Untitled

Prijs KoMASK/Prix SoREBA/ Prize RSEFA
Masters Salon 2016
TENTOONSTELLING/ EXPOSITION/ EXPOSITION
LANGE ZAAL
Koninklijke Academie
voor Schone Kunsten Antwerpen
Venusstraat 36,
2000 Antwerpen
27/10/2016 — 06/11/2016
ANCIENS ETABLISSEMENTS VANDERBORGHT
Rue de l’Ecuyer, 50
1000 Bruxelles
01/12/2016 — 18/12/2016
8
Voorwoord/ Introduction / Introduction
22
Koninklijke Academie voor
Schone Kunsten Antwerpen
50
Académie Royale
des Beaux-arts de Bruxelles
78
Koninklijke Academie van
Beeldende Kunsten Den Haag
100
Koninklijke Academie voor
Schone Kunsten Gent
128
Kuvataideakatemia Helsinki
150
Académie Royale
des Beaux-arts de Liège
172
Kungl. Konsthögskolan Stockholm
203
Historiek / Historique/ History
208
Juryverslag/ rapport du jury/ Jury Report
Masters salon 2015
210
Dankwoord / Paroles de remerciement/ A Word of Thanks
6
7
Inleiding Masters Salon 2016.
Avant-propos Masters Salon 2016.
Het Masters Salon 2016 is de derde editie in de 21ste eeuw
van een traditie die onze vzw inricht sinds het begin van de
19de eeuw. Naar aanleiding van ons 225-jarig jubileum besloten we een salon in een vernieuwde vorm in te richten.
Het accent komt op de beginnende kunstenaar te liggen en
niet op geïnstitutionaliseerde kunst/kunstenaars. Het initiële concept was jaarlijks een breed podium te creëren voor
de cum laude afgestudeerde masters schilderkunst uit de
Koninklijke Academies van België en dit concept te hanteren
voor drie opeenvolgende jaren. Het was tevens de bedoeling
om telkens in een additieve tentoonstelling reeds gevestigde
kunstenaars uit het buitenland uit te nodigen naar analogie
met hetgeen de salons vanaf de helft van de 19de eeuw deden.
Door een toevalligheid geraakte het concept in een internationale stroomversnelling. Buitenlandse academies komen de
tentoonstelling vervoegen, dit is een uitbreiding die in beginsel pas voorzien was voor de edities na 2017.
Deze catalogus werd hierdoor een visuele weergave van een
nieuwe lichting schilders uit de belangrijkste Academies van
de Benelux vervoegd door academies uit Zweden en Finland.
Door deze uitbreiding, waarin ook de Deense academie uit
Kopenhagen voorzien was maar die omwille van specifieke
logistieke redenen pas aan de volgende editie kan deelnemen, creëren we een groep academies rond de Noordzee en
de Baltische Zee. Deze twee zeeën kan men beschouwen als
de Mare Nostrum van Noord-Europa, een geschiedkundige
maritiem gedragen verbinding tussen alle culturen die eraan
grenzen.
Le Masters Salon 2016 est à sa troisième édition! Pour ce qui est du 21e siècle, car pour
notre asbl, c’est une tradition qui remonte au
19e siècle. Pour fêter notre 225e anniversaire
nous avons décidé de quitter les sentiers battus, à la recherche d’un nouveau concept. Nous
nous concentrons désormais sur les artistes
débutants et non plus sur l’art et les artistes
institutionnalisés. Le concept initial était de
créer chaque année une plate-forme pour les
étudiants des Académies Royales de Belgique
ayant obtenu le grade cum laude en peinture.
Le but était d’en faire 3 éditions consécutives.
L’objectif était également, en analogie à ce
qui se faisait à partir de la 2e moitié du 19e
siècle, d’inviter des artistes étrangers pour une
exposition complémentaire. Mais le hasard a
quelque peu forcé la main au concept initial, et
tout passa à la vitesse supérieure au point de
vue international. Des académies étrangères
sont venues compléter l’exposition, ce qui
n’était prévu qu’à partir de 2018.
Wij verzochten elk van deze Academies haar vier beste afstuderende Masters zelf te nomineren om aan het Masters Salon
9
Ce catalogue est ainsi devenu la reproduction
visuelle d’une nouvelle génération d’artistes
peintres venus des plus grandes académies
du Benelux auxquelles se joignent celles de
la Suède et de la Finlande. Cet élargissement reprenait aussi l’académie danoise de
Copenhague, qui pour des raisons purement
logistiques ne participera qu’à la prochaine
édition, et donne naissance à un regroupement
d’académies autour de la Mer du Nord et de
la Mer Baltique. Deux mers qui constituent la
Mare Nostrum de l’Europe du Nord, connexion
maritime entre toutes les cultures limitrophes.
10
2016 deel te nemen. Elke genomineerde mocht zelf op zijn
beurt vier schilderijen uit zijn oeuvre indienen. Aan de tentoonstelling is ook een wedstrijd verbonden. Deze biedt aan
een jury van gerenommeerde curatoren de mogelijkheid een
prijs uit te reiken aan de meest beloftevolle persoonlijkheid
uit de genomineerden.
De tentoonstellingscatalogus geeft een overzicht van 112
schilderijen uit de top van professionele kunstopleidingen in
Noord-Europa. Het is een staalkaart die binnen twee à drie
decennia op haar huidig kunsthistorisch perspectief zal beoordeeld worden.
Bij deze editie van het Masters Salon maak ik me weerom
de bedenking dat er zich weinig maatschappijkritische werken tussen de tentoongestelde inzendingen bevinden. Dit is
opmerkelijk vermits het gebeurt in een jaar dat binnen een
decennium of twee waarschijnlijk zal beschouwd worden als
een tijdsgewricht. Enkele historici laten de negentiende eeuw
eindigen in 1918 na de apocalyptische eerste wereldoorlog
waarmee de oude belle époque instellingen worden weggevaagd. Vanuit die context zouden we kunnen stellen dat de
twintigste eeuw dan dit jaar eindigt omwille van enkele zeer
fundamentele veranderingen in Europa: de Syrische volksverhuizing, de IS-aanslagen, de wegkwijnende slagkracht
van supranationale entiteiten, de brexit,... Deze gebeurtenissen blijken noch onderwerpen noch inspiratiebronnen te
zijn voor deze jonge kunstenaars in deze tentoonstelling. In
elke gelaagdheid van de maatschappij groeit het besef dat
het vooruitgangsoptimisme eindigt. Waarschijnlijk was dit
vooruitgangsoptimisme voornamelijk gefocust op toekomstgegarandeerde economische factoren die nu door de liberale globalisering, vooral en zeker in Europa, veeleer als verlieslatend worden gepercipieerd. De vaststelling dat een niet
Nous avons chargé chaque académie de nominer leurs 4 meilleurs diplômés d’un Masters
de cette année, afin qu’ils puissent participer
au Masters Salon 2016. Chaque participant sélectionné a pu à son tour soumettre 4 tableaux
représentatifs de son œuvre. Le concours accompagnant l’exposition permet au jury de curateurs renommés d’attribuer un prix à l’artiste
le plus prometteur.
Le catalogue de l’exposition présente en 112
tableaux un aperçu du niveau exceptionnel des
formations artistiques professionnelles de l’Europe du Nord. On pourrait même le considérer comme un nuancier avec lequel on jugera,
dans 20 ou 30 ans, la perspective historico-artistique actuelle.
Avec cette édition du Masters Salon je me
suis à nouveau fait la réflexion que parmi les
œuvres exposées il y avait très peu de travail
engageant une critique sociétale. Cela est remarquable vus les évènements dans le courant
de cette année, qui dans quelques décennies
sera sans doute considérée comme un moment
charnière de notre époque. Pour certains historiens le 19e siècle se termine en 1918, qui
annonce la fin d’une guerre mondiale apocalyptique balayant de la carte les institutions de
la belle époque. Ce contexte pourrait justifier
notre proposition de clôturer le 20e siècle cette
année vus les changements fondamentaux
qu’a connus l’Europe : les migrations venant
de Syrie, les attentats revendiqués par l’EI, le
pouvoir déclinant des entités supranationales,
le brexit,... Tous ces évènements ne sont ni le
sujet ni la source d’inspiration pour ces jeunes
artistes. Dans toutes les couches de la société
on se rend de plus en plus compte que l’optimisme du progrès est sur son retour. Cet optimisme du progrès se concentrait sans doute
gegarandeerde toekomst op de loer ligt leidt tot de reflex de levenskwaliteit te moeten beleven in de zekerheid van het “nu”.
Hierbij gaat de jonge kunstenaar zichzelf centraal stellen door
in zijn laboratorium te creëren vanuit de verf om de verf, of
vanuit de triviale gedachte net omwille van het triviale. Eens
de bedreiging reëel wordt, zal er ongetwijfeld terug een tendens komen naar het collectieve.
In de rand merk ik op dat we dit op zichzelf terug vallen in
verschillende kunststrekkingen in het verleden al eens meemaakten, bvb:
“... Let everything go to hell – you are not responsible for the
world- you are only responsible for your work- SO DO IT...”
uit een brief die Sol Lewitt schreef aan Eva Hesse op 14 april
1969.
Tevens heeft het ontbreken van het maatschappelijk collectieve, volgens mij, veel te maken met het falen van een socialisme
dat na zestig jaar machtsdeling met andere traditionele partijen een sociaal gecorrigeerd kapitalisme creëerde. Daarbij
vergat het spijtig genoeg een maatschappelijke functie voor
de beeldende kunstenaar te ontwikkelen. In die zin moet men
ook het Akkoord van Bologna, die het Europees kunstonderwijs de Angelsaksische onderwijsorde oplegde (wat volgens
een meerderheid van de Europese kunstenaars als het einde
van het Europese kunstonderwijs wordt aanzien), beoordelen
met eenzelfde criterium en vaststellen dat dit een onderwijsreformatie betreft die ook helemaal, binnen een maatschappelijk relevante context, geen invulling geeft voor de term
kunstberoep.
Het resultaat is dat de beeldende kunst, en dit is misschien
een goede zaak voor haar kapitalistische overleving, haast
exclusief in de niche “luxeproduct” terecht komt. Vanuit een
maatschappij die elke dag meer naar rechts verschuift is zulks
11
sur des facteurs économiques à succès garanti
qui à cause de la globalisation libérale ont été
perçu comme déficitaire, surtout et certainement en Europe. Le constat d’un manque de
sécurité future force pour ainsi dire l’artiste de
profiter de la vie pleinement à l’instant présent.
Dans leurs laboratoires ces jeunes artistes vont
travailler de façon très égocentrée, travailler
la peinture en tant que matière privilégiée,
travailler les trivialités de la vie, précisément
parce que triviales. Je suis convaincu qu’à partir du moment où la menace se rapprochera,
la tendance oscillera à nouveau vers un esprit
collectif.
Je voudrais également signaler cette tendance
égocentrée qui s’est déjà fait remarquer dans
plusieurs disciplines dans le passé :
“... Let everything go to hell – you are not responsible for the world- you are only responsible
for your work- SO DO IT...” (Sol Lewitt dans une
lettre à Eva Hesse datée du 14 avril 1969.
Ce manque d’esprit collectif pourrait être dû
à l’échec du socialisme qui après une période
de 60 ans de partage du pouvoir avec d’autres
partis traditionnels a créé un capitalisme socialiste. Tout en oubliant, malheureusement
de prévoir une fonction sociale pour l’artiste
plasticien. C’est dans ce contexte qu’il faut
lire le Processus de Bologne, qui imposa les
cycles d’enseignement anglo-saxons à l’enseignement artistique européen. Pour de nombreux artistes ce rapprochement des systèmes
d’enseignement signifia toutefois la fin de
l’Enseignement artistique européen. D’autant
plus que l’on constatera que cette réforme intégrée dans un contexte social pertinent ne
12
absoluut niet problematisch vermits de globalisering lonkend
deze jongeren een continueel groeiende markt voorhoudt.
De vraag hierbij is of de kunstopleidingen, die door de staat
aangestuurd worden, deze situatie inzien en onderwijsmatig
deze nieuwe noden gestructureerd pedagogisch omzetten in
leerstof.
Als de beleidsmakers blijven kiezen voor dit model dan belanden alle afgestudeerden in een eliminatie wedloop die volledig uitgevoerd wordt door de markteconomie. Binnen de huidige constellatie is het cynische alternatief het door de staat
gefinancierde onderzoek in de kunsten als beroepsdoeleind te
beschouwen.
Over deze complexe context stelt de jonge kunstenaar zich
geen vragen. In se werd die context door voorgaande technocratisch gezinde generaties gevormd en zit wellicht als dusdanig buiten de leefwereld van deze jongere. Als door een heilig
vuur aangedreven wordt hij richting academie gezogen. Deze
gedrevenheid verbaast en intrigeert me jaar na jaar meer en
meer. Ze lijken allen gedreven door een wilskrachtige creativiteit wars van getheoretiseer als een oerkracht waarvan de
wetmatigheid ons onbekend is.
Is het esotherisch? Is het predestinatie? Voor een nuchtere
geest uit het tijdperk na het ontstaan van de Verlichting lijkt
dit alles uitgesloten, maar misschien is dit heilig vuur wel het
deviene zelf (het goddelijke als abstract begrip en niet als een
politiek-ideologisch machtsinstrument): de scheppingskracht
herverdeeld onder alle individuen na de afronding van het
natuurlijke creatieproces van de mens. De onweerstaanbare,
waarschijnlijk Darwinistisch uit te leggen, drang om te experimenteren met materie in een visueel gerichte droomwereld.
Het lijkt me steeds meer duidelijk dat er geen richtinggevende
donne aucune définition du terme « artiste
professionnel ».
Il en résulte que l’art plastique se trouve
presque exclusivement dans le marché de
niche des « produits de luxe », ce qui bien sûr
est une bonne chose du point de vue de survie capitaliste. Dans une société glissant de
plus en plus vers la droite, cela ne pose aucun
problème, puisque la globalisation envoie à
tous ces jeunes des messages prometteurs
de marchés en croissance continue. La question qui surgit est de savoir si l’enseignement
artistique, géré par l’Etat, prend note de cette
situation et sera capable de transformer ces
nouveaux besoins en contenu pédagogique.
