Zwarte Zaal

Tom Callemin's artistic research starts from the question of how identity and meaning arise within our perception of images. These processes are constantly changing now that digital and artificial techniques effortlessly generate convincing realities. The photographic images we are confronted with every day increasingly show us a fictional illusion. A fundamental tension is particularly evident in portraiture: behind the skin of the synthetic body lie not psychology or emotions, but merely mathematical calculations of data.

Based on this theme, Callemin set to work with analogue materials such as plaster, wood, clay, shadow and light to create new images that challenge our perception. Like a mirror, each image is a reflection of our gaze and of the act of depicting itself. What do we see? Can we believe the image as it presents itself to us? To what extent do we ourselves give meaning to what we see, apart from what is happening before our eyes?

In the exhibition, Callemin's photographic work is combined with an extensive archive of visual material that addresses these issues throughout history and in different contexts. The developments we are confronted with today in the field of visual culture are not new. With the advent of each medium, such as painting, film and sculpture, which once constituted a technological innovation, similar questions arose about image, meaning and illusion.

A third section of the exhibition stems from the collaboration with filmmaker Griet Teck, who translated the visual research in Callemin's studio into a short film. We get a glimpse of how details from the studio form an illusion in front of the camera. Entire landscapes are constructed in the privacy of the studio as a second reality, where reality unfolds slightly differently. This reveals the underlying constructions of the images that Callemin meticulously builds up. It becomes clear that his images carry an illusion not only in their subject matter, but also in their creation.

Tom Callemin is an artistic researcher affiliated with KASK & Conservatorium, the school of arts of HOGENT and Howest. The research project “Hidden in Plain Sight” was funded by the HOGENT Arts Research Fund.

On 15 January 2026, Tom Callemin, artistic researcher at KASK & Conservatorium, will defend his doctoral reasearch to obtain the title of Doctor of Arts. On behalf of the candidate's supervisors, Dr. Anouk De Clercq (KASK & Conservatorium) and Prof. Dr. Koenraad Jonckheere (UGent), we would like to invite you to this event.

The public defense will start at 15:00 in the Zwarte Zaal on Campus Bijloke. Afterwards, you are welcome to attend the reception. The exhibition Double Reality (Research Output) can be visited at the same location before and after the defense. Please confirm your attendance at the public defense by emailing tom.callemin@hogent.be.

Tom Callemin's artistic research starts from the question of how identity and meaning arise within our perception of images. These processes are constantly changing now that digital and artificial techniques effortlessly generate convincing realities. The photographic images we are confronted with every day increasingly show us a fictional illusion. A fundamental tension is particularly evident in portraiture: behind the skin of the synthetic body lie not psychology or emotions, but merely mathematical calculations of data.

Based on this theme, Callemin explores how we can still understand or trust images. He works with analogue materials such as plaster, wood, clay, shadow and light to construct new situations that exist on the border between reality and illusion. These tangible, material elements counterbalance digital representations and at the same time reveal that every image – however convincing – is a constructed reality.

His images therefore function as mirrors: they turn the gaze back to the viewer and to the process of meaning-making itself. What exactly do we see? Can we believe the image as it presents itself? And to what extent do our own expectations, doubts and projections determine what we perceive? Callemin's research makes it clear that the encounter between image and observer creates a constantly shifting landscape of interpretations, in which identity and meaning are never stable data, but are constantly being reshaped.

The research project Hidden in Plain Sight was funded by the HOGENT Arts Research Fund.

Praktisch

Due to roadworks at the Godshuizenlaan / Groot-Brittanniëlaan intersection, it is very difficult to reach Louis Pasteurlaan by car and to park there. Please use public transport as much as possible. From Gent Sint-Pieters, you can take tram T1 or T3 to Bijlokehof. Here you can find instructions on how to reach the Bijloke site during the roadworks.

The most accessible route (including for wheelchair users) is via the entrance at STAM, Godshuizenlaan 2.

