Luc Tuymans, KASKlezing, 29.02.24

Ian White – a British writer, curator, artist and performer – died in 2013 at the age of 41. He left behind a unique body of performance works, and a set of problems: How to treat the documentation of White’s performances – were they works in their own right? What status did White’s published scripts have? Could these works – full of intimate detail, delivered in White’s inimitable voice – be performed by others? In short: how, if at all, could these works have a life after his death? Mike Sperlinger, a friend and collaborator of White’s, has been reckoning with these questions and others whilst working on his artistic estate. That has included co-curating a posthumous gallery exhibition, overseeing restagings of White’s work by others and, most recently, preparing ‘scores’ of several of the performances for acquisition by an art museum. This process – informed by conversations with many of White’s collaborators as well as others – has been necessarily tentative, following the route of what White himself called “repetition and failure”. The result is not a formula to follow, but perhaps a new and more interesting set of dilemmas. In this talk, focussed on the work Black Flags, Sperlinger will talk about some of these dilemmas and their practical consequences, such as: which parts of a performance resist notation; whether it is possible to conserve qualities like irreverence; the difference between reproduction and transmission; the agency of the re-performer and its limits; and friendship as a form of art history.

Larry Achiampong (b. 1984, London) is a British-born, Ghanaian artist who lives and works in Essex. His projects employ film, still imagery, aural and visual archives, live performance, objects, sound, and game design to engage with ideas surrounding class, gender, cross-cultural, and digital identity. With works that examine his communal and personal heritage, in particular, the intersection between popular culture and the residues of colonisation, Achiampong crate-digs the vaults of history. These investigations examine constructions of “the self” through splicing the audible and visual materials of personal and interpersonal archives, offering multiple perspectives that reveal deeply entrenched inequalities. In 2025, Tate Publishing released Achiampong’s debut monograph, If It Don’t Exist, Build It. He has had recent solo exhibitions at venues including Stanley Picker Gallery, Kingston, UK, 2024; a touring exhibition in the UK at Turner Contemporary in Margate, MK Gallery in Milton Keynes, and BALTIC Centre for Contemporary Art in Gateshead, 2022–23; and PHI, Montreal, 2021, and recently participated in Sonsbeek 2026, the oldest recurring large-scale public art exhibition in Europe. His work has also been commissioned by Art on the Underground, London, 2022; Liverpool Biennial, 2021; and The Line, London, 2020. Achiampong received the Stanley Picker Fellowship in 2020 and the Paul Hamlyn Award in 2019.

Apparatus 22 is a transdisciplinary art collective founded in January 2011 by current members Erika Olea, Maria Farcas, Dragos Olea together with Ioana Nemes (1979 - 2011) in Bucharest, Romania. Beginning with 2015 they are working between Bucharest, Brussels and SUPRAINFINIT utopian universe.

They see themselves as a collective of daydreamers, citizens of many realms, researchers, poetic activists and (failed) futurologists interested in exploring the intricate relationships between economy, politics, gender studies, social movements, religion and fashion in order to understand contemporary society. A major topic of research and reflection in the practice of Apparatus 22 is SUPRAINFINIT universe: a world-making attempt to use hope critically in navigating present and future.

In their very diverse works - installations, performances, text based-shapes, reality is mixed with fiction and storytelling and all merge with a critical approach drawing knowledge & experience from design, sociology, literature and economics.

The work of Apparatus 22 was presented in exhibitions at La Biennale di Venezia 2013, Kunsthalle Wien (AT), Kunsthal Gent (BE), Kunsthalle Mannheim (DE), Contemporary Art Museum Roskilde (DK), SMAK Gent (BE), CAM Gulbenkian, Lisabon (PT), Malmö Konstmuseum (SE), Contemporary Art Museum (MNAC), Bucharest (RO), MUMOK, Vienna (AT), BOZAR, Brussels (BE), Museion, Bolzano (IT), TRIUMF AMIRIA. Museum of Queer Culture (RO), Académie Royale des Beaux-Arts de Bruxelles (BE), Brukenthal Museum Contemporary Art Gallery, Sibiu (RO), Akademie Schloss Solitude, Stuttgart (DE), KunstMuseum Linz (AT), La Triennale di Milano (IT), TRAFO Gallery, Budapest (HU), Futura, Prague (CZ), Ujazdowski Castle – Centre for Contemporary Art, Warsaw (PL), Salonul de Proiecte, Bucharest (RO), Onomatopee Eindhoven (NL), TIME MACHINE BIENNIAL OF CONTEMPORARY ART, D-0 ARK UNDERGROUND, Konji (BIH), Osage Foundation (Hong Kong), Kunsthalle BEGA, Timișoara (RO), Progetto Diogene, Turin (IT), Closer Art Centre, Kiev (UA), CIAP, Hasselt (BE), Barriera, Turin (IT), Suprainfinit Gallery, Bucharest (RO), Kiosk, Gent (BE), GALLLERIAPIÙ, Bologna (IT), Lateral ArtSpace, Cluj (RO), Survival Kit festival, LCCA Riga (LV), Autostrada Bienniale Prizren (XK), CIVA, Brussels (BE) performances at MAK, Vienna (AT), Steirischer Herbst, Graz (AT), Stedelijk Museum with De Appel CP Amsterdam, (NL), Yarat Academy, Baku (AZ), Württembergischer Kunstverein Stuttgart (DE), Drodesera Festival, Dro (IT), Villa Empain, Brussels (BE), etc.;

Apparatus 22 also works beyond institutions via performances in public spaces, interventions in private spaces and other hybrid forms.

