The Only Rule is Work

Video by Helga Jakobson, 2016

All MFA participants and core tutors Erik Hagoort, Thomas Bakker plus invited guest tutor Iede Reckman spent a good time in Glasgow last april, 2016. We did studio visits with our colleagues of the Glasgow School of Art MFA, visited Market Gallery for a meetup, Sculpture Studio’s Glasgow and much more.

An important part of the trip was the presentation and event at House for an Art Lover in Glasgow. HFAAL generously hosted us in- and outside of the exhibition space, allowing experiment and working in-and with the moment as it presented itself to us. After the event, the manifestation of Glasgow International opened. Every venue in town was packed with exhibitions, talks and events.

Our trip was aimed at exploring a new place by also giving, contributing to it in making. In the video above you can get a glimpse of how that idea turned into The Only Rule is Work. Thanks to all involved for making it a special experience; participants, tutors, Iede Reckman, Gemma Mannion (House for an Art Lover), Conor Cooke (Market Gallery), John Calcutt (Glasgow School of Art) and their MFA participants, and all others involved.

Workshop Politics of Installation, 7.09 – 10.09.2015 Process and Findings

What happened during the workshop week Politics of Installation? Jack Segbars wrote a small recap on this week’s work process, findings (and some images, too).

Adriano La Licata, Ielse Slager, Vinh Tanh

Proceedings

The participants were first asked to present there work in a general sense and to give an overview of their recent projects. In their presentation they also had to focus on the topic at hand: how do you relate your work and artistic practice vis a vis its mode of dissemination, (institutional/spatial) exhibition formats, presentation and publication and? How is the work informed, structured, projected and presented concerning these qualities?

Maurice Nuiten, Piffin Duvekot

Duo

After these presentations the students teamed up in duo’s by choice, depending on overlap, communality or productive relation (methodically or conceptually) to one another. The assignment was to jointly, working with elements in each others work, come up with a presentation that would address the topic of the workshop. What is needed to bridge different modes of artistic methods of the individual participants into one presentation? In this way issues of authorship/coöperation immediately emerge, and are made operational vis a vis the topic in general.

Results

The results were, as could be expected, very diverse. A lot of effort was made to thoroughly investigate ones stance towards the topic, and the way one wants to work mediating this stance in a coöperative set-up of. This element further enhanced the need to be precise.

How can one maintain one’s own idea’s in a coöperative endeavour? How is it maintained, how adaptable can one be? Issues of control, authorship arose. Mutual overlap in affinities or approach led to the search for one’s specific take or expertise that could be brought into the joint presentation.

Most teams came up with solutions that radicalized and accentuated their respective individual artistic ideas. Some focussed on the institutional aspects and worked with those, while others used the this aspect to redirect the audience’s attention to a more subjective and personal narrative.

Some teams moved in-between these two poles, intricately weaving the qualities of the general and the subjective. The coöperation mostly proved fruitful and productive, showing that students are comfortable with the idea of working in a group, countering the accepted notion of the artist as ego-driven agent by necessity.

Thank you Jack Segbars, all students, tutors, and Atelierbeheer Den Bosch for providing us with generous workspace!

MFA Workshop Politics of Installation, with Jack Segbars

At the start of the year, the first and second year MFA students collaborated in a weeklong workshop Politics of Installation (in artistic practice and program) with Jack Segbars. What are the topics and questions at stake in the workshop?

Where in the model of contemporary arts: a hybrid and joint undertaking between artists, institutions, curators, theory and critique is the actual ‘object’ of art located and generated?

The artistic practice is an interconnected mode of production, not solely defined by the artist. The legacies of Conceptual Art, Minimal Art and Institutional Critique demonstrate that the conditions and parameters of art production are essential elements in establishing the content and mode of operation of the artwork.

The Curatorial, Educational, Historiographical and Discursive Turns, that have ex- panded the scope of context and layerings of conditions, that have become part of artistic strategies and content, can be seen as further examples of this development. Es- pecially now in what is called the Post-Conceptual condition, in which the dominance of the conceptual as quality, frame of evaluation and as institutional framework, governs artistic production (Peter Osborne), it is crucial to re-evaluate artistic methodology in order to (re-) gain critical agency.

The aim of the workshop is to explore the individual take to this topic. How is ones work situated and operational concerning the expanded notion and set-up of production? The central issue, through which we will explore this, is through the notion of the ‘Installation’. As Boris Groys has stipulated in his essay: Politics of Installation: no- wadays the manner in which art is mediated and presented, its context of production, is an integral part of content, that artist need to negotiate. According to Groys this also provides for possibilities of agency.

