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In "Proposal", a group is sitting in an office, arranged in a circle. The members are listening to a message that was left on their answering machine. A curator or representative of a gallery makes them a proposal for participation in an exhibition at that gallery. A long list of questions and restrictions follows. The voice emphatically expresses the hope that they will not be discouraged by how little the gallery has to offer them. The Polish artists' collective Azzoro Group will never miss an artistic occasion to ridicule that occasion, themselves included. In their performances, photos and videos, they manifest themselves as a couple of clowns who mock the entire circus of exhibitions and curators. This does not include much talking or writing, but rather, much posing and laughing. Corny acts are their trademark.

A three minute video of people attending a club gig. Instead of the performance onstage the attention focuses on clubgoers observing each other.

Liisa Lounila (b.1976) lives and works in Helsinki. Her main mediums are experimental film/video, photography and painting. Her works usually deal with an obscure need for change, great expectations and places of potential. Usually her pictures, both still and moving, have their background in movies, yellow papers, lifestyle magazines and pop lyrics.

"to conceal what one is, rather than to pretend to be what one is not" Film in triptych format with common soundtrack. Three channelled video. 13 mins. The film focuses on the vocabulary, tools and human representation in the various types of software that is used for modelling and tracking crowd behaviour. Featured in the film are examples from online crowd simulation tutorials: coordinated swarms, mass body crushes, campsites and religious gatherings such as the Hajj in Mecca. These examples are juxtaposed with newly shot scenes of gestures and postures drawn from the simulated crowd agent, the default character, pre-programed behaviour re-enacted by dancers and images from human tracking devices and. images from human tracking devices and The voice-over interlaces the information and the instructions from the software tutorials generated by a speechedit software/robot voice, with the artist's own voice and thoughts. The film addresses the aesthetics and politics of these softwares and tracking system where these digital tools used for monitoring today´s crowd flows and behaviour are becoming increasingly political while facing ethical dilemmas. Sheding new light on the digitisation and simulations of crowds, their interconnected technologies and their inherent potentiality to predict and model our future collective behaviour. This film is part of my ongoing research, practice-based PhD at the Royal College of Art in London, Prediciting Crowds. The aesthetics and politics of digitized and simulated crowds.

Anna Adahl is a visual artist and researcher working in various mediums such as film, installations, performance and collage. She uses the tools of assemblage and montage where found footage meets newly shot images and where ready-mades are used as props in spatial narratives. In 2015 she started her practice-led PhD adressing the aesthetics and politics of digitized and simulated crowds. Over the past decade the notion and politics of crowds has been central in Anna Adahl's artistic practice. In numerous works she has been observing and examining the relationship between the individual and the mass as well as the language of the body in relation to the psychological, physical or political space that surrounds it. Within her current practice based research her focus has turned towards the conditions, the aesthetics and the politics of contemporary crowds, operating in a new computational realm. Her work has been presented and exhibited internationally including: Marabouparken Art Gallery, Stockholm (2018); Moderna Muséet, Stockolm (2018); Festival des Cinémas Differents et Experimentaux de Paris (2018); Nanjing International Art Festival, China (2017), Whitechapel Gallery, London, UK (2016); Lofoten International Arts Festival, Norway (2015); CCA Derry-Londonderry, Northern-Ireland, UK (2015); FRAC Champagne-Ardenne, Reims, France (2013).

The film Default Character focuses on the vocabulary, tools and human representation of the softwares proposing and tracking the crowds behaviour, adressing the impact of how default settings produces an image of the algorithmically programmed human body. The film include images from online tutorials of crowd simulation programs ,human tracking devices and newly shot scenes (performed by dancer Pelle Andersson). The featured examples given by these tutorials and showreels are perfectly coordinated swarms, mass body crushes, camp sites and religious gatherings such as the Hadj in Mecka. Crowd simulations which are mainly used for crowd management and Hollywood production use a multi-agent simulation framework which is a computational methodology that allows building an artificial environment populated with autonomous agents which are capable of interacting with each other. The human tracking devices, track, study and accumulate statistics on our collective behaviour, while the crowd simulation proposes it. The voice over in the film, interlaces the tutors voice of informative instructions from the software tutorials with the artist´s personal voice and commentaries.