Si les décideurs perpétuent le choix de ce modèle, tous les diplômés se retrouveront qu’ils le
veuillent ou non dans une course à élimination
entièrement gérée par l’économie du marché.
Dans la constellation actuelle, l’alternative cynique serait de proposer un programme de recherche artistique financé par l’Etat qui serait
considéré comme objectif professionnel à part
entière.
Mais le jeune artiste ne se pose aucune question par rapport à ce contexte complexe,
puisqu’il s’agit d’un contexte créé par les générations précédentes, plus technocrates, et qui
se situe loin de son univers personnel. Un feu
sacré semble l’attirer vers les académies. Cet
enthousiasme me surprend et m’intrigue de
plus en plus chaque année. Une créativité obstinée les entraine comme une force primitive
dénuée de théories ou de légitimité.
Ésotérisme ? Prédestination ? Pour tout esprit
objectif de l’ère post-Lumières cela semble
exclu. Mais ce feu sacré ne pourrait-il pas
13
14
pedagogische structuur nodig is omdat zulks een contradictio in terminis zou zijn met de aangehaalde oerkracht.
Misschien beseft de Westerse mens de genereuze gelukzaligheid eigen aan het huidige creatieklimaat niet onmiddellijk.
(Komt het besef niet steeds achteraf?) Er was nooit een tijd
waarin zoveel creatie mogelijk was. Er ontstaat een gigantische productie, wereldwijd, ontsloten door de huidige technologische middelen. De jongeren kunnen zich ongebreideld
informeren over wat geestesgenoten wereldwijd produceren.
De communicatiemogelijkheden laten toe, om via emotionele trefwoorden, in zoekmachines picturale reizen te ondernemen die binnen het geïnstitutionaliseerde museumcircuit
ondenkbaar zijn. Het stelt de huidige generaties in staat om
totaal geïndividualiseerde beeldstromen te doorlopen, wat
slechts een decennium geleden gewoon ondenkbaar was. Het
overaanbod op deze media veroorzaakt uiteraard zijn keerzijde: het verdwalen, zowel in aanbod als afname, in de oneindigheid van de beeldenstroom.
envelopper le Divin même (le Divin en tant
que concept abstrait et non comme instrument
de pouvoir politique ou idéologique) : la puissance créatrice répartie parmi tous les individus après l’achèvement du processus naturel
de création de l’homme. Un acharnement, une
fougue irrésistible, le darwinisme n’étant pas
loin, pour expérimenter avec et à partir de la
matière dans un univers visuel idéalisé. Il me
semble de plus en plus clair qu’aucune structure pédagogique de guidage ne soit nécessaire ici, d’autant plus que cela irait à l’encontre
de la puissance primitive citée ci-dessus.
tentoonstellingen en catalogus deze nieuwe masters schilderkunst een eerste opstap naar een internationale scene
aan te bieden. We wensen dan ook alle participanten aan dit
evenement een schitterende toekomst toe.
Bart’d Eyckermans
Augustus 2016
L’homme occidental ne se rend peut-être pas
immédiatement compte de la généreuse béatitude du climat créatif actuel. (La prise de
conscience ne se fait-elle pas après coup ?)
Il n’y a jamais eu de période auparavant qui
stimula autant la production. La production
prend des proportions gigantesques, dans le
monde entier, et est facilitée par les moyens
technologiques actuels. Les jeunes ont la
possibilité de s’informer sans limites quant à
la production internationale de leurs contemporains. En entrant quelques mots clés porteur
d’émotion dans les moteurs de recherche il est
possible d’entreprendre des voyages picturaux
impensables dans le circuit institutionnalisé des
musées. Cela permet aux générations actuelles
de parcourir des flux d’images entièrement personnalisés. Chose impensable il y a seulement 10
ans. Mais le revers de la médaille de cette offre
surabondante dans les médias est évident : on
se perd dans cet infini flux d’images, aussi bien
dans l’offre que la demande.
Il n’est pas aisée pour la génération actuelle de
se développer de manière ciblée dans une société technologique de plus en plus complexe. Mais
celle-ci apporte néanmoins un nombre d’outils
qui permettent le développement individualisé
d’une identité prononcée. Tout en restant très
optimiste quant à l’avenir culturel, je crains qu’il
faille jeter par-dessus bord une infinité de « nouvelles » structures dans le système éducatif et les
remplacer par des structures plus progressistes,
dans le but d’optimiser d’une part l’utilisation
des financements gouvernementaux et d’autre
part la créativité des jeunes.
De huidige generatie heeft het niet makkelijk om zich gericht
te ontwikkelen in een steeds complexer wordende technologische maatschappij maar deze reikt wel tools aan om een zeer
individuele groei door te maken naar een zeer uitgesproken
identiteit. Ik ben zeer optimistisch naar de culturele toekomst
maar ik vrees wel dat er in het onderwijsveld oneindig veel
“nieuwe” structuren moeten overboord gegooid worden en
vervangen door progressieve om met een doeltreffender en efficiënter gebruik van overheidsgeld een optimaliserend effect
te hebben op de creativiteit van jongeren.
Dans 10 ans nous aurons le plaisir de découvrir
les Cy Twombly et les Per Kirkeby de la génération de peintres reprise dans ce catalogue. Grâce
à cette exposition et à ce catalogue, nous espérons, en tant que Société Royale pour l’Encouragement des Beaux-Arts offrir à tous ces nouveaux
Masters en peinture un tremplin vers une scène
internationale. À tous les participants nous souhaitons de tout cœur : bonne chance et bon vent !
Binnen een decennium zullen we de Cy Twombly’s en de
Per Kirkeby’s van de lichting schilders uit deze catalogus
kunnen ontdekken. Vanuit de Koninklijke Maatschappij ter
Aanmoediging van de Schone Kunsten proberen we door deze
Bart’d Eyckermans
Aout 2016
15
16
Introduction Masters Salon 2016.
Masters Salon 2016 is the third edition in the 21st century of a tradition,
that our association organizes and sustains since the beginning of the
19th century. Following our 225-year anniversary we decided to organize a Masters Salon in a renewed form. The accent is put on the novice artist and not on institutionalized art or artists. The initial concept
was to create annually a wide stage for students, ‘with honor’ graduated
Masters in painting, from the Belgian Royal Academies of Fine Arts, and
to maintain this concept for three consecutive years. It was also the intention each time to invite established artists from abroad for an additional
exhibition, this in analogy with the Salons of the 19th century.
By chance the concept got seized by an international momentum.
Foreign academies come to join the exhibition. This is an extension that
was originally envisaged for editions after 2017.
This catalogue is a visual representation of a new generation of painters from the main academies of the Benelux and academies from
Sweden and Finland. The extension, of which also the Danish Academy
of Copenhagen was to be a part, but because of specific logistical reasons can only participate in the next edition, created a group. A group of
academies near the North Sea and the Baltic Sea, who can be regarded
as the ‘Mare Nostrum’ of Northern Europe. A historical, maritime route
between all the cultures, bordering the shores of both seas. We asked
each of these academies to nominate their four best graduating Masters
for participation in the Masters Salon 2016. Each nominee was allowed
to submit four paintings from his or her oeuvre for the exhibition, which
is connected to a contest. This contest offers a jury of renowned curators the opportunity to give an award to the most promising personality
amidst the nominated. The exhibition catalogue provides an overview of
112 paintings from the best professional art training in Northern Europe.
It is a sample that, within two or three decades, will be assessed on its
current art historical perspective.
This edition of the Masters Salon brings me anew the thought that
there are few socially critical works amongst all the submitted. This is
remarkable since it happens in a year that, within a decade or two, is
likely to be considered as a turning point in time. Some Historians let
17
the nineteenth century end in 1918, after the
apocalyptical First World War swept away the
institutions of the belle époque. Out of that
perspective, we can assume that the twentieth
century ends this year because of some very
fundamental changes in Europe: the Syrian
refugees, the attacks of ISIS, the languishing
vigour of supranational entities, the Brexit,
… These events turn out to be neither topics,
neither sources of inspiration for the young
artists in this exhibition. In every stratum of
society there is a growing awareness that progress optimism ends. Probably this progress
optimism was mainly focused on future economic factors, especially in Europe, which are
now perceived as rather onerous because of
the neoliberal globalisation.
The finding that a non-guaranteed future is
lying in wait, leads to the reflex to experience
the quality of life in the certainty of ‘now’, the
present. The young artist hereby places himself or herself in the centre of his or her laboratory to create out of the paint for sake of the
paint, or out of a trivial idea just for the sake of
the trivial. Once the threat becomes reel, there
will undoubtedly be a trend to return towards the collective. Next to this, I remark that in
the past we already experienced this ‘lapse
on itself’ in several art trends. As stated by Sol
Lewitt in a letter he wrote to Eva Hesse on April
14, 1969: “… Let everything go to hell – you
are not responsible for the world – you are only
responsible for your work – SO DO IT…”. The
absence of the collective has also, I think, a lot
to do with the failure of socialism which, after
nearly 60 years of power-sharing with other
traditional political parties, has created a social adjusted capitalism.
In doing so, it unfortunately forgot to develop a
social function for the visual artist. The Bologna
Accord, which imposed the Anglo-Saxon
18
educational model on European art education (seen by a majority of
European artists as the end of European art education altogether), has to
be reviewed in that sense, with the same criterion, to conclude that this is
an education reform which, within a social relevant context, provides no
substance to the notion ‘professional art’.
The result is that the visual arts, and this is maybe good for their survival inside capitalism, end up almost exclusively inside the niche “luxury product”. For a society that moves every day politically more to the
right, this is absolutely not problematic, because the globalization ogles
towards youngsters with a continuous growing market. The question
here is whether art educations, which are ruled by governmental agencies, realise this and incorporate these new requirements structurally
and pedagogically into courses. If the policy makers continue to opt for
this model, then all graduates will end up in an elimination race, defined
completely by the market economy. Within the current constellation the
cynical alternative is to consider government funded research in the arts
as a professional aim.
The young artist doesn’t question himself or herself about this complex
context. This context was formed by previous technocratic-minded generations, and is perhaps as such no part of the world of this adolescent.
Possessed by a sacred fire the youngster is urged towards the academy.
This eagerness amazes and intrigues me year after year, more and more.
They all seem enthused by a strong-minded creativity, averse of theoretical issues, like a primal force of which the law that governs it is unknown
to us.
Is it esoteric? Is it predestination? For a clear-headed mind from after the
begin of the Era of Enlightenment all this seems excluded, but perhaps
this sacred fire is itself divine (the divine as an abstract concept, not as a
political-ideological instrument for wielding power). The power of creation redistributed among all individuals after the completion of the natural process that led to the begin of the “Dawn of Man”. The irresistible,
probably explainable through Darwinian concepts, urge to experiment
witch matter in a visually-oriented dream world. It seems to me more
and more obvious that no guiding pedagogical structure is needed,
because this would be a contradiction to the earlier mentioned primal
force. Maybe western man doesn’t realize immediately the generous
bliss, peculiar to the current climate in favour of
creation? Doesn’t awareness always comes later?
Young people can inform themselves very profoundly about what kindred spirits produce worldwide. The present possibilities to communicate
allow, by use of emotional keywords via search
engines, to embark on pictorial journeys which are
unthinkable inside the institutionalized museum
circuit. It allows the present generations to walk
through totally individualized flows of images, in
a way which a decade ago was utterly unthinkable.
These media have of course also a disadvantage:
the excess, in supply and demand, which makes
users get lost in the infinite flow of images.
It is not easy for the present generation to develop,
while staying focussed, in an increasingly intricate,
technological society. But a society that gives tools
that allows to have a very individual growth towards a very outspoken identity. I’m very optimistic
towards the cultural future, but I fear that in the
field of education there are infinitely many ‘new’
educational structures that need to be thrown
overboard. These must be replaced by progressive
structures, with a more effective and efficient use
of public money, to have an optimal effect on the
creativity of young people.
Within a decade from now we will be able to discover the Cy Twombly(s and the Kirkeby’s amidst
the painters presented in this catalogue. The
Royal Society for the Encouragement of Fine Arts
try’s, with exhibitions and catalogues, to give new
Masters in painting a first stepping stone on to the
international scene. We wish all participants in this
event a truly wonderful future.
Bart(d Eyckermans
August 2016
19
20
21
Koninklijke Academie voor
Schone Kunsten Antwerpen
Amber Andrews
Soetkin Verslype
Hannelore Vandepoel
Victoria Iranzo
Onze afstudeerrichting Vrije Kunsten - Schilderkunst beweegt zich
in het spanningsveld tussen ‘taalvaardigheid’ en persoonlijke artistieke beleving. Vertrekkend vanuit een grote aandacht voor het rijke
kader waarbinnen de schilderkunst zich tot op heden heeft ontwikkeld, worden onze studenten uitgenodigd om een eigen beeldtaal te
realiseren.
On peut situer notre cours de Peinture
dans la zone de tension entre une certaine
‘compétence linguistique’ et le vécu
artistique personnel de chacun. À partir
d’une grande attention pour le riche cadre
dans lequel la peinture s’est développée,
nous stimulons nos étudiants à développer
leur propre langage visuel.
In de eerste en tweede bachelor is het atelierwerk voor een belangrijk deel gebaseerd op waarneming (stilleven, model, portret,
landschap).
Deze studie biedt tal van aanknopingspunten met recente en oudere
werken van grote meesters. Zij vormen het noodzakelijke referentiekader van waaruit (of waartegen) het eigen plastische taalgebruik
stap voor stap kan worden ontdekt en ontwikkeld.
Durant la première et la deuxième année de
bachelier le travail d’atelier est en grande
partie basé sur la perception (nature morte,
modèle, portrait, paysage).