The installation is a key concept to define the context of art production including cu- ratorial, institutional, issues of authorship and discursive/theoretical aspects of pro- duction. The term ‘installation’ can serve as instrument to see the production of art as a constellation involving all these components.

We will research this topic through group discussion and group work on location, and will work towards an end presentation at the end of the week.

Jack Segbars is an artist, writer, curator amongst others living and working in Rotterdam, NL.

http://www.segbars.nl

Trip Ghent, 2015

Charlotte van Buylaere, These Things Take Time

At the start of the new academic year, all master students left for a short trip to Ghent. In Ghent, the MFA visited These Things Take Time, an interdisciplinary project space located in the centre of Ghent, and Studio Manor Grunewald as well as collective visits to S.M.A.K. (Lili Dujouri, Jef Geys, Sol Lewitt), Museum Dhont Dhaenens (Proximus Collectie), and Museum Dr. Guislain.

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These Things Take Time

Studio Manor Grunewald

Open Studio 2015: introduction of participants

The 1st years made a small booklet for the upcoming open studio’s to introduce their practice.

You can view the whole booklet here:

OpenStudio2015

Please be welcome for the opening this week, july 2nd 16.00 h, Onderwijsboulevard 256, Den Bosch

The Collection, MFA graduation show at Greylight Projects, Brussels

You are cordially invited  for The Collection, MFA AKV|St.Joost graduation show taking place at Greylight Projects, Brussels!

Danni van Amstel (NL), Katrein Breukers (NL), Giulia Cenci (I), Katherina Heil (D), Tyas Leeuwerink (NL), Maud Oonk (NL), Mohadeseh Rahimitabar (IR) and Maarten Spons (NL).

Opening: july 4 2015, 5 PM!

Greylight Projects

Politics of Installation II, P/////AKT Amsterdam – opening sat june 13, 20.00 h

MFA tutor Bas van den Hurk exhibits at P/////AKT, Amsterdam with Hans Demeulenaere (B) and guest artists Koenraad Dedobbeleer (B) and Lorelinde Verhees.

“By taking aesthetic responsibility in a very explicit way for the design of the installation space, the artist reveals the hidden sovereign dimension of the contemporary democratic order that politics, for the most part, tries to conceal.” – Boris Groys

Politics of Installation is a two-part dialogue between Bas van den Hurk and Hans Demeulenaere, in which they examine their own and each other’s practice, in order to form a new series of works and presentation models together. After the first part in Loods 12 in Wetteren (B), the final part is now presented in P/////AKT. A combination of new works and parts of the previous show, will be displayed in a new arrangement.

Bas van den Hurk’s work is on the verge between painting, fashion, sculpture, installation, architecture and performance, by which he addresses the process of making in its various forms. Hans Demeulenaere plays with the perception of space. His work consists of objects, constructions and frames which integrate both sculptural and daily elements. In Politics of Installation, a title that is derived from a text by Boris Groys in 2009, the artists ask themselves to what extent the making of an installation can attach certain (political) meanings to a space. How do we relate to a shared space? How do we negotiate its use and meaning?

The binding factor in the work of Van den Hurk and Demeulenaere is the changing relation between autonomy and heteronomy. For this reason, they offer multiple points of view in this exhibition. They invited guest artists Koenraad Dedobbeleer and Lorelinde Verhees to make a contribution, as well as several text writers and especially the audience. In this way, the physical space of P/////AKT becomes a ‘place for negotiation’, where the artists engage in a dialogue on the work and the arrangement of the space. Art work and exhibition element will merge somewhere between showing and looking.

Also, an art historical line will be drawn by means of architectural interventions. Bas van den Hurk (re-)constructs a concrete circular element, based on the work of Belgian architect Juliaan Lampens, who introduced the ‘open plan living’ in the 1960’s. He will also present clothing works in collaboration with Sanne Jansen, paintings and bottles with remains from the painting process. Hans Demeulenaere shows a combination of existing and new work, amongst which a reconstruction of a part of the Sonsbeek-pavilion from 1965-’66, built by Aldo van Eyck. Recently, this pavilion was rebuilt in the sculpture garden of Kröller-Müller Museum.

