Erica Ferrari & Ana Catarina Mousinho
Memory-Lab Pavilion
10.09–16.10.2022

The Memory-Lab Pavilion by Erica Ferrari and Ana Catarina Mousinho is a participatory art installation on the C-mine site, which functions as an artist workshop, an exhibition space, and a meeting place. The pavilion is a work in progress – in the course of five weeks, the duo will organise a series of workshops and invite participants to co-create the installation.

Erica Ferrari’s practice, spanning sculpture, installations, and urban interventions, explores the interplay of politics and memory in the public space. For her project in Genk, she invited a fellow artist Ana Catarina Mousinho to co-develop the Memory-Lab Pavilion as a site for embodied, collective memory work. During their residency in Genk, Ferrari and Mousinho became intrigued by the urban- and memory-scape of Genk. Over the last two centuries, the city has transformed from a village of landscape painters into an industrial hub, and eventually, into a post-industrial cultural site. Each of these transformations has brought with it a certain degree of erasure and loss of memories. Through the project, the artists want to give space in particular to those memories and stories that have low visibility in the public space. “The right to memory is the right to public space”, they say. In contrast to official narratives petrified in monuments and rites, Ferrari and Mousinho will explore the potential of collective action and ephemeral gestures as strategies for remembering and storytelling.

The participants in the workshops are invited to explore how memories and stories can be transferred through bodily and material gestures. Ferrari and Mousinho will introduce the participants to several gestural drawing and sculpting techniques, using natural materials like clay and charcoal as well as the materials associated with construction sites, such as plaster, concrete, and debris. The focus of the workshops is not on their physical outcome, but rather, on the process of working and making together, exchanging stories, and creating new memories.

The structure of the installation, designed by Ferrari, has been inspired, on the one hand, by the infrastructure of a construction site and, on the other hand, by the pavilion as a semi-permanent, flexible architectural structure. The pavilion is located at the former mine site of Winterslag, in the area which is a palimpsest in the making. While the monumental edifice of the Energy Building and a few others are preserved, the majority of the former mine infrastructure has been demolished. It is at this location that the future house for Jester will be built. Located in-between the architectural heritage and the construction site, the Memory-Lab Pavilion becomes a space for negotiation between the past and the future.

Practical information

The installation is located on the C-mine site, behind the LUCA School of Art. The ground floor of the installation is accessible at all times. Please, treat the installation and objects you will encounter with respect. The first floor of the installation is accessible during the workshops only.

The public workshops take place on three Saturdays: 24.09, 01.10, and 15.10.22, between 1 and 4 pm. On those days, you can join a workshop or come by and meet the artists.

The objects that will be created in this process will temporarily furnish the Memory-Lab Pavilion. After the exhibition’s end, they can be retrieved by their makers.

Bios

Erica Ferrari (°1981, BR) is an artist and researcher based in São Paulo. In recent years Erica produced objects and installations from research around the relationships between architecture, space and history. She participated in individual and collective exhibitions in Brazil and abroad and received acquisitions and artistic production awards. Recent exhibitions include ‘32nd Biennial of Graphic Arts’ MGLC, in Ljubljana, Slovenia, ‘O que não é floresta é prisão política’, Reocupa Gallery of Ocupação 9 de Julho – MSTC in São Paulo, ‘Has always been dystopia’, XPO Gallery, in Enschede, Holland, ‘Estamos Aqui – Ocupação Ateliê 397’, SESC Pinheiros. São Paulo e ‘37º Panorama da Arte Brasileira’, MAM – Modern Art Museum of São Paulo, Brazil. She was artist in resident at Pivô (São Paulo), Sculpture Space in Utica (New York), GlogauAIR (Berlin), ARE Holland (Netherlands), AIR Niederösterreich (Krems, Austria) and Jester/FLACC/CIAP (Genk, Belgium). PhD Student at School of Architecture and Urbanism of University of São Paulo (FAU USP). Researcher associated to LabOUTROS – Laboratory of the Department of History of Architecture and Aesthetics of FAU USP. Collaborator of MSTC – Movement of Low Income Workers of São Paulo City Center.