Animation spans multiple dimensions of our lives. It is a magical, philosophical, physical experience, and a form of social action. Coming from a background in engineering and science, Pedram began his artistic practice as an animator in 2015. Meanwhile, he frames animation rather as an encyclopaedic practice: a multidimensional study exploring the intersections of art, science, humanity, and technology.

This exhibition traces a dialogue between Pardeh-Khani – (literally, “reading the curtain”) – and contemporary animation. This ancient Iranian art of pictorial storytelling combined painted canvases with epic poetry, music, and performance. Storytellers brought images to life through voice, gesture, and rhythm, while audiences engaged collectively, experiencing knowledge through multiple senses.

In Pedram’s practice, Pardeh-Khani endures both as a tradition and as a method—a way to activate archives and perform knowledge, shaping how we communicate, learn, and make sense of the world. The exhibition gathers a decade of practice (2015–2025) – including installations, drawings, sketches, paintings, VR, and video fragments – bringing Pedram’s archive into view while opening toward new departures.

On 27.11.25, on the occasion of the opening, two performances will take place from 19:00 onwards. Teacher Paul Demets will open the evening with poetry, and Amin Azizi will close it with music!

Pedram Kargar is an artistic researcher affiliated with KASK & Conservatorium, the school of arts of HOGENT and Howest. The research project Behind the curtains of animation was funded by the HOGENT Arts Research Fund.

🖤 **Doomscroll Slumber Party** 🖤

✨ *Scroll together into oblivion – but cosily and in your pyjamas* ✨

Are you someone who ‘quickly checks the news’ before going to bed and then startles awake three hours later to an obscure video about the end of the world? **Good news:** you don’t have to do it alone anymore.

📱 + 🛏 + ☕ = 💀 ❤ Welcome to the **Doomscroll Slumber Party** – the place where doomscrolling can finally be social. 

What to expect:
🖤 Snuggling up together on the sofa while silently staring at a screen
🖤 Light-hearted competitions: who can find the most depressing reel?
🖤 A safe space for deep sighs and nervous laughter
🖤 Blankets, snacks, blue light filters and tea
🖤 And yes, occasionally a real conversation **Because when the world ends, we'd rather do it together – in comfortable clothes.

** 🎟 Bring yourself, your friends and possibly your comfy pyjamas **#doomscrollslumberparty #gezelligtenonder #togetherinthedark**

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

Come see the work of 3rd-year illustration students! Gabriella Amir, Julia Butter, Joppe Carael, Vero Denecker, Evelien Dignef, Norien Ewane, Richelle Maus, Klaudia Mytkowska, Indira Pinto Santana, Julie Tymoshenko, Anna Constantijn, Paulien Van Loo and Lex Verslijkcke are proud to present their projects from the bachelor project.

The exhibition opens at 18:00 on 5 June, and will also be on display from 12:00 to 18:00 on 6 June.

For this exhibition, students from the second Bachelor of drawing create large-format works. Six large double-sided walls in the Zwarte Zaal serve as their starting point. Wall Drawing is an experiment in which students research different mediums and materials and learn to deal with the facets of exhibiting.

Participating students: Marie Berth, Ozan Can, Veronika Dzenisenka, Rafael Ferreira de Proença, Elisa Hemelsoet, Olivia Janssens, Kathleen Joos, Gabriela Oswiecinska, Vibe Paternoster, Tine Roets, Faye-Linn van Dillen, Dina Vanhassel, Junior Vita

I Want to Hold You identifies sensitivity as a central aspect in all featured artistic practices, holding the subject close as an intentional act, thus differentiating what is personal from the mass stream of (mis)information and imagery. As reality becomes less graspable and more debilitating, the included artists have identified something that they want to hold space for, possibly hold onto - something to break up the ungraspable current. Some draw attention to their relationship with people they hold close, sharing their loving eye with the viewer. Others use their practice as a way of capturing, giving and holding energy, culture and atmospheres they feel the need to share.