Politics of Installation, part 2 is the third exhibition in the series Not Making Sense As Something Else, which is reflected upon by Freek Lomme (moderator) and Marnie Slater (writer).

http://www.pakt.nu

Save the date: MFA Graduation Exhibition, opening July 4th

Coming up: the MFA Graduation Exhibition! We will present our final works at Greylight Projects in Brussels, opening july 4th, 16.00 h. With works of Maarten Spons (NL), Giulia Cenci (IT), Katherina Heil (D), Mohadeseh Rahimitabar (IR), Katrein Breukers (NL), Maud Oonk (NL) and Tyas Leeuwerink (NL). Guest curator is Petra Heck. You are cordially invited.

More info tba!

BREWED in Brussels: MFA theory event

On april 30th, MFA students and guests gathered in Brussels for the MFA theory event, hosted by BREW.

The 2nd year students of the Master Fine Art at AKV | St. Joost presented the outcomes of the theoretical research of their studies. This occasion was used to experimentally test the different forms ‘theory’ can take in their work. How is theory related to art-production, how can this relationship be made productive?

Participants:
Katrein Breukers (NL), Tyas Leeuwerink (NL), Maarten Spons (NL), Danni van Amstel (NL), Mohadeseh Rahimitabar (IR), Katherina Heil (D), Giulia Cenci (IT), Maud Oonk (NL).

BREW is a space in Brussels which organises and hosts events and activities in the field of contemporary art – an initiative by Carolien Stikker and Philippine Hoegen.

Thanks to all students and guests, Philippine Hoegen, Carolien Stikker, Erik Hagoort, Bas van den Hurk, Jack Segbars.

Pictures by Erik Hagoort

MFA AKV | St.Joost Theory Event at BREW, Brussels

On April 30th the 2nd year students of the Master Fine Art at AKV | St. Joost will present the outcomes of the theoretical research of their studies. This occasion will be used to experimentally test the different forms ‘theory’ can take in their work.

How is theory related to art-production, how can this relationship be made productive?

Location: BREW is a space in Brussels which organises and hosts events and activities in the field of contemporary art.
(BREW Initiators: Philippine Hoegen and Carolien Stikker)

Schootstraat 1, 1000 Bruxelles

11.30 – 17.30 h

Participants: Katrein Breukers (NL), Tyas Leeuwerink (NL), Maarten Spons (NL), Danni van Amstel (NL), Mohadeseh Rahimitabar (IR), Katherina Heil (D), Giulia Cenci (IT), Maud Oonk (NL).

Special thanks to BREW, Philippine Hoegen, Carolien Stikker, Erik Hagoort, Bas van den Hurk and guest advisor Jack Segbars.

Book launch: MFA AKV | St.Joost presents Functions of Myth

During Super Book Saturday april 18th at Onomatopee in Eindhoven we presented the publication Functions of Myth, made with last years MFA graduates Paulina Mellado, Dimitris Rentoumis, Alexandros Kaklamanos, Yukari Matsumoto and Laleh Firoozi.

The publication was made to partner a group show with the same name, held last year at Club Solo in Breda. Texts are by Thomas I’Anson and the graduates, Graphic design by Stefano Faoro.

Through short presentations, a performative lecture, a poem and the screenings of works, participants explored the works within the pages and beyond.

The publication is available in the bookshop of Onomatopee in Eindhoven, Club Solo in Breda and the academy’s bookstores at both locations of AKV| St.Joost in Breda and Den Bosch.

Keep the fire burning: inhale/exhale trip New York blog

After a great trip in New York, we are back in the Netherlands. Read back on our experiences in New York at the blog of our trip:

https://mfanewyorktripinhaleexhale.wordpress.com

High Life Low Profile

High Life Low Profile

A 50 min presence and presentation of participants of MFA AKV|St.Joost

Location:

Whitney Museum construction site (Highline, corner Gansevoort St/Washington St.) NYC

Sunday March 22, 4 PM

Participants: Dorina Kappatou, Piffin Duvekot, Adriano La Licata, Marta Maseiro, Maud Oonk, Maarten Spons, Tyas Leeuwerink, Katherina Heil, Mohadeseh Rahimitabar, Nguyen Quang Vinh, Katrein Breukers, Danni van Amstel, Lorelinde Verhees, Thomas Bakker, George Korsmit, Erik Hagoort

(The High Line runs from Gansevoort Street – Meatpacking district / West 34th between 10th and 12th avenues

Map available at both ends of the line). 

You are cordially invited. 

Inhale / Exhale: MFA study trip to New York

We are looking forward to this year’s study trip, coming up in less than a week.