Ana Catarina Mousinho (°1980, BR) is a visual artist, art educator and activist. Born in Recife, Pernambuco, lives and works in São Paulo. She has participated in solo and group exhibitions in Recife, São Paulo, Brasília and Frankfurt and in artistic residency programs in Recife, São Paulo and Brasília. From different supports, such as drawing, painting, sculpture and installations, he deals with the material found (collecting ordinary objects) or created (through paintings and drawings with a predominance of color and an excavated and gestural trace) as a means of friction of memories and a broadening of understanding about the processes of interpersonal relationships, individual history and social paths traced together. She works with the MSTC in the areas of culture, art and education. He also proposed and held art workshops in 2017 with children from Cidade Estrutural in Brasília during an artistic residency at CAL-UNB, in 2016 he promoted meetings with children to walk, draw and paint the city during a residency at l.a.m.a-sp, São Paulo and in 2016 worked at Instituto Dom Helder in Recife as an educator in the “Amarelo cor de Urubu” project.

The artists would like to thank Alicja, Orlando, Luuk, Stef, Kevin and the entire Jester team, Giselle Beiguelman and FAU/CAPES, Carmen Silva and MSTC, our families and friends for their support.

The project is realised with the support of the Flemish Community, the city of Genk, and Jester members; PROAP/CCP – Faculty of Architecture Urbanism at the University of São Paulo, and CAPES – Coordenação de Aperfeiçoamento de Pessoal de Nível Superior [Higher Education Personnel Improvement Coordination].

Marie Zolamian
Droomland
10.09–11.12.2022

Opening: 10.09.22, 3 - 7 p.m.

This autumn, we proudly present Marie Zolamian’s (°1975, LB) new monumental work during Droomland*, her solo exhibition at Jester. Her work finds itself at the distinction between colourful, familiar scenes, art historical references, and a déjà vu-like dreamy world where mysterious silhouettes and creatures appear. Like a fictitious ethnologist she keeps an observational images diary, for which she draws inspiration from daydreaming, testimonies, local history or cultural customs linked to the place from which she works.

In preparation for her solo presentation at Jester, the artist briefly stayed at the Emile Van Dorenmuseum, where she soaked up the stories that enfolded the Genk tradition of landscape painting. Here, ‘Bezoekt droomland Genk’ (translated as ‘Visit dreamland Genk’), a slogan from an old tourist advertisement, caught her attention. Buried in the city’s recent mining and industrial past, one would almost forget that at the end of the 19th and the beginning of the 20th century Genk was known as a ‘station d’artistes’, where the vast nature and rustic life appealed to the imagination and attracted visitors, especially artists, from home and abroad. To this day, this post-industrial region boasts enormous biodiversity in and around its various nature reserves. For Zolamian, nature is imaginary. Her pictorial semblance celebrates diversity and crossing, which for her are a pretext for painting.

For Droomland, the artist takes over Jester’s exhibition space. While in the studio smaller canvases are a familiar starting point, Zolamian will work in situ on a monumental creation in the weeks before the opening. Layer after layer, a landscape will be shaped. Playing with camouflage, approach and resistance, this large-scale work offer - despite its scale - an intimate glimpse into the mysterious universe expressed in Zolamian’s oeuvre.

*Droomland means dreamland

PRACTICAL INFORMATION:

On Saturday, the 10th of September, the opening takes place between 3 and 7 p.m. You can find our presentation space on the 1st floor of the C-mine energy building. Droomland is on view, every day except on Mondays, from 10 a.m. till 5 p.m. The show runs until the 11th of December.

Alexis Gautier
Riding High in the Reading Saddle
21.05–07.08.2022

Guided tour: Sunday,

07.08, 4 p.m.

Alexis Gautier’s work explores the relationships at play in cultural transactions, collaborations and the creation of narratives. Often made with other individuals, his work creates a space for exchanges and appropriation, weaving encounters, discoveries and misunderstandings. Gautier documents his research and interventions through textiles, sculptures, videos, narrations and drawings. FLACC/CIAP invites the artist to continue his research during his residency in Genk, which will culminate in a solo exhibition in May 2022.

Guided tour: Sunday, 07.08, 4 p.m.

