KIOSK

Drawing from seemingly endlessly proliferating word sequences—which arise from a single word through a simple rule and through association—Veva Leye creates montages that present the same words in completely different ways. Uncannily coagulating, these word images expand and contract in an accordion-like movement. A similar rhythm characterizes Jelle Martens’ (photo)graphic registrations that combine fragments, reproductions and trivial observations into layered prints and drawings. Every print layer, every drawing operates as a temporary frame bringing together images that only temporarily solidify, overlap, and fall apart again. Image and language tumble along, stumble upon. Letters form words form images reading looking.

What happens to an artistic practice when you become a parent? And what happens to an arts institution when an artist’s life disrupts its plans?

Stress Test reflects on how the birth of a child can affect both an artist and an institution. When an artist asked KIOSK to consider postponing his exhibition so he could care for his child, his request also became a stress test for KIOSK: how flexible can an institution be? What responsibility does it bear towards the people it works with?

KIOSK made room for his circumstances and chose to create something new in place of his exhibition. With the help of artists close to KIOSK and its network, a group exhibition took shape around fathers, fatherhood, fathering, and artistic practice. Works based on personal experiences and intimate stories explore care, the love and tension between father and child, and the desire to have or not to have children.

An open call for birth announcement cards designed by artist-fathers extended the invitation to contribute beyond KIOSK’s network. These cards bring together intimate and public moments: the arrival of a child, the announcement of a new life… and an artist becoming a father.

With works by

Ava Pudelek-Hoffman + Nicholas Hoffman, Chloë Delanghe, Danilo Zocatelli, Edouard Peeters-Wintein, Eva Maria Bouillon, Fabrice Schneider, Henry Andersen, Herman Van Ingelgem, Jacques Lizène, Julia Schouten, Laurens Mariën, Leen Voet, Marthe Merckx, Odette & Jasper Rigole, Paul Casaer, Sambasiva Rao Patchineelam & Vijai Maia Patchineelam, Trudo Engels, Vaast Colson, Vanya, Johan & Willem Vermeersch, Veronika Eberhart, Willy Van Ingelgem, and all the artists who contributed birth announcement cards

As part of Connecting the Dots, KIOSK presents A Study on Impact, an interactive installation by Peter Van Hecke in the kiosk pavilion in Citadelpark.

Inside the pavilion, a sculptural space emerges, constructed from eight willow longbows. Visitors are invited to activate the installation through play. Using a blowpipe, they fire acorns collected in the park at a target that forms the space’s final element.

Each impact produces a sound and a vibration that travel back through the installation to their point of origin. Each impact creates an echo and leaves a dent in the target.

A Study on Impact makes the consequences of a seemingly small gesture visible, audible and tangible all at once. The installation invites experimentation, play and wonder, while capturing the traces left behind by every action.

A Study on Impact is the second chapter of Connecting the Dots, a four-part project by Peter Van Hecke for KIOSK.

Double Minutes Marathon brings together 8 recently graduated students from KASK & Conservatorium and LUCA School of Arts.

For this edition, Double Minutes has invited the participants for an intensive workshop where they’ll explore the format of an artist talk, in line with their interests and practices. The duos and presentations in this marathon thus result from this period of exchange.

Participating artists

• Angelus Schnabl
• Carlotta Cormegna
• Eva De Vilder
• Freya Coppens
• Gwen Korevaar
• Joppe Carael
• Yara dos Santos
• Zjef Woestenborghs

About Double Minutes

Double Minutes is a program of experimental artist lectures that has been active in Brussels since 2022. For each edition, Double Minutes invite two artists from different backgrounds to rethink the format, taking into account their pairing, the location, and the conventions of this type of presentation.

On Thursday, October 1, we celebrate the launch of De Spijtige Herder3, a magazine devoted to art and poetry, edited by Gerard Herman, Nel Aerts, Jan Op de Beeck, Arne Bastien and Vincent Geyskens.

This third issue features:

• An exclusive interview with Hans Werner Poschauko—Maria Lassnig’s personal assistant and confidant—about working and living with the artist.
• A series of drawings by Jolijn Baeckelandt.
• A number of texts exploring the place of painting in the contemporary art world. These texts emerged from HAND & HORIZON, a “seminar on painting” that we organised at KASK in March of this year. Students and lecturers from Leipzig, Malmö, Helsinki and KASK Ghent came together to give lectures and discuss painting (see the table of contents attached).
• A recent self-portrait by Vincent Geyskens, reproduced as an unnumbered screen print on the back cover.