A busy program is to be expected: studio visits, lectures and meetings. We started a blog to share our activities and encounters in NYC! Please take a look at

https://mfanewyorktripinhaleexhale.wordpress.com

Je kunt het spel niet met iedereen spelen – interviews in The Cucumber Temple

Peter Nijenhuis interviewed the students that take part in The Cucumber Temple, currently on view at Expoplu, Nijmegen.

Firstly: an introduction and Danni van Amstel about her contribution in the exhibition.

The Cucumber Temple is een tentoonstelling in de Nijmeegse Paraplufabriek van zes studenten van de masteropleiding Fine Art van AKV/St.Joost, geïnspireerd op een gelijknamige tekst van Martijn in ‘t Veld. In de associatieve en ogenschijnlijk van de hak op de tak springende tekst van Martijn in ‘t Veld spelen de kleur groen, meerduidigheid en gedaantewisselingen een hoofdrol. Hoe hebben de zes studenten onder begeleiding van docent en curator Bas van den Hurk in hun bijdrage aan de tentoonstelling de tekst van Martijn in ‘t Veld verbonden met hun eigen onderzoeksvragen?

DANNI VAN AMSTEL: JE KUNT HET SPEL NIET MET IEDEREEN SPELEN

Een masterstudent Fine Art aan Sint Joost dient na ongeveer een half jaar een onderzoeksvraag te schrijven die dienst doet als rode draad tijdens de rest van de tweejarige opleiding. Wat is jouw onderzoeksvraag, of beter gezegd het onderwerp dat je met beeldende middelen onderzoekt? 

Ik heb daar een tijd naar gezocht. Voorheen maakte ik werk naar aanleiding van een bestaande plek. Het was, zoals dat heet site specific. Na dat een tijd gedaan te hebben, voelde ik de behoefte om meer op zich staand, zeg maar sculpturaal werk te maken. Wat me bovendien interesseert is hoe ik de beschouwer bij mijn werk kan betrekken en, bij uitbreiding, hoe mensen überhaupt bij ruimte betrokken raken. Dat bracht me erop om mensen te interviewen die aan het verhuizen zijn. Ik vond die mensen via mijn kennissenkring en sociale media. Ik ging met ze mee als ze hun toekomstige woning voor het eerst bekeken. Wat waren hun ideeën en plannen als ze het zo zagen? Ik ben nu bezig om daar een publicatie van te maken. Wat uit de interviews naar voren komt, is dat veel mensen op de nog lege ruimte die ze zullen gaan bewonen hun gewoontes en verlangens projecteren. Die gewoontes en verlangens hebben veelal hun oorsprong in hun eerste ervaringen, het dagelijkse bewonen van een vroeger huis met het gezin waarin ze opgroeiden. Dat is voor mij een belangrijk gegeven. Het ondersteunt wat over het onderwerp van de menselijke ruimtebeleving en de poëzie van die beleving is geschreven door theoretici als Gaston Bachelard en maakt die theoretische benadering ook begrijpelijk en concreet.

Wat heb je voor deze tentoonstelling gemaakt?

Ik heb heel simpel gekozen voor de kleur groen als uitgangspunt en in Nijmegen op straat naar scherven groen glas gezocht. Het glas heb ik gesmolten in een glasoven. Daardoor zijn de scherpe randen van de scherven vloeiend geworden en de onderzijde van de scherven plat. Het smeltproces is evenwel  binnen de perken gebleven waardoor aan de bovenzijde de oorspronkelijke vorm nog steeds herkenbaar is. Je kunt nog altijd zien dat een stuk glas bijvoorbeeld afkomstig is van de schroefdraad van een fles.

Het werk en het hele idee spreken me aan, maar het is klein en ligt, als iets onbeduidends bij een putje. Ik stond er zojuist al per ongeluk in toen ik met iemand anders stond te praten. Dat mensen je werk niet zien of vatten, is niet denkbeeldig. Hoe doorbreek je dat?