Anna Adahl is an artist and researcher working in various mediums such as film, installations and performance. She uses the tools of assemblage and montage where found footage meets newly shot images and where ready-mades are used as props in spatial narratives. Her ongoing Fine Art practice-based PhD at the Royal College of Art in London, UK, adresses the aesthetics and politics of crowd simulations analyses, using the physical body as tool and reference, the identity and human representation in crowds generated and supervised by new computational technologies. Her works has been exhibited and presented internationally and she is also a member of the editorial team of OEI magazine.

Through an immersive experience, the film addresses how the notion and term of flow and ‘flow states’ have been monetised by our current economy and accelerated society of 24/7 consumption, production, and performance. The film navigates through the various flows from its origin in the Buddhist and Taoist traditions of inclusiveness and nature, through computerised blood vessels, fractal deepdream dogs, outer space, further into the charts of human flows of migrants to today’s online mindfulness of digital relaxation clips and ‘sleeptubes’, with their ongoing chat forums. These new modes of relaxation and mindfulness are an instrumental part in enabling the continuous flow linked to our current economic systems and accelerated production modes, acting as artificial breathing pauses for better corporal endurance and performativity. The notion of flow inherent to our bodily survival system of circulation of blood, oxygen, and nutrients are now hi-jacked by our current economic system. Ultimately, the notion of flow has been turned into a bio-political tool which intent is to optimise the efficiency and performativity of our individual and collective behavior.

Anna Ådahl is a visual artist and researcher working in various mediums such as film, installations and performance. She uses the editing tools of assemblage and montage where found footage meets newly produced images, where ready-mades are used as props in spatial narratives and the body is used as an investigative tool in staged performances. Over more than a decade the notion and politics of crowds has been central in her artistic practice. Her fine art practice-based research, Inside the Postdigital Crowds, at the Royal College of Art in London addresses the aesthetics and politics of the digital conditions in which contemporary crowds are operated and governed.

After missing a long-awaited call, a woman wakes up alone in an empty space. Through gesture and sound, she performs a strange ritual in the hope of an answer that would help her escape her haunting. In the form of a somnambulic experience, Akousma offers an incursion into the cranial cavity of a body on the prowl, trapped between the world of the living and dead. This first short film by young visual artist Geoffrey Badel features choreographer Mathilde Monnier, giving ghosts a chance to return.

Born in 1994 in Montélimar (France) Lives and works in Montpellier (France) Geoffrey Badel is an artist who explores silent worlds through immersive installations in the form of drawings, films, installations and performances. He situates his work in surrealistic environments, endowing them with magical and analeptic attributes, with an approach that seeks to transform situations. A 2017 graduate of the Ecole Supérieure des Beaux-Arts de Montpellier, Geoffrey Badel won the Drawing Room's Bourse Jeune Création MAIF that same year. He is taking part in the Saison 6 post-graduate program, created in 2018 by MO.CO. structured into three residency periods: Cochin (India), Venice (Italy) and Istanbul (Turkey). Alongside these experiences, in France and abroad, he works in schools and medical-social establishments to offer workshops and pass on his practice. Since 2024, following on from his research into language, he has been involved with the deaf community, with the aim of contributing to accessibility in art. From 2022 to 2024, his recent solo and group exhibitions include: the MO.CO. in Montpellier, the FRAC - Occitanie in Montpellier, the Musée d'art contemporain in Sérignan, the Fondation Bullukian in Lyon, the Atelier Blanc in Villefranche-de-Rouergue, the 67ème Salon de Montrouge and the Centre Pompidou in Metz.

“Can we imagine the universe from which we ourselves come as something physical, but at the same time as something virtual?” To portray the social circumstances of our contemporary society, characterised by a hybrid state of physicality and virtuality, choreographer Howool Baek combines body movement with technology. In “BETWEEN_in VR”, an imaginary and deeply 'immersive' universe emerges in which our body parts such as the hands, feet or navel lead us into an unfamiliar world. Using the overwhelming 360° VR spatial experience, we discover a new type of in-between space that merges the solid boundaries between the physical and the virtual, the body and the data, the analog and the digital, and the viewer and the performer.

