master fine arts - User contributions [en]

Master Classes

2024-10-21T13:11:46Z

193.191.158.13:

Welcome to the Master Fine Arts Master Classes Sign-Up page. Here you will find and overview of all Master Classes that will be held in this academic year 2024-2025. You will see a short description of the Master Class, and you can find more information about the artists teaching the Master Classes via the link on their name in the title.

Please note that there are 2 Master Classes that KASK Master Fine Arts students have access to, of which one is organised by the KASK Master in Graphic Design and the other by KASK Master in Photography. Descriptions are below.
 

----

HOW TO SIGN UP FOR A MASTER CLASS:

1. Click on the Edit tab at the top right of this page. It will open up the editing function of this page.

2. Scroll down to the Master Class you wish to attend. Add your name to the list.

3. Important: Click on the blue button Save changes at the bottom of the page to save your entry.
 

'''Please sign up for one Master Class only.''' If you wish to take a second class, please add yourself to the '''Waiting List''' for now. Those students not inscribed for the 'Masterproef' can also add their names to the Waiting List, however those students inscribed for the 'Masterproef' have first priority.
 
----
 

MASTER CLASS "BOTANICAL ENTANGLEMENTS" with [https://nemer.be BENNY NEMER]

November 4-7, 2024

Whether staring into a flower, smelling its perfume, touching the textures of mosses and barks, tasting berries, seaweed, mushrooms and saffron, watching the dance of reeds and rushes in the wind or listening to the song of rustling leaves, botanical life offers us infinite sensations and affects upon which the human experience is dependent. For many of us, our attraction to, and engagement with flowers, plants, and trees is more elemental than intellectual, our intimacies with botanical life are central to the ways we live, think, and create. We turn to flowers to mediate human relations, to observe and understand the cycle of life, for inspiration on how to adorn ourselves, how to flirt, how to dance and how to wither and die. We see the true natures of our genders and sexualities in the polyform stamens and petals of flowers, a reflection of our kinship formations in the cruisy, meandering growth patterns of ivy and bougainvillea, of elm branches and gypsophila.

This Master Class will consider the ways as artists we can work with the botanical world as material and collaborators. We will create individual and collective artworks with and alongside botanical material, tuning into the vegetal world and seeking ways to invite them in collaboration. Ghent’s Botanical Gardens will donate plant matter for our experiments and collective creation.

Sign up by clicking [https://masterfinearts.schoolofarts.be/index.php?title=Master_Classes&action=edit HERE] to open the page Edit mode. Do not forget to click the blue button Save changes bottom left of the page to save your entry.
 
* 1 Vicente Fuenzalida Lafourcade
* 2 Querida buelens
* 3 Camille Dochy
* 4 Laura Temmerman
* 5 Marthe Merckx
* 6 Lieve Kleeven
* 7
* 8
* 9
* 10
* 11
* 12
WAITING LIST:
* 1
* 2
* 3
 
----
 

MASTER CLASS "THE FLOOR ON THURSDAY" with [https://www.stefaandheedene.com/ STEFAAN DHEEDENE]

Attention: This Master Class will be spread out over the academic year! The first 2 days to meet will be: November 18-19, 2024

'The Floor on Thursday' is an initiative where the floor of the Installation Studio is reserved for public exhibitions and events organised by master’s students participating in this Master Class. While the Master Class is led by the Master of Fine Arts programme, students from the Master's programmes in Graphic Design, Photography, and Autonomous Design are also encouraged to register.

This Master Class is open to anyone with the ambition to organise events, experiment with different formats, create a dynamic or engage with audiences, or explore curatorial practices. Where necessary, we provide production and budgetary support, with workshops and lending services readily available nearby.

The aim of 'The Floor on Thursday' is to create public events or exhibitions on Thursday evenings, fostering collaboration, shared interests, and curatorial approaches. This initiative also seeks to bring together students from various courses, encouraging them to collaborate around these student-led public events. The participating students take the initiative, filling the space with events they find important and relevant.

