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Conflict Zones
a series of online talks

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 03

Sophia Bulgakova (born 1997, Odesa, Ukraine) is an ArtScientist, interdisciplinary artist and activist currently based in The Hague, the Netherlands. Sophia is working on the intersection between art, technology, and society, focusing on the relationship between light, perception, and imagination. Through various sensorial inputs in her installations and performances, she engages viewers, impacting their ways of perceiving reality and exploring new possibilities beyond it. In her most recent work, she investigates Ukrainian paganism and its impact on contemporary society and national identity.
Sophia studied sculpture in Kyiv and then got a foundation diploma in Photography and Time-Based Media at the University of the Arts London in the UK. After that, she graduated from the ArtScience Interfaculty at the Royal Academy of the Art and Royal Conservatory in The Hague, the Netherlands. Her works were exhibited at CTM Festival (DE), Sonic Acts Festival (NL), Baltan Laboratories (NL), Mediamatic (NL), and Ningbo City Exhibition Hall (CN), among other places.
This event is held in English.

 

 

Conflict Zones 02

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

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 olha.honchar@gmail.com, be_strong@insha-osvita.org

 

 

Lichen Curatorial Prize
Three Tropes for Entropy
05.02–01.05.2022

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 – 03.04.2022

 

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

05.03 – 01.05.2022

 

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

01.05.2022 – …

 

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. 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 GlassTime, 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.

 

 

Related Projects

Petrichor
13.09–08.11.2020

Three Tropes for Entropy
Film Programme
05.02–01.05.2022

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. 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

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

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.

 

 

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
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 GlassTime, 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.

Related Projects

Petrichor
13.09–08.11.2020