exotic tribe. This projects intends to adjust that view of the Maasai as a monolithic, uniform and homogenous culture by capturing their hybridity and active involvement in social and cultural evolutions.
you will become a song
Are you in love with someone or are you in love with love? And so I will tell this tale, clearly or cryptically; you've heard it all before. Would you believe me if I said I've never been in love? Never desired another being, merging with mine? They say, write what you know, I say, I'll write what I don't know. I reconstruct fragments, I forge a new story, it's
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not mine but maybe it's yours.
KASK
SCHOOL 01 SARAH DRIESMANS sarahdriesmans.portfoliobox.me sarahdriesmans@gmail.com
Phantom
A phantom image is a photographic image that was apparently never there. It's in the twilight zone between phenomenal reality and illusion and it demands a continuous balancing between control and letting go. In the contemporary visual landscape, the relations between author, medium and image are shifting. To what degree am I an author of my own images in such a
context? And how can I get a handle on my role as author? The process of reproduction, framing and transformation masks information and generates new layers of meaning – like slips that fortuitously make the meaning of a text shift. The images resonate with each other. They are related and complimentary, but never complete.
MASTER OF VISUAL ARTS
Even our names sound delicious: Pandora, Delilah, Bathsheba, Lola, Gilda They speak of us in the language of pastries – cream puff, tart, cupcake They drool over us, put their hands in our bodies Oh honey, Oh sugar as if plunging into layers of white meringue We dissolve behind veils and trench coats our faces soon dimming the whiskey of their tongues already forgotten
Around us the scent of orchids and tobacco flowers bruised and senescent blooms into the night air, thick with gunfire — Jeannine Hall Gailey, Femme Fatale
02 LAURA GEIREGAT laura.geiregat@gmail.com Silence is so accurate.
FASHION MODE
MASTER IN DE BEELDENDE KUNSTEN
Seven simple rules for life in hiding: ‘One, never trust a cop in a raincoat. Two, be careful of enthusiasm. It is all temporary an' don't let it sway you. Three, when asked if you care about the world's problems, look deeply into the eyes of he that asks you. He will not ask you again. Number four and five, when told t' look at yourself, never look. When asked t' give your real name, never
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give it. Six, do not say or do anything that he who standing in front of you watching cannot understand. He will feel you know something he doesn't. He will react with blinding speed and write your name down. Talk on his terms. And seven, do not create anything. It will be misinterpreted. It will not change. It will follow you the rest of your life.’
CONSERVATORIUM
ARTS
23 MIRA VERSTRAETEN www.miraverstraeten.be miraverstraeten@gmail.com
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GRADUATION 03 BRIAN NAEYAERT brian_naeyaert@hotmail.com
05 MAAIKE VAN DEN ABBEELE maaikevda@hotmail.be
This ain't New York, this the Bronx!
Hey, Mom, these fools busted us for dancing, can you believe that? Dreamers will take risks. When are you going to stop writing on the walls and make some money, when are you going to stop tagging the subway cars, when are you going to make your son legitimate ... legitimate shit. I'm a dreamer. B.
MA_JAPAN
The past couple of years I have developed a great interest in Japan, which culminated in a visit to the country. In Tokyo the difference between day and night is tremendous. By nightfall, the tidy uniformed daytime order vanishes completely. It is only after dark that the Tokyo of manifold temptations reveals its true face. After the day's work, businessmen and schoolgirls alike take to
04 LIZETH SANCHEZ lizethsan@hotmail.com
the neon-lit streets to haunt bars, clubs, gambling houses, arcades and the occasional fetish party. The daily routine makes way for nocturnal fantasies. Sex, companionship, easy entertainment; anything can be had. The contrasts of this sultry metropolis became a generous source of inspiration.
MASTER OF AUDIOVISUAL ARTS
Saber Estar
FILM Fragmented, undone It clears the edges It bleeds through the surface It resists regularity It reveals itself as a token of broken beauty It frames the silence
MASTER IN DE AUDIOVISUELE KUNSTEN
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KASK
SCHOOL 03 NIELS FAES nielsfaes@gmail.com
Jane Dog
ARTS
01 KOEN BLAUWBLOMME koen.blauwblomme@gmail.com
Une Forêt Obscure
Jane Dog relates the story of Catherine and Jane, two young women who each deal in their own way with a shared trauma. Their lives take a weird turn when strange tapes surface. A psychological drama with a metaphysical edge, set in a dark and complex world.
Julian is heartbroken and depressed. His subconscious self comes to his aid and tries to lift him out of his gloominess. He shows Julian a chamber of six mirrors through which he can travel to revisit memories. A flow of recollections passes us by about the relationship with his girlfriend and childhood memories with his mother and father. Roaming through the forest of his thoughts,
02 BEN DE RAES ww.dagvorm.be deraes.ben@gmail.com
04 PHILIP HEREMANS philip_heremans@hotmail.com
The Potato Eaters
When the Cow Disappeared
The Potato Eaters is an alternative way of looking at economics, a pure and concentrated outlook on labour in response to the numerous existing quantitative studies. The Port of Antwerp at night and a series of letters by Vincent van Gogh make for a poetic film that can be read as an interpretation of van Gogh's famous painting The Potato Eaters (1885). As the film does not consider
processes of evolution or matters of efficiency, we come closer to the core of economy: human bodies at work and at rest, which are rarely seen in cinema in times of extensive dehumanized automation.
One morning, an old farmer discovers that his cow has ran off. During his search for her, he wanders across the fields and paths of his pastoral universe , while in the background modernity stirs. The farmer no longer has a grip on a quickly changing world, but through the scenes he wit nesses and people he meets, he eventually finds solace and connection. He ends up in a café in the company of the elderly landlady.
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these memories reveal a truth that Julian tries to block out. Une Forêt Obscure is about a nostalgic longing for lost love and time. The film focuses on two very different loves in one's life: maternal and erotic love. It is a poem that reveres the love for a woman.
Toen De Koe Verdween (‘When the Cow Disap peared’) deals with a generation and a way of life that are disappearing. Played by non-professional actors from the actual town and environs where the story is set, it conjures an authentic image of a world on the brink of vanishing.
CONSERVATORIUM
GRADUATION 05 REINIER KROESE reinierkroese@hotmail.com
07 ANNE REIJNIERS annereijniers@gmail.com
A Short Tale about a Big Quest
A Short Tale about a Big Quest is a short, comic fantasy film. At the centre is Benjamin, an unworldly student of poetry whose city is sieged. To counter the war, he wants to write the perfect poem and sets out to ask for advice from the old poet who lives on the other side of the city. Along the road Benjamin gets entangled in the conflict. Confronted with potent emotions such as love, aggression and
Échangeur
fear, his resolution falters. The actors were filmed in front of a green screen and composited within a unique animated world.
In the streets of the massive metropolis of Kinshasa, young Congolese imagine different versions of the past. While the statue of explorer Stanley is waiting for restoration in a shed, a Lumumba imitator is looking for former president Mobutu. A man scrubs manhole covers until the word ‘Leopoldville’ becomes legible again. A boy with a whitewashed face, tropical helmet and whip,
06 RACHEL MONOSOV rachelmonosov.com rmonosov@hotmail.com
08 CHRISTINA STUHLBERGER christina.stuhlberger@gmail.com
Pink Village Chapter 1
Rachel Monosov is artist in residence in a small town in Zimbabwe. As a gift to a nearby village she offers to paint the mud walls of a hut in pink. The villagers enthusiastically accept and request that she not only paint one hut, but the entire homestead and its outer walls which can be seen from the public road. This aesthetic act questions ideas of aid and assistance in Africa. What
dances with ghosts on a roof. As the bronze figures and monuments from the colonial period were removed from the public squares after the independence, today they stand side by side in the Congolese National Museum. Around an empty pedestal emerges an imaginary city where archival footage, performances and presentday Kinshasa interact.
Malapascua
happens when an artist offers a gift to people that serves her own formalistic intentions rather than pragmatics? The creative pursuit of bringing friction to the natural landscape ignites a dialogue regarding aesthetic, political and cultural relationships between Africa and the West.
The film shows a beautiful tropical island in the sun. The place is located on the other side of the world (from a Western-European vantage point) but also inside the maker's heart. People, nature, actions, are foreign in language and culture but instinctively familiar to the soul. During six weeks of wandering on the island, a collection of images piled up. Although the film sets out as a documentary that
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aims to share time lived, the author has difficulty to transcend the position of the onlooker and thereby fails to become a proper mediator between the place and the viewer. What remains is an attempt to understand the notions of origin and culture in the face of a world in which placeness seems to disappear.
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SCHOOL 11 CONSTANZE WOUTERS www.dagvorm.be constanze.wouters@gmail.com
Blank Girl
Interval
Blank Girl
Making Interval was like a journey without a destination. During the past two years, I have been filming for various projects but never finished any of those films. It was only after months of editing that characters, spaces and themes linked up with one another and the images found their place. Interval became a documentary essay about four girls in different places in the
Only a face of a woman The face of cinema Only a surface Shimmers in the dark Shadows of the night We are calling to you Come, and haunt us.
10 ACHILLES VAN DEN ABEELE achielvda@gmail.com
world. A film in which the spaces and moments between the takes are of vital importance. Without the camera we couldn't communicate, with the camera things started happening.
MASTER OF AUDIOVISUAL ARTS
Vignette
ANIMATION FILM ANIMATIEFILM A stranger arrives in an unfamiliar place and watches the world through the measuring equipment of his profession. In the circular vignette of the landmeter's lens, everything becomes uncertain: things look as far away as they are closeby and rectangular reality curls up into circles. While mapping the borders of a moving landscape, the man stands still and observes. We zoom in on his world
and try to understand the complexities of images and sounds, as everyday moments become more meaningful than dramatic actions.
MASTER IN DE AUDIOVISUELE KUNSTEN
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09 ALAIN TJIONG blankgirlproject.tumblr.com alaintjiong@gmail.com
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GRADUATION 01 JEROEN CEULEBROUCK jeroen_ceulebrouck@hotmail.com
03 BORAM LEE boramlee.com boram.lee.watermelon@gmail.com
Antarctica
BIG
Antarctica is the story of John and his fellow travellers who get stuck on Antarctica and their attempts to save themselves. Their journey is both a physical and a spiritual one. John escapes his past but when fate catches up with him, he is forced to confront himself.
This film is about questioning past and future.
02 LIESBETH EECKMAN liesbeth.eeckman@gmail.com
04 EMILY LEFEBVRE emily-lefebvre.tumblr.com/ emily.lefebvre.v@gmail.com
Kitten Instinct
Sometime in the late Cretaceous, a fierce Tyrannosaurus Rex dreams about a cute little kitten. It is a dream that ushers in a new phase of his life. Determined to recover the kitten, he abandons his daily routine of hunting, eating and sleeping and sets out to explore the world around him. The story is visualized as a documentary-style reenactment of dinosaur behaviour. With a dreamy
Painting birds of paradise
montage and cutting across animation styles (combining stop motion and drawn animation, with bits of 3D and live action), this speculative behavioural study on dinosaurs evolves towards an actual behavioural study of the contemporary domestic cat, enacted by dinosaurs.