During the launch evening, poetry will be read by:

Brunhilde Von Braun
Veva Leye
Vincent Geyskens
…

There will also be live music.

het balanseer presents Het kwaad by Frank Vande Veire:

We live in strange times. We accuse one another of racism, sexism, fascism, self-enrichment, indifference... On the internet and in the press, insinuations and condemnations rain down, as if we were taking part in a contest in which we try to outdo one another in moral outrage. At the same time, there is rarely any talk of evil, and even less of ‘sin’. These concepts are dismissed as outdated, overly religious or metaphysically charged, remnants of a pernicious Judeo-Christian legacy. In his werpsels, Frank Vande Veire breathes new life into these concepts. He turns his attention to the evil that rages in the world and within ourselves, prompted by a philosophical or literary text, a news report, a documentary, or a personal experience. He delves into the depths of our envy, (self-)hatred, resentment... Human beings torment others because they are tormentors of themselves.

About Frank Vande Veire

Frank Vande Veire has previously published the novels Bloeiende Agatha (2013) and Het einde van alle straten (2022) with de balanseer. He has also written philosophical essays on art, literature, and social phenomena: Als in een donkere spiegel. De kunst in de moderne filosofie(2003), Neem en eet, dit is je lichaam (2005), and Tussen blinde fascinatie en vrijheid. Het mensbeeld van Slavoj Zizek (2015).

Throughout July and August, Ommery De Zutter inhabited KIOSK as artist in residence. While KIOSK remained closed to the public during the summer, Ommery De Zutter, used the anatomical theater as a map for creating an immersive VR experience. 

Ommery De Zutter’s exhibition de Wereldgeest, resulting from this residency, opens on 12 September and will be on view until 4 October.

What happens when creationbecomes materially endless?

When skills as a means of creation begin to play a secondary role? 

How would expression unfold then?

In what way would it be different? 

Is it valid?

Does it remain valid when it continues to be about itself?

Or does creation then become too entangled in itself?

And if that is the case, why shouldn’t it simply be allowed to

When does creation become useful to the Other?

Isn’t creation emerging from creation itself precisely creation?

Does it make sense to investigate the same idea from emptiness when someone has already taken it up from an established position?

Can we accept it when creation is no longer intended for us? 

Where does the balance with the Other lie during creation? 

Is the imbalance of time and energy with the Other not precisely what is necessary for creation?

Are we also the Other? Are we without the Other?

Does thinking about creation and the Other disrupt the existing balance?

Isn’t it simply obvious that the next forms of creation will move beyond our own abstraction, emerging from semantic-geometric constructions that surpass our own understanding and give rise to new realities?

For the finissage of Hisae Ikenaga’s solo exhibition Anatomies of Use, Céline Vahsen presents a sound performance in which gestures visibly and physically cause the acoustic landscape.

Through repetitive and manufacturing gestures, industrial materials resonate and bring manual labour into rhythm. Vahsen will also use pottery made by her aunt: utilitarian objects that reconnect her with the past.

Her aunt worked in a ceramic and glass manufacturing company that later became her own, until the late 1990s, when open trade and capitalism contributed to the decline of smaller industries. Playing with vessels, plates and bowls — first functional, then obsessive, then ceremonial — Vahsen transforms everyday objects into resonant instruments carrying personal, social and industrial histories.

Some elements of the choreography are part of a collaborative practice she started in 2025 with percussionist Aya Suzuki.

An unconventional choir performance by a group of FLINTA*-people investigating the relationship they have to their voice. Together they welcome vulnerability through whispers, stutters and echoes, while also showcasing the power of a collective voice in resisting patriarchal norms. This performance grew out of the master project Exploring a Feminist Voice by Anne Rosa Lut.

The performance is organized on the occasion of the last day of Hisae Ikenaga's solo exhibition Anatomies of Use.

Performers
Anne Rosa Lut, Imme van Zuilekom, Kika Vens, Elvira Mahieu, Kim Heerkens, Sofie Vanderbauwhede, Vera Goldhoorn, Elfine Radwanski, Hriedt Van Biervliet.

Trinkets, strings, handmade kits and stones that sing: the songs of activated non-instruments will fill the reverberant expanse of Ghent's Kiosk for a double bill that straddles the fringe between concert and installation. Maryia Kamarova's propelling sculptures meet Mosquito Farm's mishmash of structured chaos, all against the backdrop of Hisae Ikenaga's uncanny archeologies in KIOSK's ongoing exhibition, Anatomies of Use, to counter the cross-disciplinary dissonances.

Maryia Kamarova
A sound universe constructed from fragments of nature and treasures of the everyday ~ Belarusian artist Marya Komarova creates spatial settings somewhere along the border of sound installation and meditative performance. Her electro-acoustic gizmos and environmental compositions come alive under her actions and inertias, taking their own destinies into uncharted aural territories and inhabiting spaces as intently as the spectators who fall under their spell.

Mosquito Farm
Two years after their appearance at KRAAK Fest, Maddie Banwell and Grace Black return with Mosquito Farm to show the evolution of their musical contraptions. Bowed metal wobbles, tin cans rumble, fans whir and swirl, and improvised percussion setups drill a beat into action as radio transmissions feed the drone. Perhaps something resembling a guitar or a wind-up hamster might make an appearance ~ anything's a possible player in this hypnotic orchestra of happenstance.