• With work by: Tom Lyon, Louis Locus, Han Nguyen, Lotta Kestens, Noé Znidarsic, Romee Noyelle, Davide Degano, Lennert Lefever, Sydney Burgstra
• Curated by: Marie Cathérine Stalpaert, Gustav-Adam Dendooven, Emilia-Naomi Keller, Nina Turina, Arthur Saint-Remy

As is the annual custom, the graphic design work of bachelor students is on display in the Zwarte Zaal. This edition focuses on the work of third-year bachelor students. The exhibition shows how engaging with and relating to sometimes age-old artistic and technical traditions of reproducing text and images leads to very diverse artistic practices that are part of the current artistic field.

With work by Helen Adams, Lotte Baele, Anne Dekeyser, Luca Lambrecht, Rani Muyllaert, Lena Van Daele, Riet Van Lysebettens, Lotte Van Puyvelde, Gray Vogelaars

Contour Kantoor is a place where the third bachelor installation mixes loose and non-committal ideas and concepts into a fluid exhibition. Here, contours of thoughts become visible, trains of thought developing into twisted or, on the contrary, recognisable forms. Like the carousel, this creative space is a game of inspiration and transformation, where the boundary between reality and imagination blurs, and where each spinning idea contributes to the power of the whole.

Welcome to our annual mural project by the 3Ba painting students.

In the animation programme, this year we have the most international master to date. This exhibition, Bring the Outside In, is all about inviting, welcoming and cordiality. It is an open and intimate space where the animation masters present their works in a mix of audiovisual and visual art.

Each year, the masters explore the out-of-blackbox space, that twilight zone where film, audio and video come together in a physical space.

During the opening, we invite you to a special performance by Brend Verdegem, on Thursday evening 16 January at 18:30. Everyone is welcome from 18:00 that day for a glass and a conversation.

With contributions by Augusto Corrieri, Katja Dreyer, Nikolaus Gansterer, Yannick Guédon, Guy Gypens, Antoine Pickels, Julie Sermon, Christel Stalpaert and May Abnet, Julien Bruneau, Alondra Castellanos Arreola, Zoë Demoustier and Irena Radmanovic as the Guardians of Sleep

On Enclosed Spaces and the Great Outdoors is a series of performance-conferences exploring how the performing arts—their forms, research, and discourses—are being challenged by climate emergency.

This fifth edition marks the conclusion of David Weber-Krebs' PhD in the Arts, Exercising Fragility in Theatres and Beyond, a journey he embarked on six years ago. During this time, the world has experienced significant upheavals, most notably a pandemic that forced theatres to close, only to reopen in a profoundly altered state. This moment revealed new vulnerabilities, as an invisible airborne threat made humans both dangerous to, and fragile toward, one another. This disruption not only reshaped human relationships but also affected cultural institutions at their core.

This edition of On Enclosed Spaces and the Great Outdoors offers a space where artistic propositions respond to theoretical perspectives, centering fragility on stage and reflecting on what it means for our presence in the world and our ecological responsibilities.

Key contributors include Julie Sermon, author of the acclaimed Morts ou vifs, pour une écologie des arts vivants, and Augusto Corrieri, artist, scholar and magician, whose work bridges performance, art, and ecology and author of the sensational In Place of a Show: What Happens Inside Theatres When Nothing is Happening.

Composer and singer Yannick Guédon will present an exploration of voice, unfolding subtle variations of a single note, to explore the mobility and fragility of sound.

In April 2020, at the height of the COVID-19 lockdown, Katja Dreyer, Antoine Pickels, and Christel Stalpaert imagined what their first post-lockdown theatre experience might be. Now, in 2024, they revisit and reflect on those imaginings.

The day will conclude with a special reprise of The Guardians of Sleep (2017). While sleeping, the human body is vulnerable. A feeling of security and peace helps us every night to withdraw from the world. But what if the social protection as we know it, suddenly  falls apart?

