Unfixing the Atlas

Si & La is a media arts exhibition full of polyphonic stories, off-kilter sculptures, syncopated performances and off-beat video work. With fresh, noisy audiovisuals by Mikhaela Baradaki, Lila Toppets, Sebastiaan Bakker, Lester van Extergem, Junior Vita, Emma Boga, Stine Moni Wuyts, Julian Verberckmoes, Gabriela Oswiecinska, Donna Kok, Deirdre Vancanneyt and Muireann Hillman-Allen.

… Et ceci et cela ------------ Sì, sois-Là!

Want als ik niet zou praten, wordt het wel heel erg stil.

Si & La is curated by Anna Bruni, Cristina M. Carnelos, Anaïs Du Champs, Youssef Elkhiar, and Valerie Holfeld of the curatorial studies postgraduate programme.

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).

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

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.

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.

🖤 **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**

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

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.

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.

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

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

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

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

Tony Coopman CVL Partners are present on:

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

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