For her first solo exhibition in Belgium, Hisae Ikenaga presents a selection of existing and new works. The title Anatomies of Use refers to the subtle displacements that structure her practice: shifts of function, status, and meaning. Industrial and domestic objects are appropriated and reconfigured, their use suspended, their familiarity unsettled. Forms appear stabilized, as if halted after transformation, revealing tensions between use, form, and memory.

Ceramic works extend this reflection through the figure of the cylinder, borrowed from industrial lamination tools and transposed into pottery. The motif becomes form, matrix, and trace of gesture. In a new video in collaboration with film director Paula Onet, Soft Dissection, artisanal and medical gestures intersect, opening an ambiguous space between workshop and laboratory. Through these displacements — from tool to object, from gesture to image — Ikenaga constructs an archaeology of the present, where each form becomes trace, sculpture, and question.

About Hisae Ikenaga

Born in Mexico City in 1977 to a family of Japanese origin, based in Europe for more than twenty years and currently living in Luxembourg, Hisae Ikenaga has developed an artistic language that unfolds at the intersection of design, archaeology, and surrealism. She studied art theory and visual arts in Mexico, Kyoto, Barcelona, and Madrid. Her work reveals a fascination with the afterlife of manufactured objects: their programmed obsolescence, their capacity for transformation, and their potential to host new forms of life. Each sculpture embodies a tension between the industrial and the handmade, between the cold logic of production and the fragile warmth of the human hand.

Support

The exhibition at KIOSK is co-curated by Charlotte Masse, curator and Head of Exhibitions at Konschthal Esch, who organized Ikenaga’s major solo exhibition Phantom Limbs in 2024.

Hisae Ikenaga received the generous support of the Fondation Schleich-Lentz for the production of a new series of ceramic works for the exhibition at KIOSK.

With the support of Kultur | lx – Arts Council Luxembourg.

On 15 March 2026, Joost Pauwaert activates his exhibition A Good Hammering with a performance.

For KIOSK, Pauwaert has created a large-scale installation in which heavy machinery, saw blades, and festive objects converge in an explosive visual language that evokes both wonder and unease. This new presentation promises to be an intense, physical experience that fully engages the unique character of the Anatomical Theatre.

Als theoreticus kon er een tekst geschreven worden. Over een foto waarop een trommelaar afgebeeld stond. Een foto uit het archief van Walter Benjamin. Als theoreticus kon er dan een tekst geschreven worden die daarover ging. En ook over Henri Bergson en Marcel Proust en Gilles Deleuze en Sigmund Freud en Franz Kafka. En ook over het woord ‘abschied’ en dat dat in tweeën gesneden kan worden, en over de durée waaruit de dood gewist is, en over ‘das schloss’, en over herhaling en verschil, en over ‘jenseits des lustprinzips’, en over onze pogingen om met het niets om te gaan, en over ‘mémoires involontaires’, en over ‘the inbetweenness of things in general’, en over de retroreflectieve vezels die de spanning tussen het aanwezige en het verdwijnende stimuleren, en over de polyfonische harmonie van voorbijgaande gebaren die convergeren in een compositie van tegenstellingen.

Maar als kunstenaar is dat allemaal een beetje moeilijk. Schrijven over dingen. Schr schr ijven ov erdingen. Ov erdingen. Zelfs het performen opzich (niet an sich!) is al veel werk. Ook vervelend vaak om zo jezelf in de belangstelling te zetten. Bel angts elling. Bel angst elling. Liever helemaal niets zeggen. Zeker geen ingewikkelde dingen. Van ingewikkelde dingen komt denkerspurée. Denk en schrijfpurée van allerlij denkers en schrijvers. Hu hu ja ja ik ben wel geïnspireerd door de Ethica en het theologisch politiek traktaat van Spinoza en de boeken van Perec. Heb je Zijn en Tijd al eens gelezen? Eigenlijk is het wel ik twijfel dus ik denk dus ik ben in plaats van ik denk dus ik ben! En vergeet trouwens niet dat taal een misverstand is hé . . .

Liever helemaal niets zeggen. Niet eens echt performen. Gewoon een technisch medewerker zijn ofzo, weggecijferd op de achtegrond, maar stil en onmisbaar. Laat iets anders het werk voor je doen. Zeker als het vermoeiend zou zijn. Doe zelf iets gemakkelijk.

Waar weinig talent voor nodig is. Maar maak vooral geen woorden vuil aan woorden. En maak ook geen woorden vuil aan een tekst die je liever niet zou schrijven. Doe maar niet alsof en geef toe dat je ‘tijd en vrije wil’ toch nooit echt goed begrepen hebt.

de durée, wat was dat? pe purée, mat mas pat?

BELANGRIJK(!):

Wat je kan verwachten: bijna niets.

Wat er gezegd moest worden: toch maar iets.