• Concept & curation: David Weber-Krebs
• production: Emma Verbeek, Emilie Legrand
• co-production: Outline and KASK & Conservatorium (HOGENT – Howest)
• Supported by Flanders State of the Art

David Weber-Krebs is affiliated as an artistic researcher to KASK & Conservatorium, the school of arts of HOGENT and howest. The research project Exercising Fragility in Theatres and Beyond, is financed by the HOGENT Arts Research Fund.

Feminist education – the feminist classroom – is and should be a place where there is a sense of struggle, where there is visible acknowledgment of the union of theory and practice, where we work together as teachers and students to overcome the estrangement and alienation that have become so much the norm in the contemporary university. Most importantly, feminist pedagogy should engage students in a learning process that makes the world “more than less real.”

bell hooks, Teaching Community: A Pedagogy of Hope

A two-day assembly featuring lectures, workshops, and screenings. Speakers and reseachers: Marwa Arsanios, Rebecca Jane Arthur, Barbara Debeuckelaere, Autocoscienza Writing Group (Alessia Arcuri, Lucia Farinati, Sara Paiola, and Sara Ortolani), Laura Huertas Millán, Annie Jael Kwan, Nuraini Juliastuti, Benny Nemer, Laura Palau, Nataša Petrešin-Bachelez, Matylda Taszycka (AWARE), Lola Olufemi.

The convergence of feminism and curatorial practice has a rich history, initially sparked by a response to the lack of representation of female artists in exhibitions, art collections, and education. Over time, this focus has evolved to embrace various feminist perspectives, including building and deconstructing archives and narratives, creating new interpretative frameworks, and identifying structural inequalities within the art world. In recent years, the curatorial has increasingly explored evolving notions of citizenship, politics, and public participation, particularly in the context of social justice and activism.

Today, intersectional feminist thought and action advance ideas of equality, freedom, and care, transcending traditional gender boundaries. While new developments in the arts rapidly influence curatorial practice, they do not always permeate educational methodologies at the same pace. With this in mind, Curatorial Studies asks: How can we weave intersectional feminist perspectives into the fabric of curatorial education, keeping pace with an ever-evolving cultural and political landscape? What if we embraced a curatorial pedagogy that feels—one that centers the body, lived experience, and fluidity—an approach that is interdisciplinary, sensual and affective? How do we hold space to engage with and embody concepts like situatedness, collective action, and responsibility in curatorial practices? And how can we acknowledge the connections between the curatorial and the affective economies of care and love? As bell hooks reminds us, education should stretch beyond theory, addressing real-world complexities—a learning process that makes the world “more than less real.”

The assembly will feature panel presentations, breakout sessions, and open discussions The four breakout sessions will invite students, curators, artists, researchers, and the wider public into intimate, closed workshops, each aligned with the key themes and presentations of the conference. These sessions will serve as spaces for reflection on feminist strategies, exploring new pedagogical approaches and working together to design a Code of Practice—a set of actionable ideas to reshape structures and curricula in art schools and cultural institutions. Each group will be guided by KASK & Conservatorium researchers—Barbara Debeuckelaere, Benny Nemer, Laura Palau, and Rebecca Jane Arthur—who will share their research, steer discussions, and support the collaborative development of this transformative code.

• Speakers and reseachers: Marwa Arsanios, Rebecca Jane Arthur, Barbara Debeuckelaere, Autocoscienza Writing Group (Alessia Arcuri, Lucia Farinati, Sara Paiola, and Sara Ortolani), Laura Huertas Millán, Annie Jael Kwan, Nuraini Juliastuti, Benny Nemer, Laura Palau, Nataša Petrešin-Bachelez, Matylda Taszycka (AWARE), Lola Olufemi.
• Organising Committee: Sonia D'Alto, Jana J. Haeckel, Laura Herman, Isabel Van Bos 
  in collaboration with the Archival Sensations Research Cluster

• The event is supported by the Archival Sensations Research Cluster at KASK & Conservatorium, AWARE Archives of Women Artists, Research and Exhibitions, with support from the French Embassy in Belgium and the Institut français, as part of EXTRA, a programme that supports French contemporary creation in Belgium.