During the finissage of Riding High in the Reading Saddle, join us for the guided tour of the exhibition.Jester’s artistic director Orlando Maaike Gouwenberg will be your guide through the work of Alexis Gautier and the unique indoor and outdoor spaces at the C-mine site. The meeting point is the visitor’s desk at C-mine.

Alexis Gautier (FR) is currently a resident at WIELS (Brussels) and an affiliated researcher in the arts at the Royal Academy of Fine Arts in Antwerp. He graduated from the Städelschule in Frankfurt am Main (DE) and from the Royal Academy of Fine Arts of Antwerp (BE). He had solo exhibitions at Museum M Leuven (2021), ISLAND (Brussels, 2020), Basis (Frankfurt Am Main, 2019), Blue Mountain School (London, 2018) and BOZAR (Brussels, 2017). He was awarded the Günther-Peill Stiftung (Düren, DE) and is supported by the Fondation des Artistes (Paris, FR) and by the Flemish Community.

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Conflict Zones
a series of online talks

Conflict Zones is a series of online conversations around conflicts of different kinds, with various degrees of visibility and scope. Conflict Zones takes place every fortnight on Tuesday at 7 p.m.

Click on this link to follow the conversation on Zoom. No registration required.

In the series, we exchange thoughts and personal stories with artists and cultural workers who are facing a precarious situation as a result of different kinds of conflict: military and political but also legal, ethical, or other; at a workplace, at home, or in exile. The series gives platform and visibility to the practices that might be underexposed or even under attack at the given moment. During intimate talks, we are trying to unveil different layers of conflict and foreground how they disrupt artistic practices and daily lives alike. We want to listen. Truly listen.

We do not claim to be objective nor comprehensive. The making of the series is inspired by the improv acting methodology that lies at the core of Jester. We always start from a speaker we have a connection with, as an organisation and as people, and from a subject with a sense of urgency. From there, we see how the programme will unfold.

Due to the current war in Ukraine, the topic of conflict became even more imminent in the general programme ideas for Jester. Departing from conversations with Ukrainian curator Alexandra Tryanova, our intern, and some of the Ukrainian artists with whom we have worked in the past, formed the catalyst for this initiative. Based on that, we decided to address this urgency first within our series. This is followed by all kinds of ‘conflicts’ that are linked to the organisation; materials that conflict with each other, neighbours who have to get used to a new art building in their backyard, or a court case about ownership.

Conflict Zones 06 - moderated by Alexandra Tryanova & Orlando Maaike Gouwenberg

Oleksandr Sirous is a sound and media artist. Recently Oleksandr has turned more and more to the culture of video games and various game mechanics and new rules of interaction. With the aim of finding new approaches at the intersection of the already established approaches in media art and video games.

Sirous studied painting and graphics in Kharkiv. In 2018, he was the curator of the new media art course at @hudpromloft and the Kharkiv Academy of Visual Arts. In 2019, he taught the 3D programming course at the Kyiv Academy of Media Arts and curated/resided at @carbonartcentre in Kyiv and also a member at @photinusstudio . He was nominated this year for the @pinchukartcentre Prize.

(text by MORPHO residency program)

Conflict Zones 05 - moderated by Orlando Maaike Gouwenberg

Alexandra Tryanova is an Odesa-born, Antwerp-based independent curator. She works with topics of recreation, Eastern European conceptual art, gender, and institutional critique. In a frame of the 5th Odessa Biennial of Contemporary Art (2017), she has established a non-production site residency Kunsthalle Lustdorf that continues its work as an independent artistic and curatorial association for open practices and technologies in a suburb of Odessa. Between 2018 and 2019, she worked at the Museum of Odessa Modern Art as a curator, where she curated a list of exhibitions, among which (un)named by Nikita Kadan and In memoriam exhibition of Stas Volyazlovsky. As a junior curator of the PinchukArtCentre, Alexandra has co-curated the exhibition Ain’t nobody’s business (2019) and curated the exhibition of the 20 artists shortlisted for the PinchukArtCentre Prize (2020). Then In 2021, she continued her studies in Belgium at Curatorial studies at KASK (Ghent) and now collaborates with Jester (Genk) in the frame of the series Conflict Zones.

