GRADUATION 2014

Graduation 2014

Graduation 2014

Naar aanleiding van de presentatie van de afstudeerprojecten 2014 aan de School of Arts Gent.

Published on the occasion of the presentation of the graduation projects 2014 at the School of Arts Ghent.

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INHOUD / CONTENTS

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1 Voorwoord / Introduction

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2 Wat doet kunst? / What Does Art Do?

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4 Artistic Productions 2013-2014 Voorwoord / Introduction KASKcinema and Projects in the Audiovisual Arts Miry Concert Hall KIOSK Het Paviljoen MAP Masters Projects Space Jazz, Pop & Music Production Drama Projects Design Projects Zwarte Zaal KASK Lectures TUMULTINGENT#2

3 Research in the Arts 2013-2014 41 Voorwoord / Introduction 43 PhDs in the Arts: 45 — Kristof Van Gestel: Selfcreation: A Post-production — Laura Maes: Sounding Sound Art — Olmo Cornelis: Exploring the Symbiosis of Western and NonWestern Music — Chokri Ben Chikha: The Human Zoo as (Re)Search Tool — Edwin Carels: Animation Beyond Animation PhDs in Urbanism & Spatial Planning and in Philosophy: 67 — Sylvie Van Damme: Landscape Design in Flanders: Landscape as a Narrative and Integrative Medium in Spatial Design Practice — Frank Vande Veire: Between Freedom and Superego: Slavoj ˆ zˆ ek 's Theory of Ideology Zi Research Projects in the Arts: 73 — Investigation of Methods and Construction in the North Alpine Tradition of Violin Building, Based on the Reconstruction of an Alemannisch String Ensemble — Application of Music Information Retrieval Techniques on Contemporary Classical and Ethnic Music — Cinematic Representations of Visual Arts — The Ypres Salient: From Reconstruction to Landscape of Remembrance — Walls and Gardens Artistic Research Publications 84

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5 Masters, Bachelors & Postgraduate Projects 2013-2014 107 Masters Projects Visual Arts, Audiovisual Arts, Drama, Music Advanced Masters Projects of Music Bachelors Projects of Interior Design, Landscape and Garden Architecture Advanced Bachelors Projects of Landscape Development TEBEAC Postgraduate Project in Conservation and Exhibition Management of Contemporary Art 6 Facts & Figures

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waarvan de muziekopleiding in de komende decennia de vruchten zal plukken. Een ingrijpende evolutie in 2013-14 ligt in het feit dat de instroom van buitenlandse studenten in onze Engelstalige masters visual arts, audiovisual arts en music structureel en substantieel bleef groeien, vooral in klassieke muziek en autonome kunsten. Intussen bedraagt het aantal reguliere studenten die vanuit het buitenland instromen 10% van de totale studenten­­ populatie van de School of Arts (exclusief Erasmusuitwisselingen). Deze studenten zetten een eigen toon, ze herscheppen de opleidingen ook voor de Belgische studenten in een meer open en diverse context, en zijn niet meer weg te denken uit onze masters. Het is een uitdaging en een werkpunt voor de School of Arts om deze studenten op een geëigende manier te omkaderen. Evenals de wetenschap, het bedrijfs­ leven of de diplomatie overschreidt de kunstwereld hoe dan ook alle nationale grenzen. Muziek, beeld , vormgeving en beweging kennen een eigen taal die beperkingen van tijd, plaats en cultuur kan overstijgen. KASK en Conservatorium willen zich inschrijven in deze internationale, algemeen-menselijke context. Daarom leest u ook in deze publicatie, naast het Nederlands, moedertaal, evengoed het Engels, lingua franca. Heel wat doctoraten, waarvan het onderzoeksproces binnen de School of Arts werd gevoerd, in nauwe samenwerking met UGent, werden voltooid in 2013-14. Gaandeweg vindt deze onderzoeksexpertise haar weg in het onderwijsgebeuren, een stille kwaliteitsomslag die nu al, maar op lange termijn nog meer, bijzonder waardevol blijkt. Een nieuwe Onderzoeksraad Kunsten zag het licht, die het artistiek en vormgeeflijk onderzoek zo mogelijk nog van dichterbij zal kunnen opvolgen. Voor een tweede keer wist de School of

LEVENDIG Begin academiejaar 2013-14 werd binnen de Hogeschool Gent de School of Arts in haar nieuwe, decretale vorm opgestart. Zowel voor het (ook vernieuwde) hogeschool­bestuur als voor de nieuwe raad van de School of Arts werd het een periode van zoeken en zich heruit­­­vinden in de nieuwe structuren. Intussen vinden de Koninklijke Academie voor Schone Kunsten, kortweg KASK, en het Koninklijk Conservatorium hun vernieuwde plek in een evoluerend onderwijs­landschap. Hoe ingrijpend ook, studenten liggen minder wakker van deze structuurverschuivingen. Zij werken naarstig door en ont­ wikkelen zich in de specifieke context van onze opleidingen tot jonge ontwerpers en kunstenaars. 2013-14 zal voor het Conservatorium en het KASK een belangrijk academie­­jaar blijken om heel wat redenen. Nieuwe studieprogramma's klassieke muziek, compositie, muziek­ theorie en instrumentenbouw kregen vorm. Met succes werd afstandsonderwijs geïmplementeerd in de afstudeerrichting interieurvorm­ geving. Multimediale vormgeving vervelde tot autonome vormgeving. De School of Arts startte in samenwerking met de UGent een traject voor de creatie van een master in tuin- en landschaps­ontwerp. In sommige afstudeertrajecten, zoals drama, werd tengevolge pensionering het personeelskorps verjongd en vernieuwd. Op vlak van infrastructuur voltooiden we de jarenlange verbouwing van het Conservatoriumgebouw aan de Hoogpoort. Docenten en studenten hebben de laatste loodjes van de renovatie van dit historisch waardevolle pand met gespannen geduld ondergaan. Tegelijk wordt de laatste hand gelegd aan een splinternieuwe conservatoriumbibliotheek, met auditorium en foyer, die eind dit jaar opengaat. Dat zijn belangrijke realisaties 4

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Waar gaat de School of Arts naartoe in de komende jaren? Wie zal het zeggen? Omwille van achter­liggende economische keuzes en urgenties, vertaald in onderwijs­politiek, worden structuren vandaag de dag continu aangepast. Ze zijn hoe dan ook transitoir. KASK was actief onder Oostenrijks bewind, onder FransNapoleontisch bewind, onder Hollands bewind, onder bestuur van de stad Gent, naast het Conservatorium als deel van het Belgisch Rijksonderwijs. Vandaag ressorteren beide nu al een twintigtal jaar in de schoot van de Hogeschool Gent, onder de Vlaamse Regering in een door decreten aangestuurd onderwijslandschap. Al die tijd zijn het Koninklijk Conservatorium en de Koninklijke Academie voor Schone Kunsten, met ups-and-downs, leven­ dige plekken gebleven. Structuren zijn inderdaad transitoir. Wat altijd blijft en wat telt is het levendige gebeuren aan de basis, het zoeken, maken en creëren van jonge kunstenaars en vormgevers. In het ondersteunen en opvolgen van dit creatief proces ligt de zin van ons samen­komen binnen schoolverband van begin tot einde besloten. Een neerslag van dit levendige gebeuren vindt u terug in deze publicatie naar aanleiding van het afstudeerfestival Graduation 2014. Wim De Temmerman Decaan

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Arts in 2014 een financiering uit het Vlaamse Herculesfonds te verwerven, met oog op de investering in een 3D-onderzoeks- en printlab in de beeldende kunsten. In 2014 is de Zwarte Zaal voluit geworden waarvoor zij werd geconcipieerd: een rustige plek voor tussentijdse toonmomenten waarin studenten beeldende en audiovisuele kunsten hun werk uittesten bij een intern en extern publiek. Er waren heel wat tentoonstellingen te zien met werk van bachelor- en masterstudenten. Verder werd door het verenigen van bestaande initiatieven, die elkaar intussen versterken, een bescheiden nieuw muzikaal zomerfestival gecreëerd. Deze Gentsche Festspiele bieden een podium aan alumni en studenten van het Conservatorium en lijken, hoewel kraaknieuw, al een vaste waarde in de Gentse zomerfeesten. De vakgroep Design en Vormgeving was aanwezig op dé Designbeurs in Milaan en lanceerde samen met CANVAS ‘Niets is Verloren’, een project op vlak van stads-ecologisch en participatief vormgeven. Samen met het Centrum voor Ondernemen, de stad Gent en de provincie OostVlaanderen was de School of Arts oprichter van het Designplatform Gent dat in 2014 erkenning kreeg van de Vlaamse overheid. De Stuttgarter Neue Vocalsolisten zongen, piepten, riepen en knorden met extended techniques het aca­ demiejaar 2013-14 in en gaven een zeer gesmaakte masterclass voor studenten zang en compositie. Recent besliste het Bestuurscollege om aan Salomé Kammer, celliste, actrice, performer en specialiste in het hedendaags zangrepertiore, de prijs Magister Artium Gandensis toe te kennen. Zo treedt zij eind dit academiejaar in het rijtje van Gilbert and George en John Zorn. Salomé Kammer zingt het openings­ concert van het academiejaar 2014-15.

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the music programmes in the coming decades. Another radical evolution in 2013-2014 is the substantial and structural growth of the influx of foreign students in our English master programmes visual arts, audiovisual arts and music, especially in classical music and fine arts. The number of regular students that come from abroad is currently 10% of the total student population of School of Arts (excluding Erasmus exchange students). These students have their own peculiar voice, also redefining the programmes for the Belgian students to an opener and more diverse context. One of School of Arts’ challenges is to create an appropriate framework for these students. As is the case for science, corporate business or diplomacy, the art world transcends all national boundaries. Music, image, design and movement have their own languages that surpass all constraints of time, place and culture. KASK and Conservatory want to subscribe to this universal human context. That is why you can read this publication in our mother tongue Dutch, as well as in English, the lingua franca. A lot of doctorates of which the research process was conducted within School of Arts (in close collaboration with UGent) were accomplished in 201314. This research expertise gradually finds its way in the educational activities. It is a quiet turning-point on the level of quality that proves to be valuable already, but will only proceed to be so in the long term. A new Research Board of the Arts was founded, which will enable a closer follow-up of the research in arts and design. For a second time already School of Arts has acquired funding from the Hercules Fund in 2014, with the aim to invest in a 3D research and print lab in the fine arts. In 2014 Zwarte Zaal has finally become what it was designed for: a quiet space for intermediate exhibition moments in

At the start of the academic year 2013-2014 the School of Arts of the University College Ghent was reorganized with regard to the new decrees. Both the board of the college (which was also renewed) and the board of the School of Arts saw a period of exploration and innovation within the new structures. In the meantime the Royal Academy of Fine Arts, better known as KASK, and the Royal Conservatory have found their new spot in a developing educational landscape. Radical as the structural changes may be, students are less concerned about these matters. They are working hard to develop themselves as young designers and artists within the specific context of our programmes. 2013-2014 has been an important academic year for the Conservatory and KASK, for different reasons. The new study programmes classical music, composition, music theory and musical instrument construction were given shape. Distance education was succesfully implemented in the interior design programme. Multimedia design was rebaptized autonomous design. In collaboration with UGent, School of Arts started a project that should lead to the creation of an advanced master programme in garden and landscape design. As a result of retirements some of the graduation programmes, such as drama, saw a young and new educational staff. On the level of infrastructure we concluded the long-running reconstruction of the Conservatory building at Hoogpoort. Tutors and students have patiently tolerated the final stages of the renovation of this historically valuable building. At the same time the brand new library of the Conservatory is being finalized. It will be opened at the end of the year, and houses amongst others an auditorium and a foyer. These are all important realizations which will help to improve 6

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as a part of Belgian state education. Both parties belong to the Universtity College Ghent for twenty years now, which in turn is part of an educational landscape that is ruled by decrees of the Flemish Government. In the course of time, the Royal Conservatory and the Royal Academy of Fine Arts have always been lively places, with ups-and-downs. Structures are transitory indeed. What matters is the lively activity at the basis, searching, making and creating new artists and designers. Supporting and assisting this creative process are the core elements of this educational alliance. A report of this lively activity can be found in this publication, celebrating the graduation festival called Graduation 2014. Wim De Temmerman Decaan

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which students of fine arts and audiovisual arts can try their work with an internal and external audience. We had a lot of exhibitions with works by bachelor and master students. Apart from this, we amalgamated a number of initiatives to create a strong new summer music festival. The Gentsche Festspiele stage both alumni and students of the Conservatory, and although being a brand new project, it seems to be a succesful part of the summer feast in Ghent already. The design department has been present on the design fair of Milan, and together with CANVAS they launched ‘Niets is verloren’ (Nothing is lost), a project concerning urban ecology and participatory design. Together with the Centre for Entrepreneurship, the city of Ghent, and the province of East-Flanders, School of Arts founded Design Platform Ghent, which was supported by the Flemish government in 2014. The Stuttgarter Neue Vocalsolisten sang, screeched, squeaked and growled to open the academic year 2013-14 with extended techniques, and gave a much appreciated master class for students voice and composition. Recently, the governing body decided to grant cellist, actress, performer and specialist in contemporary vocal repertoire Salomé Kammer the award of Magister Artium Gandensis. At the end of the academic year she will join the list of Gilbert and George, and John Zorn. Salomé Kammer will be singing the opening concert of the academic year 2014-15. Where will the path lead School of Arts in the coming years? Who is to know? As a result of underlying economic choices and urgencies, translated to education politics, structures are constantly adjusted these days. They are transitory in any case. KASK has been active under Austrian reign, under French-Napoleontic reign, under the reign of Holland, under the supervision of the city of Ghent, together with Conservatory Ghent

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Wat doet kunst?

What Does Art Do?

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EN QUESTIONS

“Een van de meest gestelde vragen met betrekking tot kunst is ‘Wat is kunst’. Andere frequente en gerelateerde vragen zijn ‘Wanneer is kunst’ en ‘Waar is kunst’. Al deze vragen zijn relevant, maar momenteel heb ik het gevoel dat we ons vooral moeten afvragen: (1) ‘Wat doet kunst, wat is haar weerklank en haar effect op dit moment van de geschiedenis?’” Aldus lanceerde Maria Lind op verzoek van de redacteurs van deze eindejaarspublicatie een vraagstelling, daarna voorgelegd aan kunstenaars, ontwerpers en vormgevers. Lind is directeur van Tensta Konsthall in Zweden en voormalig directeur van het Center for Curatorial Studies, Bard College, New York. Zij stoffeer­de haar centrale vraagstelling met twee andere vragen: (2) “Kan je een kunstwerk beschrijven dat in de laatste drie maanden een indruk op je naliet, en kun je ook uitleggen waarom?” En: (3) “Hoe kunnen we een redelijke mate van zelfbeschikking behouden en/of creëren voor kunstbeoefenaars? Met het licht op de huidige bezuinigingen, en andere vormen van instrumentalisatie, lijkt het dringend tijd om het over onze armslag te hebben.” Misschien laat het ons toe om via een aantal significante figuren de temperatuur te peilen in het veld van kunst en vormgeving. Korte antwoorden, replieken, krijgen we van Alexei Lubimov, Jan Lauwers, Pierre Bismuth, Kieran Long, Peter Bilak, Ariella Azoulay, Fari Bradley, Jan De Vylder, Tsai Ming-Liang en Erwin Mortier.

“One of the most commonly asked questions in relation to art is ‘What is art?’. Other frequent and related questions are ‘When is art?’ and ‘Where is art?’. All of these are relevant, but right now, my sense is that we need to instead ask: (1) ‘What does art do, and what are its reverberations and effects at this point in time?’” At the request of the editors of this publication, it was with this statement that Maria Lind presented her questions to a number of artists and designers. Maria Lind is director of Sweden's Tensta Konsthall and former director of the Centre for Curatorial Studies at Bard College in New York. She completed her enquiry with two more questions: (2) “Can you describe an artwork which has made an impression on you in the last three months, and why it did do so?” And: (3) “How can we maintain and/ or create a reasonable amount of selfdetermination for the practitioners within the field of art? In the light of current constraints in the form of budget cuts and other types of instrumentalization of art, it seems urgent to debate our space to manoeuvre.” Hopefully making it possible to test the temperature, as it were, in the fields of art and design. We received replies from Alexei Lubimov, Jan Lauwers, Pierre Bismuth, Kieran Long, Peter Bilak, Ariella Azoulay, Fari Bradley, Jan De Vylder, Tsai Ming-Liang and Erwin Mortier.

Maria Lind is Director of the Tensta Konsthall in Sweden and an independent curator and writer interested in exploring the formats and methodologies connected with institutions for contemporary art. She directed the graduate program at the Bard College Center for Curatorial Studies in New York from 2008 to 2010, and was formerly director of the lASPIS Royal Academy in Stockholm (2005-2007) and Director of the Munich Kunstverein (2002-2004). She was a curator for Moderna Museet in Stockholm (1997-2001). In 1998, she co-curated Manifesta 2, Europe's nomadic Biennial of Contemporary Art. A compendium of her essays, Selected Maria Lind Writing, was published by Sternberg Press in 2010.

Maria Lind is directrice van Tensta Konsthall in Zweden, onafhankelijk curator en auteur. Ze is geïnteresseerd in het verkennen van formats en methodologieën die gerelateerd zijn aan het hedendaagse kunstinstituut. Van 2008 tot 2010 was ze opleidingsdirectrice van het Bard College Center for Curatorial Studies in New York. Daarvoor was ze directrice van lASPIS in Stockholm (2005–07) en directrice van Munich Kunstverein (2002–2004). Als curator werkte ze voor Moderna Museet in Stockholm (1997–2001) en in 1998 als co-curator voor Manifesta 2, Europa's nomadische biënnale voor hedendaagse kunst. Een compendium van haar essays, Selected Maria Lind Writing, verscheen bij Sternberg Press in 2010.

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laties zijn dynamische processen met enigmatische, vaak mystieke narratieven als natuur, mensen, vuur, water etc. De installaties zijn vaak ook van geluid voorzien. Al kijkend geraak je langzaam betrokken bij een krachtige beweging richting een bepaald centraal punt, als in een lange meditatie of een bovennatuurlijke transformatie van dingen. Op mij heeft zijn werk dezelfde invloed als die van rituele muziek die de tijd stopzet en ons leidt naar een grootheid die zowel materieel als spiritueel is.

ALEXEI LUBIMOV Alexei Lubimov (1944, Moskou) wordt gerekend tot de meest vooraanstaande hedendaagse pianisten. Hij bespeelt ook pianoforte en klavecimbel. (1) Wat doet kunst? Kunst heeft zeker niet de taak om te zorgen voor verstrooiing of entertainment, of zelfs niet om briljante voorstellingen of onbekende muziek (uit wat voor tijdperk dan ook) te presenteren, hoewel dit natuurlijk allemaal ‘kunst’ is voor de meeste mensen. In onze tijd begrijpen enkel de kunstenaars, die dieper en meer universeel kunnen denken, hoe ze hun kunst tot een intens gecentraliseerd moment kunnen brengen, waarin het materiële immaterieel wordt. Dit is een soort reinigingsritueel voor degenen die kijken, luisteren, lezen; een betrokkenheid en een zelftransformatie, zelfs op de kleinst mogelijke manier.

(3) We kunnen zelfbeschikking behouden door te helpen met het openen van deuren, door de geschiedenis te begrijpen, zowel geschreven als ongeschreven, door af te stemmen op het huidige moment, door een open geest te hebben, of te leren uit andere kunsten en van andere kunstenaars, van filosofie, van grote makers en hun visioenen en ontdekkingen. Zo kunnen we onze eigen perspectieven zoeken.

(2) Ik was recent heel erg onder de indruk van twee werken van de Amerikaanse videokunstenaar Bill Viola. Hij had een solotentoonstelling in Parijs waarin twintig videoinstallaties werden getoond en er was een voorstelling van Wagners Tristan und Isolde met Violas film van bewegende beelden als een ononderbroken ‘moving-image show’. Zijn instal12

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with enigmatic, often mystic narratives that employ nature, people, fire, water, etc., and frequently involve sound. You are watching, slowly becoming involved in a powerful movement towards a certain central point in a long meditation or supernatural transformation of things. For me, his works are similar to ritualistic music that stops time and leads us to a greatness that is both material and spiritual.

ALEXEI LUBIMOV Alexei Lubimov (b. 1944, Moscow) is counted amongst today's most outstanding pianists. He is also a fortepianist and harpsichordist. (1) What does art do? It is certainly not its task to provide amusement or entertainment, or even to present brilliant performances of familiar or unknown music (no matter which époque)—all of this is of course ‘art’ for most people. But in our time, only the artists, who can think more deeply and more universally, understand how to bring their art to an intense centralized moment where the material becomes immaterial; this is a kind of a purification ritual for those who are looking, watching, listening, reading etc., an involvement and a self-transformation, even if in the smallest way.

(3) We can do this by helping to open the door in order to understand history, both written and unwritten, to tune into the current moment, to be openminded, to learn from other arts and artists, from philosophy, from great creators and their visions and discoveries, to search for our own points of view.

Bill Viola, Love / Death: The Tristan Project (from Dissolution 2, Act 1, Scene 3, ‘Isolde tells Brangäne of the death drink’), video and sound installation. The Tristan project is an ongoing project that started in 2004. It is based on Richard Wagner's opera Tristan und Isolde and is a collaboration between video artist Bill Viola and artistic collaborator Peter Sellars and conductor Esa-Pekka Salonen, with the Los Angeles Philharmonic. Bill Viola created a four-hour video that is projected during the entire opera.

(2) The most striking impression made on me recently was by two works by the American video artist Bill Viola: his solo exhibition in Paris showing 20 video installations and the opera performance of Wagner's Tristan und Isolde, using Bill Viola's video work as an uninterrupted moving-image show. His installations are dynamic processes 13

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worden gemaakt. Dat is wat Pierre Huyghe doet in The Host and the Cloud (2010): hij helpt de kijker moedig te worden op vlak van zijn of haar verlangens naar de absurditeit van het leven.

JAN LAUWERS Jan Lauwers (1957, Antwerpen) werkt als kunstenaar over de grenzen van verschillende media heen. De laatste twintig jaar verwierf hij vooral bekendheid met zijn baanbrekende werk voor Needcompany, een gezelschap dat hij in 1986 oprichtte in Brussel.

(3) Zelfbeschikking is een mentaliteit die niks te maken heeft met de situatie waarin men verkeert. Kunst hangt niet af van geld of van een businessplan. Die onafhankelijkheid bestaat echter niet voor de presentatie van kunst, wat iets anders is dan kunst zelf. Voor dit presentatie­ moment hebben we soms maar niet altijd, een economische structuur nodig. Dat kan op verschillende manieren, zoals subsidie, sponsors, crowd funding, etc. In het domein van de beeldende kunsten is het ‘kapitalistisch’ systeem, namelijk de kunstmarkt extreem problematisch geworden. Het systeem heeft een valse hiërarchie geïnstalleerd. Een goed schilderij kan miljoenen waard zijn, een goed gedicht nog geen stuiver. Jezelf losmaken van een dergelijke markt is moeilijk, maar noodzakelijk voor hedendaagse kunstenaars. Hierin ligt de échte politieke keuze die een artiest kan maken.

(1) Wat doet kunst? Kunst bezet een plaats in het geheugen van de toeschouwer. Kunst verovert een bepaalde tijd in dat geheugen. Kunst wordt zelfs tijd, of herdefinieert het op zijn minst. De herdefiniëring van tijd is enkel mogelijk en relevant voor de moedige toeschouwer die bereid is om te ‘zien’ wat hij nog niet kent. Vandaag, in tijden van crisis, is er een tendens om enkel te appreciëren wat duidelijk is en kenbaar: bijna elke manifestatie van kunst heeft op dit moment een politieke pretentie, en de selectie van artiesten wordt gemaakt op een politieke en maatschappelijke basis. Toch doet kunst niet wat politiek doet. Kunst lost geen problemen op.

(2) Wat doet een kunstenaar? Hij of zij creëert mogelijkheden, mogelijkheden die worden doorgetrokken naar de toeschouwer, zodat hij kan zien wat hij of zij nog niet heeft ervaren. Met een beeld kan een kunstenaar de achtergrond van een mogelijk verhaal presenteren, maar het echte verhaal moet door de toeschouwer 14

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Host and the Cloud (2010): he tries to help spectators become fearless in their desire for the absurdity of life.

JAN LAUWERS Jan Lauwers (b. 1957, Antwerp) is an artist who works across multiple media. Over the last 20 years, he has become best known for his pioneering work for the stage with Needcompany, which was founded in Brussels in 1986.

(3) Self-determination is a mentality that has nothing to do with the situation one is in. Art does not depend on an amount of money or a business plan. This independence, however, does not exist for the presentation of art, which is different than art itself. In the moment of presentation, we sometimes (not always!) need an ‘economic’ structure. This can happen through different forms, such as subsidies, sponsorship, crowd funding, etc. It is obvious to me that in the field of visual arts, the ‘capitalist' system, namely the art market, has become extremely problematic. It has installed a fake hierarchy. A good painting can be worth millions, a good poem only a dime. To liberate oneself from this kind of market is a very difficult necessity for contemporary artists. Therein lies the real political choice an artist can make.

(1) What does art do? Art occupies a space in the memory of the spectator. Art takes up an amount of time in that memory. Art even becomes time, or at least redefines time. The redefinition of time is only possible and relevant for the fearless spectator who is willing to ‘see’ what is not learned. Today, in times of crisis, there is a tendency to only appreciate what is clear and learned: almost every manifestation of art nowadays has a (naive) political claim, and the selection of artists is made on a political and social basis. But art does not do what politics do. Art does not solve problems.

Pierre Huyghe, The Host and the Cloud (2009-2010), HD video, 2 hours, 1 minute, 30 seconds.

The Host and the Cloud (2009-2010) was filmed over the course of a year in the disused building that once housed The National Museum of Arts and Popular Traditions in Paris. The Host and the Cloud experiment was a real situation that occurred in a closed folk museum which lies at the far end of an attraction park. It was witnessed live by an audience and partially recorded on three days: Halloween, Valentine's Day and May Day.

(2) What does an artist do? She or he creates possibilities. Possibilities extended towards the spectator to see what she or he has not yet learned. Through an image, an artist can present the background of a possible story, but the real story has to be created by the spectator. This is what Pierre Huyghe does in The 15

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bestaande dingen, waardoor het in een kunstcontext een filosofische dimensie krijgt. Raphaël is onder andere bekend om zijn drie theoretische werken over skateboarden, en om zijn fantastische fotoreeks van skateboarders die op moderne en hedendaagse publieke kunstwerken rijden. Een mooi voorbeeld van een werk dat ik echt goed vind is zijn reeks Les Formes du Repos (2001– ...). Dat zijn foto's van mysterieuze, concrete geometrische vormen die hij vond in het landschap. De vormen worden verlaten, compleet ontwricht en volledig uit hun context gehaald, en komen dan tevoorschijn als mooie, minimale en toevallige sculpturen.

PIERRE BISMUTH Pierre Bismuth (1963, Neuilly-sur-Seine, Frankrijk) is beeldend kunstenaar en woont in Brussel. In 2005 kreeg hij, samen met Michel Gondry en Charlie Kaufman, een Academy Award voor de film Eternal Sunshine of the Spotless Mind. (1) Ik ben geïnteresseerd in kunst die dingen opheft, kunst die analyseert, ontmantelt, deconstrueert. Kunst die verifieert of, en hoe, de dingen werken buiten de systemen waarin ze normaliter functioneren.

Van een compleet andere aard is Marco Ferreri's film Touche pas à la femme blanche (1974) die ik wil vermelden. Nu ik erover nadenk, realiseer ik me echter dat er een gelijkaardig gevoel voor de ruïnes van de hedendaagse cultuur in aanwezig is als in het werk dat ik hierboven heb beschreven. Ferreri neemt in de film het gigantische stadsproject Les Halles de Paris als vertrekpunt en hij gebruikt de vernietiging van de zogenaamde Pavillions Baltard als de backdrop voor een hedendaagse bewerking van Battle of Little Big Horn. De film is zonder meer fantastisch in zijn absurd simpele strategie om in het Parijs van 1974 met Italiaanse en Franse acteurs een 19de eeuwse gebeurtenis uit de Amerikaanse geschiedenis in de stijl van een Western te filmen. Het is zeker gerelateerd aan wat men kent als ‘suspension of disbelief’, en het doet me denken aan de manier waarop kinderen

(2) Ik wil het graag hebben over een tentoonstelling en een film die ik onlangs zag. De tentoonstelling die ik wil vermelden is die van de Franse kunstenaar Raphaël Zarka. Het was een solotentoonstelling in het Musée Régional d'Art Contemporain du Langedoc Roussillon, in februari. Ik hou van Raphaëls werk omdat het bijna niks anders doet dan het wijzen op 16

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erin slagen om heel moeilijke en realistische situaties na te spelen door een illusie te creëren die enkel gebaseerd is op een overeenkomst over een representatiesysteem.

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(3) Dat is een heel brede vraag die telkens zou moeten worden beantwoord in relatie tot de praktijk van de verschillende ‘beoefenaars’ waarover we het hier hebben. Het gegeven ‘zelfbeschikking’ is zo persoonlijk dat ik geen algemeen antwoord kan geven. Op de praktische vraag hoe we kunnen functioneren zonder geld, kan ik enkel zeggen dat er wellicht twee manieren zijn: oftewel moet je de omvang van je onderneming serieus inperken en een crisisbewind voeren, oftewel moet je de krachten bundelen met mensen met gedeelde belangen. Op persoonlijk vlak, als kunstenaar, functioneer ik simpelweg met een klein budget en probeer ik mezelf te stimuleren door de interessante mensen die me omringen en door zo veel mogelijk interessante informatie te absorberen.

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in an art context, acquire a kind of philosophical quality. Raphael is, amongst other things, known for having written three important theoretical books on skateboarding and making a fantastic series of photographs of skateboarders riding on modern and contemporary public art pieces. One good example of a work I really like is his series Les Formes du Repos (Forms of Rest, 2001– ongoing). These are photographs of mysterious concrete geometrical forms he found in the landscape. These forms are abandoned, totally dislocated and removed far from their initial context, and appear as beautiful, minimal incidental sculptures.

PIERRE BISMUTH Pierre Bismuth (b. 1963, Neuilly-surSeine, France) is a Brussels-based artist. In 2005, together with Michel Gondry and Charlie Kaufman, he received an Academy Award for the movie Eternal Sunshine of the Spotless Mind. (1) I am interested in art that undoes things, art that analyses, dismantles, deconstructs. Art that verifies if, and how, things work outside of the systems in which they habitually function.

Marco Ferreri, Touche pas a la femme blanche (1974), film still. Raphaël Zarka, Riding Modern Art (Skater on Clara Clara) (2007), photograph.

In a totally different tone, I would like to mention the film Touche pas à la femme blanche (1974) by Marco Ferreri. Thinking about it now, however, I realise that there is a similar feeling for the ruins of contemporary culture in this film as in the work mentioned above. In the film, Ferreri takes as a starting point the massive 1974 urban project Les Halles de Paris and uses the destruction of the socalled Pavillons Baltard as the backdrop for a contemporary adaptation of the Battle of Little Big Horn. The film is absolutely fantastic in its absurdly simple strategy to perform, with Italian and French actors, an event from 19th century American history shot in the style of a Western in the context of 1974 Paris. It is for sure connected to what is known as the “suspension of disbelief” and reminds me of the way kids succeed in enacting very

(2) I would like to mention one exhibition and one film I saw recently. The show I would like to mention is a solo exhibition by the French artist Raphaël Zarka—I saw it at Musée Régional d'Art Contemporain du Langedoc Roussillon, in February. I like Raphael's work because it almost does nothing else but point at existing things, which, placed 18

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complicated and realistic situations by creating an illusion based purely on an agreement upon a system of representation.

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(3) It is a very broad question that should be addressed more specifically according to the practices of the different “practitioners” we are talking about here. On the issue of how to create “self-determination” it seems to be such a personal question that I cannot give a general answer. On the very practical question of how to function without money, I would say there are probably two ways to go: either greatly reduce the size of the enterprise and run a crisis economy or, conversely, join forces with people with whom you find common interests. On a personal level as an artist I simply function on a very small economy and try to get stimulated by being surrounded by interesting people and absorbing interesting information, as much as possible.

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zeggen over de wereld vandaag. In die context heb ik afgelopen maand een indrukwekkende ervaring gehad in Riga, Letland. Omdat Riga momenteel de Culturele Hoofdstad van Europa is, hebben ze er ondermeer het oude hoofdkwartier van de KGB omgetoverd tot expositieruimte. Het gebouw raakt je echt diep. Je hebt er de banale kleine kamertjes waar mensen hun medeburgers konden verraden bij de geheime politie, het bureau waar het lot van Sovjet bureaucraten werd bepaald, de kleine cellen waar zoveel mensen zijn neergeschoten … Je zou denken dat het onmogelijk is om op zo'n plaats kunst tentoon te stellen, en het is inderdaad zo dat de kunst niet tot haar recht komt in zo'n ondraaglijke context. Maar de tentoonstelling Stories of People and Power in 10 Objects is een adembenemende herinnering aan hoe design de geschiedenis belichaamt, en hoe het verhalen vertelt die niet op een andere manier te begrijpen zijn.

KIERAN LONG Kieran Long is senior curator hedendaagse architectuur, design en digitale vorm­ geving bij het Victoria & Albert Museum in Londen. (1) Ik ga in de ruime zin akkoord met die stelling, dat we ons vandaag vooral moeten afvragen ‘wat doét kunst?’, maar de enige interessante kunst is wat mij betreft bruikbare kunst. Dat betekent niet dat kunst geïnstrumentaliseerd hoeft te worden. Ik bedoel daarmee dat goede kunst iets laat gebeuren. Ze verandert je, of toch je blik op de wereld. Ik ben een design- en architectuurcurator. Die domeinen zijn de setting van onze publieke levens en het is in die context dat we hedendaagse kunst verzamelen en exposeren, en erover schrijven. Ik weet niet wat kunst precies doet, maar ik weet wat architectuur doet: het ordent onze levens, het zorgt voor de setting van onze publieke levens, in goede en slechte zin. In een tijd waarin de publieke sfeer zich steeds meer, en op verschillende plaatsen, bedreigt voelt zoals in de afgelopen jaren, is het belangrijk dat we begrijpen wat de rol van kunst en cultuur is in het kader van het publieke en het creëren van publieke ruimte.

(3) Om eerlijk te zijn, ben ik niet echt geïn­ teresseerd in het creëren van speciale omstandigheden voor cultuur­ beoefenaars. Dit ondersteunings­model voor de kunsten bestaat enkel in bepaalde Noord-Europese landen. Ik ben meer geïnteresseerd in de velden waarin beoefenaars een weg vinden om het voor zichzelf mogelijk te maken te creëren. Videogamedesign bijvoorbeeld, waarin een combinatie van technologisch optimisme en kunsthistorische onschuld voor een van de meest fascinerende culturele producten van onze tijd zorgen. Sommige ontwerpen verkopen, andere niet, maar de tools zijn beschikbaar voor zowat iedereen, en de uitkomsten definiëren design voor een hele nieuwe generatie. Ik geloof dat een museum gewoon de taak heeft om makers de mogelijkheid te geven om hun werk te doen. Dat is niet altijd zo gemakkelijk als het lijkt.