Choreographer Howool Baek works on discovering individual body fragments without a face and proposing a different perspective of the body by deconstructing and transforming the body. Through breaking stereotypes about the body, she wants the audience to see society from a different perspective. Lately she has expanded her stage concept towards the digital space, carrying out new artistic experiments to transplant her choreographic method to the digital stage. Her first directed film Foreign body (2022) won the Best Film at Minimalen Short Film Festival - Multiplie Dance Film (Norway) in 2024. And VR film BETWEEN (2023) was awarded the Best Virtual Reality at Digital Media Fest (Italy) in 2023.

A person dressed in white runs breathlessly around in Rotterdam. She scrambles up sculptures by well known artists that are staged all over the city and bring to mind a fitness course.

Ruth Baettig was born in Mauensee/Lucerne, Switzerland, in 1964. She splits her time living and working in both Paris and Lucerne. From 1992-1996 she was registered in the Médias Mictes workshops at "l?école supérieure d?arts visuels" in Geneva. In 1999 she obtained a post-graduate degree from the Kunsthochschule in Cologne before registering in the Research Program of Ensba in Paris in 2000. Since 1995 she has participated in numerous video and plastic art exhibitions in Germany, Switzerland, Belgium, France, Brazil, Lebanon, and Armenia. She just recently published "Vagabonde", which can be found in art libraries in Paris.

A white person walks, stands poised, roams around, slips, jumps, climbs, and runs wild and aimlessly along the sculptures of the Alps in ruins. Out there, she passes casual hikers and other week-end tourists. Upset and baffled, the viewer sees the white person walk away. The video was shot in the Swiss mountains across the Italian border. The various components, including a mountain vista, an art figure, and movements, set up a comically absurd picture.

Born April 7th, 1964, 1992-96 Ecole Supérieure d'Art Visuel, Atelier Medias-Mixtes Silvie & Cherif Defraoui, Genf, Switzerland 1997-2000 Postgraduate studies at the Kunsthochschule fur Medien" in Cologne, Germany 2000-2002 Research Program, Ecole Nationale des Beaux-Arts, Paris, France

One of the series of labodoble experiment of the natural(organic) film developers. The structure of the film is based on the chemical formula of the Rhus Typhina`s developer. The main protagonist of the film is a species of flowering plant in the family Anacardiaceae which leaves and berries have been mixed with tobacco and other herbs and smoked by Native American tribes. We tried to apply the properties of the Rhus Typhina in the photochemistry. The film catches the research, experiments, harvesting and preparation of the film developer in which latter original negative was developed. The nonlinear structure of the chemical formula as well as nonlinear research of the process reflected in a order of the frames. There is no post-production except sound all editing work is made while film was loaded in camera before chemical development.

Alexandra Moralesová was born in 1989 to Czech mother and Argentinian father. She studied at the Centre of Audiovisual Studies at The Film faculty of the Academy of Performing Arts in Prague (FAMU). Beyond the inspiration by the practices of experimental film, she`s mainly interested in remediation of found footage and found objects. Through various ways of viewing it, those objects represent for her its own possibility of de/construction in order to cross the frontier between analog and digital media and so disrupt the spectacle and alternate existing narratives. It`s been several years that she explores the post-production tools as for example the editing table or film viewers. The output of her works is often a performance, film screening or installation. Georgy Bagdasarov was born in Armenian family in 1978 to the sounds of rockets taking off into space from Kazakhstan. He never boarded any of those rockets and spent all his life living in various locations throughout Eurasia. Now he lives and works in Prague. His work explores the space between analog and digital, and merges them together. His works are created under strong influence of structural films, cooking recipes and syntax of computer codes. He combines different media: digital and film stock as well as music and food.

Pro(s)thetic dialogues is more like a recording of a theatre performance playing out on a computer desktop. Here the human operator creates the conditions for exploring the performativity of a philosophical zombie pieced together from neural networks. The operator/stage technician merely directs the flow of mathematical operations pretending thought and creates a space in which the philosophical discourses are dissolved

Since 2013 Alexandra Moralesova and Georgy Bagdasarov form a filming and experimenting duo Labodoble. We run an artistic and curatorial platform under the same name. We mainly focus on photo-chemical experimental film processes but we are interested in other kinds of media practices. We like to question media and to reshape the relation of machine-operator into machine-performer. We merge technical skills with media theory and philosophy. We do films, performances, installations and workshops.

Cheap effects cannot make a melodramatic performer feel any better.