Daarnaast is er geleidelijk meer aandacht voor de maatschappelijke
context waarbinnen kunstwerken zich ontwikkelen. De beeldenstroom die ons dagelijks als het ware overspoelt, moet worden verwerkt en gefilterd tot relevante beelden, die op hun beurt worden
‘vertaald’ in schilderijen.
Bij het beëindigen van de master wordt een project verwacht dat
getuigt van een eigen artistieke invalshoek. Het atelier is de centrale
plek van waaruit deze processen tot stand komen. De ruime schildersateliers, met een overvloed aan noorderlicht, vormen daar het
ideale kader voor.
De docenten van de afdeling Schilderkunst KASKA
Cette forme d’étude présente de nombreux
liens vers les œuvres récentes et plus
anciennes de grands maîtres. Celles-ci
forment le cadre de référence nécessaire
à partir duquel ou contre lequel, pas à pas,
l’étudiant découvre et approfondit son
langage visuel personnel.
En parallèle à cela et au fur et à mesure, une
attention plus particulière est consacrée
au contexte social dans lequel se crée un
tableau. Le flux d’images qui nous immerge
au quotidien devra être assimilé, les images
pertinentes filtrées et ensuite ‘traduites’ sur
la toile.
Pour l’obtention du grade de master, les
étudiants constituent un projet témoignant
d’une approche artistique personnelle. Grâce
à sa situation idéale en haut du bâtiment
l’atelier de peinture baigne dans une lumière
venant du nord et pour ces raisons s’avère être
le lieu central pour la genèse du processus
artistique.
Les professeurs du département peinture
KASKA
23
24
Our study programme towards graduating in arts, painting and
obtaining a master degree, moves in the field of tension between
‘competence’ and personal artistic perception. Departing out of
a large attention given to the rich framework in which painting has
developed to date, our students are invited to develop, to realise a
personal visual language.
In the first and second year (bachelor degree) all studio work is for
a significant part based on perception (still life, model, portrait and
landscape painting).
This study offers numerous connecting factors with recent and older
works of great masters. These factors constitute the necessary frame
of reference from which (or against which) students may discover and
develop, step by step, their own artistic language.
In addition there is progressively more attention to the social context
in which works of art develop. The stream of images that engulfs us
daily, has to be, as it were, processed and filtered towards relevant
pictures, which in turn are ‘translated’ into paintings.
At the end of the master studies, a project is expected from each
student that testifies of his or her own artistic point of view. The studio
is the central place to work out these developments. The spacious
workshops for painting, with an abundance of natural northern light,
are the ideal settings to do this.
The teachers of the Department Painting KASKA
25
26
Amber Andrews
° 1994
Belgium - Antwerp
[email protected]
Painting is a language we cannot explain with
words. For Amber Andrews the eye registers
the unpronounceable. A tree is just a tree
because the name is attributed to the object.
It is a convention. But if one sees that name
for the empty shell it is then the frame of
reference suddenly becomes infinitely broader.
EDUCATION:
Andrews sees the world in color. She plays
with the expectations and prejudices of the
audience. Their gaze is controlled by centuries
of language conventions. Yet it is exactly that
which cannot be said that pursues man.
2012-2015 Bachelor degree in painting
2015-2016 Masters degree in Painting
EXHIBITIONS IN AND OUT THE ACADEMY
Alienating reality is what Andrews aims for.
Childlike naïveté becomes an eternal goal.
To her, abstraction is the shedding of reality
as it is forced upon us by society. A society
that suppresses us through language. That
is why Andrews plays with different media.
Besides painting she also makes collages. They
explore the spatial relation between forms and
colors. Composition is everything. However,
perfect precision is an illusion. No matter how
sharp the blade is, a completely clean cut is
impossible. Scissors never suffice.
Beuling - Antwerp Tower
L’etat Sauvage - Troncais
Capital M - Park Spoor Noord
Abstraction, for Andrews, is an escape from
reality. Forms take shape beyond our control.
And from accidents beautiful things spring to
life.
27
28
150x155cm
Oil and spray paint on canvas
101 X 83 cm
Borgerrokko
Acryl, oil and spray paint on canvas
120x150 cm
29
30
No time for daylight
Oil and spray paint on canvas
75x95cm
Hashtag green
Oil, acryl and spray paint on canvas
85x100cm
32
Soetkin Verslype
° 1994
Belgium - Ieper
[email protected]
EDUCATIONS
2012-2015 bachelor Fine arts Painting | Royal Academy Antwerp
2015-2016 master Fine arts Painting | Royal Academy Antwerp
Soetkin Verslype’s works represent ordinary subjects
that translate themselves into playful and fragile
paintings or installations. In her process she searches
for a stylised representation of reality in which the
rules for perspective are deliberately being ignored
and replicated in a seemingly naive way, combined
with an unconventional layering.
An underlying theme is transience in relation
to art, the influence on materials of aging and
exposure to UV radiation and its consequences.
These are merely a few elements at the origin of
a characteristic colour palette, which is tangible
throughout the oeuvre.
Various motives originate directly from her personal
environment and are thoroughly selected based upon
form and colour. In a constant search for source
material taking pictures and documenting form the
basis of her research. Thus, a change of environment
has major influences on her work.
An underlying theme is transience in relation to art,
the influence on materials of aging and exposure to
UV radiation and its consequences. These are merely
a few elements at the origin of a characteristic colour
palette, which is tangible throughout the oeuvre.
Soetkin Verslype’s works represent ordinary subjects
that translate themselves into playful and fragile
paintings or installations. In her process she searches
for a stylised representation of reality in which the
rules for perspective are deliberately being ignored
and replicated in a seemingly naive way, combined
with an unconventional layering.
Various motives originate directly from her personal
environment and are thoroughly selected based upon
form and colour. In a constant search for source
material taking pictures and documenting form the
basis of her research. Thus, a change of environment
has major influences on her work.
33
34
Facade
gouache on mounted paper
50 x 40 x 1,8 cm
Forêt de Tronçais
paper on wood
63 x 47 x 1,8 cm
35
36
Frame
mixed media on wood
40 x 30 x 1,8 cm
Propriété Privée
chalk on mounted paper
40 x 50 x 1,8 cm
37
38
Hannelore Vandepoel
° 1992
Belgium - Zoerle-Parwijs
[email protected]
For several years now I have been building my
personal archive, my own ‘Wunderkammer’,
consisting of various materials and ‘objets
trouvés’, with specific characteristics. That is,
these objects often have an artificial appearance over them that make them seemingly hint
at false promises. This is what can bring me
closer to a so-called inner-world. A world that,
if anything, provides a sharp contrast with the
everyday reality.
EDUCATION:
-2014-2016: Master in Fine Arts, Painting at the Royal Academy of Fine Arts Antwerp with great honor
Starting from this materiality, I created collages, arrangements, objects and paintings. It
is very important for me to be able to explore
the boundaries of different media. Therefore,
my spatial work and my paintings have mutually influenced one another. In these works
the starting point is often a unique, fictitious
story, although throughout my creations of the
past year, this has evolved into a more autonomous play of forms.
-2011-2014: Bachelor in Fine Arts, Painting at the Royal Academy of Fine Arts Antwerp with honor
-2010-2011: Applied Artistic Degree at De Kunsthumaniora Antwerp with honor
39
40
Tumbling Mountains
mixed media
21,5 x 16,5 x 14,5cm
Bird’s Eye
mixed media
9,2 x 9,2 x 5cm
42
Mind’s Eye
mixed media
26 x 20,7cm
Foamy Fish
mixed media
62 x 78 x 22cm
43
44
Victoria Iranzo
° 1989
Spain - Antwerp
[email protected]
QUALIFICATIONS AND SCHOLARSHIPS:
- 2015-2016: MA in Visual Arts (Summa cum laude) in the Royal Academy of Fine Arts, Antwerp.
- 2012-1013: MA in Artistic Production in San Carlos School of Fine Arts Polytechnic University of
Valencia.
- 2010-2011: Socrates-Erasmus scholarship in L’Ecole Nationale Supérieure des Arts Visuels de la
Cambre, Brusels, Belgium.
- 2007-2012: Graduate in Fine Arts in San Carlos school of Fine Arts, Polytechnic University of
Valencia.
EXHIBITIONS:
2016 - “Art Marbella”, Stand Area72. Marbella, Spain
- “Capital M”, Park spoor Noord. Antwerp, Belgium.
- “Beuling: Schilderkunst op de slachtbank”, Etage 22. Antwerp, Belgium.
- “III Prize Cañada Blanch Foundation”, La Nau Cultural Center, Valencia, Spain.
- “The Long Night”, Factor44, Antwerp, Belgium.
- “OnPaper”, Galería Área72, Valencia, Spain.
2015 - “SATURATION: New Spanish Painting”, Fitzrovia Gallery. London, England.
- “Dueñas del Arte”, Las Atarazanas, Valencia, Spain.
- “ARCO 2015” International Contemporary Fair, BMW Ibérica Stand. Madrid, Spain.
- “ArtMadrid 2015”, Miquel Alzueta Gallery Stand. Madrid.
- “Walden”, Walden Contemporary Gallery. Valencia, Spain.
The pictorial process, as a formal language, is developed
from the metaphorical association of meanings through
the use of words and images.
Understanding “process” as a (no) space-time, and this
being (a) part of the scene.
I conceive the working process as a constant dichotomy,
developed as much in the physical space (experience) as
in the abstract (ideas), in the form of feedback.
The time factor, around wich we wander, modifies and
channels our visión and interpretation of things.
Everything is part of a game of meanings, of intuitive
links between images, interests and influences.
Space as a scenary/setting, where we relate to ourselves,
to own ideas and opinions, to other persons. Space of
danger, of comfort, space in four dimensions.
The knowledge of danger and the necessary protection
against the enviroment to which we are attached are part
of a game where there is no need for rivalry or confrontation, but a “simple” concepcion and acceptance of all
(the) factors, including relativity and subjectivity.
How to filter experience, how to generate ideas and how
there can be translated into images.
Images to wich assign words, random and cross-linked
relations to sort. And the final Reading, again relativised, foreign and external.
Walk, speak, observe, think, the constant bombing,
interests, my friends interests, and those of strangers,
and their opinions and mine- the ones I have and the
ones that i don’t have- chromatic gammas which attract
my attention, the copper oxide spread around town
(that blue-green complemented with the red brick), the
45
journey from home to Borgerhout, and the hairy
hats.
The bottle wich holds candles in the corner bar,
or the wool I bought at the flea market when i
arrived. The music I listen to while painting or
making Little dolls, wich sets the pace of action,
brush and thoughts.
The scenery/setting as a dollhouse, as “areas” to
manipulate and reinvent. Two boards, the one on
which we move around and the one we create.
The game of Art, of painting, of life, of meanings
and tricks. The game of reason and knowledge.
Or the complete lack of it.
Two games in one, two boards which merge and
complicate the rules we don’t know.
The fear of the unknown, of falling, failing
which paralyses you. And that great message
burned in your mind- “The important thing is to
participate”- which showed us when we lost, that
the aim was to ennjoy, amuse yourself and spend
time.
Society/space as a construction to reconstruct,
as danger. Experience as a driving force. The
individual/filter as a container, relative and easily
influenced. The process as time, scenary of evolution and adaptation, of learning and protection.
The work as its own sediment.
46
NoWHere
Oil on canvas
41 x 33 cm
Combinations
Oil on canvas
200 x 160 cm
48
Floating paradise
Oil on canvas
24 x 32 cm.
On the water
Oil on canvas
150 x 130 cm
La peinture et ses enjeux
L’atelier de peinture de l’Académie royale des Beaux-Arts de la
Ville de Bruxelles s’engage à pratiquer, explorer et étendre les
enjeux et possibilités de l’art à l’aide de la picturalité, tant par le
médium pictural proprement dit que par ses possibles mutations.
L’option peinture
L’atelier de peinture est un lieu de formation, de production et de
recherche, un lieu d’échange, d’expérimentation et de réflexion.
C’est un laboratoire où chacun développe une recherche personnelle, un questionnement construit par une dynamique de travail
intense et régulière.
Académie Royale
des Beaux-arts de Bruxelles
Hadrien Bruaux
Céline Cuvelier
Claire Ducène
Elina Salminen
Il accueille environs 35 étudiants en Bac et 30 en Master. L’atelier
récemment rénové est un très bel espace de plus de 500 m2 ou les
étudiants de toutes les années travaillent ensemble. L’enseignement
est attentif à la fois à la singularité de la pratique de chaque étudiant
et à l’enrichissement mutuel.
Le parcours en peinture de l’ARBA-EsA est conçu comme un entonnoir. Au début de leurs années les étudiants sont inscrits essentiellement dans cette orientation, ensuite le parcours prévoit une ouverture vers d’autres pratiques, vers d’autres disciplines ou médium. La
pratique artistique est également étayée par un pôle d’enseignements
théoriques soutenus, visant à mener les étudiants à nouer de plus en
plus précisément sens et pratique.
51
De schilderkunst en haar uitdagingen
Het atelier schilderkunst van de Koninklijke
Academie voor Schone Kunsten van de stad
Brussel engageert zich om de uitdagingen en
mogelijkheden van kunst te beoefenen, te exploreren en uit te breiden, door de inzet van het
eigenlijke picturale medium als zijn mogelijke
veranderingen.
Optie schilderkunst
Het atelier schilderkunst is een plaats van vorming, productie en onderzoek, een plaats van
uitwisseling, experiment en reflectie. Het is een
laboratorium waar elk zich een persoonlijke aanpak ontwikkelt, een bevraging gebouwd door
een dynamiek van intens en regelmatig werk.
Het onthaalt ongeveer 35 bachelorstudenten en 30 masterstudenten. Het recent gerenoveerde atelier is een hele mooie ruimte
van meer dan X m2 waarin de studenten van
alle academiejaren samenwerken. Het onderwijs heeft tegelijk aandacht voor de bijzondere praktijk van elke student als voor de wederzijdse verrijking.
Het traject schilderkunst van ARBA-EsA is als
een trechter opgezet. In de eerste jaren zijn de
studenten hoofdzakelijk in deze richting ingeschreven, vervolgens voorziet het traject een
opening naar andere praktijken, disciplines of
media. De artistieke praktijk is eveneens onderbouwd door een pool ondersteunend theoretisch onderwijs dat tot doel heeft de studenten
gevoel en praktijk met elkaar te laten verbinden.