(2) Ik ben geen kunstcurator, en ik ben ervan overtuigd dat design en architectuur de domeinen zijn die ons het meeste 20

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world today. In that context, easily the most powerful experience I have had recently was in Riga, Latvia, in May of this year. The Capital of Culture status of the city has meant that the former headquarters of the KGB in Riga has been opened up as a venue for exhibitions. The building itself is deeply affecting. There is the banality of the small room where members of the public could submit anonymous tip-offs about their fellow citizens to the secret police. There was the office where many fates were decided by Soviet bureaucrats. There was the tiny cell where many were shot. You might imagine it impossible to make this into a place for art, and indeed the exhibitions of artworks are weak in the face of such an overbearing context. But the exhibition, Stories of People and Power in 10 Objects, was a stunning reminder of how design embodies social history, and tells stories that are impossible to understand any other way.

KIERAN LONG Kieran Long is senior curator of contemporary architecture, design and digital at the Victoria & Albert Museum, London. (1) I agree with the premise, broadly speaking. But the only interesting art, to me at least, is and has always been useful art. That is not to say that art needs to be instrumentalized, just that the only really good art makes something happen. It changes who you are, or how you see the world. I am a curator of design and architecture. These fields are the setting for our public lives, and it is in that context that we collect, exhibit and write about contemporary culture. I do not know what art does, but I know what architecture does: it gives order to our lives, it provides the setting for our public lives, for good or ill. At a time when in so many places, the public realm feels more at stake and under threat than for many years, it is vital that we understand art and culture's role in defining its public nature and creating a setting for public life.

(3) To be frank, I am not very interested in creating special conditions for cultural practitioners. This model of support for the arts exists only in certain northern European cultures. I am more interested in fields where practitioners are finding ways to make the field work for them. In video game design, for instance, a certain combination of techno positivism and art historical innocence is creating some of the most fascinating cultural products of our time. Some of them sell, some do not, but the tools are available to more or less anyone and the outputs are defining design for a generation. For a museum, I believe, simply, that our job with contemporary practitioners is to give them the opportunity to do their work. This is not always as easy as you might think.

(Re)Construction of Friendship, fragment of the interior of the Corner House, Riga (2014).

(2) I am not an art curator, and I am more convinced that design and architecture are the fields that tell us most about our 21

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weg te nemen, in plaats van er nieuwe te zetten. Hij bewijst zo dat iets niet doen ook vormgeving kan zijn. 1 Of de Dabbawalla's in Bombay, die een heel efficient systeem hebben ontworpen om huisgemaakt eten naar mensen over heel de stad te brengen. Dat is zowel een werkorganisatie als een ongelooflijk mooi voorbeeld van process design. 2

NL ANTWOORDEN PETER BILAK Peter Bilak (1973, Tsjecho-Slowakije) woont in Nederland, waar hij werkt als grafisch vormgever en typograaf. Hij combineert dit met een deeltijdse onderwijsopdracht aan de Koninklijke Academie van Beeldende Kunsten in Den Haag. Bilak heeft zich bij de beantwoording van de drie vragen de vrijheid gegund om het woord ‘kunst’ telkens te vervangen door ‘design’, om zo te kunnen antwoorden over zijn eigen veld.

(2) Het zijn meestal ofwel heel complexe, ofwel heel eenvoudige dingen die een indruk op me nalaten. Een recent voorbeeld is Yoni Alters' voorstel voor de metro in Londen: het simpele idee om voeten op de roltrappen te schilderen, om het verwachte gedrag van de gebruikers aan te geven. 3 Een ander voorbeeld is het beeld van een vliegje in de urinoirs op de luchthaven van Schiphol, ook een bekend maar heel discreet voorbeeld van design dat aangeeft wat mensen moeten doen, een voorbeeld van gedragsvormgeving die de handelingen van de mensen verandert. 4 Wat de twee voorbeelden verbindt, en de reden waarom ik ze apprecieer, is dat ze met een minimum aan middelen toch een grote invloed hebben op het gedrag van het publiek. Sterke vormgeving, en wellicht ook alle kunst, heeft iets gemeen, namelijk dat het de gebruiker/het publiek activeert. Het anticipeert op reacties, levert enkel de nodige informatie, en verbergt de rest. Ik geef doorgaans minder om esthetische beslissingen, ik hou vooral van de interactie tussen maker en kijker/gebruiker.

(1) Design is makkelijker te definiëren dan kunst, omdat het een functioneel aspect heeft. Wij oordelen gewoonlijk nogal snel of iets al dan niet design is. Ikzelf onderschrijf een brede interpretatie van de term en geloof dat alles wat door de mens is gemaakt, ook design is. De designstatus van een object hangt niet af van context, prijskaartje of de handtekening van de maker (voor kunst spelen deze zaken wel een rol). Mensen die geen vormgever zijn, kunnen wel iets vormgeven, zonder dat ze er bewust van zijn dat ze dat doen. Mensen zijn van nature creatief als ze hun werk serieus nemen. Het is niet verwonderlijk dat alle vakmensen ook design afleveren, maar zelfs de mensen die meer betrokken zijn bij het onzichtbare proces doen aan vormgeving. In ons magazine Works That Work gaan we op zoek naar zulke zaken. Neem bijvoorbeeld verkeerskundige Hans Monderman, hij verbetert de verkeersveiligheid door verkeersborden

(3) Goede vormgeving reageert op de voorhanden liggende omstandigheden, en veel vormgevers zoeken de grenzen op om tot nieuwe creaties te komen. Daarom zou je kunnen argumenteren dat de huidige omstandigheden, die in vergelijking met oude standaarden moeilijker zijn geworden, ook tot nieuwe inspiratie leiden bij vormgevers. Het is moeilijk om een huis, een boek of een tentoonstelling te ontwerpen, maar het wordt 22

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makkelijker, of specifieker, als er wordt gevraagd om een goedkoop huis, een betaalbaar boek of een goedkope tentoonstelling te ontwerpen. Dat creĂŤert zowel nieuwe mogelijkheden als nieuwe ruimte voor verschillende makers.

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worksthatwork.com/1/shared-space (geconsulteerd op 14 mei 2014). worksthatwork.com/1/dabbawallas (geconsulteerd op 14 mei 2014). worksthatwork.com/artefacts/keep-to-the-right (geconsulteerd op 14 mei 2014). worksthatwork.com/1/urinal-fly (geconsulteerd op 14 mei 2014).

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that not doing something can be also an act of design. 1 Mumbai's Dabbawallas, who create a highly efficient logistical operation for delivering homemade food to individuals all over the city, are an effect of the organization of labour and an incredible example of process design. 2

PETER BILAK Peter Bilak (b. 1973, Czechoslovakia) lives in the Netherlands, where he works in editorial, graphic and type design, combined with part-time teaching at the Royal Academy of Arts in the Hague. For his response, Bilak took the liberty of replacing ‘art’ with ‘design’ in order to respond from within his own field.

(2) Either very complex or very simple things leave impressions on me. A recent example is Yoni Alter's proposal for the London Underground: the simple act of painting feet on escalators to indicate the intended behaviour of its users. 3 Another example is the fly graphic used on the urinals at Schiphol Airport, which is also a well-known, but very discreet example of design indicating what people should do, an example of behavioural design that changes the actions of the user. 4 What connect both examples, and the reason why I appreciate them, are the minimum means used and the impact they leave on their audience. There is something common to all good design (possibly also to all art), in that it involves the user or audience—it anticipates reactions and delivers only the necessary information, and hides the rest. I tend to care little about aesthetic decisions, but I do appreciate interactions between the maker and the viewer/user.

(1) It is easier to define design than art, because of its functional aspect. While we tend to be judgemental about what is and what is not design, I subscribe to a wider understanding of the term, and believe that everything that is manmade is design. The status of a thing as design does not depend on the context, price tag or the signature of the author (all points that differ for considering something as art). People who are not designers can create design, without being aware of the fact that they are doing so. People are naturally creative when they make their work seriously, and it is not surprising that all craftspeople create design—and the people involved with invisible processes create design as well. In our magazine, Works That Work, we look for these instances. For example, a traffic engineer, Hans Monderman, improved road safety by removing traffic signs, rather than placing new ones, thus proving

(3) Good design reacts to available conditions, and many designers seek limitations that inspire new creations. Therefore, one could argue that today's conditions, which by previous standards are more difficult, also provide new inspiration for designers. It is a difficult enough question to ask how to design a house, a book or an exhibition, but it becomes an easier, or more

Yoni Alter, Keep to the Right, proposal for the London Underground (2014).

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specific question to answer when we ask how to design a low-cost house, an affordable book or a low-cost exhibition—it creates new possibilities and new spaces for different authors.

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worksthatwork.com/1/shared-space (accessed 14 May 2014). worksthatwork.com/1/dabbawallas (accessed 14 May 2014). worksthatwork.com/artefacts/keep-to-the-right (accessed 14 May 2014). worksthatwork.com/1/urinal-fly (accessed 14 May 2014).

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ding met het oneindig aantal foto's dat wordt genomen, zijn de gevallen waarin opflakkerend geweld de relatie tussen de hoofdrolspelers verstoort echter eerder zeldzaam. Dat is omdat een civiel contract deze ontmoetingen reglementeert en de mogelijkheid op direct geweld vermindert of zelfs uitsluit.

ARIELLA AZOULAY Ariella Azoulay (1962, Tel Aviv) is Assistant Professor of Comparative Literature and Modern Culture and Media bij Brown University (Providence, Rhode Island, USA). Op haar verzoek worden onderstaande antwoorden citaten uit haar invloedrijke publicatie The Civil Contract of Photography, (Zone Books, New York, 2008) opgenomen. (1) In de loop van de jaren werd het mij beetje per beetje duidelijk dat het niet alleen onmogelijk is om fotografie te herleiden tot haar rol als plaatjesmaker, maar dat de wijde verspreiding van het medium over de tweede helft van de negentiende eeuw ook de creatie van een politieke ruimte behelsde die niet enkel de heersende klasse van de staat diende en niet volledig onderworpen was aan de nationale logica die nog steeds de politieke arena overschaduwt. Deze civiele politieke ruimte, die ik theoretisch uiteenzet in The Civil Contract of Photography, is er een die de mensen die fotografie gebruiken – fotografen, toeschouwers en gefotografeerde mensen – zich dagelijks verbeelden. Fotografie is een machtsapparaat dat niet kan gereduceerd worden tot een van zijn componenten: een camera, een fotograaf, een gefotografeerde omgeving, object, mens of toeschouwer. Fotografie is een term die een verzameling aanduidt van verschillende handelingen die bestaan uit de productie, de verspreiding, de uitwisseling en de consumptie van het fotografische beeld. Elk van deze handelingen in de fotografische gebeurtenis gebruikt zowel een directe als een indirecte kracht – bijvoorbeeld: iemands portret nemen, en naar iemands portret kijken. Er is veel geschreven over deze agressieve dimensie van de fotografie – de mogelijkheid om elke concrete ontmoeting om te zetten in een gewelddadige confrontatie. In verhou-

(2) In 1845, zes jaar na de officiële geboortedag van de fotografie, werd er een foto genomen van Jonathan Walkers handpalm. Walker werd verhoord omdat hij slaven uit de staat Florida zou hebben proberen te smokkelen, richting het noorden. Het vonnis luidde opsluiting en een boete, maar ook zijn hand werd gemerkt met de letters ‘SS’, wat stond voor ‘slave stealer’. Na zijn vrijlating wendde Walker zich meteen tot de studio van de fotografen Albert Sands Southworth en Josiah Hawes in Boston om zijn gemerkte palm te vereeuwigen in een foto. Hij bleef de foto verspreiden als protest tegen de uitspraak van het hof. Dat leidde tot een herinterpretatie van het ‘SS’-teken als ‘slave savior’. De ontmoeting tussen Walker en de twee fotografen leverde niet het portret op van een hervormer, maar wel een directe detailfoto van Walkers handpalm. De weergegeven hand gelijkt in zijn directheid op een stilleven – een schelp, een hoed, een fossiel. Het was evenwel niet de bedoeling van die hand om roerloos en stil te blijven, zoals dat bij de geordende objecten uit de stillevenfotografie 26

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het geval was. Walker, Southworth en Hawes wilden het beeld publiceren en er ruchtbaarheid aan geven. Ze gebruikten het beeld in dezelfde sfeer van redevoering en actie. De daguerreotypie had de macht om de ter schandemaking, die was bedoeld om Walker uit te sluiten, te publiceren en zo het schandaal in zijn voordeel te kantelen.

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(3) Het wijdverspreide gebruik van camera's door mensen over de hele wereld heeft voor oneindig veel beelden gezorgd. Het heeft ook gezorgd voor een nieuwe vorm van ontmoeting, een ontmoeting tussen mensen die foto's nemen, foto's bekijken en foto's tonen aan andere mensen, al dan niet met hun toestemming. Zo worden er nieuwe openingen gecreëerd naar politieke actie, en nieuwe voorwaarden voor de zichtbaarheid ervan. De relaties tussen de drie partijen betrokken bij de fotografische daad – de gefotografeerde persoon, de fotograaf en de toeschouwer – zijn niet gemedieerd door een soevereine macht en niet beperkt door de grenzen van een natiestaat of een economisch contract. De gebruikers van fotografie duiken zo opnieuw op als mensen die niet compleet gedetermineerd zijn door de macht die hen regeert. Ze hebben nieuwe middelen om naar hun daden te kijken en om ze te tonen, en ook om uiteindelijk deze macht aan te spreken en ermee te onderhandelen – of ze nu staatsburger of vreemdeling zijn.

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violence replaces the relations between the protagonists. That is because a civil contract regulates these encounters, reducing and most of the time eliminating the possibility of direct violence.

ARIELLA AZOULAY Ariella Azoulay (b. 1962, Tel Aviv) is Assistant Professor of Comparative Literature and Modern Culture and Media at Brown University (Providence, RI, USA). The answers below are from Azoulay's seminal 2008 book, The Civil Contract of Photography, published by Zone Books, New York.

Southworth and Hawes, The Branded Hand of Captain Jonathan Walker, daguerreotype (1845).

(1) Over time, it became progressively clearer to me that not only is it impossible to reduce photography to its role as a producer of pictures, but that, in addition, its broad dissemination over the second half of the nineteenth century has created a space of political relations that are not mediated exclusively by the ruling power of the state and are not completely subject to the national logic that still overshadows the political arena. This civil political space, which I invent theoretically in the book, The Civil Contract of Photography, is one that the people using photography— photographers, spectators, and photographed people—imagine every day. Photography is an apparatus of power that cannot be reduced to any of its components: a camera, a photographer, a photographed environment, object, person or spectator. Photography is a term that designates an ensemble of diverse actions that contain the production, distribution, exchange and consumption of the photographic image. Each of these actions involved in the photographic event makes use of a direct and an indirect force—taking someone's portrait, for example, or looking at someone's portrait. Much has been written about this violent dimension of photography—the potential for turning any concrete encounter into a violent clash. However, compared with the endless number of photographs taken, rare are those cases where eruptive

(2) In 1845, six years after the official birth of the technology of photography, a photograph was taken of Jonathan Walker's palm. Walker was tried for attempting to smuggle slaves north, out of the state northward. His sentence was imprisonment and a fine, as well as the branding of his hand with the letters ‘SS’, denoting ‘slave stealer’. Following his release from prison, Walker turned to the Boston studio of photographers Albert Sands Southworth and Josiah Hawes, to eternalize his branded palm in a photograph, which he proceeded to distribute as a protest against the court ruling. This resulted in a subsequent reinterpretation of the SS mark as denoting ‘slave saviour’. What the encounter between Walker and the two photographers engendered was not the portrait of an abolitionist, but rather a direct and focused photograph of Walker's palm. The represented hand is reminiscent, in its directness, of a still life—a shell, a hat, a fossil. However, unlike the assorted articles then usually photographed in the genre of still life, this hand was not meant 28

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to stay still and silent. Walker, Southworth and Hawes sought to publicize and disseminate it, and assigned it a place and a role in the sphere of speech and action. The daguerreotype had the power to publish the disgrace meant to exclude Walker from the public and, through this very act of publication, to overturn the disgrace.

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(3) The widespread use of cameras by people around the world has created more than a mass of images; it has created a new form of encounter, an encounter between people who take, watch and show other people's photographs, with or without their consent, thus opening new possibilities of political action and forming new conditions for its visibility. The relations between the three parties involved in the photographic act—the photographed person, the photographer, and the spectator—are not mediated through a sovereign power and are not limited to the bounds of a nation state or an economic contract. The users of photography thus re-emerge as people who are not totally identified with the power that governs them and who have new means to look at and show its deeds, as well, and eventually to address this power and negotiate with it—citizens and noncitizens alike.

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op subsidies lopen ze het gevaar dat betekenis wordt ingeruild voor commerciële haalbaarheid.

NL ANTWOORDEN FARI BRADLEY Fari Bradley (Iran) is radiomaker en geluids­artiest in Londen. Haar radioshow Six Pillars to Persia is een immens ongesubsidieerd onderzoeksproject over Iran en de Iraanse diapsora. (1) Kunst verschuift de werkelijkheid, zelfs wanneer het ons maar één enkel iets doet in vraag stellen. (2) John Wynnes stuk The Flux and I (architecturale geluidstekening #3, 2014) in Gazelli Art House in Londen (mei 2014). De installatie bestaat uit een box waarin een kleine groep mensen in het complete donker werd gebracht en waarin een reeks kliktonen te horen was op verschillende plaatsen in de ruimte. Eerst dacht ik dat de mensen een grap met me uithaalden, maar toen herinnerde ik me dat Wynne kliktalen had bestudeerd. Daarna kwam er een reeks tonen die mij niks zegden, maar ik genoot van de nieuwe ervaring te luisteren in het donker in de context van een kunsthuis. Dan kwam er een groen licht en moesten we naar buiten. Door dit werk realiseerde ik me opeens hoe gehecht mensen zijn aan hun telefoons en hoe bang ze kunnen zijn voor het donker. Drie van de zeven mensen in de ruimte lieten hun telefoonscherm oplichten tijdens het korte tijdsbestek. De box was openbarend en genant; het stuk zelf was een luisterervaring. (3) Wij zijn vooral slaven van budgetten en subsidieerders, vertaald naar tijd, ruimte en materiaal. Niettemin, als een kunstenaar vastberaden is, kan er niets in zijn weg staan. Zo is het toch in het Verenigd Koninkrijk. De kunsten als ‘industrie’ zitten vandaag wel op het verkeerde spoor, door de besparingen 30

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Fari Bradley (Iran) is a London-based broadcaster and sound artist. Her radio programme, Six Pillars to Persia, is an immense, unfunded research project, documenting the hotchpotch that is Iran and the Iranian diaspora. (1) Art shifts reality, even if only by making us question one thing. (2) John Wynne's work, The Flux and I (architectural sound drawing #3, 2014) at Gazelli Art House, London (May 2014), was a booth that confined a small group of people in complete darkness, with a series of clicks that moved around the space. At first I did not know if it was the people in the space playing games on me, but I remembered that Wynne had studied languages that use clicks. After that, there was a series of tones that did not mean anything to me, but I enjoyed the novelty of listening in the dark in an art space. Then a green light came on, and we were turfed out. The piece also made me realize how attached people are to their phones, and how scared of the dark they can be. Three people in a group of seven had their phone screens illuminated in that short period of time. The booth was revelatory and embarrassing, and the piece itself was a listening experience. (3) We are mostly slaves to budgets and funders, which translate as time and space and materials. However, if an artist is determined, at least in the UK, nothing can get in their way. As an ‘industry’, however, the arts are in trouble, as we are in danger of sacrificing meaning for commercial 31

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Ante Timmermans tart het idee van waarneming: nog verder ligt de grens van het waarnemen dan voorbij hetgene dat al effectief kan worden waargenomen, en nog verder ligt dan het diepere verstaan.

NL ANTWOORDEN JAN DE VYLDER Jan De Vylder (1968, Sint Niklaas) is architect en werkt in Gent. De Vylder leidt samen met architecten Vinck en Taillieu het gelijknamige architecten­ bureau de vylder vinck taillieu. Het bureau verwierf internationale faam met renovaties, gezinswoningen en institutionele gebouwen die initieel bijna allemaal in het Gentse werden uitgevoerd. (1) (2) (3) Een paar weken geleden bracht ik een bezoek aan het atelier van Ante Timmermans. Eén van de werken in wording palmde me er toen al helemaal in: Het doek dat ik zie is tekst; getekende tekst, soms op het wit van het doek, soms wit op een kleur. De tekst is de regieaanwijzingen van het stuk Wachten op Godot. Alleen dat. Het doek was in wording. Allicht moet het in verhouding met ander werk pas echt een werk worden. Het vreemde is; de echte tekst van het stuk bestaat al uit zo weinig tekst en heel veel stiltes. Hier zijn alleen nog de aanwijzingen voor de regie, dus is het nog meer wachten.

En een architecturaal werk? Al meer dan eens passeerde ik het kantoorgebouw van de Federale Overheid, tussen Ketelvest en Savaanstraat: dat lelijke gebouw. Is het gebouwd aan het einde van de jaren tachtig of begin van de jaren negentig? Feit is dat het meteen mis was. Het gebouw zei niets: het dacht dat het over smaak ging en vergiste zich daarin danig. Mogelijk is het gebouw zelfs niet meer dan een fixatie van een architect op een hoopvolle toekomst ingegeven door de techniek van prefabricatie, of misschien kwam het idee voor dit gebouw na een reis van de architect naar een ver land waarvan hij de architectuur helemaal verkeerd begreep? Ik kwam nog nooit iemand tegen die ook maar één goed woord over had voor het gebouw. Sinds een jaar of zo is mijn wandeling langsheen dat gebouw echter anders. Het gebouw werd recentelijk geschilderd, in witte en grijze tinten. 32

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De oorspronkelijke nadruk op het geprefabriceerde beton lijkt nu verdwenen. Enkel nog de materie van de verf trekt de aandacht. En dat maakt het gebouw zo anders nu. De geleding en de schaduw lijken de perceptie van het gebouw over te nemen. De knik die het gebouw maakt in het volgen van straat en perceelsgrens komt naar voren als nooit tevoren, de maffe torentjes vormen nu een geheel. Het is vreemd dat enkel maar het schilderen de perceptie van – dat gebouw voor ambtenaren – zo veranderd. En, het is vreemd dat enkel de regie instructies – dat werk van Ante (naar) – nog meer dat stuk Wachten op Godot doet worden Kunst doet perceptie kantelen. Dat moet. En zo lang mogelijk. Het werk van Ante Timmermans achtervolgt nu reeds weken mijn gedachten. Kunst kan (achter) volgen. Ante is een wijze van vertwijfeling. Architectuur – zeer zeker – moet vertwijfelen. Dat moet zo, toch is het zelden zo. Het gebouw aan de Ketelvest achtervolgt nu ook al een jaar of meer mijn gedachten. Architectuur mag (achter)volgen. Dat gebouw aan de Ketelvest doet vertwijfelen. Het vreemde aan het werk van Ante Timmermans is dat het schilderij schrijft of het schrijven schildert – ik ben nu even vertwijfeld of ik het woord schilderij niet door tekening moet vervangen? Alsof het tijdsbestek – een bepaalde economie, een bepaalde maatschappij, enz – daartoe de aanleiding of verantwoording moet zijn; dat is onduidelijk en mogelijk zelfs niet eens aan de orde. Aan de orde is dat kunst, zoals geïllustreerd aan de hand van dit werk van Ante, op zich – tegelijk met de vertwijfeling over de waarneming – vertwijfeling doet ontstaan over schrijven, schilderen, tekenen of het maken van een installatie. Kunst als een niet meer definieerbaar medium, maar dan als een medium dat zelfs niet alleen meer de kunst dient. Kunst als vertwijfeling, wat het altijd al zou geweest moeten zijn en wat het dan nu meer dan ooit mag zijn. Kunst om naar terug te keren. 33

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Architectuur is enerzijds niets anders dan het bouwen zelf: de techniek. Anderzijds is architectuur niets anders dan kritiek, vertwijfeling. Maar wanneer het slechts het ene of het andere wil zijn, dan is het niet. Vertwijfeling ligt aan de grondslag van een duurzame wending in de architectuur, architectuur is duurzaam door zijn kunnen (bouwen) en zijn denken (kritiek).

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Ante Timmermans challenges the idea of perception: the limits of perception are pushed beyond what can be perceived. And the deeper understanding is even further away.

JAN DE VYLDER Jan De Vylder (b. 1968, Sint Niklaas) is an architect and works in Ghent. He is co-founder of Architecten de vylder vinck taillieu. The studio boasts a solid body of completed work, ranging from residential renovations and single-family homes to public and institutional buildings. They became internationally known for diverse renovations, initially almost entirely in the city of Ghent.

Building of the Federal Public Service, department ‘Supervision on Well-being at Work, Direction East-Flanders’, Ketelvest Ghent.

(1) (2) (3) A couple of weeks ago, I visited Ante Timmermans's studio and was baffled by one of his works in progress. It was a canvas filled with text, drawn text, sometimes applied straight onto the white canvas, sometimes on a coloured background. The texts were from the stage directions for Samuel Beckett's Waiting for Godot. That was it. As it was still in progress, it probably still had to become a real work in relation to other work. The strange thing is that the actual script of the play is already limited, and it contains a lot of silences. Now, with only the extracted stage instructions, the waiting is even more emphasized.

As for architectural work, more than once, I have passed the federal government office building between Ketelvest and Savaanstraat: that ugly building. Was it built at the end of the 1980s, or in the 1990s? The fact is, it was wrong from the start. The building had nothing to say: it thought it was about taste, but it got that awfully wrong. Perhaps the building itself was nothing more than an architect's fixation on a hopeful future for prefabrication techniques, or maybe the idea of the building came to the architect on a trip to a faraway country, whose architecture he completely misunderstood. I have never met anyone who had a good word to say about this building. For the past year or so, my walks past this building have changed. The building has recently been painted, in tones of white and gray. The original emphasis on prefabricated concrete now

Ante Timmermans, (Pause.) La marche de l'arrêt (2014), pencil, acryl, oil pastel on paper, 240 x 210 cm. Copyright Ante Timmermans.

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architecture is nothing less than criticism, the expression of doubt. When architecture is meant to be only one or the other of these, it is not architecture. Raising doubt is the cornerstone of a durable turn in contemporary architecture. Architecture is durable because of what it does (build) and what it thinks (critique).

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seems to have disappeared. The only thing that attracts attention now is the material of the paint. This makes the building so different today. Articulation and shadow seem to have taken over our perception of the building. The twist that the building makes as it follows the street and the edge of the property reaches forward, as it never did before. The crazy little towers now form a whole. It is weird how the simple act of painting changes the federal building. It is also weird how the simple presence of director's instructions —changes the work of Ante—and even more makes Waiting for Godot a piece about waiting. Architecture is something that—very definitely—must despair, express doubt. Art changes the perception of things. This is essential, yet it is rarely the case. The building on the Ketelvest has been haunting my thoughts now for a year or more. Architecture is allowed to pursue, to persecute us. That building on the Ketelvest makes us despair. The strange thing about Ante Timmermans's work is that the painting is writing, or the writings are paintings. Writing this, I start to wonder if perhaps I should replace the word painting with drawing. As if the timeframe —a certain economy, a certain society, etc.—should be the motive or the accountability for this, or that is unclear and should possibly not even be considered. What should be considered is that art, as illustrated by Timmermans's work an sich—together with the in­ decision regarding perception—leads to despair about writing, painting or drawing, and installation. Art is a medium that can no longer be defined. It became a medium in itself, one that is not only about art. Art as despair. It should always have been simply that. It can be just that right now, more than ever. Art to return to. Architecture is on the one hand nothing more than building itself: the construction techniques. On the other hand,

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In feite is zijn nalatenschap al twee jaar lang het onderwerp van mijn filmwerk. Mijn serie kortfilms met acteur Lee Kang-Sheng die langzaam door verschillende steden loopt, was geïnspireerd door Xuanzangs geest. Toen ik werd uitgenodigd om een toneelstuk te maken, besliste ik om het element van de langzame wandeling in de voorstelling te verwerken. Het hoeft geen betoog dat het vertalen van dit concept van film naar theater serieuze inspanningen heeft gevergd.

NL ANTWOORDEN TSAI MING-LIANG De in Maleisië geboren Chinese Tsai Ming-Liang (1957, Kuching, Maleisië) is één van de meest gevierde film­ regisseurs uit de Taiwanese cinema. (1) Wat is kunst, wat doet kunst… Waarom zouden we ons deze vraag stellen? Waarom eten we? Waarom drinken we? Wat is zingen? Wat is dansen? Wat is praten? Kijk omhoog en vraag de maan waarom ze bestaat. Zelfs mocht er geen ‘kunst’ bestaan, zouden mensen een gelukkig en voldaan bestaan leiden, vol kennis en vrijheid. Waarom is er dan kunst? Wanneer wordt kunst beschouwd als kunst en wanneer is het rotzooi? Je moet je eigen oordeel leren vormen. Niemand kan het correcte antwoord geven.

(3) Ik heb geen suggesties in deze kwestie, net zo min als iemand mij ooit antwoorden heeft gegeven. Bovendien vind ik dat ik niemand mijn mening moet geven, want iedereen is verschillend. Onze levens zijn allemaal verschillend, onze achtergronden, onze persoonlijkheden, en ons begripsvermogen zijn alle verschillend. Waarom zou ik iemand anders leren hoe te leven? Leer om je eigen oplossing te zoeken, net zoals je je eigen levenspad zoekt. Alles met betrekking tot kunst en het leven gaat over het zoeken naar jezelf. Het eerste wat een student moet leren is om niet meer aan een ander te vragen wat te doen. Wie geeft er iets om jou? Weiger de methodes van andere mensen. Als je een mooi werk ziet, geniet ervan, maar kopieer het niet, en verwacht er geen lessen van. Je moet denken aan je eigen pad. Ik hoop echt dat mensen die creatief werk willen doen niet veranderen in journalisten.

(2) Ik was de laatste tijd bezig met de voorbereidingen voor een toneelstuk dat een samenwerking is tussen KunstenFestivalDesArts in Brussel, de Wiener Festwochen in Wenen en het Taipei Arts Festival. Als onderwerp voor dit werk heb ik gekozen voor Xuanzang, de meest beroemde boeddhistische monnik uit de Chinese T'ang-dynastie. Het idee kwam er niet zomaar, want ik ben altijd een groot bewonderaar geweest van deze historische figuur. Hij was niet zomaar een religieuze figuur, hij was ook een avonturier en hij vertaalde geschriften. Ik ben vooral geïnteresseerd in zijn tien jaar durende reis van China naar India, op zoek naar boeddhistische schrifturen, in de tijd dat het transport nog extreem onderontwikkeld was in China. Waarom wou hij geschriften gaan zoeken? Hij hoopte dat door het verspreiden van het woord uit de heilige teksten zijn volk in zijn thuisland wijzer zou worden en ook vrij van lijden. Vanuit een hedendaags perspectief is zijn geest extreem goedaardig. 36

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two years. My series of short films, with the actor Lee Kang-Sheng walking slowly in different cities, was inspired by Xuanzang's spirit. When I was invited to create a play, I decided to include the element of slow walking in the performance. Needless to say, the translation of this concept from film to theatre required considerable effort.

TSAI MING-LIANG Tsai Ming-Liang (b. 1957, Kuching, Malaysia) is a Chinese Malaysian and is today one of the most celebrated film directors in Taiwan cinema. (1) What is art, what does art do…? Why should we ask this question? Why do we eat? Why do we drink? What is singing? What is dancing? What is talking? Look up at the sky and ask the moon why it exists. To me, even if there were no ‘art’, people could still live happy and satisfying lives, full of wisdom and freedom. So why is there art? When is art considered art, and when is it rubbish? You have to learn to make your own judgments. No one can give you the correct answer.

(3) I have no suggestion to share here, just as no one has ever given me any answers. Furthermore, I feel that I should not offer my opinion to anyone, because everyone is different. Our lives are all different; our backgrounds are different, our personalities and levels of understanding are different. Why should I teach someone else how to live their lives? Learn to seek your own solution, just as you seek your own life. Everything about art and life is about seeking oneself. As a student, the first thing you have to learn is not to ask someone else what you should do. Who cares about you? Discard other people's methods. When you see a great piece of work, enjoy it, but do not imitate it or expect lessons from it. You have to think of your own way. I really wish that those who want to do creative work would not turn into journalists.

(2) Recently, I have been preparing for a play, which is a collaboration between the KFDA (KunstenFestivalDesArts) art festival in Brussels, Vienna's Wiener Festwochen and the Taipei Arts Festival. I chose Xuanzang, the most famous Buddhist monk from the Tang Dynasty of China, as the subject of my work. This was not an idea that came out of nowhere, as I have always greatly admired this historical figure. He was not just a religious figure, but was also an adventurer and a translator of scripture. I am particularly interested in his decade-long journey, back in the days when transport was extremely underdeveloped, from China to India in search of Buddhist scriptures. Why seek scriptures? Because he hoped that by spreading the word of the sacred texts in his native land, his people would gain wisdom and be freed from suffering. His spirit, seen from today's point of view, is an extremely benevolent one. In fact, Xuanzang's legacy has been the subject of my film work for the past 37

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NL ANTWOORDEN ERWIN MORTIER Erwin Mortier (1965, Nevele) is schrijver. (1) We lezen en schrijven niet om ergens ter bestemming te komen maar om ook als we stilzitten onderweg te kunnen blijven, en al lezend en schrijvend onrecht niet te bestrijden, laat staan het aan te klagen, maar om het blijvend het leven zuur te maken. Vroeg of laat krijgt regen de hoogste berg klein. Het is verre van oneerbaar om voor de tranen te zorgen die neerslaan, blijvend neerslaand op de jaden grijns van de macht en er geduldig groeven van uitputting in slijten. (2) Het gedicht is van de mens niet het laatste ding, maar het allereerste, schreef Miroslav Holub en niemand weet welke profetieën Gilgamesj, Hector, Roland bevatten, zoals de onwillige dichter Zbigniew Herbert wist – herhaal de grote woorden, herhaal ze koppig als zij die de woestijn doorkruisten en omkwamen in het zand, de wereld heeft onze warme adem niet nodig. Voor de vervulling van onze hoop blijven we eeuwen te vroeg geboren. (3) Geen enkele maatregel die de autonomie van de kunstenaar versterkt of garandeert, zal ooit verhinderen dat de kunst altijd dreigt de speelbal te worden van heersende maatschappelijke of politieke krachten. Doe wel ende zie niet om.

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ERWIN MORTIER Erwin Mortier (b. 1965, Nevele) is a writer. (1) We read and write not to arrive somewhere, at some destination, but also as we are sitting still, en route, in order to stay there, and, as we are reading and writing, not to battle injustice, let alone denounce it, but to continue to add some vinegar to life. Sooner or later, rain will wash away the highest of mountains. It is a far from dishonourable thing to provide the tears that rain down, that keep raining down onto the jaded smirk of power, patiently eroding it with grooves of exhaustion. Â (2) The poem is not the least of the things of man, but the very first, wrote Miroslav Holub, and no one knows what prophecies Gilgamesh, Hector or Roland hold as did the unwilling poet, Zbigniew Herbert. Repeat the great words, repeat them, as stubborn as those who crossed the desert and perished in the sand. The world has no need of our warm breath. For the fulfilment of our hope, we are always born centuries too soon. (3) No single measure meant to strengthen or guarantee the autonomy of the artist will ever prevent art from the perpetual threat of becoming the toy of the reigning social or political forces. Therefore, do right and fear no one.