Jeremy Bailey is currently pursuing his MFA in Video Art at Syracuse University in Syracuse NY. His work is often technologically grounded and fundamentally concerned with authorship and authenticity. He is also video programmer for SPARKVIDEO, a successful video series at Spark Contemporary Art Space in Syracuse.

The Remains of the Father: Fragments of a Trilogy (Transhumance) is an experimental film and installation. It considers marginally remembered Italian colonial history in Eritrea and Ethiopia between 1930 and 1941. An Eritrean researcher Lula Teclehaimanot discovers an archive of non-official ethnographic literature collected by a Bolognese couple Giovanni Ellero and Maria Pia Pezzoli who had worked for the ?Ministry of Italian Africa? in Eritrea and Ethiopia during that period. Lula has been tasked by the municipality of Asmara to translate from Amharic into Tigryna: A contribution to the birth of the colonial style, an unpublished manuscript written by Ellero promoting the rationale of a modernist Ethiopian architectural vernacular. While she works Lula listens to a radio interview conducted in Italian, Tigryna and Amharic about the contemporary relevance of proverbs in Eritrean and Ethiopian societies. Set within a single room of a derelict house in Bologna which had been built for retired fascist army officials, is also the imagined office of Ellero. Many of the documents laying about the office; Eritrean and Ethiopian proverbs, hand drawn maps, and family emblems and curiously amongst these are the traces of her own family history, collated by Ellero before she was born.

Bridget Baker is an artist from South Africa. She is based in London and Cape Town. Baker?s work is situated at the intersection of documentary and myth creation, forming a series of complex visual fragments realized through film making, installation and documented re-stagings. Baker`s practice and visual language, while based on in-depth research, is often speculative and nomadic, seldom offering a finite position on events or histories. Her work has been exhibited extensively but also at The Museum of African Art (NYC), MAMbo (Bologna, Italy) Centro des Artes Contemporanea (Burgos, Spain), Palazzo delle Papesse (Siena, Italy), Neue Berliner Kunstverein (Berlin), the 2nd Johannesburg Biennale (Cape Town), Bow Arts Centre (London), Glasgow Film Festival (Scotland), Dak?art 2012 (Senegal), Wapping Project (London), South African National Gallery (Cape Town), the South Africa National Arts Festival (Grahamstown, South Africa), and the Oberhausen Short Film Festival (Germany).

Inaugurated at the end of 2004 in Bucharest, Romania, the MNAC (National Museum of Contemporary Art) occupies 16000 square metres of the E4 wing in the Parliamentary Palace, the second biggest building in the world after the Pentagon. Also known under the nicknames "palace of the people" and "Ceausescu's palace", the Parliamentary Palace is a genuine pornographic projection of power, a megalomaniac erection. A place marked by a totalitarian history, the Palace, after having welcomed the Romanian Parliament and an international conference centre, it now welcomes a space dedicated to the dynamic of ideas and artistic dialogue. The MNAC is an ambitious project, a project trapped by the Romanian situation, unstable and always close to regression. It is a gigantic contemporary art museum, the biggest of Eastern Europe; innovating and avant-garde, it has to succeed in making a link between a "provincial" population, who remains to be educated, and its ambitious programming. The MNAC is the fruit of the obstinacy of the scope of two Romanian personalities: Mihai Oroveanu, the museum's Chief Executive who carried the project for more than ten years, and Ruxandra Balaci, his Scientific and Artistic Director. Today the museum's board of directors is made up of a genuine international dream team where reside Ami Barak, Curator and President of the International Association of Curators of Contemporary Art; Rene Block, Director of the Kassel Kunsthalle Fridericianum; Nicolas Bourriaud, Co-Director of Palais de Tokyo, Paris; Heiner Holtappels, Director of the Netherlands Media Art Institute ? Montevideo/TBA in Amsterdam; Anders Kreuger, Independent Curator and former Director of the Nordic Institute for Contemporary Art in Stockholm; Enrico Lunghi, Director of Casino Luxembourg, Forum d'Art Contemporain in Luxembourg; and Catherine Millet, Director of Artpress. The MNAC is a living, pliable, polemic space, animated by a web of intellectuals in which the East and the West are partners, a lab open to research in the visual field.

Critic and commissioner of the exhibition, Ruxandra Balaci directed the Gallery Gad in Bucharest, Rumania. Today she is co-editor of the review Artelier, and the deputy manager as well as the Artistic and Scientific Director of the Bucharest National Museum of Contemporary Art (MNAC).