A painter is painting. At times you can see a bird.
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KASK 07 JEF STAUT staut.jef@hotmail.com
Play Boys
Normally closed
A world of machos, chicks, dogs, bikes and guns.
A man lives in isolation behind his wall. A woman is desperately looking for affection. And there's also an inflatable duck.
06 IMGE ÖZBILGE www.imge.net imge.ozbilge@gmail.com
08 ANNECHIEN STROUVEN annechienstrouven.tumblr.com strouven.a@hotmail.com
Camouflage
Camouflage tells the story of a forbidden friendship blossoming in a secret garden in the city where the East meets the West. This animated short inspired by Ottoman miniatures and Hieronymus Bosch takes the audience to a mysterious and surreal world.
Louisa
Cake, croquettes, a box tree and a pair of woolly socks. A elderly lady with an overwhelming fondness for plants lives amid an accumulation of cupboards where the absurdest things can happen, although you probably wouldn't believe them.
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05 VINCENT LYNEN
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GRADUATION 09 YORICK VAN DE WALLE yorickvandewalle.tumblr.com yorickvandewalle@hotmail.com
11 AARON VAN LIERDE aaronvl.tumblr.com/ aaronvanlierde@hotmail.com
A crisis in The Chalice
June 24th, 2010. Brussels magistrate Wim De Troij issues a search warrant in the context of an investigation on sexual abuse in the Belgian Catholic Church. The investigation has to determine whether or not the Church can be prosecuted for attempts to cover up cases of child abuse. The Belgian Church brands the searches as blasphemy, and the Vatican also expresses its concerns.
One Visit
The government defends the procedure through the minister of Justice. The searches, known as Operatie Kelk (i.e., ‘Operation Chalice’) set in motion a procedural epic. If you are interested in the details of these procedures, you'll easily find them on the internet, but definitely not in Crisis in Het Kelkje (‘A crisis in The Chalice’). The above will not be related. Just a day, an anecdote from The Chalice.
One Visit shows someone in meditation.
10 JOKE VAN DEN HOF vandenhofjoke.tumblr.com/ loveletters@jokevandenhof.be
MASTER OF DRAMA
MAMADA
DRAMA PRODUCTIONS DRAMAPRODUCTIES He grants her the greatest of pleasures. She gives him anything he desires. She shows him her pearl, he shows her his.
MASTER IN HET DRAMA
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SCHOOL 03 ILAN DANEELS
A fish on Animal Planet
For a year, Emily Durertak's life is followed in order to construct a story. She meets a life coach to whom she tells her weird dream. Winona Bontinck tries to treat this into a grand narrative, but that isn't always an easy task. Bob: What do you mean, you can only see yellow? Dhebba: Well mister Meyers. B: Call me Bob
Memoria
D: (tired) Would you please stop interrupting me.
2 MIRA BRYSSINCK mira.brys@gmail.com
Memoria is a thorough investigation into char acters and performance options. The starting point and main issue in the performance is the ques tion how we leave traces, consciously or uncon sciously, and how they can be so potent as to haunt us long afterwards. Through objects and the act of playing I attempt slowly to reconstruct a particular life, even though decay, technique, and subjective
I admit, I'm not afraid not for the clotted blood or the foul air not for the face of death or the weird spasms oh why would I I'm afraid of what comes next for the bathroom mirror what will I tell myself or am I out of words already drained already
source material make this pretty much impossible. In the performance, I try to show my encounter with and manipulation of the material. All objects stem from one branch of my family, and the bulk of it is tied to one particular person: Blanche Verriest, an aunt of mine who passed away in 1974. In Memoria, I search for a way to deal with the loss of someone I never knew, but still miss.
04 SEBASTIAAN EGGERMONT sebastiaan.eggermont@gmail.com
Ohne Intuition ist ein Mensch in der Dunkelheit.
A performance by Tim Taveirne, Loes Swaenepoel and Mira Bryssinck.
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01 MOURAD BAAIZ mouradbaaiz@gmail.com
Ohne Intuition ist ein Mensch in der Dunkelheit deals with our never-ending attempts to coincide with an other, to erase time and space and recover the body.
DI-VI-SI-BI-LI-TY
An intimate portrait of two bodies looking for connection. In DI-VI-SI-BI-LI-TY, Sebastiaan Eggermont and Charlotte Vanden Eynde are looking to connect. Their search for connection, however, threatens their authenticity. In an attempt to come together, they move beyond the limits of their identity. DI-VI-SI-BI-LI-TY is the graduation project in drama of Sebastiaan
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Eggermont, who is both a visual artist and a theatre maker. In his ‘sculptural dance performances’ he seeks to combine these two disciplines. Can you use a body to make a sculpture? Can a sculpture perform? DI-VI-SI-BI-LI-TY is a new step in the development of this visual dance idiom.
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GRADUATION 05 LISABOA HOUBRECHTS www.facebook.com/Kuiperskaai lisaboa.houbrechts@gmail.com
07 MATHILDE STRIJDONK mathilde.strijdonk@gmail.com
The Winter's Tale – Lisaboa & Kuiperskaai
Multidisciplinary theatre company Lisaboa & Kuiperskaai adapt The Winter's Tale, William Shakespeare's infamous ‘problem play’ avant-lalettre. At the centre of their adaptation is the tragedy of failure. Director and playwright Lisaboa Houbrechts revisits the original text and adds new fragments. After 400 years, Shakespeare returns from the dead to defend his misunderstood play to the audience.
With Kuiperskaai, Lisaboa has written and directed three earlier productions for the theatre: De Schepping / The Creation,The Goldberg Chronicles and Mariembourg. The company was established collectively in 2012 by Romy Louise Lauwers, Oscar van der Put, Lisaboa Houbrechts and Victor Lauwers.
06 LOBKE LEIRENS lobke.leirens@gmail.com
SESSION
SESSION (April 2016) is a physical solo performance that invites the audience to lose themselves in a moment where everything seems to stand still yet is thoroughly shaken up. It is a meditative session, a cycle of birth and rebirth and an exercise in being. The body on the stage attempts to divide itself in four separate bodies; moving about and gasping for breath, these fictive
08 EVELYNE VERHELLEN www.fanerose.com evelyneverhellen@gmail.com
PLAINFIELD
What you are about to witness is one of the most bizarre and brutal series of crimes, committed by Ed Gein, ‘The butcher of Plainfield’ HE CRAWLS HE CREEPS HE EATS YOU ALIVE What you are about to see may never happen but to this dreadful moment in which we live it presents a fearsome warning
bodies go through a quest for recognition, for an identity. Although they communicate, they cannot find a voice of their own. It is in the silences that they hope to find security, but the pumping blood and protesting breathing are deafening.
ÜBER-GANG
Our story begins with THE END.
In ÜBER-GANG, four performers create a continuous transformation. Movement, word, image and sound intertwine in rhythmic transitions, strive towards cooperation, give meaning to themselves, or cause chaos. The power of suggestion is inescapable. For this project Evelyne Verhellen collaborated closely with video artist Tabea Rothfuchs, performer/dancer
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Ann Dauberschmidt and musician Daniel Brandl. Transitions define life: everything that surrounds us or is inside us is constantly shifting from one state to another. With this group of artists, we investigated how we can halt a transition. How inevitable it is to become the person others see in you. How someone becomes variable and moves from one personality into another.
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PERFORMING MUSIC: CLASSICAL MUSIC UITVOERENDE MUZIEK: KLASSIEKE MUZIEK MASTER IN DE MUZIEK
1 2 3 4 5 6
Vanessa Genis Esparza Ward Ginneberg Jolien De Ley © Marian Coppieters Opera scene by the singing class from L'enfant et les sortilèges © Koen Broos Hannes Beauprez Marnie Deweer in De Toverfluit
01 STEFAN ALI 02 HANNES BEAUPREZ hannes.beauprez@gmail.com Clarinet graduation project For my master project I have selected four pieces from the 20th and 21st-century clarinet repertoire. I open the programme with a contemporary work for solo clarinet; (suzumushi), composed for the occasion by Nadja Delbarre. The piece and its title are inspired by a Japanese cricket, and it balances between humour and serenity. A second piece is Jean Rivier's lesser known Concerto, after which I will perform a staple from the repertoire in Claude Debussy's Première Rhapsodie. Closing the set with me is the Royal Concert Band Ste-Cecilia from Zele who join me on Óscar Navarro's Second Clarinet Concerto.
La donna ideale Avendo gran disio — from 4 Canzoni popolari (1946), Luciano Berio Extinguish my eyes When my soul touches yours a great chord sings — Two love songs (1949), Leonard Bernstein Oui, Dieu le veut … Adieu forêts ... — Jeanne D'arc's aria from La Pucelle d'Orleans (1881), Pyotr Ilyich Tchaikovsky Parto, parto — Sesto's aria from La Clemenza di Tito (1791), Wolfgang Amadeus Mozart It's De-lovely So in love — Cole Porter The Alto's Lament, Zina Goldrich Barber's Hermit Songs set to music short poems, thoughts and observations written in manuscript margins by medieval monks. These brief and often funny texts are surprisingly modern and paint a wonderful picture of these dedicated and often lonely lives. Full of devotion, these men led lives driven by a higher power. From this work, I turn to other compositions and composers whose voices are underpinned by that same passion, audacity and dedication.
05 LIESELOTTE DE VUYST lieselotte.devuyst@gmail.com Piano recital Rautavaara, Rzewski, Wagner and Berg. A delightful combination of (rather) unknown and (slightly better) known piano repertoire in which both pianist and audience expand their horizons.
07 JOLIEN DELEY joliendeley.wix.com/celliste jolien.deley@gmail.com Cello recital I'd known for a while that I would graduate on Robert Schumann's cello concerto, but that I would not perform the standard version for cello and piano but an unknown arrangement for four cellos was a decision I made much later. I will perform this unusual version of this concerto with the help of three alumni and friends. A second choice was easily made: Claude Debussy's mysterious sonata, in which I am fortunate to share the stage with my terrific regular accompanist Charles Vanden Broucke. The piece is an eminent example of Debussy's style, but it is also one of his most progressive and experimental works – a work full of surprises that brings to life the story of Pierrot Lunaire. A final piece on the programme is György Ligeti's solo sonata, which has intrigued me for some time. The first part, ‘Dialogo’ is reminiscent of a folk song and contrasts sharply with the more aggressive and virtuoso second movement, ‘Capriccio’. Both written for a woman, but so different. That is my graduation recital: 3 compositions, 3 styles, 3 settings.