Minne Kersten is an artist working with video, installation and paintings. Underneath these media lies a literary approach in which she combines several techniques to construct a world where objects and scenes hold traces of both facts and fiction. She speculates on how we can recall events, memories and stories, by tracing what is lost in what remains. Her work considers the relationship between the real and the imagined, the ordinary and the ephemeral, and poses questions about memory and reconstruction. By drawing attention to the act of construction in both our shared real and imagined world, her work offers a connection between intimate themes such as mourning, loss and desire, and the collective domain of fiction, fables and symbol making.

Painting and drawings are continuously made during a process of introspection and research. They serve as a form of visual note taking, made alongside her spatial approaches. In recent years, she has used the method of crafting an architectural environment, which reveals itself as a scenography, a film set, and subsequent sculpture. Often informed by personal encounters with spaces, these sculptures provide a tangible terrain to explore how a space can witness or distort stories and events. By staging situations that embed symbolic elements such as the appearance of animals or phantom presences, she refers to ways of how the past can leave impressions on the present. Subjecting her scenes to chaos, decay and disruption, she suggests different outcomes of the familiar circumstance of feeling unstable, losing control and reaching a state of transition.

Her work has been exhibited internationally, including solo presentations at UKS (NO, 2027); Ginny on Frederick (UK, 2026); Kasteel Wijlre Estate (NL, 2026); de Oude Kerk (NL, 2025); Annet Gelink Gallery (NL, 2025); Glasgow International (UK, 2024) and the Bonnefanten Museum (NL, 2023). Selected group exhibitions include: UKS (NO, 2026), Stedelijk Museum Schiedam (NL, 2025), CAPC Musée d’Art Contemporain de Bordeaux (FR, 2024); and the 16th Lyon Biennale (FR, 2022). Her films have been screened at Eye Filmmuseum, Rencontres Internationales, among others. In 2022 she received the Volkskrant Visual Arts Audience Award and was nominated for the Royal Award of Modern Painting. She has participated in residencies at De Ateliers, Amsterdam (NL), Triangle Astérides, Marseille (FR) and Cité Internationale des Arts, Paris (FR) and is represented by Annet Gelink Gallery in Amsterdam. Kersten currently lives and works between Amsterdam and Paris.

Language – in its broadest sense – permeates the video, sound, installation and performance work of French multi-media artist Laure Prouvost. Known for her immersive and mixed-media installations that combine film and installation in humorous and idiosyncratic ways, Prouvost’s work addresses miscommunication and things getting lost in translation. Playing with language as a tool for the imagination, Prouvost is interested in confounding linear narratives and expected associations among words, images and meaning. She combines existing and imagined personal memories with artistic and literary references to create complex film installations that twist fiction and reality. At once seductive and jarring, her unique approach to filmmaking employs layered storytelling, quick cuts, montage and wordplay and is composed of a rich, almost tactile assortment of pictures, sounds, spoken and written phrases. The films are most often nestled into carefully constructed environments filled with a dizzying assortment of found objects, from sculptures, painting and drawings to signs, furniture and architectural assemblages, that are connected to the overarching narrative yet act like relics. 

gLaure Prouvost was born in Lille, France (1978) and is currently based in Brussels. She received her BFA from Central St Martins, London in 2002 and studied towards her MFA at Goldsmiths College, London. She also took part in the LUX Associate Programme. Prouvost won the MaxMara Art Prize for Women in 2011 and was the recipient of the Turner Prize in 2013.

The evening starts with an online lecture by Lichen Hamraie, followed by a conversation together with Leni Van Goidsenhoven. Afterwards there will be interventions by Staci Bu Shea and Carly Everaert, ending with an aftertalk.

Accessibility is often understood as a way to correct built environments not designed with disability in mind. In this talk, Dr. Lichen Hamraie, Canada Research Chair in Technology, Society, and Disability, will will instead explore the broader meanings and practices of access in the twentieth and twenty-first century architecture, design, and disability arts. The talk will focus on four themes: assimilation and anti-assimilation, productivity and anti-productivity, normalization and critique, and the new vocabularies of critical access.

Considering how we can be transformed through giving and receiving care, curator, writer and careworker Staci Bu Shea will reflect on vulnerability and its implications for connection and dignity across interpersonal and institutional domains.