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Research in the Arts 2013-2014

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In het veld van het onderzoek in de kunsten en design werken onze onderzoekers voortdurend mee aan het uitzetten van het terrein: ze creĂŤren actief een eigen discours en experimenteren met nieuwe vormen van onderzoek en kennisoverdracht. Zo ontstaan referentiepunten voor de toekomst. Diversiteit is een kernbegrip in de definitie van wat in dit onderzoek wordt nagestreefd, maar onze voornaamste onderzoeksinteresses komen samen in drie inhoudelijke clusters: creatie en het creatieve proces, analyse van de historische en hedendaagse praktijk en een kritische beschouwing van de maatschappelijke context waarin kunst en design functioneren. Binnen en over de clusters heen bepalen de acht vakgroepen van de school waar ze hun eigen focus leggen. Zo kunnen ze hun specifieke profiel in het veld versterken en een solide relatie tussen onderzoek en onderwijs verzekeren. Dankzij de inzet van haar docenten en onderzoekers is de school uitgegroeid tot een steeds verder ontwikkelende onderzoeksomgeving van topniveau waar creativiteit, artistieke uitdrukkingskracht, academische discipline en een sterk bewustzijn van de maatschappelijke functie van de kunstenaar en de designer worden aangemoedigd. In het volgende overzicht van de projecten die werden afgerond in de loop van het afgelopen jaar, vindt u voorbeelden van de verschillende soorten projecten en de erg verschillende vormen van output die ze opleverden. Een volledige lijst van alle lopende projecten kunt u vinden op onze website.

In the field that is research in the arts and design, our researchers actively help to stake out the terrain by forging their own discourse and trying their hand at new ways of conducting research and contributing to public knowledge, creating tomorrow's reference points in the process. Diversity is a key word in describing the research pursued here, but our major concerns and research interests are expressed in three conceptual clusters: creation and the creative process, analysis of historical and contemporary practices, and a critical awareness of the social contexts of art and design. Within and across these clusters, the school's eight departments define their own focuses to highlight their particular profile within the field and to ensure a sustained connection between research and education. Thanks to the efforts of its lecturers and researchers, the school has become a continuously developing top-level research environment where creativity, artistic expression, academic rigour and a strong awareness of the artist's and the designer's place in society are fostered. In the following overview of projects completed over the past year, you will find examples of the different kinds of projects and the diverse forms of output generated through them. A complete listing of all ongoing projects can be found on our website.

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KRISTOF VAN GESTEL ‘Selfcreation: A Post-production’ In 2007, Kristof Van Gestel began his doctoral research in the arts at the KASK/School of Arts Ghent with Zelfcreatie: een post-productie (Selfcreation: A Post-production). In this project, the artist investigated relations between art and life from the perspective of his artistic practice. In completion of this research, in addition to the publication of Mooi is nuttig. De kunstpraktijk als ervarings- en reflectiemodel (published by ARA-MER, 2013), Van Gestel also published a small, 10-copy edition of his booklet Toeval en keuze (Chance and choice) and presented his exhibition Perimeters – Tapijten (Perimeters – Carpets, 2010-2013), in the Zwarte Zaal from 10.09 till 29.09.13. A ‘synthesizing’ work of art was thereby created for the project.

—as in life—it is not only thinking, doing and experiencing, reason and feeling, the self and the other, fine art and applied art, high culture and low culture, but also word and image that become part of a common experience, for the maker and for the viewer. In order to further investigate the bond with the viewer, in March of 2014, Van Gestel began postdoctoral research at the KASK/School of Arts Ghent, where in addition to an experience-orientated way of working and communicating, the artist set out in search of a participative relation with the viewer. For this reason the artist created a platform: Knowing by Doing. With this platform, he and his works of art literally create situations in which viewers actively learn about the relations by which they engage with the world.

In Kristof Van Gestel's research, a range of meaningful relations—with the other, with art, with the world, or with life (the life of the maker or that of the viewer)— was approached from the perspective of the practice of art. Central to this process was the guiding role of chance in the artist's practice and in his own life. By chance, relations come together: they are the convergence of coincidences that are present or that demand space, beyond the will of the individual. Relating to this in a productive manner implies that one learns not only to relate to chance, but also to be able to act against it. It is precisely here that our relation to art can contribute a large portion of the (life) lessons we absorb. Through our relation with art, space can be created in which to explore and investigate our relations with the world. In the exhibition Perimeters – Tapijten, under the motto of ‘Art is What the Artist Does’, Van Gestel's vision is summarized in 11 powerful propositions, which, woven into carpets, are presented as a sculptural work. As a result, in this work 46

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Exhibition views, Perimeters – Tapijten (2010-2013) (Perimeters – Carpets (2010-2013)), Zwarte Zaal (10.09-29.09.13). Photos: Tom Callemin.

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LAURA MAES ‘Sounding Sound Art’ The research project Sounding Sound Art, A Study of the Definition, Origin, Context, and Techniques of Sound Art provides an answer to the question: What is sound art?

The third and final group of research questions revolves around the various techniques used to create and convey sound. Sound works are grouped at an initial level according to the nature of the sound-producing material. Several ways to redirect, damp, reflect and convey sound are discussed. To conclude, the use of natural phenomena in sound art is considered.

The first group of research questions deals with defining sound art, as well as giving an overview of the various designations for sound art and their inherent meanings. The different visual and sonic forms that sound art can adopt are explored, as are their creators and precursors. The need for renewal, which makes it possible to develop a new art form outside the concert hall, is illustrated with examples that highlight historical experiments with the extension of time, the use of space, the incorporation of visual elements and the expansion of sound sources. Through defining the characteristics of a sound work, an analysis tool is developed in order to determine whether a work can be considered sound art. Subsequently, sound sculptures and sound installations are discussed and defined, their differences examined. To complete the delimitation of sound art, the borders between sound art and other art forms, functional sound applications and educational set-ups are investigated.

The research questions examined in the theoretical part of the dissertation are empirically researched and reflected in Laura Maes' artistic practice. In turn, the artistic practice helps test the theoretical investigation through practical experience. During this process, several works of art which balance on the line that ostensibly divides sound art and other art forms were developed and further helped define the boundaries of sound art. For example, 3times4, an installation that converts movement into sound and image in real time, can be experienced on the World Wide Web as well as in a physical location. Although the work originally was sound-based, in the final result, sound and image proved to be of equal importance. This equality of sound and image also applies to Up & Down de Vliet, a collaboration with Dutch artist Nico Parlevliet, in which the borders of sound art and video art are explored. The performance O_Rex challenges the roles of performer and spectator, whilst Oorwonde is designed as an interactive audio operating table on the intersection of sound art and performance, whereby the visitor turns himself over to aural surgery. Tondelier & Tolhuis shows the process of a composition in an installation context, whereas Glis glis, a composition pur sang, was created in response to a call for sound works. Lastly, Ijspaleis investigates how a sound sculpture relates to a sound installation. In this context, the Conser­vatory/School of Arts Ghent hosted the exhibition, Sounding Sound Art in the Zwarte Zaal.

The second group of research questions embraces the social-cultural context of sound art. Firstly, advantages and disadvantages of the presentation of sound art in museums and galleries, public spaces, alternative locations and specifically built constructions are examined. Furthermore, the rise of sound art, location and accommodation, the evolution of the types of works on display, the arrangement of the exhibition and the incorporation of interactivity are investigated. An overview of the history of sound art in Belgium, its current situation and a glance at future opportunities complete this section. 50

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Ijspaleis I (2011), ice sculpture suspended above three very thin glass plates. Ijspaleis I was part of the project ‘492 kilo’, an extended piano recital initiated and performed by Frederik Croene.

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Exhibition view, Sounding Sound Art, Zwarte Zaal (07.10-20.10.13). Photo: Tom Callemin.

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OLMO CORNELIS ‘Exploring the Symbiosis of Western and Non-Western Music’ This research project studies the opportunities for exploring ethnic musical content with computational tools, that can be used in artistic research and can offer new opportunities for Western music composition.

gave insights that influenced Olmo Cornelis' artistic work. In turn, his art­ istic experimentation provided insights towards a better understanding of Central African music. In terms of the research questions, a theoretical framework was established. This contains a taxonomy that serves a specific positioning of musical concepts, especially elaborated for pitch and tempo. The taxonomy is useful for a better understanding of the ethnic music analyses, but it also serves to enhance the awareness of the artist with ethnic influences.

In the effort to preserve the musical heritage of various cultures, large audio archives with ethnic music have been created at several locations around the world. Most of them have been digitized, but they often lack musical descriptions. Complete and correct metadata and musical content is the key to its retrievability; without it, oblivion threatens a mass of digital objects. Computational methods, so-called ‘audio mining’ techniques, aim to extract content-based descriptions directly from the (digital) musical audio files. Audio mining allows analysis of large sets of audio, which generates new interesting sources of information. In this context, ‘data mining’ techniques proved useful as statistical techniques employed in order to find patterns, tendencies, grouping, changes, etc.

Pitch and tempo for the entire RMCA (Royal Museum for Central Africa, Tervuren, BE) sound archives were researched. Insights were gained into pitch distribution in Central African music, while a pitch evolution in Central African music has been shown, namely a shift towards Western pitch classes, as well as the use of more pitch classes per octave. For tempo, a large ambiguity in tempo perception was shown (both tempo octaves and binary/ternary relationships), which indicates complex temporal relationships.

Given the diversity and oral character of ethnic music, computational ethnomusic­ ology faces many challenges. A principle problem concerns the danger of imposing Western concepts on non-Western music. Such biased approaches can lead to incorrect, information. One ambition of this PhD research was to find existing MIR (Music Information Retrieval) tools, and test, evaluate and adapt them for ethnic music. For pitch, an independent software interface called Tarsos has been developed (with engineer Joren Six). This tool provides interesting ways of exploring pitch and scale in African music, and can also be used in contemporary microtonal music.

The result of this research has been published in various ‘A1’ articles, conference proceedings, book chapters and lectures. The Tarsos software is available on www.0110.be. Furthermore, a range of musical compositions has been written. The compositions range from solo to ensemble work, with durations from one to 13 minutes. The artistic works frequently contain experimental elements, which are different for each composition (embodied elements by the use of sensors, microtonal compositions, concatenative composition, extended techniques on African musical instruments, audience-performer interactivity, instrument building, etc.). For all the works, the ethnic influence was connected to the taxonomy.

The artistic segment of the research connects strongly to scientific research. The analysis of Central African music 54

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(top) Rehearsal of the composition, Con Golese, with singer Chia Fen wearing HOP sensors that can manipulate the music.

(bottom) A spectrum overview of the composition, Generation Amalgamation. Notice the sections with cut-out partials, removed by software.

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A rebuilt Lamellophone, a typical African music instrument. This lamellophone was made by Ondine Cantineau.

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CHOKRI BEN CHIKHA ‘The Human Zoo as (Re)Search Tool’ There are many possible ways of conduc­ ting artistic research, but is the researcher obliged to make a choice only from existing models? Chokri Ben Chikha selected a combined form, an interaction between the research about/for/through art, and art about/for/through research. As a result, his research has elements of art criticism, as well as being interdisciplinary and multidisciplinary in nature, and it also bears the characteristics of a performative research project.

stereotypes and how they can be applied as theatrical symbols, instead of readymade answers being formulated. The case studies and the creations together formed the foundation for the final work of the research: De Waarheidscommissie / The Truth Commission (2012). Accompanying his defense for his doctorate in the arts, Chokri Ben Chikha will present part of his research material in the performative exhibition, Het Vlaams Paviljoen / Flemish Pavilion/Pavillon Flamande, which will be held in the autumn of 2014 in Cirque at School of Arts Ghent.

The research has been art critical because the presentations have been analyzed; it has been interdisciplinary and multidisciplinary because the analyses have been inspired by a range of scientific disciplines. History and anthropology, as well as art history and psychology have been put to use. Finally, the research has been performative because the experiments used were in search of dialogue and sometimes took place by means of performative letters, fragments from theatrical texts and reflections on five different research projects.

In his approach, Chokri Ben Chikha aims to keep theoretical concepts in motion by constantly testing them in his artistic practice. His practice focuses on the performing arts, with the goal of achieving a collection of strategies that are capable of deconstructing stereotypes. In search of strategies that can employ stereotypes as theatrical signs in an inspiring way, the critical value of these signs is investigated with the help of The Human Zoo as (Re)Search Tool. Parallels are drawn between the present and the past: the humans zoos of yesteryear, the socially engaged strategies of artists in the 19th century, and the contemporary artist who applies those socially engaged strategies. Here, attention is paid both to the possibilities of applying stereotypes as a strategy and to the pitfalls that this brings with it.

His research in the arts, Wat is de kritische waarde van het gebruik van stereotypen als theatertekens? De zoo humain als (onder)zoek(s) instrument (What is the Critical Value of the Use of Stereotypes As Theatre Signs? The Human Zoo as (Re) Search Tool), began in 2007 at KASK/ School of Arts Ghent, and contains five case studies and five artistic creations. The five reflective case studies (Onze-LieveVrouw van Vlaanderen, 2005; Missie, 2007; We People, 2006; Exhibit B, 2012; and Starterspakket: Migreren naar Vlaanderen, 2012) and the five creations (Broeders van Liefde, 2008; L’Afrique c’est chic, 2010; De Ceremonie, 2010; De Finale, 2010; and De Waarheidscommissie, 2013) formed the basis for artistic and scientific reflections. They are experiments. Positions that appeared to be contradictory and/or indefensible confronted one another. As a result, questions were raised about

This range of potential strategies that the research has been generating can subsequently serve as a touchstone for one's own future artistic practice, or for the practices of other makers and researchers, without having to serve as a valid recipe for ‘good theatre’. That which works in one context inevitably has a different effect in another. The mix of strategies, however, does effectuate an undermining of (the status quo of) the prevailing discourse about social inequality. 58

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(top) Image from the performance, De Waarheidscommissie: Expo Zoo Humain (2013). Photo: Kurt Vander Elst.

(bottom) Image from the performance, De Waarheidscommissie: Expo Zoo Humain (2013), Senegalese dancer bears witness. Photo: Kurt Vander Elst.

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Poster image for the performance, De Finale: een stand-up tragedie (2010), Zuiderpershuis

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Image from the performance, De Leeuw van Vlaaderen (2003). Photo: Filip Claus.

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EDWIN CARELS ‘Animation Beyond Animation’ When does animation become art? What remains of animation when it leaves the cinema or TV screen, and manifests itself in other spaces? On both a theoretical and a practical level, the research project Animation Beyond Animation: A Mediaarchaeological Approach, investigates the many expressions of the phenomenon of ‘animation’ in the broader sense.

spaces for exhibition were already animating their viewers. The question thus imposed itself as to the extent to which the practice of animation brings with it its own set of ‘problems’ or paradigms, and whether these are really new, 20thcentury paradigms (related to the beginning of film history), or are instead rooted in a more distant past. The research has been specifically framed by an agreement with the Museum of Contemporary Arts, Antwerp (M HKA). The M KHA not only offered a platform to produce approximately one exhibition per year, but they also allowed artists access to their Vrielynck Collection, a singular ensemble of antique cameras, optical toys, film posters and a large amount of other cinematographic paraphernalia. This has led to the curating of three artistic interventions with the collection, by respectively Julien Maire, Zoe Beloff and David Blair. Further collaboration with the museum generated a whole variety of curatorial activities, from monographic presentations (Chris Marker) to thematic exhibitions (El Hotel Eléctrico), from co-curating (Animism, with Anselm Franke) to contributing to a cluster of exhibitions (Not Nothing, part of a city-wide project), and from developing an exhibition in consecutive chapters and at different locations (Graphology) to programming occasional screenings, lectures and performances.

The word ‘beyond’ in the title of this study alludes to the fact that animation has left its traditional manifestations in the form of film or television behind. The linear format of the film as a product is now often replaced with loops and other types of dynamic or even kinetic works in the context of contemporary art practices, as well as in electronic media and games. This dialectic between art and animation, however, had in fact begun long before the invention of film. To conceptualize this shift of animation to ‘beyond animation’, this research project proposed to return to a point before animation became animation film, the period when it had not yet been conventionalized by the film industry into cartoons and puppet films, back to the time when all the potential of the method was already there, and interaction with other artistic disciplines was still a normal affair. The history of animation can therefore not be dissociated from larger developments in 20th-century art. Even the genealogy of the museum and the parallel evolution of both architectural and technological strategies of visualization and presentation can be considered part of the history of animation. The parallel manifestations of animation as an autonomous art and the thematization of optical technologies as a form of exhibition practice were both happening at the time when the notion of ‘the museum’ first developed. In the 17th century, before and concurrent with the development of the magic lantern, diverse types of ‘scripted’

The final exhibition project, El Hotel Eléctrico, was conceived as a visual essay, a space-related experience. Here, animation is understood as entering a force field: the manipulation of images and objects in ‘staged’ museum galleries, and the bridging of intervals. Animation beyond Animation has therefore become a study about ‘time taking place’, animation manifesting itself not simply on a two-dimensional screen, but as mediated in the space that it shares with its viewers. 62

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David Claerbout, Fitness Lichte Oefeningen (Remake) (1995). Courtesy the artist. Photo: M HKA (El Hotel ElĂŠctrico, 21.02-11.05.14).

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Robert Breer, Floats, a collection of motion sculptures. Courtesy gb agency, Paris. Photo: M HKA (El Hotel ElĂŠctrico, 21.02-11.05.14).

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PhDs in Urbanism & Spatial Planning and in Philosophy

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SYLVIE VAN DAMME ‘Landscape Design in Flanders: Landscape as a Narrative and Integrative Medium in Spatial Design Practice’ This book is the result of Sylvie Van Damme's PhD research at the Department of Architecture and Urban Planning, Ghent University (published by Garant, 2013).

related research fields, including the preservation of patrimony, the management of green spaces, ecology and architecture. This is followed by a description of how these landscape concepts are shaped, in a balanced way, within spatial design practice and what internal discussions and conflicts these interpretations evoke. Finally, this chapter addresses the relevance and impact of each of these interpretations for current policy in Flanders and contemporary design practice. Interview fragments reflecting the experiences of key informants, together with images of concise case studies from design proposals for public projects in Flanders, illustrate landscape concepts and bring them to life. Chapter Two then tests these landscape concepts in a specific design proposal for the Lowland Park in Antwerp. Chapter Three provides the theoretical framework behind the identified landscape concepts, employing the notions of ‘landscape narrative’ and ‘landscape discourse’.

Flanders is characterized by a large diversity of landscapes with overlapping city and countryside, leading to extensive multi-functionality. The region is therefore a particularly fascinating testing ground for research and practice in landscape design. In comparison to many other European countries, however, landscape design in Flanders is distinctly less embedded or established as a profession, and it receives only a modicum of theoretical consideration. This book explores the crossover between landscape and spatial design on the one hand, and between theory and practice on the other, specifically in Flanders. It consists of three main parts. The first part outlines how the widening scale in landscape architecture and the demand for scientific foundations has expanded internationally over the centuries. It shows how these developments gradually came to have significant consequences for Flemish design, and how, here as well, demand increased for landscape design to be recognized as a profession, under the influence of international trends.

Part Three expands on the findings of Part Two, that landscapes are concepts that can be interpreted on several levels, consisting of a combination of material, natural systems, social behaviour and mental, cognitive systems, an approach consistent with the holistic approach of the European Landscape Convention. The first chapter in Part Three specifies how the expanding landscape concept is impeded by certain discourses that are ingrained in policy and in public opinion. The implications for landscape design are described in the second chapter. Using landscape design as a trans-disciplinary expertise is not an easy task, and in practice, it regularly clashes with disciplinary, sectoral and administrative boundaries. On this basis, the third chapter puts forward recommendations for how professional landscape design in Flanders can become better established.

The second part of the book examines how designers and their practices, as well as governmental authorities, integrate landscape into design practice. The first chapter identifies seven landscape concepts by means of a triangulation of research into the relevant literature with experiences in the field in Flanders. For each of these landscape concepts, the foundations within landscape scholarship are explored, as are the links with principles, theories and developments within 68

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(top) Visualization for the integrated outdoor environmental plan (Brugge-Zeebrugge), by Fris in het Landschap.

(bottom) Groengevel on the facade of two new rehearsal studios for Les Ballets C de la B en LOD on the Bijlokekaai in Ghent, by Bureau Bas Smets.

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FRANK VANDEVEIRE ˆ zˆ ek's Theory of Ideology’ ‘Between Freedom and Superego: Slavoj Zi ˆ zˆ ek, this flippant According to Slavoj Zi joking around inherently exposes the essence of ideology, notaby the reason why it is able to hold people in its spell. In order to truly bind people, it is not enough for ideology to imprint a story on them about how a society ought to be and how each and every individual can contribute to that ideal. Ideology only blinds people by also appealing to their desire to break the rules. It secretly invites people to participate in pleasure that has no place in the doctrine.

Frank Vandeveire defended his PhD on 4 September, 2013, at the Radboud University in Nijmegen, NL. ˆ zˆ ek's vision The core of Slavoj Zi of ideology can be gleaned from an anecdote that is rather tasteless and vulgar, but which he refers to as an encounter that generated an epiphany for him, a true revelation. At an army medical exam, a recruit explained to the army doctor that his foreskin was too small. The problem only presented itself when he had an erection, so the doctor urged him to demonstrate. When the young man was understandably unable to do so, the doctor took a postcard of a naked woman from one of the soldiers' mirrors and called out to the young man: ‘Look at this! What kind of man are you, if you don't get an erection looking at this?’ The entire scene reverberated with the obscene laughter of the doctor, joined by that of all the waiting soldiers who had watched the exchange. The young man himself quickly began to giggle, as he exchanged looks of solidarity with the small group of soldiers.

Needless to say, things are not always as vulgar as in the above-mentioned ˆ zˆ ek's experience that story, but it is Zi in communist former Yugoslavia, party members only publicly took the official ideology seriously on official occasions. Amongst themselves, they all did everything that was forbidden by the Party or mocked what the ideology stood for. Amongst them, this collective breach of official doctrine created a profound solidarity. And as far as people were able to discern this cynical contempt for the ideology on the parts of its representatives, it gave them a compelling charisma.

It is clear that the doctor did not take the official Communist ideology seriously. That ideology demanded ascetic selfdiscipline. It required everyone to set aside his own desire for pleasure and strictly apply himself to the advancement of Party and the Fatherland. The doctor, in fact, was asking for just the opposite, as he requested that the recruit share with him a pleasure that diametrically opposed official ideology. The fact that he made that demand as a representative of the Party amounted to the Party making fun of itself. The actual message from the doctor to the recruit was: ‘Oh well, whenever you look at a naked woman, of course you know that all that talk about commitment and sacrifice for Party and Fatherland is nonsense!’

ˆ zˆ ek here provides a surprising Slavoj Zi answer to the age-old question: How is it that people are so willing to submit to authority? Purely superficial coercion, fear of punishment, physical destruction or mutilation do not offer an explanation. The core that underlies this submission is a fantasy of breaking the rules, linked to illicit pleasure, something that the authority itself invites. It is for this reason that people do not really belong to a community when they acknowledge its values and outlooks and respect its official rituals and usages, but only when they take personal possession of certain ways of speaking and acting that indicate contempt for what is officially commended. 70

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René Magritte, La bonne fortune (1945), oil on canvas, 60 x 80 cm. Courtesy Royal Museums of Fine Arts of Belgium. Photo: J. Geleyns.

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Das Bewusstschwein. Het bewustzwijn. This could be an alternative title for Magritte’s La bonne fortune. Apart from the tiny eyes with which it looks at us in a penetrating way, helplessly asking recognition for being human, it is a swine in all its features. The ‘Bewusstswine’ only exists as the pig that it is not. And as a sort of compensation for this nothingness, as if it is giving shape to this nothingness, a petrified phallus is rising up behind the pig, causing both a sad and a hilarious effect. Where can we find the human here? He drops out, between the hoggishness in which he is captured and the monument that commemorates him.

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Research Projects in the Arts

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‘Investigation of Methods and Construction in the North Alpine Tradition of Violin Building, Based on the Reconstruction of an Alemannisch String Ensemble’ through study of the relevant literature, iconographies, old tools, original instruments and other artefacts. From there, we created circumstances similar to those involved in historical and traditional fabrication, for example, by using the same or similar tools, materials and work­ places, in order to develop hypothetical techniques. Through this procedure, practice revealed how the instruments might possibly have been built. The instruments developed in this research project are therefore not copies or reproductions of the originals, but were built in a way that was as consistent as possible with the Alemannische Schule. These instruments stand on their own, as a practical test of the use of techniques and materials revealed in the studies. The results of this research therefore not only outline the construction techniques, but also reveal thorough knowledge of the traditions, skills and use of materials and techniques related to creating the instruments.

Researcher Andreas Korczak Project coordinator Florian Heyerick, with co-promoters Sigiswald Kuijken, Karel Moens and Marcel Kettels The term Alemannische Schule is a modern name for a 17th-century violinbuilding tradition in the south of the Black Forest, near Switzerland. This instrument-building tradition was common north of the Alps, in the so-called North Alpine regions (including Belgium, England, Poland, etc.). Its roots can be traced in the carpentry and musical instrument builders guilds. This tradition is unlike South Alpine violin-making techniques, whose origins lay in lutebuilding. After the 18th century, North Alpine instrument-building traditions slowly disappeared. The most notable characteristic of the Alemannische Schule is that its violins were made without a mould. To do this, the neck of the instrument—including a neck foot—was glued to the back or top of the violin, without using nails. Instruments built in the tradition of the Alemannische Schule also have other subtle differences. They have a middle bar instead of a bass bar and an array of inlaid decorations, such as flowers, hearts or knotting patterns.

These instruments have been created in conjunction with research on bowed instruments currently being conducted by the Swiss musicologist, researcher and baroque violinist, Christop Riedo (specialized in 17th- and 18th-century music in Switzerland).

This four-year research project was established to gain deeper understanding of the rich North Alpine violin-making tradition. Because there are still instruments of the Alemannische Schule used in orchestras today, this research has been based on theoretical and more experimentation-orientated archaeological research techniques. For a deeper understanding of this tradition, it was important to gain insight into the lives of the violin builders, their construction techniques, the tools and the materials they used. This was done 74

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(top) Constructing discant violin according to traditional Alemannische Schule techniques and materials.

(bottom) Two ‘Alemannische’ discant violins.

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‘Application of Music Information Retrieval Techniques on Contemporary Classical and Ethnic Music’ Analysis results can be exported at any level (pitch estimations, graphic representations, pitch histograms, tone scale information, midi-data) and in standardized formats. This combination of features makes Tarsos a valuable tool for both the (ethno-) musicological research community and for artistic exploration.

Researcher Joren Six Project coordinator Olmo Cornelis, co-promoters Marc Leman and Maarten Weyler The four-year research project Application of Music Information Retrieval Techniques on Contemporary Classical and Ethnic Music was completed in November, 2013. The focus of the project was to develop and demonstrate tools to systematically analyse ethnic and contemporary classical music. More concretely, techniques from the Music Information Retrieval (MIR) research field, which is traditionally more involved with commercial Western music, were adapted and extended to fit with other musical idioms. MIR techniques offer detailed measurements of timbres, pitch use, tone scales, dynamics, metrical figures and musical structures. In this project, the measurements were used as source material for scientific study of ethnic music and for compositional exploration.

Aspects of Tarsos were presented at several international conferences. Its application in ethnic music analysis was presented at the 2012 ISMIR conference. Our contribution to the 2012 ICMC conference showed how Tarsos can be used for microtonal exploration and composition. An article with a detailed overview of Tarsos was published in the Journal of New Music Research. The underlying signal processing algorithms developed for Tarsos have been collected in a reusable software library, called TarsosDSP. It contains algorithms for pitch estimation, time-stretching, pitch-shifting, onset detection, resampling, filtering, etc. TarsosDSP has been described in an article for a conference organized by the Audio Engineering Society. Since its publication, it has been used worldwide for educational assignments, as well as in several Masters theses.

Western music is almost always based on a tone scale that divides the octave into twelve equal parts. Ethnic music, however, often organizes pitch differently and diversely. During this project, the Tarsos software platform was created in order to document tone scale diversity. Tarsos has no predisposition towards a music theory, but works with automatically extracted pitch estimations. These estimations can be visualized and filtered in various ways. Auditory feedback of pitch estimations and scales is also possible. Tarsos suggests which tone scale is used in a musical piece, but the suggestion can be manually refined. Once a tone scale has been detected, Tarsos automatically tunes an internal MIDI synthesizer using that scale, which enables the user to play music in any tone scale with a MIDI keyboard. There is also a way to automatically analyze large music archives with the scripting capability provided by Tarsos.

More information on Tarsos and TarsosDSP can be found at: www.0110.be.

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(top) This song uses 5 tones per octave, resulting in a pentatonic scale. The scale has several pure fifths (702 cents) and pure thirds of 316 and 384 cents. The thirds are audibly different from Western tuning, where they would be 300 and 400 cents respectively.

(bottom) Tarsos, a software package for pitch analysis.

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‘Cinematic Representations of Visual Arts’ ized by means of camera movements and point-of-view shots.

Supervising researchers Steven Jacobs and Susan Felleman (University of South Carolina) Part-time project researchers Vito Adriaensens (2010-2014), Lisa Colpaert (2010-2014), Nathalie Cools (20102011), Karel De Cock (2011-2013) and Nicolas Provost (2013)

Art & Cinema: Belgian Art Documentaries (Cinematek, Brussels, 2013) The 1940s and 1950s can be considered the heyday of the experimental art film. Belgian filmmakers, such as Dekeukeleire, Cauvin, Storck, Haesaerts and de Heusch, made important contributions to the genre. This DVD box brings together 15 important films and is accompanied by a booklet (EN, FR, NL) written by Steven Jacobs.

Focusing on the visualization of art and artists in film, this research project (2010-2014) resulted in several articles (published in Cineaction and De Witte Raaf, amongst others) as well as in the following books, DVDs, and films:

The Dark Galleries: A Museum Guide to Painted Portraits in Film Noir, Gothic Melodramas and Ghost Stories of the 1940s and 1950s (ARA-MER, Ghent, 2013) by Steven Jacobs & Lisa Colpaert This book looks at American films of the 1940s and 1950s in which a painted portrait plays an important part in the plot or the mise en scène. In particular, film noir crime thrillers and gothic melodramas feature painted portraits that seem to hold a magical power over their beholders. In addition to an extensive introductory essay, this museum guide presents about one hundred entries on the artistic and cinematic aspects of noir and gothic painted portraits.

Framing Pictures: Film and the Visual Arts (Edinburgh University Press, 2011) by Steven Jacobs Through the films of Godard, Pasolini, Resnais, Rossellini and others, Framing Pictures examines the way works of art are ‘animated’ in art documentaries, artist biopics and films containing key scenes situated in museums. The tension between stasis and movement is discussed in relation to modernist cinema, which often includes tableaux vivants that combine pictorial, sculptural and theatrical elements. The book also includes chapters on the aesthetics of the film still and the omnipresence of the filmic image in today's art museums.

The Dark Galleries (2014, c. 10 minutes) by Nicolas Provost Based on the visual materials discussed in the eponymous book, artist and filmmaker Nicolas Provost created a perfect blend of cinema and painting. In this found-footage film, he elegantly exploits the rules of editing to create an imaginary museum visit. He guides us through living rooms and picture galleries of noir crime thrillers and gothic melodramas of the 1940s and 1950s.

Incidents in a Museum: Art Galleries in Film (2012, c. 46 minutes) by Steven Jacobs and Karel De Cock This compilation includes scenes from feature films from the 1920s to the present, which are situated in art galleries. In films, museums always invoke similar associations: they are elitist temples where only snobs enjoy art, or they are presented as perfect meeting places for secret lovers, criminals, or spies. Museums are uncanny places or inauspicious sites of death. In addition, museums are an ideal location for self-reflection on the parts of film directors: they are the setting for scenes in which looking is visual-

Sculpture in Cinema by Steven Jacobs, Susan Felleman, Vito Adriaensens and Lisa Colpaert (to be published in 2015 by Edinburgh University Press). 78

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(top) Portrait of Laura Hunt (Gene Tierney) in Laura, by Otto Preminger (1944).

(bottom) Henri Storck filming Bruegel's Fall of Icarus for The Open Window (1952).

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‘The Ypres Salient: From Reconstruction to Landscape of Remembrance’ gardens prior to the World War I, the destruction and the perceptions of these sites during the Great War, and the subsequent stories of these sites up to the present. The temporary exhibition at the Flanders Fields Museum is based on the results of this extensive research, conducted at University College Ghent. It presents the story of these historic sites, including their destruction during World War I, to a broader public.

Researcher Virginie Peeters and Steven Heyde Promoter Harlind Libbrecht, co-promoter Joris Verbeken In April 2015, a temporary exhibition will open at the Flanders Fields Museum, on the history of chateau grounds in the region of Ypres. At that time, it will be 100 years since the start of the Second Battle of Ypres. Numerous gas attacks were launched, from which countless solders suffered and died. The Second Battle of Ypres ended at Hooghe, east of Ypres, which at the time had become one of the most feared battlefields on earth. Soldiers literally described this place as ‘hell on earth’. Ironically, before the start of World War I, this exact location had been one of the most romantic gardens to be found in the Ypres region. The practice-based scientific research project, De Ieperboog: van Wederopbouw- naar Herinneringslandschap (The Ypres Salient: From Reconstruction to Landscape of Remembrance), was a sequel to a previous research project about the history of the landscape and chateau estate grounds (gardens and parks around historical mansions) in the region of Ypres. The research is of significance to the discipline of landscape architecture, as very little is known about the history of the creation of gardens in Flanders. This new research project focussed on the reconstruction of these landscapes after World War I and the role of contemporary landscape architecture in producing design interventions for these historic sites. The principle results of these two research projects will be published at the end of 2014, in a book entitled De cultuurgeschiedenis van de kasteeldomeinen in de zuidelijke Westhoek (The Cultural History of Castle Domains in the Southern Westhoek). The book includes several chapters on the design of these

(top) Park Vlamertinge. Photo: Ruben Joye. (bottom) Ruins la Hutte. Photo: Steven Heyde.

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(bottom) Five Australians, members of a field artillery brigade, passing along a duckboard track in the devastated Chateau Wood, a portion of one of the battlegrounds in the Ypres salient. Photo: James Francis (Frank) Hurley.

(top) Galge. Photo: Steven Heyde.

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‘Walls and Gardens’ Province of West Flanders, in conjunction with the other partners, coordinated this aspect of the ‘Walls and Gardens’ project. With the help of four workshops, a multidisciplinary team of heritage experts, landscape architects, urban planners and green spaces management experts from Technum, Cluster Landscape and University College Ghent developed a method to create a Community of Practice and to enhance the exchange of both explicit and tacit knowledge amongst the partners.

Researchers Pieter Foré and Stefanie Delarue (University College Ghent) with Ewald Wauters and Peter Corens (Technum-Tractibel) and David Verhoestraete and Saskia Kloosterboer (Cluster Landscape) Conducted by Faculty of Fine Arts, University College Ghent, in collaboration with Technum-Tractibel Engineering and Cluster Landscape Fortified sites are part of the heritage of Europe. They bear witness to the many wars fought over the course of European history, as well as to the development of military architecture. Most forts lost their military significance in the 20th century and fell prey to abandonment, ruin and/ or vandalism. Over the last few decades, however, it has become apparent that in addition to their heritage value, historic fortifications have also acquired considerable ecological and recreational value. The environmental importance of a fortified site depends on the site as a whole, and on its various components. Many fortifications also form part of larger structures, such as ramparts or fortification lines. Their specific characteristics also generate a wide variety of environments (water, walls, underground buildings, earthworks, etc.).