06 CELINE DEBACQUER celine.debacquer@hotmail.com When my soul touches yours Hermit Songs (1953), Samuel Barber
08 GILLES DEMEURISSE gilles.demeurisse@hotmail.com Euphonium recital As the conclusion to my time at the Conservatory, I will present a
03 NIELS DE COCK 04 SEBASTIAN DE MEESTER basje_demeester@hotmail.com Cello recital Programme: Sonata for cello and piano Op. 4, Zoltán Kodály (Nathalie Matthys, piano) Cello concerto nr.1, Dmitri Kabalevsky (Guy Penson, piano) Vocalise, Marc Matthys (Nathalie Matthys, piano) Grave, Metamorphoses for cello and piano, Witold Lutoslawski (Guy Penson, piano)
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MASTER OF MUSIC
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GRADUATION one-hour recital with a programme consisting entirely of compositions for solo euphonium. The recital will reveal the euphonium in all of its facets, highlighting its lyrical as well as its technical sides. Accompaniment is provided by the piano, and by a brass band, on two pieces each. The opening composition is M. Ellerby's Euphonium Concerto, one of the most challenging works for the instrument, exploring its limits in terms of range, technique and condition. Next up is the Fantaisie sur l'Ame en peine by J. Demersseman, which makes up the more traditional part of the recital. The lyrical side of the instrument is demonstrated in M. Putz' Solitary Prayer, which will be performed with orchestra to make the palette even richer. The final work is ‘Over the Edge’ by B. Watté, a composition whose title is entirely to the point. 09 CAROLINE DESLÉE caroline.deslee@gmail.com My master's project combines equal doses of Baroque and 20thcentury music. Two lighter works open the programme: Vincent Lübeck's Praeambulum et Fuga Ex E, and the Bach chorale ‘Christ unser Herr zum Jordan kam’, with its accompanying voice symbolizing the flowing of the water. We dive somewhat deeper with the sweeping opening chords and fugal complexity of the Praeludium et Fugue BWV 546, preparing the way for the colourful harmony of César Franck's third chorale. In the Messe de la Pentecôte (communion and finale), Olivier Messiaen accomplishes a synthesis of nature/religion and sound. Paradoxically, Messiaen's complex compositional structures lead to an art that expresses a longing for the essence of simplicity. The programme concludes with the Cinq Versets sur le Victimae Paschali by Thierry Escaich, a work I encountered some years ago and wanted to include here because of its catching, rhythmically pulsating vitality. 10 TINEKE DEVOGHEL tinedevoghel@yahoo.com Flute recital ‘Impressions’ Flautist Tineke Devoghel's graduation recital ‘Impressions’ will present a varied programme with Baroque pearls by J.S Bach and his son C.P.E. Bach, an Exotic Suite by S. Karg-Elert, F. Martin's Ballad and A Lindisfarne Rhapsody by P. Sparke. Soloist Tineke Devoghel will share the stage with Lies Verholle (soprano), Helena Faes (cello), Guy Penson (piano and harpsichord) and the Royal Concert Band Ypriana directed by Nico Logghe. 11 MARNIE DEWEER marniedeweer@gmail.com Black Swan
Black Swan: music between light and dark. One way to draw attention to something is by literally putting it under spotlights. It is brightly lit while the rest remains cloaked in shadow. But what is hiding in that shadow? Break the conspicuous facade, and face harsh reality. Because nothing is as it seems: start by distinguishing between reality and our interpretation of reality – for beauty, too, has its dark side. W.A. Mozart: No, che non sei capace. G. Donizetti: Quel guardo il cavliere… so anch'io la virtu magica. Norina, from Don Pasquale. C. Debussy: Quatre chansons de jeunesse: 1. Pantomime 2. Claire de lune 3. Pierrot 4. Apparition. S. Rachmaninov: Vocalise. G.F. Handel: Se pieta, de me non senti. Cleopatra, from Giulio Cesare. G. Meyerbeer: Ombre légère. Dinorah, from Dinorah. L. Bernstein: Glitter and be gay. Cunegonde, from Candide. 12 AXEL DEWULF axel.dewulf@hotmail.com Percussion recital Axel's graduation project consists of a selection of contemporary percussion pieces, the earliest of which is from 1968. Alongside more traditional marimba and drum pieces, the programme also features a work for vibraphone and live electronics in which recorded sounds are distorted and interact with the music performed live. Axel will also perform an original composition for solo tom-tom without electronics. In this piece, the audience will notice an evolution both in the performer and in the sound coming from his instrument. Performer and instrument appear as equals, as it were. 13 ANGELO DI IANNI 14 HELENA FAES helena.faes@gmail.com Cello recital Programme: Johann Sebastian Bach, Sonata in D Major for viola da gamba and harpsichord (BWV 1028) César Franck, Sonata in A Major Martin Schlumpf, Onyx 15 CAROLINE FAFLAK cfaflak@hotmail.com Etudes for Eugène Ysaÿe's Sonata in A minor (opus 27, no 2) based on Otakar Ševcˇík's School of Interpretation (opus 16) Czech violinist and pedagogue
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Otakar Ševcˇík's School of Interpretation (opus 16) was conceived to allow his students to learn major pieces from the violinist's repertoire, including concertos and pieces by Rode, Fiorillo, Berio, Ernst, Sarasate, Spohr, and Viotti, as well as more popular composers including Beethoven, Mendelssohn, Wieniawski, and Paganini. Each of the 45 parts of opus 16 includes a score of the piece with piano accompaniment, an edited violin part with Ševcˇík's dynamics, bowings, fingerings, articulations, and tempos, and a set of etudes based on the particular set of challenges presented in the piece. My thesis proposes to study opus 16 and produce a set of etudes for Ysaÿe's second solo sonata for violin in A minor (opus 27 no 2). Ysaÿe's sonata presents a variety of technical and musical challenges in rapid succession and my etudes will identify those challenges and provide a structured practice method based on the etudes of Ševcˇík. In addition, I will be performing this solo sonata as a part of my graduation recital. 16 JOSE ALEJANDRO GARZON www.alejandrofonte.com garzon.alejandro@gmail.com Singing Recital My singing recital consists of four parts, with pieces by composers G.F. Händel, L. van Beethoven, Manuel de Falla and Giuseppe Verdi. The first part presents the two arias of the oratorio Samson: ‘Total eclipse’, in which Samson bewails his loss of sight and ‘Thus when the sun’. The Beethoven segment includes the lieder ‘Adelaide’, ‘Trocknet nicht, trocknet nicht’ (poem by Goethe) and ‘Es war einmal ein König’. In the third part, I will perform Las Siete Canciones Populares Españolas, seven popular sayings beautifully set to music by Spanish composer Manuel de Falla. The final set includes several songs by Verdi and published under the title ‘composizione da camera per voce e pianoforte’. 17 VANESSA GENIS ESPARZA vanessa_yanera@hotmail.com Technical violin issues in higher education This thesis aims to analyze the technical violin problems that students in Bachelor and Master programmes (ages 22-28) still encounter in the final years of their training. We will determine when and why these issues start, and how they are to be solved. Moreover, we will take into account the institutions were the pupils studied, and the culture of their countries. As every student is different, an understanding of their backgrounds is crucial to determine their issues, and the optimal solutions
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18 WARD GINNEBERGE ginnebergeward@gmail.com a score is a choreography is a score In his series ‘Next to Beside Besides’, Simon Steen-Andersen emphasizes the performer's motions, making the composition a choreography for musician and instrument, with the resulting sounds merely byproducts. NTBB #3 and #12 were both written for the accordion, but result in something else. This hierarchy in which actions take precedence over sounds can be extended to apply to the interpretation of Bach on accordion. Each note (action) is played exactly as demanded by the score, but the auditory result differs from that of other (keyboard) instruments. Leif Segerstam's ‘Seven Questions for Infinity’ consists exclusively of guidelines (actions) for the performer who is expected to improvise within their framework. ‘De Profundis’ by Sofia Gubaidulina uses numerous techniques (actions) pertaining to the accordion, but always in the service of a unique sound. For ‘Sergio Everlast’, I translated the movements of the dance performance it is combined with to the reading of a well-known classic of literature. As such, the choreography takes place on the page. 19 CYNTHIA HAUTERMAN cynthiahauterman@gmail.com Piano recital Programme: Partita n°6 in E minor (BWV830), Bach Nuages gris, Liszt Suite, Opus 25, Schönberg 20 JAN HUYSENTRUYT 21 HANS JACOBS 22 EVELIEN LEEUWERCK evelien.leeuwerck@gmail.com Clarinet recital Programme: Fantasiestücke, Opus 73, Robert Schumann Concerto, Alexandre Tansman Time Pieces, Opus 43, Robert Muczynski Variations on a theme from the opera Alruna, Louis Spohr
23 IVANA NAUMOVSKA ivana.naumovska@live.com Piano recital Programme: R.Schumann: Kinderszenen op.15 (1838) F.Chopin: Polonaise op.44 (1841) N. Medtner: Sonata tragica (1920) F. Liszt: Sonetto 104 del Petrarca – Deuxieme annee – Italie (1846) I. Stravinsky: 4 Etudes op.7 (1908) S. Rachmaninoff: Melodie op.3 n.3 (second version) (1940) 24 ZHAOTONG PAN panzhaotong25@gmail.com Clarinet recital Programme: Andante et Allegro, Ernest Chausson Concerto for clarinet, Henri Tomasi Introduction Et Rondo op.72, Charles-Marie Widor Time pieces for clarinet and piano op.43, Robert Muczynski. 25 BENJAMIN POPPE Benjamin.Poppe@hotmail.com Trombone recital On the occasion of my graduation, I will perform the following programme, accompanied by Geert Callaert: Leopold Mozart, Concerto for alto trombone Philip Sparke, Concerto for trombone Eugene Bozza, Ballade J. Guy Ropartz, Pièce en Sib mol 26 VALERIE TRANGEZ 27 CEDRIC TROISPONT cedrictroispont@hotmail.com Poetry inspires Rachmaninov in Fantasie (Suite nr. 1) for 2 pianos, Op. 5 At my graduation recital I will perform a programme by Romantic, late-Romantic and post-Romantic composers: Frédéric Chopin, Polonaise-Fantaisie, Op. 61 Franz Liszt, Après une Lecture du Dante, Fantasia quasi Sonata Franz Liszt, Etude Transcendental Nr. 12: Chasse-neige Aleksandr Skriabin, 24 Préludes, Op. 11 (selection: Nrs. 1, 3, 6, 8, 11, 16 en 18) Sergei Rachmaninov, Etude-Tableaux, Op. 33 nr. 4 Sergei Rachmaninov, Etude-Tableaux, Op. 39 nr. 2 This project is based on the interaction between music and poetry; these two forms of expression are closely related, and in fact complementary: they reinforce each other and merge, and are able to provoke new
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emotions. Rachmaninov had a very good understanding of these correspondences. This project was realized in collaboration with Poëziecentrum Ghent and was presented to the public in March 2016. 28 SASKIA VAN HERZEELE saskiavanherzeele@yahoo.com Les Barricades Mystérieuses Francois Couperin's Les Barricades Mystérieuses provided me with a title, prelude and source of inspiration for this recital that is part of a graduation project on music and palliative care. I will perform music written in the winter of life: Franz Schubert's transcendent final sonata, and two intimate mazurka's by Frédéric Chopin. Actor Yoeri Lewijze will add his impressions from an earlier performance at the palliative ward of the St. Lucas Hospital in Ghent. Music that is at once intimately human and able to transcend the human condition, by and for people in the shadow of life's mysterious barricades. 29 JOKE VAN LENT jokevanlent@gmail.com Saxophone recital With her graduation work, Joke intends to display the versatility of the saxophone. She composed a varied and surprising programme for soprano and alto saxophone that features both the classical and the contemporary repertoire. She opens the set with K. Stockhausen's In Freundschaft, a solo piece that she will render on the soprano sax, in which gestures and music interact. Next comes the classical Rhapsody by the recently deceased A. Waignein, Chronographie is a virtuoso piece that M. Lysight composed for the International Adolphe Sax Competition. The final piece on the programme is J. Ter Veldhuis' Buku for alto saxophone and boombox in which the composer experiments with jazz sounds. The piece's title refers to a remark by Charlie Parker about Dizzy Gillespie in an interview conducted by Paul Desmond. No one was sure what Parker referred to: some remote African town, or the French ‘beaucoup’? Both elements were incorporated in this composition. 30 JEANNEKE VAN ROEYEN 31 MIEKE VAN UYTVANCK mieke_vu@hotmail.com Desire Desire offers a varied programme in which each song or aria deals with love; with reciprocated or unreciprocated desire. With how it drives us and how it may destroy us. In Händel's ‘Oh had I Jubals lyre’ (from ‘Joshua’), a passionate and hopeful desire shines. In Dido's aria ‘When I am laid’ (from ‘Dido and Aeneas’),
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to them. Furthermore, we will see the importance of teachers in counselling students and helping them to achieve their goals. Qualitative research based in case studies will be combined with one of the most commonly adopted theories; Individual Theories. This theory focuses primarily on the individual development, cognitive behaviour, personality, learning and disability, and interpersonal interactions of a particular subject.
