Marijke De Roover, KASKlezing, 08.02.24

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.

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.

Invited artists 

• Brothers Monteny
• Zoë Dejonghe
• José Haberland
• Katrijn Ooms
• Chiara Sap
• Pepijn Vendel
• Maarten Viaene
• Senne Wettinck

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).

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.

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.

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.

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.