52
Avec ou sans pinceau
Au vu des développements de l’art de ces dernières décennies, force
est de constater que la pratique picturale s’est enrichie des autres
médias apparus plus récemment qu’elle : loin de voir la peinture
essentiellement pratiquée avec des pinceaux et pigments sur un support, toutes les formes artistiques contemporaines sont envisagées
comme autant de champs d’investigations des enjeux de la peinture
actuelle.
Met of zonder penseel
Painting and its challenges
In het licht van de kunstontwikkelingen de
laatste decennia moet worden geconstateerd
dat de picturale praktijk zich verrijkt heeft met
andere actuele media. Ver van de schilderkunst te zien als in hoofdzaak beoefend met
penselen en pigmenten op een drager, worden alle artistieke hedendaagse kunstvormen
even zoveel beschouwd als onderzoeksvelden
van hedendaagse schilderkunst.
The painting studio of the Royal Academy of Fine Arts of the city of Brussels
is committed to the challenges and opportunities of practicing, exploring
and expanding art, by use of the actual pictorial medium as by its possible
mutations.
Toutes les pratiques picturales sont envisagées, pratiques étant ellesmêmes la mise en forme d’une pensée singulière, un rapport au
monde, au temps, à l’existence et à la société.
Alle picturale praktijken worden overwogen,
praktijken die aan een bijzondere gedachte,
een band met de wereld, tijd, het bestaan en
de maatschappij vormgeven.
L’étudiant curieux et passionné consacre sa recherche à la question de
la peinture, de son sens, de sa fonction, ses implications théoriques
en n’ayant crainte de revendiquer l’utilisation des divers langages plastiques assignés aux arts visuels.
Daphné de Hemptinne,
Directrice.
De nieuwsgierige en gepassioneerde student
wijdt zijn onderzoek aan de vraag van de schilderkunst, zijn zintuigen, zijn functie, zijn theoretische gevolgtrekkingen en heeft geen schrik het
gebruik van de verschillende plastische talen, die
aan de visuele kunsten gewijd zijn, op te eisen.
The department painting
The painting studio is a place of formation, production and research. A
place of exchange, experiments and reflection. It is a laboratory where each
develops a personal approach, a survey built by dynamics of intense and
regular work. It welcomes about 35 bachelor and 30 master students. The
recently renovated studio is a very beautiful space of more than 500 square
metre in which the students of all academic years collaborate.
The instruction has attention for the particular practice of each student as
well as for mutual enrichment. The process of painting at the RAFAB-CoA is
set up as a funnel. In the first years the students are listed mainly in this discipline, the process thereafter foresees an opening towards other practices,
disciplines or media. The artistic practice is also substantiated by a pole of
supporting theoretical instruction which aims to bring the students to connect sense and practice increasingly.
With or without brush
Daphné de Hemptinne,
Directrice
In view of the developments in art of the last decades it is clear beyond
doubt that the pictorial practice has enriched itself with other current, more
recently developed media. Far from seeing painting mainly practiced with
brushes and pigments on a support, all current artistic forms of art are considered as fields of research of present day painting. All pictorial practices are
considered. Practices that give shape to a particular thought, a bond with
the world, with time, with existence and society.
The curious and passionate student devotes his or her research to questioning painting, the sense of it, its function, its theoretical implications, not
fearing to claim the use of miscellaneous artistical languages. Those languages which are assigned to the visual arts.
Daphné de Hemptinne,
Director RAFAB-CoA
53
54
Hadrien Bruax
° 1991
Belgium
[email protected]
Hadrien Bruaux on his part raises the fundamental question of identity by working on the
motif of the portrait, a term which by his own
admission is anything but adapted to the notion of the figure. He therefore calls it effigy. By
simultaneously using photographs, interventions on photographic and book documents,
metal engraving and drawing on paper, and a
multitude of other supports, he tirelessly questions what makes of us a presence, while treating it as an absence. This relentless, obsessive
worker’s myriad visual proposals are as many
facets as there are potentials in all of us.
EDUCATION:
2014-2016 Specialised Masters in painting, Académie Royale des Beaux-Arts de Bruxelles
2015-2016 Evening classes in sculpture, Académie des Beaux-Arts de Bruxelles.
2009-2013 Evening classes in engraving, Académie d’Ixelles.
2010- 2013 Bachelors in painting, Académie Royale des Beaux-Arts de Bruxelles
2007-2010 Evening classes in engraving, Académie des Beaux-arts de Namur
2006-2010 CESS level 2 Académie des Beaux-Arts de Namur
EXHIBITIONS:
2016 Exhibition ’’Apparitions’’, espace 49, Brussels
2015 Exhibition in collaboration with the collective ‘’ terra mentis’’, Élément du langage, Brussels
2015 Group exhibition ‘’triptic’’, Dam Gallery, Arba-esa, Bruxelles 2015 Selected as part of the
Open Days at l’Arba-esa, Bruxelles
2014 Parcours d’artiste de Sorée (Artists route at Sorée), Namur.
2013 Group Exhibition, E.W.E Gallery, Bruxelles
PRIZES
2016 Prix Paul Artôt
2015 Prix Godecharle
55
56
untitled
oil on photography
70 x 50 cm
untitled
oil on photography
70 x 50 cm
57
58
untitled
oil on photography
46 x 34 cm
untitled
mixed technical paper
46 x 34 cm
59
60
Céline Cuvelier
° 1988
Belgium
[email protected]
Céline Cuvelier approaches art through her
relationship with the world, or vice versa.
There is some intrusiveness and some
sticking a foot in the door in her relation
with others. She quizzes her fellow man
through a hidden door, a community or individuals by way of travesty, avatar or play.
The world’s violent chaos, questions of
migration, a hand extended to the rejected,
together with a visual reflection on today’s
main media (mainstream press and social
media) are at the heart of her work, which
could be described as a project, as an experience on the edge of a danger zone.
ACADEMIC BACKGROUND
2016
Master in Visual Arts, Painting, Académie des Beaux-Arts, Brussels
2006-10 Bachelier degree in Psychology, Université Libre de Bruxelles
EXHIBITIONS
2016
Island Presents, La Vallée, Brussels, BE
Now Here, ARBA-ESA Master Exhibition, La Vallée, Brussels, BE
2015
The voyage out, été 78, curated by F. Kiniques and P. Hunt, Brussels, BE
Terra mentis #4, Centre culturel Omar Khayam, Brussels, BE
Terra mentis #3, Librairie Par chemins, Brussels, BE
Terra mentis #1, éléments de langage, Brussels, BE
Triptic, Dam Gallery, Brussels, BE
White cube ?, Dam Gallery, curated by E. Lopez Menchero, Brussels, BE
PROFESSIONAL EXPERIENCE
Sinds 2014 Vice président of the fondation « Isabelle Masui - Jeunesse de l’art »
Sinds 2015 Painting Workshop in the woman’s prison of Berkendael, Brussels, BE
Study classes with children in La Maison des Migrants, Brussels, BE
Internship with Luc Fierens, Mail artist, Weerde, Belgium.
61
62
Europsiasis
mixed media
170 x 130 x 2 cm
Europsiasis phase II . a
rolled gold and mixed media on wood
26 x 18 x 0.5 cm
63
Europsiasis phase II . b
mixed media on wood
150 x 130 cm
Europsiasis phase II . c
Silver print on RC paper
10 x 15 cm
65
66
Claire Ducène
° 1986
Belgium - Brussels
[email protected]
www.claireducene.be
Claire Ducène is conducting an obsessive
exploration round memory and its fleeting
interpretations. All her plastic proposals are
collages in which space, time and characters
intermingle, all in nuances of dark grey. She is
essentially working in the field of installation
mixing video projections, drawings, books
and furniture. Contrary to in situ work she
moves into places like a scenographer turning
into fiction what little memory we may have
kept. Every immersive exhibition by Claire
Ducène throws us into the theatre of scraps
of the personal experience, where fiction and
reality remain to be pieced together by the
other.
Master’s degree in Painting & Visual Arts, Académie des Beaux-Arts, Brussels
Degree in Photography, Académie de Dessin et des Arts visuels de Molenbeek-Saint-Jean
Master’s degree in French and Roman Languages and Literatures, Université Libre de Bruxelles
EXHIBITIONS:
2016
Double Room, ISELP, Brussels
Now.Here, Final Master Show, LaVallée, Molenbeek
Current state of affairs..., La Fondation Moonens, Brussels
Parcours d’artistes de Saint-Gilles & Forest, Eglise de l’Altitude 100, Brussels
Les Gestes Bleus, Maison Losseau, Mons
Endless House II, Fondation Moonens, Brussels
Cachet de la poste faisant foi, Fondation Hippocrène / Villa Mallet-Stevens, Paris
2015
Regards croisés, Passerelle Louise Gallery, Brussels
Prix Woluwe-Saint-Pierre,W:Hall, Brussels
The Art Gallery Le Logge - Piazza del Comune, Assisi, Italy
Prix Paul Hamesse, Maison du Peuple de Saint-Gilles, Brussels
Prix du Hainaut des Arts plastiques, Charleroi - Laureate
Prix Godecharle, Académie des Beaux-Arts de Bruxelles
Taille Unique, Collectif Contrefaçon, Galerie du 48, Rennes, France
Qui dit mieux?, Flagey, Brussels
67
Black-out
Ink on Photograph,
31 x 25 x 1,5 cm
Alphonse
Acrylic on photograph
42 x 52 x 3 cm
Memory of a person
Printed painting-photograph
70 x 100 x 2 cm
Ghost City
Light Painting-photograph printed on plexiglas
70 x 50 x 3 cm
72
Elina Salminen
° 1977
Finland - Brussels
[email protected]
www.elinasalminen.com
Elina Salminen carries the question of
perception as a watermark on the surfaces
she moves into. Her work oscillates between
installation in situ and paintings as objects.
Through a subtle play of surfaces, she creates
works that have to be approached through the
spectre of time and space. Through a play of
sometimes barely noticeable shades of colour,
screens, revelations and erasures, it takes
the eye some time to recognise what it sees
and what it comprehends… An intelligence
of measure and of minimal form, objects/
surfaces found or rather arranged: all of Elina
Salminen’s work is dis-covered both literally
and figuratively.
EDUCATION:
2011-2016 Master in Visual Arts, Royal Academy of Fine Arts of Brussels, BE
1998-2003 Master in French littérature / 20th century poetry, Paris III Sorbonne Nouvelle
University, FR
EXHIBITIONS IN 2016
Macors, Hamois, BE (solo)
SECONDroom, Gent, BE, cur. Florian Kiniques (solo)
Island presents, final show of ARBA-ESA, LaVallée, Brussels, BE, cur. Island
Médiatine 2016, Brussels, BE
NOW.HERE, ARBA painting masterclass exhibition, LaVallée, Brussels, BE
Full of emptiness, Plagiarama, Brussels, BE, cur. Yuna Mathieu-Chauvet
Apparitions, 49 avenue du Roi, Brussels, BE
LumièreMatière, Dam Gallery, Brussels, BE, cur. Laura Viale and Stijn Cole
AWARDS
2016 Prix Moonens, The Moonens Foundation, Brussels, BE
Prix Macors, Médiatine, Brussels, BE
2015 Canal05 award, special mention, ARBA, Brussels, BE
73
74
It’s getting dark, too dark to see 2
Oil on canvas
110 x 70 cm
It’s getting dark, too dark to see 3
Oil on canvas
110 x 70 cm
76
Yellow stripe
Oil on canvas
110 x 70 cm
77
78
Schilderkunst is in eerste instantie dat wat een (kunst)schilder er
van maakt.
Koninklijke Academie van
Beeldende Kunsten Den Haag
Tobias Lengkeek
Debbie Young
Anatole De Benedictis
De schilder staat met 1 been in de actualiteit en met het andere
in een historische traditie. Deze wankele positie doet de schilder
nu eens overhellen naar het verleden, dan weer neerzetten in het
nu en een enkele keer reiken naar de toekomst. Hoe eenvoudig
het instrumentarium van de schilder in zijn zuiverste vorm ook
gedefinieerd moge zijn - kleur opgenomen in verfmaterie, kwasten
en een vlak om de vormen die daaruit voortkomen te registreren - de
artistieke ambities en de vragen en handelingen die er aan het kunst
schilderen vooraf gaan, of die er uit voort kunnen vloeien, zijn niet
in een overzichtelijke samenhang te vatten. De schilderkunst is net
zo complex als het leven zelf en net zo vitaal. Iets meer druk op de
kwast, een fractie meer ultramarijn blauw bij het olijf groen, een
vierkant in plaats van een rechthoek, een klein doek in plaats van
een groot, een geaccidenteerde verfhuid of een gladde, dit zijn zo
maar wat variaties in handelingspalet van de schilder die met elkaar
vermenigvuldigd een oneindige ruimte tot expressie openbaren.
Dan is er nog niets gezegd over het belangrijkste: wie is de schilder,
in welke tijd leeft zij/hij, wat wil zij/hij overbrengen, wat wil zij/
hij geven aan de samenleving. Zoveel onzekerheden bijeen kunnen
verlammen, maar de jonge schilder, aangespoord door talent en
ambitie, duikt in deze duistere poel van mogelijkheden, woelt
erin en komt boven om het prille begin van een oeuvre aan het
daglicht te brengen. Als het hier niet om een begenadigd amateur
gaat maar om een student, dan gebeurt dit op de academie. Hier
komen ze naar toe die bijzondere talenten, om de eenzaamheid er
van af te schudden door het gezelschap van andere talenten. Om
het in eendrachtige concurrentie te onthullen. Studenten samen
met hun docenten die vanuit hun gerijpte kunstenaarschap kunnen
terugkeren naar de bedwelmende droesem van het begin, en zo
de gids kunnen zijn bij de zoektocht naar het originele schilderij.
