Category Archives: Trips & Projects

Onderbroken Stad, Antwerp BE

On march 4, 5 and 6 Helga Jakobson, Marta Masiero, Adriano LaLicata, Thom Brand and Nina Orteu (all current MFA AKV|St.Joost participants) and alumnus Maud Oonk (2015) participate with artistic interventions in Onderbroken Stad.

With the event ‘Onderbroken Stad’ the new Antwerp Research Institute for the Arts (ARIA) will be launched. ARIA is a collaborative undertaking by Universiteit Antwerpen, Sint Lucas Antwerpen, Koninklijke Academie voor Schone Kunsten Antwerpen en het Koninklijk Conservatorium Antwerpen. The event takes place in the Koninklijke Stadsfeestzaal and beyond in an empty shopping mall, in Antwerp.

For the full program, please check:



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

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:

Inhale / Exhale: our study trip to New York

We are currently immersed in our Inhale / Exhale study trip to New York City. You can follow us here:

Inhale / Exhale blog


MFA AKV | St.Joost

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

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.

IMG_8670In 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.  IMG_9915-1

IMG_9898-13 IMG_9917-15 IMG_9889-11IMG_9872-5
IMG_8672  IMG_9956-6

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)


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.

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:

Preparing for the presentation at Make a Point

20140416_MFA Boekarest_9794  20140416_MFA Boekarest_9793 20140416_MFA Boekarest_9798

Talks and BBQ at Bucharest AiR

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

20140415_MFA Boekarest_986920140415_MFA Boekarest_9861

Visiting Museum of Contemporary Art of Bucharest


S1340016Visiting MNAC  we had the chance to meet the curator Adina Mocanu, who guided us through the exhibition of Mircea Cantor. We also had the opportunity to see the ‘secret’ corridors where there is an interesting setup  with many portraits of Nicolae and Elena Ceaușescu.mnac_1 mnac_3

Meeting at Tranzit – Bucharest


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.


Residency at W-O-L-K-E – Brussels, Belgium

From the 18th of November until the 1st of December our master students will be working at W-O-L-K-E , in Brussels.

The camp is set and … ready to start  !H1110010                                                                 

9/4/2013 – 14/4/2013 Excursion Berlin

studiotalk with Hester Oerlemans and visit of her projectspace Ozean

studiotalk with Hester Oerlemans and visit of her projectspace Ozean

Angela-Bulloch002 studiotalk and lunch with Angela Bulloch

guided tour by Michiel Huijben (artist/assistant Angela Bulloch) to galeries

01-BTH-002_OpenStudios-SEP-2011_003_7620_kl1-460x306visit Kunstlerhaus Bethanien and meeting with the artistic director, Christof Tannert

studiotalk with participant of the program Jenny Lindblom

KippenbergerAbb2_einsvisit Hamburger Bahnhof exhibition Martin Kippenberger SEHR GUT / VERY GOOD

Symprovisation – Antwerp, Belgium

Symprovisation                                                                                                                 ExtraCity, Antwerp  –  Period: 17-20 April, 2012

Concept and tutors:                                                                                                            Nico Dockx, Royal Academy of Fine Arts, Antwerp                                                            Erik Hagoort, AKV| St. Joost, Den Bosch/Breda

How to improvise on a symposium?

This question became practice during a four day ongoing event at ExtraCity. Participants of the master courses of St. Lucas, Artesis, and AKV/St. Joost worked together in finding out what “symprovising” could be.

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

The experiment was rounded up during a final presentation of results, stories, and thoughts with spotlighted spiderwebs, dance, collages, broken walls, and sadly a piece of Remy’s finger cut off.

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.

Schermafbeelding 2014-01-09 om 18.33.44Remy Habets demolished the cardboard wall of ExtraCity’s upper floor.

Schermafbeelding 2014-01-09 om 18.34.47Mixed interventions by Tanya Long (paint on wall) and Nelleke Schiere (stick in the window).

Schermafbeelding 2014-01-09 om 18.38.11And lots of lunches

Reports from Manifesta

Three “Manifesta’stions” of Curatorial Autonomy

by Erik Hagoort

Only after some time – half-way our four-day visit to Manifesta – while travelling by bus from Murcia to Cartagena, it became clear to me that this Manifesta actually consisted of three separate Manifesta’s. Each of the three curator collectives invited to create this Manifesta 8 – the Alexandria Contemporary Arts Forum (ACAF), the Chamber of Public Secrets (CPS) and – had organized its own Manifesta. CPS presented ¿The rest is history?, ACAF presented Overscore, and presented Constitution for Temporary Display. Each collective also used its own buildings and venues. There was no interaction between these three Manifesta’s.