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GRADUATION however, the desire for something that is no longer has turned into a destructive force. With Mozart's concert aria ‘Chi sa, chi sa, qual sia’, we return to a more passionate shade of love. Dvorak's ‘Song of the Moon’ (from ‘Russalka’) tells of how a search for a loved one can drive us so far as to ask the moon for help. In Debussy's song cycle ‘Ariettes oubliées’ (with poems by Verlaine), all the colours of desire are allowed to resound: from ecstasy to despair. A couple of Piazzolla's tangos add a southern, dancing and passionate touch to the palette, and we return home to close off with a selection from Piet Swerts' song cycle ‘De innigheid der dingen’ (‘the intimacy of things’, words by Geldof). 32 AMELIE VERHELLE amelieverhelle@gmail.com Violin recital Programme: Sonata for solo violin, op. 115, Sergei Prokofiev (part I: Moderato) Sonata for violin in F Major, op. 57, Antonin Dvorak — Allegro, ma non troppo — Poco Sostenuto — Allegro molto Violin concerto in G minor, op. 26, Max Bruch Amelie Verhelle, violin Ivo Delaere, piano 33 YIFAN YAN yifan.yan@outlook.com Moments Programme: J.S. Bach, Cantata BWV 209: aria, ‘Parti Pur’ Lowell Liebermann, Sonata for flute and piano Kazuo Fukushima, Mei César Franck, Sonata in A Major 34 SVEN YSEWYN MASTER OF MUSIC
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Aelder plays psychedelic rock infused with jazz and classical influences. The four-piece first came together in February 2016, on vocalist Celine Joanna De Cuyper's initiative. Celine Joanna is also the main composer of most of the songs they are currently working on. The music ranges from intimate moments to collective screaming, unafraid of dissonance. Expect a sonic rollercoaster, and don't forget your earplugs. Celine Joanna De Cuyper – vox & fx Alexander De Baedts – guitar & fx Stan Callewaert – bas guitar, contrabass & fx Jens Van Esch – drums & random stuff 05 BERT HAERENS bert.haerens@gmail.com Bass Extravaganza A progression of groovy tunes, ranging from fusion and funk to ballads. 06 BENOIT MADDENS
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Jens Van Esch met Bart Maris in Hot Club de Gand Emilie Pierre Midas Wouters Gilles Vandecaveye tijdens TUNES 2016, © Frederik Sadones Ramses Van den Eede © Leon De Backer
1 JONATHAN ACKAERT jonathan.ackaert@gmail.com Looking for the heart of trombone For my final project, I will perform music that means a lot to me: serious grooves rooted in New Orleans, with a nod to gospel. The trombone as an extension of the voice and the soul. Music with a raw and honest edge that addresses you directly. We will perform a number of traditionals and an homage to the trombone player who to me is the epitome of this kind of music: Wycliffe Gordon. 02 SANNE BOSTYN 03 JONAS BIESBROECK 04 CELINE JOANNA DE CUYPER facebook.com/celine.decuyper celine.decu@gmail.com
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07 EMILIE PIERRE emilie.pierre@outlook.com HIGH TIDE This child of the sea is about to set sail for new adventures. On that occasion, Emilie would like to take you on a tour of her experiences and influences of the past couple of years. Beautiful, pure, intimate music … that is what she keeps aspiring to. Her inspiration she draws from artists like Joni Mitchell, Nick Drake, Tierney Sutton and so many others. Her band consists of musicians she's met during her training. People without whom that experience wouldn’t have been half as interesting and who have enabled her to reach this destination after an interesting journey. 08 RAMSES VAN DEN EEDE Teen Creeps x Hypochristmutreefuzz For his graduation project, Ramses Van den Eede will perform a double concert with his two active bands; Teen Creeps and Hypochristmutreefuzz. Teen Creeps is the trio of songwriter and guitarist Joram De Bock, Bert Vliegen (bass and vocals) and Ramses. Their music takes its cue from the 90s with such influences as Dinosaur Jr, Sonic Youth, Hüsker Dü, Fugazi, and more recent acts such as Cloud Nothings. Ramses' drum parts for Teen Creeps are fast and powerful, with only a select number of elements; melodious, robust and simple yet full of subtle ornamentation. Hypochristmutreefuzz – the name comes from a jazz standard by Misha Mengelberg – is the band Ramses composes for. Whereas usually he provides the vocals while
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09 JENS VAN ESCH jens.van.esch@gmail.com Wandjina Wandjina is the band composed by Jens Van Esch for his master project, featuring some of his favourite musicians. The group's original compositions are based to some extent on free improvisations on the a foundation of rhythmic structures or lyrical melodies. Although the basic ideas are provided by Jens Van Esch, the compositions are very much the product of the moment and the group's collective movements. Set elements are combined with coincidence and spurof-the-moment decisions, resulting in various musical moods ranging from the strange to the comforting. Ambroos De Schepper: alto sax Benjamin Hermans: baritone sax Geert Hendrickx: guitar Kobe Boon: bass Jens Van Esch: drums 10 GILLES VANDECAVEYE gillesvandecaveye@icloud.com Bardo “take a ride on your deepest doubts and reach your stoned catharsis” Five musicians, friends, brothers, each with their own musical background (jazz, rock, soundscapes …) who tell a story together about universal doubts, the search for identity, and love in all of its guises. In a single continuous set they are in the middle of a process of transition, without any clear goal. Every beginning is only a sequel, after all, and the book of events is always open halfway through. (W. Szymborska, ‘Love at First Sight’, 1993.) In this process, they deliberately seek out contrasts: minimal vs. maximal sound; electric vs. acoustic instruments;repetition vs. variation. Soundscapes and spoken word bring an additional dimension to the whole and lure the listener into their many-sided universe. It was Gilles Vandecaveye who brought these musicians together, and he also provides the concept, compositions, field recordings and lyrics for what is also his graduation project. Mattias De Craene: sax Lieven Van Pee: electric bass Gilles Vandecaveye: piano/ synths, spoken word, vocals, soundscapes Elias Devoldere: drums Cesar De Sutter: guitar, vocals
11 JONAS VEIRMAN Music and Friends; Nothing More Who is that cat called Jonas Veirman? And what is it he does? That becomes clearest on the stage, as that is where he feels at home. For his graduation project he decided to perform a set with (brilliant) musicians he met at the Conservatory. The concept is simple: add great music to a group of friends, and serve a beautiful night. Nothing more, nothing less … The music was chosen collectively. In addition to traditional and more modern pieces, Jonas' Scandinavian Erasmus experiences will also make themselves felt. What started out as an experiment to see what would and would not work in the context of this particular line-up has grown into something that might well outlast the members' Conservatory time. As Sinatra would have said, ‘Come Fly With Me’. 12 TOM WILLEMS tomwillemsguitars@gmail.com Tom Willems presents a varied musical set list full of surprises. Follow him on his colourful journey through the land of pedal steel. He will also captivate you with his guitar playing. 13 MIDAS WOUTERS wouters.midas@gmail.com My master project programme consists of two parts. In one part we will perform a number of wellknown pieces that have had a major influence on my personal musical development in their original versions. These include songs by Toto, Boz Scaggs and Blind Faith. The other part of the programme will be made up of songs by two singer-songwriters in whose band I play and contribute to the music. On stage with me are: Michael Asnot (guitar & vocals), Milo Meskens (guitar & vocals),Ruben Degeest (vocals & bass), Steven De Smedt (guitar), Benjamin Jacobs (keys) and Hanne Vandekerckhove (bass).
01 MIREK COUTIGNY Mirekcoutigny@gmail.com Station Eleven
As I feel little affinity with long-form compositions, like the symphony, that progress through a traditional structure of opening, middle, and closing over the course of an hour, I was initially taken somewhat aback by the prospect of programming a full of hour of original music for my graduation project. What appeals to me much more is the way a TV series is developed over a season, and how such sudden turns can be translated into a musical structure. In this hour-long concert, the audience will be presented with a work in eight episodes, based on Emily St. John Mandel's novel Station Eleven. The book recounts the story of a group of nomadic artists in a desolate world twenty years after an apocalyptic disaster. Although the book was an important source of inspiration, the result is in no sense a literal translation. My primary goal was to express the mechanisms of a series in musical discourse: the structures of an episode and a season, characters meeting, cliffhangers, … 02 GILLIS SACRÉ gchsacre@gmail.com Song cycle and concerto
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For my graduation project, two of my compositions from the past year will be performed: a song cycle for soprano and ensemble and a double concerto for piano, bass and ensemble. For the song cycle ‘Entre deux chemises’, I selected ten poems in ten different languages and attempted to translate these into music with as little means as possible. I wanted the resulting work to be lyrical yet sober, punctuated with moments of tranquility.
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Elias Devoldere plays the drums, for the occasion of his master project he will do both. Hypochristmutreefuzz is often mentioned as part of the vibrant Belgian noise scene, and they draw influences from such acts as The Birthday Party and Pere Ubu but also Death Grips and the theatricals of The Residents.