Award-winning costume designer and dramaturgical scenographer Carly Everaert’s presentation will trace how creating spaces for other(ed) bodies — and radically rethinking what a learning space can be — opened the way for their long-term collaboration with Mira Thompson: “Interdependence: On Disability Justice and the (Performing) Arts”. Together, they developed a practice in which co-creation is lived interdependence, crip time is a generative force, and artistic freedom can flourish. This led Carly to altarscenography: theorising how care, attention and solidarity create sacred spaces, where aesthetics and ethics meet as the spiritual foundation for solidarity itself.

About the speakers

• Lichen Hamraie is the Canada Research Chair in Technology, Society, and Disability, and Associate Professor of Social Science at York University. Hamraie’s research on disability and design has helped form the fields of critical access studies and crip technoscience. They are the director of the Critical Design Lab. Hamraie is author of ‘Building Access: Universal Design and the Politics of Disability’ (2017) and host of the Contra* podcast on disability and design. They are a 2022 United States Artists Fellow and Member of the U.S. Access Board.

• Staci Bu Shea is a curator, writer, educator and careworker based in Utrecht, the Netherlands. Broadly, Bu Shea convenes with others over aesthetic, critical, and poetic practices of social reproduction and care work, as well as its manifestations in interpersonal relationships, daily life, community organizing, and institutional practices. Bu Shea is the author of Dying Livingly (Solution series, Sternberg Press, 2025). Bu Shea was curator at Casco Art Institute of Working for the Commons (Utrecht, 2017–2022) and co-curator of Barbara Hammer: Evidentiary Bodies at Leslie-Lohman Museum of Art (New York, 2017). Bu Shea holds an MA from the Center for Curatorial Studies, Bard College (Annandale-on-Hudson, 2016).

• – Carly Everaert is an award-winning costume designer and dramaturgical scenographer. As a lecturer and researcher at the Academy of Theater and Dance in Amsterdam, Carly explores costume, bodies, and sustainability from an intersectional perspective. Their practice is becoming increasingly rooted in the principles of Disability Justice, making diverse abilities, knowledge, and ways of moving more visible. Carly collaborates with artists, curators, educators, and scholars who prioritize embodied knowledge. Carly’s methodology combines critical reflection with material experiments—where making is viewed as a form of thinking. Carly is chair of the jury for the Dutch Theater Festival’s Design Award. Their essay ‘Altarscenography, disability justice and staging coincidence, a secular-spiritual practice of solidarity, on solidarity, coincidence, and shared vulnerability as scenographic practice’ will be published in August 2026.

• Leni Van Goidsenhoven is Assistant Professor of Critical Disability Studies at the Department of Literary and Cultural Analysis at the University of Amsterdam (The Netherlands). Her research focuses on disability, illness, neurodiversity, and non-normative bodyminds in the arts and literature. She is the author of Autisme in veelvoud (Garant, 2020) and OnGehoord (EPO, 2021). Her recent work includes the special issue Cripping Choreography and the forthcoming volume Disability Heritage: Participatory and Transformative Engagement (co-edited with Manon Parry, Routledge). Alongside her academic work, she regularly curates projects for theatres and museums.

This programme is a collaboration between Curatorial Studies, KASKlectures and Studium Generale Gent. The event will be in English and will take place in the Zwarte Zaal of KASK & Conservatorium. The Zwarte Zaal is located on the ground floor and is accessible to wheelchair users, there’s also an accessible toilet in the hallway of KASKcafé. In case you use a wheelchair, go via the entrance of KASKcinema instead of the Louis Pasteurlaan entrance. There are works in the street of KASKcinema, but it’s possible to pass by the entrance at Godshuizenlaan 4. A translation into Flemish sign language will be provided. If you have any further questions about accessibility facilities, please contact the organisation: helena.verheye@hogent.be

Due to visa issues, this KASK lecture has been cancelled.

Julian Abraham "Togar" is a drummer and visual artist whose practice flows with visual art, sonic practice and experimental filmmaking. Togar's practice often focuses on the demystification and dissemination of specialist scientific knowledge to broader communities through sound, installations and collaborative practices.

Togar's works have been presented at the 17th Istanbul Biennial; 15th Gwangju Biennale; 13th Taipei Biennale; 58th Carnegie International (Pittsburgh); and in public institutions and museums such as De Appel (Amsterdam), KHOJ (New Delhi), SculptureCenter (New York), Nottingham Contemporary and Cemeti (Yogyakarta), among others.

Miko Revereza is a filmmaker born in Manila, Philippines, who currently lives in Oaxaca, Mexico. His upbringing as an undocumented immigrant and his current exile from the United States have shaped his relationship with moving images.

During the next edition of the Courtisane festival, Miko Revereza will visit Ghent and present several films and a performance. In No Data Plan, he uses the resources immediately at his disposal—his camera, his smartphone, his nomadic existence, and his unique perspective as a stranger in a strange land—to construct an evocative meditation on home and homeland. After his decision to leave the United States, he charted his return to the Philippines in Distancing using superimpositions of intimate 16mm images of the airport, his home, and his family. The performance FOLDS is a film poem consisting of a series of superimpositions/double exposures and a live soundtrack. Just like a folded map, distances are collapsed and placed opposite each other. By superimposing years of images of portraits of people and places, the separation between borders disappears.

