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| <strong>HOW TO SIGN UP FOR A MASTER CLASS:</strong>
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| <strong>1.</strong> Click on the <strong>Edit</strong> tab at the top right of this page. It will open up the editing function of this page.
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| <strong>2.</strong> Scroll down to the Master Class you wish to attend. Add your name to the list.
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| <strong>3.</strong> Important: Click on the blue button <strong>Save changes</strong> at the bottom of the page to save your entry.
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| '''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.
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| <strong>MASTER CLASS "THE AUDIO ENCOUNTER" with [https://nemer.be BENNY NEMER]</strong>
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| <span style="color:red">October 27-30, 2025</span>
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| Within the vast body of sound art being produced today, artists are increasingly producing narrated audio walks, audio guides, and podcasts that accompany and mediate encounters with other artworks, objects, sites, and the sensory world. These interventions often engage critically with the histories of artefacts and places, inviting different readings, subjective positions, fiction, fabulation, and feeling to shape the mode of encounter.
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| In this four-day masterclass, we will review artistic approaches with which to engage, accompany, mediate, resist, or otherwise encounter the world around us using narrated audio and narration as a creative tool. Participants will research, script, and record their own site-specific audio encounters in response to Ghent’s Botanical Gardens and KASK’s Kunstenbibliotheek.
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| <strong>BIO BENNY NEMER:</strong> Benny Nemer is a Montreal-born artist, diarist, and researcher based in Paris. His multidisciplinary practice traces the affective contours of love and longing while facilitating bonds of kinship between his audience, figures from history, and himself, taking form through audio, performance, participatory action, epistolary writing, and flower arranging. He has produced works for the audio guides of museums in Austria, Sweden, Poland, and the United States, as well as non-institutional audio pieces that mediate encounters with libraries, flowers, gay cruising sites, and the rain. Benny is currently a postdoctoral researcher at KASK & Conservatorium, where he is pursuing research into queer kinship, postcards as an artistic medium, and the archive of French author and photographer Hervé Guibert. [https://nemer.be www.nemer.be]
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| Sign up by clicking <strong>[https://masterfinearts.schoolofarts.be/index.php?title=Master_Classes&action=edit HERE]</strong> to open the page Edit mode. <strong>Do not forget to click the blue button SAVE CHANGES bottom left of the page to save your entry.</strong>
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| <strong>MASTER CLASS "F.I.E.L.D.: Find, Investigate, Engage, Layer, Distribute" with GARY FARRELLY</strong>
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| <span style="color:red">December 1-4, 2025 (of which December 1st will be in Charleroi)</span>
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| The workshop begins with a walk in the city of Charleroi, introducing Urban Reconnaissance techniques developed by the Office for Joint Administrative Intelligence (O.J.A.I.), such as listening in public space, speculative storytelling and permissive cartography. These practices will be explored directly on site before a lecture on O.J.A.I., followed by individual tutorials through studio visits or one-to-one walks.
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| Students will then be invited to use architectural surplus and urban settings as a stage for found scenography. Each participant will present a work—whether object, drawing, text or sound—by situating it within the built environment: on a staircase, beside an electricity cabin, on a wall or between office blocks. These presentations will form a shared walking route, culminating in a collective moment of presentation.
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| <strong>BIO GARY FARRELLY:</strong> Gary Farrelly is a Brussels-based visual artist and researcher whose work addresses enchantment, red tape, disinformation, haunted infrastructures, and architectural erotics. His performances stage manic authority with improvisatory storytelling, while his inventory-driven practice spans collage, photography, embroidery, and print. A graduate of NCAD Dublin and LUCA Brussels with post-MA research at a.pass, he teaches at La Cambre ENSAV and is Visiting Researcher at HDK-Valand, Gothenburg. His work has been presented at various institutions including Hugh Lane Gallery (Dublin), Marres (Maastricht), Salzburger Kunstverein, CAC Cincinnati, Goldsmiths CCA (London), and Publiek Park (Plantentuin Meise).
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| Farrelly is the co-founder of the Office for Joint Administrative Intelligence (O.J.A.I.), a para-intelligence agency established with German artist Chris Dreier. O.J.A.I. investigates self-institution through performance, correspondence, and speculative administration, adopting the structures of officialdom to test, mimic, and transform institutional logics. Its projects operate across public space, postal networks, and exhibition contexts, treating bureaucracy as both method and material.
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| Sign up by clicking <strong>[https://masterfinearts.schoolofarts.be/index.php?title=Master_Classes&action=edit HERE]</strong> to open the page Edit mode. <strong>Do not forget to click the blue button SAVE CHANGES bottom left of the page to save your entry.</strong>
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| <strong>MASTER CLASS "Scripting the Self and the Collective: Approaching the Colonial Archive" with ALESSANDRA FERRINI</strong>
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| <span style="color:red">January 26-29, 2026</span>
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| This workshop explores how scripting can be used across different artistic media, while also addressing the ethical issues that arise when working with colonial archives and materials.
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| Students are asked to bring an archival photograph that reflects colonial dynamics. This image will act as a starting point for our work, raising questions such as: How do we engage with sensitive material? How do we position ourselves in relation to it?