Students begin by exploring their own artistic practices, engaging in discussions, and experimenting with various exhibition methods. They seek opportunities for collaboration or intersections with other students, artists, activists, musicians, and others—both within and beyond KASK. Given the diversity of media used, there are no restrictions on the format of the event or exhibition. There is no pressure to move beyond one’s preferred medium, but the focus is on developing and exploring public programming that reflects individual insights. The aim is to foster dialogue and develop concrete projects that share artistic experiences beyond the confines of one’s studio or production space.

During the two-day introduction, we will collectively discuss the options for putting together a programme. Students will also present their own work to one another, forging connections with fellow students, who serve as their primary sounding board.

We will establish a rough framework for the coming academic year, after which you can prepare for your public presentation in pairs or small groups. As a tutor, I will visit the studio during this period, and we will meet on the floor for further feedback and for the final public event.

Sign up by clicking [https://masterfinearts.schoolofarts.be/index.php?title=Master_Classes&action=edit HERE] to open the page Edit mode. Do not forget to click the blue button Save changes bottom left of the page to save your entry.
 
* 1 Frederique Kraus
* 2 Youssef Elkhiar
* 3
* 4
* 5
* 6
* 7
* 8
* 9
* 10
* 11
* 12
WAITING LIST:
* 1 Céleste Buyle
* 2
* 3
 
----
 

MASTER CLASS "THINKING A BOOK" with [https://www.studiolucderycke.be/ LUC DERYCKE]

December 9-13, 2024

Attention: This Master Class is organised by the KASK Photography Master programme. It allows students from other master programmes to join.

Anyone who has been involved in the creation of a book will know that the term 'book' does not (solely) refer to the physical object (or the run of identical objects) that is the final result of book-making; rather, it is to be considered as a process. In this sense, it is not a thing but a mental — logical — space, and the activity it demands is, as Wittgenstein might term it, the “picturing of facts” — through both language and imagery.

We can view every book project as originating from a vast, rhizomatic, entangled field, and the book process as a kind of battleground — a furious, haptic pruning that typically results in a string of words and/or images. In an art book, this often takes the form of a list; in textbooks, it appears as a sequence of words, grouped into numbered chapters, verses, and pages.

A string, especially a very long one, would make for an unwieldy object. Therefore, it must be compacted, conditioned to be rolled into a scroll or folded into a book. Materials and machinery are available to make this possible, to package the book into books that can be handled, viewed, read, and stored on a shelf.

All of this requires thinking — often collaborative thinking by a group of people. This is possible because they are all ‘thinking a book’ — that is, simultaneously imagining it as both complete and still in progress. This thinking will shape the book’s design. The design can be split into distinct tasks, such as writing, editing, iconography, sequencing, graphic design, publishing, marketing, financing, and so on, all contributing to the thinking of the book. Since, in the end, only one book can exist, all of this thinking must be expressed in a single design: the book as an object. However, this one design is a combination of many designs, and it is the act of combining these that creates the book. When the object finally materialises (e.g. rolling off the binding machine), it inevitably reflects all the thinking that went into its creation.

This masterclass is about the book before it takes the form of an object. It is about the many states a book can exist in without being a physical object. It is about the discussion surrounding the book process, and about picturing a book as a combination of facts.

Sign up by clicking [https://masterfinearts.schoolofarts.be/index.php?title=Master_Classes&action=edit HERE] to open the page Edit mode. Do not forget to click the blue button Save changes bottom left of the page to save your entry.
 
 
* 1
* 2
* 3
WAITING LIST:
* 1
* 2
 
----
 
MASTER CLASS "ON NOT AND NON-WRITING" WITH [https://www.frankwasser.info/ FRANK WASSER] 

February 10-14, 2025

I’m sitting in the studio writing…writing this…There are two quotes that I keep coming back to, which continue to resonate with my approach to writing as a material at this moment in time. The first, from Kathy Acker, is: "There must be a secret hidden in this book, or else you wouldn't bother to read it." The second is from Roland Barthes, who, in his inaugural lecture at the Collège de France on January 7th, 1977, stated: "For what can be oppressive in our teaching is not, finally, the knowledge or the culture it conveys but the discursive forms through which we propose them." These insights underscore the idea that writing can either liberate or constrain us, shaping how we might understand and interact with the world around us.