In this KASK lecture, Miko Revereza talks about his work and the impact of exile and boundaries on his oeuvre.

“It’s complicated to call any place home. Mexico is a place that’s not my home as it is for other people who have lived here for generations. Every place I live, it’s hard to connect to as home, like the US and the Phillippines, but I also feel like there’s so much weight to the word “home,” and it doesn’t need to be such a priority.”

Sensitive to contemporary issues, Gaëlle Choisne’s practice considers the complexity of the world, its political and cultural disorder, whether it be the over-exploitation of nature, its resources, or the vestiges of colonial history, where Creole esoteric traditions, myths and popular cultures mingle.

Her projects are conceived as ecosystems of sharing and collaboration, pockets of «resistance» where new possibilities are created, notably with the «Temple of Love» project. Initiated from Roland Barthes’ original essay on love, «Fragments d’un discours amoureux» (1977), Gaëlle Choisne adds a political dimension to the concept of love by paying homage to invisible bodies, minority and fragile souls, and dispossessed hearts. «Temple of love » is an evolutionary project defining itself through its modes of appearance and genesis according to its invitations and its location.

The works/installations of Gaëlle Choisne have been exhibited in many institutions: (Vitry-sur-Seine), Centrale Powerhouse (Montreal), CAFA Museum (Beijing), Pera Museum (Istanbul), MAM - Musée d’art moderne de Paris, Musée Fabre (Montpellier), Zacheta Gallery (Warsaw), The Mistake Room (Los Angeles), Bétonsalon (Paris), Gr-und project space (Berlin), MAMO - Centre d’art de la Cité radieuse de Marseille, La Villette x Pompidou (Paris), Centre d’art contemporain La Halle des bouchers (Vienne), Musée archéologique Henri-Prade (Lattes), Musée des Beaux-Arts de Lyon etc.

She has also participated in several biennials and triennials: 15th Gwandju Biennial (2024), 3rd Toronto Biennial of Art (2024), 5th New Museum Triennial (2021), 11th International Biennial of Contemporary Art (GIBCA), 13th International Biennial of Lyon (2015), 12th Havana Biennial (2015), Sharjah Biennial 13 (2017) and 14th Curitiba Biennial (2017).

In 2024, Gaëlle Choisne won the Marcel Duchamp Prize and, in 2021, the AWARE Prize. In 2019 she is nominated for the Ricard Foundation Prize and the Sam Art Project.

Andrius Arutiunian is an Armenian-Lithuanian artist and composer based between The Hague and Paris. Working across installation, sound, and sculpture, Arutiunian's practice explores hybrid forms of listening, vernacular knowledges, and contemporary cosmologies.

In 2022, Arutiunian represented Armenia at the 59th Venice Biennale. Solo presentations include Fondation d'entreprise Hermès (Tokyo, 2026), Dat Bolwerck (Zutphen, 2025), and Meduza (Vilnius, 2023). Arutiunian has participated in biennials including the 14th Shanghai Biennale, 15th Gwangju Biennale, 17th Lyon Biennale, 15th Baltic Triennial, and Performa NYC, with group exhibitions at Centre Pompidou, Palais de Tokyo, M HKA, Kadist Paris, and Pinchuk Art Centre, among others. In 2024, he was shortlisted for the Future Generation Art Prize and was a DAAD artist-in-residence fellow in 2023.

In my never-ending search for other ways of looking and other ways of making images and presenting film, the explorative realm of cinema is full of adventure.

The way we see the world is influenced by what we know or what we believe in. There are many possible perspectives from which to look at a thing, a landscape, a person, a story, yourself. Unfortunately, we poor myopic humans lack the gift of birds of prey, with their long-range sight, and the talents of houseflies, with their panoramic vision. Through our large brains, however, we are at least aware of the limits of our seeing. With a humility rare in our species, we acknowledge that there is much we cannot see and therefore devise ways to observe the world.

It is difficult to look and to see at the same time. Only genuine attention is able to rival the most powerful magnifying lens. If you look long enough at what seems ordinary, it often becomes strange and unfamiliar, as every child learns when they repeatedly say their own name out loud. If our looking is limited to our eyes, we are seeing blind. When our field of vision is not demarcated by an edge, but presents itself as an infinitely explorable openness, the world breaks open.

In this lecture, we approach film in an adventurous way. How can a film be made in which the camera does not mimic the human eye? How can a film be made that is not based on the ordinary way humans see the world? How can a film be experienced when there are no images to see? How can cinema become an adventure? Using films and film clips, we try to answer these questions in the freest way possible.

Anouk De Clerq

Anouk De Clercq is a multidisciplinary artist and filmmaker who explores the boundaries of cinema, music and spatiality. With a background in music and film, she creates immersive audiovisual experiences that challenge traditional narratives and perceptions. Her work often focuses on imaginary and utopian landscapes, brought to life through a combination of digital techniques and analogue sensitivity.