Letters from the Ceresco community trace the fragility of harmony, the dream of life in association, the frictions that give way to fracture. Members of the phalanx drift apart, lingering in private corners, suspended in speculative time.

Ben is a filmmaker and educator based in Milwaukee, Wisconsin, where he is a professor of Film, Video, Animation, and New Genres at the University of Wisconsin–Milwaukee. His most recent films explore the histories and afterlives of radical social ideals and communal living. These projects combine archival research and various modes of filmmaking to reflect on alternative ways of living. Drawing from speculative fiction, critical theory, and utopian poetics, his work often revisits the sites of now-defunct experimental schools and intentional communities, using cinema as a space for both research and imagination. Featuring landscapes both real and imagined, these films engage collective memory while speculating on futures beyond the limits of capitalism. Earlier in his practice, Balcom worked with abstraction, introspection, and formal experimentation, exploring the tensions between perception and communication, and probing the materiality of film itself. These threads continue to inform his evolving approach to nonfiction and poetic cinema. Balcom’s films have screened internationally at venues and festivals including the Museum of the Moving Image, International Film Festival Rotterdam, European Media Arts Festival, IndieLisboa, Media City Film Festival, and Ann Arbor Film Festival. He has received awards from Onion City, Athens International Film + Video Festival, and Ann Arbor. In 2023, he was a research fellow at the Center for 21st Century Studies. He also co-founded Microlights Cinema, a microcinema that ran from 2013 to 2023, dedicated to bringing experimental film and video art to audiences in Milwaukee.

Filmed on the former grounds of Black Mountain College, Looking Backward is a brief elegy to the legacy of a utopian college and other impossible projects.

Ben Balcom is a filmmaker and educator currently living and working in Milwaukee, Wisconsin. He is an assistant professor at the University of Wisconsin-Milwaukee and is the co-founder and programmer of Microlights Cinema, an artist-run microcinema which has been operating since 2013 and has hosted artists from around the world. Recently, his films have taken a lyrical approach to documenting the spaces and legacies of now-defunct experimental schools. Prior to that he made a series of introspective landscape films that engaged with Milwaukee’s progressive political past and contemporary anxieties about the future. Earlier films used abstraction to explore the tensions between perception and communication, with a reflexive attention on the medium itself. These films have been exhibited around the world at venues and festivals such as The Museum of Moving Image, European Media Arts Festival, International Film Festival Rotterdam, IndieLisboa, Media City Film Festival, Alchemy Film, and Slamdance. The films have received awards at Onion City Film Festival, Athens International Film & Video Festival, and Ann Arbor Film Festival. Recently, Balcom was a fellow at the Center for 21st Century Studies at UW-Milwaukee.

Inspired by the story of British serial killer Dennis Nilsen, Loverboy operates as a meditation on the dark side of human intimacy. The project’s approach rejects moral simplifications, offering a narrative that is less a linear story than an immersive dissection of isolation and obsession. Recurring dialogues, eerie distortions, and environmental shifts that envelope the viewer in a claustrophobic cycle of increasingly fractured reality. Designed to linger like an emotional imprint, Loverboy challenges viewers to exit the refuge of orderly modern life and confront the fragility of human empathy and connection.

Nicholas Baldas is a writer, director, and producer whose creative work utilises cutting-edge technology to explore the prohibited boundaries of human experience through psychological immersion. The Heraclitian principle "life is flux" is the only constant in his creative pursuits, his collaborator Michael Plumb is a writer, filmmaker and performer. He has a Phd in Econometrics from University of Oxford. His creative focus is on the art of storytelling, drawing on his background in academia and public policy to explore questions about society and humankind. Michael is fascinated by exploring different media - old and new - to bring stories to life and reach new audiences.

The War on Television is made almost entirely from images derived from interference fractured digital television broadcasts. These are randomly processed and manipulated through layers of scratch techniques exaggerating the stuttering fragmentation. The pristine digital veneer, the authority and reliability of the always-on 24 hour news channel becomes abstracted, fucked over in the flow of jarring noise and stammering incoherence. A celebration of digital anti-aesthetics, excess and entropic fallibility.