Conflict Zones 04 - moderated by Alexandra Tryanova

Ute Kilter is a performer, actress, TV maker, and art critic based in Odessa, Ukraine. In 1992, with her collaborator Viktor Malyarenko she started the TV program “Situation Ute, ” an essayistic contemporary art travel digest. “Situation Ute” was broadcasted on Odesa TV channel for 27 years, proposing an overview both of European art events in Germany, France, Denmark, Sweden, and in Ukraine to a local audience. Ute Kilter starred in many films by internationally known Ukrainian film director Kira Muratova, including Chekhov’s Motifs, The Tuner and Eternal Return.

Conflict Zones 03 -moderated by Alexandra Tryanova

Conflict Zones 02 - moderated by Alexandra Tryanova

Our second guest was Nadia Parfan, a Ukrainian film director, producer and curator. Her student film “Reve ta Stohne on Tour” received a special mention at DocudaysUA and her last film, “Heat Singers”, was premiered at Visions du Reel cinema festival and was selected to several other international film festivals. Nadia is the co-founder of the Festival of Film and Urbanism 86, which took place in Slavutych from 2014 to 2018.

She is also the author of the idea and creative producer of the documentary project MyStreetFilmsUkraine, in which Ukrainian directors have created and released 49 short films. In 2018, Nadia together with producer Ilya Gladstein has founded the production company Phalanstery Films. In January 2020 Nadia launched a streaming platform Takflix.com which provides legal access to Ukrainian films.

Conflict Zones 01 - moderated by Alexandra Tryanova

Our first guest was culturologist Olha Honchar (UA), a project and communications, anti-crisis manager. She is the director of the Memorial Museum of Totalitarian Regimes ‘Territory of Terror’ in Lviv en researches the features of PR, cultural and museum management in Ukraine. Besides, she is responsible for the communication of the projects ‘Cultural diplomacy between the regions of Ukraine’ in the frontline and liberated cities of Donetsk and Luhansk regions: ‘The museum is open for renovation’, the expedition ‘HERE AND THERE’ and others.

At the Luhansk Regional Museum in Starobilsk, Honchar is Co-curator of the experimental exposition of the Anti-Terrorist Operation. She is the initiator of the ‘Museum Crisis Center’ and the ‘Ambulance Museum project’, which emerged the first days of the Russian war against Ukraine.

How to support the Museum Crisis Center?

For payments in euro:

BENEFICIARY: ngo insha osvita
Id. Code: 40289892
IBAN: UA933355480000026008053635051
Legal address: Lva Zhemchuzhnikova st. 5, appt. 6, 79053, Lviv, Ukraine
BANK OF BENEFICIARY: PRIVATBANK, 1D HRUSHEVSKOHO STR., KYIV, 01001, UKRAINE
SWIFT: PBANUA2X
CORRESPONDENT BANK: J.P.MORGAN AG, FRANKFURT AM MAIN, GERMANY
Details of payment: charity donation for “Museum Crisis Center”

The Museum Crisis Center is a grassroots initiative of Olha Honchar, a culturologist and director of the Lviv Territory of Terror Museum, which is implemented in partnership with Insha Osvita and the New Museum NGO. The Museum Crisis Center has already been supported by the European Commission (within the Strength Here project), the Kyiv Biennale (as part of its own urgent initiative to support the art community), the PinchukArtCentre, the German MitOst e.V., and a number of private patrons.

The Museum Crisis Center aims to provide financial, organizational and human support to small regional museums and their teams in times of crisis. While the state saves the funds of large national museums in the first place, local museum institutions, which are a vascular network of culture, are often overlooked. The Museum Crisis Center sees value in every local museum institution and in the people who preserve that knowledge and collection.

The Museum Crisis Center is an initiative that will be relevant in the postwar period as well. Not only to restore the network of local museums, return collections, restore exhibits and inventory, but also as a tool of mutual assistance in various crisis situations. The Museum Crisis Center is an association that will launch a number of projects, the first of which is Ambulance museum initiative.

For partnerships and support, or other forms of payment, write to [email protected], [email protected]

Lichen Curatorial Prize
Three Tropes for Entropy
05.02–01.05.2022

Until the 1st of May, you can discover the works of the 2nd trope in the C-mine compressors hall.