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| A central theme will be <strong>positionality:</strong> considering how each of us locates ourselves within our own practice, as well as within the institutions and spaces we inhabit.
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| We will experiment with <strong>hybrid approaches to scripting</strong>, particularly those that combine writing, research, and performance, such as performative lectures and essay filmmaking. Students will develop both individual and collaborative scripts.
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| The workshop will focus on <strong>voice and enunciation</strong>: how ideas are spoken and presented, together with critical engagement with documentary material and montage. Our work will culminate in a <strong>collective script</strong> for a performative lecture.
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| Sessions will include writing exercises, practical activities, group readings, and discussions, while introducing students to <strong>research-based approaches to art practice</strong>.
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| <strong>BIO ALESSANDRA FERRINI:</strong> Alessandra Ferrini is an Italian-born, UK-based artist, researcher and educator whose work investigates the enduring legacies of Italian colonialism and Fascism. Her practice spans moving image, installation and performance-lecture, as well as writing, publishing and education. Her work has been included in group exhibitions and international film programmes. She was awarded the Maxxi Bvlgari Prize in 2022, and in 2024 she participated in the 60th Venice Art Biennale’s International Exhibition. She holds a BA in Fine Art and an MA in Visual Culture, both from the University of Westminster (London), and a practice-based PhD from the University of the Arts London.
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| Sign up by clicking <strong>[https://masterfinearts.schoolofarts.be/index.php?title=Master_Classes&action=edit HERE]</strong> to open the page Edit mode. <strong>Do not forget to click the blue button SAVE CHANGES bottom left of the page to save your entry.</strong>
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| <strong>MASTER CLASS "Anarchist Practices of Filmmaking?" with MARWA ARSANIOS</strong>
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| <span style="color:red">February 9-12, 2026</span>
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| How can we organize ourselves in order to produce a collective short film? Building on examples of collective filmmaking and using anarchist methods of organizing we will use the four days of the masterclass to learn from a process of working together in order to produce a rough cut for a potential film.
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| A self-organized process will be put in place, and it will explore ideas of decentralization, role rotation and collective writing.
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| Marwa Arsanios’ practice tackles structural questions using different devices, forms and strategies. From architectural spaces, their transformation and adaptability throughout a civil war, to artist-run spaces and temporary conventions between communes and cooperatives, the practice tends to make space within and parallel to existing art structures allowing experimentation with different forms of assemblies. Film becomes another device and space for connecting struggles through images and montage.
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| In the past nine years Arsanios has been attempting to think about these questions from a new materialist and a historical materialist perspective with different feminist movements that are in a struggle for taking back their land. She tries to look at questions of property, law, economy and ecology from specific plots of land, while focusing on the histories of the commons in the levant region. She has been part of artist collectives and initiatives, the most recent being the legal communalisation of a land in the North Lebanon through its transformation to a Mashaa.
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| <strong>BIO MARWA ARSANIOS</strong>: Marwa Arsanios’ practice tackles structural questions using different devices, forms and strategies. From architectural spaces, their transformation and adaptability throughout a civil war, to artist-run spaces and temporary conventions between communes and cooperatives, the practice tends to make space within and parallel to existing art structures allowing experimentation with different forms of assemblies. Film becomes another device and space for connecting struggles through images and montage.
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| In the past nine years Arsanios has been attempting to think about these questions from a new materialist and a historical materialist perspective with different feminist movements that are in a struggle for taking back their land. She tries to look at questions of property, law, economy and ecology from specific plots of land, while focusing on the histories of the commons in the levant region. She has been part of artist collectives and initiatives, the most recent being the legal communalisation of a land in the North Lebanon through its transformation to a Mashaa.
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| Sign up by clicking <strong>[https://masterfinearts.schoolofarts.be/index.php?title=Master_Classes&action=edit HERE]</strong> to open the page Edit mode. <strong>Do not forget to click the blue button SAVE CHANGES bottom left of the page to save your entry.</strong>
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| <strong>Masterclasses from Other KASK Master’s Programmes Open to MFA Students (Limited Capacity)</strong>
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| <strong>THINKING A BOOK " with Luc Derycke </strong>
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| <span style="color:red">8–11 December 2025</span>
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| <strong>NOTE: THIS MASTER CLASS IS ORGANISED BY THE MASTER IN GRAPHIC DESIGN</strong>
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| Everyone who has been involved in the making of a book will know that the word book does not (solely) refer to the object (or run of identical objects) that is the final result of book making; it is rather to be considered as a process. As such it is not a thing but a mental — logical — space, and the activity it requires is as Wittgenstein would name it: the “picturing of facts” — through both language and imagery.
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| We can consider every book project stemming from a wide rhizomatic entangled field, and a book process as a kind of killing field, a furious haptic pruning that usually results in a string of words and/or images, in an art book typically in the form of a list, in textbooks a sequence of words, grouped as numbered chapters, verses, pages.
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| A string, especially when very long, would make an un-wieldy object. So it must be compacted, conditioned to be rolled into a scroll, or folded into a book. Materials and a machine park are available to bring this about, and pack a book in books that can be handled, looked at, read, and kept on a shelve.