Het werk met een volkomen unieke herkomst, want voortkomend
79
80
uit een unieke persoonlijkheid. Het
schilderij dat in eerste instantie niet lijkt
op schilderijen die we al kennen, maar dat
de ogen tergt door iets dat onvoorzien is.
Dit is wat centraal staat in het programma
van de afdeling Beeldende kunst van de
Koninklijke Academie in den Haag. Het
uitzonderlijke. Dit en de bijzondere positie
van de schilderkunst in het domein van de
beeldende kunsten.
Klaus Jung, hoofd van de afdeling Beeldende
Kunst van de KABK.
La peinture c’est avant tout ce que le peintre confie à sa toile.
Painting is at first that what a painter confides to his canvas.
Le peintre étant divisé entre actualité et tradition historique, il
se trouve continuellement dans un état de fragilité le balançant
du passé au futur en passant par le présent. Bien que la panoplie
du peintre soit définie très clairement – les coloris de la peinture, les pinceaux et une surface pour recevoir les formes et traces
qui découlent de leurs utilisation – les ambitions artistiques ainsi
que le questionnement et les actions précédant au processus de
la peinture, ou même qui en découlent, ne se laissent pas saisir
et analyser aussi facilement. La peinture est complexe comme la
vie même et toute aussi gorgée de vitalité. Un tracé plus appuyé
du pinceau, une touche plus prononcée de bleu outremer se mélangeant au vert olive, un carré au lieu d’un rectangle, une petite
toile et pas une grande, un effet de peau lisse ou plutôt accidenté,
ce sont tant de variantes dans la palette d’actions du peintre, qui
en se multipliant, mènent à une galerie infinie d’expressions. Et
nous n’avons dit mot encore du principal : Qui est le peintre ? À
quelle époque vit-il/elle ? Que veut-il/elle nous raconter ? Quel
est le message qu’il/elle veut transmettre à la société ? Autant de
questions et d’incertitudes qui paralysent en premier temps. Mais
le jeune peintre se libère vite de cette paralysie temporaire, et se
plonge, stimulé par son talent et son ambition, dans cette sombre mare de possibilités. Après l’avoir bien remuée et retournée il
revient à la surface pour montrer au monde le tout début d’une
œuvre. S’il s’agit d’un étudiant (et non pas d’un amateur talentueux exerçant dans son atelier privé), le lieu d’émergence sera
l’académie. Ils sont nombreux à venir ici afin de sortir de leur isolement en se joignant à d’autres dotés comme eux de dons exceptionnels. Pour pouvoir enfin révéler leur œuvre dans une concurrence qui les unit. Étudiants et professeurs qui, s’inspirant de leur
maturité artistique, reviennent à la lie enivrante des débuts et qui
se font guide dans la quête de l’œuvre originale. Œuvre d’origine
unique, car issue du travail d’une personnalité tout aussi unique.
Peinture qui tout d’abord ne ressemble à aucune autre peinture,
mais qui intrigue l’œil par son côté inattendu. C’est le cœur du
programme du département de l’Académie des Arts plastiques.
L’exceptionnel. Et la position particulière qu’occupe la peinture
dans le domaine des arts plastiques.
The painter stands with one leg in current events and with the other
in a historical tradition. This shaky position makes the painter balance
continuously from the past to the present, and once in a while reach
towards the future.
Klaus Jung, ancien chef de département Arts Plastiques KABK.
Klaus Jung, Head Department Visual Arts of the KABK
No matter how simple the armamentarium, used by the painter in its
purest form, may be defined - colour contained in paint matter, brushes
and a plane to register the forms, the result of this all – the artistic
ambitions and the questions and actions that precede painting or can
effuse from it, are not apprehended in a clear consistency. Painting is
just as complex as life itself and just as vital. A little more pressure on
the brush, a fraction more ultramarine blue to olive green, a square
instead of a rectangle, a small cloth instead of a large, a broken or
smooth paint skin, all these are just some variations in possible acts
of the palette of the painter that multiplied reveal an infinite space to
expression. And still nothing is mentioned about that what is the most
important: who is the painter, in which time does he or she live, what
does he or she wants to transmit, what does he or she wants to give to
society. So many uncertainties together can paralyse, but the young
painter, roused by talent and ambition, plunges in this dark pool of
possibilities, turns and tosses into it and emerges from it to bring the
very beginning of an oeuvre to the daylight. If this young painter is not
a gifted amateur, but a student, then this happens at the Academy.
Those with particular talents come here, to shake off the solitude of
these talents by the company of others gifted with talent. To be able
to reveal their oeuvre in a concurrence that unites them. Students
together with their teachers, who, out of their matured artistry, can
return, as it were, to the intoxicating lees at the beginning of their
personal artistic journey and become the guide in the search for
‘the original’ painting. The oeuvre with a complete unique origin,
because it results from a unique personality. The painting that first
doesn’t resemble any other known paintings, but aggravates the eyes
because of something that is unforeseen. This is what stands central
to the study programme of the department Visual Arts of the Royal
Academy of The Hague. The exceptional. This and the particular
position of painting in the domain of the Visual Arts.
81
82
Tobias Lengkeek
° 1991
The Nederlands - Den Haag
[email protected]
For debris to exist, an act of violence is
implied - much like paint simplifying
reality only to the visual. Debris signifies
that these objects once had a function. It
illustrates an action - like painting, lines
from skateboarding, old layers, screw and
the frame all visualize how a painting was
made. They are visual traces of something
that happened, just like debris.
GROUPEXHIBITIONS
2016 - AS CLOSE TO BLACK AS BLUE CAN BE / The Hague
2015 - MORE THAN ELEVEN LESS THAN THIRTEEN / Academie Minerva / Groningen
It is from an urge to paint that i look
around to find something to paint. With
the violent interference painting has on
reality, I attempt to filter reality to its essence. when I look at a painting i feel that
every day things hold a higher meaning
and realize that even though my eyes are
open, i don’t always truly see the things
around me.
2015 - Could be / Nest / Den Haag
2014 - A split second at the end of november / in your livingroom, The Hague
2014 - MET / group painting exhibition / Schiedam
2014 - Exhibition City Hall / Tobias Lengkeek & Mark Bakker / Emmeloord
2014 - The Painting and Drawing show, Exo / in your livingroom / Den Haag
2013 - AUGMENTED REALITY OF YOUR SUBCONSCIOUS / KABK, group show / Den Haag
2012 - THE FULL 10%, Museum Gouda / Gouda
2010 - De mens in het wild / firma van drie / Gouda.
ORGANISATION
2014 - now: “in your living room” / exhibitions Den Haag and environs
EDUCATION
2012 - now: Royal Academy Of Arts / Section of Fine Arts, Painting / Den Haag
2008 - 2012: Deltion College / Graphic Design / Zwolle
83
84
Trunks
acryl & oil on canvas
37x50 cm
Tree trunk
oil on canvas
40x30 cm
85
86
Debris
oil on canvas
20x25 cm
Trunks
acryl & oil on canvas
170x250 cm
88
Debie Young
° 1990
Scotland - Den Haag
[email protected]
Renaissance Of The Decadents’
Everything fragments due to the cyclical
nature of time. Decay is the visual
evidence of this fragmentation proving
that preservation of this is impossible.
Post-digital revolution, now comes
an inevitable dark-age; an inability to
cope, and a rejection of this new unnatural form of communication we have
developed. The decline in religious faith
and skilled crafts has brought to light the
potential damage technology could have
on humanity’s overall life satisfaction.
Therefore, a nostalgic desire to take a
step back to a slower-paced, ‘more simple’
time is evident. With new technologies
making possible a form of control and
surveillance, a decline in trust and freedom
is percolating throughout the collective
consciousness.
EXHIBITIONS
‘Bloody Mary’ group exhibition in Maagdenhuis - Amsterdam, April 2015.
‘Dribble Drive Motion’ duo exhibition in MASC Foundation - Vienna, May 2015.
‘As Close to Black as Blue can be’ group Exhibition in Megastores - Den Haag, January 2016
‘I didn’t ask for it’ duo exhibition in 4Bid Gallery - Amsterdam, March 2016.
‘Just Excellent’ KABK Fine Arts Graduation exhibition. Project shown is ‘The Renaissance of the
‘Decadents’. KABK Den Haag, July 2016.
89
Preservation station
ceramics, cotton strips, on wood.
100 x 60 cm
Orwellian ghost baby
ceramics, acrylic paint, paper on wood.
70.5 x 78.5cm
Narcissus
Plaster, narcissus flowers, ceramics on wood.
100 x 100cm
The Fountain of Youth
Oil paint, acrylic paint, paper, ceramics, and glass on wood.
78 x 52cm
94
Anatole De Benedictis
° 1992
French-Italian - Den Haag
[email protected]
A statement illustrating the complexities of
our world while inducing the viewers to reflect and maybe act upon them. Imposing
my order on the disorders of reality, a
form creating meaning out of chaos and
accumulation. I want to draw maps real
maps or allegorical ones to highlight the
structure that can be extracted or deducted
from the accidental random appearance
of things. Echoes from the world framed
through my filtering mind.
EXHIBITIONS
February 2015, Symbolismus, Amsterdam NL.
January 2016, As Close To Black As Blue Can Be, Den Haag NL.
July 2016, Graduation Festival Kabk, Den Haag NL.
95
Fool
Paper, pencil and pen
32 x 24cm
Vomit
Paper, pencil and pen
32 x 24cm
Ultra Liberalism
Paper, pencil and pen
32 x 24cm
Infinity Drugs
Paper, pencil and pen
32 x 24cm
100
Door haar rijke geschiedenis en haar haast archetypische beeldtaal
eist de schilderkunst een sleutelplek op binnen de vrije kunsten.
De openheid en verbondenheid tussen de vijf trajecten van de vrije
kunsten staat garant voor een voortdurende wederzijdse interesse en
bevraging. Met name voor de schilders is dit cruciaal. Schilderkunst
is niet enkel een discipline met een grote traditie. We dichten haar
ook een actuele urgentie toe en geven haar een plaats binnen het
veld van de hedendaagse, beeldende kunsten. De specificiteit van
de discipline staat daarbij centraal.
Koninklijke Academie voor
Schone Kunsten Gent
Tine Peutemans
Jonas Vanderbeke
Ronny Franceschini
Jolijn Baeckelandt
In het traject schilderkunst wordt het aanleren van technieken ingebed in een betrokken en kritische omgang met de eigen beeldtaal
en traditie. Er gaat bijzonder veel aandacht uit naar de technologie van het schilderen, maar de student gaat op zoek naar meer
dan alleen maar schilderkundige oplossingen. Hij moet zich doorheen het traject ook bewust worden van de plaats van de schilderkunst in de kunstgeschiedenis en in de artistieke praktijk van
vandaag. Regelmatige toonmomenten geven de studenten de gelegenheid hun werk te presenteren en na te denken over de manier
waarop hun werk publiek gemaakt kan worden. Deze momenten
worden goed voorbereid en besproken door studenten en docenten en zijn een grote hulp bij de ontwikkeling van de artistieke
persoonlijkheid.
Van bij de start wordt elke student aangemoedigd zijn eigen weg
te zoeken en dit door de ontwikkeling van een eigen beeldtaal in
dialoog met voorbeelden uit het verre en het recente verleden. Dit
gebeurt in de eerste bachelorjaren door waarnemingsoefeningen
en het werken naar klassieke en moderne meesters in het MSK
Gent. Het traject schilderkunst verwacht van de student dat die een
eigen kritische manier van denken ontwikkelt omdat dit cruciaal is
voor het uitbouwen van een duurzame zelfstandige praktijk. Willen
weten wat schilderkunst kan zijn en hoe de zaken in elkaar zitten,
willen zien, de waarneming uitbreiden en intenser maken; dat is het
101
102
opzet van de opleiding schilderkunst. Dit
vereist een grote nieuwsgierigheid en een
lucide, intelligente houding. De studenten
kunnen hierbij rekenen op een uitzonderlijke ploeg gemotiveerde docenten, die zelf als
kunstenaar actief zijn.
Docenten afdeling Schilderkunst KASK
En raison de sa riche histoire et de son langage visuel presque archétypal
la peinture occupe une position clé au sein des arts libres. L’extraversion
et les connexions reliant les 5 trajets des arts libres garantissent un questionnement et un intérêt mutuel incessants. Pour le peintre cela est d’un
intérêt crucial. La peinture en tant que discipline repose non seulement
sur une grande tradition, on lui attribue également une urgence qui est
sans aucun doute toujours d’actualité. Dans ce contexte elle s’approprie
une place au sein des arts plastiques contemporains où la spécificité de la
discipline joue un rôle central.
Durant les cours de peinture, l’apprentissage des techniques va de pair
avec un rapport engagé mais néanmoins critique vis-à-vis de la tradition
et du langage visuel personnel. Bien que la maîtrise des techniques de
peinture soit très importante, l’étudiant doit essayer de dépasser ce stade
purement technique. Tout au long de son parcours, il prendra conscience
de la place de la peinture au sein de l’histoire de l’art et de la pratique
artistique contemporaine. Des expositions régulières permettent aux
étudiants de présenter leur travail et par la même occasion de réfléchir
aux manières de s’ouvrir au regard extérieur. Ces expositions sont scrupuleusement préparées par les étudiants en accord avec les enseignants et
constituent une étape nécessaire pour le développement de la personnalité artistique.
Dès le départ, chaque étudiant est stimulé dans sa recherche artistique
personnelle, qui sera le résultat du dialogue d’un langage artistique bien
à soi avec les nombreux exemples récents ou plus anciens. Durant les premières années de bachelier cela peut se faire lors des nombreux exercices
de perception et des travaux s’inspirant des maîtres classiques et modernes au MSK Gent. Durant ses études de peinture l’étudiant est supposé développer une manière de penser critique, puisque cela est la pierre
de fondement d’une pratique de la peinture autonome durable. Vouloir
savoir ce que la peinture est capable de signifier, la démanteler dans son
plus petit détail, aller plus loin dans la perception, la rendre plus intense ;
ce sont là les objectifs des cours de peinture. Pour en arriver là, une bonne
dose de curiosité s’alliera à une attitude lucide et intelligente. Une équipe
d’enseignants motivés, qui sont eux-mêmes ancrés dans la pratique artistique, aidera les étudiants dans cette quête.