Three Manifesta’s in one Manifesta catalogue

I could have known, that I would visit three Manifesta’s instead of one, if I had read theCuratorial Preface to the catalogue, in which the three collectives state: “…our projects exist as autonomous curatorial contributions. (…). All have their own scheme”. At the entrance of each Manifesta location in Murcia and Cartagena it was also clearly announced which curator collective had organized the show inside: big text boards explained that either, or Chamber of Public Secrets, or ACAF curated the show at that location. In the free maps and the free manual, to be used during the visit, each curator collective was marked by its own color. So I couldn’t have not notice it.

“Manifesta 8 does not present a coherent perspective on a given motto”, say the three curator collectives in their preface to the Manifesta 8 catalogue. So we shouldn’t search for a coherent perspective, that would be unfair. The point is, however, that during my visit time and again I was confronted with striking similarities between each of the three Manifesta’s. All locations with more artists and projects on show, shared projects concerning historical film footage; all presented projects revolving around workshops; all hosted projects consisting of discussions; all locations offered artistic ‘criticality’ projects, criticizing contemporary curatorship in general and the Manifesta organization in particular; all locations offered work based on interviews. And so on. There were also big similarities in content, intentions, and interests. This conclusion by the way doesn’t say anything about the works themselves.

Three Manifesta’s in Murcia

Of course there would be similarity between all shows and projects: Manifesta 8 commissioned the curator collectives to focus on the region of Murcia in all its historical, ideological, geographical and socio-political complexities. Naturally the outcome of all curatorial efforts was expected to overlap. But while visiting the shows the overlap was so striking. At first I honestly hoped that the curator collectives were fooling me, that they secretly had organized Manifesta 8 together. I might not share all choices of such a joint effort, but at least these would have been the outcome of an interesting process. Because why showing your autonomy as a curator collective when you have the unique chance to try to work it out all together and creating Manifesta as one joint effort? But alas, I was confronted with “autonomous curatorial contributions”.

What would the result have been if the three collectives had given up their own autonomy? Would the outcome be more or less similar to what I experienced now? I don’t think so, it would have been more adventurous, hazardous, raising questions instead of trying to answer questions. CPS, ACAF and, though each of them internally working collectively, seem to operate from their own autonomous collective identity. They seem to have their mentalities fixed; they have their convictions, which they clearly present in texts and way of working. Nothing wrong about a strong conviction. But if these three collectives had taken the chance to work it out together, each would have been urged by the other ones to look at itself vis-a-vis the other ones. Nothing could have been taken for granted. That was exactly, what could have made this Manifesta 8 into more than three shows of self-evident curatorial autonomy.

Three Manifesta’s in Cartagena

2011: Manifesta

Visit to Manifesta 8

From 4 to 8 January, 2011, we visited Manifesta 8 in Murcia and Cartagena, Spain.

Present were participants Nelleke Schiere, Tanya Long, Pim Kersten, Thomas I’Anson, Emy de Rooij, Elsbeth Ciesluk, Raphael Langmair, Lorelinde Verhees, and Twan Berendsen. And advisors Thomas Bakker, Bas van den Hurk and Erik Hagoort.

What did we think about it? Read the reports and look at the pictures, to find out!

2010: Chicago

Adriel van Drimmelen, Mari Stoel, Dominique Teufen, Thomas I'Anson, Ian de Ruiter, Emy de Rooij, Yiannis Papadopoulos, Lorelinde Verhees, Kiki Cheng, Janeke Kornet, Daniele Marx, Medhi-Georges Lahlou, Bas van den Hurk, George Korsmit, Saskia Janssen, Marjolijn Dijkmen and Erik Hagoort.

Adriel van Drimmelen, Mari Stoel, Dominique Teufen, Thomas I’Anson, Ian de Ruiter, Emy de Rooij, Yiannis Papadopoulos, Lorelinde Verhees, Kiki Cheng, Janeke Kornet, Daniele Marx, Medhi-Georges Lahlou, Bas van den Hurk, George Korsmit, Saskia Janssen, Marjolijn Dijkmen and Erik Hagoort.

Adriel van Drimmelen, Mari Stoel, Dominique Teufen, Thomas I’Anson, Ian de Ruiter, Emy de Rooij, Yiannis Papadopoulos, Lorelinde Verhees, Kiki Cheng, Janeke Kornet, Daniele Marx, Medhi-Georges Lahlou, Bas van den Hurk, George Korsmit, Saskia Janssen, Marjolijn Dijkmen and Erik Hagoort.

On April 22 2010, participating artists and advisors from the MFA programme at AKV | St. Joost set off for Chicago to take part in Version 10 Chicago – Infrastructures and Territories, narrowly avoiding the chaos caused by the Europe wide grounding of flights in and out of the continent due to invisible clouds of ash eminating from Iceland’s Eyjafjallajokul volcano.