Centered on the notion of protocol, Malgré Tout is an exhibition in motion, grounded in transmission, activation, and participation. The four invited artists—Marthe Merckx, Vicente Fuenzalida Lafourcade, and LAB D (Lars Bernakiewicz & Andreas D’hondt)—act simultaneously as authors, performers, and mediators of works that are re-enacted, transformed, and reinvented across different contexts.

Within contemporary art, a protocol refers to a set of instructions, rules, or conditions that determine how a work is realized without necessarily fixing its final form. Drawing on musical scores, dance notation, conceptual art, and performance, this approach shifts attention from the object to the process, from the author to the performer, and from the artwork as a product to the artwork as potential.

The protocol introduces a degree of indeterminacy, repetition, and variation. Each activation becomes a singular interpretation, situated within a specific context and in relation to particular bodies, temporalities, and relationships. The work thus exists malgré tout—despite everything: despite constraints, deviations, translations, and misunderstandings.

As a point of departure, Marthe Merckx, Vicente Fuenzalida Lafourcade, and LAB D activated a work by stanley brouwn: the idea of a square measuring 26 × 26 cm. This square is the work itself—an outline, a potential space in which art can emerge. From this premise, the format was gradually expanded into an empty square of 208 × 208 cm, conceived as eight exhibition spaces within the space.

These squares do not function as boundaries, but as points of departure. The invited artists are allowed to exceed the contours of their assigned zone, provided that the work originates there. Crucially, the square must always remain visible, however minimally. The spatial scenography acts as a constant: the patchwork flooring and the red-and-white striped walls remain unchanged throughout the entire exhibition. This intervention was jointly realized by Merckx, Fuenzalida Lafourcade, and LAB D and functions as a fixed framework within which successive interventions take place.

Following a simple protocol, Merckx, Fuenzalida Lafourcade, and LAB D invited eight young artists. After a period of two weeks, each artist selects another artist to continue working in the same space. This process of transmission repeats itself until the end of the exhibition. In this way, a dynamic of handover emerges in which artists curate one another. The exhibition unfolds as a chain of choices, driven by attention, curiosity, and a pronounced love for the work of others. The viewer is thus offered insight into how artists look at one another—despite everything, malgré tout.

Taking place in KIOSK's side space, the exhibition is organized in collaboration with the artist Nefeli Papadimouli and the École nationale supérieure d’art de Bourges. Malgré Tout mobilizes student communities in Ghent and Bourges to propose protocol-based works or to activate protocol-based works conceived by their peers.

Once a year, KIOSK invites a Belgian artist for a solo exhibition in the space of the former Anatomical Theatre. On 24 January 2026, Joost Pauwaert opens his new exhibition, A Good Hammering.

Trained as a photographer and shaped by his background as a carpenter, Joost Pauwaert has become known for his bold kinetic sculptures, installations, and performances that balance on the threshold between power and vulnerability, destruction and beauty, technique and poetry.

For KIOSK, Pauwaert has created a large-scale installation in which heavy machinery, saw blades, and festive objects converge in an explosive visual language that evokes both wonder and unease. This new presentation promises to be an intense, physical experience that fully engages the unique character of the Anatomical Theatre.

Joost Pauwaert ’s work explores the relationship between power, beauty, and poetry, often infused with a playful, childlike curiosity. He integrates familiar and symbolic imagery that evokes both recognition and tension. Pauwaert is drawn to the aesthetic of the imposing and the monumental, balancing this with a sense of the caricatural and symbolic wonder that softens its intensity and opens up imaginative possibilities.

About Joost Pauwaert

Joost Pauwaert (1985, Bretzenheim, DE) works and lives in Wilrijk, BE. In the past years his works have been exhibited in numerous exhibitions during several gallery group and solo exhibitions at BARBÉ and other venues such at Ooidonk Art Festival, C-MINE in Genk, Art Brussels w/ Dauwens & Beernaert, Art Cologne w/ Galerie Eric Mouchet (FR), Archipel at Deweer Gallery Estate (Otegem), Art Rotterdam w/ BARBÉ, Ponti gallery (Antwerp), Pizza gallery (Antwerp), Gevaertsdreef (Oudenaarde), PASS kunstroute (Lede) and Emergent in Veurne. After his 2nd solo The End Is Near in 2024 accompanied by the performance Apocalyptic Triumph Parade, one of the sculptures was acquired by Museum of Deinze en De Leiestreek. He also participated in the debut exhibition of ABBY, the contemporary museum in Kortrijk (BE).

With A Spirit in Painting, Antwerp-based artist Tom Poelmans reveals the reverse sides of a wide selection of works spanning the past fifteen years, exhibited in the side gallery at KIOSK. Poelmans shows the reverse sides of a wide selection of paintings made over the past fifteen years. These unseen backs often bear titles, dates, sketches, material traces, and other marks: silent witnesses to the process and the life of the studio.