This masterclass will consider the concept of writing as a material process on and off page—something that can be constructed, analysed, disentangled, and repurposed. It will address questions like: Where does writing take place? How can we manipulate it to expand both performative and critical possibilities? We will explore writing not just as a textual exercise but as a practice that exists in multiple forms—on the page, off the page, in the body, and in the intersection of theory, art, and so called everyday life.

Throughout the masterclass, we'll explore how writing can be handled as a malleable material, similar to how an artist might manipulate clay, fabric, or paint. Whether through the lens of practice-based research or the development of theoretical frameworks, we will investigate writing as an active, living process. To further this exploration, we will look at examples from art writing, contemporary art practice, literary and critical theory, and forms of writing that fall outside traditional academic or artistic contexts. We will see how writing might function or dysfunction not just as a tool for expression but as a site where the materiality of language influences meaning, interpretation, and critical engagement.

This masterclass will be a collective experience, engaging participants through various formats, collective readings, site visits, including lecture-performances, hands-on practice-based sessions, making publications, and evolving reading/writing exercises as well as a final performance based event. A wide range of case studies will be examined, focusing on artists and writers who engage critically with affect in language. We will look at case studies from my own practice as well as artists and writers such as Katrina Palmer, Rebecca Jagoe, Roy Claire Potter, CA Conrad, Sophie Jung, Andrea Fraser and many more. We will look closely at how words and texts relate or embody objects, theory, trauma, identity, history, and ideology.

Sign up by clicking [https://masterfinearts.schoolofarts.be/index.php?title=Master_Classes&action=edit HERE] to open the page Edit mode. Do not forget to click the blue button Save changes bottom left of the page to save your entry.
 
* 1 Margaux De Pauw
* 2 Alana Wauters
* 3 Gaia op de Weegh
* 4
* 5
* 6
* 7
* 8
* 9
* 10
* 11
* 12
WAITING LIST:
* 1
* 2
* 3
 
----
 

MASTER CLASS "UNHINGED?: THE OPPRESSION OF NORMAL" with [https://www.lilihustonherterich.com/ LILI HUSTON-HERTERICH]

March 24-27, 2024

Beginning with a guided trip to the Dr. Guislain Museum in Ghent, we will think through the ways 'unhingedness' might relate to artistic practice. Questions that may emerge through our time together could be: How do the educational and museological institutions we have experienced shape our definitions of art? What is consensual classification? How are creative practices categorized in relation to normative cultural and social contexts? What is an 'unhinged' or 'abnormal' practice?

 We will employ a method of journaling as we look, tour, sketch, listen to albums, and read, creating a collective mind map as we move through our days together. Alongside a trip to Dr. Guislain Museum, participants will be introduced to the canonical histories of "Art Brut" in a western European context, as well as "folk art" and "craft". Non-required reading and listening will be recommended, which could include: Sylvia Wynter, La Marr Jurelle Bruce, and Daniel Johnston (an incomplete list).

Sign up by clicking [https://masterfinearts.schoolofarts.be/index.php?title=Master_Classes&action=edit HERE] to open the page Edit mode. Do not forget to click the blue button Save changes bottom left of the page to save your entry.
 
* 1 Arno De Meyer
* 2 Katrijn Ooms
* 3 Camille Van Laere
* 4 Ismaël Bils
* 5 Trui Van Landuyt
* 6 Liana Geysen-Rymenants
* 7
* 8
* 9
* 10
* 11
* 12
WAITING LIST:
* 1 Gaia op de Weegh
* 2
* 3
 
----
 

MASTER CLASS "FROM THE SKETCH TO THE WALL: EXHIBITION MAKING AS COLLECTIVE LEARNING" with [https://www.janahaeckel.com/about/ JANA JOHANNA HAECKEL]

March 17-30, 2025

Attention: This Master Class is organised by the KASK Photography Master programme. It allows students from other master programmes to join.