In hoeverre is er iets te doorbreken? Ik zei al dat ik het me interesseert hoe je de toeschouwer aan kunt spreken en kunt betrekken bij je werk. Ik doe dat onder andere door me te verdiepen in hoe mensen in dagelijkse situatie bij ruimtes betrokken zijn. Dat spel wil ik met mijn werk nadrukkelijk aangaan, maar ik denk dat je dat spel niet met iedereen kunt spelen, hoe jammer dat ook is.

website Danni van Amstel

All text and images copyright Peter Nijenhuis. Read the full text here

Guest lecture and studio visits Alex Bacon (US)

This week writer, critic and curator Alex Bacon (NYC) was a two-day guest lecturer at the MFA.
He studied art history at Princeton University where Hal Foster was his professor.
His main interest is ‘abstraction’ in the broadest sense of the word. That means as well the (art)historical references as the contemporary art in which this plays part.
Unique about his position is that he is in close contact with a lot of artists, especially with a young generation of abstract painters in New York. He’s not a writer or critic that stands on the sideline but really involves himself.

A Presentation For Bucharest

opening :17 April at 19:00 at Make a Point

The participants of the Master Fine Arts of AKV St. Joost, based in Den Bosch and Breda, the Netherlands visited Bucharest for a short term residency, hosted by Tudor Bratu from Bucharest AIR. We connected with institutions, curators, local artists and international artist-researchers through talks, meetings and workshops.

In a fragmentary way, we discovered Bucharest, through conversations and meetings, by walking and by getting lost. In our Presentation for Bucharest, each of us gives an impression. This can take different forms, from a collaboration to an individual sketch, from a suggestion to an idea, from a work to a question mark. 

 

Advisors
Erik Hagoort (NL)
Bas van den Hurk (NL)

Guest Advisor
Tudor Bratu (RO/NL)

Guest Artists
Adina Mocanu (RO)
Ioana Gheorghiu (RO)
Giles Eldridge (GB)
Lorelinde Verhees (NL)

Participants:

Danni van Amstel (NL)
Katrein Breukers (NL)
Giulia Cenci (IT)
Katherina Heil (GER)
Alexandros Kaklamanos (GR)
Tyas Leeuwerink (NL)
Paulina Mellado (CL)
Maud Oonk (NL)
Dimitris Rentoumis (GR)
Maarten Spons (NL)

 

The workshop ‘Art & Reciprocity’ accompanied the residency of participants at the AKV | St. Joost MFA at Bucharest Air. http://www.bucharestair.com/#news

Bucharest Air, established in 2010, functions as a non-profit organization, ran and managed by artists Tudor Bratu, Alice Gancevici, Remus Pușcariu, and Ioana Gheorghiu. Bucharest Air aims at generating and maintaining a high level platform for cultural exchange in Bucharest.

–

Event in collaboration with Make A Point, Bucharest

For more information, please visit:

www.makeapoint.ro

www.bucharestair.com

Preparing for the presentation at Make a Point

 

Talks and BBQ at Bucharest AiR

Talks and barbecue at Tudor Bratu’s artist-in-residenc place

Art & Reciprocity

Art & Reciprocity: a workshop by Erik Hagoort

Time: April 12 & April 13, 2014

Location: tranzit.ro / București, Str. Gazelei, nr. 44, sector 4

“If I take care of you, others will take care of me”.
Joseph Beuys

“What I demand of myself doesn’t correspond with what I have the right to demand of someone else”.
Emmanuel Levinas

A hands-on workshop to explore reciprocity in social art practice. The aim is to develop a sensibility for the dynamics of reciprocity, in three sessions:
Theory > Practice > Play

To give, to accept and to reciprocate – the combination of these three activities constitutes our social life, according to sociologist Marcel Mauss’ famous essay “The Gift” (1925). Reciprocity, he states, helps us to balance extremes of over-generosity or communism on the one side, and individualism and capitalistic egoism on the other. For Mauss reciprocity is society’s “eternal morality”.

Mauss’ concept of reciprocity has been widely discussed among sociologists, anthropologists, and philosophers. Especially Mauss’ pupil, anthropologist Claude Lévi-Strauss, has contributed to the conviction that reciprocity pervades our society, as a “total social fact”. Lévi-Strauss hailed the transformative power of reciprocity to make people communicate and integrate, and in doing so creating social cohesion.

Recently reciprocity increasingly appeals to artists. Especially in social art practices reciprocity has become something of a strategy. To reciprocate creates situations in which “all participants will be, at once, giver and receiver, producer and consumer, artist and audience”, in the words of curator Michael Brenson. Reciprocity makes, that all participants in the art work are equals and that their roles are reversable, transferable. Art then turns into the social process itself, as Joseph Beuys advocated already: “If I take care of you, others will take care of me”. At least, that is the promise of reciprocity.