With works by mountaincutters (FR), Angyvir Padilla (VZ) and Daniel Steegmann Mangrané (ES), Three Tropes for Entropy delves into three distinctive artistic practices, presenting their singular approaches towards notions of flux, energy, and transformation.

Laila Melchior and Koi Persyn — laureates of the second edition of the Lichen Curatorial Prize — present a transformative exhibition connecting three artistic practices and methodologies to the unique site of the former Winterslag coal mine. Having hosted an industrial complex of coal exploitation for approximately a century, this former mine site embodies the capacity to generate and process energy not only through its history but also in its recent transformation into a creative hub.

Daniel Steegmann Mangrané, Phasmides
16mm film transferred to HD video, color, mute,
22’41”, 2012, Courtesy Mendes Wood DM, São Paulo and Esther Schipper, Berlin

‘Trope’ and ‘entropy’ share the same ancient Greek root in the word τροπή, evoking the ideas of turn and transmutation. Tropes are literary motifs that use figurative forms of language to increase the tangibility of meaning, stimulating associative perceptions. Entropy is a term that has gained momentum in current times. A scientific concept that stems from thermodynamics, it indicates a transmission process within a closed circuit. Drawing from this specific usage to a more general one, it has been widely used to exemplify the irreversibility of time, of processes that have a clear start but no defined end and that can become quite invisible, as much as they are omnipresent.

mountaincutter, proto situation, various media, 2021

In parallel with and inspired by such a mixture of possible approaches to the phenomenon of transformation, the exhibition itself undergoes a change over its course. Three Tropes for Entropy opens with clusters of works highlighting each participating practice and gradually evolves towards an intermingled diffusion of particles. These transformations will be marked by three activated moments or chapters - identified by the curatorial duo as exhibition’s ‘tropes’:

risquer sa mutation :

programme d’une pensée sans domaine

05.02 - 03.04.2025

Ella es su espejo incendiado, su espera en hogueras frías.

05.03 - 01.05.2025

Eu era gases puro, ar, espaço vazio, tempo.

01.05.2025 - …

These gradual changes allow for interactions between the works themselves and the space, modulating intensities to render visible the mutability that circulates inside the engines of practices.

21 AÑOS DE MALA SUERTE (21 YEARS OF BAD LUCK), Angyvir Padilla, video still, 2014

Film Programme

Three films presented during the opening weekend of Three Tropes for Entropy can now be watched below. The screening was part of risquer sa mutation : programme d’une pensée sans domaine, the exhibition’s first trope.

1. 1. Daniel Steegmann Mangrané, Phasmides, 2012; 22’41”, 16 mm transferred to HD, colour, mute, courtesy of Mendes Wood DM, São Paulo and Esther Schipper, Berlin
   2. Angyvir Padilla, 21 años de mala suerte (21 years of bad luck), 2014; 04’04“, colour, sound, courtesy of the artist
   3. mountaincutters, Supplique pour le beau temps, 16 mm transferred to HD, colour, mute, 2’08”, 2021, production by fondation d’entreprise Hermès

The artists

mountaincutters (FR, °1990) is a hybrid identity, living and working in Brussels. Their duo-practice consists mainly of site-specific sculptures that reconfigure the space where they are exhibited. Through poetic texts and analogue photographs, the duo often finds historical and/or material leads that form the basis of their sculptural installations. These constellations of glass, ceramic, copper and metal objects are in constant flux, forming a closed circuit between the different entities. The in-situ works balance on the threshold of inactive and dynamic, present and invisible, rough and refined. Like an echo of this confused identity, the installation adds an aesthetic uncertainty, favouring transitory situations and unfinished forms for seemingly fortuitous compositions. mountaincutters unifies phenomena that are considered incompatible into one coherent volume, therefore pushing the boundaries of the sculptural into conflict.

Angyvir Padilla (VZ, °1987) lives and works in Brussels. In her practice, she invites the viewer to look closer at the places we inhabit by examining how we embody memory. Padilla proposes that the traces of our past seep into a persistent present. Her immersive installations distil the concept of ‘home’ as an intimate, secluded place and relate this notion to people and nature. Padilla’s practice explores the discrepancies and intervals between identity, material and space. Her work turns around the sense of otherness one encounters once presence enters into a dialogue. Angyvir Padilla often works presenting objects and processing materials in relation to the spatial environment in order to connect emotionally with the viewer.