These workshops, each lasting two days, started with drawing up a list of the sites using key data in order to pinpoint problems and opportunities. This was followed by the principle body of work, namely adopting methods for developing and managing the sites. A Practical Guide was written, based on the results of the analyses conducted during these working sessions. The guide includes 11 chapters: ‘Ecological Value of Fortification’, ‘Moats and Water Features’, ‘Walls’, ‘Groundcovered Buildings’, ‘Earthworks’, ‘Plants and Plantations’, ‘Bats’, ‘Heritage Values and Ecology’, ‘Forts as Components of Environmental Networks’ and ‘Developing a Management Vision’. The information is also available on the project website: www.wallsandgardens.eu.

The purpose of the Walls and Gardens project was therefore to ensure the longterm conservation of this specific landscape and architectural heritage, while recognizing, and indeed reinforcing its potential for accessibility and everyday usage. It was based on joint methodological reflection and exchange of experience between partners. By combining heritage, usage and ecological management of the sites, twenty-two partners were invited to jointly reflect on the landscaping and ecological aspects of conserving and protecting fortified sites. Research was conducted into the ecological management of defensive sites. The 82

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(bottom) Vossegat, plan for a fortress in the New Dutch Waterline (1815-1939). Note the variety of earthwork profiles and tall tree locations. Source: Boosten etc. (2012).

(top) Map of Goes by Zacharias Roman (1650).

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ARTISTIC RESEARCH PUBLICATIONS Through various partnerships, the School of Arts Ghent wishes to stimulate the development of publications on artistic research. Together with ARA, the School of Arts aims to extend the possibilities and the position of books as venues to exhibit art and the process of artistic research. Connecting the academic book canon with art and with artists' books opens a new reflective space where scholarly and artistic practices merge in the field of research, shaping a radically new generation of printed media. ARA is an international platform for the publication, distribution and dissemination of artistic research in printed media. It was initiated by MER. Paper Kunsthalle and the School of Arts Ghent. In the past academic year, the following research publications were published by the ARA (Artistic Research Archive) section of MER. Paper Kunsthalle:

Thing (published by ARA-MER. Paper Kunsthalle, 2013), by Anouk De Clercq

The book The Dark Galleries: A Museum Guide to Painted Portraits in Film Noir, Gothic Melodramas, and Ghost Stories of the 1940s and 1950s was published in 2013 in the context of the research project, ‘Cinematic Representations of Visual Arts’. It was compiled and written by Steven Jacobs and Lisa Colpaert.

Mooi is nuttig. De kunstpraktijk als ervarings- en reflectiemodel was published in 2013 in the context of Kristof Van Gestel's doctoral research in the arts.

The Dark Galleries: A Museum Guide to Painted Portraits in Film Noir, Gothic Melodramas and Ghost Stories of the 1940s and 1950s (published by ARA-MER. Paper Kunsthalle, 2013), by Steven Jacobs and Lisa Colpaert

In addition, An. van Dienderen (doctoral assistant at the School of Arts Ghent), in collaboration with Kris Rutten and Ronald Soetaert (University of Ghent), has developed two theme issues for the international A1 magazine, Critical Arts: South-North Cultural and Media Studies. These magazine issues were inspired by postdoctoral research being conducted by An. van Dienderen. The two publications look at the problems of the relationship between ethnographic and contemporary arts, with special attention to practice-based

Mooi is nuttig. De kunstpraktijk als ervarings- en reflectiemodel (published by ARA-MER. Paper Kunsthalle, 2013), by Kristof Van Gestel

Anouk De Clercq presented her book Thing in 2013. Thing is part of The Art of ~scaping, a research project by De Clercq. It is the first book in her The Art of ~scaping series and accompanies the video, Thing. Thing was nominated for the 2013 Fernand Baudin Prize. 84

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Understanding Artists’ Writings (Academia Press, 2013). The book contains contributions by artists, scholars and curators who undertake reflection on artists’ writings from the 20th and the 21st centuries. De Preester also edited the publication, Moving Imagination: Explorations of Gesture and Inner Movement in the Arts (University College Ghent and Ghent University, published by John Benjamins, 2013), which includes a chapter written by Martine Huvenne in the context of her theoretical PhD, which she completed in the 2012-2013 academic year.

Moving Imagination: Explorations of Gesture and Inner Movement in the Arts (published by John Benjamins, 2013), edited by Helena De Preester

Landscape Design in Flanders: Landscape as a Narrative and Integrative Medium in Spatial Design Practice (published by Garant, 2013) by Sylvie Van Damme

Not a Day Without a Line: Understanding Artists’ Writings (published by Academia Press, 2013), by Helena De Preester

Helena De Preester (visiting professor at the School of Arts Ghent) published Not a Day Without a Line: 85

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research. Contributions were in part provided by the researchers in the arts at the School of Arts Ghent (Chokri Ben Chikha, Olmo Cornelis, Hugo De Block, Mekhitar Garabedian, Elias Grootaers, Elly Van Eeghem and Catherine Willems) and partly by other international authors. Guest editors here succeeded in further introducing the relatively young domain of advanced research in the arts—notably practice-based research—to the more established academic world of the A1 magazines. The magazine issues were published on www.tandfonline.com. Sylvie Van Damme's Landscape Design in Flanders: Landscape as a Narrative and Integrative Medium in Spatial Design Practice was the result of her PhD research at the Ghent University (published by Garant, 2013).

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Artistic Productions 2013-2014

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KASK en Conservatorium organiseren kunstopleidingen waarbij experiment, dialoog en presentatie deel uitmaken van het pedagogische traject. De presentatie van het eigen artistieke werk in een optimale context is een intrinsiek onderdeel van het pedagogisch proces binnen een opleiding van kunstenaars en vormgevers. Zo zijn er quasi dagelijks toonmomenten van studenten en/of onderzoekers, jamsessies, concerten, filmscreenings of dramavoorstellingen. Het geeft de studenten de kans om elkaars werk te leren kennen, over de grenzen van de kunstdisciplines heen. Het maakt ook ontmoetingen mogelijk met een intern en een extern publiek, dat op die manier kan zien en horen wat de nieuwe generatie in haar mars heeft. KASK en Conservatorium willen een broedplek zijn die de studenten voedt met nieuwe visies en praktijken van buitenaf. Studenten worden geconfronteerd met werk dat aan internationale standaarden voldoet, zowel in KASKcinema, MIRYconcertzaal, Zwarte Zaal en KIOSK. Zo vormt de school een katalysator voor relaties met het werkveld en houdt zij, in het kader van haar decretale opdracht tot beoefening van de kunsten, de vensters open op de (kunst)wereld. Dat leidt tot een productieve verwevenheid op regionaal, nationaal en internationaal vlak, en tot productieve interacties binnen de Gentse regio met SMAK, HISK, Muziekcentrum De Bijloke, Gent Festival van Vlaanderen, Film Fest Gent en Film-Plateau van UGent. Wat volgt is een overzicht van de voornaamste initiatieven binnen de School of Arts in het afgelopen academiejaar. Al onze activiteiten staan steeds open voor het publiek. Wie op de hoogte wil blijven van de activiteiten van School of Arts kan zich inschrijven op de nieuwsbrief via www.schoolofartsgent.be

KASK and Conservatory provide art programmes in which experiment, dialogue and presentation are all part of the educational pathway. Displaying the artistic work is essential to the pedagogic process of artists and designers. That is why the school pays special attention to creating optimal circumstances in which this can happen. Exhibitions of students and/or researchers, jam sessions, concerts, film screenings and theatre performances are organized on an almost daily basis. This enables the students to get acquainted with each other's work, transcending the borders of the various art disciplines. Furthermore, it also encourages interaction with and internal and external audience, that is invited to see and hear what new generations are up to. KASK and Conservatory Ghent want to be a platform that nourishes students with new ideas and external artistic practice. Students are confronted with work that meets the international standards, both in KASKcinema, MIRY concert hall, Zwarte Zaal and KIOSK. This way the school can be a catalyst for relations with the professional domain. In the context of the school's decretal task to participate in the arts, it also opens the gates to the (art) world. This leads to a productive interpenetration on a regional, national and international level, and direct regional interactions with Ghent-based institutions such as SMAK, HISK, Muziekcentrum De Bijloke, Gent Festival of Flanders, Film Fest Gent and UGent's Film-Plateau. Here below is an overview of last year's main initiatives in the context of School of Arts. All our activities are open to the public. If you wish to be updated on all School of Arts related news, you can subscribe to our newsletter on www.schoolofartsgent.be

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Escalante's Heli. On Thursdays, a variety of audiovisual works can be seen. In the past year, KASKcinema programmed Jean Eustache's Numéro zéro, Lars von Trier's Europa, Clio Barnard's The Arbor, Don Hertzfeldt's It’s such a beautiful day, William Friedkin's Cruising, and many more.

KASKCINEMA AND PROJECTS IN THE AUDIOVISUAL ARTS KASKcinema is devoted to screening films that are often overlooked by the regular cinema circuit. A broad and very diverse range of genres and styles is covered, including contemporary feature films, documentaries, shorts, animation films, cult classics and audiovisual benchmarks, in addition to video art and experimental works. KASKCINEMA Bijloke site Godshuizenlaan 4 Gent

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Ingmar Bergman, Persona (1966), film still

KASKcinema also organizes events, in­cluding films with live music (such as Unleash The Golem, by Juju & Jordash), Game Night and for Halloween, a triple bill with Night of the Horror. The fact that film also appeals to the smallest among us is evident in the tremendous turnout for the monthly KIDScinema, which offers a thematic selection of old and contemporary short films.

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

KASKcinema poster image (January / February, 2014)

The KASKcinema Tuesdays programme is presented by the Ghent University Film-Plateau and focuses on classic films. A few highlights from the past year were Dziga Vertov's Kinoglaz, with live music, Ingmar Bergman's Persona, and James Cameron's The Terminator. Wednesdays are synonymous with One Shot Cinema. This programme is in collaboration with the Ghent Film Fest, screening recent (festival) films missed by regular film theatres, including Franck Khalfoun's Maniac, Kim Ki-Duk's Pieta, and Amat

Juju & Jordash's live music performance, Unleash The Golem (14.10.13), accompanying Carl Boese's silent film Der Golem, wie er in die Welt kam. Photo: Anne De Geyter.

Music is an ongoing focus at KASK­ cinema. The January programme was entirely dedicated to Sound & Vision. Filmtonen is a monthly screening of classic films with live music. KASK­cinema was visited by (inter) national filmmakers. Avi Mograbi, 90

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Ann Veronica Janssens, Medium Pink, Turquoise (2005) and Aquarium (2006). Photo: Tom Callemin (Het Plateau Effect, 10.10-20.10.13).

The exhibition revealed the relevance of Joseph Plateau as a visionary scientist, based on ten surprising installations (whose creators included David Blair, Anna Franceschini, Ann Veronica Janssens, Julien Maire, Benjamin Verhoeven and others). The University of Ghent Collection also provided unique pieces for the exhibition, including several that had never before been presented to the public. As a sequel to the exhibition, Cœur Volant & The Research Centre for Visual Poetry hosted De Optiek van de Kunst (The Point of View of Art), a symposium held at Cirque on 11 October, 2014. To guarantee the best possible programming, KASKcinema collaborates with cultural partners, including FilmPlateau, Film Fest Ghent, Courtisane, J&S Piano's, Cinematek, Filem'on, Democrazy, and more. KASKcinema is an initiative of the non-profit organization Forum K and University College Ghent School of Arts. KASKcinema is supported by the Flemish Community and the City of Ghent. For the full programme, see www.kaskcinema.be.

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place in Zebrastraat (Zebra Street) in conjunction with the 2013 Ghent Film Fest, marked the first initiative realized by Coeur Volant.

John Akomfrah, Nicolas Provost, Jirí Menzel, Gil Alkabetz and more have been present, enriching the cinematic experience. KASKcinema also hosts audiovisual projects organized by the KASK/School of Arts Ghent, such as The Fire Next Time: Afterlives of the Militant Image, a two-day programme of lectures, film screenings and presentations about militant imagery and its influence on contemporary film (03.04 – 04.04.2014). The two-day event looked at the central question of what today remains of the inviolable alliance between cinema and politics, which we saw emerge in the 1960s and 1970s. This programme, together with reflections written by Stoffel Debuysere and essays on militant cinema, were collected and published in book form. This and all other publications mentioned in this overview are available at the Student Secretariat on the Bijloke campus, Jozef Kluyskensstraat 2. The Fire Next Time took place at KASK­ cinema and Minard Schouwburg in the context of the research project, Figures of Dissent. It was organized in conjunction with the exhibition L’œil se noie at KIOSK (05.04 – 15.06.2014), by Eric Baudelaire and Mathieu Kleyebe Abonnenc, and the 2014 Courtisane Festival (02.04 – 06.04.2104). The Fire Next Time was part of The Uses of Art – The Legacy of 1848 and 1989, a project initiated by the L’Internationale Museum Confederation, with the support of the Culture Programme of the European Union. For more information on the complete programme, see: www.thefirenexttime.be and www.internacionala.mg-lj.si. In 2013, in addition to the activities of KASKcinema, the University of Ghent, KASK/University College Ghent, Film Fest Ghent, the City of Ghent and the Raoul Servais Foundation jointly founded Cœur Volant, a nomadic organization dedicated to the Moving Image. The exhibition, Het Plateau Effect (The Plateau Effect), which took

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with concerts, musical theatre, debates, exhibitions and workshops, which provided artistic engagement for an entire week. Among the works played were many pieces of the New York School, Jani Christou's rarely performed Anaparastasis I and III and Nikos Ioakeim's newest ensemble piece Vaesanus! that was written especially for the occasion.

MIRY CONCERT HALL During this year, the Ghent Conservatory devoted a great deal of attention to contemporary music. The Neue Vocalsolisten presented a programme of love songs on the occasion of the start of the academic year 2013-14. The Pinguins Percussion Trio stopped by to play the latest work of emerging Scandinavian composers. The winter solstice was celebrated with the Saturnalia Festival, in which GAME, the LAPS Ensemble and Nadar all played music with a ritual content. Spring saw the start of a series of four concerts, with the Ensemble Fractales (Beyond the Fields), the Tip Toe Company (Between the Lines), Discord Workshop (Beyond the Borders) and a musical theatre tour guided by members of the Ghent Advanced Master Ensemble (Trough the Gestures).

Performance of Anaparastasis III, part of the Week of Contemporary Music (03.04.14). Photo: Michalis Paraskakis.

In addition, classical musicians were guests at the MIRY Concert Hall. There was an elegant guitar recital by Eric Franceries and a concert with early Beethoven sonatas and work by Kodaly, performed by cellist Ralph Kirshbaum and pianist Shai Wosner. Four vocalists of the Neue Vocalsolisten gave a masterclass on contemporary a capella music, extended voice technique and 'safe singing' to students voice and composition. Together they worked on John Cage's Aria and Claude Vivier's Love Songs, an inspiring collaborative experience for both the composers and the singers.

GAME, Saturnalia Festival (12.03.14). Photo: Federico Iovino.

This year's annual Week of Contempo­rary Music, curated by Nikos Ioakeim, followed the theme of ‘Jani Christou – Music of Chance / Music of Choice’,

Turn of the Screw, opera by Benjamin Britten, with a libretto by Myfanwy Piper. Performed by Conservatory students in Song and Instrumental Ensemble, musical direction by Hans Vercauteren and direction by Gideon Saks, Miry Concert Hall (28.06-29.06.14). Photo: www.foto-do.be.

Jani Christou, poster image for the Week of Contemporary Music. Photo: Sandra Christou.

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The year was rounded off with opera. Students at the Conservatory presented Benjamin's Britten The Turn of the Screw in a performance directed by Gidon Saks, commemorating the centenary of the composer's birth. For the upcoming Gentse Feesten (Ghent city Festival) this July, the Ghent Conservatory, Trefpunt & Hardscore have together organized the second edition of the Gentsche Festspiele. This diverse musical programme includes, amongst others, the Gentse Vleugels Piano Festival, at which Conservatory students and alumni will perform alongside such great names as Daan Vandewalle, Geoffrey Madge, Jos van Immerseel and Claire Chevallier. With Schoonzicht, a series of jazz and popular music concerts takes place in the Conservatory's impressive belvedere tower. A climb of 100 narrow steps reveals a beautiful view of the city, accompanied by the music of our jazz, pop and music production students.

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Throughout the year, the Miry Concert Hall, located in the city centre, hosts a variety of concerts and musical happenings. The Conservatory itself offers a series of contemporary music concerts, inviting young, exciting ensembles that do not fit the safe zones of other venues in Ghent. Master classes, concerts and performance programmes for young musicians are organized in cooperation with such partners as the Flanders Festival, Muziekcentrum De Bijloke and Outhere Music.

© Hardscore vzw

The Gentsche Festpiele also presents a new production of Hardscore's ‘Nightly Fevers’, with music by Frank Nuyts, and a film concert by the electronic duo Hert Herz (Kwinten Mordijck and Lennart Heyndels). Partly improvizing, Hert Herz accompanies a selection of short surrealistic, abstract and silent films: Combat de Boxe by Charles De Keukeleire (1927), Entr’acte by René Clair (1924), and Emak Bakia, by Man Ray (1926). 93

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exchange functions as a metaphor for our inability to visualize the perpetually circulating flows of capital in today's world of finance.

KIOSK KIOSK opened its new season in the autumn of 2013 with Patterns for (Re) cognition. This project, premiered at KIOSK, included works by the Belgian artist Vincent Meessen (b. 1971) and the Congolese artist Tshyela Ntendu (ca. 1890-ca. 1950). The exhibition made unexpected connections between the various uses of abstraction in psychology, art and design. In his current research on colonial psychology, Vincent Meessen was intrigued by the relation between the formal abstraction of certain cognitive tests and Western geometric abstract art. By displaying a curated selection of abstract paintings from the late 1920s, by one of the two so-called first modern Congolese artists, the pioneering Tshyela Ntendu (aka Djilatendo), Meessen proposed a ‘constructivist scenario’ that problematized the Western narrative of abstraction in relation to so-called primitive ornament.

Zachary Formwalt, exhibition view, A way of removing an element that interferes with the subject (29.11.13–26.01.14). Photo: Tom Callemin. Video still from Formwalt's In Light of the Arc (2013), 30-minute loop.

Pratchaya Phinthong initiated a new project at KIOSK, dealing with methane hydrate or ‘burning ice’, with the title A proposal to set CH4 · 5.75H2O on fire (work in process). The artist is fascinated by the poetic image of burning ice, and also by the ambiguous relation between the economic potential and the ecologic consequences of methane hydrate. The material residue of the action, as well as the chain of dialogues and exchanges of ideas leading up to it, were translated to the exhibition space.

Vincent Meessen & Tshyela Ntendu, exhibition view, Patterns for Recognition (27.09-17.11.13). Photo: Tom Callemin.

The second exhibition was a two-artist presentation featuring the work of the American Zachary Formwalt (b. 1979) and the Thai artist, Pratchaya Phinthong (b. 1974). Both artists visualize less visible economic, social and political processes. Zachary Formwalt's A way of removing an element that interferes with the subject, was conceived as a three-part video and photography series dealing with our contemporary global economy. The image of a stock

Pratchaya Phinthong, exhibition view, A proposal to set CH4 · 5.75H2O on fire (work in process), (29.11.13-26.01.14). Photo: Tom Callemin. The photograph documents the burning process of methane hydrate.

Another two-artist exhibition was conceived by Rana Hamadeh (b. 1983), from Lebanon, and Hamza Halloubi (b. 1982), from Morocco. Both artists offer alternative stories for the conventional understandings of political history, language, identity and difference. 94

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for the gaps and fissures that constitute stories and histories, for highlighting the tensions between what has been, what seems to be, and what could have been. Or, as one of the works in the show suggests, L’œil se noie deals with ‘unfinished business’—sometimes quite literally so, as in the case of Baudelaire's The Makes (2009), based on several of Michelangelo Antonioni's unrealized scenarios, or in Abonnenc's work about Sarah Maldoror's lost film, Guns for Banta (1970), about the struggle for independence in Guinea and Cape Verde. Abonnenc's slide show, Foreword to Guns for Banta (2011), crystallizes what remains of this ‘living document’. At KIOSK, the work gained an additional second chapter with the publication of Cinéma chez les balantes (2014).

Rana Hamadeh, exhibition view, A River In A Sea In A River (07.02-23.03.14). Photo: Tom Callemin.

Amongst other video works, Hamza Halloubi's Appear included the new film, Golshifteh Farahani will not appear in this film (2014). The film questions ‘the appearance of the actor’. It is based on the notion that this appearance in itself contains meaning, and the film looks at how it can generate political, social, and cultural effects. The film's protagonist, the Iranian actress Golshifteh Farahani, embodies these issues in an exemplary manner.

Eric Baudelaire & Mathieu Kleyebe Abonnenc, exhibition view, L’œil se noie (04.04-15.06.14). Photo: Tom Callemin.

This year, as an associated partner in The Uses of Art project, the School of Arts Ghent had the privilege of organizing a two-day project meeting (concurrent with The Fire Next Time and the exhibition opening at KIOSK, on 3 & 4 April, 2014) for the L’Internationale Museum Confederation. The six major partners of L'Internationale were present: Moderna Galerija (MG+MSUM, Ljubljana, Slovenia); Museo nacional centro de arte Reina Sofía (MNCARS, Madrid, Spain); Museu d'art Contemporani de Barcelona (MACBA, Barcelona, Spain); Museum van Hedendaagse Kunst Antwerpen (M HKA, Antwerp, Belgium); SALT

Hamza Halloubi, exhibition view, Appear (07.02-23.03.14). Photo: Tom Callemin. Video still from Halloubi’s Golshifteh Farahani will not appear in this film (2014), 16 minutes.

The season's final exhibition, L’œil se noie, was the result of a dialogue between two French artists, Eric Baudelaire (b. 1973) and Mathieu Kleyebe Abonnenc (b. 1977). Their work stems from a shared fascination 95

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Rana Hamadeh's presentation, A River In A Sea In A River, is part of the overarching research project Alien Encounters (2011-ongoing). The central work can be read as a cartographic and theatrical scenography for a ‘play’ of stories, places and encounters.

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(Istanbul and Ankara, Turkey) and Van Abbemuseum (VAM, Eindhoven, the Netherlands).

four artists to each create a newspaper edition of their own. The artists were Mekhitar Garabedian, Rana Hamadeh, Sophie Nys and Koenraad Dedobbeleer.

Eric Baudelaire & Mathieu Kleyebe Abonnenc, exhibition view, L’œil se noie (04.04-15.06.14). Photo: Tom Callemin.

In addition to the exhibition programme, KIOSK also realized a project in conjunction with Art Brussels 2014 (24.04 – 27.04.2014). KIOSK was invited to participate in the not-for-profit section of the fair and presented a series of four newspaper editions, one for each day of the fair, conceived by artists who have previously shown work at KIOSK. The Le Faux Soir project borrowed its title from a one-off counterfeit of the French-language Belgian newspaper, Le Soir. This ‘spoof edition’ was published on 9 November, 1943, by the Belgian resistance organization, The Independent Front. Le Faux Soir humorously subverted the propagandist discourse of the occupying forces with the explicit aim of ridiculing them, distributing thousands of copies in the kiosks of Brussels. Inspired by the story of Le Faux Soir, KIOSK invited

View Le Faux Soir, KIOSK newspaper project at the Art Brussels fair (24.04-27.04.14)

KIOSK is an initiative for contemporary visual art, showcasing the work of promising artists from Belgium and abroad. Each year sees the realization of four exhibitions in the gallery space of KASK/School of Arts Ghent. KIOSK is an initiative of the nonprofit Kunstensite organization and University College Ghent's School of Art. KIOSK is generously supported by the Flemish Community and receives additional funding from the City of Ghent and the Province of East Flanders. For past and upcoming exhibitions, see www.kioskgallery.be. Watch interviews with the artists at www.vimeo.com/kioskgallery.

View Le Faux Soir, KIOSK newspaper project at the Art Brussels fair (24.04-27.04.14)

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Het Paviljoen (The Pavilion) opened its second exhibition season with Truck Stop. Artists Karl Philips and Dennis Tyfus were invited to exhibit by Sam Sterckx and Dries Douibi. Philips associates the architectural form of the pavilion with the contours of a petrol or gasoline station and literally took the space into his own hands. Dennis Tyfus turned Het Paviljoen into a social ‘stopping place’, including an appropriate soundtrack, and used the space to launch a new edition of his Ultra Eczema. By way of their collaboration, Het Paviljoen was separated from its original function as a waiting space, and Truck Stop became a new meeting place for coincidental, or less coincidental, passersby.

Het Paviljoen opened in March 2013 as a new collaborative project between the Institute for Fine Arts (HISK), the KASK/School of Arts Ghent and the Museum of Contemporary Art (S.M.A.K.), taking place in and around the glass pavilion in the front yard of the Cloquet building on the Ghent Bijloke campus. Het Paviljoen is a meeting place where young positions in the contemporary art field collaborate and present their work in a professional framework. Part of the project is a series of small exhibitions, focusing on the traditional divisions between form and content, space and context. As an architectural skeleton stripped of its historical function as a waiting room, the glass pavilion has transformed into an empty display case that offers room for imagination and experiment. For the programme, see www.paviljoen.org.

Dennis Tyfus & Karl Philips, exhibition view, Truck Stop (30.09-03.11.2014). Photo: Tobias Verstrepen.

The next exhibition, Limbo Variations, was once again a dialogue between two different artistic practices. Invited by Bert Jacobs and Louise Osieka, artist James Beckett (b. 1977, Zimbabwe) and dancer, performer and choreographer Siet Raeymaekers (b. 1989, Belgium) created a collective exhibition decor. James' visual composition of concrete objects was about attraction and repulsion, meditation and despair. In her performances, Siet Raeymaekers went further in search of frictions and sensitive concepts. This resulted in an exhibition turned inside out, in which the frontiers of one's own medium were broken through. 97

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The third exhibition, Architecture of Authority, was initiated by Laurens Mariën and Charlotte Van Buylaere. Architecture of Authority symbolized a curatorial experiment that blurs the outlines of ethical and unethical, the exhibition and the work of art, the critical and the idealistic. The curators proposed putting homeless people on exhibition in Het Paviljoen for a period of three months. As a result, they were able to assemble an enormous amount of reactions to the idea of the exhibition they had announced. It later proved not to be the homeless people who were exhibited, but the reactions from the various authorities. The project resulted in an exhibition, a publication, and a debate in Cirque, on the theme of housing policy in the city of Ghent.

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whisper a sentence in each other's ears, which undergoes an astonishing transformation as it passes from one child to the next. As an analogy to the game, Ghiringhelli translated the subtitles, descriptions and images in the 1955 book, A Travers Plaines et Volcans au Parc National Albert, into new drawings and prints.

MAP / MASTERS PROJECTS SPACE The following 13 Masters Projects were presented in the glass passageway during the past academic year: Masters Project #11 (15.10 – 24.10.13) With Dukkha, Rachel Monosov (Master in Fine Arts) presented two video works that toy with the clichés that determine the image of ‘the woman’. Masters Project #12 (01.11 – 10.11.13) A Place of Transit included two video works by R'm Aharoni (Master in Fine Arts) and composer Diego Soifer: All You See, All You Hear and Becoming Insected. Both pieces are biographical accounts about the relationship between transit and culture, as well as the experience of migration.

Alessandra Ghiringhelli, exhibition view, Stille Post (19.12.13-19.01.14)

Masters Project #16 (31.01 – 05.02.14) In The Odd Man Out, Alexander Saenen (Master in Photography) investigated the possibility and/or impossibility of expressing personal stories. In doing this, he adopted a tentative association with the medium of photography and its limitations. Masters Project #17 (08.02 – 16.02.14) This presentation was the work of Alexandra Colmenares (Master in Fine Arts). Her exhibition Sea was an installation comprised of three objects extracted from a beach, now displayed and connected in a different context. The immensity and beauty of the landscape are subverted by way of contentious actions and overflow.

R'm Aharoni, We Belong Nowhere, poster image for the exhibition, A Place of Transit with Diego Soifer (01.11-10.11.13)

Masters Project #13 (21.11 – 29.11.13) Together, Marian Coppieters and Tom Van Hee (Masters in Photography) created their Helftwinning presentation, an intuitive collage of drawings, photographs and two self-portraits. Masters Project #14 (05.12 – 15.12.13) Ingeborg Deglein & Pierre Rebufy (Master in Multimedia Design) presented White and Dirty, an installation of sound, light and papier mâché, completed with perfectly finished white tiles. Masters Project #15 (19.12.13 – 19.01.14) Alessandra Ghiringhelli (Master in Graphic Design) exhibited Stille Post (Whisper Down the Lane or Flüsterpost in German), a game in which children

Alexandra Colmenares, poster image for the exhibition, Sea (08.02-16.02.14)

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Masters Project #21 (01.05 – 05.05.14) In a project linked to the Overweldigend Gewelddadig II exhibition at the Zwarte Zaal, Kahil Janssens (Master in Graphic Design) completed a presentation based on the book that he had developed, entitled A Scent of Danger. In the project he brought insight into violence and fear in ritual contexts and in the context of performative art. Masters Project #22 (08.05 – 18.05.14) La Grosse Arnaque included paintings by Falcone & Mascheroni (Master in Multimedia Design), which used a multiplicity of forms and styles in paintings and sculptures, in order to question the history of art and the various established languages of form. Masters Project #23 (23.05 – 08.06.14) For Corporate Espionage, Master in Fine Arts candidate Neel De Bruycker made replicas of the supportive steel structures of the passageway in which her work was exhibited. This site-specific intervention comprised a number of wooden columns, which lent new rhythm to the space.

Exhibition view, Points of Reference – What is Important? (28.02-05.03.14)

Masters Project #19 (20.03 – 04.04.14) In Gemini, Master in Photography candidates Ode de Kort and Pauline Miko were inspired by the American space capsule, Gemini, in which astronauts were trained for the Apollo space flights. Miko and De Kort presented a collection of images and evidentiary material from a world that did not seem to be our own.

Neel De Bruycker, exhibition view, Corporate Espionage (23.05-08.06.14)

In 2012, the MAP Masters Project Space was initiated as an additional platform for the work of Masters students in fine arts, multimedia design, photography and graphic design. Since then, the glass passageway of the Cloquet building has so far been the setting for 23 public presentations.

Masters Project #20 (22.04 – 27.04.14) This project presented a collection of sculptures by Margré Steensma (Master in Fine Arts). All I want with my life is to be a housewife included ‘domestic installations drenched in the desire to create the perfect home, the desire to be at home and a homage to the process of homemaking’. 99

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Masters Project #18 (28.02 – 05.03.14) The concept underlying the Points of Reference – What is Important? exhibition arose from the challenge of producing a collaborative work, finding a framework for a very diverse group of artists. The Master's students in multimedia design are from diverse backgrounds, both geographically and artistically. René Van Gijsegem proposed a common source of material for a collaborative work by these young designers. This material entailed the contents of eighteen boxes packed with objects that Van Gijsegem had collected over the years and which had formed his work, What is Important (2010). Here, he turned it into a question for the artists: ‘What is Important?’

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JAZZ, POP & MUSIC PRODUCTION In order to facilitate as many concerts, jam sessions and masterclasses as possible for our upcoming musicians and producers-in-the-making, new challenges and collaborative projects, new sounds and the right sort of venues are constantly being explored. Each week, together with Trefpunt, the Conservatory organizes concerts and jam sessions that offer student musicians of all levels opportunities to present themselves on stage. Another exceptional collaboration is FilmTonen, between the Conservatory, Film-Plateau and KASKcinema. Each month, Conservatory students accompany unique silent films. There are also presentations and projects organized together with the Ghent Marriott Hotel, the Glimps showcase festival and Muzikon.

TUNES: A Jazz Night (30.04.14). Photo: Joke Floreal

In recognition of the annual Unesco International Jazz Day, the TUNES: A Jazz Night festival is organized together with Trefpunt and Muzikon. On 30 April, 2014, for the third edition of TUNES, the jazz department of the Conservatory once again took to the streets, city squares and cafés of the Ghent city centre with jazz street parades, a lecture performance, concerts and jam sessions at twelve smaller jazz venues in the city. Moreover, the Ghent Jazz Festival helped developing coaching projects with students at the Conservatory, this year with alto saxophonist Tineke Postma.

TUNES: A Jazz Night (30.04.14). Photo: Joke Floreal

In addition to these collaborative projects, a number of individual initiatives have grown into fully fledged artistic benchmarks. Conservatory JAZZ / Conservatory POP / Conservatory MUSIC PRODUCTION is a platform for concerts and jam sessions by students in jazz, popular music and music production from Belgium and other countries. The Masterclass Series provides a podium for live masterclasses with national and international guest musicians in jazz, pop music and music production. MegaTunes Minard works with bands comprised of students, alumni and faculty, and finally, Masterworks is the title of an annual vinyl compilation of songs by students in the graduating class in music production. The city of Ghent has much to offer its students of jazz, pop and music production. Many of our students are actively involved in the city's thriving jazz and pop scene, and the Conservatory organizes jam sessions, concerts and coaching sessions with such partners as Democrazy, Ghent Jazz and Trefpunt. Students, alumni and lecturers all make substantial contributions to annual events, including TUNES: A Jazz Night, the Glimps showcase festival, Ghent Jazz, and the Ghent city festival.

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During the academic year, DRAma Ghent (the Drama Department at KASK) presented a full series of theatrical productions. They included, amongst others, final Master exam productions by Master in Drama candidates: ‘De Vrijetijdsmens studie#2’ (Mats Van Herreweghe and Yinka Kuitenbrouwer); ‘De Loop­graven­ope­ ret­te’ (Linde Carrijn); ‘Sunny’ (Hanne Vandersteene); ‘Transit’ (Dorien De Clippel); ‘Over de terrorist die zijn voet niet langer omhoog kon houden en zo het begin van het einde inleidde’ (Gytha Parmentier); and ‘Zijnsbrokken’ (Leo Van Cleynenbreugel).

Image from the performance, Another Brick in the Wall, directed by Marijke Pinoy. Photo: Rani Vera Janssens.

Image from the performance series directed by Marc Vanrunxt. Photo: Yuri Vanderhoeven.

To complete the Bachelors and Masters projects, DRAma Ghent presented three projects in which third-year (bachelor) students were coached or directed by a range of drama professionals. For a period of eight weeks, dancer and choreographer Marc Vanrunxt, together with three thirdyear students and one Erasmus student from the Mons Conservatory, created a series of six shows. The audience was able to watch and experience these shows separately or as a series. The productions aimed to achieve broader overall connections, with body presence, musicality, composition, space and time as consistent factors. Actress and director Marijke Pinoy directed four third-year students and a Masters student. Another Brick in the Wall was a contemporary, socially critical adaptation of the classical tragedy, The Trojan Women. Performing artist Davis

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

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Freeman worked together with Mole Wetherell and a group of third-year students on MAX 49, a performance inspired by World War I: ‘One hundred years ago thousands of people, millions of people were affected by an event that took over the world.’

DRAMA PROJECTS

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Bouchez, Catherine Willems and Clara Vankerschaever focused on the act and process of ‘making’ from a designanthropological and phenomenological perspective.

DESIGN PROJECTS The KASK Design Affairs label presents a selection of design products created by students in the design programme. The process of marketing these products is initiated by Design Affairs, the creative enterprise platform for KASK students. Through a learningby-doing approach, the platform aims to stimulate students and researchers, both individually and collectively, to reflect on design in marketing contexts, in order to develop creative entrepreneurial skills. Students are coached and guided by a team of lecturers/experts who judge all products and concepts in terms of their creative, functional, innovative and commercial value. From 8 to 13 April 2014, KASK Design Affairs participated in the Milan Design Week at Ventura Lambrate. Cas Moor (KASK graphic design student) presented his Honest Stool, an open-source concept underlining

Cas Moor, Honest Stool | Open Source / DIY (2014).

both the design process and functionality. Hermine Van Dijck (KASK textile design graduate) presented Blossom, a collection of unique plaids that are half handmade, half machine-produced. The KASK design department also organized a presentation at Atelier Clerici for What, Exactly, is Making?, in which KASK design student Sarah Desmet invited visitors to enter her installation, where they received a publication in exchange for an intimate encounter of collaborative ‘making’. In this publication, KASK design researchers Hilde

Hermine Van Dijck, Blossom (2013). Blossom is a small collection of plaids. Each piece is unique.