This Master Class proposes a hands-on introduction to exhibition making, showing how to transform an abstract idea into an actual project within less than two weeks. After a theoretical investigation of curatorial concepts and approaches in the field of photography, the students are invited to realise their own exhibition from concept to realisation, including the A-to-Z of production. This also takes into consideration the scenography and mediation of an exhibition, such as exhibition texts, a publication, and the communication on different social media platforms. In this process, photography is not the result but a starting point to experiment with the various possibilities to transform two-dimensional images into space. The curatorial process intends to mirror this experimental and at the same time playful endeavour: each participating artist will be asked to collaborate with one curator of the KASK-Curatorial Studies Program to have an in-depth conversation and evolve a presentation. The resulting individual projects interact with the final group exhibition, showcasing the idea of an exhibition as 'collective body‘. The aim is to develop a curatorial project that helps the students to look at their own work differently and overcome inhibitions about production and presentation through a collective and empowering learning process. To deepen this knowledge, external guest critics will be invited to visit the exhibition and give individual feedback.

Sign up by clicking [https://masterfinearts.schoolofarts.be/index.php?title=Master_Classes&action=edit HERE] to open the page Edit mode. Do not forget to click the blue button Save changes bottom left of the page to save your entry.
 
* 1 Céleste Buyle
* 2 Lennert Lefever
* 3
WAITING LIST:
* 1 Marthe Merckx
* 2
 
----

 
If you have any problems with this page please contact: masterfinearts@hogent.be

Master Classes

2024-10-21T13:11:22Z

193.191.158.13:

Welcome to the Master Fine Arts Master Classes Sign-Up page. Here you will find and overview of all Master Classes that will be held in this academic year 2024-2025. You will see a short description of the Master Class, and you can find more information about the artists teaching the Master Classes via the link on their name in the title.

Please note that there are 2 Master Classes that KASK Master Fine Arts students have access to, of which one is organised by the KASK Master in Graphic Design and the other by KASK Master in Photography. Descriptions are below.
 

----

HOW TO SIGN UP FOR A MASTER CLASS:

1. Click on the Edit tab at the top right of this page. It will open up the editing function of this page.

2. Scroll down to the Master Class you wish to attend. Add your name to the list.

3. Important: Click on the blue button Save changes at the bottom of the page to save your entry.
 

'''Please sign up for one Master Class only.''' If you wish to take a second class, please add yourself to the '''Waiting List''' for now. Those students not inscribed for the 'Masterproef' can also add their names to the Waiting List, however those students inscribed for the 'Masterproef' have first priority.
 
----
 

MASTER CLASS "BOTANICAL ENTANGLEMENTS" with [https://nemer.be BENNY NEMER]

November 4-7, 2024

Whether staring into a flower, smelling its perfume, touching the textures of mosses and barks, tasting berries, seaweed, mushrooms and saffron, watching the dance of reeds and rushes in the wind or listening to the song of rustling leaves, botanical life offers us infinite sensations and affects upon which the human experience is dependent. For many of us, our attraction to, and engagement with flowers, plants, and trees is more elemental than intellectual, our intimacies with botanical life are central to the ways we live, think, and create. We turn to flowers to mediate human relations, to observe and understand the cycle of life, for inspiration on how to adorn ourselves, how to flirt, how to dance and how to wither and die. We see the true natures of our genders and sexualities in the polyform stamens and petals of flowers, a reflection of our kinship formations in the cruisy, meandering growth patterns of ivy and bougainvillea, of elm branches and gypsophila.

This Master Class will consider the ways as artists we can work with the botanical world as material and collaborators. We will create individual and collective artworks with and alongside botanical material, tuning into the vegetal world and seeking ways to invite them in collaboration. Ghent’s Botanical Gardens will donate plant matter for our experiments and collective creation.

Sign up by clicking [https://masterfinearts.schoolofarts.be/index.php?title=Master_Classes&action=edit HERE] to open the page Edit mode. Do not forget to click the blue button Save changes bottom left of the page to save your entry.
 