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GRADUATION As a model, I looked to one of my favourite works, Schubert's ‘Winterreise’.‘Entre deux chemises’ is performed by Dutch soprano singer Esther Kouwenhoven. The mood darkens somewhat for the double concerto for piano and bass, which also allows for more virtuoso highlighting. The main challenge in this piece was to feature the piano and the bass as solo instruments, both separately and in a (somewhat unusual) duet. Soloists Barbara Baltussen (piano) and Bram Decroix (bass) perform with the ensemble conducted by Nicolas Taboulot. 03 CORINA ALEXANDRA TIRZIMAN corina_tirziman@yahoo.com
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03 JUSSI DE NYS www.facebook.com/ jussi.productions jussi.denys@gmail.com
MASTER IN DE MUZIEK 01 NAOMI BENTEIN 02 JOREN CAUTAERS be.linkedin.com/in/ joren-cautaers-448014109 joren.cautaers@gmail.com
Music Composition Master Project The first work performed in my graduation programme is for vibraphone and prepared piano, entitled ‘Lost in Labyrinth’. For this piece, my aim was to create one continuous musical layer that gradually sinks in, ‘gets lost’, and becomes visible again within the other, more dynamic layers. The second piece is simply called ‘Rehearsal – Concert – Afterparty’. This three part suite for clarinet, cello and piano represents my attempt to humorously capture the ‘everyday struggles’ of young musicians who have to prepare and sustain a concert, but also display what happens after the performance. The third act of my project consists in the screening of the short movie True Romance by Romanian director Alexandru Mironescu. The film may seem just another young romance, but will the love triangle really turn out to be the typical ‘two boys in love with the same girl’? My final piece is a suite for large ensemble entitled ‘Elements’, consisting of four parts: ‘Earth’, ‘Water’, ‘Wind’, and ‘Fire’. At the core of this piece are ritualistic and symbolic details.
moans and shrieks — and the pulverizing thrust and godless grooves of her copper, magnetic steel and animal-skin abusing band of seven. No rules!
— Do What They Say – Super Salt Peanuts Super Salt Peanuts is the latest sensation from Ghent, headed by none other than multiinstrumentalist and producer Joren Cautaers (28). We've seen him before as a performer with Leonore (drums), Humble Grumble (vibraphone) and Peut-être (bass), but now he steps out with his own project, Super Salt Peanuts. — Sound of Colours Sound of Colours is an audiovisual project aimed at bringing together people from different cultures and backgrounds who share a city. With music as a universal language, we get together to sing and play under the banner of ‘diversity in unity’. — Leán (EP) Leán is the trio of Silke Clarysse, Otto Kint and Gielis Cautaers. They met in Brussels in 2014 and decided to do something with their shared passion for world music. They perform guitar-based pieces from Africa, Latin America and the Mediterranean with jazzy upright bass and subtle hand percussion. — Evil Empire Orchestra (EP) Live, Evil Empire Orchestra invariably sets loose a degenerate crossover of trance rock, ethio-jazz and world funk. The components of this unseemly assembly? The untamed, primal soul vocals and mystic fire of singer Kimberly Dhondt — who brings forth tunes,
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04 NICOLAS DELÉPINE nicolasdelepine.nd@gmail.com Tyger_EP_With a Why // Atilla_EP, Cas_Single & B-Side Tyger is the freshly dropped
cub of songwriter and producer Nicolas Delépine. He is assisted by Anne Van steenwinkel (keys), Sander Cliquet (guitar), Hanne Vandekerckhove (bass) and Bert Van Damme (drums), and together they serve slightly eccentric pop songs that lure you onto a rollercoaster of sound. From innocent guitar plucking on a bed of harmony, to walls of dirty overdriven guitar noise … Throughout their eclectic leanings, however, Nicolas' distinctive voice keeps everything seamlessly together. 05 STEF LENAERTS stef.lenaerts55@gmail.com Master project Stef Lenaerts
For my graduation project, I took up production and arrangement for two EPs by two different bands. I also performed the lead parts and produced my own single, and collaborated on a new edition of Sound of Colours. My single is called Don't Go Down With Me, an introspective pop song that tips the hat to Beck and Gainsbourg.
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— Black Mambo After the sultry monsoon, Black Mambo transforms into a warmer and more subdued collective. Strong personalities don't stick to rules, but bend them. — Jesse Stone A new project that toes the line between electronic pop and subdued moods. — Sound of Colours Sound of Colours is an audiovisual project that aims to bring together people from different cultures and backgrounds who share a city, through the universal language of music. 06 TOM SOETAERT tomsoetaert@hotmail.com outer
outer is a project by Tom Soetaert. 07 ANNE VAN STEENWINKEL www.facebook.com/ annevansteenwinkelmusic anne_vst@hotmail.com Producer meets orchestra: Into the wild
08 SIMON VANDEN BOGAERDE attaboymusic.bandcamp.com svandenbogaerde@gmail.com Polyethylene
In addition to my production, recording and mixing efforts for The Grassroot Movement's single Straatmuzikant and Modern Art's Roy EP, I developed my own conceptual EP Polyethylene. In this project I attempted to approach both music and concept not in any alternative way but precisely in a very commonplace manner. There is, however, an ironic overtone that will hopefully make the project appeal to both critical and inexperienced listeners. The idea gradually took shape in June 2015, and started with a search for an appropriate sonic palette and arrangement. What quickly imposed itself was the combination of the organic sound of acoustic drums and guitars with the synthetic sounds of synthesizers and samples. This eventually crystallized in 2016 in Polyethylene. 09 MICHAËL VERLINDEN soundcloud.com/ michaelverlinden michaelverlinden@gmail.com The adventure of music production: elfin pop, organic rock and classical minimalism
For her graduation project, producer and songwriter Anne Van Steenwinkel arranged thirteen pop songs for orchestra, choir and singers. Anne joins forces with Arte Musicale for a unique collaboration. Pop songs are transformed into orchestral compositions. Enchanting melodies will transport you into the unknown, into the wild. The concert is performed on May 14, 2016, by Arte Musicale's youth orchestra Forza Muzica and youth choir Furiosa, with singers Ruben Degeest, Josefien Derijcke, Eline Mann, Manou Maerten, AnaFlorence Van Craen, Jervin Weckx and Mikky Zomerdijk. Anne Van Steenwinkel conducts, plays the piano and sings. At the graduation concert on June 27, Anne will also perform her own music for the project ‘Mary’ with her band.
In my master's project, I highlight several aspects of the producers' trade. My first recording project was the fairy-like debut album by Martha, singer Merel Cappaert's new project. As a producer, I have enriched the imaginative sound of the album – to be released in the fall of 2016 – by developing arrangements and creating several synth parts. As a producer for Himalaya Heights, I searched for the
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challenging organic rock sounds of the sixties and seventies, which the musicians translate in fascinating contemporary compositions. A different type of challenge I found in the production of recordings of Cello Counterpoint, a pioneering piece by American composer Steve Reich. This minimalist work for cello octet – of which hardly any recordings exist – is described by the composer as ‘extremely tight, fast moving rhythmic relationships not commonly found in the cello literature.’ The recordings are part of cellist Jasmijn Lootens' maste's project and are scheduled for release later in 2016. I proceeded in the same minimalist vein for my own song Tangled, in whose experiment with prepared piano I have laid the basis for future projects.
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MASTER IN DE MUZIEK 01 MARIEKE TINEL marieke.tinel@gmail.com A comparative study into thepositive effects of music on stress
My master's project combines several aspects: there is the composition of a theoretically sound school fugue and a number of posttonal works on the one hand, and a thesis on the other hand. For this thesis, I have reviewed the literature on the effect of music on stress. I took a close look at about thirty studies and used my background in music to determine what kinds of music and which elements in that music may have a stress-reducing effect. With this thesis, I want to come to a clearer understanding
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June 23 in Ghent MIRY Concert Hall Marco Quagliarini, Ricercare (2015), 17' for piano solo by Carlo Prampolini Mauricio Kagel, Con Voce for three mute players (1972), 3' to 5' by Sara Baldini, Laura Faoro and Hanna Kölbel Philip Glass, Piece in the shape of a square for two flutists (1967), 12-13' by Sara Baldini and Laura Faoro Yukiko Watanabe, Monodialogue III for two flutists (2012), 8' by Sara Baldini and Laura Faoro Karlheinz Stockhausen, Tierkreis version for two flutes (1975), 25' by Sara Baldini
01 CHARLOTTE DE LEY deley.charlotte@telenet.be
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As the daughter of two professional musicians, Charlotte grew up surrounded by music and musical instruments. From a young age, she learned to play the violin and sang with the Flemish Opera's children's choir. In her teens, her focus gradually shifted towards jazz, and the violin had to make way for the bass as the choir was replaced by a jazz band. She realized however, that the two need not be mutually exclusive, and has decided for her master's project to build instruments that express her love for both jazz and classical music. The intention was to set up two very different ensembles that both perform French dance music. The classical ensemble, consisting of a lute and pardessus de viole, is mainly associated with dances such as the sarabande, passacaglia and chaconne. The jazz ensemble combines the double bass with a steel-string guitar for the performance of gipsy jazz (in the line of Django Reinhardt). A unique composition for all four instruments is in the works and set to premiere later in 2016.
for 3 instrumental groups and conductor, 15' by Hannah ReardonSmith, Hanna Kölbel, Primoz Sukic, Ruben Martinez-Orio, Sara Baldini, Carlo Prampolini, Tom Jackson, Rowan Hamwood, Heather Roche, Kaya Kuwabara, Susanne Hood and Pieter Pellens
GAME ensemble at work during SPOR festival in Aarhus (DK) © Samuel Olandersson Hanna Kölbel performing with Ictus Ensemble at Handelsbeurs, Ghent © Rudy Carlier
GAME, the ensemble of students of the advanced master in contemporary music will concertize in the MIRY Concert Hall and at SMOG (Brussels), where it will present a varied programme of modern sounds.