In 2014, together with the Timelab experimental workspace in Ghent, KASK was selected to take part in the Atelier de Stad project with the Canvas broadcasting organization for Flanders television. Atelier de Stad stimulates thinking, dreaming and doing in the context of the city of tomorrow, taking action with creative ideas for the urban environment. In five different cities, artists, architects, urban planners, designers, philosophers and scientists—young and old, amateur and professional—together work on interventions that can simply make the city better. Canvas broadcasts television programs about the initiatives. In Ghent, various projects are currently underway with the motto, ‘Nothing is Lost’. What if we were to harvest that which otherwise might be lost? On February 1st, Atelier de Stad launched this initiative with a major kickoff at the Ghent City Hall. On 20 September, 2014, the results will be presented to the public at the Bijloke campus, in the form of a veritable Harvest Festival. Design Affairs was founded in 2013 and is an initiative of KASK in cooperation with the University College's Centre for Entrepreneurship.

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Both students and lecturers enthusiastically engaged in projects featured in the Zwarte Zaal during the past year. One of these, an exhibition of photo­ graphs, videos and installation art entitled Angst Essen Seele Auf (Fear Eats the Soul), was organized by the photography studios at KASK and

Exhibition view, Angst Essen Seele Auf (31.01-23.02.14). Photo: Willem Vermoere

the Fachhochschule in Bielefeld (DE). Third-year bachelor students in sculpture worked towards a collective exhibition, while third-year bachelor students in painting organized Vlak Land (Level Land), a workshop in which the relationship between the space and the diverse approaches of the various students received extra attention. Students in both the bachelors and masters programmes in drawing presented their exhibition Black Room / Blanc Wall, which included pencil

Exhibition view, Black Room / Blanc Wall (20.03-23.03.14)

drawings, as well as murals, installations and photographic experiments, all of which explored the frontiers of the art of drawing. In the second series of the Overweldigend Gewelddadig

Exhibition views, The Medium of Everything (08.05-11.05.14). Photos: Tom Callemin.

brought works together by artists who are working with all kinds of diverse media. What binds them is a critical approach to content in contemporary media within individual artistic processes, as well as their shared experience of studying multimedia art at KASK. The Zwarte Zaal also was the setting for several public events, including conferences, lectures and initiatives by external cultural organizations. One of these collaborations was in the context of the fourth edition of the Ciné Kadee Media and Film Festival for Children, in October, 2013. For the three days of the festival, organized by Circa and Het Jeugdfilmfestival, the campus became an open playground for film presentations, a media lab and a range of experiments in which more than 800 children took part. The StartPoint Prize exhibition brought together works by 103

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(Overwhelmingly Violent) exhibitions, works by students and alumni from the graphic design programme confronted historic and contemporary examples in art and in visual culture as a whole. The Medium of Everything exhibition

ZWARTE ZAAL

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with a strict programme, which makes it possible to respond to the educational and artistic needs of the visual and audio-visual arts programmes, as well as organizing collaborations with other art schools and cultural organizations.

Exhibition view, CinĂŠ Kadee (25.10-27.10.13).

recent graduates from 35 art schools in 16 European countries. A single student was selected from each of the schools in the network. Marijke De Roover (Master in Fine Arts, 2013) was selected to represent KASK. The selected works were on view in the Zwarte Zaal from 19 December, 2013, through 19 January of this year.

Exhibition view, StartPoint Prize, with work by Marijke De Roover (18.12.13-19.01.14). Photo: Tom Callemin.

Since 2011, the Bijloke site's multi­ functional space, the Zwarte Zaal, has hosted numerous artistic productions each year. The space does not work 104

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KASKlezingen Lecture Series Visual artist Javier Téllez in cooperation with S.M.A.K. (08.10.13); artist duo Sarah & Charles (15.10.13); visual artist Vincent Meessen in cooperation with KIOSK (22.10.13); director and visual artist Kris Verdonck (05.11.13); graphic designer Radim Pesko (12.11.13); filmmaker John Akomfrah (21.11.13); visual artist Zachary Formwalt in cooperation with KIOSK (26.11.13); artists Anouk De Clercq & Jerry Galle in cooperation with KASKcinema (05.12.13); writer and musician Gert Keunen (10.12.13); director Jiri Menzel in cooperation with KASKcinema (30.01.14); writer and artistic director of HISK, Oscar van den Boogaard (11.02.14); artistic director of the Ghent Film Festival and film expert Patrick Duynslaegher (18.02.14); video artist Max Hattler in cooperation with KASKcinema (20.02.14); curators Martin Germann & Thibaut Verhoeven in cooperation with S.M.A.K. (25.02.14); curator and publisher Kurt Vanbelleghem (04.03.14); visual artist and curator Arno Kramer (11.03.14); Kris Rutten, Ronald Soetaert and An. van Dienderen's The Artist as Ethnographer, with Chokri Ben Chikha, Hugo De Block, Mekhitar Garabedian and Elias Grootaers, launching the academic journal Critical Arts: South-North Cultural and Media Studies, in cooperation with UGhent, Argos and Sound-ImageCulture (18.03.14); and anthropologist and shoe designer Catherine Willems (25.03.14).

Keynotes Lecture Series Photographer André Langenus (09.10.13); sociologist and urban planner Pascal De Decker (30.10.13); photographer and former librarian of the University of Ghent's Library of the Arts (LWBIB) Benn Deceuninck (20.11.13); former director of Inter­ communale Leiedal, Karel Debaere (11.12.13); Geert Pauwels of Dial Architects (26.02.14); architecture studio Atelier Vens Vanbelle (05.03.14); geographer and PhD in urban design and spatial planning Sylvie Van Damme (19.03.14); and a walking tour by Freddy Vancraeynest, entitled De Kuip van Gent: een historisch burgerlijk decor (The Valley of Ghent: An Historic Bourgeois Decor) (23.04.14).

During Keynotes lecture by Chris Brandford (06.03.2013), Cirque. Photo: Christian Overdeput.

KASKlezingen is a platform for reflection on design, fashion, visual arts, photography, film and theatre. Each year, about twenty speakers are invited to present their artistic or theoretical work for dissection in Cirque, a former anatomical theatre, and engage in dialogue with the audience. The interior design and the landscape and garden architecture programmes launched the KEYNOTES lecture series in 2012. For the programme, see www.kasklezingen.be.

KASKlezingen lecture by Oscar van den Boogaard, Cirque (11.02.14).

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KASK LECTURES

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TUMULTINGENT#2 The TUMULTINGENT#2 festival was broadcast live on 19 March, 2014, from KASK's Bijloke campus, the beating heart of this year's edition. The Bijloke campus went all out, with a series of presentation moments and initiatives for and by young talented people. In addition to the openings of the exhibitions in the Zwarte Zaal, the glass passageway, Het Paviljoen and tours held at KIOSK, the Royal Conservatory presented a series of concerts in the Bijloke studio and in the KASKcafĂŠ. In addition, based on the film presentations at KASKcinema, TUMULT came up with performances, theatrical productions and exceptional installations that filled the corridors and classrooms of the entire campus.

Live broadcast TUMULTINGENT#2 festival from the Bijloke campus (19.03.14).

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OF ARTS

Masters, Bachelors & Postgraduate Projects 2013-2014

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108

2014

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SCHOOL

O Instrumentenbouw / Music Instrument Construction

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

MASTER NA MASTER IN DE MUZIEK / ADVANCED MASTER OF MUSIC

B Multimediale Vormgeving / Multimedia Design C Vrije Kunsten / Fine Arts D Textielontwerp / Textile Design E Fotografie / Photography F Mode / Fashion MASTER IN DE AUDIOVISUELE KUNSTEN / MASTER OF AUDIOVISUAL ARTS G Film H Animatiefilm / Animation Film MASTER IN HET DRAMA / MASTER OF DRAMA I Drama Producties / Productions MASTER IN DE MUZIEK / MASTER OF MUSIC J Uitvoerende Muziek: Klassieke Muziek / Performing Music: Classical Music K Uitvoerende Muziek: Jazz / Pop / Performing Music: Jazz / Popular Music L Scheppende Muziek: Compositie / Composing Music: Composition

P Master Na Master Solist Hedendaagse Muziek / Advanced Master Of Music: Soloist Contemporary Music BACHELOR IN DE INTERIEUR­ VORMGEVING / BACHELOR OF INTERIOR DESIGN Q Focus: Interieurafwerking & Advies / Interior Finishing & Advice R Focus: Interieurontwerpen / Interior Design S Focus: Meubel & Design / Furniture & Design T Focus: Tijdelijke Installaties / Temporary Installations U BACHELOR IN DE LANDSCHAPS- EN TUINARCHITECTUUR / BACHELOR OF LANDSCAPE AND GARDEN ARCHITECTURE V BACHELOR NA BACHELOR IN DE LANDSCHAPS­ ONTWIKKELING / ADVANCED BACHELOR OF LANDSCAPE DEVELOPMENT W POSTGRADUAAT TEBEAC: TENTOONSTELLING EN BEHEER VAN ACTUELE KUNST / POSTGRADUATE TEBEAC: CONSERVATION AND EXHIBITION MANAGEMENT OF CONTEMPORARY ART

M Scheppende Muziek: Muziek­ productie / Composing Music: Music Production N Muziektheorie / Music Theory 109

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INDEX

OF

GRADUATION

MASTER IN DE BEELDENDE KUNSTEN / MASTER OF VISUAL ARTS

A

GRAFISCH ONTWERP / GRAPHIC DESIGN

A04

Bonneure Timo

A01

Aerts Dounia

A05

Borisova Valeriya

A02

Beernaert Joost

A06

Burm Sander

A03

Bleyenberg Esther

110

A07

2014

Cappuyns Diaene

KASK

SCHOOL

OF ARTS

A08

Cieters Mathieu

A12

Demartelaere Renate

A

A09

Codron Devi

A13

Dendooven Franciska-Jacoba

A10

Decorte Toyah

A14

Deriemaeker Dries

A11

Degendt Loes

111

A15

Deville Alexander

CONSERVATORIUM

GRADUATION

A16

Devos Lynn

A20

Haegeman Arthur

A17

Devos Tiene

A21

Heremans Helina

A18

Dieleman Joke

A22

Janssens Kahil

A19

Fiems Rosaline

112

A23

2014

Kolupaeva Inna

KASK

SCHOOL

OF ARTS

A24

Lee Shuxian

A28

Maroye Ines

A

A25

Lens Naninga

A29

Monosov Rachel

A26

Lewis Deirdre

A30

Peys Charlotte

A27

Marell Merlijne

113

A31

CONSERVATORIUM

Pyl Josse

GRADUATION

A32

A36

Týbl Pavel

B

A33

Vandaele Liselotte

A34

Vermeulen Lissy

A35

Verstraete Bie

Villavicencio Rammeloo Heike Sofia

MULTIMEDIALE VORMGEVING / MULTIMEDIA DESIGN

B01

114

B02

Deglein Ingeborg

2014

Elgueta Marlene

KASK

SCHOOL

OF ARTS

B03

Kelly Jessica

B07

Troch Hannelore

A B

B04

Mascheroni Niccolò

B08

Valstar Harriët

B05

Michalakopoulou Antigone

B09

Vermoortele Caster

B06

Rebufy Pierre

115

B10

Viaene Larissa

CONSERVATORIUM

GRADUATION

B11

Zhong Zheming

C03

De Buck Lou

C04

De Buck Quincy

C05

de Coster Tineke

C

VRIJE KUNSTEN / FINE ARTS

C01

Aharoni R'm

C02

Bastien Arne

116

C06

2014

De Vos Ellen

KASK

SCHOOL

OF ARTS

C07

C11

Delanghe ChloĂŤ

Duprez Wouter

B C

C08

Derese Martijn

C12

Ghiette Melissa

C09

Devos Melissa

C13

Hernandez Alejandra

C10

Dhaene Emmily

117

C14

Hoens Lieselotte

CONSERVATORIUM

GRADUATION

C15

Hudrea Micaela

C19

Rezanezhad Pishkhani Golnesa

C16

Kudo Takahiro

C20

Scheerlinck Silke

C17

MolnĂ r Fatime

C21

Schneider Lana

C18

Olthuijs Annemieke

118

C22

2014

Serpentier Maarten

KASK

SCHOOL

OF ARTS

C23

Steensma MargrĂŠ

C27

Van Puyvelde Tom

C D

C24

Van Dam Elisabeth

C28

D

C25

Van der Fraenen Jeroen

C26

Vandevelde Frederic

Zwarts Sarah Joy

TEXTIELONTWERP / TEXTILE DESIGN

119

D01

Gerasko Julia

CONSERVATORIUM

GRADUATION

D02

Steijaert Myrthe

E01

Boeve Korneel

D03

Van Huyck Lotte

E02

Callemin Tom

D04

Van Schuylenbergh Esther

E03

Coppieters Marian

E FOTOGRAFIE / PHOTOGRAPHY

120

E04

2014

Kerckhoffs Yves

KASK

SCHOOL

OF ARTS

E05

Meeus Alexander

E09

Van den Winkel Minke

D E

E06

Persoons Ruben

E11

Van Hee Tom

E07

Roegiers Audrey

E12

Vanparijs Karel

E08

Saenen Alexander

121

E13

Verbelen Gert

CONSERVATORIUM

GRADUATION

F

MASTER IN DE AUDIOVISUELE KUNSTEN / MASTER OF AUDIOVISUAL ARTS

G

MODE / FASHION

FILM

F01

Berckmans Nele

G01

Desiere Ruben

F02

Merlier Ann-Sofie

G02

Dhont Lukas

F03

Vanelderen Julie

122

G03

2014

Raman Renate

KASK

SCHOOL

OF ARTS

G04

Vervaeke Ann-Julie

H03

Legiest Yuri

H

F G H

ANIMATIEFILM / ANIMATION FILM

H01

Czekaj Aniëla

H02

De Groen Jacky

123

H04

Oosterlinck Ian

H05

Plettinx Mirjam

H06

Raeymaekers Karolien

CONSERVATORIUM

GRADUATION

H07

RathĂŠ Sarah

I01

Carrijn Linde

H08

Ruelens Margot

I02

De Clippel Dorien

Vandenabeele Pieter

I03

Kuitenbrouwer Yinka

H09

MASTER IN HET DRAMA / MASTER OF DRAMA

I

124

I04

2014

Parmentier Gytha

I05

SCHOOL

OF

BACHELOR IN DE INTERIEURVORMGEVING / BACHELOR OF INTERIOR DESIGN

ARTS

KASK

Q

FOCUS: Interieurafwerking & Advies / Interior Finishing & Advise

Van Cleynenbruegel Leo

H I I06

Van den Eede Ans

Q02

Biets Erika

Q

I07

Vandersteene Hanna

I08

Van Herreweghe Mats

Q03

125

Q07

Claes Jonas

Maes Laurence

CONSERVATORIUM

GRADUATION

Q08

Muurmans Omar

Q18

Van der Hoeven Kimberley

Q09

Petillion Elodie

Q19

Vandesompele Michiel

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Raman Frauke

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Vercaempst Johanna

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Tijskens Lien

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Acke Lien

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Goddefroy Shauny

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Cooman Isabeau

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IsselĂŠe Lisa

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Deketelaere Maja

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De Vos Jolien

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Maene Valerie

Tettelin Iona

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Vandermeulen Nouria

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De Pauw Maaike

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Vromman Lisa

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Kiesel Yasmin

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Maselis Joke

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FOCUS: Meubel & Design / Furniture & Design

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De Backer Anouschka

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Michiels Kim

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Orbie Lore

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Van Rymenant Camille

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Rogiers ValĂŠrie

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Venlet Astrid

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Schotte Celine

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Vandenabeele Joke

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Vercauteren Toon

Verfaillie Lieselot

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Vermeulen Louise

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Caveye Kim

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Vuylsteke Virginie

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Ceuppens Jennifer

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Wylin Ewout

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Cremers Evi

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FOCUS: Tijdelijke Installaties / Temporary Installations

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Himpe Michelle

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Roggeman Livia

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Walravens Pieter

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Saey Femke

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Welten Irene

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

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Vansteenkiste Justien

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Verfaillie Valerie

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Sels Klaas

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Vandecandelaere Jorne

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Vandecandelaere Jorne

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Dauwe Davy

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Weyn Kwinten

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De Bruyn Jeroen

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Weyn Kwinten

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De Vlam Jordi

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lens Dominiek

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D'haese Sarah

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Rappé Ward

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Eggermont Maarten

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T'Kindt Katinka

POSTGRADUAAT TEBEAC / POSTGRADUATE TEBEAC

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GRAFISCH ONTWERP / GRAPHIC DESIGN A01 AERTS DOUNIA dounia_aerts@hotmail.com douniaaa.tumblr.com Connected Our identity influences all the important aspects of our lives and the way we perceive the world. Our experiences influence the evolution and construction of our identity. My master project essentially revolves around some fundamental elements of our identity such as diversity, solidarity, multiplicity, time and space. By means of a personal story I try to shed light on these aspects and others. A02 BEERNAERT JOOST joostbeernaert@gmail.com My Escapist World Enjoying a film is a nice way of isolating yourself from the outside world for a bit. Even a bad one can make sure that in that moment only you and those one-dimensional characters exist. Films take you to another world, even if they are completely detached from this world. Although they help us to escape our misery, we are sometimes attracted to films in which life for its characters is nothing but misery. Why do we look for other worlds? What do we look for in those other worlds? My master project researches what it is we look for in films, besides escaping reality. Films are also a shelter for our emotions and desires. They can even become a part of our identity. Over and over again you want to experience those same emotions. I watch films in a very emotional way. Plot is less or not important to me, the atmosphere is. This is what I look for in films. Welcome to my ‘escapist’ world. A03 BLEYENBERGH ESTHER estherbleyenberg@gmail.com www.stherbleyenberg.be Anti-Thesis / Tegen-stelling By means of various walks of which the routes are based on mathematical formulas, I design my environment, memories and past.

This research is situated in the field between graphic design and illustration. It is a quest, in order to find my place in this world. A04 BONNEURE TIMO bonneuretimo@gmail.com timobonneure.tumblr.com Sounds and Forms Sounds and Forms sprang from a fascination for sound, its notation and the way music is communicated. The focus of Sounds and Forms is on personal research into the interaction between an (abstract) auditory language and a graphic language. To which extent is the presence of both mandatory? What is the role of the graphic designer in this story? In retrospect, it looks like repetition, contrast, noise, silence and improvisations have played an important role during this research process. A05 BORISOVA VALERIYA valeriya.borisva@gmail.com valerieborremans.tumblr.com How do you shape an identity? / Hoe geef je vorm aan identiteit? The identity card is the proof of registration in the civil register. With the card an individual can prove his nationality and identity. Is it the name and the nationality on this little card that represent the identity? Or is it the passport's picture, the official selfie that tries to replace the identity? Or is identity to be sought in the protection of the identity card? This network of lines and patterns is a visual representation of the identity that is connected to a network. Nevertheless, the identity is dynamic, constantly developing in a changing world. In the chip of the identity card an algorithm is growing, feeding itself with the data the individual generates during his life. Identity is becoming a complex calculation of data, that is epitomized in a constantly changing guilloché. This visual representation of our data is a unique pattern that is becoming the protection of the personal identity card. Still, can the identity be represented by data, or do we, on the contrary, lose our identity in this clew of data? A06 BURM SANDER sanderburm@gmail.com iemandanders.blogspot.be A Visual Manifesto / Een visueel manifest Sneering, framing, paraphrasing, plagiarizing, slacking, and terribly exaggerating the afore­ mentioned. And all that endless doubting, post­poning, trivializing, slandering, cursing of things, to finally also screw things up. My images are my selection of existing images—there's enough of them already—that give me a nice view on reality, and a way of thinking

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I can relate to. These images are contrasted with a selection of texts that I find relevant, and texts that I write myself, which are everything but that. Together they form a manifesto. Something that obviously seemed impossible is made feasible eventually. A narrative comes into being by sneering, framing, paraphrasing, plagiarizing, slacking, and terribly exaggerating the aforementioned. The journal, which I hope to finally realize, will be read as an implausible dogma and a genuine lie. But still, you will love it! (To be honest, that is what I hope for ...) A07 CAPPUYNS DIANE cappuynsdiane@gmail.com dianecappuyns.tumblr.com Thanks to the expansion of the Internet and the increasing technological capabilities, the accessibility of images is more evident than ever. This flux of images that is at our disposal raises questions amongst artists. How to deal with so many images? How to understand these images? Why not exploit this goldmine and recycle the existing images? This ecological process, used as a technique in my work, is called “appropriation”. I am a systematic collector of digital data. Over the past five years I have randomly accumulated a growing image archive that I wanted to put into my art practice. Like a digital flaneur, I have spent hours wandering through the infinite Internet collecting photos. Searching, assembling, compiling and transforming pictures visually results in a juxtaposition and composition of images. There is no hierarchy in the images. The goal is to break the boundaries of overrated art. I have added a new approach by associative montage, or by erasing objects from images. The purpose of my work is to reinterpret images in a entirely new way by removing them from their original context. A08 CIETERS MATHIEU hello@mathieucieters.com www.mathieucieters.com The Graphic Nomad The Graphic Nomad, a research project on the influence of globalization in a cross-cultural manner, has turned virtual networks into physical ones. Graphic design was used as a medium on an international level. Thanks to present-day mobility and connectivity it was possible to travel around Europe to look for local graphic idiosyncrasies. Based on the reactions to experiences with globalization, projects were initiated on various locations. Meetings with local graphic designers were provocative and helped to question boundaries. Collaborations stimulated modern interpretations in ‘visual space’. Expanding the role of the graphic designer led the project

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GRADUATION to new artistic levels. Cultural characteristics were used to translate concepts to graphic design. Material was not just designed but regarded as something autonomous. A09 CODRON DEVI devi.codron@gmail.com ‘Collecting photographs is an action that we get hooked on know­ ledge, the knowledge that gives us a view of everything that we ever saw, experienced, want to remember and see again, in the present as the past is used again, over and over ... This mental object becomes a physical reproduction of history, it becomes a physical reproductive object in itself. The history is trapped, used, preserved, cherished and sold again to the future.’ (Susan Sontag) The master project God Save the Queen and Me reflects my fascination for the process of identity and its representation in photo­graphy. It is a visual narrative of people and places with different cultural backgrounds that have an influence on my own identity. For this I use a wide range of photographs, such as portraits, snapshots and postcards ... This research will lead to an extension of the classical portraiture and emphasizes the personal depiction of identity. A10 DECORTE TOYAH toyah.decorte@gmail.com cargocollective/toyah As a starting point for my project I interviewed peers about their childhood memories. I tried not to interfere too much in the interviews, to get a clear view of their past environment. Soon enough the main theme for my illustrations appeared. In my images I try to present how the interviewees (and myself) approached our environment, nature and our own corporality. The two best instruments of a child are the hands with which it touches ahead. A11 DEGENDT LOES loes.degendt@hotmail.com loesdegendt.tumblr.com Reflexive Interchangeable Countless lives inhabit us. I don't know, when I think or feel, Who is it that thinks or feels. I am merely the place Where things are thought or felt. I have more than just one soul. There are more I's than just I myself. (Ricardo Reis, 1935) In my master project I started from the notion of interchangeability. I drew inspiration from various text excerpts from discussions, letters and literature that I collected in the past year. Based on these excerpts I made a series of illustrations in which I tried to model this interchangeability. A12 DE MARTELAERE RENATE renatedemartelaere@gmail.com www.cargocollective.com/ renatedemartelaere

The Paper Magazine Reviewed In our current society we are constantly subject to the changes and innovations that come with the digital revolution: we are overwhelmed by various streams of information coming from different (new) directions—at the same time or not –. Man adapts, and evolves in the same direction. We approach knowledge and information in new ways, and we develop new reading habits: one news item leads to another, which again leads to a video, a website or … New needs arise and media must adapt and innovate to keep track. As a designer it is a challenge to explore how a paper magazine can still be a relevant answer to these current questions. In my master project I searched for an alternative approach of the magazine, both on the level of content as on the level of design, within the possibilities of paper print, to reach for an interactive publication with qualitative content, that has a new way of dialoguing with the reader. A13 DENDOOVEN FRANCISKA-JACOBA franciska.dendooven @gmail.com The Tin Drum: Agnes, Jan and Alfred The Tin Drum (1959) is a dark novel by Günter Grass. The author comments on the position of Germany during World War II by means of the protagonist Oskar Matzerath. After getting a tin drum for his third birthday Oskar decides to stop growing up. Staying small includes seeing the world from a magical realistic point of view in which the child-like visions of Oskar heavily contrast with the reality of the war. The boy has ‘three parents’. Indirectly he kills all three of them. The characters that surround him seem to play meaningless roles. From that point of view the novel can be approached as a play. Oskar is both director and the main character. The characters he does not like can easily be pulled off stage, so to speak. I am doing exactly that. I make Oskar disappear from the scenes. His ‘three parents’ are becoming the protagonists. Their stories are just as interesting as the life story of Oskar, which is prominent in the novel. What is happening if the protagonist is excluded from the novel? Does this create a void, alienation or chaos? A14 DERIEMAEKER DRIES dries.deriemaeker@gmail.com dries.deriemaeker.tumblr.com Global Entitity Global Entity compares the human brain to the internet as it is today. The internet is a part of everyone's life nowadays. Never­ theless, few people realize the impact our virtual lives can have.

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Our online existence has become something obvious. People have extensive virtual lives besides their real lives. In this virtual life we are connected to other virtual lives, just like brain cells that are connected to other brain cells. This collection of virtual lives can be perceived as a big brain: the internet as an entity. This master project draws parallels between the internet as an entity and the human brain. Questions that come up in this context: Are these parallels still valid should there be errors in one of the two fields of research? Can we project a brain disease onto the internet through similarities with that disease? A15 DEVILLÉ ALEXANDER alexander.deville@gmail.com MoCA Each new day symbolically starts with tearing off a calendar page. This small ritual can be given more meaning than just the introduction of a new day. In a lot of homes the calendar has a prominent place in the living space. As a result the designer can penetrate more deeply into the lives and environment of the user. It is seen, read and used on a daily basis. This is a rare interactive aspect, and therefore has a lot of potential. Because of its repetitive aspect the information is presented gradually but also consistently. The content will be more accessible, and becomes a sort of open publication which is part of the living space. The calendar is not only just read, but also really used. By giving the user small practical instructions it is possible to make him participate in the design, to make him think about it. Hence, this is a research into the educational and creative opportunities of the calendar as a medium; about how to make content and design more accessible, and how to provoke a deeper interaction. A16 DEVOS LYNN devos_lynn@hotmail.com lynn-devos.tumblr.com Feminist Research In the wake of my master thesis about female visual identity, I became more and more convinced of the unfairness in our society. Unfortunately, a ‘blue-and-pink division’ is still current, and on more levels than we think. People act surprised if they are told that women still earn less than men in certain sectors of industry, adolescents are more uncertain of their bodies than ever before, and girls do not risk walking through the park after sunset. As a graphic designer I get the chance —and the power—to draw the attention of the public. In the past couple of months I have focused on finding correct information, and on meeting feminist (there it is, the infamous f-word) organizations. To the jury I want to make a statement, both

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A17 DEVOS TIENE tienedevos@gmail.com tienevos.tumblr.com DOOS.publications DOOS.publications is a small self-publishing project that compiles the unknown, underground stories of the hardcore and punk scene, in publications with an aesthetics that reflects DIY culture. DOOS.publications goes off the beaten track and searches for more alternative and creative concepts for publications. Every publication demonstrates the ideas and vibe around the bands and the scene. Each publication is different and unique. As a reader you become part of the adventure: on tour, at shows and in the studio. A18 DIELEMAN JOKE jokedieleman@gmail.com jokedieleman.tumblr.com Oresteia Tom Lanoye, Stefan Hertmans and Peter Verhelst. Three Flemish writers, four beautiful texts based on one and the same story: Oresteia, a Greek tragedy originally written by Aeschylus. A story with a great social theme that intrigues me because of its smaller history: the family tragedy. What takes a person to kill his own blood? How can the love of a woman for her man, or of a child for its mother, turn into devastating hatred? Has man the right to kill a murderer? The various texts are my guides in making a series of drawings. I do not want to purely represent what is said in the text. I try to create my own illustrative interpretation, which can coincide with the text, but aldo differ from it. Because sometimes a picture is worth a thousand words, and some words are so beautiful that they do not need a picture anymore. The text excerpts and my illustrations form the eventual story I would like to tell. They are bundled in a book. A19 FIEMS ROSALINE rosalinefiems@hotmail.com rosalinefiems.tumblr.com (3875 miles away from) here Easter Island is located on the other side of the world, in the middle of the Pacific Ocean. It is a small island that houses less than 6000 people on a total surface of barely 170 square kilometer. Not much is left of their original culture, but it does have a rich history that is way too intriguing to neglect. Traveling to Easter Island was not an option, but an idea grew from the frustration of not being able to

go there. Instead of flying to Easter Island, I decided to draw my own borders. I projected the exact form and scale of Easter Island onto a part of Flanders. I hiked that area to find out how exotic Easter Island really is, and if there would be a big difference between a hike in my homeland and one in the destination of my dreams. The literal boundaries shed a light on my romantic desire for a faraway country, and made me discover my own country. A20 HAEGEMAN ARTHUR arthur.haegeman@yahoo.com arthurhaegeman.be Interactive For a long period of time design has kept a static form. Because of the rise of new media forms and our way of handling these media, we have created the need to develop new formal systems in which the user can participate, in which there is an interaction between designer and end user. Interactive/modular design is not about a final concept, but rather about creating a situation with various outcomes. I have developed a series of systems (in different media) that invite the spectator to participate in the design process. These tools are also an addition to the known design systems and create extra opportunities and solutions for graphic designers, architects etc. A21 HEREMANS HELINA helina.heremans@gmail.com helinaheremans.tumblr.com Trial The concept Trial originated from the need to approach graphic design from a different angle. Through construction, deconstruction and reconstruction of the graphic material I sought/developed a new formal method. The process began with a (personal and formal) graphic trigger (e.g.: mathematical graphs, absurd images, roman typography etc.). With this graphic trigger I experimented and researched the graphic basis, such as typography, type area, image etc. All these researches are represented in graphic publications that each time comprise a (new) suggestive content. A22 JANSSENS KAHIL kahiljanssens@hotmail.com www.kahiljanssens.be Möbius Publications Möbius Publications is a small-scale self-publishing house founded in 2012. Through this platform publications are designed and developed around issues that are breaking boundaries between disciplines. A confrontation of texts and images belonging to completely different domains leads to a reactivation process by which existing content types will influence each other and new contexts arise. For

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instance, using the same technique and applying a documentary style, the house is working on a growing series which is situated in the area of global sociopolitics. Issues such as borders, pollution, refugees, etc. are developed through photo essays. In analogy to this method no restrictions are imposed on the publication, but the amplitude of it can be maximized by combining photo, film, video and sound, creating a publication as an essential part of an interdisciplinary whole. A23 KOLUPAEVA INNA inna.kolupaeva@gmail.com Aleksandr Skriabin. Symphony No. 3 in C minor, Op. 43 Technological evolutions change the way we experience everyday life: they affect our spiritual lives, and what is generally understood under the concept of ‘spirituality’. The different modes of global digital communication tend to archive, visualize and modify spiritual and affective aspects of our lives according to rather objective motives and manners: all is ‘data’ now. These modes also affect the arts: artistic domains that in the past were associated by artists, are now being combined in a different manner. The way in which colour and music were related by composers and artists during the beginning of the twentieth century, is now an issue implicit to the phenomenon of datafication; due to technological speech, due to this overall dominance of objectification. In my work, I focus on the influence the overall concept of ‘data’ has on artistic discourse, more specifically on the relation sound and image, music and art. In this context, chromesthesia is an important phenomenon that brings visual colour experience and auditory sensation together. Thereby, this concept presents a simultaneous experience of synesthetical perception to audience, due to associations between visual and musical thinking, based on parallels between colour and sound. A24 LEE SHUXIAN leeshuxian@gmail.com www.cargocollective.com/ shuxianlee Dear Jonas, You Can Do Better Dear Jonas, You Can Do Better is a performative artwork and graphic novel. The project is also a meditation on loss and heartbreak through contemporary art history. It is the artist’s way of dealing with the harsh reality of a broken relationship. She invites strangers of all genders, sexual orientations and backgrounds to participate in the re-enactment of unfulfilled promises and interrupted memories with her ex. Through this journey, that culminates in short graphic stories,

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on the level of design as on the level of content. Under the moniker Tied Up In Stereotypes I make original and distributable print and a video, that can provoke reaction on social media, and draw attention to this theme, which is no longer a taboo.

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GRADUATION the collective empathy and relation to the idea of loss gently finds its way into the master narrative. The artist discovers similar feelings of heartache and longing in the strangers she meets and in the imaginary conversations with contemporary artists Marina Abramovic´, Tracey Emin, and Sophie Calle. Interleaves with an almost art historical look at visual works inspired by loss and heartbreak provide an accompaniment to each graphic story. The artist delves into subjective and objective conse­quences of a heartache, and hopes to bring the viewers to their own private reconciliation of their unmet desires. A25 LENS NANINGA naningalens@gmail.com We (...) The Amorphous Ones The forms have disappeared, what ‘reveals’ itself, does not reveal, but reviles the view that tries to recognize, to collect, to unite. (Rudi Visker, Lof der Zichtbaarheid) A26 LEWIS DEIRDRE deir3lewis@gmail.com www.deerdrie.tumblr.com This Is What I Do To Make Myself More Attractive To You Identity has to do with ‘becoming’, which starts from birth onwards. On the one hand our identity is determined by our environment, the groups we belong to, our relations towards the others ... On the other hand identity refers to personality, the things which make you unique. The evolution of society causes changes in our search for identity. We cannot picture a world without social media anymore. Everyone also has a virtual identity nowadays. Visual culture is an important trend in communication. And that is just what social media is all about: communication. As a result of that flourishing visual culture we see and learn a lot more watching photos and videos, without having to be physically present anywhere, without having to know anyone. But what exactly is it, that makes this so social? The virtual identity has almost become the single most important factor during our search of who we are. People who are successful on social media, are not necessarily successful in reality. A27 MARELL MERLIJNE info@merlijnemarell.nl www.merlijnemarell.nl Schobbejacques and the 7 Goats Schobbejacques and the 7 Goats is loosely based on Grimms fable The Wolf and the Seven Young Goats. On the basis of the characters I shape a world, called Turnipland. Text and image coincide as much as possible. That way I can create an active mutual reaction, making text and image strengthen and enrich each other, in order to get an inseparable whole. I

consider the known story as my guide in building a new fairytale, in which the friction between good and bad elements is emphasized. Is the wolf really that bad? Are the goats really that innocent? Besides rewriting a fairytale, my master project is also about making a book. In the historical printing of MIAT (Gent) my fable becomes reality: bold type is pressed into the paper with lead letters. With the presses of productiehuis Plaats­maken (Rotterdam) I colour the story with screen printing and woodcut. Schobbejacques and the seven Goats is published in a limited run of 36 copies, completely handprinted and bound. A28 MAROYE INES ines.maroye@hotmail.com Die grafische Gestalt Graphic design is often said to be a supporting art form. Manipulation is associated with deceit. These two intentions contradict each other. Still, graphic design and manipulation are often a package deal. Graphic design helps us to organize and clarify a chaotic world. That is why we trust it. And because we have so much confidence in it, the manipulative aspect has such an influence on us. Design constantly uses psychological and formal manipulations to direct people's thoughts. Often these methods (especially the purely formal ones such as Gestalt principles) are applied unintentionally. A very conscious use of these techniques can also lead to new meaning. E.g. what are the possibilities of creating new stories with a set of data that are housed in a familiar form? A29 MONOSOV RACHEL rmonosov@hotmail.com www.rachelmonosov.com The Visitor The Visitor (n.): * Has limited time allotted for this visit, which enables keeping a distance from becoming absorbed in the place of the visit. * Is able to appreciate the observed landscape, after forgetting the uncomfortable beauty of the surroundings, after a time of absence. * Capable of recognizing problematic aspects previously denied or ignored during the time spent on the ground of the site of the visit. * Collects fragments which form both a real and a surreal overview that will act as visual proof which can be shared with the local people from the village which the visitor calls ‘home’ in the visitor's country of ‘choice’. * Is rootless, socially and geographically alienated, and trapped in the confines of laws and regulations.