For two weeks we were involved in a variety of activities. The time spent in Chicago was a rewarding experience for everyone involved and i personally had great time (Thomas)! A very special thanks to Ed, Rachael and Maria Marszewski , Emily Clayton, the amazing team and all the volunteers at Version, SAIC, AKV St. Joost, Ad van Rosmalen, Bas van den Hurk for conceiving the trip and to Bas van den Hurk, George Korsmit, Saskia Janssen, Marjolijn Dijkmen and Erik Hagoort for all their help and advice.

Please visit the external site MFA Trip Chicago to see what happened!

OBSERVATORY – Kokkola, Finland

Resuming the Artist’s Placement Group strategies

Period: 14-23 January 2009

AKV| St. Joost tutor: Erik Hagoort

Nordic Art School tutor: Jaana Erkkilä

 Partner institution:

The Nordic Art School in Kokkola, Finland, offers an art course of one-two years, based on a system of guest-teaching. Hundreds of visual artists and lecturers have been teaching at NAS during the years, including many of the most significant contemporary artist in the Nordic countries.

Concept: Resuming the Artist’s Placement Group’s strategies

OBSERVATORY was set up as a resumption experiment of the concept of the Artist’s Placement Group, initiated in the United Kingdom in the 1970s by Barbara Steveni and John Latham. APG sought to overcome the division between art and society by placing artists in organizations, such as the BBC, hospitals, schools, the army, and private enterprises. For months and sometimes years the artists formed part of the organizations, and tried to see what the contribution of art could be within the perspective of the organization. The host organization was not simply a host, but an active participator in the project. APG envisioned that through the artists’ placements there would be a mutual benefit.

OBSERVATORY placed participants of MFA AKV/St. Joost and of Nordic Art School in duo’s or individually in organizations in Kokkola, for the purpose of mutual observation and benefit. As a rule the organization would introduce the artist into its ways of working, and the artist would introduce the organization with his or her ways of working.


We operated from a given space within the institution, a space that functioned as an observatory, a base station from which to observe, operate and work for the whole week. In this way the position of the students was recognizable, their status as artists was clear.

The host organizations gave rules and restrictions, with which the participants had to cope in their own way.

The organizations that participated were:

  • – Kokkola City Hall,
  • – Keskipohjanmaa daily newspaper,
  • – School of music and theater ( Keski-Pohjanmaan Ammattikorkeakoulu),
  • – Church
  • – Police

At the end of the week a visiting tour was organized to all the ‘observatory’s’ in Kokkola, where the observations were on display. During this visit stories were told and the presentations discussed.

The project received wide coverage in local newspapers and radio.


The Artists’ Placement Group, initiated by Barbara Steveni and John Latham, believed that there was an undesirable division between art and society. In their opinion society was lacking the creative, interdisciplinary visions of artists, and artists were lacking knowledge and experience present in society. APG sought to overcome this division by placing artists in organizations: projects took place at commercial corporations, at the BBC, hospitals, schools and even the army. For months and sometimes years the artists formed part of the organizations, and tried to see what the contribution of art could be within the perspective of the organization. And vice versa: the organization was not simply a host, but an active participator in the project.

Later on this idea of an ideal, benificial transaction between art and society was criticized. The idea that artists could operate as specialist agents of creativity in a society that would desperately need their input, seems a little bit outdated and even arrogant. Nowadays it sometimes seems the other way round: that artists have difficulties trying to catch up with the enormous creative output of society. This maybe is the reason for contemporary artists to be more modest if they choose to operate within organizations.

Of course, when artists want to collaborate or work from within a given organization, they should get to know it first. And vice versa. Mutual aquaintance therefore is the first main objective, which is already a big challenge. The goal is not to overcome differences between art and organization, it is an open, mutual process of acquaintance, of which the outcome is open.

About APG:

StJoost_Keskipohjanmaa newspaperCoverage of the Observatory project in the regional Finnish daily newspaper


Ronald Saeijs mapping the City HallRonald Saeijs mapped the City Hall by asking the employees to mark their working spaces by drawing signs.

Schermafbeelding 2012-11-22 om 15.40.42 Mapping result of Ronald Saeijs’ placement at the City Hall

Ronald Saeijs Mapping the City Hall2


BUT IF NOT, NOT – Barcelona, Spain

A collaboration of AKV|St. Joost MFA with artists on the spot in Barcelona, Spain.     Period: 6-15 April, 2008                                                                                                 Curator: Carlijn Diesfeldt

AKV/ St. Joost tutors: Dyane Donck, Erik Hagoort, Bas van den Hurk, George Korsmit, Koen Delaere.