* 1 Vicente Fuenzalida Lafourcade
* 2 Querida buelens
* 3 Camille Dochy
* 4 Laura Temmerman
* 5 Marthe Merckx
* 6 Lieve Kleeven
* 7
* 8
* 9
* 10
* 11
* 12
WAITING LIST:
* 1
* 2
* 3
 
----
 

MASTER CLASS "THE FLOOR ON THURSDAY" with [https://www.stefaandheedene.com/ STEFAAN DHEEDENE]

Attention: This Master Class will be spread out over the academic year! The first 2 days to meet will be: November 18-19, 2024

'The Floor on Thursday' is an initiative where the floor of the Installation Studio is reserved for public exhibitions and events organised by master’s students participating in this Master Class. While the Master Class is led by the Master of Fine Arts programme, students from the Master's programmes in Graphic Design, Photography, and Autonomous Design are also encouraged to register.

This Master Class is open to anyone with the ambition to organise events, experiment with different formats, create a dynamic or engage with audiences, or explore curatorial practices. Where necessary, we provide production and budgetary support, with workshops and lending services readily available nearby.

The aim of 'The Floor on Thursday' is to create public events or exhibitions on Thursday evenings, fostering collaboration, shared interests, and curatorial approaches. This initiative also seeks to bring together students from various courses, encouraging them to collaborate around these student-led public events. The participating students take the initiative, filling the space with events they find important and relevant.

Students begin by exploring their own artistic practices, engaging in discussions, and experimenting with various exhibition methods. They seek opportunities for collaboration or intersections with other students, artists, activists, musicians, and others—both within and beyond KASK. Given the diversity of media used, there are no restrictions on the format of the event or exhibition. There is no pressure to move beyond one’s preferred medium, but the focus is on developing and exploring public programming that reflects individual insights. The aim is to foster dialogue and develop concrete projects that share artistic experiences beyond the confines of one’s studio or production space.

During the two-day introduction, we will collectively discuss the options for putting together a programme. Students will also present their own work to one another, forging connections with fellow students, who serve as their primary sounding board.

We will establish a rough framework for the coming academic year, after which you can prepare for your public presentation in pairs or small groups. As a tutor, I will visit the studio during this period, and we will meet on the floor for further feedback and for the final public event.

Sign up by clicking [https://masterfinearts.schoolofarts.be/index.php?title=Master_Classes&action=edit HERE] to open the page Edit mode. Do not forget to click the blue button Save changes bottom left of the page to save your entry.
 
* 1 Frederique Kraus
* 2 Youssef Elkhiar
* 3
* 4
* 5
* 6
* 7
* 8
* 9
* 10
* 11
* 12
WAITING LIST:
* 1 Céleste Buyle
* 2
* 3
 
----
 

MASTER CLASS "THINKING A BOOK" with [https://www.studiolucderycke.be/ LUC DERYCKE]

December 9-13, 2024

Attention: This Master Class is organised by the KASK Photography Master programme. It allows students from other master programmes to join.

Anyone who has been involved in the creation of a book will know that the term 'book' does not (solely) refer to the physical object (or the run of identical objects) that is the final result of book-making; rather, it is to be considered as a process. In this sense, it is not a thing but a mental — logical — space, and the activity it demands is, as Wittgenstein might term it, the “picturing of facts” — through both language and imagery.

We can view every book project as originating from a vast, rhizomatic, entangled field, and the book process as a kind of battleground — a furious, haptic pruning that typically results in a string of words and/or images. In an art book, this often takes the form of a list; in textbooks, it appears as a sequence of words, grouped into numbered chapters, verses, and pages.

A string, especially a very long one, would make for an unwieldy object. Therefore, it must be compacted, conditioned to be rolled into a scroll or folded into a book. Materials and machinery are available to make this possible, to package the book into books that can be handled, viewed, read, and stored on a shelf.

All of this requires thinking — often collaborative thinking by a group of people. This is possible because they are all ‘thinking a book’ — that is, simultaneously imagining it as both complete and still in progress. This thinking will shape the book’s design. The design can be split into distinct tasks, such as writing, editing, iconography, sequencing, graphic design, publishing, marketing, financing, and so on, all contributing to the thinking of the book. Since, in the end, only one book can exist, all of this thinking must be expressed in a single design: the book as an object. However, this one design is a combination of many designs, and it is the act of combining these that creates the book. When the object finally materialises (e.g. rolling off the binding machine), it inevitably reflects all the thinking that went into its creation.