By its rich history and its almost archetypical visual language, painting
claims a key spot within the arts. The openness and the interconnection
between the five paths of the fine arts guarantee a continuous mutual interest and questioning. This is crucial, especially for painters. Painting is not
purely and simply a discipline with a great tradition. No, we also bestow on
painting a topical urgency and give it a place within the field of contemporary, visual arts. Central to this is the specificity of the discipline.
In the study programme painting teaching techniques are embedded in
an engaged and critical handling of tradition on the one hand and personal visual language on the other hand. Particular attention is given to the
technology of painting. This is important, but the student must start to look
for more than just technical solutions. He or she must try to pass this purely technical phase. The student must also throughout the course become
aware of the place of painting in the history of art and in the current artistic
practice. Regular, limited expositions give the students the opportunity
to present their work and think about the way in which their work can be
made public. All expositions are thoroughly prepared and discussed by
the students, in accordance with the teachers. These expositions are of
great importance for the development of the artistic personality (of each
student).
From the start each student is encouraged to seek his own path and this
through the development of its own visual language, in dialogue with
examples from the distant and recent past. This happens in the first years
(bachelor degree) of the study programme, by means of many exercises
based on perception and a lot of assignments inspired by the works of
classic and modern masters of painting present at the MFA (Museum of
Fine Arts) in Gent. The course painting expects each student to develop a
personal critical mind-set, because this is crucial for the development of a
sustainable autonomous painting practice. To want to know what painting
can be and how things are put together, to expand and intensify the perception; that is the aim of the course painting. This requires a lot of curiosity and an astute, intelligent attitude. An exceptional team of motivated
teachers, who are all well anchored in the artistic practice, will support the
students in their search towards this goal.
The teachers of the Department Painting KASKG (RAFAG)
103
104
Tine Peuteman
° 1992
Belgium
[email protected]
www.tinepeuteman.tk
Tine Peuteman mainly focuses on painting and drawing her own environment.
The images refer to both spontaneous and
staged situations containing an abundance
of personal objects and tools. The creation of a recurring alter ego is often the
starting point in the process of painting.
This persona enjoys the closeness and
cleanliness of the home but has an escapist
nature as well. Although she likes collecting objects with which she ‘builds’ her
home, her cocoon, she desperately yearns
to escape the sanctuary she built; to the
actual world where situations are hard to
predict, and are often dark and sinister,
but also far more colourful, less controlled.
In her work she tries to connect these two
yearnings: the comfort of home and the
excitement of adventure. This duality in
preference often leads to images that contain a mysterious atmosphere and whose
meaning is difficult to penetrate.
EDUCATION:
2011-2014 Bachelor of Arts Painting, KASK, Ghent
2014-2016 Master of Arts, Painting, KASK, Ghent
(Internship at Studio Koen Van Den Broek
EXHIBITIONS
2016 - How Blushing Foot and Scissor met on the first floor of Atlantis - Kalashnikovv Gallery,
Johannesburg (SA), group show: Antonia Brown, Ruann Coleman, Neel De Bruycker, Katharien De
Villiers, Jeanne Gaigher, Tine Peuteman, Lucy Jane Turpin and Guus Van Der Velden
2015 - FIXATIF - Zwarte Zaal KASK (in coöperation with S.M.A.K. Ghent)
2015 - i can live in a living room - ZWART WILD, Ghent, group show: Aïssa Houari, Bert De Geyter,
Carlos Caballero, Dominiek Colpaert, Johanna Weissenrieder, Koba De Meutter, LJ Frezza, Louis
Vanhaverbeke, Matthias Yzebaert, Tine Peuteman and Wiebe Moerman
2014 - VLAK LAND, Zwarte Zaal, KASK Ghent, group show: Catharina Dhaen, Jolijn Baeckelandt,
Dieter Vandenheede, Jonas Vanderbeke, Louis Buysse, Cynthia Ballasina, Tine Peuteman, Emma
Mortier, Keith Wyn
2013 - VUURDOOP, Kunsttoren, KASK Ghent group show: Catharina Dhaen, Jolijn Baeckelandt,
Dieter Vandenheede, Jonas Vanderbeke, Louis Buysse, Cynthia Ballasina, Tine Peuteman,
Emma Mortier, Keith Wyns
105
106
Roomination
acrylics, oils, industrial paint on linen canvas
125x150x1,5cm
acrylics, oils, industrial paint on linen canvas
80x100x1,5cm
107
108
acrylics, oils, industrial paint on linen canvas
40x50x1,5cm
acrylics, oils, industrial paint on linen canvas
60x90x1,5cm
110
Jonas Vanderbeke
° 1993
Belgium - Meulebeke
[email protected]
jonasvanderbeke.com
Jonas Vanderbeke collects different types of
images from the internet in a personal archive
that is linked to his personal environment and
homosexuality. Mass media, and how anything
can be found through the internet, play a
crucial part in this.
The images are constructed in Photoshop
in a collage-like manner and precisely placed
and combined on the virtual canvas. Using
the result as a guide, he then transfers the
image onto the canvas with paint as exactly as
possible. He uses painting as a tool to realize
his work, making an extra dimension surface
— the painted. He is fascinated by the conflict
between the graphical and the painter’s hand.
Textual elements function in his work as fields
that introduce a double meaning to the images’
topics that is not immediately apparent to the
viewer. They are meant to convey a suggestion
of text and merge into the image and the
composition of the work.
EDUCATION:
2017 - Specific Teachers Education, Visual Arts, School of Arts, KASK, Ghent,
2016 - Master Visual Arts, Painting, School of Arts KASK, Ghent.
2014 - Bachelor Visual Arts, Painting, mino Textile and Graphics, School of Arts KASK, Ghent.
2009 - Artistic Education, Stedelijke Academie voor Schone Kunsten, Bruges.
EXHIBITIONS:
2016 - Artagon, Group Exhibition, Passage du Retz, Paris, FR.
2016 - Tumult in Ghent, TUG#4, Group Exhibition, The Greenroom, Zwarte Zaal, KASK, Ghent, BE.
2016 - The Saint, the Fox and their Dictionary, Group Exhibition, Rio de Janeiro, BR.
2015 - iD-eST, Kerk Bekegem, Group Exhibition, Bekegem, BE.
2015 - De Biënnale van België, Group Exhibition, In de Ruimte, Ghent, BE
2015 - 7+1, Tis Gank, Group Exhibition, Tielt, BE.
2014 - Kaai1, Group Exhibition, Kaai1, Courtray, BE.
2014 - NOW YOU ARE HERE, Group Exhibition, NVT galerie, Ghent, BE.
2014 - Schilderkunst vs Schilderkunst, Group Exhibition, NVT galerie, Ghent, BE.
2014 - Vlak Land, Group Exhibition, Zwarte zaal, KASK, Ghent, BE.
2013 - Concordia Concours, Group Exhibition, PAK, Gistel, BE. - Award: 2nd Place
2013 - Vuurdoop, Group Exhibition, Kunsttoren KASK, Ghent, BE.
2011 - TRANSform, Group Exhibition, De Bond, Bruges, BE.
111
112
Tom of finland pentapych
oil and acrylic on canvas
5X 160X100
Merman and his narcissus
oil and acrylic on canvas
2X 200X140
113
114
Son of kephisos and nymph liriope
oil and acrylic on canvas
2X 200X140
Watch me princesses
oil and acrylic on canvas
2X 200X140
115
116
Ronny Franceschini
° 1983
Italia - Gent
[email protected]
www.ronnyfranceschini.com
My painting is an archiving operation and a
reworking of images through collage techniques
developed in a direction “committed” or rather
“political”.
My job is to build three-dimensional collage, a
kind of “tableau vivant” made of folded paper, objects and photographs divided into different levels,
then photograph them and reproduce them.
As a dowser ( divining ) I try to rebuild a small micro-world, a reactive gap that connects myself to
the experience of other eyes, other times, to look
for geographies and identities based on visual experiences that condense themselves in a container
constituted with more than 10.000 images. This
stock image is formed on a constant connection;
In fact, every image that I save from PC or mobile
phone, every image that I receive for facebook or
whats up, each photo that I shot, are immediately
saved on different dropbox folders divided by sections in an automatic pre-set.
I carry this experience into painting, using or
recreating supports that already have a memory,
that bear the traces of a more or less recent past.
Generally i used as a “compass” books or movies
to recreate whole series of paintings related to the
text or films under analysis.
Like a sort of history hacker, I keep inventing my
own Idea of the history of facts/world, I produce
ambiguously dated and fragmented tales through
a non-linear assembly of images drawn from personal archive of photographs (as a dense history
stories, jagged and nebulous).
EDUCATION:
1997-2000: H.S. -Hotel, cooking and sommeliers school - la Spezia (IT) 97/100
2000-2003: H.S. -lyceum Beaux arts, Artemisia Gentileschi - Carrara- (IT) 94/100
2004-2005: BA - painting at Belle arti di Carrara- (MS)
2008-2011: BA - painting and visual art at Naba - (MI) CUM LAUDE
20015-2016: MA - fine arts at KASK -Gent (BE)
Founding member of Collettivo F84 - http://www.collettivof84.com
SOLO EXHIBITHION:
Laszlo Benedict - Mamagamamma - Sarzana - (IT) curated by Mamagamma - 2014
Mille pezzi - solo exhibition as Collettivo F84 - Galleria L’Affiche - Milano (IT) - 2013
Modus operandi - solo exhibition as Collettivo F84 - Santeria - Milano (IT) - 2012
Marea- Museo di Jesolo - Venezia (IT)- curated by MUSAE - 2012
SELECTED GROUP EXHIBITIONS:
TRYOUTS- Gent (BE) -curated by Simon Delobel 2016
Alien - IN DE RUIMTE - Gent (BE) -curated by RUIMTE TEAM - 2016
Green Room (Tumult Gent open call) - Zwarte Zaal - Gent (BE) -curated by Tumult team 2016
Brescia art Biennale - young exibithion - Brescia (IT) - curated by Roberta Russo 2011
National prize of the art (PNA) - chiesa di San Carpoforo - Milano (IT) - curated by PNA 2011
You Ching / F84 - via Sarpi 10 – Milano (IT) - curated by Yuri Ancarani 2010
Godart 2010 - as Collettivo F84 - Ex-Manifattura Tabacchi - Città Sant’Angelo (IT) - 2010
There’s no place like home - as Collettivo F84 - Col di Lana 4- Milano (IT) - 2010
Public Art - NABA – Milano (IT) - curated by Marco Scotini 2009
117
The Iron Heel
oil on canvas
90x105cm
Children of a lesser god #30
oil on boy’s notebook of primary school
29x20 cm
Children of a lesser god #17
oil on boy’s notebook
of primary school
29x20 cm
122
Jolijn Baeckelandt
°1993
Belgium
[email protected]
Jolijn Baeckelandt draws the imagery for her
works from her immediate surroundings.
Founds sentences, images and ideas are
translated into drawings through a diary-like
routine of daily drawing. From these diaries,
Baeckelandt selects and combines her images, meaning that he works inevitably accrue
several layers of meaning through the organic
process of routine and selection. The naive
appearance of the work hides multiple hidden
meanings.
EDUCATION
2016 (expected) – Master II Fine Arts, Painting, School of Arts KASK, Ghent, BE
2015 – Master I Fine Arts, School of Arts KASK, Ghent, BE
2014 – Bachelor, Painting, Minor Installation, School of Arts KASK, Ghent, BE
2013 – Seconds year Painting, Minor Visuel Diary, School of Arts KASK, Ghent, BE
2012 – First year Painting, School of Arts KASK, Ghent, BE
2009 – 2011 Fine Arts, Instituut Heilig Familie, Bruges, BE
For Baeckelandt, her chaotic process of
production always focuses on the complex
interactions between language and visual
image. Texts not only serve as an initial impetus for the work, but are also present in the
paintings, adding multiple associations and
heightening the communicative function to
which Baeckelandts’ practice aspires. At base,
Baeckelandt wants her work to be accessible
and speak clearly. Her use of communicative
strategies from cartoons and comics is a way
to directly address her viewers - not to give in
to pure formalism but to play with the history
and current position of painting. The helpless
man amongst the masses is invariably depicted
with mild mockery.
EXHIBITIONS
2016 - Tumult in Ghent, Group Exhibition, The Greenroom, Zwarte Zaal, KASK, Ghent, BE.
2015 – The Saint, the Fox and their Dictionary, group exhibition, Rio De Janeiro, BR
2015 – INPUT/OUTPUT, group exhibition, De Bond, Bruges, BE
2015- MONOKINI, group exhibition, Tonderlier, Ghent, BE
2015 – SOMMER SPROSSEN, group exhibition, In de ruimte, Gent, BE
2014 – Slachthuis, group exhibition, Slachthuisstraat, Gent BE
2014- Vlak Land, group exhibition, Zwarte Zaal, KASK, Ghent, BE
2013 – Singular Surroundings, group exhibition, Voorkamer, Lier, BE
2013 – Vuurdoop, group exhibition, Kunsttoren, KASK, Ghent, BE
123
124
The Gospel of Art for Art’s Sake
oil and wallpaint on canvas
180 x 160 cm
The Silence of the Ejaculation
Acrylic, oil and wallpaint on canvas
180 x 180 cm
125
126
Graduated from Harvard Business School
oil, lacquer and wallpaint on canvas
170 x 120 cm
Don’t Feed the Monkeys - Copacabana
oil, spray paint, lacquer and wallpaint on canvas
120 x 120 cm
The Academy of Fine Arts is an international academy focusing on
the fine arts – the only one of its kind in Finland. It offers first-class
instruction in Moving Image, Painting, Photography, Printmaking,
Site and situation specific art and Sculpture, and is a pioneer in artistic research. The Academy of Arts has trained artists since 1848.