June 18 in Brussels SMOG Rebecca Saunders, Molly's Song 3, shades of crimson (1996) for alto flute, viola, steel-string guitar and music boxes 8' by Hannah Reardon-Smith, Kaya Kuwabara and Primož Sukic Liam Flenady, Warped Passages' (2016) for flute 12 by Hannah Reardon-Smith Sara Nemtsov, Briefe.Puppen' (2012/2014) for electric guitar and percussion 17 by Primoz Sukic and Ruben Martinez Orio Richard Barrett, Codex V (2007), 10 for 12 or more players with any instruments by Hannah Reardon-Smith, Hanna Kölbel, Primoz Sukic, Ruben Martinez-Orio, Sara Baldini, Carlo Prampolini, Tom Jackson, Rowan Hamwood, Heather Roche, Kaya Kuwabara, Susanne Hood and Pieter Pellens Hanna Kölbel, Performance with Susanna Hood, 5' Richard Barrett, Codex XV (2015), improvisational structure
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June 24 in Ghent MIRY Concert Hall Jagoda Szmytka, Pores open wide shut (2014) for flute, cello, percussion and prepared piano, 8' by Hannah Reardon-Smith, Hannah Kölbel, Ruben Martinez-Orio and Carlo Prampolini Ned McGowan, ‘Workshop’ for flute and tape (2004) 12' by Hannah Reardon-Smith Liza Lim, Invisibility (2014) for cello solo, 12' by Hanna Kölbel Michael Maeierhof, Shopping 4 (2005-2006), 13' for 3 balloons by Hanna Kölbel, Primoz Sukic and Ruben Martinez-Orio Matthew Shlomowitz, Left, right, up, down, pogo (2015), 9' for flute by Hannah Reardon-Smith Finishing the advanced master contemporary music: 01 SARA BALDINI
02 RUBEN MARTINEZ-ORIO 03 HANNAH REARDON-SMITH 04 PRIMOZ SUKIC
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12 TESSA MASSCHELEIN
03 DIETER BRUGGEMAN 04 MAAIKE CASTELEYN
INTERIOR DESIGN INTERIEURVORMGEVING
13 NORA NAESSENS 05 SIGRID CORYN
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. Applying for a bachelor’s degree: 01 ROMANIE AELVOET
14 ALEXANDER PRENEN 06 JONAS DE SMET
15 GUILLAUME RAVAUT 07 SHANA DE VROEDE
08 TIA DE WAELE
09 SIEN DECALUWÉ 10 KAZBEK GABISSOV
16 TESSA SENGIER
17 LIESELIEN SLEEUWAERT
18 ANNELIES SPOTBEEN 19 VEERLE VAN DE KERCKHOVE
11 EVELIEN HERMANS
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personal position will influence the choices made in the course of the ensuing design process. This stimulates the students' total awareness of their own design process. Applying for a bachelor’s degree:
09 LISELOT DE WULF
01 MANON BARELLI 02 SARAH BOLLAERT 21 WOUTER VAN SPEYBROECK
10 ANNELIES DECLERCQ 11 LIEN DEMASURE
22 ANKE VANDENHENDE
23 CÉLINE VANSTEENBRUGGE
03 SIMON CARRON
12 DANICA DHAESE
24 JUSTINE VERHAMME 25 FREDERICK WALGRAEVE
04 MARGO CLAEYS 05 AMELIE CLOET 26 YARI WALLAERT
13 CLAIRE FANIEL 14 NIKAS-KYLE MILH 15 ENYA PANNECOUCKE 16 BIEKE REMMERIE
06 KAY DE BRABANTER 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
07 SAFIYÉ DE JAEGER
17 GOELE REYNDERS
08 DEBBIE DE RYCKE
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19 SUSANNA SCHOLTEN
02 FRIEKE BOETE
03 ANNELIES DE PREST FOCUS: FURNITURE & DESIGN MEUBEL & DESIGN
20 EVELINE TYTGAT 21 JONAS VAN DE GEUCHTE
22 MICHELLE VAN HOF 23 SILKE VAN KERCKHOVE 24 WANDA VAN ROEY
25 CLAIRE VERBERCK
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. Applying for a bachelor’s degree:
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01 JOYCE BEERNAERT
04 LAURIEN DE RIDDER 05 JULIEN DE SMET
06 MAXIME DUBOCCAGE 07 SHELSEY PATTYN
08 ZAINAB RASHID 09 DAVY RIEKAERT
27 LOTTE WITTEVRONGEL
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GRADUATION 10 NATHAN SAGAERT 11 NELE SCHOUWAERTS 12 ELIEN SONCK 13 DRIES STORME
14 CÉDRIC STUYTS
15 DYLAN VAERNEWYCK
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.
06 MAÏTÉ DE VOS
07 KENJI MASSON
08 MARGOT POPPE
Applying for a bachelor’s degree: 01 MARIJN AGBARAKWE 02 ANKE BEDERT
09 NELE POTTIE
03 ELLEN CARBONEZ
16 EMMA VAN DEN STEEN 17 JEROEN VANDEMEULEBROUCKE 18 KOEN VERHACK
10 MARIEKE SNAUWAERT
04 KAATJE COENEN 05 LIESA DE BACKER
11 AIKE THEUNS
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13 LOUIS VAN DE PUTTE
14 PIETER VANDERMEEREN 15 MAÏTÉ VERSAEVEL
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LANDSCAPE AND GARDEN ARCHITECTURE LANDSCHAPSEN TUIN ARCHITECTUUR
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Applying for a bachelor’s degree: 01 DRIES BAETENS 02 ROWAN BEERNAERT
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Landscape and garden architecture is an aesthetically-based profession founded on understanding of the (human) environment. As is true in the field, design is the core activity of the professional Bachelor in Landscape and Garden Design programme at KASK. Design is a creative process of exploration and inspiration leading up to the design, execution and long-term planning – the successful functioning – of outdoor spaces of diverse scopes and formats. In the design studios, students begin with the garden as a central theme, followed by assignments on an urban scale, to complete the programme with a final assignment on a true landscape scale. This practical approach consistently begins with actual, existing design problems and issues. In addition to the necessary design skills – with which a landscape and garden architect must be able to communicate his or her idea with visualization as a first language – he or she must also have sufficient insight into landscape, ecology and botany, and knowledge of the respective flora, soils, the history of landscape and garden design and the requisite technical stock-in-trade. The final Bachelor project in Landscape and Garden Design for the 2015-2016 academic year was an academic study project commissioned by the Municipality of Merelbeke, entitled ‘Gemeentepark Ijsenbroek, een recreatieve en educatieve groenpool’ (‘The Ijsenbroek Municipal Park: A Recreational and Educational Pool of Green’). This study project, including an architectural design and a vision statement, embraced every possibility of activating students’ competencies, skills and architectural creativity. In three large public green spaces around the centre of Merelbeke (and directly related to the town centre) the municipality envision the development of a new recreational infrastructure. These spaces all complement one another, with each having its own recreational function and its own spatial identity. One of the three, Ijsenbroek, at 15 ha, is being organized as a city district park for relatively passive and nature-oriented leisure. Here, the Schellebeek river valley plays an important role as a main artery in the outdoor space. In addition to the internal relationships within the larger whole of the natural complexes (tributaries, sources, landscape relicts and wooded areas), the Schellebeek serves to connect Ijsenbroek Park with the surrounding green elements.
12 VERONIKA TKACENKO
OF
GRADUATION 03 ANTHONY BLANCKAERT
42 JEROEN PROVIJN
04 LOUIS BOSSANT
43 LORAN QUINTELIER
05 GERAARD BUYCK
44 SARA SMET
06 THIBAUT CALLENS
45 KOEN STEURS
07 LAURENS CARPENTIER
46 IVO THIBAU
08 MICHIEL CARRON
47 AUDE VAN BRANDT
09 BENJAMIN CLAEYS
48 MARA VAN DEN BREEN
10 ABEL COCHUYT
49 KENNETH VAN DER TAELN
11 SIEGFRIED COENS
50 GAUTHIER VAN WAETERMEULEN
12 TIEME COPPENS 13 RICHARD DE BOECK
51 MARIE-LAURA VANDEKERKHOVE
14 KLAAS DE JONGH
52 VITAL VANDERHAEGHE
15 BERT DE JONGHE
53 KEN VANHECKE
16 FLORIAN DE KESEL
54 CAROLINE VANLEKE
17 ARTHUR DE MAEYER
55 MICHIEL VERBAUWHEDE
18 TIJL DE MEULEMEESTER
56 FEMKE VERCAUTEREN
19 LIEVE DE PORRE 20 BRUNO DEBAENST 21 GLENN DEBEY 22 ELIAS DECLERCK 23 BRAM DEDEYNE 24 PIETER DENAEGHEL
57 THIJS VERCRUYSSE 58 LAURENS VEREECKE 59 JANA VERMEULEN 60 PIERRE VERRAES 61 SANDER WALLAYS ADVANCED BACHELOR
25 ARNO DERUYCK 26 DIEGO DESMIDT 27 ROBBE DEVISSCHER 28 INGE FOCQUET 29 JELLE HAUDENHUYSE 30 JULIEN HOUTEKEETE
LANDSCAPE DEVELOPMENT LANDSCHAPS ONTWIKKELING
31 JAKOB KIEKENS 32 JOREN LATHOUWERS 33 SOPHIE LECOMPTE 34 BENOIT LEROY
BACHELOR NA BACHELOR
35 MAXIM LISSENS 36 GEOFFREY MARCOEN 37 GLENN MICHIELS 38 ANGÉLIQUE MOONEN 39 LISA MOYSON 40 TIMO PLATTEAU 41 JOLAN POPPE
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Niels De Couvreur Karel Bloeyaert, Nona De Baerdemaeker, Guillaume Vanden Avenne, Robin Vandenberghe, Stijn Vyncke Stijn Vyncke
The Advanced Bachelor in Landscape Development programme focuses on the landscape, and on the ways that landscape can be used in the context of environmental planning. This one-year programme aims to train competent professionals in the analytical and synthesizing skills that are necessary for an independent and critical understanding of landscape. This forms the basis for creative and substantiated planning proposals. The degree of complexity of the project assignments increases with each successive term. In the first term, students tackle relatively simple problems, focusing on site analysis. Planning and instrumentation are covered in the second and third terms, with Geographic Information Systems (GIS) as an important tool. These projects often evolve as responses to specific questions from the field. In the course of the projects, as well as in the final stages, discussions take place between students and clients. In this way, students will have already presented studies and projects to local authorities, provincial councils, non-profit
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Projects developed in 2015-2016: — Geopark in the Flemish Ardennes An existing example of a Geopark is studied and analyzed in terms of the various themes it addresses, with students investigating its possible connections to the Flemish Ardennes. Geopark is a quality label for landscapes which aim to achieve the three primary goals of landscape protection, sustainable regional development and geological education. Geopark promote regional identity, create greater awareness of the themes involved in landscape protection through education and play a role as a framework for sustainable, regional development. They are a success story because the political world has embraced the recognition of Geoparks as UNESCO World Heritage Sites with open arms. It may not yet be widely known in Flanders, but this study and collaboration with local stakeholders can mean an opening in local political vision. Geologically, the study area of the Flemish Ardennes was the northern edge of the Tertiary continent. Which landscapes in particular can best illustrate this story of the creation of our landscapes is investigated. The study area and the specific geology of the region is visited and explained on site by geologist Dr. Marie Christine Van Maercke-Gottigny. — The Akamas Landscape: Between Science and Myth KASK students participated in the LE:NOTRE International Student Competition, which took place in the Akamas region in Cyprus. A landscape master plan needed to be developed, centred on the themes of sustainable tourism and cultural heritage. Specifically, a detailed landscape design was required for an astronomy park at the village of Kato Arodes. Both the First and Third Prizes were won by KASK Advanced Bachelor students. A third KASK team also received Honourable Mention. The First Prize was for the team of Niels de Couvreur, Tobias van der Els, Joren Jodts and Maarten Dox. The Third Prize was won by Guillaume Vanden Avenne, Thomas
Dreesen, Gus van Hoeck and Robin Vangheluwe. Praise and an Honourable Mention were received for the original approach to the project and proposal by Fleur Vergote, Nona De Baerdemaecker, Rinus Vanderlinden and Pepijn Verbeeck. — Energielandschap 2.0 / Energy Landscape 2.0 The Province of East Flanders, the city of Eeklo and the Ecopower company are envisioning the landscape of Eeklo as a renewable energy landscape. In order to guide the participation side of the project – with local inhabitants and stakeholders – the three partners of Energielandschap 2.0 have asked for design ideas on how the landscape of Eeklo could develop into an sustainable, energyproducing landscape.