This masterclass is about the book before it takes the form of an object. It is about the many states a book can exist in without being a physical object. It is about the discussion surrounding the book process, and about picturing a book as a combination of facts.

Sign up by clicking [https://masterfinearts.schoolofarts.be/index.php?title=Master_Classes&action=edit HERE] to open the page Edit mode. Do not forget to click the blue button Save changes bottom left of the page to save your entry.
 
 
* 1
* 2
* 3
WAITING LIST:
* 1
* 2
 
----
 
MASTER CLASS "ON NOT AND NON-WRITING" WITH [https://www.frankwasser.info/ FRANK WASSER] 

February 10-14, 2025

I’m sitting in the studio writing…writing this…There are two quotes that I keep coming back to, which continue to resonate with my approach to writing as a material at this moment in time. The first, from Kathy Acker, is: "There must be a secret hidden in this book, or else you wouldn't bother to read it." The second is from Roland Barthes, who, in his inaugural lecture at the Collège de France on January 7th, 1977, stated: "For what can be oppressive in our teaching is not, finally, the knowledge or the culture it conveys but the discursive forms through which we propose them." These insights underscore the idea that writing can either liberate or constrain us, shaping how we might understand and interact with the world around us.

This masterclass will consider the concept of writing as a material process on and off page—something that can be constructed, analysed, disentangled, and repurposed. It will address questions like: Where does writing take place? How can we manipulate it to expand both performative and critical possibilities? We will explore writing not just as a textual exercise but as a practice that exists in multiple forms—on the page, off the page, in the body, and in the intersection of theory, art, and so called everyday life.

Throughout the masterclass, we'll explore how writing can be handled as a malleable material, similar to how an artist might manipulate clay, fabric, or paint. Whether through the lens of practice-based research or the development of theoretical frameworks, we will investigate writing as an active, living process. To further this exploration, we will look at examples from art writing, contemporary art practice, literary and critical theory, and forms of writing that fall outside traditional academic or artistic contexts. We will see how writing might function or dysfunction not just as a tool for expression but as a site where the materiality of language influences meaning, interpretation, and critical engagement.

This masterclass will be a collective experience, engaging participants through various formats, collective readings, site visits, including lecture-performances, hands-on practice-based sessions, making publications, and evolving reading/writing exercises as well as a final performance based event. A wide range of case studies will be examined, focusing on artists and writers who engage critically with affect in language. We will look at case studies from my own practice as well as artists and writers such as Katrina Palmer, Rebecca Jagoe, Roy Claire Potter, CA Conrad, Sophie Jung, Andrea Fraser and many more. We will look closely at how words and texts relate or embody objects, theory, trauma, identity, history, and ideology.

Sign up by clicking [https://masterfinearts.schoolofarts.be/index.php?title=Master_Classes&action=edit HERE] to open the page Edit mode. Do not forget to click the blue button Save changes bottom left of the page to save your entry.
 
* 1 Margaux De Pauw
* 2 Alana Wauters
* 3 Gaia op de Weegh
* 4
* 5
* 6
* 7
* 8
* 9
* 10
* 11
* 12
WAITING LIST:
* 1
* 2
* 3
 
----
 

MASTER CLASS "UNHINGED?: THE OPPRESSION OF NORMAL" with [https://www.lilihustonherterich.com/ LILI HUSTON-HERTERICH]

March 24-27, 2024

Beginning with a guided trip to the Dr. Guislain Museum in Ghent, we will think through the ways 'unhingedness' might relate to artistic practice. Questions that may emerge through our time together could be: How do the educational and museological institutions we have experienced shape our definitions of art? What is consensual classification? How are creative practices categorized in relation to normative cultural and social contexts? What is an 'unhinged' or 'abnormal' practice?