Kuvataideakatemia Helsinki
Lisa Maaranen
Essi Kuokkanen
Mila Aska
The Academy of Fine Arts and its traditions are a significant part of
the history of Finnish art education and, in a broader perspective,
the history of Finnish art. The first predecessor of the Academy of
Fine Arts was the Finnish Art Society’s Drawing School, established in 1848. Among the students of the Drawing School were the
first Finnish artists of national and international importance: from
Albert Edelfelt to Axel Gallén, from Helene Schjerfbeck to Ellen
Thesleff.
From 1939, the Academy operated under the Fund of the Fine Arts
Academy of Finland and was known as the School of the Fine Arts
Academy of Finland. The school became state-owned in 1985, and
at the same time the name was changed to the Finnish Academy
of Fine Arts. Being brought under state governance strengthened
the status of the Academy as the highest institution providing education in the arts in Finland. The Finnish Academy of Fine Arts
became an institution of higher education in 1993 and a university
in 1998. In accordance with the new Finnish Universities Act that
entered into force in Finland in the beginning of 2009, the Finnish
Academy of Fine Arts became a public university. The Finnish
Academy of Fine Arts, Sibelius Academy and Theatre Academy
Helsinki merged at the beginning of 2013 into an arts university, in
English called the University of the Arts Helsinki.
In the Academy of Fine Arts there is a total of 288 students: 250 in
the Bachelor and Master programmes, 10 students are in the Praxis
Master’s Programme, and 27 are doctoral students (DFA). In the
130
de Finse Academie van Schone Kunsten is een
internationaal ingestelde academie, gericht op
onderricht in de schone kunsten en de enige
dergelijke instelling in Finland. De Academie
biedt eersteklas opleidingen aan in film, schilderen, fotografie, grafische kunst, plaats en
situatie specifieke kunst, beeldhouwkunst en
is een pionier op het gebied van artistiek onderzoek. De Academie vormt en leidt, sedert
1848, kunstenaars op en belichaamt, samen
met haar tradities, een aanzienlijk deel van de
geschiedenis van het Finse kunstonderwijs en,
in een breder perspectief, de geschiedenis
van de Finse kunst. De eerste voorloper van
de Academie was de Finse Kunstvereniging
en Tekenschool, opgericht in 1848. Onder de
leerlingen van de tekenschool waren de eerste
Finse artiesten van nationaal en internationaal
belang: Albert Edelfelt, Axel Gallén, Helene
Schjerbeck en Ellen Thesleff. Vanaf 1939 werkte de Academie binnen het kader van het Fonds
Academie van Schone Kunsten van Finland
en was gekend als de School voor de Schone
Kunsten – Academie voor de Schone Kunsten
van Finland. De school werd een staatsinstelling in 1985, en tegelijkertijd werd de naam veranderd in Finse Academie van Schone Kunsten.
Deze verandering versterkte de status van de
Academie als hoogste instelling voor kunstonderricht in Finland. De Finse Academie van
Schone Kunsten werd een instelling voor hoger
onderwijs in 1993 en een universiteit in 1998.
Overeenkomstig de nieuwe Finse wetgeving
inzake universiteiten, die van kracht werd in
het begin van 2009, werd de Finse Academie
van Schone Kunsten een openbare universiteit.
De Finse Academie van Schone Kunsten, de
Sibelius -Academie en de Theater Academie
Helsinki werden begin 2013 samengevoegd tot
een universiteit van de kunsten, in het Engels
University of the Arts-Helsinki.
130
Painting Study programme there are 79 students, of those 5 are exchange students from
abroad.
The Study Programme in Painting focus to
broaden the students’ understanding of painting, from the concept of the materiality in
the contemporary painting within the context
of the traditions of the medium. In the painting study programme there are continuous
connections to other fields and disciplines in
the arts. The aim is to extend the students’
view on what painting could be, what it might
mean and all the ways in which it is connected
to all those things that are not painting.
De Finse Academie van Schone Kunsten telt 288 studenten: 250
in de Bachelor- en Master opleidingen, 10 studenten in de praxis
masteropleiding en 27 zijn promovendi (DFA). In het schilderstudieprogramma zijn er 79 studenten, waaronder 5 uitwisselingstudenten uit het buitenland. Het schilderstudieprogramma focust
op het begripsmatig verruimen van het gegeven schilderkunst
bij de studenten, van het concept van de materialiteit in de hedendaagse schilderkunst, binnen de context van de tradities van
het medium. In het schilderstudieprogramma worden doorlopend
verbindingen gemaakt met andere velden en disciplines in de
kunsten.
Het doel is het verruimen van de visie van de studenten op wat
schilderkunst zou kunnen zijn, wat het medium zou kunnen betekenen en alle wijzen waarop het is verbonden met al die zaken die
geen schilderkunst zijn.
L’Académie des Beaux-Arts finlandaise est une académie cosmopolite visant à enseigner les beaux-arts et constitue la seule institution de ce genre en Finlande. On y
propose des cours de peinture, de photographie, d’art graphique, de sculpture et
d’art spécifique au lieu et à la situation ainsi que dans le domaine de l’audiovisuel.
L’Académie se révèle également être une pionnière dans le domaine de la recherche artistique. L’ Académie forme des artistes depuis 1848, et incarne avec ses
traditions une partie importante de l’histoire de l’enseignement de l’art finlandais
et, dans une perspective plus large, l’histoire de l’art finlandais. Le premier précurseur de l’Académie fut l’Association finlandaise d’Art et Ecole de dessin, fondée
en 1848. Parmi les élèves de cette école on retrouve les premiers artistes finlandais d’importance nationale et internationale: Albert Edelfelt, Axel Gallén, Helene
Schjerbeck et Ellen Thesleff. A partir de 1939, l’Académie poursuit son travail dans
le cadre de la Fondation de l’Académie des Beaux-Arts de Finlande (réputée sous
le nom d’École des Beaux-Arts - Académie des Beaux-Arts de Finlande). L’école fut
institutionnalisée en 1985, et reçut son nouveau nom : Académie des Beaux-Arts
finlandaise.
Ce changement renforça le statut de l’Académie comme étant la plus haute institution de l’enseignement de l’art en Finlande. L’Académie des Beaux-Arts finlandaise devint une institution d’enseignement supérieur en 1993 et une
​​
université
en 1998.
Conformément à la nouvelle législation finlandaise concernant les universités, entrée en vigueur début 2009, l’Académie des Beaux-Arts finlandaise demeure une
université publique. L’Académie des Beaux-Arts finlandaise, l’Académie Sibelius et
l’Académie du Théâtre de Helsinki ont fusionné début 2013 pour former une université des arts, soit, pour reprendre le terme anglais, University of the Arts-Helsinki.
L’Académie des Beaux-Arts finlandaise dénombre 288 étudiants: 250 pour la
formation Bachelor et Master, 10 étudiants en Master pratique et 27 doctorants
(DFA). 79 étudiants sont inscrits aux cours de peinture, dont cinq inscrits pour un
programme d’échange à l’étranger. Le programme d’études de peinture se concentre sur l’élargissement conceptuel de ce que représente la peinture et du concept de matérialité de la peinture contemporaine, tout en respectant le contexte
des traditions de la discipline. Le programme essaie avec assiduité d’établir des
connexions avec d’autres domaines et d’autres disciplines artistiques.
L’objectif du programme d’études est d’élargir la vision des étudiants sur ce que
pourrait être la peinture, sur ce que pourrait signifier la discipline et sur tous les
moyens par lesquels la peinture est reliée à l’immense univers se situant hors de
la peinture.
131
132
Iisa Maaranen
°1987
Finland
[email protected]
I am a fifth year student at the painting
department in the Finnish Academy of Fine
Arts. My working process is a lot about
searching for a meeting point or a reflection
point with some object. Looking in a rather
sensitive way, the observed object starts to
appear as a message. First there is a picture
and then words. Painting and drawing are
tools to see and concentrate, experience,
explore and think.
EDUCATION
2016- Master of Fine Arts, Academy of Fine Arts, University of the Arts Helsinki
2012-2016 Bachelor of Fine Arts, Academy of Fine Arts, University of the Arts Helsinki
2011-2012 Free Art School
2008-2010 Industrial Design studies, Helsinki Metropolia University of Applied Sciences
Now the explored theme words and messages
have been a limit, chaos and control, one and
many, continuous repeating, between existing
and something which has already been. The
objects have been soil, a little box of cherry
tomatoes, a road divider and dust from my
own home.
GROUP EXHIBITIONS
2016 Peripheral Vision, Gallery Mejan, Stockholm
2016 Art of Basware, The Helsinki Music Centre
2016 Techniques of Delusion, Exhibition Laboratory, Helsinki
2016 Kuvataideakatemia group exhibition, Exhibition Laboratory, Helsinki
2015 Wall paintings, School of Arts and Design of the Gambia, Sanchaba Sulay Jobe
2015 Students of the Academy of Fine Arts, Fondia gallery, Helsinki
2014 BFA exhibition, Kuva/tila (Exhibition laboratory), Helsinki
2014 Piilo, Taidelaakso, Laakso hospital, Helsinki
2013 Landscape paintings from Viitasaari, Kaiku gallery, Helsinki
2012 First year students, Kaiku gallery, Helsinki
2012 Nigth of the Arts, installation, workshop and paintings, Free Art School, Helsinki
2011 Take away exhibition, Gallery Vaaga, Helsinki
PUBLICATION
Kohdusta hautaan, matkapiirustuksia Italiasta -kirja, (From the Womb to the Grave, Drawings from
Italy trip), Finnish Academy of Fine Arts, 2015
RESIDENCIES
Utö residency, KuvA residenssi ry, 2015
133
134
Divider
oil on canvas
220 x 130 cm
135
136
Dust on my floor II
oil on canvas
145 x 145 cm
Together
oil and chalk on board
40 x 40 cm
137
138
Essi Kuokkanen
°1991
Finland
[email protected]
Essi Kuokkanen is studying her 4th year in
the University of Fine Arts in Helsinki. She
works mainly with figurative painting and
drawing and gets inspired by art history, films
and different fairytales and myths. In her current works she’s dealing with different aspects
of femininity, adolescence and sexuality.
EDUCATION
2013 - University of Arts Helsinki / Academy of Fine Arts, Master of Fine Arts
2013, Lahti Folk Art School
2010 Savonlinna Senior Secondary School of Art and Music
GROUP EXHIBITIONS
2016 Kuvataideakatemian näyttely, Exhibition Laboratory, Helsinki
2015 What is Surface?, Exhibition Laboratory Project Room, Helsinki
2014 International Plein Air Painting, Kuldiga artists’ residence, Latvia
2013 Who’s in?, Galleria Fafa, Helsinki
2013 Lahden kansanopiston kevätnäyttely, Artell, Lahti
2010 Jos. Savonlinnan taidelukion lopputyönäyttely, Galleria Eteinen, Savonlinna
139
140
Empty paradise,
aquarelle and acrylics on canvas
132 x 92 cm
Never wanna let you go,
oil on canvas
65 x 50 cm
141
Apple of my eye,
oil on canvas
Ø 120 cm
Never gonna be a real girl
Acrylics on canvas
103 x 83 cm
143
144
Milla Aska
°1993
Finland
[email protected]
Milla Aska is currently studying her 4th year
in the Academy of Fine Arts, University of the
Arts, Helsinki. She will soon finish her BFA
degree in the painting study programme. Aska
works mainly with painting and drawing,
moving somewhere between figuration and
abstraction. Her works are based on diary-like
notions, usually portraying people, objects and
places.
STUDIES
2013(-2019) Academy of Fine Arts/University of the Arts Helsinki
2013 Lahti folk school, visual arts
GROUP EXHIBITIONS
2016 ‘’Kuvataideakatemian näyttely’’, Exhibition Laboratory, Helsinki, Finland
2015 Wall paintings, School of Arts and Design of the Gambia, Sanchaba Sulay Jobe
2013 ‘’Who’s in’’, FAFA, Helsinki, Finland
2013 ‘’Lahti folk school spring exhibition’’, Artel, Lahti, Finland
PUBLICATION
Kohdusta hautaan, matkapiirustuksia Italiasta -kirja, (From the Womb to the Grave, Drawings from
Italy trip), Finnish Academy of Fine Arts, 2015
RESIDENCY
2016 Utö Residency, Academy of Fine Arts Helsinki 16.04 - 23.04.
2016 Utö Residency, Academy of Fine Arts Helsinki 25.02. - 29.02.
2014 Berlin Residency, Academy of Fine Arts Helsinki 23.11. - 30.11.
145
146
Boys boys boys
oil on canvas
150 x 150 cm
Imaginary enemy I and II, diptych
oil on canvas
21,5 x 25 cm - 18,5 x 21,5 cm
147
148
oil on canvas
150 x 150 cm
Love Letters
oil on canvas6x 33 x 25,5 cm149
Académie Royale
des Beaux-arts de Liège
Damien Cotton
Zou Yang
Camille Fhal
« La plus grande gloire n’est pas de ne jamais tomber, mais de se
relever à chaque chute. »
“Onze grootste overwinning is niet dat we nooit
vallen, maar dat we na elke val weer opstaan.”
Cette phrase de Confucius, vieille de 2500 ans, pourrait à elle
seule qualifier l’histoire de la peinture, de Lascaux à nos jours.
Chroniquement annoncée comme défunte pour cause d’académisme, de langage dépassé face aux nouvelles technologies et aux
pratiques transversales, la peinture serait épuisée par les innombrables propositions de l’histoire, elle est pourtant et à nouveau reprise en main par une nouvelle génération qui redécouvre le désir
de laisser une trace qui fait sens dans notre paysage contemporain.
Dit 2500 jaar oude citaat van Confucius kan zonder meer de geschiedenis van de schilderkunst
van Lascaux tot vandaag samenvatten. Telkens
weer wordt ze dood verklaard omwille van academisme, een beeldtaal die voorbijgestreefd
is door nieuwe technologieën en transversale
praktijken. De schilderkunst zou al eeuwen uitgeput zijn door talloze voorstellingen van de
geschiedenis, toch wordt schilderkunst steeds
weer opgenomen door een nieuwe generatie
die het verlangen herontdekt een zinvol spoor
na te laten in ons hedendaags kunstlandschap.