Her work has been shown internationally at venues including BOZAR, Centre Pompidou, MAXXI, CAC Vilnius and Tate Modern, and is part of several collections. De Clercq is co-founder of Auguste Orts and initiator of Monokino, mentor to emerging artists and author of Where is Cinema. She is also affiliated with KASK & Conservatorium as a visiting teacher.

Graphic designers Elisabeth Rafstedt and Johanna Ehde are Rietlanden Women’s Office (2018, Rietlanden in Amsterdam). They are interested in current and historical methods of collaborative graphic design. Together they make the publication series MsHeresies which is about the ornamental in feminist collaboration. They give lectures and guest teach in book design and typography at various institutions around Europe, and together with Phil Baber of The Last Books they organise the poetry reading series Don’t Pay Your Rent.

In this lecture, artist Ahmet Öğüt explores the strategic use of humour in his practice as a means to disarm power, provoke thought, and engage audiences. Drawing from a range of works and collaborations, Öğüt reflects on how irony and playful subversion can become powerful tools for navigating complex political and social realities.

Born in Silvan, Diyarbakir, Ahmet Öğüt completed his BA from the Fine Arts Faculty at Hacettepe University, Ankara, MA from Art and Design Faculty at Yıldız Teknik University, Istanbul. He works across different media and has exhibited widely, more recently with solo exhibitions in institutions including Art on the Underground & New Contemporaries, Van Abbemuseum, State of Concept Athens, Kunstverein Dresden, Kunsthal Charlottenborg, Chisenhale Gallery; Berkeley Art Museum; and Kunsthalle Basel. He has also participated in numerous group exhibitions, including; Singapore Biennale (2025); Sense of Safety, Yermilov Centre Kharkiv (2024); Dhaka Art Summit (2023); 17th Istanbul Biennial, Istanbul, (2022); FRONT International 2022, Cleveland Triennial for Contemporary Art, Ohio (2022); Asia Society Triennial: We Do Not Dream Alone (2021); In the Presence of Absence, Stedelijk Museum Amsterdam (2020); Zero Gravity at Nam SeMA, Seoul Museum of Art (2019); Echigo Tsumari Art Triennale (2018); the British Art Show 8 (2015-2017); the 13th Biennale de Lyon (2015); Performa 13, the Fifth Biennial of Visual Art Performance, New York (2013); the 7th Liverpool Biennial (2012); the 12th Istanbul Biennial (2011); the New Museum Triennial, New York (2009); and the 5th Berlin Biennial for Contemporary Art (2008). Öğüt was awarded the Visible Award for the Silent University (2013); the special prize of the Future Generation Art Prize, Pinchuk Art Centre, Ukraine (2012); the De Volkskrant Beeldende Kunst Prijs 2011, Netherlands; and the Kunstpreis Europas Zukunft, Museum of Contemporary Art, Germany (2010). He co-represented Turkey at the 53rd Venice Biennale (2009). Lives and works in Amsterdam and Istanbul. His works in institutional collections such as Guggenheim Museum New York; Kadist, San Francisco, US - Paris; Rennie Collection, Vancouver; Sammlung Goetz, Munich; Frans Hals Museum; FRAC Nord-Pas de Calais, Dunkerque; Laumeier Sculpture Park, St. Louis; KIASMA Museum of Contemporary Art, Hesinki; Van Abbemuseum, Eindhoven; Fondazione Giuliani, Rome; MSU Broad Art Museum, East Lansing; Vehbi Koç Foundation, Istanbul.

Archivo Fantasma — Spectral Fictions presents different cinematic approaches and strategies of counter — and alter — narratives to address official archives and records that Laura Huertas Millán’s practice engages with. It posits fiction as a critical and emancipatory strategy for engaging with colonial violence, institutional silences, historical erasures, and the ideological construction of collective memory. This artistic practice draws from Latin American traditions of meta-fiction and epistemic disobedience, emphasizing how historical records are shaped by regimes of truth that legitimize certain epistemologies while excluding others. This talk will present her critical series on “ethnographic fictions”, and a recent investigation inspired by Saidiya Hartman’s “critical fabulation”, a history “written with and against the archive” to articulate how fiction can serve as a reparative method, to address not only the documents of the past but also the languages shaping our present and future.

Laura Huertas Millan is a Colombian and French artist and filmmaker based in Brussels, Belgium. Selected in major cinema festivals such as the Berlinale, Toronto International Film Festival (TIFF), Rotterdam International Film Festival, New York Film Festival and Cinéma du Réel, her films have been awarded at the Locarno Film Festival, FIDMarseille, Doclisboa and Videobrasil, among others. More than twenty retrospectives and focuses on her work have been organized internationally, in cinematheques (Toronto ́s TIFF Lightbox, Harvard ́s Film Archive, Bogota ́s cinematheque, Austrian Film Museum, Tabakalera); museums (CA2M, CCA Glasgow, OCA Norway); film festivals (Mar del Plata, Rencontres du Documentaire de Montréal, FICUNAM, Curtocircuito); and non-fiction seminars (The Flaherty seminar, DocsKingdom). Her films have been featured in solo exhibitions at the MASP Sao Paulo, Maison des Arts de Malakoff and Medellin ́s Modern Art Museum; in biennials such as the Liverpool Biennial, FRONT Triennial, Videonnale and ScreenCity Biennial; and screenings in museums such as the Centre Pompidou, the Jeu de Paume, the Solomon R. Guggenheim Museum. Her work is part of private and public collections such as KADIST, CNAP, Banco de la República de Colombia, CIFO Miami, and FRAC Lorraine. Since 2019, she is part of the curatorial and research collective Counter Encounters, which has developed projects at the Centre Pompidou and Tate Modern.