 We will employ a method of journaling as we look, tour, sketch, listen to albums, and read, creating a collective mind map as we move through our days together. Alongside a trip to Dr. Guislain Museum, participants will be introduced to the canonical histories of "Art Brut" in a western European context, as well as "folk art" and "craft". Non-required reading and listening will be recommended, which could include: Sylvia Wynter, La Marr Jurelle Bruce, and Daniel Johnston (an incomplete list).

Sign up by clicking [https://masterfinearts.schoolofarts.be/index.php?title=Master_Classes&action=edit HERE] to open the page Edit mode. Do not forget to click the blue button Save changes bottom left of the page to save your entry.
 
* 1
Arno De Meyer
* 2 Katrijn Ooms
* 3 Camille Van Laere
* 4 Ismaël Bils
* 5 Trui Van Landuyt
* 6 Liana Geysen-Rymenants
* 7
* 8
* 9
* 10
* 11
* 12
WAITING LIST:
* 1 Gaia op de Weegh
* 2
* 3
 
----
 

MASTER CLASS "FROM THE SKETCH TO THE WALL: EXHIBITION MAKING AS COLLECTIVE LEARNING" with [https://www.janahaeckel.com/about/ JANA JOHANNA HAECKEL]

March 17-30, 2025

Attention: This Master Class is organised by the KASK Photography Master programme. It allows students from other master programmes to join.

This Master Class proposes a hands-on introduction to exhibition making, showing how to transform an abstract idea into an actual project within less than two weeks. After a theoretical investigation of curatorial concepts and approaches in the field of photography, the students are invited to realise their own exhibition from concept to realisation, including the A-to-Z of production. This also takes into consideration the scenography and mediation of an exhibition, such as exhibition texts, a publication, and the communication on different social media platforms. In this process, photography is not the result but a starting point to experiment with the various possibilities to transform two-dimensional images into space. The curatorial process intends to mirror this experimental and at the same time playful endeavour: each participating artist will be asked to collaborate with one curator of the KASK-Curatorial Studies Program to have an in-depth conversation and evolve a presentation. The resulting individual projects interact with the final group exhibition, showcasing the idea of an exhibition as 'collective body‘. The aim is to develop a curatorial project that helps the students to look at their own work differently and overcome inhibitions about production and presentation through a collective and empowering learning process. To deepen this knowledge, external guest critics will be invited to visit the exhibition and give individual feedback.

Sign up by clicking [https://masterfinearts.schoolofarts.be/index.php?title=Master_Classes&action=edit HERE] to open the page Edit mode. Do not forget to click the blue button Save changes bottom left of the page to save your entry.
 
* 1 Céleste Buyle
* 2 Lennert Lefever
* 3
WAITING LIST:
* 1 Marthe Merckx
* 2
 
----

 
If you have any problems with this page please contact: masterfinearts@hogent.be

Master Classes

2023-10-12T13:44:17Z

193.191.158.13:

HOW TO SIGN UP FOR A MASTER CLASS:

1. Click on the Edit tab at the top right of this page. It will open up the editing function of this page so that you can add your name to the list of participants of the Master Class you wish to attend.

2. Click on the blue button Save changes at the bottom of the page to save your entry.
 
----
 

'''BOTANICAL INTIMACIES''' 
Master Class with [https://nemer.be Benny Nemer] 
November 13-17, 2023 

Whether staring into a flower, smelling its perfume, touching the textures of mosses and barks, tasting berries, seaweed, mushrooms and saffron, watching the bowing dance of reeds and rushes in the wind or listening to the song of rustling leaves, botanical life offers us infinite sensations and affects upon which the human experience is dependent. For many of us, our attraction to, and engagement with flowers, plants, and trees is more elemental than intellectual, our intimacies with botanical life are central to the ways we live, think, and create. We turn to flowers to mediate human relations, to observe and understand the cycle of life, for inspiration on how to adorn ourselves, how to flirt, how to dance and how to wither and die. We see the true natures of our genders and sexualities in the polyform stamens and petals of flowers, a reflection of our kinship formations in the cruisy, meandering growth patterns of ivy and bougainvillea, of elm branches and gypsophila.