On December 6, two weeks prior to the closing of the show, all works will be turned around, revealing their front sides for the first time. That same day, the book A Spirit in Painting will be launched, published by MER. Alongside front and back views of a broad selection of works, the book includes drawings and poems by Tom Poelmans, as well as texts by people close to him.

The title of both the exhibition and the publication is a nod to the legendary 1981 show A New Spirit in Painting, held at the Royal Academy of Arts in London. That historic exhibition marked a renewed appreciation of painting as a medium, and offers a meaningful backdrop to Poelmans’ reflection on his own practice.

In her exhibition Alles pelt zich, Veronika Eberhart presents new work unfolding the layered relationship between materials such as solid wood, veneer, and the machines and tools of woodworking themselves. Removed from their original function, the pieces displayed shift from being utilitarian devices to possessing autonomous existence, hovering between object and sacred presence. Fine incisions and nuanced gestures prompt questions of aesthetics, interiority, and personal experience.

With subtle surface interventions and manual processes, Eberhart considers how labor, design, and memory inscribe themselves into matter. Her works resist fixed interpretations and evoke an extimacy of space, where intimacy and distance blur.

About Veronika Eberhart

Veronika Eberhart is a visual artist and musician based in Vienna. The use of media in her works is distinguished both by its high musicality and the negotiation of conceptual issues with the sensitivity of artistic practices of feminist positions and art history. United in a transdisciplinary approach to video, sound, performance, or sculptural installation, her practice is based on theoretical and historical research and seeks formal translations.

Granted with the Theodor-Körner-Award for Fine Arts (2017) and the Schindler Stipendium at MAK Center for Art and Architecture in Los Angeles (2019). Recently, she has presented solo exhibitions at KOB- Museum for Contemporary Art, Eupen (2023), Kunsthalle Feldbach (2022), Kunsthalle Graz (2022), Bazament Art Space, Tirana (2018), New Jörg, Vienna (2018), Neue Galerie Graz / Studio (2017) and has appeared in group exhibitions at HKW Berlin (2024), ISCP Open Studio, New York (2023), Makey Garage Top, MAK Center Los Angeles (2020), Kunsthalle Vienna (Vienna Biennale 2019), Kharkiv Municipal Gallery (2019), Kunsthalle Exnergasse, Vienna (2018), rotor Graz (2018) and in the A-GALLERY, Tokyo (2017), among many others.

Parallel programme

• 10.11.25, 20:00
  Screening of films by Friedl Kubelka/vom Gröller, followed by a conversation with Friedl Kubelka/vom Gröller and Veronika Eberhart at Art Cinema OFFoff, Kunsthal Gent..
• 11.11.25, 20:00
  Screening of Impatience (1928) by Charles Dekeukeleire and 9 is one and 10 is none (2017) by Veronika Eberhart at Art Cinema OFFoff, Kunsthal Gent.

The second performance of GROUND ZERO also marks the opening of Onder Verzachtende Omstandigheden. The exhibition by Leen Van Tichelen brings together the traces of this process: remnants, transitions, and an ongoing search for form within a space in flux.

About the project

Throughout the summer months, KIOSK became the home of GROUND ZERO /51.04536/3.71609, a multidisciplinary residency led by visual artist Leen Van Tichelen, who invited performer Fanny Vandesande, composer Esther Coorevits, and word artist Jonas Bruyneel. Over three months, the artists collaborated across disciplines—image, word, movement, and sound—merging their practices into a fluid, site-responsive methodology.

While the gallery remained closed to visitors, KIOSK itself transformed into a living studio—part laboratory, part rehearsal space—where boundaries are tested, unraveled, and rewritten.

The title, GROUND ZERO /51.04536/3.71609, marks both a beginning and a place. The geographic coordinates point to the exact site of the performance, grounding the inquiry in a specific reality while opening space for new artistic trajectories to emerge.

Support the project

To financially support the project GROUND ZERO / 51.04536 / 3.71609, Leen Van Tichelen created a special edition. Here’s a warm invitation to visit the crowdfunding page on voordekunst.nl.

KIOSK opens the new exhibition season with Onder Verzachtende Omstandigheden, a solo exhibition by Belgian artist Leen Van Tichelen. The show is the result of GROUND ZERO /51.04536/3.71609, a multidisciplinary residency in which Van Tichelen collaborated with performer Fanny Vandesande, composer Esther Coorevits, and word artist Jonas Bruyneel.

Throughout the summer, KIOSK was transformed into a living studio - part laboratory, part rehearsal space - where image, language, movement, and sound intersected. Boundaries were questioned, shifted, and rewritten.

The exhibition brings together the traces of this process: remnants, transitions, and an ongoing search for form within a space in flux. Onder Verzachtende Omstandigheden is not an endpoint, but a temporary anchoring in a landscape that keeps on moving.

Due to illness, the performance on 18.09.25 at 20:30 has been cancelled. The exhibition remains open.