POSTGRADUATE
CONSERVATION AND EXHIBTION MANAGEMENT OF CONTEMPORARY ART TENTOONSTELLING EN BEHEER VAN ACTUELE KUNST (TEBEAC)
Applying for a bachelor degree: 1 STIJN ADRIAEN 2 MATIAS ANECA 3 KAREL BLOEYAERT
POSTGRADUAAT
4 SANDER CARAEL 5 JONATHAN CLERCKX 6 NONA DE BAERDEMAEKER 7 NIELS DE COUVREUR 8 MAARTEN DOX 9 THOMAS DREESEN 10 ELIEN DUERINCKX 11 JOREN JODTS 12 JONATHAN NACHTERGAELE 13 GILLES PIETERS 14 CEDRIC ROGIERS 15 TOBIAS VAN DER ELST 16 GUS VAN HOECK 17 ROBIN VANDENBERGHE 18 RINUS VANDERLINDEN 19 JO VANDORMAEL 20 ROBIN VANGHELUWE 21 PEPIJN VERBEECK 22 KJELL VERCAEMST 23 FLEUR VERGOTE 24 ARNO VERSTRAETE 25 STIJN VYNCKE 26 KENJIRO WAELES
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organizations and private partners. The eight weeks of the fourth term are in the form of an internship, in which students test and integrate the competencies they have acquired. Preferred internships are in design firms, public institutions or administrations (the Flemish Government, provincial and municipal authorities), in Belgium or abroad, addressing landscape planning in its broadest context, as well as the application of Geographic Information Systems.
SCHOOL
GRADUATION The postgraduate Curatorial Studies (TEBEAC) is a one-year programme which is co-organised by the University College Ghent, S.M.A.K. and the University of Ghent. The course focuses on contemporary exhibition practices, museological issues, conservation, collection building and collection management. TEBEAC offers a varied programme including theoretical lectures, discussion seminars, workshops, study trips and an internship. The programme is finalised with a project, which resulted in this year’s exhibition I contain multitudes. I contain multitudes is a group exhibition which presents work of Alexis Blake (US/NL), Jane Coppin (BE), gerlach en koop (NL) and Raphael Malfliet/ Todd Neufeld/ Carlo Costa (BE/US). Although the idea of a ‘true’ meaning in an artwork is most often questioned in contemporary exhibition-making, it is a premise that is difficult to renounce. What if every claim of universality of significance and of messaging through artworks is truly excluded? The more we look, the more we start wandering in a state of doubt and indeterminacy. Nevertheless, this state of confusion can evoke productivity and imagination whereby a multiplicity of interpretations can unfold. In contrast, the potential of this multiplicity is often nullified by resorting to a ‘comfort blanket’ of expertise or authority. I contain multitudes regards this complexity and builds up an attitude in the ambivalence between knowing and not-knowing, showing and notshowing, in an attempt to comprise the endless potential of different interpretations. The exhibition takes place at Yurt: Nomadic Project Space (Kortrijksepoortstraat 21, Ghent) and Het Paviljoen (Louis Pasteurlaan 2, Ghent) from the 24th until the 28th of June 2016. More info: www.icontainmultitudes.be Finishing the postgraduate Conservation and Exhibition Management of Contemporary Art: 01 RACHELLE DUFOUR 02 JOSEPHINE VAN DE WALLE 03 JOSÉPHINE VANDEKERCKOVE 04 EVANA MAGITS 05 ANNELIES LEGEIN 06 ROBBY LOENDERS 07 ROBYN LUYPAERT 08 PAULINE SCHARMANN 09 LIEVE VANMAELE
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Facts & Figures
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GRADUATION DEGREES GRANTED TO STUDENTS IN THE ACADEMIC YEAR 2014-2015 (ARRANGED ACCORDING TO PROGRAMME AND GENDER)
NUMBER OF ENROLLED STUDENTS FOR THE ACADEMIC YEAR 2015-2016 (ARRANGED ACCORDING TO PROGRAMME AND GENDER)
total count (572)
total count (2056)
Bachelor of Audiovisual Arts (21)
Bachelor of Audiovisual Arts (122)
Bachelor of Visual Arts (89)
Bachelor of Drama (46)
Bachelor of Interior Design (83)
Bachelor of Interior Design (419)
male (991) female (1060)
Bachelor of Landscape and Garden Architecture (61)
Bachelor of Landscape and Garden Architecture (192)
count of 27.05.16 of all enrolled students with a degree contract
Advanced Bachelor of Landscape Development (14)
Advanced Bachelor of Landscape Development (29)
NUMBER OF BELGIAN STUDENTS FOR THE ACADEMIC YEAR 2015-2016, PER PROVINCE
Bachelor of Music (58)
Bachelor of Music (281)
total count (1925)
Bachelor of Drama (12)
Bachelor of Visual Arts (428)
Master of Audiovisual Arts (15)
Master of Audiovisual Arts (41)
Master of Visual Arts (77)
Master Audiovisual Arts (English) (6)
Master of Music (50)
Master of Drama (19)
Master of Drama (9)
Master of Music (137)
Master Audiovisual Arts (English) (4)
Master of Music (English (30)
Master of Fine Arts (English) (13)
Master of Soloist Contemporary Music (17)
Master of Music (English) (10)
Master of Visual Arts (146)
Advanced Master in Contemporary Music (5)
Master of Visual Arts (English) (39)
Postgraduate Conservation and Exhibition Management of Contemporary Art (14)
Postgraduate Conservation and Exhibition Management of Contemporary Art (9)
Teacher Certification in Audiovisual Arts (1)
Preparatory programme for the Master of Visual Arts (2)
NUMBER OF UNIQUE STUDENTS FOR THE ACADEMIC YEAR 2015-2016 total count (2051)
count per province/region Antwerp 230 Brussels-Capital Region 62 Hainaut 7 Limburg 73 Liège 2 Luxembourg 3 Namur 3 East-Flanders 829 Flemish Brabant 168 Walloon Brabant 3 West-Flanders 496 Other 49 count of 27.05.16 of all enrolled students with a degree contract. The category ‘other’ covers Belgian students who are domiciled abroad NUMBER OF FOREIGN STUDENTS FOR THE ACADEMIC YEAR 2015-2016, PER NATIONALITY total count (258)
Teacher Certification in Visual Arts (12) Teacher Certification in Music (14) Bridging programme for the Master in Audiovisual Arts (5) Bridging programme for the Master in Visual Arts (1) Bridging programme for the Master in Drama (1) Bridging programme for the Master in Music (3)
Preparatory programme for the Master of Audiovisual Arts (2) Bridging programme for the Master in Music (5) Bridging programme for the Master in Visual Arts (9) Bridging programme for the Master in Audiovisual Arts (1) Teacher Certification in Drama (4)
Albania 3 America 1 Armenia 3 Australia 1 Bolivian 1 Bosnian 1 Brazil 6 Chili 1 China 7 Colombia 1 Croatia 2 Czech Republic 2 Ecuador 1 Estonia 1 France 11 Germany 4 Greece 3 Honduras 6 Hungary 3 Irak 1 Iran 8 Israël 1 Italy 14 Japan 8
count of 27.05.15 of all enrolled students with a degree contract
Teacher Certification in Music (38) Teacher Certification in Visual Arts (27) Teacher Certification in Audiovisual Arts (7) count of 27.05.16 of all enrolled students with a degree contract male female
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Kazakhstan 2 Kosovo 1 Latvia 3 Lithuania 2 Macedonia 1 Mexico 4 Moldova 1 Peru 1 Poland 2 Portugal 1 Romania 5 Russia 17 Slovenia 1 South Africa 2 South Korea 2 Spain 5 Sweden 1 Thailand 2 The Netherlands 98 Turkey 4 Ukraine 6 United Kingdom 4 Uruguay 2 Viëtnam 1
2016
KASK
total count (482)
male (317) female (165) Aerts Liene / Broekaert Rilke / Cocquyt Wendy / De Brauwer Greta / De Cock Sabine / Dehaese Sandra / De Langhe Hilde / Den Hond Ilse / Duprez Caroline / Lemahieu Katty / Maes Elly / Moens Els / Mortier Julie / Neels Femke / Raspoet Iris / Roelandt Els / Segers Catharina / Smet Valérie / Stragier Claire / Van De Velde Gwendeline / Vlaeminck Annelies / Vuylsteke Vanfleteren Katrien / Baeckelandt Peter / Berx Patrick / Buschmann Paul / Defrancq Evert / Depestel David / Desimpelaere Pascal / De Wit Dries / Dombrecht Patrick / Janssens Thomas / Kermaire Franky / Lamont Paul / Lapauw Dieter / Mees Bob / Meuleman Rob / Schollaert Stijn / T'Hooft Wim / Van Elslande Brecht / Van Ingelgem Samuel / Verlinden Leo / Vermeulen Patrick / Waelput Wim / Derycke Laurent / Van Petegem Karen / Boto Ordonez Maria / Bussens Claudine / De Pot Marina / Hoogewys Suzanne / Hutsebaut Valerie / Lauwers Liza / Peters Kristel / Petresin-Bachelez Natasa / Raes Barbara / Reist – van Gelder Catharine / Van De Woestyne Mieke / Van Eeghem Elly / Verhamme Nicole / Beme Johny / Cluckers Jeroen / Davidts Wouter / Debbaut Jan / De Cleene Michiel / De Cock Johan / Heuninck Elias / Kimpe Kris / Pairon Lukas / Perz Andrzej / Temmerman Jonas / Van De Velde Martin / Vanhalewyn Jan / Van Herreweghe Mats / Verhoeven Siegfried / Bouchez Hilde / Langsdorf Heike / Lievens Bauke / Luyten Anna / van Dienderen An / Westerduin Saskia / Belpaeme Geert / Foré Pieter / Metten Philip / Despodt Veronique / Aelterman Antonia / Hulpia Hester / Valcke Martin / De Smet Hilde / Caruso Giusy / Vanhecke Françoise / Ballegeer Katia / Ruigrok Mirella / Antico Susanna / Bartoletti Paola / Beert Inès / Berden Laurence / Boeykens Beatrijs / Bos Eva / Boulaich Aouatif / Broekhans Reineke / Brouwers Anke / Buyse Christine / Campens Angelique / Capelle Mireille / Caroen Laura / Castelein Ingrid / Castermans Suzy / Cielen Fia / Clierieck Martine / Cnop Ann / Colruyt Godelieve / Cusimano Antonella / De Baets Isabelle / De bisschop An / De Bondt Katia / De Bondt Sara / De Boodt Maria / Deboosere Marie / De Bruyckere Joan / De Clercq Anouk / De Cock Nele / De Fleyt Karin / Delarue Stefanie / De Meûter Ingrid / de Mey Anne / Demyttenaere Siegrid / De Preester Helena / De Schepper Elisa / De Smet Helena / De Vuyst Hildegard / De Wilde Leen / De Wolf Sandy / De Wulf Mia / Dezwarte Els / D'haeyere Hilde / D'herde Nele / Dielman Martine / Ermert Judith / Fabré Marijke / Fransen Christiane / Friant Katrien / Ghammam Fairuz / Govaert Véronique / Graulus Myriam / Hallaert Veerle / Hemerijckx Els / Högner Christiane / Hollevoet Mia / Huvenne Martine / Huygelen Elisabeth / Inoue Maiko / Junnonen Anu / Kars Anita / Kusters Liesbet / Laplanche Amélie / Louwyck Liesbeth / Macbean Ibernice / Mendonck Greet / Paskevic Irina / Peeters Julie / Peeters Yannick / Peire Sarah / Pint Kim / Posson Nathalie / Poullier Caroline / Ramon Mieke / Rondelez Katrien / Ruchel-Stockmans Katarzyna / Saelens Ann / Smalbrugge Sara / Snauwaert Marie / Somers Dominique / Steverlynck Diane / Teirlinck Nathalie / Termont Sandra / Valibouse Arielle / Van Cauter Steffie / Vandamme Sofie /
Van Damme Sylvie / Vanderbeke Katrien / Van der Gucht Sandra / Van Driessche Marie-Rose / Van Eeckhaut Marijke / Van Kerckhove Hendrickje / Van Kerckhoven Annemie / Vankerschaver Clara / Van Reeth Griet / Veirman Anja / Verheyen Hildegarde / Vermeire Kaatje / Vermeulen Maria / Vermoortel Pieternel / Vermote Petra / Verschoore Evelyn / Vincent Delphine / Voet Kathleen / Wambacq Judith / Wautier Chrystel / Welvaert Veronique / Willems Catherine / Windels Veerle / Yee Marina / Zolotareva Olga / Baele Dirk / Alliet Patrick / Andreasen Kasper / Bal Vincent / Balcaen Bert / Bellanger Sven / Bellinkx Ruben / Ben Chikha Chokri / Beuckels Patrick / Billiet Jeroen / Blanchaert Dirk / Blanckaert Joris / Boon Jan / Bosschem Johan / Braeckman Dirk / Brants Bart / Breynaert Willem / Breyne Rob / Brossé Dirk / Bryssinck Hans / Caelen Freddy / Caers Stef / Cardinael Miel / Carels Edwin / Carrijn Johan / Casaer Paul / Casale Vincenzo / Chantrain Jan / Claessens Benny / Claeys Geert / Clarisse Geert / Cneut Carl / Conard Sébastien / Cools Frank / Coquette Michel / Cornelis Dirk / Corstjens Danny / Crevits Bram / Crismer Pascal / Daenen Johan / Debaene Mario / De Baudringhien Filip / Deblauwe Dirk / DeBlock Hugo / De Buck Noël / Debuysere Stoffel / Decorte Wouter / Defoort Bart / Degryse Luc / De Haas Jan / De Jonckheere Jan / De Keyzer Carl / Delaere Ivo / Delecluse Fabrice / Deleu Luc / Demets Paul / Demeyer Jean-Marie / De Pauw Jan / Depestel Bart / Depoorter Emmanuel / De Poorter Simon / Deprey Kris / Derks Peter / Derycke Johan / Derycke Luc / Deschepper Luc / De Schrevel Stephane / De Smet Peter / Desmet Thomas / De Temmerman Wim / De Vis Hendrik / De Vleeschhouwer Luc / Devlieger Jan / Devolder Steven / De Vos Eric / Devos Joris / Deweerdt Herwig / Dewulf Bernard / D'haese Gert / Dheedene Stefaan / Dhondt Geert / Doumen Björn / Druart Michel / Dua Raphaël / Duijck Johan / Duquenne Ronny / Eeckhout Wim / Ellertz Kristof / Engels Tom / Eyckmans Filip / Florizoone Jan / Florizoone Tuur / Fostier Johan / Frederickx Manu / Gabriel Kurt / Galle Jerry / Garabedian Mekhitar / Gerritse Arnoud / Geyskens Vincent / Goddeeris Isidoor / Godfroid Marc / Goossens Frederik / Grimonprez Johan / Grootaers Elias / Gulinck Luc / Guns Senne / Gyselinck Wannes / Hannes Nick / Herman Gerard / Heyerick Florian / Heyndrickx Tony / Hofman Koenraad / Impens Vincent / Isselée Johan / Istomin Sergei / Jacobs Gert / Jacobs Henricus / Jans Erwin / Jespers Bram / Joye Ruben / Kempenaers Jan / Kerckhof Marc / Keunen Gert / Kivrikoglu Ibrahim / Konink Jan Willem / Korczak Andreas / Kwakkenbos Laurentius / Lamal Hans / Leper Hendrik / Le Roy Frederik / Lesaffer Bert / Lesage Peter / Lhoest Leon / Libbrecht Harlind / Libens Daniël / Lievens Dirk / Lodewyckx Tom / Maas Koen / Maelfeyt Jurgen / Maes Ives / Maeseele Wim / Marchal Guy / Marievoet Sven / Maris Bart / Martens Renzo / Martin Ronny / Masson Marc / Mathysen Pieter / Mendoza Christian / Mertens Lode / Michiels Ignace / Minten Raf / Mistiaen Carlo / Moccia Alessandro / Moelants Dirk / Monbaliu Jean-Paul / Moretto Graziano / Mortier Pieter-Paul / Mulder Arjen / Mulhall Gustavo / Nardozza Carlo / Navratil Tomas / Neetens Steven / Nicque Miguel / Nuyts Frank / Nuytten Pieter / Op De Beeck Hans / Opstaele Johan / Overdeput Christian / Pauwels Tom / Pegorim Getacine / Pensaert Werner / Penson Guy / Pierins Vincent / Pinckers Max / Platel Alain / Poissonnier Pascal / Ponseele Francis / Popelier Marc / Posman Lucien / Pujol Marcos / Rathé Filip / Raymaekers Willem / Rigole Jasper / Robyns Gert / Roels Hans / Rogiers Peter / Roosemeyers Alex / Ryckaert Tim / Samoshko Vitaly / Scheerlinck Danny / Schoenmaekers Raf / Scholliers Hans / Sel Dries / Senden Yves / Senepart Gillis / Soenen Geert / Sonck Christophe / Steen Jan / Storms Yves / Stragier Jan / Stroobants Herman / Styns Frederik / Suys Diederik / Theys Hans / Thuriot Philippe /
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Thys Nicolas / Tilkin Michel / T'Jonck Pieter / Tordoir Narcisse / Tosseyn Tom / Vaiana Pietro / Van Beeck Martien / Vanbergen Reinhard / Van Bockstal Piet / Vanbroekhoven Ivan / Van Burm Stéphane / Van Damme Bram / Van den Abeele Lieven / Van den Abeele Tim / Vandenberghe Peter / Van Den Bossche Bart / Vandenbussche Jorre / Vander Linden Jacky / Vandermaelen Johan / Van Der Veken Jan / Van der Velde Thomas / Vandeveire Bram / Vande Veire Frank / Vandevelde Ludwig / Vandewalle Daan / Van Dionant Toon / Vaneyghen Rik / Vanfleteren Stephan / Van Gestel Kristof / Van Giel Kevin / van Gogh Dirk / Van Gysegem René / Van Isacker Carl / Van Lierde Wigbert / Van Maldegem Kurt / Vanommeslaeghe Raf / Van Oost Hans / Vanoosthuyse Eddy / Van Rossem Stijn / Van Ryckeghem Steve / Van Tornhout Wouter / Vantroyen Frank / Venlet Daniel / Verberkmoes Geerten / Vercaemer Geert / Vercruysse Rik / Vergauwe Geert / Vergucht Harold / Vermassen Joris / Vermeersch Pascal / Vermeersch Peter / Vermeulen Erik / Vermoere Willem / Verschueren Bert / Viaene Patrick / Vos Hans / Weber-Krebs David / Wellekens Tom / Weyler Maarten / Wiame Benjamin / Wiewauters Dries / Wille Jeroen / Wittevrongel Erwin / Zoete Dirk / Colle Aline / Kodama Emi / Heyde Steven / Huisman Lukas / Raes Godfried / Ysabie Peter / Juresa Jelena / Van Herck Astrid / Dockx Joris / van Driel Willy
CONSERVATORIUM
OF ARTS
TEACHING AND ADMINISTRATIVE STAFF OF THE SCHOOL OF ARTS FOR THE ACADEMIC YEAR 2015-2016
SCHOOL
GRADUATION COLOPHON Publication issued on the occasion of Graduation 2016, the presentation of bachelors, masters and postgraduate projects 2016 at School of Arts Ghent (KASK & CONSERVATORY). Graduation 2016 comprises an exhibition, a drama festival, the premiere of KASKfilms, fashion shows (Movement#23) and concerts. DRAMAFESTIVAL June 17, 18, 19 and June 24, 25, 26, various locations in the city centre of Ghent MOVEMENT#23 Fashion shows: June 16 & 17, Eskimofabriek Ghent CONCERTS — June 15, open exams students Jazz, Pop, Classical Music and Music Composition at MIRY Concert Hall, Minard Schouwburg and KANTL — June 18, 23, 24, concerts students Advanced Master in Contemporary Music at MIRY Concert Hall and SMOG (Brussels) — June 27, presentation LP Masterworks 2016 and concerts students music production, Minard Schouwburg 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 and Claire Stragier Design: Studio Jurgen Maelfeyt Translation: David Depestel and Mari Shields Copyediting: Liene Aerts, Ilse Den Hond, David Depestel, Régis Dragonetti, Max Raeymaekers, Mari Shields and Claire Stragier. Website: Claire Stragier Thanks to: Kasper Andreasen, Korneel Boeve, Rilke Broekaert, Jeroen Cluckers, Wendy Cocquyt, Jan Debbaut, An De Bisschop, Stoffel Debuysere, Fabrice Delecluse, David Depestel, Emmanuel Depoorter, Luc Deschepper, Hilde D'haeyere, Régis Dragonetti, Pieter Foré, Jerry Galle, Mekhitar Garabedian, Lukas Huisman, Philip Huyghe, Paul Lamont, Bert Lesaffer, Tomas Navratil, Max Raeymaekers, Jasper Rigole, Els Roelandt, Katrien Rondelez, Sara Smallbrugge, Frederik Styns, Sofie Vandamme, Mieke Van De Woestyne and Catherine Willems. Font: Life Printing: New Goff, Graphius Group, Ghent ISBN: 9789491564048 Edition: 1500 copies School of Arts Ghent Jozef Kluyskensstraat 2 B-9000 Ghent www.graduation2016.be www.schoolofartsgent.be schoolofartsgent.tumblr.com
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