Category Archives: Related to Theory

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

Adriano La Licata, Ielse Slager, Vinh Tanh


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

Maurice Nuiten, Piffin Duvekot


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.



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.

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?

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

workshop Art & Reciprocity _Erik Hagoort

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.

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?


y0 3

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)

Alex Bacon 3Alex Bacon

Alex Bacon

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.

Talks and BBQ at Bucharest AiR

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

20140415_MFA Boekarest_986920140415_MFA Boekarest_9861

Art & Reciprocity

Art & Reciprocity: a workshop by Erik Hagoort

Time: April 12 & April 13, 2014

Location: / 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.


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

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

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:

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:

kati maarten 1 maartenHere 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.

moh lalehlaleh downTyas, 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.

S1230045With 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.

20131122_Brussel 22 november_8626Intuitively 5 groups were formed, along common interests, starting conversations triggered by objects, poems or first-hand impressions.
20131122_Brussel 22 november_8630Talks were stimulating and going on for 1 up till 4 hours, up till a never ending exchange of thoughts, with soup and curry rice.

Brussels Oppositions : A Walk / A Lecture / A Talk

Paoleta Holst was the guide of an interesting route through a specific area in Brussels. As part of the two-week residency program at W-O-L-K-E the whole group of our master students explored the spatial oppositions of two distinctive neighborhoods in Brussels that are situated next to each other: the European quarter and the Matonge.

Two main causes of the visible spatial differences in these neighborhoods, can be defined as the historical and political effects of migration and real estate development. The central question that was posed during /Walk /Lecture /Talk #1 treated the extent to which the city and its architecture show some physical elements that articulate increasing migration, the different forms it has and the way in which migrants move, maintain and express in their ‘new’ or ‘temporary’ environment?


MUHKADEMIE – Museum of Contemprorary Art, Antwerp

Participation of the master students in the workshop and lecture of Michelangelo Pistoletto and Cittadellarte. Participating Alexandros Kaklamanos , Dimitris Rentoumis, Paulina Mellado Neely and Yukari Matsumoto



What happens when the messy Academy invades the pure white rooms of the M HKA museum of contemporary art? When the cradle and the Valhalla of art come face to face? A temporary no-man’s-land comes into existence, that’s what, offering us an
opportunity to raise questions about both institutions. The artist Nico Dockx and the art historian Johan Pas have invited a range of artists and artlovers, lecturers and students, thinkers and doers to consider the roles of both the Academy and the museum in a changed, post-institutional art world.

To that end, the three exhibition rooms on the top floor of the M HKA become a temporary branch of the Academy. The three spaces take on the functions of archive, assembly hall, and project space and are linked with each other by a flexible, transparent, site-specific structure by the visionary architect Yona Friedman (born in 1923). This structure provides a setting for conversations, classes, workshops, discussions, and presentations over a period of three months.

MUHKADEMIE is a temporary laboratory in which the boundaries between artistic practice, education, and research can be explored. Alumna Ina Leys invited alumni of the Academy to present new works (MUHKALUMNI), while a variety of works of art and documents from the M HKA’s collection are introduced as ‘sparring partners’. During the day, visitors to the museum can observe projects, seminars, and workshops; every Thursday evening there will be public conversations with artists about the interfaces between the museum and the Academy, art and education, practice and reflection.

MUHKADEMIE includes documents, works, interventions, and/ or contributions by, a.o., James Lee Byars, Marcel Broodthaers, Jacques Charlier, Jean-Baptiste Decavèle, Luc Deleu & TOP-office, Extra-Academy, Robert Filliou, Yona Friedman, Jef Geys, Ina Leys, Gustav Metzger, Louise Osieka, Panamarenko, Michelangelo Pistoletto & Cittadellarte, and students and staff of the Royal Academy of Fine Arts Antwerp. The activities are being documented and some will appear, along with other contributions, in book form early in 2014 under the title Pro-Positions. Art and/as Education 2013–1963 (published by Mer, Ghent).


Symposium by Giorgios Kontis


Authenticity in the Act of Painting

WITH Jonathan Miles (UK) Matthew Lutz-Kinoy (USA) Koen Delaere (NL) Giorgos Kontis (GR)

AT Saturday June 1, 2013 14.00 – 16.00 De Pont, Tilburg

MODERATORS Julia Geerlings (NL) Marnix van Boetzelaer (NL)

PERFORMANCE Matthew Lutz-Kinoy

FILM Cheryl Donegan

Authenticity in the Act of Painting documentation_Page_02Authenticity in the Act of Painting documentation_Page_11Authenticity in the Act of Painting documentation_Page_13Authenticity in the Act of Painting documentation_Page_04Authenticity in the Act of Painting documentation_Page_08Authenticity in the Act of Painting documentation_Page_17


Symposium with Jonas Staal, organized by Eleni Gogou

Symposium with Jonas Staal, organized by Eleni Gogou


Mini Symposium

Mini Symposium

Kunstvlaai update: Where things don’t move

Where Things Don’t Move

1st of December, room A 36, 6-9 pm!!
again, limited seating!

presentations on performance and collaboration

Mini-Symposium (from 6 to 9 PM) with Maria Paskwho will talk about her project ‘Déjà vu’, followed by a talk on performance and collaboration; while Una Björk Sigurðardóttir‘s will reciprocate a gift in the form of a performance.