The ‘Lunar Echoes’ exhibition puts the moon centre stage, and it does so primarily in the form of the film ‘CYCLUS’. Balancing between animation and experimental film, the film offers viewers an immersive, budget-friendly ‘space journey’. The work pays homage to the lunar cycle. It started with a series of detailed drawings of the moon as a study, these evolved into sculptures and eventually everything came together in the ‘CYCLUS’ film. This creative process is atypical for animation, where normally the storyboard precedes the final product. With Ellen, however, the work grows organically, with each medium enhancing and complementing the next.

On the occasion of the ‘Lunar Echoes’ exhibition, a lecture on layers and layering within Ellen De Vos' work will be given.

Animation film is alive and well, crackling with as much diversity as quality. For the second year in a row, on the occasion of Film Fest Gent, the animation film studio of KASK & Conservatorium is organising an exhibition that widens the view on animation, both as film and as a visual art form. This year, we invite artist Ellen De Vos, who creates a world between film, installation, sculpture and drawing with her new work Lunar Echoes.

With the exhibition Lunar Echoes, De Vos puts ‘the moon’ in a new and personal light. On the one hand, as a custom-made three-dimensional representation of the satellite in papier-mâché and graphite drawing form and, on the other, as the main character in her film CYCLUS. Balancing between animation and experimental film, the film offers viewers an immersive, budget-friendly ‘space journey’. Lunar Echoes began with a series of detailed drawings of the moon as a study, these evolved into sculptures and eventually everything came together in the CYCLUS film. This creative process is atypical for animation, where normally the storyboard precedes the final product. With De Vos, however, the work grows organically, with each medium reinforcing and complementing the next.

Ellen De Vos is a visual artist who specialises in drawing, installations and (animation) films. De Vos moves between different media, from drawing to film, each time seeking a balance between the traditional and the innovative. Her work invites a journey through mysterious fantasy worlds, where fiction and reality merge, and the boundaries of the known are explored.

Opening Thursday evening 10 October at 19:00 with a performance by COLLAB COALITION

Unfixing the Atlas premieres at KIOSK. There will be two performances – lasting two hours – at Zwarte Zaal:

• Tuesday, September 17, starting 19:00 sharp

• Saturday, September 21, starting 16:00 sharp

• To ensure your place, please register by sending an email to simone@radical-hope.be (until 15 September at the latest.)

On September 18, 19 and 20, the atlas is open in the Zwarte Zaal for visitors between 13:00 until 19:00. In contrast to the performance, where the space is created by a cast of performers, during these days the Atlas functions as an installation and is reactivated together with the visitors: they are welcomed by a small group of performers and invited to spend time among the traces that make up the Atlas. Visitors can get “readings” of traces from the performers and practice “reading” traces themselves. If they wish, they can further spin what is “there” by leaving traces of themselves.

About Unfixing the Atlas

Unfixing the Atlas is a piece, is a space, is a method: which enables an artistic process ‘on stage’ by and with a group of people who met by chance while sharing the question of how a group becomes a group?

While creating Alena tights unfix*, we, makers and performers, with and without previous professional experience in the field, followed our desire to find a shared vocabulary – a path to be walked in dialogue with each other and the audience:

Visitors are invited to walk through a choreography of traces – found, created, read and transformed ‘sur place’.

Traces in Agni exultant fish are memories (coming back), remarkable spatial points on site, tools (of all kinds), written words, voices, hands in action, interested subjects, forgotten objects, … the other person next to you.

Like so many spaces, Exhaust Inflation is inconstant, yet many decisions, already taken or in the making, shape/d it – think of a park, a theatre stage, a city-bus, a classroom, a casino, the woods… an open field…

When you enter Flux unhesitating you might find things strange, after a while you will understand what is possible (for you) and eventually you might get involved or just not at all.