Daniel Steegmann Mangrané (ES, °1977) lives and works in Rio de Janeiro. His research is composed of subtle yet crude experiments that question the relationship between language and the world. Although primarily conceptual, his installations engage with the spectator’s imagination and exhibit a strong concern with the existence of everything we see, but especially on everything that we do not see. Mangrané’s work often traces the boundary where nature meets artifice. Lines, circles and rhombuses are drawn, cut and projected onto leaves; the delicate symmetry of branches is split in two. These precise interventions hold a powerful force of attraction: a moment of uncertainty between what is contrived and what is natural. In each of Steegmann Mangrané’s intricate compositions, we get to experience that, far from being distinct, the organic and the geometric, the vital and the abstract, define each other.

The curators

Laila Melchior is an independent curator and researcher investigating the fields of contemporary art and audiovisual aesthetics. She holds a master’s degree in Communication and Culture from UFRJ (BR) and a postgraduate degree in Curatorial Studies from The Royal Academy of Fine Arts (KASK). Laila Melchior works on projects related to arts, film and theory, looking to incorporate perspectives from the Global South into her projects. As a curator, she collaborates with art institutions. Some of her recent projects are the exhibitions Trojan Horse Behind Glass; Time, Times. Half a Time; and The Ghost Library. She is one of the founders and part of the curatorial board of Aventuras do Pensamento, a series of encounters between a children-composed audience and some of the greatest contemporary Brazilian thinkers, scientists and artists that since 2016 discusses pressing issues in the political, innovative and creative horizon of the country. Laila Melchior has also designed the Young Curators Programme, a project which she coordinates to promote a greater engagement of emerging curators in the frame of Belgian participation in the Venice Biennale. Formerly a lecturer at the undergraduate course in Cinema and Digital Media at IESB (Brasilia – BR), she has also published and presented academic works.

Koi Persyn is a Brussels-based independent curator and visual artist. He obtained a master’s in Fine Arts at The Royal Academy of Fine Arts (KASK) after which he completed a postgraduate in Curatorial Studies, also at KASK. During his studies, Koi Persyn founded and co-curated STOCK, a three-year-running residency programme in Het Paviljoen, Ghent. His artistic and curatorial trajectory encompasses notions of authorship and collectivity, employing experimentation with exhibition formats in unconventional locations. His curatorial projects focus on process-based, experimental, and interdisciplinary practices through open-air, collaborative, site-specific exhibitions and residency programmes. Koi Persyn participated in the exchange programme with BIDAI college of arts in Kanazawa (JP) and worked in the framework of the Young Curators Program as a mediator for the Belgian Pavilion at the 58th edition of the Venice Biennale. Koi Persyn co-curated Publiek Park, an open-air group exhibition in the Citadelpark of Ghent, as part of his activities in the frame of the Young Friends of S.M.A.K. Currently, Persyn develops the annual programme of Komplot in Brussels as a guest curator.

Lichen is a prize for emerging curators, established by CIAP platform for contemporary art and the department of Curatorial Studies at KASK School of Arts to foster and support curatorial experimentation in Belgium. With the support of the Flemish Community, the City of Genk, and the CIAP members.

Three Tropes for Entropy
Film Programme
05.02–01.05.2022

Laila Melchior and Koi Persyn — laureates of the second edition of the Lichen Curatorial Prize — present a transformative exhibition connecting the artistic practices and methodologies of mountaincutters (FR), Angyvir Padilla (VZ) and Daniel Steegmann Mangrané (ES) to the unique site of the former Winterslag coal mine. Having hosted an industrial complex of coal exploitation for approximately a century, this former mine site embodies the capacity to generate and process energy not only through its history but also in its recent transformation into a creative hub.

Three films presented during the opening weekend of Three Tropes for Entropy can now be watched below. The screening was part of risquer sa mutation : programme d’une pensée sans domaine, the exhibition’s first trope.