In 2025, NOON collective began developing And now the beginning is somewhere else – a performative installation that will evolve throughout the season 2025-2026. After a premiere at Beyond the Black Box in Antwerp in May 2025, a first series of adaptations of the installation takes place at the Zwarte Zaal of KASK & Conservatorium.

Over four days, NOON opens the doors of this immersive installation to the public. On Wednesday afternoon, students are invited to immerse themselves in a series of activations. On Thursday and Friday afternoons, visitors can explore and experience the installation, while on Thursday and Friday evenings, the work unfolds as a live performance.

On Sunday, NOON presents the first trial of And now the beginning is somewhere else: NEW LANDSCAPE STORIES – an extended version of their performative installation, developed in the atmosphere of a lab. And now… invites you in a shared landscape where performance and practices mingle, shaped by the impressions, interactions and transformations of the week. A shared Sunday afternoon to rest, play and imagine where it started, all over again.

About And now the beginning is somewhere else

And now the beginning is somewhere else is an immersive performative installation – a space you are invited to enter.

Through an extreme landscape, made out of the logic of foam, you make your way in between suspended time, traces of water and petrol. It seems like nothing can happen here. Yet, with time what simmers under the surface unveils itself. Balancing between stillness and motion, the landscape unravels its memories and narratives, from a long time ago - or maybe, now.

And now the beginning is somewhere else is a performative installation where you are invited inside of. Through sound, light, choreographic elements, and through polypropylene, living beings, water and foam, a world of interwoven relationships begins to emerge.

About NOON collective

NOON is a multidisciplinary collective creating performative installations rooted in questions of how we might be together differently. Their work explores encounters between human and non-human forces, shifting bodies, and the search for – or perhaps the emergence of – new forms of symbiosis. Through layered, sensory experiences, NOON invites us to imagine new modes of connection, cohabitation, and transformation.

Credits

• concept/performing: Iris Donders, Delphine Mertens
• concept/(end) direction: Judith Dhondt
• performing/creation: Im Kanokporn Vorapharuek
• sound creation: Lucie Grésil
• space development: Eline Harmse
• firstobject development: Edie de Vere
• costume creation: stef assandri
• light design: Caroline Mathieu
• dramaturgy: Sara Manente
• choreographic assistant: Anja Röttgerkamp, Janka De Waele
• production: Emma Steurs
• graphic design: Joram De Cocker
• polypropylen research: Elena Vloeberghen
• Co-production C-TAKT, KAAP & SoAP
• With the finan­ci­al sup­port of the Flemish Government and Stad Ghent
• Supported by BUDA, CAMPO, KASK & Conservatorium (HOGENT – Howest), KIOSK, De School van Gaasbeek, de Koer, de Verffabriek, A Two Dogs Company, Mouvance ASBL, Kunstenwerkplaats pianofabriek, and Garage 29

Throughout the summer months, KIOSK becomes the home of GROUND ZERO /51.04536/3.71609, a multidisciplinary residency led by visual artist Leen Van Tichelen, who invited performer Fanny Vandesande, composer Esther Coorevits, and word artist Jonas Bruyneel. Over three months, the artists collaborate across disciplines—image, word, movement, and sound—merging their practices into a fluid, site-responsive methodology.

While the gallery remains closed to visitors, KIOSK itself is transformed into a living studio—part laboratory, part rehearsal space—where boundaries are tested, unraveled, and rewritten.

Catch an early trace of this continuously unfolding project at Bijloke Wonderland, where GROUND ZERO reveals its first public moment, shaped as much by change as by the physical and conceptual landscape it occupies.

The title, GROUND ZERO /51.04536/3.71609, marks both a beginning and a place. The geographic coordinates point to the exact site of the performance, grounding the inquiry in a specific reality while opening space for new artistic trajectories to emerge.

Support the project

To financially support the project GROUND ZERO / 51.04536 / 3.71609, Leen Van Tichelen created a special edition. Here’s a warm invitation to visit the crowdfunding page on voordekunst.nl.

For the sixth year in a row, you are invited to Bijloke Wonderland, a summer cultural festival from Thursday 21 to Sunday 31 August at the bustling Bijloke site in Ghent. Expect tantalising sunrise concerts, free summer bar concerts, theatre, dance, visual arts & tours. Discover special locations on the Bijlokesite and get carried away by a programme for young and old. This year, for the first time, there will be a continuous programme for 11 consecutive days.

KASK & Conservatorium presents music and visual art by students on the open lawn of the Bijlokesite. Six diverse installations form a temporary landscape, culminating in a musical intervention. KIOSK serves up a performance. The Kunstenbibliotheek organises a zine festival and presents a selection from their zine collection.