Closing performance by Gijs van Lith and Giorgos Kontis


Kunstvlaai update: Communality

Impossible Communities?

A Discussion on the Commonality of Art

By Daan Gielis (Sint-Joost Academy Breda) and Bram Ieven (Utrecht University)

29 November 2012 at room A 36 starting from 15:30 – ..

Limited seats, everybody welcome!

Alice laughed. ‘There’s no use trying,’ she said, ‘one can’t believe impossible things.’

‘I daresay you haven’t had much practice,’ said the Queen. ‘When I was your age, I always did it for half-an-hour a day. Why, sometimes I’ve believed as many as six impossible things before breakfast.’

Lewis Caroll, Alice in Wonderland

During this informal get together we will discuss the relation between art and community. How does art relate to community? Does art build communities or does it somehow contribute to building a community? If so, in what way? What does it imply for art to be engaged in a community? And how do we resist the tendency to think of this community as simply a congregation of art consumers? What is the difference between an art public made up of consumers and a community of viewers, spectators and participants who engage with art?

Kunstvlaai update: Untranslatability

Today there will be a symposium held in our room A-36 at Kunstvlaai.

The symposium will deal with ‘Untranslatability, Text, Object, Image and a way of working’

There will be talks held by Uta Eisenreich, Erik Boker and Yiannis Papadopoulos.

Start at 6, limited seating, everybody welcome!

Update on the kunstvlaai

A few pictures from the first setups we made during the first days.

There is symposia coming up this wednesday, thursday and saturday!!


INexactly THIS – Kunstvlaai: Festival of Independents,   MFA AKV/ST. JOOST at Kunstvlaai 2012
November 23–December 2, 2012
Opening: November 23, 3–11pm
(former) Sint Nicolaas Lyceum
Prinses Irenestraat 21
Hours: Wednesday–Thursday 3–9pm; Friday–Sunday 12–9pm. Check for updated news.
MFA AKV/ST. JOOST at Kunstvlaai 2012
Erik Boker / Daan Gielis / Eleni-Myrsini Gogou / Soo Hie Kim / Giorgos Kontis / Gijs van Lith / Tramaine de Senna / Una Björk Sigudardittir / Derek van der Vinne

‘Shapes, Shifts & Sheeps’
Amongst three “legs” of loosely divided categorical presentation, students at MFA AKV St Joost present an ever-shifting exhibition of works, mini-symposia, performances, and film. A raised stage will serve as a representation of a gallery space itself, merging wall, pedestal, table, and floor into one.
The stage serves as a platform of presentation, a place for collaboration, and discourse – a comfortable environment for socializing…a home, your home – and a revolving door open to outside contributors and collaborations. Within overlapping three-day increments or “legs,” which constitute larger conceptual frames – the white cube, theory, and performance – there is a daily changing display of works and proposals by the nine participants. Each transition of a “leg” is not necessarily divisive, but in dialogue with the one previous and the next to come, where the framework is not rigid, but flexing, breathing, in motion.


How to improvise on a symposium?

This question becomes practice during an ongoing event at ExtraCity, Antwerp from 17 to 20 April 2012. Participants of the master courses of St. Lucas, Artesis, and AKV/St. Joost work together in finding out what “symprovising” could be.

Let’s approach reflection through improvising. Trying to reflect and work on the spot: à l’improviste. By using skills, work, prcedures, ideas, texts, inventions and coincidence.

Please join in the closure of this experiment at ExtraCity:
Friday April 20th, 13.00 – 15.00 hours, starting and ending with lunch.

With: Kasper Bosmans, Elsbeth Ciesluk, Remy Habets, Pim Kersten, Theodora Kotsi, Saori Kuno, Raphael Langmair, Tanya Long, Piotr Piskozub, Nelleke Schiere, Anna Stergiou, Timothy Van de Laar.
Advisors: Nico Dockx, Erik Hagoort, Bas van den Hurk

Many thanks to: ExtraCitySalon 2060

Have a look at some “symprovisations” here:
Remy Habets, “Piece of me, 1” at ExtraCity, Antwerp, 19-4-2012.
Remy Habets, “Piece of me, 2” at ExtraCity, Antwerp, 19-4-2012.
Video: Raphael Langmair

Remy Habets, Piece of me at ExtraCity, Antwerp, 19-4-2012