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| All this requires thinking, often thinking in concert by a group of people. This is possible because they are thinking a book — that is simultaneously the case and not the case yet: in process. This thinking will design the book. The design can be split in strictly divided tasks, such as writing, editing, iconography, sequencing, graphic design, publishing, marketing, financing etc…, all thinking a book. As in the end only one book can be the case, all thinking will have to be expressed in one design: the book as an object. This one design however, is a combination of many designs, and the fact of combination and the fact that it is so combined is what makes up a book. When the object appears (pe: rolls of a binding machine) it fatally mirrors all thinking invested.
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| This masterclass is about the book before it is formed into an object. About the many states a book can be in without being an object. About book process debate. About picturing a book as a combination of facts.
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| Sign up by clicking <strong>[https://masterfinearts.schoolofarts.be/index.php?title=Master_Classes&action=edit HERE]</strong> to open the page Edit mode. <strong>Do not forget to click the blue button SAVE CHANGES bottom left of the page to save your entry.</strong>
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| <strong>MASTER CLASS "THE READING OF PLEASURE #2" with Henry Andersen & Lars Kwakkenbos</strong>
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| <span style="color:red">19.01 —22.01.2026 (Montavoix, FR) + 16.03—20.03.2026 (Malesherbes, FR)</span>
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| <strong>NOTE: THIS MASTER CLASS IS ORGANISED BY THE MASTER IN GRAPHIC DESIGN</strong>
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| Reading, editing, the novel, 19th century, France, bookmaking, printing
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| This masterclass takes place in two peripheries and involves the editing and production of a small publication about the novel, the police, and the culture of reading in 19th century France. We want to follow the complete process of making a book: from editing, designing, printing, folding and binding, all as a collective operation. The publication and workshop emerges from a larger research lead by Henry Andersen and Lars Kwakkenbos on the histories of reading and their connection with print technologies and images of the virus. Each year, we’ll focus on a different moment in the history of reading and each year we’ll experiment with a different print technology with which we are still unfamiliar.
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| Like the early novel, this masterclass will come in instalments and will contain a host of changing characters. The first part, 19-22 January 2026, will take place in collaboration with architect/forester Wim Cuyvers in his semi-legendary refuge “Montavoix” in the Jura mountains. Here, we will work without electricity, planning the publication through reading, discussion, tests of binding and printing. The second part 16-20 March 2026, will take place in the L’Atelier-Musée de l’imprimerie des Malesherbes, on the periphery of Paris. Here, together with designer Alex Balgiu and printers from the atelier, we will print, produce and bind the publication on a manual offset press. The aim is not to perfect the machine, but to understand how it works enough that we can use it and intervene in it in experimental ways.
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| KASK will cover the costs of accommodation and food for both workshops, but students are asked to organise travel themselves. Organised well and collectively, this can be relatively cheap, so let’s do it together.
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| Sign up by clicking <strong>[https://masterfinearts.schoolofarts.be/index.php?title=Master_Classes&action=edit HERE]</strong> to open the page Edit mode. <strong>Do not forget to click the blue button SAVE CHANGES bottom left of the page to save your entry.</strong>
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| <strong>MASTER CLASS "From Concept to Display: Exhibition-Making as a Collaborative Practice" with JANA HÄCKEL AND ANNE-FRANÇOISE LESUISSE</strong>
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| <span style="color:red">April 13 – May 3, 2026 with exhibition Opening: April 24, 2026, Zwarte Zaal KASK</span>
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| <strong>NOTE: THIS MASTER CLASS IS ORGANISED BY THE MASTER IN PHOTOGRAPHY</strong>
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| This elective offers a hands-on introduction to exhibition making, guiding students through the process of turning a conceptual idea into a realized project within a two-week timeframe. Following an initial exploration of curatorial theories and approaches in photography, students will develop and produce their own exhibition — from concept to completion — covering all aspects of the production process.
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| The course also emphasizes scenography and mediation, including writing exhibition texts, creating a publication, and managing communication across social media platforms. Here, photography serves not as the final product but as the point of departure — a medium through which students can explore how two-dimensional images can be translated into spatial experiences.
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| The curatorial process mirrors this spirit of experimentation and play. Each participating artist will collaborate with a curator from the KASK Curatorial Studies Program, engaging in in-depth dialogue to shape their presentation. These individual projects will then come together in a collective group exhibition that embodies the idea of an exhibition as a "collective body."
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| The goal is to help students reframe their relationship to their own work, breaking down barriers around production and presentation through a collaborative, empowering learning environment. To further enrich this experience, external guest critics will be invited to review the final exhibition and provide individual feedback.
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| Sign up by clicking <strong>[https://masterfinearts.schoolofarts.be/index.php?title=Master_Classes&action=edit HERE]</strong> to open the page Edit mode. <strong>Do not forget to click the blue button SAVE CHANGES bottom left of the page to save your entry.</strong>
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| If you have any problems with this page please contact: masterfinearts@hogent.be | | If you have any problems with this page please contact: masterfinearts@hogent.be |