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A30 PEYS CHARLOTTE charlottepeys@gmail.com www.charlottepeys.be Zondereigen A village is a still life. It is a collection of motionless objects in which and among which people are roaming whilst living their lives. It is a strange, inconspicuous being of things. This master project is the result of a research that is hovering between illustration and anthropology. In 2013 I chose the hamlet Zondereigen in the north of Antwerp as my field of research. During the course of this year I stayed at this village, which I had never heard of beforehand. As an anthropologist I tried to understand everything that was going on within the borders of Zondereigen. More than fifty hours of interviews and 4.581 photos were processed and turned into drawings and texts, all put together in an illustrated anthropological village survey monograph about Zondereigen. This book offers a general historical overview of the village. It is a visual diary about Zondereigen from my personal point of view and artistic perspective. Thanks to the financial support of European funding programme LEADER, KASK/School of Arts Ghent and the local geography and history circle of Solms, we have been able to give each family in Zondereigen a professionally printed book. A31 PYL JOSSE Ideas for a New Typesetting System Typesetting systems have changed in no time from lead letters to phototypesetting machines and then to digital production of pages. Each of those typesetting techniques is based on a typesetter who translates those texts to a typographic form on a medium, mostly paper. For the lead letters texts were translated to typography by assembling the lead letter between the lines. Today the typographer sets the letters by means of a keyboard. Ideas for a New Typesetting System is a new system in which the typesetter can set the letters both manually (by means of a grid and stencils) and digitally (using a keyboard). The system is based on the structural forms of our Latin alphabet. The typesetter does not work with letters but with components of letters. By putting these in a certain position he will shape the letters himself. Thanks to this, the typesetter is free to shape his own signs, patterns or logos from different languages. A32 TÝBL PAVEL pavel.tybl@seznam.cz Platitude Route Platitude Route is an interactive short story about growing up and

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A33 VAN DAELE LISELOTTE liselotte_van_daele @hotmail.com liselo.tumblr.com Oh My LCD SCREEN Mobile device a framed construction room divider or a decorative panel used for sifting out fine particles, system window framed wire or plastic mesh surface picture projected for viewing screen placed between grid screen grid. halftone reproduction vision of movement To seperate or sift out To show or project to determine placement presence screening. movement view postitioning oneself in between. (thefreedictionary.com/screen) A34 VERMEULEN LISSY lissyvermeulen@hotmail.be 920403.tumblr.com 1973 He films them. When they walk, when they laugh, when they do nothing at all ... He films domestic happiness in a spontaneous, somewhat naive way. The person behind the camera chooses what will later be cherished as a memory. For a moment he controls time, space and subject. But now, about forty years later, It is me who is in charge of this piece of private history ... A35 VERSTRAETE BIE bieverstraete@gmail.com www.bieverstraete.be Room MMXIV A fascination for collections, archives and repetitions form the basis of this project. Collecting is a natural human instinct, a characteristic that occurs in various degrees. There is an enormous diversity of collections, that are always put together in a different way. Besides the composition, the existence of a collection or an archive also depends on the classification of the separate elements, which will also serve as a memory card. A reinterpretation of the Cabinet of Wonder, as it was known in seventeenth century painting, researches the levels of contemporary collections.

A36 VILLAVICENCIO RAMMELOO HEIKE SOFIA heike_sofia@hotmail.com heikesofia.tumblr.com Bauke Bauke is a graphic story for children, in which text and book form are deliberately absent. It is a story with separate illustrations that can be sorted according to the desires and the emotions of the child ... because there is no one true version of the story. Bauke looses her mother, and she does not comprehend what is going on. Together with Grief and Pichien (her cat) she tries to find Death to get the answers to her questions. During her quest she is confronted with her own fears, fantasies and sorrows ... but she also discovers herself, she learns about her mother and about the art of letting go.

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MULTIMEDIALE VORMGEVING / MULTIMEDIA DESIGN B01 DEGLEIN INGEBORG deglein.ingeborg@gmail.com Ingeborg Deglein creates a baroque universe of antropomorphic creatures. It's a fatal cannibal carnival of cowboy boots, fast fists, neon colors, glitters, snake tattoos, shiny claws, a shimmering throne, big biker helmets with leather-fringed jackets and flashing lights. The figurative sculptures are wild copulations that merge into each other, threaten, stab and embrace each other. The arms, legs, fists and heads grow out of one another, push and spawn like a hot melting pot and ultimately grab for the sky. The works are loud, savage and ready to attack. B02 ELGUETA MARLENE elgueta.marlene@gmail.com The Rich, the Sly and the Foolish / Los Detenidos son Comida para Pescados A documentary about artisanal fishing in Chile. Just like everywhere else in the world, the craft of fishing is under great pressure in Chile. It is slowly disappearing due to unfair competition with the Western world. The blueprint of the current Chilean economy was drawn up under Pinochet's dictatorship. The totalitarian regime seemed like an ideal breeding ground for a ‘free market’. During the coup in 1973, the new reign chose to a.o. discard

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the price controls and to sell government buildings, realized during the former regime of Allende, in which scarcity and underproduction were widespread. Pinochet's politics of instability led to an inflation of 375% already in the next year. The regime collapsed mostly thanks to the boycott of the USA, in collaboration with the opposition. The economy was drowning. This situation has had an enormous impact on the craft of fishing since then. On of the most important problems is that there is not much to catch, which is kind of strange for a country with a coastline of 6.435 kilometers. What has happened? B03 KELLY JESSICA jesskelly@gmail.com jessicakelly.wordpress.com Over & Over Over & Over is a series of hyper short video loops which come from a preoccupation with continuity, repetition and transformation. Graphic and photographic imagery is assembled and re-assembled digitally, situated in a realm with no horizon or perspective, suggesting mental landscapes rather than those grounded in a physical world. B04 MASCHERONI NICCOLÒ nicco.mas@hotmail.it www.enneboi.com The Secret Weapon of Gaudier-Brezska Back in the school years, maths, science, philosophy, literature and sociology bored the hell out of me. I felt that visual art would be my way. Above all, I hated writing, I mean: to write. It's not my thing. It always requires so much effort and time, and the result is always shitty. I thought that visual art was an alternative to writing, NOT an alternative form of writing. Some years later I realized that to be considered a contemporary artist you are supposed to be a mixture between a mathematician, a scientist, a literate, a sociologist, a politician, a reporter and especially a writer, to compose beautiful and crucial explanations about your works. So, this is a problem. I mean, I have a problem: I feel like a writer who has been asked to represent his texts with a visual artwork. My project is composed by a chaotic overproduction of works that contains no information that can be properly formulated in the language of words. That's the main reason why I made them. B05 MICHALAKOPOULOU ANTIGONE antigone.mich@gmail.com antigonemihalakopoulou. blogspot.com Topos The research that triggered the creative procedure for this project, departed from the word ‘Relocation’ and all the problematics that

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chasing your childhood dreams. It is a video game describing five days in the life of a boy, whose birthday is coming, and who is trying to fulfill his dreams before he becomes an adult.

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GRADUATION derive from this notion. Ideas such as The Land, or the Land of Origin, Language, Identity ... became of great importance. Relocation, which gradually leads to Dislocation, unfolds the struggle to communicate, to translate the old self, to feel familiar with new, unknown environments (actual and verbal). One's need to constantly state his identity in the new place, while at the same time structuring the new self, gave body to a synthetic procedure. Architectural procedures are combined with grasping space and time in physical terms. The gesture of overlapping images plays an important role. Parallel events in real time, or filmed and projected, question words/ideas such as: here, now, then etc. The image of a piece of land, of which the clarity—or significance—is constantly questioned, has a strong presence in synchronous time with a linguistic confusion. It represents the struggle to build a commonplace between the performer and the audience, between the foreigner and the new environment. B06 REBUFY PIERRE Sterile Science and Life magazines have always seemed so close to science fiction books: microscopic or macroscopic views, machineries, biotechnologies, nanobots … It all became a starting point for experimental creations with operations on materials that were diverse and primarily chemical. It left lots of room for accidents, leading to sculptures, drawings and paintings. These processes led to monstrous pieces, which would hide or show themselves. Works confronted a cold and sleek outside structure to an inside that was stringy and opulent. This also left place for communication and reunification between different media. The sculptures feed the drawings and paintings, which in return nurture the sculptures. Going further this can turn into hybridization: painting becoming sculpture, sculpture becoming an instrument. The visceral expansion of our vivid and complex reality opposed to the dissection, classification and sterility of the scientific approach. Aesthetically, my goal is to create attractive disgust, to bring enticement and revulsion at the same time, stressing the natural overflowing generosity of organic decomposition. I try to remember man's biological nature, its finitude and mystery. Reconcile the rational and idealistic Apollonian nature, with the unconscious Dionysian nature of instinct. Reunification rather than separation, collecting a broader vision. B07 TROCH HANNELORE loretroch@gmail.com InBetween

B08 VALSTAR HARRIËT Valstar engages in a vivid fantasy world of folk tale and its symbolism. In her work she analyzes the metaphors of these fantasy worlds. Her projects can take various shapes. She translates stories in an elegant way, or she builds theatrical installations in which the spectator can experience the story. Huize Volta de Vis is a theatrical installation in which the visitor listens to the supernatural story of a girl who has a peculiar relation with her environment. Visiting the house is an intimate experience. Each participant has to listen to an audio track. Only three people can enter simultaneously. You can see Huize Volta de Vis during the DRAma Festival, on 20, 21 and 22 June, 2014. B09 VERMOORTELE CASTER info@casmoor.com For his graduation project Cas Moor is focusing on the process of design. Rather than designing a product for specific functions or requirements, the product arises from the material, the technique, or from experimentation, resulting in ‘honest’ products in which material and craftsmanship not only serve the form but also tell a story. “A good design to me is when an object is stripped down to its bare bones with the essence still intact.” (Cas Moor, 2014) B10 VIAENE LARISSA larissa.viaene@gmail.com www.larissaviaene.weebly.com Lacune: the Anatomical Term for an Alcove The connection between movements, dance steps and what they are. Where concentration resides in perfection and moments where that is not necessary at all. It is the discovery of the present space and the space that is given, in which the body is explored. The tension and spontaneity of the body. Movement is was and still gonna be. Dynamic is was and still gonna be. B11 ZHONG ZHEMING zzmhr4153@gmail.com In-Between In the mountainous area where I come from, people used to live in a round structure building with their family clan, in a communal way. This has become history. Buildings were abandoned due to the immigration of the population to cities. In the hostel where I am living, people come and go. They don't stay for long. My neighbors have been changing. After some time, we found each other in this building—people who are from different countries around the world and come to this country for different reasons. We became friends in this ‘fluid’ building. In our ‘community’,

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we get together constantly: we share our stories, we eat, drink and play together. Our ‘backyard’, which is an in-construction building with a terrace, has become our playground. This evokes childhood memories. People brought food, drinks and stories to the central yard of the building. We ate and drank. Parents were talking while children were playing. This is becoming something rare and dreamy, something hardly ever pursued in the present reality.

C VRIJE KUNSTEN / FINE ARTS

C01 AHARONI R'M reemaha@gmail.com www.reemaharoni.com All You Need R'm Aharoni's work sources from biographies. Through researching the lives of particular individuals he aims at exposing the different effects which shape one's identity. The individual often speaks in many voices, and one may be more of a ‘dividual’ rather than ‘INtegrated’ within oneself. All You Need is a film that lays the complex history of a Yemenite couple (the artist's parents). The film shows them caught between performances of their two wedding ceremonies. The images are accompanied by text that weaves together different backgrounds: nations, cultures, Queen Victoria, white wedding, holocaust survivors and stolen Yemenite babies. All You Need suggests the particular as the general as it reflects the commemorated history versus deserted memories, it thus shows the construction of identity made out of preferred narratives. C02 BASTIEN ARNE arnebastien@hotmail.com C03 DE BUCK LOU info@loudebuck.com www.loudebuck.com Take Time Video in loop, colour, multiple screens, 16'50" , 2014 This project started with the idea of placing people in a physically uncomfortable position which results in uncontrolled trembling. Lou challenged her models to hold a pose and test the boundaries of their own ability to stand still. It is this unwanted, uncontrolled shivering, trembling, quivering, shaking … that appeals to the artist.

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C04 DE BUCK QUINCEY quinceydebuck@gmail.com www.vimeo.com/ quinceydebuck Moments / Past, Moments / Present, Moments / Future Moments, essential or constituent elements, as of a complex idea. So innocent and magical they will leave you wanting more. C05 DE COSTER TINEKE tinekedc@hotmail.com From a broad perspective my work could be interpreted as a research into painting as a medium. It is a research in which each painting is evoked on the basis of a pre­vious painting. I started analyzing the images that came to my attention from a geometric point of view. Everything was constructed and deconstructed within my paintings. This working method creates new constructions that can be used in the following works, and that can lead to new images I am drawn to. For example, I ended up working with the crystals and images from David Lynch's film Dune, in which I saw similarities with my old work. The rigid geometric forms are getting more freedom in this context. Whether or not the spectator knows or recognizes the original image, there might always be small fragments of recognition in my work. With these points of concentration and recognition, I try to make the spectator run back and forth, create the need to come closer and then again to take a distance. It becomes a non-stop game within the painting, similar to the game I was playing while painting them.  C06 DE VOS ELLEN ellen_devos@hotmail.com Maybe Some Other Time / Een Andere Keer Misschien There were letters with a date and anfractuosities with a timestamp. Years passed by between the first and the last photo. Also discussed: the desire to have children has nothing to do with instinct, for the simple reason that, if this would be the case, all women would want to get children. OBSERVATIONS in MUNDANE FAMILIES. Standing on your own legs: it took me long enough to find my place in / beside my family of origin. I do not want to loose myself immediately in another family. E A wanted to stand in front of the house together with father, mother and sister. Sister and brother in law could not be on the picture. E A has no lover herself. C07 DELANGHE CHLOË chloedelanghe@gmail.com chloergb.blogspot.be

Demian's Face In my artistic practice, I work predominantly with photography and film. I am concerned with, and sensitive to, the placement of my images. Their significance is often indicated through their position within a space, and the rhythm between the succeeding images. I am drawn to documenting both the immediacy and the timelessness of my subjects. Visual information is ambiguous. It is often by failing to reveal something, failing to form an opinion or provide an insight into the image that we embark upon a sense of the authentic. Demian's Face (2014) is a filmic portrait which stems from the elementary desire to view a person. Confronting this desire leads to consequences, occurring during the act of portrayal. The desire to gaze transforms rapidly into the necessity to create, an inevitable reaction of the artist. The relationship towards the depicted evolves. From an initial intimacy and proximity, grows the immanence of distance. The images are accompanied by a spoken text excerpt from the book Demian. Die Geschichte einer Jugend (1919) by Herman Hesse, which reflects upon and guides the face. C08 DERESE MARTIJN martijn_derese@hotmail.com toosqauredtobehip.tumblr.com Painting anthem I want to be the very best Like no one ever was To paint them is my real test To make them is my cause I will travel across the land Searchin' far and wide See ev'ry painting that was made For the power they possess --Paintings!-Look — all I want to make is amazing art Investing my heart and play my part Perfecting my craft to give to you If I don't do it, then who's going to? C09 DEVOS MELISSA devos_melissa@hotmail.com devosmelissa.tumblr.com We are surrounded by images. Our eyes try to make a whole out of the shades of colour and lines they see. Deceit, secret messages and manipulation are hidden in advertising. In her collages Devos uses these images, that are omnipresent on billboards, and in the streets in general. Devos deconstructs these images and brings them back together in newly adjusted scenes. These scenes are constructed in an intuitive way, but they always contain an underlying idea of man alienated from his environment. During the artistic research Devos analyzes how she can present her work to the public, which media suit the collages. Her large collages do not hide anything. The spectator sees all the decisions that have been

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taken by the artist. As a result also the defects are made visible. For instance, corners which got torn or folds that were formed in processing the paper. Devos considers all these imperfections as a part of her artistic process, a process which retransforms the industrial image to the artistic image. C10 DHAENE EMMILY emmily.dhaene@hotmail.be Les Pissenlits s'en Foutent I. The Imagination of the Story of Imagination. Already a spacious world without heaven or earth. Only limited by the pace of an insatiable organic evolution. A dynamic, boisterous energy searches indefinitely for the right proportions in the limits of the unlimited. Randomly seasoned between the shades of memory. II. A Door – A Stepladder – A Speaker – A Teacup. Found, sought, made, received, bought. A collection sprang to life unnoticed, developing without order nor goal. Honoured in ignorance, slowly desired. C11 DUPREZ WOUTER wouterduprez@gmail.com www.cargocollective.com/ wouterduprez Between Tenderness and Woe Wouter Duprez, born in Ghent, 23 April 1989. Life in chaos, the wild. No rest, tension abound. I mastered the screams and made them my mine, screeching voices of lo-fi black metal on maximum volume. I smash my sculpture and collect the pieces. It changed. Technique does not dictate what the work needs, gently they whisper and playfully they suggest a course of action. I feel, how the candlewax drips on the scorched flesh of my creations, how the linen burns their way around my fingers. Construction tools and material, a frame made out of jute. Plaster pieces and gesso intertwined, a chaotic battlefield that will soon rot in the Belgian weather. Once there were drawings and illustrations, after were paintings, digital manipulations. Then it became wilder and louder with tinnitus filled bedrooms and images of potential fratricide. Now, serenity. The eye of the storm. Now the images tell my story. Thusly I think, and I invite one to think. With a smile. C12 GHIETTE MELISSA sam.ghiette@hotmail.com Doortuffen ‘le fil rouge sur le bouton rouge, le fil vert sur le bouton vert […] et plaf’ This oeuvre is a mix of media, methods and procedures drenched

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GRADUATION in artificial amateurism, nourished by just one logic, my own. The work in its entirety is a modular construction that lends itself to be exhibited in various ways, according to my ‘personal rational framework’. Assembling, composing and recycling are the main features of my work. Recycling is reusing / remode­ling / repairing an object, through which it entirely or partially looses its original use or function. I modify functional objects so that they become ‘working art objects’, ‘artistic devices’ that are temporary/ partially working, or that are completely useless. Recycling is also the appropriation of contexts in the world of design, or in the art world, by implantation of personal constructions. The game of assemblage art, and the approach of the spectator, who thinks he has an input because of the accessible language of design, are fascinating. Interesting are the tensions that arise in an art object that is created by assembling know­ ledge and material from different worlds; mainly from architecture, construction work, industry, design and sculpture. I draw parallels between recycling-construction and the adjacent world of design. C13 HERNANDEZ ALEJANDRA info@alejandrahernandez.com www.alejandrahernandez.com What You See Is What You Get The creative process in painting is about releasing what we cannot contain any longer. While working on my last paintings, there were various forces pulling one way and the other. There was a need for ambiguity, of a sense of disturbance, for capturing an instant, facing the viewers and trying to get them to look closer. But I also wanted to experiment in terms of the images themselves, with bright colors and frontal compositions. Every new image I conceive is in a way a form of digesting the nonstop visual flux I get to experience on a daily basis. The process of getting into a painting and building up an image has to do with a bit of planning, but it also has to do with mystery, and with that gap between what we can see and what we cannot. I am interested in doubt, in second guesses and questions suspended. Some of the paintings may have different layers put up together, using symbols or metaphors. This may be triggered from my personal experiences or not. It is not about telling only my story. It is about how that story may relate to each viewer, and what meanings they may come up with. C14 HOENS LIESELOTTE lieselottehoens@hotmail.com Capricious, chaotic worlds that explore the boundaries of beauty and ugliness, so raw that they be-

come fragile again. The spectator is left with an uncomfortable feeling. No narrative image, but a journey through emotions by means of colours and forms. Organic elements that almost form the archetype of the notion sculpture. Playing with the experience of various dimensions, contrasts between various materials and textures, forms, inside/outside, volume, space etc. that are regarded classical themes in sculpture. Research on the relations between painting and sculpture. What is experienced if the two art forms are united, or if they overlap? C15 HUDREA MICAELA Today seems like yesterday and yesterday seems like years ago. At that time it was as simple as that: when I closed my eyes nothing happened. If I have to open my eyes now, it might be frightening; what if everything that surrounds me changed? It could be only fear of the unknown. I measure everything with my fingers. The whole world can fit into my hands. C16 KUDO TAKAHIRO takahiro.kd@gmail.com www.takahirokudo.com Within Restrictions “Skin, in human anatomy, covering, or integument, of the body's surface that both provides protection and receives sensory stimuli from the external environment.” (Skin. (1997). In The New Encyclopædia Britannica: Micropædia: Ready Reference (15th ed., vol. 10, p. 865). Chicago: Encyclopædia Britannica, Inc.) “Fungus, plural FUNGI, any of about 50,000 species of organisms of the kingdom Fungi, or Mycota, including yeasts, rusts, smuts, molds, mushrooms, and mildews—that lack chlorophyll and the organized plant structures of stems, roots, and leaves.” (Fungus. (1997). In The New Encyclopædia Britannica: Micropædia: Ready Reference (15th ed., vol. 5, p. 54). Chicago: Encyclopædia Britannica, Inc.) “Braille, universally accepted system of writing used by and for blind persons and consisting of a code of 63 characters, each made up of one to six raised dots arranged in a six-position matrix or cell. These Braille characters are embossed in lines on paper and read by passing the fingers lightly over the manuscript.” (Braille. (1997). In The New Encyclopædia Britannica: Micropædia: Ready Reference (15th ed., vol. 2, pp. 465-466). Chicago: Encyclopædia Britannica, Inc.) C17 MOLNÀR FATIME info@fatimemolnar.com www.fatimemolnar.com Garden “Like the leaves themselves. Turning in the wind.”(Wallace Stevens)

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C18 OLTHUIJS ANNEMIEKE info@annemiekeolthuijs.com RE-REC Vertical mass of a phantom limb, slightly rubbing, polishing, it might have been glossy, glassy? The inner rumble creaking, squeaking the woosh-whoos and scringlejingle and though those scattered pieces look like parts of a logic chained relation – a space of implosion, of curled up and curved in, of broken rhythms, of parallel lines, of images floating through space. Get the right distance / change your position. This is an old skool waltz and not some pop-jungle, humping jumping. The inside confined by the outside, a compressed echo-in-echo. o., o.., o..., O... O... O... 000000000 0X000X000 000X000X0 0000000X0 0XXX000XX XXXXXXX00 O... O... O... o..., o.., o., rounding, roaming. Zoom. Zoom. Zoom plus, plus, plus, minus. Gathering and taking, partly chancing, then releasing. REPEAT Stay on the path. Stay within the lines. Rub out an empty spot, form an exit. REPEAT Impressive / so heavy, peeling, scratching, don't spin to fast. HOLD YOUR GAZE C19 REZANEZHAD PISHKHANI GOLNESA golnesa.rezanezhad@gmail.com Living Room This project wants to investigate how the ethnicity or originality of migrants and travelers are confronted with a new society which is led by new economic and political strategies resulting in the demolishing of variations. I investigate how local identity is reinterpreted when people immigrate or travel to a new place. It comprises their encounters with the new environment. I use two different media: documentary photography (of public places like supermarkets, stations, …) and then sewing (domestic objects or local motives). The interaction between these two different media is investigating how images and motifs from different environments make a new visual dialogue. I also expect to challenge the viewers' perceptions between two counterpart media, documentary photograph and sewing. C20 SCHEERLINCK SILKE scheerlincksilke@gmail.com

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C21 SCHNEIDER LANA schneider.lana@me.com www.lanaschneider.be Lana Schneider's work originates from the statistics of e.g. the deforestation of the Amazon rainforest, or the overfishing in the North Sea. It starts with a clear theme, which gets an abstract and transcending meaning as a result of controlled coincidence. By means of incomprehensible graphics, this information is converted to abstract line drawings. The error rate in this process is the basis of what will eventually become a work of art that only mentions the commitment of its origins in an abstract way. C22 SERPENTIER MAARTEN serpentiermaarten@live.be other-robots.tumblr.com Rudimentary forms. Architectural features. Technological ruin from an apocalyptic era. C23 STEENSMA MARGRÉ margresteensma@gmail.com www.margresteensma. blogspot.com All I want with my Life Is to be a Housewife I have three rules for repro­ ducing an object. The object has to answer at least two rules at the same time. 1. The object has to be released from its original function. 2. It has to be fake. 3. The material has to be manipulated. Some other rules are: — Work with to do lists. — A maximum of two cups of coffee per day. — Stay at home or in the studio as much as possible. — Clean on a daily basis according to the cleaning program. — Sleap seven hours every night. — Live a boring life. — Do not list more than seven items in a summary.

C24 VAN DAM ELISABETH elisabeth@elisabethvandam.com www.elisabethvandam.com Love Nox In her master project Love Nox Elisabeth Van Dam appears in all her guises and metamorphoses, as an erotic and hallucinatory gable creature, full of horror, lust, desire, tension and blossoming fire. She is a ‘holy love doll’ in her neon coloured, autobiographical drawings, for which she created a luminous cross/nave as a showcase-sculpture. She is an ‘exotic powerhouse’ in her corporal high tech sculpture Voodoo Child, which is as armoured as it is carnal and grotesque. She is a Faustian Gretchen in the techno song Meine Ruh' ist Hin, which she created with assistance of Laurens Marien after Schubert and Goethe, and in which she preaches the dark gothic pleasure of fear and lunacy. She is a sculptural Übermensch in the ritual dance performances Voodoo Child Rising and Fire of my Loins, in which she exhausts and disturbs herself, her body and the spectator, disguised as a painted wizard, trying to penetrate the throbbing heart of an other, concealed and bleeding world. From this physical world sprouted the collaboration video with Jessica Kelly, called Lovedoll. The video focuses on her face that could be drawing, painting, dream, delusion and theatrical glam icon all at once, and looks like it is drenched in the radiance and colours of a futuristicFlemish, medieval aesthetic. Love, temptation and love lust are the motor of Elisabeth's work. They appear in all their twinkles, specters and reflections. C25 VAN DER FRAENEN JEROEN jeroen.vdf@gmx.com A Journey to the West “There is no object in the world, or it is a source of happiness... Discovery! (...) We know that possession is knowledge and understanding. One cannot go to sleep peacefully at night, after a day without discoveries.” (George Duhamel, La Possession du Monde, 1919) In the chaos of the world he is en route. A quest for the root, the placement of the benchmark. His journey begins here. Movement. The map shows different routes. He indicates them. Migration. He finds directions and resour­ ces on his path, and plays with them. They help him carrying. In search of the ideal building stone and the matter from which one can build. Here he claims his land. Mass. There is no plan. A goal, there is. Transformation. He wants to make visible what a pilgrim and an explorer have in common. A quest for a world beyond the horizon.

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C26 VAN DE VELDE FREDERIC vandeveldefre@gmail.com lines, fields, shapes, things

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www.scheerlincksilke. tumblr.com A continuous motif in Scheerlinck's work is the fragmentary, often closely related to the cut up collage. Her collage work interacts unceasingly with her paintings, and creates a continuous fluxus of new images. There is a perpetual correlation between the figurative and the abstract in her painting practice. The basis is always a found image, but the work aims at releasing the image from its original story. Leaving the original function of the images, and combining this with figures outside their context, she creates completely new images that are only apparently accidental. To come to these new scenarios, a part of the work is put into the hands of chance, although it is often less coincidental than it looks like.

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C27 VAN PUYVELDE TOM tomvanpuyvelde@gmail.com C28 ZWARTS SARAH JOY sarahzwarts@telenet.be www.sarahjoyzwarts.be Green River (Shallow Water) With the aid of historical anecdotes and fait divers Sarah Joy Zwarts explores her homeland. She is mainly fascinated by the remarkable atmosphere in the region. Her discoveries are reflected in a series of personal drawings, that in all their diversity almost represent the fragmentation of the human memory. The series Green River (Shallow Water) continues this exploration and emphasizes the hinterland of the Meuse valley in particular.

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D01 GERASKO JULIA juliagerasko@gmail.com Telling! Creation of language to simplify interaction between strangers through textile. Finding out identity signs and translating them through textile. Every person has a unique persona­ lity, a set of beliefs, opinions ... and in order to convey that identity we use our body as a canvas. I believe in personal relationships built on cloth, speaking of our habitual behavior, characteristics of our occupations and our living. (Rainer Maria Rilke, Die Letzten, 1901) D02 STEIJAERT MYRTHE myrthesteyaert@hotmail.com myrthesteyaert.blogspot.com Alteration + Alienation / Vervorming + Vervreemding ‘Humor is just another defense against the universe’ Eclectic combination of prints, materials and techniques. Various forms, colours and appearances merge, exist separately, but strengthen each other. Playful and with a comical twist. A story about alteration and alienation. D03 VAN HUYCK LOTTE lottevanhuyck@gmail.com Do not Play with your Food! Picture yourself a world in which we cannot store information, and in which the things that sur-

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GRADUATION round us can exchange their forms and functions. I wonder what would happen with our food then. Is milk liquid? Can fruit carry something? How much time does your brain need to recognize something if form, texture, taste or odour do not correspond to what you know? D04 VAN SCHUYLENBERGH ESTHER esther.van.schuylenbergh @hotmail.com www.esthervanschuylenbergh.be Discover My master project is focused on material and creation process. From a fascination with weaving, I explore the possibilities and boundaries of the weaving-loom, both on a manual and on an industrial level. I give a third dimension to the weave, which is usually a rectangular and two-dimensional surface because of the dead straight connection between warp and weft. By means of colour, material and structure I want to surprise the spectator. The tactile characteristics of textile invite the spectator to touch the weaves. This way I try to release people's inner child, evoking the same astonishment I experienced while weaving.

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E01 BOEVE KORNEEL korneelboeve@hotmail.com Out of the Blue / Uit het Niets There were no witnesses of what was going to happen. ‘Happening’ did not yet exist. Reality was timeless. Space did not exist either. The distance between two points was immeasurable. The points themselves could be anywhere, floating and bouncing. An introverted infinity. There was nu here and now. Only being. Suddenly there was a tremor, a vibration: an organization was taking place. Space trembled and swelled. What was here, became far. What was now, became history. Once space and time were born, change began: from Being to Becoming. Space bubbled, time unwound. Through the joint pressure of space and time, the matter, that oozed from both their pores, unified. This was not usual matter: it did not look like us, it did not look like atoms.

This matter made space expand, made her swell as a balloon that is inflated. Like that, the universe came into being on its own. It catapulted itself with an explosive force from a sea of nothingness into existence. E02 CALLEMIN TOM tomcallemin@gmail.com www.tomcallemin.com 01. Man and child 02. Refuge 03. Two trees 04. Figure 05. Chapel 06. Cage 07. The Performance 08. Whale 09. Model 10. Tower 11. Fremdkörper E03 COPPIETERS MARIAN mariancoppieters@hotmail.com www.mariancoppieters.be “To be this much in love is to be sick (and I love to be sick)” (Georges Bataille,The Impossible) E04 KERCKHOFFS YVES yveskerckhoffs@gmail.com www.yveskerckhoffs.com Apparatus (….) While the guy on the left is being photographed by the man hanging out of the window, they're being observed by a second cameraman, not knowing the moment of watching their photograph will mark the end of their lives. (…..) Second zero was the moment in which my digital world collided with the real one. I saw a flash on the screen: the explosion (……) Two men dropping out of the sky, who are believed to be pilots of a helicopter that was shot down by Turkish f16's (…..) A lot of people downplaying it, saying you're eight thousand miles away, but you're not really eight thousand miles away, you're eighteen inches away (…..) E05 MEEUS ALEXANDER alexandermeeus@gmail.com alexandermeeus.wordpress.com E06 PERSOONS RUBEN info@rubenpersoons.com www.rubenpersoons.com 001 JPN / 002 LEJOC 001 – JPN 20 okt. 2012 – 15 jan. 2013 3199,83 km 002 – LEJOC 10 okt. 2013 – 29 okt. 2013 1376,41 km E07 ROEGIERS AUDREY audreyroegiers@gmail.com www.audreyroegiers.com Think Inside my Box Think inside my box is an installation that invites the spectator to the maker's personal environ-

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ment. A fictional space embodies a memory. In this space there is a box in which the spectator can enter individually. He will be confronted with a series of visual and auditory impulses. It is up to him to make out where to draw his limits. E08 SAENEN ALEXANDER saenen.alexander@gmail.com www.alexandersaenen.be The Odd Man Out Alexander Saenen creates fragments from a visual archive, with an autobiographical twist. He seems to wonder if purely photographic images are able to represent a personal story, and how this can be done with non-photographic means. His focus is on the tactility of the image and the medium. He often presents his images as objects with an outspoken materiality that is not inherent to photography. Deconstructing photo and medium, the temporary and fictional character is exposed. His interventions contain acts of aggression, not only towards what is depicted, but also towards the image itself. To such an extent that even the image in itself becomes illegible, and that one has to go an read elsewhere. The images revolve around ‘absence’ and ‘erosion’. They eventually form a blind spot that forces the spectator to track back to his or her own perspective and experience. The medium here becomes a mental space from which the photographer can reflect on his position as an artist, and which he can define and test as a human being. This space is often subjective, dense, oppressive and disturbing. E09 VAN DEN WINKEL MINKE minkevandenwinkel @hotmail.com minkevandenwinkel. wordpress.com Tears In My Sperm We will go and live somewhere in Asia, I said. Why? Elke wants to go and live there. And you will join her? Of course. I can't live without her. Where exactly in Asia? Somewhere in Cambodia, down south. Minke Kampot, Cambodia Ghent, Belgium Ya see In life I know There's lots of grief But your love is my relief Tears in my sperm Tears in my sperm While I'm waiting While I'm waiting for my turn See, I don't wanna wait in vain for your love I don't wanna wait in vain for your love

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E10 VAN DE VEN RAF E11 VAN HEE TOM vanheet91@gmail.com The Mysterious Marisian Thrush Phone conversation April Kenny: Hey Tom, has your knee recovered yet? Tom: No, and yesterday I also got hit in the eye by a tree branch. Kenny: Ai ai ai. E12 VANPARIJS KAREL karelvanparijs@gmail.com While I had him on, several trout had jumped at the falls. As soon as I baited up and dropped in again I hooked another and brought him in the same way. In a little while I had six. They were all about the same size. I laid them out, side by side, all their heads pointing the same way, and looked at them. They were beautifully colored and firm and hard from the cold water. It was a hot day, so I slit them all and shucked out the insides, gills and all, and tossed them over across the river. I took the trout ashore, washed them in the cold, smoothly heavy water above the dam, and then picked some ferns and packed them all in the bag, three trout on a layer of ferns, then another layer of ferns, then three more trout, and then covered them with ferns. They looked nice in the ferns, and now the bag was bulky, and I put it in the shade of the tree. Ernest Hemingway in the sun also rises E13 VERBELEN GERT verbelengert@gmail.com www.gertverbelen.be To the core / Naar de kern During the course of one year I have visited the eighteen countries of the Eurozone. I did not visit their big cities. I did not look for their camera-friendly spots. I avoided tourism. I went to the centre of each of those countries, i.e. the centre that I had calculated mathematically. By going there I ended up in the middle of people's daily life. I made people and environment come to me. An the other way around: I went to the people and their environment. The centre of a country is almost always a deserted village. I stayed there for a week. During that week I walked through the same streets. I talked to the natives. Sometimes I needed sign language. Sometimes they invited me. I was sitting at their tables. The camera around my neck, and traveling all by myself, made them wonder. Their curiosity was sometimes met with

suspicion. In one week I shot pictures of all the stories I came across. I learned that if you look the right way, you can find stories anywhere.