1. 1. Daniel Steegmann Mangrané, Phasmides, 2012; 22’41”, 16 mm transferred to HD, colour, mute, courtesy of Mendes Wood DM, São Paulo and Esther Schipper, Berlin
   2. Angyvir Padilla, 21 años de mala suerte (21 years of bad luck), 2014; 04’04“, colour, sound, courtesy of the artist
   3. mountaincutters, Supplique pour le beau temps, 16 mm transferred to HD, colour, mute, 2’08”, 2021, production by fondation d’entreprise Hermès

Lichen is a prize for emerging curators, established by CIAP platform for contemporary art and the department of Curatorial Studies at KASK School of Arts to foster and support curatorial experimentation in Belgium. With the support of the Flemish Community, the City of Genk, and the CIAP members.

Open Call
Workshop application writing

Do you want to apply for a subsidy? Are you on the verge of applying for a residency? Then this workshop offers a suitable theoretical and practical preparation for writing your application. Katrien Reist (State of the Arts) will lead a workshop that consists of two work sessions. Please make sure you can attend both of them.

PRACTICAL INFORMATION

• Dates: Saturday 19 February at 10.30 a.m. - 4.30 p.m. and Saturday 12 March at 10.30 a.m. - 4.30 p.m.
• Location: Z33, Bonnefantenstraat 1, 3500 Hasselt
• Registration: Register, the latest on Thursday 10 February, via this link: https://www.z33.be/workshopreeks/
• Price: Free

VONK, Z33 and CIAP/FLACC join forces and start the year with a series of workshops around the practice of the visual artist. These workshops will help you take your first steps and offer you handy tools to put into practice.

The workshops are intended for professional, semi-professional and/or starting contemporary artists with a connection to Limburg and who have followed professional art training. We kick off with the dossier writing workshop. The workshops are held in Dutch, are free of charge and include lunch. The number of places is limited.

Keep an eye on our website for more information about the following workshops in the near future:

• Saturday 11 June | Workshop on strategic thinking and business management
• Saturday 24 September | Practical workshop: How to photograph my work with a smartphone?
• Saturday 19 November | Portfolio Days

Marianne Berenhaut
Mine de rien
23.10.2021–16.01.2022

La recontre, 2013

Marianne Berenhaut’s body of work, spanning over five decades and still expanding, eludes any attempt at a summary. It cannot ever be explained or fully grasped; it needs to be seen, experienced and felt to the bone. The exhibition at CIAP and C-mine presents a subjective choice from this generous oeuvre. Sculptures, installations, and collages made of objects ​​found in the artist’s immediate surroundings are accompanied by a selection of archival materials, including previously unseen footage and newly commissioned documentation. Placed side by side, the works created years apart come into dialogue and reveal their lasting relevance. The expression ‘mine de rien’, borrowed for the title of this exhibition, describes someone acting casually, ‘as if nothing was at hand’, much like the works of Marianne. Hidden behind the facade of daily objects are memories and stories we all can relate to, but also experiences that remain deeply individual and, on some level, inaccessible.

The very present, symbolically charged architecture of the former mine of Winterslag lends itself as a perfect setting to highlight specific facets of Marianne’s practice. Now a creative site, it used to be the heart of the extractive industry and a gravitational core of the cité, attracting newcomers to Genk. What better context to reflect on the subjects of care, labour, trauma, and healing, which surface, in a more or less direct way, throughout this body of work.

PRACTICAL

The tickets to this exhibition can be now purchased via C-mine’s website.
FOLLOW THIS LINK to reserve your ticket.

GUIDED TOURS

CIAP organizes three tours guided by the curatorial team. The curators reveal some anecdotes about the works and share their own experiences with Marianne Berenhaut’s oeuvre. Participating in a guided tour is included in your expo ticket. Register via the link below, but do not forget to also purchase a ticket for the exhibition on the same date. The number of places is limited.

• Saturday 06.11.21, 2:00 to 3:00 p.m. (English)
• Saturday 11.12.21, 2:00 to 3:00 p.m.(Dutch)
  • RESERVE your spot for the guided tour on 11.12.21
  • BUY an exposition ticket for 11.12.21
• Saturday 08.01.22, 2:00 to 3:00 p.m.(Dutch)
  • RESERVE your spot for the guided tour on 08.01.22
  • BUY an exposition ticket for 08.01.22

This exhibition is a collaboration between CIAP and C-mine. With the kind support of the Flemish Community, the city of Genk, and CIAP members.