Marwa Arsanios is an artist, filmmaker and researcher whose work can take the form of installation, performance and moving image. She reconsiders the political development of the second half of the twentieth century from a contemporary perspective, focusing on gender relations, collectivism, urbanism and industrialization. Her research work includes many disciplines and is deployed in numerous collaborative projects.

Several solo exhibitions have been dedicated to her work: Heidelberger Kunstverein, Germany (2023); Mosaïc Rooms, London (2022); Contemporary Arts Center, Cincinnati (2021); Skuc Gallery, Ljubljana (2018); Beirut Art Center (2017); Hammer Museum, Los Angeles (2016); Witte de With, Rotterdam (2016); Kunsthalle Lissabon, Lisbon (2015); and Art in General, New York (2015).

Her work has also been featured in numerous group exhibitions including: Documenta 15, Kassel (2022); 5th Mardin Bienali (2022); 3rd Autostrada Biennale, Pristina (2021); 11th Berlin Biennale (2020); The Renaissance, Chicago (2020); 2nd Lahore Biennale (2020); Kunsthalle Wien, Vienna (2019); 1st Sharjah Architecture Triennial (2019); SF Moma, San Francisco (2019); 1st Warsaw Biennial (2019); 14th Sharjah Biennale (2019); Nottingham Contemporary (2017); Maxxi Museum, Rome (2017); Sursock Museum, Beirut (2016); Ludwig Museum, Cologne (2016); Thessaloniki Biennial (2015); Home Works Forum, Ashkal Alwan, Beirut (2010, 2013, 2015); New Museum, New York (2014); 55th Venice Biennial (2013); M HKA, Antwerp (2013), In Other Words, nGbK, Berlin (2012); or the 12th Istanbul Biennial (2011).

Her films have been screened at Cinéma du Réel, Paris (2021); Rotterdam Film Festival (2021); EMAF, Osnabrück (2021); Film Fest, Hamburg (2020); State of Concept, Athens (2020); FID Marseille (2019); tiff, Toronto (2019); RIDM, Montreal (2019); Berwick Film & Media Arts Festival (2019); Walker Art Center, Minneapolis (2017); Centre Georges Pompidou, Paris (2011, 2017); Berlin International Film Festival (2010, 2015); and e-flux storefront, New York (2009).

She received the Georges de Beauregard International Prize at FID Marseille (2019), the Special Prize of the Pinchuk Future Generation Art Prize (2012), and was nominated for the Paulo Cunha e Silva Art Prize (2017) and the Han Nefkens Foundation Award (2014). She was awarded the Akademie Schloss Solitude scholarship in Stuttgart in 2014 and the Tokyo Wonder Site, Tokyo Arts and Space in 2010. She is a co-founder of the 98weeks Research Project.

Am I the only one who is like me? This is a question characteristic of Saddie Choua’s (°Bree, 1971) life and work. It problematizes the position of the solitary I that is also never disconnected from the other. The power order that conditions the solitary “I”, is another central subject. Where does this otherness sit in the hierarchy of power? Where is her oppression and exploitation concealed or exoticed?

Saddie Choua asks us to think about how we consume images and dialogues about the other and how they affect our self-image and historical consciousness. How can we intervene in the images that write our history and conceal social struggle? Do we first have to refute memory to tell another story? Or is the removal or recombining of certain associations and references already sufficient to create a different history and self-image?

Saddie Choua's work can therefore be read as a fragmented self-reflective visual essay that questions the relationship between maker and image. How do you make blind spots that just invite you to forget visible? How to speak and depict differently from a subalternal position, or is it just the concept of "the other" that confines her in dominant images and narratives?

Saddie Choua lives and works in Brussels and Ostend. She uses meta-documentary tactics, collage, own (film) material, re-appropriation of popular intercultural formats and autobiographical elements to put racism, discrimination against women and class, and her cats in the spotlight. She creates a new pseudo-realistic imaginary world that is at once highly recognizable and utterly alien. It is her way of undermining the (visual) language of our media and of sharpening the critical and political gaze of her audience. The challenge is to create 'situations' that reveal the power structures behind the images that we internalize and reproduce. Saddie is a doctoral researcher at the RITCS in Brussels and a lecturer at Sint Lucas Antwerp and the RITCS. She is one of the laureates of the Belgian Art Prize 2020.