In any case, when you leave Exiting Lufthansa, you leave behind a little world that has changed in your presence, with or without you having contributed actively to the events that occurred while you were (t)here.

* All anagrams used in this text: https://www.ingesanagram.com

History & Background

Credits

• Articipants/performers: Charif Bendriss, Anne-Claire Kelam, Carine De Backer, Elisabeth Ida Mulyani, Marie Louise Ruth, Diana Campos Zenil, Narguess Azimi
• Supporting practitioners/performers: Johanne Mortgat Shan, Mira Verstraeten, Laura Oriol, Joan Somers Donnelly
• experts/performers: Fransien van der Putt, Mathieu Hendrickx, Ernst Maréchal
• scenographic process: in dialogue with Shervin/e Sheikh Rezaei
• Choreography, dramaturgy/mediation, performers: Heike Langsdorf, Simone Basani
• Temporarily participating additional performers / practitioners: Anouk Llaurens, Sonia Si Ahmed, Bilal Kamilla Arnout, Ivan Azazian, Anthony Chang, Does Vandousselaere, Lucio Guarinoni, Anna Laura Penna
• Productional work for radical_hope: Simone Basani, Heike Langsdorf, Liselore Vandeput
• Assisting collaborators: Alice Ciresola, Deborah Ephrem, Doha Jaadi, Davide Musco, Rita Nobre, Nele Visschers, Bart Wouters
• Assistance with administration: SPIN vzw
• Co-production: radical_hope, KAAP, Buda, Kunstenwerkplaats Brussels, GC De Markten, nadine
• With the financial support of: Vlaamse Gemeenschap (The Flemish Community)
• With the support of: Link=Brussel, GC Nekkersdal
• Premiere context made possible by: KIOSK, KASK & Conservatorium (HOGENT – Howest) & radical_hope

[Unfixing the Atlas inscribes itself into the context of Disclosing Practices…: An open series of public presentations, performances, workshops, retreats and dialogues supporting artistic research practices to be uncovered, revisited, reconsidered, rediscovered, disrupted, reiterated, re-activated, shared, shown and understood anew in new contexts and through new practitioners.

Disclosing Practice... is the continuation of Choreography as Conditioning, a collective process of "writing through practices" that resulted in a book series with the same name edited by Alex Arteaga and Heike Langsdorf. As a framework Disclosing Practice... finds facilitation and support by radical_hope.]

For this exhibition, students from the second Bachelor of drawing create large-format works. Six large double-sided walls in the Zwarte Zaal serve as their starting point. Wall Drawing is an experiment in which students research different mediums and materials and learn to deal with the facets of exhibiting.

Participating students:

• Quinten Declercq 
• Lio Renette 
• Amber Verhulst 
• Ramona Nölle 
• Aileen Kim
• Roos Bylois 
• Stephen De Smet

Jan Tschichold's Die neue Typografie (1928) served as a central reference in the discourse on modernist design. Nearly a century after its publication, the book holds a mythical status, often considered self-evident and rarely critically examined.

The exhibition reevaluates the legacy of the new typography by literally unpacking Tschichold's library. In the exhibition, you can browse through almost all 120 sources cited in the essay, with high-quality facsimiles alongside rare originals.

As an annex to the exhibition, the Belgian Institute for Graphic Design (BINGO) provides a contemporary and local response to Tschichold, developed in collaboration with Kunstenbibliotheek and the graphic design students of KASK & Conservatorium.

This travelling exhibition is a research project of ECAL / University of Art and Design Lausanne (HES-SO), curated by Davide Fornari. In Ghent, it was realized with the financial support of Design Museum Gent, the Swiss National Science Foundation, and the Swiss Embassy in Belgium.