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MODE / FASHION F01 BERCKMANS NELE nele.berckmans@hotmail.com www.neleberckmans.be Eruv Eruv is a fictional home, a defined area in which it is possible to move freely. F02 MERLIER ANN-SOFIE fietemerlier@hotmail.com Please, Do Disturb. ‘I like the unreality of your mind, the whole thing is very splendid and voluptuous and absurd.’ (Virginia Woolf) F03 VANELDEREN JULIE Julie_vanelderen@hotmail.com Don't Turn The Light On ‘I don't want realism. I want magic! Yes, yes, magic! I try to give that to people. I misrepresent things to them. I don't tell the truth, I tell what ought to be the truth. And if that's sinful, then let me be damned for it! Don't turn the light on!’ (Blanche in A Streetcar Named Desire) MASTER IN DE AUDIOVISUELE KUNSTEN / MASTER OF AUDIOVISUAL ARTS

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G01 DESIERE RUBEN rubendesiere@gmail.com Kosmos ‘It will be difficult for me to tell the rest of this history. By the way, I don't even know if it really is a history. One can hardly call it a ‘history’, a such continuous... accumulation and disintegration... of elements…’ (From Cosmos by Witold Gombrowicz) Up until November 2013, the Gesù convent in Brussels was home

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to around 250 people including a number of Roma families originating from Slovakia. Over the months leading up to their impending eviction, Ruben Desiere worked with a number of the inhabitans to create a film. Kosmos is loosely based on the book of the same name by the Polish author Witold Gombrowicz. It focuses on the family of Kevin Mrocˇ who had been living at Gesù for three years, and also features two newcomers, Mižu Balász en Rastjo Vanˇo. G02 DHONT LUKAS lukasdhont@hotmail.com L’infini / The Infinite The Infinite is my master project in the film programme of KASK/School of Arts Ghent. It started as a search for a way to combine modern dance and film. Scenes were viewed from the choreographer's perspective. During the writing process I came across Jan Martens's modern dance pieces which inspired me on the level of narrative and the use of the bodies. His dance productionVictor, involving a man and a child, can be regarded as the basis of the film. The story is about a boy who is bouncing back and forth between different stages of life, but it is also a story between man and child. Years went by before Steven reappears in the lives of the young Oscar and his mother Josephine. They approach each other physically, but they also reject each other. There is no concrete space, no concrete time. There is only the human body, positioned in abstract space, and forced to interact with each other. In The Infinite I try to challenge myself on a narrative level. It is a quest for concrete and abstract information, for space an time. G03 RAMAN RENATE renateraman@hotmail.com Little India In the heart of Wilrijk, squeezed between the rush of the Colruyt supermarket and the A12 road, stands a wonderful white temple on guarded private property. As you walk in, you find yourself immediately surrounded by an oasis of peace. Many Jains are coming here daily to say their prayers. They are wearing long colourful clothes, and they have a small white spot on their foreheads. Jainism is one of the oldest and smallest world religions. After World War II some Jainistic families moved to Wilrijk because of the diamond industry. They do not assimilate because they are still heavily connected to India. Few Belgians even know of their existence. Nevertheless, there are 2000 Jainistic families here, and they belong to the wealthiest citizens of the country. The film tells the story of two youngsters who are living in be-

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I don't wanna wait in vain for your love I don't wanna wait in vain for your love I don't wanna wait in vain for your love I don't wanna wait in vain for your love (inspired by Bob Marley)

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GRADUATION tween two cultures: that of the country they live in, but of which they do not know all that much, and that of the country they come from, but do not understand. They live in Little India. Just like all adolescents they have their own dreams, and they are trying to find their way. G04 VERVAEKE ANN-JULIE annjulie.vervaeke@hotmail.com Le Pli dans l’Espace/ The Fold in Space Allison is eleven years old. She is curious but also destructive. She longs for love and harmony. She is constantly haunted by her dreams. Since her parents divorced she has strange thoughts now and then. Dark thoughts. Violent thoughts. Together with her mother, her stepfather and her stepbrother, Allison is in the car on her way to a new house in another country. She has been taken out of her comfort zone, and is utterly confused. She holds on to her memories, that are starting to manifest themselves as dreams in her reality. Will Allison overcome this, in a world full of memories, desires, fears and hope? Will she eventually realize that the love and harmony she is craving for are within reach? The unspeakable is life's central theme. The inability to express feelings and thoughts is something universal. Such a silent environment that aborted all communication, brings us a world of desires, secret glances and tension. We have to read between the lines. Often, there is no final end.

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H01 CZEKAJ ANIËLA aniela_c@hotmail.com www.cheekyczekaj.be Smallbrains / Kleinbrein Exploring their own fantasies, two girls are groping in the dark during an adventure in which nothing is what it seems. The world is strange and unknown territory in the eyes of Smallbrains. H02 DE GROEN JACKY jackydegroen@gmail.com www.eenoogkoning.tumblr.com Eclipse A lunar eclipse is a night within a night. After sunset comes moonset. After dark comes the obscure, where bodies lose their bounds.

H03 LEGIEST YURI yuri.legiest@hotmail.com Fitness The protagonist in Fitness is an obese man who is desperately trying to lose weight. Inspired by his idols, trying to break the daily grind, he aims for sportsman's heroism. The question is whether or not this is the right motive. H04 OOSTERLINCK IAN ian.oosterlinck@gmail.com www.vimeo.com/ causticarmadillo Passingley People do not usually stay around for long in Passingley. They might do some grocery shopping, or stop by to visit the local discussion group. That sort of thing. Nevertheless, there is always something going on: animals breaking out, exotic passers-by ... It might have something to do with that crack in the space-time continuum. It just might. H05 PLETTINX MIRJAM mirjam.plettinx@gmail.com www.mirjamplettinx.blogspot.be Mie Mie is not happy. All alone in her flat and chained to her computer she watches life go by, life like it is elsewhere, life the way it could be. She wants to escape daily life, but she cannot disconnect from her computer. H06 RAEYMAEKERS KAROLIEN karo.raeymaekers@gmail.com www.karolienraeymaekers. blogspot.com Oma / Granny A girl has to conquer her fear for her grandma who is deathly ill ... Oma is a film about love and letting go. H07 RATHÉ SARAH sarah.rathe@hotmail.com www.mirlo.be Homebush Bay Homebush Bay revolves around the atmosphere of loneliness and confusion. There are no clear borders between reality, dream and recollection. It is a quest for land in an infinite ocean, with crickets as the only support, and the memory of what once was… H08 RUELENS MARGOT margotje_2@hotmail.com www.toni-en-simoni.tumblr.com Toni & Simoni Hello dear Toni fans, Here's some great news of your favourite half of the world famous duo Toni & Simoni! From June 20th to 23rd I pass by Ghent, a small town in Belgium. The city is preparing a maximum of safety measures as we speak. In the midst of my ‘I'm Alive’

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world tour 2014, I of course have quite a full agenda, but together with my management I have decided to free one full day to speak to the press. Moreover, you get the unique chance to admire my covers, videos, originally worn costumes and a lot more. You might even catch a glimpse of me on June 23rd 2014, between 8 am and 5 pm on the Bijloke campus, KASK/School of Arts Ghent. Make sure to be in time, because as usual there are groups of cameramen and journalists camping in front of my suite for days in advance! Lots of love xxx Toni Margot Ruelens studies animation film at KASK/School of Arts Ghent. For her master project she created an imaginary world, in which the fictional world famous star Toni is the protagonist. H09 VANDENABEELE PIETER hello@pieterv.com www.pieterv.com Dog’s life A dog lives a lonely life in the house of his master and tries to fill his days with all kinds of hobbies. Hopefully, some unexpected event will take place. If not, this could turn out to be a very boring film. MASTER IN HET DRAMA / MASTER OF DRAMA

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I01 CARRIJN LINDE linde.carrijn@gmail.com The Trenches Operetta / De Loopgravenoperette What are the differences and resemblances between the expressiveness of music and that of theatre? In which ways can these media be combined? How can the immensely intense communication of music be handled in theatre? In order to again make theatre do what it is invented for: to move the spectator? Is a successful combination of music and theatre possible at all? In my graduation year I participated in projects in which this combination was explored. Besides acting and playing the violin in Café Bohème, a production of music theatre company Walpurgis, and my personal project Young Empty Spaces, I played and I sang in De Loop­gravenoperette (The Trenches Operetta):

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I02 DE CLIPPEL DORIEN declippel.dorien@gmail.com Transit There is a space between two worlds. Between past and present. When and once. Actually, we are nowhere, but everything is possible. There is so much to hear; a bass, a musing, a heartbeat. Zoom in and enlarge. Everything has rhythm. We give progress a moment's thought. We surrender ourselves and commence. Transit is a cross-over between various arts: sound art, performance, play and poetry. We want to examine how visual and auditory stimuli influence each other, and how they influence the spectator, how the performer can manipulate the sound on stage and how this contributes to our text. But especially how a story can get a meaning by increasing a certain sound. More concretely we are talking about ‘transit zones’: a train, an airplane, a free fall. Spaces in which we move, in which we take time to think about the events that keep us going. We are talking about a space as an in-between stage that enables us to dream, to fantasize, to make plans, a space in motion, a space that does not exist. I03 KUITENBROUWER YINKA yinka@kuitenbrouwer.nl Leisure Man – study #2 Geert Belpame and Mats Van Herreweghe together form the theatre collective l'hommmm. In The Leisure Man – study #2 Yinka Kuitenbrouwer is involved as a (creating) actress. Under the title of Leisure Man l'hommmm wants to make a series of plays about our performancebased society: ‘You shall be yourself, you shall distinguish yourself by what you do and what you wear’. In three studies they analyze how this self-image goes against the being of man. We are misled with an identity in which success and selfrealization are the main issues, an identity that is so rigid that it makes us compulsive. Study #2 is about how two individuals can come together in

a society that is focused on the individual, on distinguishing oneself from the flock. It is an attempt to find an alternative to the compulsion of contextualizing or profiling yourself as an individual. Detaching yourself from the restricting and one-dimensional meaning, and giving in to more abstract ways of moving, can lead to an intuitive way of communication that opens possibilities to grow closer to each other. I04 PARMENTIER GYTHA gytha.parmentier@gmail.com About the terrorist who could no longer hold his foot up and like that introduced the beginning of the end.

Девушки, гляньте, Гляньте на дорогу нашу Вьется дальняя дорога, Эх, да развесёлая дорога Только мы видим, Видим мы седую тучу, Вражья злоба из-за леса, Эх, да вражья злоба, словно туча.

Girls, look, Look at our path This path is winding all the way Yes, that path, the one we are going with cheer. We are only seeing, We are seeing a grey cloud, The bitterness of the enemy from the woods The bitterness of the enemy is like a cloud. These are the words. I give you the melody.

I05 VAN CLEYNENBREUGEL LEO leo.van.cleynenbreugel @gmail.com Chunks of Being We offer you a collage of impressions that sprout from migration, YouTube combos, the lamentations of Jeremiah, weird Indian dances, silence, breath, fight, flight or freeze ... in a talking stick inspired environment. What do you want to share right now? What do you consider true at this very moment? What does it mean to speak, without expecting anything from you, from me? Let silence do the talking. I06 VAN DEN EEDE ANS www.hofvaneede.be The Weiss-effect / Het Weiss-effect In The Weiss-effect, Ans and Louise Van den Eede, also known as Hof van Eede, raise the question: what happens if we prefer beauty to reality? Three characters (Ans is assisted by Greg Timmermans and Pieter-Jan De Wyngaert) lose themselves in their admiration for the life and work of the artist Egard Weiss, in such a way that his influence makes them helpless. Do they want stories that are true, or is it sufficient that they are just beautiful?

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Artistic influence can have serious consequences: legion readers of The Sorrows of Young Werther were captured so thoroughly by this book that they took Werther's suicide as an example. Different from this so-called ‘Werther-effect’, the ‘Weiss-effect’ of Hof van Eede is a phenomenon that inspires the three characters and leads them to decisiveness. Their views are of a creative kind, they cite, they celebrate, they commemorate, they re-enact, they struggle. The Weiss-effect stirs up the lust for life. It is an invitation to put bleak reality in a golden frame. But if we are not more than merely a collection of influences, then who are we really? I07 VANDERSTEENE HANNE hannevds@hotmail.be Sunny Sunny is arrested for murder. Outside a March Against Senseless Violence is passing by. It is headed by The Mayor. The Mother, The Lover and The Sister stay inside with a fridge full of evidence. The Sister: Those flowers That fence That photo I mean, that space Will it disappear? The Lover: 'course it'll dis'ppear The Sister: Those flowers will wither, won't they? And wet stuffed animals grow mouldy, eventually But that bloke, Thomas, he's laminated. Hanne Vandersteene collaborates with Mahlu Mertens under the moniker Under Construction. This director duo researches how physical language can become equal to spoken language. They are fascinated by the collision between the stories about reality that individuals make up for themselves, and the conflicts that are a result of this. Under Construction make delicate, chock-a-block productions about social processes in which the struggle with recollection is often a central theme. Besides, they radically choose the path of story and illusion. I08 VAN HERREWEGHE MATS mats.vanherreweghe @gmail.com www.lhommmm.be De Vrijetijdsmens – studie # 2 Under the title of Leisure Man l'hommmm wants to make a series of plays about our performancebased society: ‘You shall be yourself, you shall distinguish yourself by what you do and what you wear’. In three studies they analyze how this self-image goes against the being of man. We are misled with an identity in which success and selfrealization are the main issues, an identity that is so rigid that it makes us compulsive.

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One suffers from the obscurities in life One dances the trenches dance One sings the song of valor One gets an attack One supports one another One searches for a meaningful descent One keeps on searching And we all sing together: “This is the Trenches Operetta in which the kraut is occupying Belgium But it doesn't stop at that and it doesn't all make sense yes not all yes not all”

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GRADUATION In this Study #2 l'hommmm questions this conception and how it affects the relation between two ‘individuals’. MASTER IN DE MUZIEK / MASTER OF MUSIC

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UITVOERENDE MUZIEK: KLASSIEKE MUZIEK / PERFORMING MUSIC: CLASSICAL MUSIC J01 AIVIA DIANA diana.aivia@gmail.com Daring and Desire Classical music and opera give us many heroic female figures, that inspire us to take risks and live fully. During my tenure here at the Conservatory/School of Arts Ghent, I have learned that risktaking and audacity are necessities for truly meaningful singing. For my Master's recital I have aptly chosen music that speaks to that need to defy convention and be free. From Handel's Giulio Cesare, Cleopatra is passionate and dominant, and incredibly ambitious. Gounod's Juliette and Bellini's Giulietta are both so completely in love that they are willing to defy family and society, and ultimately to sacrifice their lives. Ravel's Shéhérazade is a fantastic trilogy of characters featuring a woman who has wild dreams of traveling to the East, a young harem girl who is in love with a man outside her sheltered world, and a curious madame who is fascinated by a passing foreigner. With these and other heroines that I sing, I hope to reveal my own audacity and inspire in others the same joie de vivre. J02 ARDENOIS VALERIE valerie_ardenois@hotmail.com Final exam accordion The following works are on the programme: 1. Franck Angelis – Haïti 2. Johann Sebastian Bach – French Suite Nr. 3 3. Leif Kayser – Marcia Leggiera 4. Igor Stravinsky – Tango 5. Viktor Dikusarov - Scherzo 6. Ole Schmidt –Toccata Nr. 2 7. Vlatcheslav Semionov – Kalina Krasnaya My personal artistic project was providing the music in the theatre piece Edith & Simone. The performances were on 14, 15, 16, 21,

22, 23, 29 and 30 March at theatre Scala in Ghent. J03 AVDIU FJOLLA J04 BARBOSA DA COSTA RIBEIRO FILIPE ANDRÉ filipecostaribeiro@gmail.com Master Recital On my final master recital, which takes place at the Lakenmetershuis, Ghent, on 20 June 2014, I perform Ritmata (1974) by the Brazilian composer Edino Krieger, Invocacíon y danza, Homenaje a Manuel de Falla (1961) by the Spanish composer Joaquín Rodrigo, Ciaccona from Partita nº2 a Violino solo senza Basso BWV 1004 by Johann Sebastian Bach, and Concierto de Aranjuez para guitarra y orquesta, also by Joaquín Rodrigo, one of the most challenging pieces on the classical guitar repertoire. My personal artistic project consisted of a commented recital, which took place on 27 February 2014 at Brazza Café in Ghent. I performed the two solo classical guitar pieces that I discussed in my thesis, Light Balloon (1999) and Ataba (2007) by the Flemish composer Petra Vermote, as well as the Nocturnal After John Dowland, op.70 by the British composer Benjamin Britten, a classical guitar cornerstone of the twentieth century. J05 BRITO BRITO SARA britobritosara@gmail.com Flute´s Soundscapes Flute's Soundscapes offers a programme which covers different music styles and sounds of the flute. Listeners will travel through several soundscapes such as Japanese or French music. Pieces will be performed for solo flute, flute and piano, and flute and harpsichord, written by composers from around the world, and from different eras: Carl Philipp Emanuel Bach, Claude Debussy, Bohuslav Martinu, Tristan Murail, André Jolivet, Edgar Varèse and Toru Takemitsu. The performer will not only show the normal sound of the flute, but also a wide variety of contemporary techniques. J06 CAMPOS-FURBER ELIZABETH Master's Recital My master recital presents music chosen from a wide range of clarinet history, including pieces from eighteenth century Europe to twentieth century Brazil. It features classics such as Carl Maria von Weber's Concerto No. 1 and Giacomo Miluccio's Rhapsodie pour Clarinette Seule and some lesser known gems: Claudio Santoro's Drei Stücke für Klarinete and Paul Hindemith's Clarinet Concerto. My personal artistic project was titled Smooth Wood, Flash Metal: The cooperation of woodwinds and technology with a special discussion

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of clarinet multiphonics. It explored the variety of multiphonics possible on the clarinet, and how they are produced acoustically. The project culminated in a trio for clarinet, flute and computer entitled Smooth Wood, Flash Metal by William Kleinsasser. This piece exploits many contemporary techniques including multiphonics on both the clarinet and the flute, interweaving the texture of the woodwinds with support and interaction from the computer. J07 DENTANT STEFAN stefan.dentant@hotmail.com End recital I chose to play an innovating programme on my final exam recital at the Conservatory / School of Arts Ghent. I start with the rarely performed Concerto pour Trompette et Orchestre à Cordes by Robert Planel. Assisted by Leonard Duna, I play the reduced version for trumpet and piano. Composer Stijn Roels has written a trumpet concerto for trumpet and saxophone quartet especially for this occasion. The three parts of the piece (I. Allegro Scherzando—with a crazy touch, II. Hommage à Louis Vierne en III. Finale) are a great musical challenge for myself, and for the renowned Serrano Quartet. I also perform OKNA (Fenster) by Petr Eben. This piece is very challenging because of its modern character. I perform it with the assistance of organist Koen Maris. My personal artistic project is an ongoing project in collaboration with Harmonie Kastel, in which I have the final responsibility on the level of music. During my internship I am creating and developing interesting musical projects, concerts and competitions. J08 GOUDESONE BIEKE biekegoudesone@hotmail.com Guitarist Bieke Goudesone is emphasizing the music she also covers in her thesis. This thesis treats the music of Le Rossiniane nr 1 op. 119 by Mauro Giuliani (17811829), based on operas of Gioacchino Antonio Rossini (1792-1868). Some of these operas are Otello (including the famous aria ‘Assisa a pie d'un Salice’), Armida and the famous l'Italiana in Algeri. J09 HERNANDEZ STRAFFON DULCE J10 JACOBS HANS J11 LOBERA DAVID arebol87@gmail.com Acting Music Acting Music is an immersion into the Instrumental Music Theater. During the concert, visual elements, choreography, theatricalization and even some humour are in constant relation with the music. Four performers, David Lobera, Daniel

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J12 LOPEZ MURO MARTIN martinlopezmuro@yahoo.com.ar My graduation project is quite simple. It consists of a public concert, with a varied repertoire: modern, baroque, atonal and folk music. To end the concert I prepared some pieces from my home country, probably with another instrument. For the thesis project I chose to work on the music of an Argentinean songwriter and to adapt a song of his for guitar. J13 MA SHANSHAN i.m.susan13@gmail.com Solo Concert My graduation project includes three parts: a final clarinet recital, a personal artistic project and a thesis. The programme of my final recital is Concerto for Clarinet and Piano, Op.11 by Bernhard Crusell, Time Pieces by Robert Muczynski, and In Freundschaft by Karlheinz Stockhausen. My personal artistic project is called Exploring Chinese music on Clarinet. Chinese music has been known historically since the dawn of Chinese civilization, as early as the Zhou Dynasty (1122 BC?-256 BC). Today, the music continues a rich traditional heritage in one respect, while emerging into a more contemporary form at the same time. Therefore I have chosen two pieces from different periods. One is written when the clarinet was first introduced in China, the other one is a contemporary piece, composed by Chen Yi in 2011. My personal artistic project is related to my thesis Echoes of history: Clarinet music in China, which is my research on the use of clarinet in contemporary Chinese music, as well as the adaptation of traditional Chinese music for the clarinet, to see how these adaptations represent the construction of a hybridized Chinese musical theory that builds

off the classical pentatonic scale of Chinese music, while incorporating trends and tendencies from Western culture. J14 MEES BERT J15 PFENNING JENS jens.pfennig1@gmail.com jenspfennig.blog.com The graduation project of this master consists of an exam recital, a thesis and a project in the context of the course unit Arts in Practice. For my exam recital I chose for an exclusive Russian repertoire. I play the Sonata No.3 opus 33 by Alexander Scriabin (1872-1915) and Piano concerto No.2 opus 18 by Sergei Rachmaninoff (1873-1943). During the latter I'm assisted by my piano tutor. In my thesis I discuss the ideas of Alexander Scriabin, who was inspired by mystics, esotericism, and theosophy. Critiquing the ten piano sonatas, I want to lay bare the relations between these ideas and the development of his music. My project mainly consisted of contemporary choral music that focuses on religious and mystical themes. I assisted a great deal of these choral works. I collaborated with chamber choir Furiant from Ghent, led by Steve De Veirman. The concert took place on Saturday 24 May at 8 pm, Sint-Margrietstraat 11 in Ghent. J16 STORY ANKE ankestory@yahoo.com Guitar recital In the context of my master project at Conservatory/School of Arts Ghent I present my final recital on Friday 20 June at the Lakenmetershuis (Vrijdagsmarkt 24-25, Ghent). On the programme: John Dowland — Fortune — The Frog Galliard — Fantasia — Sir John Smith his Almain Johann Sebastian Bach, Prelude, fuga en allegro in Es, BWV 998 I Prelude II Fuga III Allegro Edino Krieger, Ritmata Agustin Barrios Mangoré, La Catedral I Preludio II Andante Religioso III Allegro solemne Enrique Granados, Valses poeticos I Vivace molto and Melodico II Tempo de Vals noble III Tempo de Vals lento IV Allegro humoristico V Allegretto (elegante) VI Quasi ad libitum (sentimental) VII Vivo VIII Presto J17 TIONANDA AMELIA amelia.tionanda@gmail.com The Sound of Archipelago The graduation project for the

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master in performing classical music includes the final recital, the personal artistic project and the thesis. For my final recital I play Violin Concerto no.3 op. 61 by Camille Saint-Saens and Violin Sonata no.3 op. 45 by Edvard Grieg. My personal artistic project is called The Sound of Archipelago. It explores Indonesia's rich culture through music. I perform contemporary and folk music by Indonesian composers such as Ananda Sukarlan, Marisa Sharon Hartanto and Renardi Effendi. The setting is a string quintet, clarinet, flute, and piano. During the concert videos are shown from parts of Indonesia, according to the folk music that plays. My thesis is entitled Applying Historical Performance on a Modern Violin: in the case of Chaconne from Violin Partita no. 2 BWV 1004. J18 TROISPONT PEGGY peggytroispont@hotmail.com Mussorgsky's 'Pictures at an Exhibition' in a new light My master project at Conservatory/School of Arts Ghent consists of a romantic and post-romantic programme. Emotion and passion were the leads on which my choices were based. On 24 June 2014 I play my final exam recital at concert hall Miry. On the programme: Sergei Rachmaninoff, Morceaux de Fantaisie, Op. 3 — Elégie — Prélude — Mélodie — Polichinelle — Sérénade Ludwig van Beethoven, Sonate 23, Op. 57 — Allegro Assai — Andante con moto — Allegro ma non troppo – Presto Frédéric Chopin, Ballade 1, Op. 23 Mussorgsky’s ‘Pictures at an Exhibition’ in a new light 25 March 2014—6.30 pm My personal artistic project was based on a collaboration between the music programme of the Conservatory and the painting programme of KASK. The initial concept was a reversed one: from the music it returned to painting. Martijn Derese and Cynthia Ballasina have both painted new work to music, on the basis of the underlying concept. These have been exhibited and projected during the performance. J19 UKEYEVA ZHAZIRA zhazika@mail.ru Zhazira Ukeyeva was born in Almati, Kazakhstan on 18 September 1988. She started studying violin and piano at the Specialized Music School for gifted children in Almati at age six. Ever since she has been zealously pursuing her path, which brought her to the Conservatory / School of Arts Ghent in 2009. In 2010 she became the concertmaster

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Buendía, Rafa Muro and Elisabeth Campos, and some lights is all what is needed to realize it. The concert begins with the cornerstone of this repertoire for the clarinet: The little Harlequin by Stockhaussen. It is an enormous challenge for the performer, who has to play the clarinet while dancing and making theater, following extensive and definite instructions by the composer which includes e.g. the direction of the movements on stage, the rhythm of the steps or the positions in which the clarinetist has to play. The second piece is Daniel Buendía and Rafa Muro's version of the Letter Piece number 7 by Matthew Shlomowitz. Secondly, I perform a work that was composed especially for this concert by Rafa Muro. The piece explores the repetition of vocal gestures. And what better to close a concert than with a few Bedtime Stories by Tom Johnson?

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GRADUATION of the student orchestra, led by Dirk Brossé. She is currently studying with A. Moccia. Her final exam recital consists of works by E. Ysaÿe and Pjotr Iljitsj Tsjaikovski. Ysaÿe has written six sonatas for solo violin. Each sonata was dedicated to a famous violinist of his days. The second sonata is dedicated to Jacques Thibaud. The sonata consists of four parts: 1. Obsession, 2. Malincolia, 3. Dans des ombres, 4. Les Furies. She will also play Tsjaikovski's Violin Concerto in D major, opus 35, one of the most difficult pieces ever written for violin. The concerto consists of three parts: 1. Allegro moderato, 2. Andante canzonetta, 3. Allegro vivacissimo.

Despite a preference for classical music I did compose a varied programme. It is varied not only on the level of accompaniment (piano and organ), but also on the level of the instruments I am playing (piccolo and sib/ut trompet). Apart from a famous classical work, I haven chosen to play a piece by a Belgian composer and other lesser known work. Leonard Duna take care of the accompaniment. On the programme: — Semaine Sainte a Cuzco, Henri Thomasi — Trompet Concerto in D major, Leopold Mozart — Concertino, Léon Stekke — Trompet Concerto, Vladimir Peskin

J20 UVIN WIDO The entire programme of the concert consists of pieces that were composed in the last eighty years. The highlight of the concert is the piece Folias de España, 20 variations and fugue for guitar by M. Ponce from 1929. This great work from the canon of classical guitar uses a Baroque theme as a lead for twenty variations and a fugue. I also perform Ritmata (Edino Krieger), Polkadots and Moonbeams (R. Dyens), Köln concert Part IIC (K. Jarret, arr. M. Barrueco) and Little suite for guitar (W.Uvin)

J24 VERSTRAETEN BART verstraeten_b22@hotmail.com Impression: Soleil Levant I present a multidisciplinary concert called Impression: soleil levant, on Saturday 29 March 2014. In this project, after Monet's painting of the same name, I want to draw parallels between painting, music and literature, both in Belgium as in France. The notion Impressionism is explored by means of the relations between different art forms. The artists start from one and the same thought: they want to reflect the mysterious similarities between nature and imagination. By means of a virtual exhibition people are guided through the most important artists in French and Belgian Impressionist painting. For France, the following painters were presented: Claude Monet, Edouard Manet, Pierre-Auguste Renoir, Edgar Degas, Paul Cézanne, Georges Seurat, Paul Signac, Berthe Morisot, Henri de Toulouse-Lautrec en Camille Pissarro. For Belgium I selected a.o.: Isidore Verheyden, Emile Claus, Théo Van Rysselberghe, Rik Wouters, Guillaume Vogels, Robert Aerens, François Binjé, Eugene Boch, Anna Boch, Franz Courtens, Jean-Baptiste De Greef, Gustave Den Duyts, James Ensor, Modest Huys, Alphonse Proost en Jules Verwest. In the programme selection Claude Debussy is the key figure. But I also play work by some French and Belgian composers who were Impressionists, or at least inspired by Impressionism, such as Ravel, Messiaen, Mortelmans, Lonque and myself. Moreover, I make a trip through symbolist literature, with declamations of poems by Paul Verlaine, Charles Baudelaire, Stéphane Mallarmé, Guido Gezelle, Lisbeth Aerens-Verwest and Maurice Maeterlinck. The composers have set these poems to music. Collaborators: Laya Safieddin (piano duo), Pieter Biset (Word) en Koen Verstraeten (Technics)

J21 VAN HEGHE ROBIN robinvanheghe@gmail.com robinvanheghe.weebly.com The programme of Revealing Secrets consists of seven string trios, all new creations by young Flemish composers. Inspired by the theme of ‘revelation and mysteries’ the composers speak a unique, varied and welcoming musical language. Each one of them makes an incredible statement with their work: a proof that classical music is very much alive! This young classical music, that reveals an exceptional and lively imagination is being performed by three talented international musicians: Robin Van Heghe (violin), Danila Mashkin (viola) and Eline Duerinck (cello). On the programme: — Mirek Coutigny: Bursting Balloon — Koen Quintyn: Hailstone — Jelle Proost: Liquid Trio — Boudewijn Buckinx: Driestreek — Gillis Sacre: Quasi ex nihilo — Patrick Housen: Pulsation — Ruben De Gheselle: Pied de mur aux demi deuils (with guest musician Emma Posman) J22 VAN HIJFTE ANNELIES avanhijfte@gmail.com Étourdi Music by Mozart, Puccini, Ravel, Walton, Berg and Hahn. J23 VAN NUFFEL ESTER estervannuffel@gmail.com

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J25 ZHU SHUANG Shuang.Zhu@aol.com Final Clarinet Recital The graduation project for the master in performing classical music includes a final recital, a personal artistic project and a thesis. For my final clarinet recital I perform Carl Maria Von Weber's Clarinet concerto No. 1, Claude Debussy's Premiere Rhapsodie, Jorg Widmann's Fantasie for clarinet solo and Concert Fantasia on Motives from Rigoletto by Luigi Bassi. The topic of my personal artistic project is Chinese clarinet Music. There are two parts to my project. One is a lecture, the other is a performance. First I introduced the history of clarinet music in China to the audience. In the second part I subsequently played five famous and influential Chinese clarinet pieces.

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UITVOERENDE MUZIEK: JAZZ/POP / PERFORMING MUSIC: JAZZ/POPULAR MUSIC K01 AMPE JAKOB jakobampe@gmail.com Alabonheur Jakob Ampe brings his new compositions and new work by Frederik Leroux. The compositions, that were born in the home studio, have a strong cinematographic character, and draw from a rich eighties tradition of bands and artists such as Roxy Music, Robert Palmer, David Bowie, Talk Talk, The Cure, Vangelis, Sakamoto, Japan, David Sylvian, Prefab Sprout, Whitney Houston, Prince … The drum machine and synthetical basses, combined with acoustic elements, piano and banjo, give Ampe's golden melodies a driving dynamic and timeless melancholy. It is a new sound that can also be found in contemporary ensembles such as Blood Orange, Twin Shadow, The War On Drugs, Ariel Pink, Connan Mockasin, Kuedo, Say Lou Lou … The new compositions premiered in a small line-up: Frederik Leroux and Thomas Smetryns fill up the space behind the vocals and synths with unorthodox instruments like banjo, dulcimer, zither, tuningforks ... subtle bungling! K02 BALCAEN MICHIEL K03 COLMAN VILLAMAYOR JIMMY

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K04 DE RIDDER MARGOT margotderidder@telenet.be One for the Road On my final exam recital, I will perform a mix of my own compositions and arrangements and some covers. My songs could best be described with an excerpt of the biography of my brand new project Mamzelle: ‘Is it ... jazz? Yes and no. Soul? Sometimes. Retro? Not always. World? Sometimes. Pop? Not really. People like labels. Eclectic pop maybe? In my adaptation of original works, I drew from the oeuvres of a.o. Sade, Dave Holland, Sting and Esbjörn Svensson. I have never explicitly chosen to follow either the path of pop or jazz. The master project is an ode to the past wonderful years, the encounters and experiences in her artistic program. I try to merge various genres in style.’ Line-up: Margot De Ridder: vocals Marta Del Grandi: backing vocals Charlotte Jacobs: backing vocals Ambroos De Schepper: saxophone Mattias Vanhoecke: piano Bruno Ravelingien: guitar Jelle Van Cleemputte: double bass, electric bass Bert De Pauw: drums K05 VAN CLEEMPUTTE JELLE jelle.van.cleemputte@gmail.com For my final exam bass guitar at the Conservatory/School of Arts Ghent I brought together a band with a.o. Jakob Ampe (The Germans), Toon Vlerick (Lightnin' Guy), Arne Huysmans (Amongster) and Jens Paeyeneers (LWNS). Together with these fellow students I play songs by Radiohead, Wilco and Beck, but also by Belgian bands such as Millionaire, Soulwax, Mauro & The Grooms and Evil Superstars. Beside the bass guitar the bass synth is also present.