Yet, social art practices also generate moral experiences, which are not necessarily reciprocal: generosity, hospitality, responsibility. “What I demand of myself doesn’t necessarily correspond with what I have the right to demand of someone else”, philosopher Emmanuel Levinas has pointed out. So, in daily life, and also in social art practices, reciprocity is contested by other-than-reciprocal, asymmetrical experiences in our relations to others. How do these asymmetrical experiences relate to the experience of reciprocity?
– What is reciprocity? How does it work? What are its dynamics?
– Why does reciprocity appeal so much to contemporary artists?
– Do social art practices indeed hold the promise of reciprocity?
– Do social art practices also question, criticize, or contest reciprocity? And if so, how?

This workshop will explore art & reciprocity in three sessions:
Theory (evening) > Practice (day) > Play (evening)
Participants are offered a compact reader of crucial texts on reciprocity and social art practices.

www.erikhagoort.nl

http://ro.tranzit.org/

www.bucharestair.com

Three Talks and a Conversation for Bucharest

A presentation of three researches from MFA AKV/St. Joost/The Netherlands

Venue: Make A Point
Date: Friday April 11
Time: 07.30 – 09.30pm
doors open at 07.00pm

With:
Dimitris Rentoumis (GRE)
Paulina Mellado (CL)
Alexandros Kaklamanos (GRE)

Over the last two years three young international artists did research as part of the MFA program of AKV/St.Joost academy based in Den Bosch, The Netherlands.

This Friday, on April 11th, they will present excerpts of these researches at Make A Point in Bucharest.

Dimitris Rentoumis will read a short story based on the myth of St. Denis and speak about ‘distance’ as a notion to consider the encounter between the artwork and the viewer.

Paulina Mellado will present her research on mimesis as a way of dealing with art, nature and landscape. She will question the relevance of mimesis today.

Alexandros Kaklamanos researched the idea of the ‘point zero’ in art. He will go into it’s recurring emergence in the last century.

After the talks, the artists will be joined by Romanian artist Ioana Gheorghiu. She’s invited as a moderator who will contextualize these researches within questions that are now relevant within the local art scene.

For more information, please contact  point@makeapoint.ro

practicing Paul Ryan’s THREEING

Paul Ryan himself called his practice of THREEING “the best invention since the Bread Slicing Machine”.
( interview with him at the Documenta 13: http://www.youtube.com/watch?v=G4npVaV7q4U)

The only way to find out, was to try it ourselves. And so we did.
with firstness, secondness, and thirdness.
with impulse, resistance, and mediation.

Katherina, Dimitrios, and Maarten:
took turns in nailing one another to the wall, assembling furniture and commenting with photoprints.
Here is an impression taken by chance of their Threeing:

Here is an impression taken by chance of Threeing by Laleh, Mohadeseh and Alexandros:
They took turns in pulling, balancing, and rolling themselves in a 30 metres linnen band.

Tyas, Danni, and Maud:
took turns in drawing, first by drawing several times out of impulse and reaction, and then looking for patterns.
Yukari, Erik, and Paulina:
took turns in walking, running, and falling, and ended up in trying to make sense of non-conversation.

Presentations on Theory and Practice

During the 18th and the 19th of December the master students are presenting their progress in theory and practice.

With this presentation 1st year students close of the Orientation Phase during which they have started to set up a practice within the framework of the studies and have formulated a research proposal.

The 2nd year students close of the Experimentation Phase during which they tested and enhanced their research and developed different approaches to work towards a sustainable practice that integrates both theoretical research as well as an inquisitive practice.

Close MFA St. Joost – St. Lucas Encounter at WOLKE, Brussels 22 November 2013

A day of encounter between St. Joost and St. Lucas MFA participants to exchange thoughts, to discuss themes concerning our work and interests, and to create possibilities for future collaborations.

We started the conversations with this quote in mind:
“There must be no tyranny in conversation, let everyone have their share and have the right to speak.”
Madeleine de Scudéry, Conversations sur divers sujets, 1680.

Intuitively 5 groups were formed, along common interests, starting conversations triggered by objects, poems or first-hand impressions.
Talks were stimulating and going on for 1 up till 4 hours, up till a never ending exchange of thoughts, with soup and curry rice.

In conversation with Emmanuel Lambion

Emmanuel Lambion, founder of the Bn PROJECTS , was today our guest on the 11th floor at W-O-L-K-E . After presenting his practice as curator and as ‘artworker’, he had individual conversations with the master students about initial ideas and works in progress.