FIVE-travellers take us to the realms of a constantly changing landscape… it’s the moon and my bed and the centre of a black hole and an elevator and the Zwarte Zaal and an office… a journey through collapsing science fiction desires, personal memories, and collective problems to take care of. How to make a shits bird you on? functions as a multi sensory performance. It assembles live music, dance, text and visual arts.

18:00-21:00. In & out!

Credits

• created by: Mario Barrantes Espinoza 
• together with: Robbe Embrechts, Tembi De Koninck, Rinus Chaerle, Amy Clark, en Nathan Isahakyan

Etchings, drawings, linocuts and texts; collages, screen prints, lithographs, booklets and prints... The students of the 2nd and 3rd bachelor printmaking are showing work in the Zwarte Zaal.

• (2BA) Helen Adams, Lotte Baele, Anne Dekeyser, Luca Lambrecht, Rani Muyllaert, Lena Van Daele, Riet Van Lysebettens, Lotte Van Puyvelde, Méraud Verschuere, Gray Vogelaers.
• (3BA) Naïs Blommaert, Marie De Graeve, Carlota De Serra E Silva Lopes Seco, Daan de Smaele, Camille Douvere, Warre Groenwals, Emma Klinck, Elise Rubbens, Gill Slosse, Kaloe Steerneman, Annelies Van Buynder, Elaine Van Elslander, Milosz Warzocha.

"For while photography is bringing a profusion of masterpieces to the artists, these latter have been revising their notion of what it is that makes the masterpiece."

• A. Malraux
  

"Photography can be used to wield power, but it can also be used to restrain power and to imagine, sometimes even to create, new forms of sharing the world."

• A. Azoulay
  

Musée Imaginaire: A Poem on Shared Vision explores collaborative potentials in photography as well as in exhibition making. Moving away from the idea of a 'single creator' that shaped the foundation of Western art history, our exhibition experiments with speculative forms and potentials of non-hierarchical creation. Instead of giving a simple answer to the question „What is collaboration?“, it parses it in its different situations, materialities, durations, languages, sounds and tactilities. By offering a practical experiment, a theoretical proposition, and a pedagogical tool, we invite the visitors to a spatial experience, open for negotiation and exchange.

Deelnemende kunstenaars: Awa Gaye, Elke Pannier, Emma Terlinck, Jan Nijs, Jan Staiger, Laura Smekens, Luca De Ridder, Lyn de Weijer, Manon Jejcic, Martijn De Meuleneire, Gilles Vandaele, Maya Vandegehuchte, Simon Gerlinger, Vincent Koevoets, Naomi James Schatteman, Sebastian Vielma Fleischhaker.

Samengesteld door: Jana Haeckel en de studenten curatorial studies.

The feeling of some of the collected students is this: The world is in trouble. Almost constantly and quickly in succession problems keep rising up. It is frightening and scary. Some students would like to assume a personal political stance on this expo. At the same time, they feel like politics should not be a forced position. Some students should be able to express themselves under a theme that is absurd. It contains a motion of endlessness, of repetition. It reminds some of them of Sisyphus, the Greek tragic figure that was endlessly punished by a rolling boulder.

What is behind the curtain of animation?

SUM (THING+BODY):

There is EVERYTHING! +
There is SOMETHING! +

There is NOTHING!
+
There is EVERYBODY! +
There is SOMEBODY! +
There is NOBODY!

Ingrediënts:
Leeg doek+Stof+Hout+Metaal+Glas+Kunststof+Speelzand+NaaldboomschorsHoutschors+Lavasteen+Berggrind+Zeegrind+Riviergrind +Stapsteen+Krijt+Papier+Inkt+Elektromagneet++Beeld+Geluid+Woord+Lichaam+Ruimte+Tijd+Beweging+Belichaming+Creativiteit +Erfgoed

Open: 30.11.2023, 19:00
Close: 15.12.2023, 21:30

Pedram Kargar is affiliated as an artistic researcher to KASK & Conservatorium, the school of arts of HOGENT and howest. The research project Behind the Curtains of Animation was financed by the HOGENT Arts Research Fund.