The programme is presented by organisations at home on the Bijloke site: Muziekcentrum De Bijloke, LOD muziektheater, STAM, laGeste, Ontroerend Goed and KASK & Conservatorium (HOGENT-Howest).

ongoing

• Kunstenbibliotheek & Shif—t*, Summershelves #2
• Aagje Vandriessche, Capteren
• Vicente Fuenzalida Lafourcade, Floating Garden
• Jean Paul Simons, In de zomer van 2017 werkte Jean Paul Simons enkele maanden
• Michiel Vindevogel, Oculus
• Gill Slosse, Remaining Shadows
• Layla Morando, When Doves Cry

Thu 21.08.25

• Kunstenbibliotheek, Zine-festival, 15:00

Sat 23.08.25

• Leen Van Tichelen, Fanny Vandesande, Jonas Bruyneel & Esther Coorevits, GROUND ZERO /51.04536/3.71609

Sat 30.08.25

• SONduo, Zomermiddagdroom Konzert, 16:00

Sun 31.08.25

• SONduo, Zomermiddagdroom Konzert, 14:30

KIOSK presents a special event to mark the publication of the first comprehensive survey of fifteen years of work by Elen Braga. The screening of her films will be followed by a discussion between the Belgian-Brazilian artist and Simon Delobel, director of KIOSK.

Screening list

• Flesh, Stone, Iron, and Clay, Part 1, 2024, 4'51"
  
• Flesh, Stone, Iron, and Clay, Part 3, 2024, 7'38"
• The Horses Are Coming, 2022, 7'55"
• I am in Love with my Future, 2020, 15'27"
  
• Bloody Flux, 2020, 5'39"
  
• O buraco é fundo / Acabou-se o mundo (The Hole is Deep / The World is Over), 2020, 10'04"
  
• The Plan/e, 2019, 13'33"
  
• The Living Room, 2017, 14'54"
  
• Tão quente que era que pouco mais era morte (It Was So Hot That A Little More Would Mean Death), 2015, 22'01"

About the publication

Renowned for her multidisciplinary approach spanning performance, textiles, installation, sculpture, video, and public art, Braga’s practice draws on resilience, self-transcendence, religion, mythology, and identity. Her work often emerges from self-imposed, labor-intensive processes that are as physically challenging as they are conceptually rich, blending her Brazilian heritage with her life in Belgium. Featuring essays by esteemed art critics and curators Raphael Fonseca, Laila Melchior, Paulo Miyada, Ilse Roosens, and Joanna Zielińska, as well as the artist’s own writings, this monograph documents and critically contextualizes Braga's oeuvre, shedding light on recurring motifs, underlying themes, and the complex interplay between art and life.

Edited by Pieter Vermeulen, with support by the Flemish Government.

Mark your calendar and join us on March 29th for the grand opening of the Coopman CVL Partners store at KIOSK Gent! Experience an exclusive event featuring over 1,000 unique items, from guns and knives to fossils, toy cars, and electronic devices. Tony Coopman, the better kind of capitalist, sees value in everyday objects and rare finds. This special event gives you the chance to trade physical items for COOPCOIN. The more coins you earn, the more you can invest in items you find in our store. Koop! Coop! Buy!

Tony Coopman CVL Partners are present on:

• 03.04.25, 10:00-14:45
• 10.04.25, 10:00-14:45
• 30.04.25, 10:00-14:45
• 08.05.25, 10:00-14:45
• 15.05.25, 10:00-14:45
• 19.05.25, 10:00-14:45

Over the past ten years, Claudia Bitrán has meticulously recreated Titanic (1997) shot for shot. In her film Titanic, a Deep Emotion, she reimagines James Cameron’s blockbuster using only lo-fi materials, paint, and DIY sets. More than 1,200 participants from 20 cities across the United States, Chile, and Mexico have contributed as actors, crew, and collaborators. A low-budget production, partially supported by artist residencies and grants, the film comes to life through handmade props, spontaneous casting, and a dynamic mix of animation and live action, where characters continuously shift.

For its European première, Bitrán presents the work in the anatomical theater of KIOSK, a space whose architecture echoes Titanic’s grand staircase. The installation and screening feature painted storyboards, sculptural props, and hand-crafted backdrops, created in collaboration with students from KASK & Conservatorium. These elements form the scenography surrounding a three-channel video installation—a maximalist attempt to deconstruct and reimagine one of the most iconic blockbusters ever made.

Artist talk organised on the occasion of the exhibition Titanic - a deep emotion by Claudia Bitrán in KIOSK.

On March 16th, Lara Finkenstädt will present her sound installation City Girls. The recorded text will drift through the exhibition space, exploring "the ubiquitous figure of the girl as a self." Drawing on her research and visits to several Art Nouveau houses in Brussels, Finkenstädt seeks to immerse herself in the lives once lived there, constructing an abstract world that shifts between layers of time and place.

Lara Finkenstädt (°2001) is an artist based in Offenbach, Germany. Her practice spans slideshows, installations, and writing, often exploring the intersection of personal and public histories. Using visual and textual found footage, her work maps the movement of women through cities and interiors. Her arrangements, often reminiscent of mood boards, organize images in a way that blends collage with archival methods.