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SCHEPPENDE MUZIEK: COMPOSITIE / COMPOSING MUSIC: COMPOSITION

L01 DE GHESELLE RUBEN L02 QUINTYN KOEN

M SCHEPPENDE MUZIEK: MUZIEKPRODUCTIE / COMPOSING MUSIC: MUSIC PRODUCTION

M01 EXELMANS STEF stefexelmans@hotmail.com My master project consists of four songs that were co-written with singer Dilys Cosemans. We have been making music together for a while already. I mostly write the instrumental part, Dilys writes the vocal parts. Bringing those together, we evaluate our combined efforts and adjust where necessary. There is no band yet for this project, so I played and recorded all instruments myself. The purpose of this music is mainly to create something we love listening to ourselves, and something we love playing. Whether or not we will continue this project is as yet undecided… M02 SPELEMAN TOBIE tobiespeleman@gmail.com Flightless Bird My master project is an EP of four tracks. The EP is centered around my band Flightless Bird. The band formed in the summer of 2012 as a five-piece, but nowadays I am mainly assisted by Stef Exelmans on bass and Roel De Bruyne on guitar. I wrote, recorded, mixed and mastered all the songs myself. In the recording and mastering processes I was assisted by Stef Exelmans. On the EP I present all my styles and talents, ranging from small and simple songs to epic outros. Still, throughout the four songs there is one common theme, which is my own sound. M03 TOMME KLAAS klaastomme@gmail.com Ides Moon – EP Ides Moon is the band of singerkeyboardist Klass Tomme. Together with Jasper Maekelberg (Yuko), bassist Sander Verstraete (Hypochristmutreefuzz) and drummer Laurens Biliet (Senne Guns, Berlaen) he went to the Audioworkx studio in the Netherlands. In two weeks they recorded the five songs of their debut record. On EP Ides Moon grounds the ethereal melodies with edgy and disorienting grooves. The band links energy to quietness, and mixes complex song structures with repetitive rhythms, in a way that sounds

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like it does not cost them any effort. But above all: the music breathes, vibrates and leaves room for silences. Sensational silences. “Über-Ghent sounding, but with a cosmopolitan allure” Ides Moon, named after the full moon of the Roman calendar, release EP and the first dingle of the record on Saturday 15 March (yes indeed, full moon, the iden of March). The band presents EP on a promo tour that not only takes them to the Belgian clubs, but also to London and Berlin. The record will be sold at these gigs. M04 VANACKERE THIJS vanackerethijs@hotmail.com Parci My master project contains four self-written songs that are presented on an EP. The tracks take you on a trip with depths and heights, organically combining various timbres. The songs are inspired by characters that are confronted with difficult choices in their lives, but the EP also originates in absurd situations and frustrations. The entire production process was done by myself, assisted by a couple of talented musicians. In my personal artistic project I wanted to do more than just perform my music live with No Man's Show. I wrote arrangements for three wind instruments that mainly add extra energy and density. These arrangements were performed on 28 April 2013 at Charlatan. M05 VAN BAELEN TOON toonvanb@hotmail.com Toon EP For my master project I wrote a couple of pop songs that I immediately recorded with some befriended musicians. From composition to arrangement, recording, mix ... I did everything by myself. The second part of my master project consisted of a film project for which I collaborated with director Brian Windelinckx (KASK/School of Arts Ghent). I wrote and recorded three songs that have a leading role in his ‘comédie musicale’, called Chansons de Charlotte.

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N01 LIMARDI ROBERTO roberto.limardi@hotmail.com Research on the use of Rhetoric in the Magnificat by John Rutter

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jim.cole@telenet.be www.jimcole.be The JC Experience When I graduated as a student music production (in 2008) my first album was released. Six years and two albums later I am telling my story with my own work, songs that have influenced me, and experiences in music business that have taken me to where I am.

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GRADUATION My graduation project consists of two parts. The first part is my master project, which is writing a theoretically correct fugue. The second part is my thesis. This is a research on the use of rhetorical figures in John Rutter's Magnificat. I took J.S. Bach's Magnificat as a point of departure and analyzed both works on the level of rhetoric. Subsequently I compared the works in order to find out how the eighteenth century theory is still present in contemporary music. The result is a theoretical view on rhetoric that can be useful for vocalists and conductors of choral music …

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INSTRUMENTENBOUW / MUSIC INSTRUMENT CONSTRUCTION The academic year 2013-2014 has no graduating students in the programme Music Instrument Construction. MASTER NA MASTER IN DE MUZIEK / ADVANCED MASTER OF MUSIC

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MASTER NA MASTER SOLIST HEDENDAAGSE MUZIEK / ADVANCED MASTER OF MUSIC / SOLOIST CONTEMPORARY MUSIC P01 KLEIN COREY P02 ROSENBLATT ADAM adam@obo.org Exam programme: — Louis Andriessen, Hout for saxophone, electric guitar, marimba, and accordion — Philippe Manoury, Last for marimba and bass clarinet — Philippe Manoury, Le Livre des Claviers, mvt. II for two marimbas — Mark Applebaum, Aphasia for solo performer and tape P03 TAKEDA TOMONORI

P04 UEKAWA YUKARI impro.yukari@gmail.com Comprovisation Saxophonist Yukari Uekawa travels between Europe and her native Japan. She studied at the Elisabeth University of Music in Hiroshima (Japan), Conservatoire National de Région de Lyon (France), and Conservatory Amsterdam (The Netherlands). She is currently enrolled in the advanced master's programme in Contemporary Chamber Music of Conservatory/School of Arts Ghent under the guidance of the Brussels-Based Ictus Ensemble and Ghent-based Spectra Ensemble. Ms. Uekawa is interested in improvisation and traditional music, particularly Javanese gamelan. She plays the saxophone and gamelan with gamelan ensembles in the Netherlands and Japan. She also frequently performs with dancers/ choreographers. In addition to her musical activities, she is a movie actress and photo model in the Netherlands. BACHELOR IN DE INTERIEURVORMGEVING / BACHELOR OF INTERIOR DESIGN Third year students in the Interior Design programme make their bachelor's project for one of four specialized majors; Interior Finishing & Advice, Interior Design, Furniture & Design or Temporary Installations. These four fields of specialization make the programme fully attuned to the sector's ever increasing level of professional specialization, without neglecting the general aspects of the training. Within each focus, students are offered a range of assignments, each with its own particularity, complexity and scale.

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FOCUS: Interieurafwerking & Advies / Interior Finishing & Advise 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

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thorough analysis of the building, site and specific demands forms the basis on which students first draw up a balanced zoning plan and a functional organization chart. A second phase focuses emphatically on the technical execution of the design and a detailed elaboration of design decisions. This involves choices of material and technique and the elaboration of construction and realization details. Parallel to this large assignment, students are introduced to aspects of sales, project management, quantity surveys, advice and more in a series of smaller, real service assignments. This combination familiarizes the students in the Interior Finishing & Advice focus with the everyday practice of the interior designer. participation in bachelor's project: Q01 ASSELMAN LOBKE Q02 BIETS ERIKA Q03 CLAES JONAS Q04 DE BAETS SIMON Q05 DE SMET JOLIEN Q06 LTAÏEF YASMINE Q07 MAES LAURENCE Q08 MUURMANS OMAR Q09 PETILLION ELODIE Q10 PROPS ELIEN Q11 RAMAN FRAUKE Q12 SCHOLLAERT TEHANI Q13 SPREUWERS RENATE Q14 TIJSKENS LIEN Q15 VANALLEMEERSCH JAN Q16 VAN DEN BROECK NORE Q17 VAN DEN EYNDE SHELLY Q18 VAN DER HOEVEN KIMBERLY Q19 VANDESOMPELE MICHIEL Q20 VANOVERSCHELDE JONAS Q21 VERCAEMPST JOHANNA Q22 VERKINDEREN JUSTINE Q23 WIEME JOLIEN

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R19 VAN STEERTEGHEM KARL

S09 VANDENABEELE JOKE

R20 VROMMAN LISA

S10 VAN RYMENANT CAMILLE

FOCUS: Interieurontwerpen / Interior design

The Interior Design focus presents the students with design assignments of an advanced complexity. For their Bachelor's project, students make a choice from a range of assignments in different fields. The emphasis in this field of specialization is on the phase of analysis and conceptualization and how these two aspects of the design process influence each other. A thorough analysis of the building, the site and a list of specific demands is not only carried out technically, focusing on structure, history and surfaces, but students are also expected to take up a motivated stance on the context of the assignment, the customer and the building. Both analysis and personal position will influence the choices made in the course of the ensuing design process. This stimulates the students' total awareness of their own design process. participation in bachelor's project: R01 ACKE LIEN R02 BLOMME HANNA R03 COOMAN ISABEAU R04 DEKETELAERE MAJA R05 DEVALCKENEER BASTIEN R06 DE VOS JOLIEN R07 GODDEFROY SHAUNY R08 GOOSSENS MARIE-SOFIE R09 GUIX BOIX MIREIA R10 ISSELÉE LISA

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FOCUS: Meubel & Design / Furniture & Design

Popular TV shows on product development and design have made the concept of design accessible to all. The design of everyday functional objects livens up our homes and working environments, as ever new variations of chairs, tables and beds are mainly designed to look trendy. The Furniture & Design focus, however, engages in a critical reflection on both industrialized and traditional design. We consider designing as the attribution of meaning to our material surroundings, and the products and objects we create are developed from the point of view of the function and place they assume in an interdisciplinary and intercultural world. Professional designers who actively shape today what will be used tomorrow—by the current and future generations—should pay special attention to the motivations behind a specific shape or design. As such, in this focus we trace the ‘rights of existence’ of pieces of furniture or design objects. Newly developed technologies or the negative—cultural, social, psychological or ecological—effects of a design object on its user can be adequate reasons for questioning an existing object and replacing it with a more effective alternative. For it is an absolute necessity to analyze and redefine designs that no longer fill a need in an evolved society or that even threaten a simple and healthy life. participation in bachelor's project:

S11 VENLET ASTRID S12 VERCAUTEREN TOON S13 VERFAILLIE LIESELOT S14 VERHELST NIKITA S15 VERMEULEN LOUISE S16 VUYLSTEKE VIRGINIE S17 WILLEMOT LOÏC S18 WYLIN EWOUT

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FOCUS: Tijdelijke Installaties / Temporary installations 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.

R11 MAENE VALERIE

S01 DE BACKER ANOUSCKA

R12 MESTDAGH MARIEKE

S02 DE PAUW MAAIKE

R13 PAUWELS AMELIE

S03 KIESEL YASMIN

R14 SCHOORS MATTHIAS

S04 MASELIS JOKE

participation in bachelor's project:

R15 TETTELIN IONA

S05 MICHIELS KIM

T01 BARAVIERA ALESSANDRA

R16 VAN DAMME TESSA

S06 ORBIE LORE

T02 CAVEYE KIM

R17 VANDER ELST LAURIE

S07 ROGIERS VALÉRIE

T03 CEUPPENS JENNIFER

R18 VANDERMEULEN NOURIA

S08 SCHOTTE CELINE

T04 CREMERS EVI

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GRADUATION T05 DEPETTER BRIT T06 DEPOTTER BRECHT T07 D'HOORE JOKE T08 D'OOSTERLINCK TESSA T09 HIMPE MICHELLE T10 ROGGEMAN LIVIA T11 SAEY FEMKE T12 STIERS BERT T13 T'KINDT STEFFI T14 VANSTEENKISTE JUSTIEN T15 VERFAILLIE VALERIE T16 WALRAVENS PIETER T17 WELTEN IRENE T18 WERREBROUCK ARIANE T19 YE YONGYI BACHELOR IN DE LANDSCHAPS- EN TUINARCHITECTUUR / BACHELOR OF LANDSCAPE AND GARDEN ARCHITECTURE

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The Bachelor project for the past academic year has been in the framework of a social service assignment with the City of Aalst's autonomous public works department, Stad Aalst (AGSA). The academic study project, Openruimtecorridor stedelijk woongebied Immerzeel (Public Space Corridor for the Urban Residential Neighbourhood, Immerzeel), was a perfect fit to the educational and methodological objectives of our professional Bachelors programme. In addition, this study project touched on all possible opportunities to activate the envisioned development of the competencies, skills and architectural creativity of our students. The City of Aalst considers a high-quality and durable design of this urban residential area, made to fit its people, environment and nature, a high priority. For the city, this was the primary reason for setting up the project. For our young, future landscape architects, the project offered the opportunity to fully develop their creative and innovative vision of a ‘Living City – City to

Live In', in the context of a realistic, practical project. An additional advantage for the city is that they can use the various plans and ideas to establish open communications with the residents. The qualitative spatial and social aspects and objectives for the area concerned can moreover be more sharply described and upheld during the planning process—a winwin situation for all involved! participation in bachelor's project: U01 AELBRECHT STEVEN U02 BATAILDE AUBERTIN U03 BOLANOS ALEJANDRA U04 BRANTS EVA U05 BUYSSENS DIDIER U06 CALLEWAERT SIEN U07 CASIER LANDER U08 CLICTEUR SAM U09 COPPEJANS JOLIEN U10 DEBIE SAM U11 DEBO SIMON U12 DE COKERE ANNELORE U13 DE CONINCK ANDRIES U14 DECRUY MARLIES U15 DE GROOTE LEEN U16 DE KEGEL STIJN

U33 NAESSENS HENRI U34 NYS VINCENT U35 PIETERS KOEN U36 PIETERS NATASCHA U37 PYPEN JEROEN U38 ROETS JORG U39 SELS KLAAS U40 STEYAERT ELINE U41 VANDECANDELAERE JORNE U42 VAN DEN BERGE CORNELIS U43 VAN DEN DRIESSCHE STIJN U44 VANDEPUTTE ASTRID U45 VAN DE VELDE BART U46 VANDEVELDE NIELS U47 VANFRAECHEM EVERT U48 VANLERBERGHE NICOLAS U49 VERBEECK ART U50 VERPLANCKE CHARLOTTE U51 WANG YIQIAO U52 WEYN KWINTEN BACHELOR NA BACHELOR IN DE LANDSCHAPSONTWIKKELING / ADVANCED BACHELOR OF LANDSCAPE DEVELOPMENT

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U17 DE NEEF MELISSA U18 DENOLF SILKE U19 DE SMET TIM U20 DE WITTE ELIAS U21 DOX MAARTEN U22 GOTEMANS FREDERIK U23 HEYVAERT JAKOBA U24 INGELAERE JOSEPHINE U25 JACXSENS WOUT U26 LAUWERS NELE U27 LECOMPTE THOMAS U28 LEROY BENOIT U29 LOBBES JEAN JACQUES U30 MAES MATTHIJS U31 MATHU PAULIEN U32 MICHIELSEN ROBBE

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The advanced bachelor's programme in landscape development focuses on the landscape, and on the ways it can be used in the context of environmental planning. This one-year programme aims to train competent professionals with the analytical and synthetic skills that are necessary for an independent and critical understanding of the landscape. This forms the basis for creative and substantiated planning proposals. The degree of complexity of the project assignments increases every term. In the first term students are dealing with relatively simple problems, focusing on site analysis. Planning and instruments enter the picture in the second and third term. Geographic Information Systems (GIS) are an important

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Projects developed in 2013-2014: First term project This project analyzed the landscape in communities nominated for the art project ‘home for a sculpture’ of the province of East Flanders. The aim was to explore the opportunities for the integration of artwork in particular public places. Second term project In collaboration with KULeuven, this project studied the collective memory of the landscape of the valley of the Oude Kale. This collective memory was explicited by means of a digital tool, and interpreted in order to estimate the effects of landscape change. Third term project This was part of a research project regarding the perception of the landscape around the Frontzate, a cycle route from Nieuwpoort to Diksmuide.The analysis of the visual quality of the landscape was the starting point for landscape design. applying for a bachelor degree: V01 CARIS PIM V02 COENRAETS ANNELIES V03 DAUWE DAVY

V10 D'HAESE SARAH

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tool in this phase. In many cases these projects evolve as responses to specific questions from the field. In the course of the projects, as well as in the final stages, discussions are organized with students and clients. As such, our students have already presented studies and projects to local authorities, provincial councils, non-profit organizations and a number of private partners. The eight weeks of the fourth term are entirely devoted to an internship, in which students get the opportunity to test and integrate the competences they have acquired. Preferred internships are in design firms, public institutions or administrations (such as the Flemish Government, the provinces and communities), at home or abroad, in which both landscape planning in its broadest context, and the application of Geographic Information Systems are addressed.

SCHOOL V11 EGGERMONT MAARTEN V12 JOCQUÉ MAXIME V13 LENS DOMINIEK V14 PAELINCK RUBEN V15 RAPPÉ WARD V16 REYNIERS LARS V17 T'KINDT KATINKA V18 WILLAERT DELPHINE

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TEBEAC, the postgraduate programme of exhibition and conservation of contemporary art, is co-organized by University College Ghent, S.M.A.K. and Ghent University. TEBEAC focuses on contemporary exhibition practices, museological issues, conservation, collection building, and collection management. The training offers a varied programme including traditional academic lectures, discussion seminars, an internship, workshops, the curating of an exhibition and study trips. Academics, professionals with practical experience and guest lecturers ensure the embedment of the programme and its students in the contemporary arts field. One of the programme courses results in the concerted realization of an exhibition project. For this academic year the graduating students would like to bring the following information to your attention concerning their collective exhibition project:

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We are occupying this space to inform you about the publication on our exhibition Collective Gardens, which started at Komplot and invades Graduation 2014 right now! You can find our program and publication at the bookshop.

V04 DE BELS EVA V05 DE BRUYN JEROEN V06 DE LANGE JONAS V07 DE MUYLDER BERDIEN V08 DESMET FLORIS V09 DE VLAM JORDI

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GRADUATION

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Facts & Figures

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CONSERVATORIUM

GRADUATION DEGREES GRANTED TO STUDENTS IN THE ACADEMIC YEAR 2012-2013 (ARRANGED ACCORDING TO PROGRAMME AND GENDER) total count (522)

NUMBER OF ENROLLED STUDENTS FOR THE ACADEMIC YEAR 2013-2014 (ARRANGED ACCORDING TO PROGRAMME AND GENDER) total count (2054)

Bachelor of Audiovisual Arts (17)

Bachelor of Audiovisual Arts (125)

Bachelor of Visual Arts (104)

Bachelor of Visual Arts (459)

Bachelor of Interior Design (65)

Bachelor of Interior Design (368)

Bachelor of Landscape and Garden Architecture (49)

Bachelor of Landscape and Garden Architecture (210)

Advanced Bachelor of Landscape Development (17)

Advanced Bachelor of Landscape Development (22)

Bachelor of Music (50)

Bachelor of Music (279)

Bachelor of Drama (9)

Bachelor of Drama (40)

Master of Audiovisual Arts (16)

Master of Audiovisual Arts (33)

Master of Visual Arts (67)

Master of Visual Arts (165)

Master of Music (38)

Master of Music (129)

Master of Drama (8)

Master of Drama (20)

Master of Audiovisual Arts (English master) (1)

Master of Audiovisual Arts (English master) (6)

Master of Fine Arts (English master) (11)

Master of Visual Arts (English master) (34)

Master of Music (English master) (5)

Master of Music (English Master) (28)

Postgraduate in Exhibition & Preservation of Contemporary Art (8)

Advanced Master of Music / Soloist Contemporary Music (26)

Preparatory programme for the Master of Audiovisual Arts (1)

Postgraduate program for Exhibition & Preservation of Contemporary Art (18)

Preparatory programme for the Master of Visual Arts (7)

Preparatory programme for the Master of Audiovisual Arts (2)

Preparatory programme for the Master of Music (1)

Preparatory programme for the Master of Visual Arts (12)

Teacher Certification in Audiovisual Arts (2)

Preparatory programme for the Master of Music (3)

Teacher Certification in Visual Arts (19) Teacher Certification in Drama (1) Teacher Certification in Music (26)

Preparatory programme for the Master of Drama (2)

NUMBER OF UNIQUE STUDENTS FOR THE ACADEMIC YEAR 2012-2013 total count (1934)

male (931) female (1003) count of 01.12.2013 of all enrolled students with a degree contract NUMBER OF BELGIAN STUDENTS FOR THE ACADEMIC YEAR 2013-2014, PER PROVINCE total count (1721) count per province/region Antwerp 229 Brussels-Capital Region 18 Hainaut 7 Limburg 82 Liège 2 Luxembourg 1 Namur 3 East-Flanders 720 Flemish Brabant 162 Walloon Brabant 2 West-Flanders 491 Other 4 count of 01.12.2013 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 2013-2014, PER NATIONALITY total count (213) Albania 2 America 11 Armenia 3 Brazil 2 Bulgaria 2 China 8 Colombia 2 Congo 1 Costa Rica 1 Countryless 1 Croatia 1 Czech Republic 1 France 5 Georgia 1 Germany 5 Greece 1 Honduras 3 Hungary 2 Indonesia 2 Irak 2 Iran 6 Ireland 1 Israël 2

count of 01.12.2013 of all enrolled students with a degree contract

Teacher Certification in Audiovisual Arts (5) Teacher Certification in Visual Arts (33) Teacher Certification in Drama (2) Teacher Certification in Music (33)

male female

count of 01.12.2012 of all enrolled students with a degree contract

158

Italy 9 Japan 5 Kazakhstan 2 Kosovo 1 Latvia 2 Lithuania 2 Mexico 3 Moldova 1 Peru 1 Portugal 1 Romania 2 Russia 15 Serbia 1 Singapore 1 South Africa 4 South Korea 1 Spain 6 Suriname 1 The Netherlands 81 Turkey 2 Ukraine 5 United Kingdom 2

2014

KASK

SCHOOL

ARTS

TEACHING AND ADMINISTRATIVE STAFF OF THE SCHOOL OF ARTS FOR THE ACADEMIC YEAR 2013-2014

OF

total count (518) Adriaansens Jeannice / Adriaensens Vito / Aerts Liene / Afschrift Timme / Alliet Patrick / Andreasen Kasper / Antico Susanna / Baeckelandt Peter / Baele Dirk / Balcaen Bert / Bartoletti Paola / Beelaerts Paul / Beels Katrien / Beert Inès / Bellanger Sven / Bellinkx Ruben / Belpaeme Geert / Ben Chikha Chokri / Berden Laurence / Berx Patrick / Beuckels Patrick / Beyls Peter / Bisschop Marie / Blanchaert Dirk / Bleyen Mieke / Blondeel Maria / Boeykens Beatrijs / Bohen Evelyne / Boon Jan / Borremans Michael / Bos Eva / Bosschem Johan / Bouchez Hilde / Boucneau Annette / Braeckman Dirk / Brants Bart / Braude Nathan / Breynaert Willem / Breyne Rob / Broekaert Elise / Brosse Dirk / Brouwers Anke / Brusatto Geoffrey / Bryssinck Hans / Burghgraeve Lutgart / Buyse Christine / Campens Angelique / Capelle Mireille / Cardinael Miel / Carels Edwin / Carrijn Johan / Casaer Paul / Casale Vincenzo / Castelein Ingrid / Cielen Fia / Claeys Freddy / Claeys Geert / Clarisse Geert / Clierieck Martine / Cluckers Jeroen / Cneut Carl / Cnop Ann / Cocquyt Wendy / Colpaert Lisa / Colruyt Godelieve / Conard Sébastien / Cools Francky / Coppieters Frank / Coquette Michel / Cornelis Dirk / Cornelis Olmo / Corstjens Danny / Coryn Frank / Cottyn Kersten / Crevits Bram / Cusimano Antonella / Daenen Johan / Daneels Sofie / De Baerdemaeker Jo / De Baets Isabelle / De Baudringhien Filip / De Bodt Saskia / De Boeck Christoph / De Boer Manon / De Bondt Katia / De Boodt Maria / De Brauw Elisabeth / De Brauwer Greta / De Bruyckere Joan / De Buck Noël / De Clercq Anouk / De Cock Nele / De Cock Sabine / De Fleyt Karin / De Haas Jan / De Jonckheere Jan / De Keyzer Carl / De Langhe Hilde / De Meuter Ingrid / de Mey Anne / De Pauw Jan / De Poorter Simon / De Preester Helena / De Roeck Philip / De Rycker Pieter / De Schepper Dirk / De Schrevel Stephane / De Smet Helena / De Smet Hilde / De Smet Peter / De Temmerman Wim / De Vis Hendrik / De Vleeschhouwer Luc / De Vos Eric / De Vuyst Hildegard / De Wilde Leen / De Wit Dries / De Wolf Sandy / De Wulf Mia / Debaene Mario / Debbaut Jan / Deblauwe Dirk / DeBlock Hugo / Debonne Rik / Deboosere Marie / Debuysere Stoffel / Decock Anna-Maria / Decorte Wouter / Defoort Bart / Defrance Silvia / Defrancq Evert / Degand Francis / Degryse Luc / Dekeukeleire Thijs / Dekeyrel Carlos-Joseph / Dekoninck Karlien / Delaere Ivo / Delarue Stefanie / Delecluse Fabrice / Deleu Luc / Demets Paul / Demeyer Jean-Marie / Demoor Marc / Demyttenaere Siegrid / Den Hond Ilse / Dendooven Gerda / Depestel Bart / Depestel David / Depoorter Emmanuel / Deprey Kris / Deprez Danny / Depuydt Bieke / Derks Peter / Derycke Johan / Derycke Laurent / Derycke Luc / Deschepper Luc / Desimpelaere Pascal / Desmet Thomas / Devlieger Jan / Devolder Steven / Deweerdt Herwig / Dewulf Bernard / Dezwarte Els / D'haese Gert / D'haeyere Hilde / Dheedene Stefaan / D'herde Nele / Dhondt Geert / Dielman Martine / Dobbelaere Danny / Dockx Joris / Dombrecht Patrick / Dragonetti Régis / Druart Michel / Dua Raphaël / Duijck Johan / Duna Leonard / Dupan Ward / Duprez Caroline / Duquenne Ronny / Eeckhout Wim / Ellertz Kristof / Engels Tom / Ermert Judith / Eyckmans Filip / Fabré Marijke / Florizoone Jan / Florizoone Tuur / Foré Pieter / Fostier Johan / Fransen Christiane / Frederickx Manu / Friant Katrien / Galle Jerry / Garabedian Mekhitar / Gerritse Arnoud / Geyskens Vincent / Gleizes Mireille / Goddeeris Isidoor / Godfroid Marc / Goossens Frederik / Govaert Véronique / Graste Gertruda / Graulus Myriam / Grimonprez Johan / Grootaers Elias / Gulinck Luc / Guns Senne / Gyselbrecht Martine / Gyselinck Wannes / Hallaert Veerle / Hannes Nick / Heirman Marianne / Hemerijckx Els / Hendrickx Jimmy / Hendrickx Sébastien / Herman Gerard / Hesters Delphine / Heuninck Elias / Heyde Steven / Heyerick Florian / Heyndrickx Tony / Heynssens Veerle / Hilderson Dieter / Högner Christiane / Hollevoet Mia / Hoogewys Judith / Horozic Jasmin / Huisman Lukas / Hulpia Hester / Huvenne Martine / Huygelen Elisabeth / Huyghe Philip / Impens Vincent / Isselée Johan / Istomin Sergei / Jacobs Adriaan / Jacobs Gert / Jacobs Steven / Jans Erwin / Janssens Thomas / Jespers Bram / Joye Ruben / Junnonen Anu / Kars Anita / Kempenaers Jan / Kerckhof Marc / Kermaire Franky / Keunen Gert / Kivrikoglu Ibrahim / Konink Jan Willem / Korczak Andreas / Koster Jacobus / Kramer Arno / Kugel Michael / Kusters Liesbet / Kwakkenbos Laurentius / Lamal Hans / Lamont Paul / Langsdorf Heike / Lapauw Dieter / Lauwers Liza / Le Roy Frederik / Lefèvre André / Lemahieu Katty / Leper Hendrik / Leroy Frederik / Lesaffer Bert / Lesage Peter / Lhoest Leon / Libbrecht Harlind / Libens Daniël / Lievens Bauke / Lievens Dirk / Lodewyckx Tom / Logghe Nico / Louwyck Liesbeth / Luyten Anna / Maas Koen / Macbean Ibernice / Maelfeyt Jurgen / Maes Ives / Maeseele Wim / Mangeleer Dario / Marchal Guy / Marichal Nicolas / Marievoet Sven / Maris Bart / Marreyt Steve / Martens Erik / Martens Renzo / Martin Ronny / Masson Marc / Mathysen Pieter / Matthys Marc / Matthyssen Elke / Mendonck Greet / Mendoza Christian / Mertens Lode / Metten Philip / Meuleman Rob / Michiels Ignace / Minten Raf / Mistiaen Carlo / Moccia Alessandro / Moens Els / Monbaliu Jean-Paul / Mortier Pieter-Paul / Mulhall Gustavo / Nachtergaele Ruben / Nardozza Carlo / Navratil Tomas / Neels Femke / Neetens Steven / Nerinckx Erik / Nuyts Frank / Nuytten Pieter / Op De Beeck Hans / Opstaele Johan / Overdeput Christian / Paeshuys Jolien / Pairon Lukas / Parente La Selva Adriana / Paridaen Sjoerd / Paskevic Irina / Pauwels Tom / Peeters Yannick / Pegorim Getacine / Peire Sarah / Penson Guy / Peters Kristel / Petresin-Bachalez Natasa / Pierins Vincent / Pinoy Marijke / Pint Kim / Platel Alain / Poissonnier Pascal / Ponseele Francis / Popelier Marc / Posman Lucien / Poullier Caroline / Provost Nicolas / Pujol Marcos /

Pultau Dirk / Quanten Maarten / Raes Godfried / Ramon Mieke / Raspoet Iris / Rathe Filip / Raymaekers Willem / Reunes Lieva / Rigole Jasper / Robyns Gert / Rodenburg Eva / Roelandt Els / Roelant Daniël / Roelens Roger / Roels Hans / Rogiers Peter / Rondas Ruth / Rondelez Katrien / Roosemeyers Alex / Ruigrok Mirella / Saelens Ann / Samoshko Vitaly / Scheerlinck Danny / Schoenmaekers Raf / Schollaert Stijn / Scholliers Hans / Sel Dries / Sels Liselotte / Senden Yves / Senepart Gillis / Sergeyenia Timur / Serneels Bert / Serroen Frederik / Smet Valérie / Smolders Luc / Snauwaert Marie / Soenen Geert / Somers Dominique / Sonck Christophe / Spies Gyuri / Steen Jan / Steenhout Eveline / Steverlynck Diane / Storms Yves / Stragier Claire / Stragier Jan / Stroobants Herman / Styns Frederik / Tcherneva-Verschuren Youliana / Teirlinck Nathalie / Temmerman Jonas / Termont Sandra / Theys Hans / Thuriot Philippe / Thys Nicolas / Tilkin Michel / Timmermans Ante / T'Jonck Pieter / Tordoir Narcisse / Tosseyn Tom / Triest Sara / Ubben Eric / Vahsen Céline / Vaiana Pietro / Valibouse Arielle / Van Beeck Martien / Van Beveren Wilfried / Van Burm Stéphane / Van Buylaere Charlotte / Van Cauter Steffie / Van Damme Bram / Van Damme Sylvie / Van De Velde Gwendeline / Van De Woestyne Mieke / Van Den Bossche Bart / Van den Hauwe Joris / Van der Biest Francine / Van der Gucht Sandra / Van Der Sanden Tania / Van Der Veken Jan / Van der Velde Thomas / van Dienderen An / Van Dionant Toon / van Driel Willy / Van Eeckhaut Marijke / Van Eeghem Elly / Van Elslande Brecht / Van gestel Jef / Van Gestel Kristof / van Gogh Dirk / Van Gysegem René / Van Heertum Hugo / Van Ingelgem Samuel / Van Isacker Carl / Van Kerckhoven Annemie / Van Langenhove Herlinde / Van Lierde Wigbert / Van Maldegem Kurt / Van Moffaert Claire / Van Oost Hans / Van Opstal Filip / Van Paesschen Bram / Van Petegem Karen / Van Reeth Griet / Van Regenmortel Eva / Van Rossem Stijn / Van Ryckeghem Steve / van Stapele Nicoline / Van Steenkiste Bart / Van Tornhout Wouter / Vanbroekhoven Ivan / Vandamme Sofie / Vande Veire Frank / Vandekerkhove Henk / Vandenberghe Peter / Vandenbussche Jorre / Vander Linden Jacky / Vanderbeke Katrien / Vandeveire Bram / Vandevelde Ludwig / Vandewalle Benjamin / Vandewalle Daan / Vaneyghen Rik / Vanfleteren Stephan / Vanhaeren Kobe / Vanhalewyn Jan / Vanhecke Françoise / Vankerschaver Clara / Vanommeslaeghe Raf / Vanoosthuyse Eddy / Vantroyen Frank / Veirman Anja / Venlet Daniel / Verbeke Wim / Verbeken Joris / Verberkmoes Geerten / Vercaemer Geert / Vercruysse Rik / Vergauwe Geert / Vergucht Harold / Verhamme Nicole / Verhelst Peter / Verheyen Hildegarde / Verlinden Leo / Vermaele Jeanne / Vermassen Joris / Vermeersch Pascal / Vermeersch Peter / Vermeulen Erik / Vermeulen Maria / Vermeulen Patrick / Vermoere Willem / Vermote Petra / Verschoore Evelyn / Verstiggel Saskia / Viaene Patrick / Vlaeminck Annelies / Voet Kathleen / Vos Hans / Vuylsteke Vanfleteren Katrien / Waelput Wim / Wautier Chrystel / Wellekens Tom / Welvaert Veronique / Westerduin Saskia / Weyler Maarten / Wiame Benjamin / Willems Catherine / Windels Veerle / Wittevrongel Erwin / Wyn Davies Catrin / Yee Marina / Ysabie Peter / Zoete Dirk / Zolotareva Olga

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GRADUATION COLOPHON Publication issued on the occasion of Graduation 2014, the presentation of bachelors, masters and postgraduate projects 2014 at School of Arts Ghent (KASK & CONSERVATORY). Graduation 2014 comprises an exhibition, a drama festival, the premiere of KASKfilms, fashion shows (MOVEMENT#21) and concerts. DRAMAfestival June 20 – June 28, various locations on the Bijloke campus and in the city centre of Ghent Movement #21 Fashion shows: June 20 & 21, Eskimofabriek Ghent Concerts June 26 & 27, series of classical concerts, Miry Concert Hall June 20, 21 & 22, concerts by students Jazz / Pop / Music Production, Minard Schouwburg KASKfilms Premiere: June 24, cinema Sphinx Screenings: June 25 – June 29, KASKcinema EXHIBITION Masters, Bachelors and Postgraduate projects exhibition June 26 – June 29, Bijloke campus & Kunsttoren June 25, opening night Publication coordination and editing: Liene Aerts, Wim De Temmerman and Els Roelandt Contributions by: Liene Aerts, Ariella Azoulay, Peter Bilak, Pierre Bismuth, Fari Bradley, Edwin Carels, Chokri Ben Chikha, Olmo Cornelis, David Depestel, Wim De Temmerman, Jan De Vylder, Pieter Foré, Steven Heyde, Steven Jacobs, Andreas Korczak, Jan Lauwers, Maria Lind, Kieran Long, Alexei Lubimov, Laura Maes, Tsai Ming-Liang, Erwin Mortier, Els Roelandt, Joren Six, Sylvie Van Damme, Frank Vande Veire, Kristof Van Gestel Design: Studio Jurgen Maelfeyt Translation: Steve Marreyt and Mari Shields Copyediting: Liene Aerts, Els Roelandt and Marnie Slater Text and photo editing index student projects: Thomas Nolf, Els Roelandt and Claire Stragier Website: Claire Stragier and Harold Vergucht Thanks to: Tom Callemin, Wendy Cocquyt, Fabrice Delecluse, Ilse Den Hond, Dirk De Schepper, Régis Dragonetti, Johan Isselée, Bert Lesaffer, Els Moens, Roger Roelens, Sylvie Van Damme, Thomas Van der Velde and Wim Waelput. Fonts: Life & Swiss Printing: New Goff, Ghent ISBN: 9789491564024 Edition: 1500 copies School of Arts Ghent Jozef Kluyskensstraat 2 B-9000 Ghent www.graduation2014.be www.schoolofartsgent.be

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