Animatie Helemaal Anders (AHA) makes the wider sector of animation film visible and accessible to a broad and diverse audience. Accompanied by a poster project in the city and a film programme, this 17-day exhibition expands our view of animation, as film and as a visual art form. An eclectic selection was made that invites viewers to look at and experience the medium differently.

Composition and organisation: Maï Calon
Artists: Emma De Swaef and Marc Roels, Nienke Deutz, Loulou Joao, Eno Swinnen, Nicolas Keppens, Arzu Saglam, Filip Antonissen, Britt Raes, Rocio Alvarez, Sine Özbilge.

Dit jaar tijdens Hemelvaart is Jezus die opstijgt niet het enige dat wij vieren: Vertel iedereen dat 3BA grafiek een tentoonstelling organiseert. Geprojecteerde tekeningen, sculpturen, etsen, monotypen, meerdere video's, publicaties, partituren, schilderijen en collages: Je vindt alles van 17 tot 20.05 in de Zwarte Zaal. Vertel dat er hoop is, want Prints Charming toont haar werk.

Voor deze tentoonstelling maken studenten van de tweede bachelor tekenkunst werken op groot formaat. Zes grote tweezijdige wanden in de Zwarte Zaal dienen daarbij als vertrekpunt. Wall Drawing is een experiment waarbij de studenten onderzoek doen naar verschillende dragers en materialen en leren omgaan met de facetten van het tentoonstellen.

Deelnemende studenten
Layla Morando
Roos Bylois
Trui Van Landuyt 
Quinten Struyven
Collin Savelberg
Tippi Reniers
Louis Peeters
Mo Paeleman
Querida Buelens

Met het overlijden van Michael Snow verdween begin dit jaar een van de voornaamste figuren uit de avant-garde cinema. Kort voor zijn dood stemde de schalkse 94-jarige in de beruchte Sight and Sound-poll met de beste films aller tijden nog op drie van zijn eigen klassiekers: Wavelength, La Région centrale en het slechts zelden vertoonde Rameau’s Nephew.

Rameau’s Nephew schetst in 25 episodes een reeks mislukte pogingen van de fictieve regisseur Wilma Schoen (een anagram van Michael Snow) om een echte “talking picture” te maken. Absurditeiten stapelen zich op: spelers worstelen met hun tekst, de klankband ontspoort en de wezenlijke relatie tussen geluid en beeld wordt in twijfel getrokken door Snows heerlijk naïeve en speelse blik. Ondertussen passeert de crème de la crème van de eigentijdse avant-garde de revue: van Chantal Akerman over Jonas Mekas tot Nam June Paik en vele anderen. Rameau's Nephew is uitputtend, zowel in lengte als in geestigheid, en laat de kijker achter in een staat van duizelingwekkend genot en ontzag. Snow omschreef zijn filmversie van Denis Diderots gelijknamige satirische roman als een “muzikale komedie” en het Harvard Film Archive houdt het op “een soort remake van een Jacques Tati-film, gescript door Ludwig Wittgenstein.”

Deze herdenking wordt voorzien van een gepaste inleiding en zondagse koffietafel/bar

In het kader van de Nomadic School of Arts worden de studenten uitgedaagd om het atelier te verlaten en nieuwe werkvormen uit te proberen.

The Professional Fool is een in-situ tentoonstelling in en rondom de Zwarte Zaal waar studenten 3BA Schilderkunst en Installatie in dialoog gaan met elkaar en met de ruimte.

Failed at the Opening. An easy way out or an excuse to keep on working?
Whatever will be.
At least if intentionally, from the beginning works are seen as failure or not yet in their best possible version, which can be turned around and around.
Then, perhaps something good can come out of a group exhibition with 17 artists from Installatie willing to fail together in the process.
Who doesn’t try can’t fail!
Find out at Opening in Zwarte zaal, Wednesday the 8th of March from 17:00 to 22:00.
Everyone welcome!