Steven Ball has worked in film, video, sound and installation since the early 1980s. In the late 1980s he accidently migrated to Melbourne Australia. There he continued his practice making a number of film, video and sound and installation works, as well as being engaged in various arts activist, curatorial, administrative, teaching and writing activities. Since returning to the UK in 2000 he has worked predominantly with digital video, producing a series of works which, among other things, are particularly concerned with digital material processes and spatial representation. He is currently Research Fellow at the AHRB British Artists` Film and Video Study Collection, Central Saint Martins College of Art and Design in London.

Aequare. The future that never was by Sammy Baloji, 2023, 21’04 The film swings between archival film clips dating from 1943 and 1957, sourced from INEAC’s colonial propaganda, and 21st century captures of the same Yangambi premises, like a pendulum that never moves time forwards. An acronym for the former National Institute for the Agronomic Study of the Belgian Congo, its post-colonial successor, the Institut national pour l’Etude et la Recherche Agronomique (INERA), is on film so suffused with past, colonial “coordinate systems” that the present looks inert and at a standstill, as if held hostage by frames of knowledge that refuse to abdicate. Decades after decolonization, that persistent hold is made explicit by an imposing and intact map of the Belgian Congo hung high on the wall, and by all the remaining rusty machines, labelled test tubes and rotting reports and specimens, dusty instruments of measure, and laboratories. Against the crumbling of these infrastructures, a devoted population of Congolese clerks seem to assist the preservation of the collected data and methods, in a choreography of gestures that the montage reveals to be inherited from the colonial decades. Amidst images of farmers burning trees to make the charcoal sold at surrounding markets, or those of clerks’ motivational posts proudly professing the exactitude of their pursuit, the atavism of colonial ecology seems apparent. Excerpt from: Sandrine Colard, FROM THE EQUATOR, I HAVE SEEN THE FUTURE

Since 2005, Sammy Baloji has been exploring the memory and history of the Democratic Republic of Congo. His work is an ongoing research on the cultural, architectural and industrial heritage of the Katanga region, as well as questioning the impact of the Belgian colonization. He touches upon a variety of media to translate his research into artefacts. His use of photographic archives allows him to manipulate time and space, comparing ancient colonial narratives with contemporary economic imperialism. His video works, installations, sculptures, andphotographic series highlight how identities are shaped, transformed, perverted and reinvented. His critical view of contemporary societies is a warning about how cultural cliches continue to shape collective memories and thus allow social and political power games to continue to dictate human behavior. His recent personal exhibitions include: Sammy Baloji, Goldsmiths CCA, London (2024), Unextractable: Sammy Baloji invites, Kunsthalle Mainz, Mainz (2024), Style Congo: Heritage & Heresy, CIVA, Brussels (2023), K(C)ongo, Fragments of Interlaced Dialogues. Subversive Classifications, Palazzo Pitti, Florence (2022) He has recently participated in the 35th Bienal de Sao Paulo (2023), the Architecture Biennale of Venice (2023), the 15th Sharjah Biennial (2023), the Sydney Biennial (2020), documenta 14 (Kassel/Athens, 2017) Sammy Baloji co-founded in 2008 the Rencontres Picha/Biennale de Lubumbashi. In September 2019 Sammy Baloji started a PhD in Artistic Research titled “Contemporary Kasala and Lukasa: towards a Reconfiguration of Identity and Geopolitics” at Sint Lucas Antwerpen.

Along the highway, herds of cows are often seen in a rice field. Some standing still and some grazing. At times we see them through the windshield, loaded onto the back of a running truck. This work is a collective of those reduced images and sounds looking as if they are in a controlled atmosphere.

Tanatchai Bandasak, Born in 1984, in Bangkok; lives and works in Paris and UdonThani. BA Film and Photography; Thammasat University Bangkok Thailand, currently in the final year at École Nationale Supérieure D`ARTS Paris-Cergy, France.

The camera leads our gaze closely across the surface of photographs. Small details of different moments become part of a movement: the searching, caressing gesture of filming. Projected on two adjoined screens, the images move together, towards each other and away again. The gaze becomes tactile, connecting what is seemingly separated by time, by distance and by the borders of the photographic image.

Myrthe Baptist (BE, 1994) is an artist and filmmaker based in Brussels. She works mainly with moving image, often starting from photographs, notes, letters and archival material. She has obtained a Master of Fine Arts at KASK School of Arts in Ghent.