This Master Class will consider the ways as artists we can work with the botanical world as material and collaborators. We will create individual and collective artworks with and alongside botanical material, tuning into the vegetal world and seeking ways to invite them in collaboration. We will go on observational and foraging walks to Ghent’s Botanical Gardens, Citadel Park, and other green spaces in the city. 

'''12 Students'''

* 1 Nancy La Rosa (nancy.larosa@student.hogent.be)
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'''LISTENING AND HOSPITALITY''' 
Master Class and Exchange with [https://wiki.erg.be/m/#Bienvenue_à_l’erg ERG Brussels] 
January 29 - February 2, 2024 

This Master Class is designed as a creative exchange with Master students from ERG, Brussels. ERG is a space for artistic, plastic and graphic practices that enter theoretical and formal risk zones; a space for research and pedagogies that are defined and redefined collectively. This spirit of collective defining and redefining will shape this Master Class: students from ERG will travel to Ghent to workshop and co-imagine artistic practices of hospitality, collaboration, and the politics of sharing space with students from KASK's Master Vrije Kunsten. 

'''15 Students'''

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'''SLOW READING CLUB''' 
Master Class with Slow Reading Club 
February 5-9, 2023 

Slow Reading Club considers reading not as a passive process of ingesting information, but as an active and generative site of contact/friction between text and reader, reader and reader, text and text. Moving the activity of reading out of the silent, seated reader and into the room, the voice, the body, the screen, the page.

This Master Class aims to occupy the thresholds between collective reading, writing, editing, and publishing. The workshop will focus on “artist writings” - that is, writings by artists in which strategies and concerns learned from the artist’s material practices are applied to written language. What permissions can we take as readers and what kind of writers do we then become? The workshop strums the mantra that one does not need to be a writer in order to write.

Together, students will enact and develop protocols for reading extant texts. These protocols will seek to interrupt or intensify elements of collective reading as an embodied practice, a fully body practice. This repertoire of protocols will then be repurposed as writing tools and used to generate a corpus of text-substance to be then collectively edited into a text. Finally, we will think through “publishing” (making public) and dissemination to ask how this text might iterate its (public) form.

Practically, we will be working between screen and page, simple body practices and softwares for shared editing. We want to work collaboratively, finding ways to produce material that is unprecious and open to shared ownership and co-contamination. The workshop is not interested in “good” writing, but rather material writing, bodily writing, generative writing, generous reading. 

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'''HIC . EST . TUUM . HORA. HIER . IS . UW . UUR ''' 
A Master Class with artist [https://katjamater.com/recent/?res=982 Katja Mater] 
March 18-22 2024 

His watch pushes the White Rabbit around, who in turn pushes Alice around. We check the time every day all day long — But what do we experience as a NOW, as an absolute present, what does being ‘in the moment’ mean, and how long does such ‘a moment’ last in a hasty world where speed has become a status symbol?

Brussels-based artist Katja Mater is interested in revealing a different or alternative (experience of) reality through capturing the areas where optical media hardly behave like the human eye, by mediating between time, space, perception and our understanding of them, while recording events that simultaneously can and cannot be – holding midway between information and interpretation.

Mater is a visual artist, editor, organizer and educator who studied at the Gerrit Rietveld Academy and subsequently at the postdoctoral institute de Ateliers in Amsterdam, with a practice that focuses on the parameters of photography and film as non-transparent media. By creating hybrids between photography, film, drawing, performance and installation Mater documents something that is often positioned beyond our human ability to see. Next to a solo practice as a visual artist Katja is involved in different collaborative projects as editor of Girls Like Us Magazine since 2014 and as one of the founding members of Mothers & Daughters, a Lesbian* and Trans* Bar. 

'''12 Students'''

* 1 Suzanne Cleerdin (suzanne.cleerdin@student.hogent.be)
* 2 Léa Mainguy (lea.mainguy@student.hogent.be)
* 3 Charlotte Rood (charlotte.rood@student.hogent.be)
* 4 Nancy La Rosa (nancy.larosa@student.hogent.be)
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