La Pinta collective tutors: Maribel Perpiñá, Leandra Vieira

Partner institution:                                                                                                                  La Pinta is a Barcelona collective of curators and artists, developing projects of research, interaction, and dialogue, aiming to bring together art and new audiences. The collective tries to build up links between training and the professional sphere by means of our training courses.


BUT IF NOT, NOT was a collaboration with artists from artist-run-spaces in Barcelona. The aim was to explore one another’s expectations of the city, without having to focus on a result. Artists’ initiatives provided studio base stations for the duo’s, groups or individuals to work.

Margot van Ham, a Dutch artist living in Barcelona, filmed the process.


The collaboration started with a speed-dating event at Centre d’Art Santa Mònica, resulting in the formation of duo’s and small groups:

  • Miquel Garcia & Ive Leemans & Toni van Tiel
  • Tjasa Kancler & Ronald Saeijs
  • D Forma & Barbara Vandecauter
  • Carlos González & Ieke Trinks
  • Ana Alvarez Errecalde & Ilse van der Laan
  • Alicia Ibarra & Eliza Proszczuk
  • Miguel Ángel Pascual & Babette Kleijn
  • Eline Schuurman & Kim Ly
  • Amber Bijl & Olivia Kaufman
  • Lichun Tseng & Mix Amylo
  • Maribel Perpiñá & Jimini Hignett
  • The host organizations offered for ten days studio spaces, from where the duo’s and groups explored the city.

The hosts were:

  •  Hangar
  • Centre d’Art Santa Mònica
  • Metafora
  • Piramidon

Results, including the first footage of the film by Margot van Ham, were shown during a public presentation at Centre d’Art Santa Mònica and during an open studio tour in Hangar, Metafora, and Piramidon.

La Pinta organized a visiting program:

  • meeting and discussion at MACBA Study Center.
  • City Mine(d), an international network of individuals and collectives involved with city and local action, currently (2013) residing in London and Brussels. In Barcelona City Mine(d) was involved in supporting locals of Barcelona city center in influencing processes of gentrification.


The completed documentary BUT IF NOT, NOT, directed by Margot Van Ham, was shown on June 6, 2008, in Centre d’Art Santa Mònica. The documentary showed the process of the interaction between artists of MFA AKV | St. Joost and their colleagues from Barcelona.

Artists dating at Centre d'Art Santa MonicaDating session at Centre d’Art Santa Monica

Souvenir Shirts bannerBarcelona Souvenir Shirts banner, by Ive, Toni, and Miquel

LaMar - Proyecto Jimini HignettShowing off to the sea, LaMAR proyecto by Jimini Hignett

Do it in Duo’s – St. Petersburg, Russia

Period: 19-29 April 2007

Team of AKV/ St. Joost tutors: Dyane Donck, Erik Hagoort, George Korsmit.

Team of PRO ARTE: Tatyana Bykovskaya (program coordinator), Elena Kolovskaya (director).

Partner institution:

The PRO ARTE Foundation is a non-governmental organization founded in 1999 to promote contemporary culture in the fields of visual art, music and dance. It is located in the Peter and Paul Fortress, St. Petersburg, Russia.

The PRO ARTE contemporary art program is designed for young people under age of 30 with artistic education or  involved in the field of contemporary art. Goal is to shape their personal attitude towards the field of contemporary art, and to gain basic skills of dealing with new media.

Concept: Do it in Duo’s

 Do it in Duo’s was inspired by the ongoing project initiated by curator Hans Ulrich Obrist: Do it! “With do it in the hand, you will be able to make a work of someone else’s art yourself.”

This project runs since 1993,


For the collaboration with PRO ARTE students, we adjusted the Do it! concept for duo’s. In short, the task for the students was: to provide instructions on how to make your work of art, and to hand these instructions out to your fellow, and vice versa. Other than the concept by Obrist the aim was to work together in this exchange of instructions and see where the process would lead.


In St. Petersburg MFA students of AKV/ St. Joost formed duo’s with the PRO ARTE students. For one week they worked independently in St. Petersburg.

The goal was to collaborate, not by working from your own perspective but from the perspective of the other: to follow someone else’s procedure, to break through what you’re used to, to be open to surprises and discover new possibilities. Process was more important than the outcome, but in all cases results were shown at the end of the week, during a packed and festive presentation. There were stories, documentations, presentations of new video’s, drawings, performances, and a publication.

Visiting Program

Next to Do it in Duo’s a visiting program brought the MFA students in contact with:

  • – the ideas and art work of necro-realist painter and photographer Vladimir Kustov,
  • – the legacy of the late founder of St. Petersburg’s neo-academism Timur Novikov,
  • – the ideas of the platform of artists, critics, philosophers and writers Chto Delat/ What is to be done.


Graffiti Wall-Painting in the City, by Stas and Sarah


Wodka toasting video by Sveta & Ilke de Vries