Bio

Marianne Berenhaut (1934, BE) lives and works between Brussels and London. She studied fine arts at the Académie du Midi and Atelier de Moeschal (1960-1964). Her works were presented in various solo exhibitions, at La Maison des Femmes (Brussels), Musée Juif de Belgique (Brussels), MAC’s (Grand Hornu), Isy Brachot Gallery (Brussels), Nadja Vilenne Gallery (Liège), and Island (Brussels). She has been part of several group exhibitions, amongst others at Maison Grégoire (Brussels), Gladstone Gallery (Brussels), Bureau des réalités (Brussels), and Carl Freedman Gallery (Margate, UK). She is represented by Dvir Gallery (Brussels/ Tel Aviv).

Laila Melchior & Koi Persyn
winners of the 2021 Lichen prize

Laila Melchior & Koi Persyn

Curatorial Studies at KASK & Conservatorium and CIAP are delighted to announce CS alumni Laila Melchior and Koi Persyn as the winners of the 2021 Lichen Prize for Curators. The jury appreciated the duo’s curatorial concerns with questions of place and landscape, interests that align with those of CIAP, and which will be the ground for a fertile collaboration and exchange. The exhibition will take place in 2022.

About the curators

Laila Melchior is an independent curator and researcher investigating the fields of contemporary art and audiovisual aesthetics. She holds a master’s degree in Communication and Culture from UFRJ (BR) and a postgraduate degree in Curatorial Studies from The Royal Academy of Fine Arts (KASK). Laila Melchior works on projects related to arts, film and theory, looking to incorporate perspectives from the Global South into her projects. As a curator, she collaborates with art institutions. Some of her recent projects are the exhibitions Trojan Horse Behind Glass; Time, Times. Half a Time; and The Ghost Library. She is one of the founders and part of the curatorial board of Aventuras do Pensamento, a series of encounters between a children-composed audience and some of the greatest contemporary Brazilian thinkers, scientists and artists that since 2016 discusses pressing issues in the political, innovative and creative horizon of the country. Laila Melchior has also designed the Young Curators Programme, a project which she coordinates to promote a greater engagement of emerging curators in the frame of Belgian participation in the Venice Biennale. Formerly a lecturer at the undergraduate course in Cinema and Digital Media at IESB (Brasilia - BR), she has also published and presented academic works.

Koi Persyn is a Brussels-based independent curator and visual artist. He obtained a master’s in Fine Arts at The Royal Academy of Fine Arts (KASK) after which he completed a postgraduate in Curatorial Studies, also at KASK. During his studies, Koi Persyn founded and co-curated STOCK, a three-year-running residency programme in Het Paviljoen, Ghent. His artistic and curatorial trajectory encompasses notions of authorship and collectivity, employing experimentation with exhibition formats in unconventional locations. His curatorial projects focus on process-based, experimental, and interdisciplinary practices through open-air, collaborative, site-specific exhibitions and residency programmes. Koi Persyn participated in the exchange programme with BIDAI college of arts in Kanazawa (JP) and worked in the framework of the Young Curators Program as a mediator for the Belgian Pavilion at the 58th edition of the Venice Biennale. Koi Persyn is currently co-curating Publiek Park, an open-air group exhibition in the Citadelpark of Ghent, as part of his activities in the frame of the Young Friends of S.M.A.K.

About Lichen prize

As a testing ground for visual thinking in diverse forms, CIAP and Curatorial Studies — KASK & Conservatorium have initiated and endowed the Lichen Prize to foster and support curatorial innovation in Belgium. The call is open to all alumnae and alumni of the Curatorial Studies programme — as well as of its earlier forms: TEBEAC and ‘Beheer, conservatie en restauratie van museale collecties hedendaagse kunst’ — regardless of age, current professional status or geographic location. In fall 2020, CIAP and Curatorial Studies proudly presented Petrichor, a group exhibition curated by the laureate of the 2019 edition, Lucie Ménard.

Exhibition view: Petrichor, an exhibition curated by the winner of Lichen 2019, Lucie Ménard.