Abstract Entities

De tentoonstelling Abstract Entities van Thomas Hitchcock dient als een open platform voor tijdelijke interventies door Belgische kunststudenten. Gedurende de tentoonstellingsperiode zullen er tal van interventies plaatsvinden in verschillende media, waaronder performances, muziek, collectieve lezingen, gesprekken, workshops, discussies, lichaamspraktijken, poëzie en filmvertoningen.

The latest edition of the art magazine De Nadruk focuses on Yoshio Nakajima’s exhibition UNBEAT! at KIOSK and is produced by Stefan Wouters together with students from the Royal Academy of Fine Arts Antwerp (DKO).

"In this edition of De Nadruk, we highlight visual artist Yoshio Nakajima (1940) and delve into various aspects of the rich Japanese culture, where—much like in Nakajima's work—tradition and innovation take center stage. We explore the influential Japanese cinema, feature a contemporary art gallery in Tokyo, and ‘unfold’ the art of origami. Additionally, we shine a spotlight on the artist collective Ndaku Ya La Vie Est Belle, who will perform during Nakajima’s exhibition."

In my daily life—through my thoughts and struggles—living here in Ghent, far from my hometown, I find myself longing for the past. I miss the moments I can no longer experience, and the loss of a loved one feels like a heavy wave crashing over my mind. I seek to connect my experiences here with my memories, weaving together the past and present.

As I reflect, my struggle deepens. I think of those I have lost, which inspires me to write stories about them, recreating our moments together through pictures and words. It is my way of connecting with them, among all the time I lost and can never get back, or perhaps the only way.

This project was never a conscious decision; it has always been present in my thoughts, interwoven with my fears and anxieties. It is a work in progress one without a definite ending because the more I try to remember, the more stories I find to write. It is an ongoing exploration without an end.

Countless reasons pull me further from my past, but I am trying to push the boundaries of my mind, writing these moments down to erase even one of the thousand reasons that distance me.

• Ava Darvishi

Ava Darvishi is a theatermaker and actress from Iran who is currently based in Ghent. She has been a member of Sada Ghent Playback Theatre since 2022. Ava has performed in several international projects, including Voicelessness, performed at Apparatus in Seoul in 2024, and Medea at the Bozar Institute in Brussels in 2018.

Ava Darvishi holds a BA in Acting from the Art and Architecture University in Tehran, an MA in Puppet Theater from the University of Tehran, and a postgraduate degree in Digital Storytelling from KASK & Conservatorium. She is currently pursuing studies in drama at KASK & Conservatorium.

Abstract Entities

Thomas Hitchcock's exhibition Abstract Entities serves as an open platform for temporary interventions by Belgian art students. Throughout the exhibition period, a multitude of interventions will unfold across various media, including performances, music, collective readings, talks, workshops, discussions, body practices, poetry, and screenings.

A character akin to a disenchanted Pierrot takes on the guise of a virtuoso karaoke anti-hero. From his multifunction Android, he lights up the crowd with his thunderbolt, sometimes melancholy, sometimes ironically joyful. His shy, dark dance makes him furtive, stormily in love with his shadow. Losing himself to the sordid refrains, his icy mirrors embracing him all around, these copies impervious to dynamic detours, impenetrable voyeurs of his brilliance. Deceptively subtle, with skillful dimples, he crosses cities, rivers, forests, and people.

Garance Debert is a French performance artist based in Brussels. She is developing a practice at the crossroads of dance, performance, and video, and occasionally tries her hand at publishing. Her work explores the body as an archive and a space for transmission, where gesture becomes a territory for experimentation and reactivation. Through an anachronistic approach to movement, she hijacks the codes of mime, virtuosity, and the grotesque to question how meaning and the common imagination appear and disappear. Her work questions the origins of performativity by turning notions of virtuosity and superficiality on their head. Between expressiveness and emptiness, instability and precision of gesture, she sees the stage as a collective, interactive space where memory is embodied without nostalgia. She trained as a classical and contemporary dancer, earning a DNSPD at the CNDC in Angers before moving on to the ERG in Brussels, where she graduated with great distinction with a Master's degree in Visual Arts. Her work has been presented in a variety of artistic contexts, including institutions such as WIELS, Bozar Rooftop, and CC Strombeek, and experimental spaces such as Ateliers Mommen, the Project(ion) Room, and SB34. Alongside her artistic practice, she has developed a curatorial activity and organized events combining exhibitions and performances in Brussels, notably L'Opéra Discret at the 312 Foundations and Grotte et Ist at the Ateliers du Loto.

Abstract Entities

Thomas Hitchcock's exhibitionAbstract Entities serves as an open platform for temporary interventions by Belgian art students. Throughout the exhibition period, a multitude of interventions will unfold across various media, including performances, music, collective readings, talks, workshops, discussions, body practices, poetry, and screenings.