Saddie Choua had solo and group exhibitions at, among others, BOZAR, Brussels, 2014; WIELS, Brussels, 2015; Marrakech Biennial, Marrakech, 2016; MU.ZEE, Ostend, 2016; Showroom, Sint Lucas School of Arts, Antwerp, 2016; KIOSK, Ghent, 2017; Festival Concreto, Fortaleza, 2017; Kooshk-Air Antwerp, Tehran, 2018; Kanal-Centre Pompidou, Brussels, 2018-2019; Savvy Contemporary, Berlin, 2018; Akademie der Künste der Welt, Cologne, 2018; Villa Empain, Brussels, 2018; Contour Biennal, Mechelen, 2019, Biennale Warszawa, Warsaw, 2019; La Veronica Gallery, Modica, 2020; Les Rencontres Internationales Paris/Berlin, 2020; Centre Wallonie-Bruxelles, Paris, 2020; Temporary Gallery, Cologne, 2020; Kunsthalle Wien, Vienna, 2020; Extra City, Antwerp, 2021; Kunstverein Hamburg 2021; Kadist, Paris, 2021; Undercurrent Gallery, NYC, 2021. Her work is in national and international private and public collections.

Known for his multifaceted and divergent approach to art making, with works that range from sculpture and installation to painting and drawing, Kasper Bosmans’ practice is a complex concoction of high art and literature, popular culture, mythology and anthropology, viewed through a queer and playfully minimalist lens that subversively observes and reinvents narratives that dominate the world around us. Taking an editorial approach, Bosmans cuts, pastes and brings together these anecdotes and stories, which traverse all histories, cultures and societies, and identifies off-beat, idiosyncratic and poetic resonances thatbind form and meaning together in what is essentially a conceptual practice.

Nothing is off-limits for Bosmans, who has a particular soft spot for more obscure, queer and marginalized anecdotes, from stories of cross-dressing saints to examples of celibacy and monogamy in the animal kingdom. Bosmans prods, pokes and teases out connections in his work that are significant to his personal world, but the resulting narratives cannot help but take on a universal resonance.

Why do artists write novels? What does the artist’s novel do to the visual arts? How should such a novel be experienced?

Artist David Maroto presents The Artist’s Novel: The Novel as a Medium in the Visual Arts – a research project that finds its momentum in the current international art scene, where the debate about the hybridisation of visual arts and literature is becoming increasingly prominent. In recent years, there has been a proliferation of visual artists who create novels as part of their wider art projects. They do so in order to address artistic issues by means of novelistic devices, favouring a sort of art predicated on process and subjectivity, introducing notions that have traditionally adscribed to literature, such as fiction, narrative, identification, and imagination. In this sense, it is possible to speak of a new medium in the visual arts (exactly as video or performance, for example); yet, very little is known about it.

By discussing a number of key case studies, David’s presentation will aim to elucidate the pressing questions posed by the emergence of a new artistic medium with a theoretical and practice-based approach that critically examines the different ways contemporary artists have employed the artist’s novel. The intention is not to fix a definition of what the artist’s novel is, but rather to situate it within the broader field of the visual arts in the hopes of sparking a much-needed discussion about a practice that has long been ignored by the main critical strands in art discourse.

David Maroto

David Maroto is a Spanish visual artist based in the Netherlands and a PhD from the Edinburgh College of Art, with a research project called The Artist’s Novel: The Novel as a Medium in the Visual Arts. It has been published in a two-volume book in English (Mousse Publishing, 2020) and Spanish (Greylock Editorial, 2025).

Maroto has an extensive international artistic practice: residence in URRA (Buenos Aires); Vigil Gonzales Gallery (Buenos Aires); Havana Biennial; Biennale Warszawa; Kanal Centre Pompidou (Brussels); W139 (Amsterdam); A Tale of a Tub (Rotterdam); Artium Museum of Contemporary Art (Vitoria); Extra City (Antwerp); S.M.A.K. (Ghent); EFA Project Space (New York); Pedrami Gallery (Antwerp); West (The Hague); The Opening Gallery (New York); SALT (Istanbul), a. o.

In 2011, he spent time at a residency in ISCP New York, where he met curator Joanna Zielińska and began a collaboration called The Book Lovers, a research project based on the creation of a collection and bibliography of artists' novels with the continuous support of M HKA (Antwerp). The Book Lovers explore the different ways in which the artist’s novel is employed as a medium in the visual artists, exactly as installation, video, or performance. The collection and bibliography are complemented with a series of exhibitions, performance programmes, publications, commissions, and pop-up bookstores. This collaboration has enabled them to engage with a host of international institutions, including Whitechapel Gallery (London); Museum of Modern Art (Warsaw); Kunstinstituut Melly (Rotterdam); CCA Glasgow; Fabra i Coats (Barcelona); Index (Stockholm); De Appel (Amsterdam); Ujazdowski Castle Centre for Contemporary Art (Warsaw); a. o.

David has published numerous artists’ novels, essays, interviews, and articles, and edited various publications, including Artist Novels (Sternberg Press, 2015); Tamam Shud (Sternberg Press, 2018); and Obieg magazine no. 8, 'Art & Literature: A Mongrel's Guide' (2018), as well as the paper ‘Valid Fictional Contributions to Non-Fictional Debates: Fictocritical Writing in Artistic Research’ (Acta Academiae Artium Vilnensis). He has also written for Caja Negra Editorial (Buenos Aires); EXIT art journal (Madrid); and Artforum.

David also has ample experience as a guest lecturer at international art academies, such as Dutch Art Institute; Gerrit Rietveld Academy; XPUB Piet Zwart Institute; Sint Lucas Antwerpen; Master Institute of Visual Cultures in Den Bosch; Ecole Nationale Supérieure des Beaux-Arts de Lyon; Ecole Cantonale d’Art du Valais, Sierre (Switzerland); Glasgow School of Art; and Stockholm University, a.o. In addition to lecturing, he has designed and taught diverse courses, workshops, and seminars, such as the Collective Novel Workshop at Museo Reina Sofía, Madrid.

David Reinfurt is an independent graphic designer in New York City. He graduated from the University of North Carolina in 1993 and received an MFA from Yale University in 1999. On the first business day of 2000, David formed O-R-G inc., a flexible graphic design practice composed of a constantly shifting network of collaborators. Together with graphic designer Stuart Bertolotti-Bailey, David established Dexter Sinister in 2006 as a workshop in the basement at 38 Ludlow Street on the Lower East Side in New York City. Together with Stuart Bertolotti-Bailey and Angie Keefer, David set up a non-profit institution called The Serving Library in 2011 which maintains a physical collection of art and design works, stages events, and publishes an annual journal. David was 2010 United States Artists Rockefeller Fellow in Architecture and Design and 2017 Mark Hampton Rome Prize Fellow in Design at the American Academy in Rome. His work is included in the permanent collections of the Museum of Modern Art, Walker Art Center, Centres Georges Pompidou, and the Whitney Museum of American Art. David has written two books, Muriel Cooper (MIT Press, 2017) and A New Program For Graphic Design (Inventory Press/DAP, 2019) and is Professor of the Practice at Princeton University.

Due to personal circumstances, the KASK lecture of Marwa Arsanios is cancelled.

Marwa Arsanios’ practice tackles structural questions using different devices, forms and strategies. From architectural spaces, their transformation and adaptability throughout conflict, to artist-run spaces and temporary conventions between feminist communes and cooperatives, the practice tends to make space within and parallel to existing art structures allowing experimentation with different kinds of politics. Film becomes another form and a space for connecting struggles in the way images refer to each other.

In the past four years Arsanios has been attempting to think about these questions from a new materialist and a historical materialist perspective with different feminist movements that are struggling for their land. She tries to look at questions of property, law, economy and ecology from specific plots of land. The main protagonists become these lands and the people who work them. Her research includes many disciplines and is deployed in numerous collective methodologies and collaborative projects.

Solo shows include: BAK Utrecht (2024), Kunsthalle Bratislava (2023), Heidelberger Kunstverein (2023), Mosaic Rooms, London (2022), Contemporary Arts Center, Cincinnati (2021); Skuc Gallery, Ljubljana (2018); Beirut Art Center (2017); Hammer Museum, Los Angeles (2016); Witte de With, Rotterdam (2016); Kunsthalle Lissabon, Lisbon (2015); and Art in General, New York (2015).

Her work has also been featured in numerous group exhibitions including: Documenta 15 (2022), Mardin biennial (2022), Sydney Biennial film program (2022), 3rd Autostrada Biennale, Pristina (2021); 11th Berlin Biennale (2020); The Renaissance Society, Chicago (2020); Gwangju Biennial (2018); Lülea Biennial (2018); Kunsthalle Wien (2019); 1st Sharjah Architecture Triennial (2019); SF Moma, San Francisco (2019); Warsaw Biennial (2019); 14th Sharjah Biennale (2019); Maxxi Museum, Rome (2017); Ludwig Museum, Cologne (2016); Thessaloniki Biennial (2015); Home Works Forum, Ashkal Alwan, Beirut (2010, 2013, 2015); New Museum, New York (2014); 55th Venice Biennial (2013); M HKA, Antwerp (2013),); the 12th Istanbul Biennial (2011). Her films have been screened at MOMA New York (2023), School of Art Institute Chicago (Gene Siskel Film Center) (2023), Cinéma du Réel, Paris (2021); Rotterdam Film Festival (2021); Film Fest, Hamburg (2020); FID Marseille (2015, 2019, 2022); tiff, Toronto (2019); Berwick Film & Media Arts Festival (2019); Walker Art Center, Minneapolis (2017); Centre Georges Pompidou, Paris (2011, 2017,2022); Berlin International Film Festival (2010, 2015)

Arsanios was a researcher in the Fine Art Department at the Jan Van Eyck Academie, Maastricht (2010–12). She is currently a PhD candidate at the Akademie der bildenden Künste in Vienna.