Bien sûr, la peinture ne se présente plus comme discipline isolée,
dominatrice et supérieure, mais la fraîcheur intuitive ou réflexive
que leur donnent ces jeunes artistes nous offre un art décomplexé,
traçant de nouvelles pistes de recherches, de questionnements, d’inquiétudes et de plaisirs.
Les jeunes artistes diplômés que nous proposons ici, comme, j’en
suis sûr, ceux d’autres écoles d’art, utilisent certes un médium ancestral, mais pour nous parler d’aujourd’hui et de demain plus que
d’hier.
André Delalleau, professeur du département peinture
Uiteraard presenteert schilderkunst zich niet
langer als alleenstaande dominante en superieure discipline, maar de intuïtieve of juist doordachte frisheid van deze kunstenaars toont ons
een kunst vrij van complexen, die nieuwe pistes onderzoekt, vragen stelt, bezorgdheden en
plezier uit.
De jonge net afgestudeerde kunstenaars die
hier, en ongetwijfeld ook aan andere kunstscholen, gepresenteerd worden gebruiken zeker een oud medium, maar ze hebben het eerder over vandaag en morgen dan over gisteren.
André Delalleau, docent schilderkunst
151
152
“ Our greatest glory is not in never falling, but in getting up every time
we do.”
This 2500 year old quotation of Confucius can summarize the history of
painting from Lascaux until today. Over and over again painting is declared dead because of academism, a visual language overtaken by new
technologies and transversal practices. Painting would have been exhausted for centuries by countless representations of history, yet painting is
always continued by a new generation who rediscovers the longing for
leaving a meaningful trace in our present artistic landscape.
Of course painting presents itself no longer as a single dominant and superior discipline, but the intuitive or precisely well thought-out freshness
of young artists shows us an art free of complexes. An art which investigates new fields, asks questions, expresses concerns and pleasure. The
young, recently graduated artists who are presented here, and I have no
doubt also those from other academies, certainly use and old medium,
but they rather tell us about today and tomorrow than about yesterday.
André Delalleau, lecturer Department Painting
…..
153
154
January the 4th of 2016, I put a “Savon de
Marseille” ( soap ) outside and during
6 months I let it moulder at the mercy of the
weather. I took picture of it everyday and I
followed closely his deterioration. With this
painting I watch the soap under every angle
and in all its states ; I interpret its distortions
in order to obtain abstract landscapes with the
intention to sublimate it.
It is a reflection about the time passing
by and its impact on the memory and the
remembrances.
Damien Cotton
° 1989
Belgium
[email protected]
I grew up in the countryside of the Hainaut and I moved to Luik in 2007
to start artistic studies. After 3 years in Saint-Luc, where I’ve
been initiated in graphics and illustration, I choose to head to
painting because of its less limited frame and its more personal connection
with the art world. I consider art as a catharsis, a way to
bring out truths hidden in space, in the world but most of it in
the individual, starting with the artist himself.
155
156
Day 138
oil on canvas
50 x 50 x 7 cm
Day 97
oil on canvas
50 x 50 x 7 cm
157
158
Day 54
oil on canvas
50 x 50 x 7 cm
Day 18
oil on canvas
50 x 50 x 7 cm
159
160
Zou Yang
° 1986
China - Liège
[email protected]
Sigmund Freud analyses the human being through
dreams. I analyze myself through my work.
I usually do not remember what I dream about. But I
think that my work is like dreaming: thanks to it, I am
able to analyze my inner being.
I was born in the eighties in China. At that time, China was developing slowly. Then, the system of
private property was introduced, which drastically changed the country. Many districts were torn
down and replaced by high new buildings. In our time, we realize that our lives are built on the
ruins of the past. The development of China has considerably influenced my life. In 2010, I graduated in Illustration from the Ecole des Beaux-Artes de Chine. Then, at the age of 25, I went to
France to study French and Plastic Arts at the Ecole des Beaux-Arts de Brest. For the moment, I
am in the second year of Master of Painting in the Ecole Supérieure des Arts de la ville de Liège.
My approach is made up of several means of expression and content. “Do what I like and be honest in
my work” are two very important behaviors in my
projects. Without this, I cannot make progress in my
analysis. My aim is to produce a work which is as pure
as dreams, a work that comes naturally. When my
work is the result of desire, I can easily analyze my
personal essence that it contains.
Furthermore, the quantity of work is also really important. Thanks to my work, I am able to gather a big
amount of information, which allows me to analyze
who I am, what I like and what suits me best.
…Time, ruin, memory, poetic, melancholy, wound,
change, abyss, destruction…
As I grow older, I increasingly like old things. Faced
with history of time, everything has to undergo an
abyss and go through depths. In this abyss, there is
something beautiful, a special aesthetic and an individual story that I like to transcribe in my work. I try
to include this “abyss and wound aesthetic” in each
of my works, because it touches and affects me. This
awakens a poetic and nostalgic feeling in me.
161
162
Hometown
oil on canvas
100 x 100 x 2 cm
-
Hometown
oil on canvas
95 x 95 x 2 cm
-
164
Hometown
oil on canvas
100 x 70 x 2 cm
-
Hometown
oil on canvas
100 x 70 x 2 cm
-
166
Camille Fhal
° 1986
France - Liège
[email protected]
www.camillefhal.com
A movement, an attitude, a position can be the
source to many interpretations.
You just have to add a few lines and associate a
human body in motion with an object to create an
unlikely situation wich reveals our human condition.
My work is an association of ideas, an unexpected
combination offering a humorous approach of our
lives often treated with a touch of cynicism. It shows
familiar and childhood objects on stage.
Some objects seem sometimes scary. Their familiar
visual impact strongly rooted in our consciousness
reassures us, revealing our human condition.
I play with different sizes of the elements of my
composition, it makes objects come to life and
bodies in movement appear like being manipulated.
GROUP SHOWS (SELECTION)
2015 : untitled, Le Parc Churchill et Sauvenière, Liège.
: untitled, Le Comptoir du livre, Liège.
: untitled, Le Mad, Liege.
: Quand la musique prend forme(s), Opéra philharmonique de Liège.
2013
: Variations, Académie Royale des Beaux-Arts de Liège.
2012 : Les petits formats, Académie Royale des Beaux-Arts de Liège.
2011
Who is manipulating whom ? Who is playing with
whom ?
« L’homme est une marionnette qui a l’illusion de la
liberté. »Félix le Dantec
: Les petits formats, Académie Royale des Beaux-Arts de Liège.
EDUCATIONS:
2016 : Master I in Visual Arts, Fine Arts Academy of Liège
My work raises questions about our place in our
consumer society.
All my approach is based around recent events.
2015 : Degree in Visual Arts, Fine Arts Academy of Liège
2005 : Master II in Marketing and Communication in Business School Grenoble Ecole de Management, FR198
In my world, all items are real but one can wonder
which of the object or character is source of my
inspiration.
The creative space becomes an active game where
everyone is free of thinking.
167
L’arnaque des machines à pince
oil on canvas
90x132x2 cm
Marionnette humaine
oil on canvas
205x149x2 cm
Maison rouge
oil on canvas
94x98x2 cm
Sur le gril
oil on canvas
97x97x2 cm
Kungl. Konsthögskolan
Stockholm
The Royal Institute of Art is an international context with a long
artistic tradition dating back to the early 1700s. Today, RIA offers a 5-year inclusive BFA-MFA Programme and a 2-year Master
Programme in Fine Arts; further development courses for artists; and 1-year post-Master courses in Architecture. In recent
years, an artistic research program has also been developed and
currently includes individual projects in artistic research, as well as
PhD sponsorship.
RIA is an active institution with a continuous flow of guests, as
well as exceptional workshops. International partnerships are central components of artistic education at all levels of the school.
Altogether, RIA has about 60 employees and 230 students.
The Royal Institute of Art
Nicolas Edstam
Linnea Rygaard
Johan Franzen
Het Koninklijk Instituut voor Kunst functioneert
in een internationale context, met een lange
artistieke traditie die teruggaat tot het begin
van de jaren 1700. Vandaag biedt het instituut
een studieprogramma aan van 5 jaar (inclusief
BFA – MFA) en ook een studieprogramma van
2 jaar voor het bekomen van een master in de
schone kunsten. Verder ontwikkelings-stages
voor kunstenaars en postdoctorale opleidingen (1 jaar) in architectuur. In de voorbije jaren
werd ook een artistiek onderzoekprogramma
ontwikkeld en momenteel bestaat dit uit afzonderlijke onderzoeksprojecten, evenals sponsoring van promotieonderzoek, met het oog
op het bekomen van een onderzoeks-doctoraat. Het KIK is een actieve instelling met een
voortdurend verloop van gasten (docenten en
studenten), evenals uitzonderlijke werkateliers.
Internationale partnerschappen zijn een centraal onderdeel van het kunstonderwijs van het
instituut, en dat op alle onderwijsniveaus.
In totaal beschikt het KIK over ongeveer 60 medewerkers en 230 studenten.
Het Koninklijk Instituut voor Kunst
Marcus Johnson
173
174
L'Institut Royal d'Art opère dans un contexte international, avec une longue tradition artistique qui
remonte au début des années 1700. Aujourd'hui,
l'Institut propose un programme d’études de cinq
ans (y compris BFA - MFA) et également un programme de 2 ans pour l'obtention d'un Master
dans les Beaux-arts. Des stages de développement
sont également proposés pour artistes et étudiants de troisième cycle d'architecture (1 année).
Au cours des dernières années, un programme de
recherche artistique a également été développé.
A l'heure actuelle celui-ci se compose de projets
de recherches individuels, ainsi que d’un volet de
financement de recherche pour l'obtention ultérieure d'un doctorat de recherche. L'Institut Royal
d'Art est une institution active qui bouge tant au
niveau des enseignants que des étudiants, et qui
compte un bon nombre d’ateliers exceptionnels.
Les partenariats internationaux à tous les niveaux
d'enseignement constituent un élément central de
l'Institut.
L’Institut Royal d’Art compte environ 60 employés
et 230 étudiants.
175
176
Niklas Edstam
° 1987
Sweden
[email protected]
At the age of 21 i discovered painting as an
act of translating light into paint. Now i am
29 and still going strong.
EDUCATION:
Royal Institute of Art, Stockholm 2010 - 2015
EXHIBITIONS:
“New Sensibility”, Group Exhibition, Konstforum Norrköping 2016
“Framtid”, Group Exhibition, Lidköping Konsthall 2016
“New Sensibility”, Solo Exhibition, Gallery Gunnar Olsson Stockholm 2015
Group Exhibition, Gallery Gunnar Olsson Stockholm 2015
Graduation Show, Royal Institute of Art Stockholm 2015
177
178
oil on canvas
29 x 20 x 2 cm
oil on canvas
26 x 19 x 2 cm
179
180
oil on canvas
30 x 22 x 2 cm
oil on canvas
27 x 20 x 2 cm
181
182
Linnea Rygaard
° 1990
Sweden
[email protected]
Working on a painting, is a job that requires
intense concentration, to see. To see and to
think, how to take the painting further, and
then to execute. A perceptual compromise
between giving and taking. There is an almost
constant conflict between thought and action.
The paintings are often in resolution between
several dimensions. This occurs not only in
the same painting, but also takes place them
among themselves. The ratios between the
dimensions unlock.
202014-2016 MFA, Royal Institute of Art Stockholm
2015 Skowhegan School of Planting and Sculpture, Main, USA
2011-2014 BFA, Royal institute of art, Stockholm
2009-2011 Gerlesborgs-school of art, Bohuslän
SELECTED EXHIBITIONS
2016 ”Welcome To All” Annaelle Gallery, Stockholm
2016 ”Collect Yourself” Master Degree, Group Show, Royal Institute of Art, Stockholm
2016 ” Scholarship exhibition” The Art Academy, Stockholm
2016 ”Moving Art Project” touring exhibition in 10 cities in Sweden
2016 ”You’ve Come a Long Way Baby” Master Degree Show, Gallery Mejan, Stockholm
2015 ”Inside/Outside: Works from the Skowhegan archive” curated by Michelle Grabner,
Waterville, USA
2015, Fine Art University Selection, Tsukuba Art Museum, Tsukuba, Japan
2014: ”Cut Corner” Sundsvall’s Art Society, Sundsvall
2014: Körsbärsgårdens Konsthalle, Gotland
2013 WIP Konsthalle, Stockholm
2012 ”Summer exhibition” Gallery Olsson, Stockholm.
2010 “Liljevalchs Spring Saloon” Stockholm
2009 “Liljevalchs Spring Saloon” Stockholm
183
184
“H” (Miniature)
oil on canvas
30 x 30 cm
Acid 8000 (Miniature)
oil on canvas
30x30cm
185
186
You’re not from Brighton (Miniature)
oil on canvas
30x30cm
Praise You (Miniature)
oil on canvas
30 x 30 cm
187
188
Johan Franzén
° 1983
Sweden
[email protected]
johanfranzen.se
For the last couple of years, I’ve mainly painted members of my family. I use both older
photos and pictures I’ve taken myself. My
paintings are “photorealistic” in the sense that
I paint images. I use different kinds of photos
as models - black and white photos, passport
portraits, webcam images - which is a way
of challenging the idea of a “realism”. I’m
interested in how “reality” is mediated, and
the filters we use to achieve it. The motives
are sometimes quite simple: detalis or cutouts.
Some of my paintings have a more abstract
look, but they are almost always referring to
“reality” in some way.
EDUCATION:
Royal Academy of Art Stockholm 2010 - 2015
SOLO SHOWS:
En hand är en halv bur / A Hand is Half a Cage, POM Gallery, Mariefred, 2015
Master Show Gallery Mejan, Stockholm 2014
GROUP SHOWS
Konstattack 4, Stockholm 2015
Royal Academy of Art Master Show, Stockholm, 2015
Royal Academy of Art Bachelor Show, Stockholm, 2013
189
190
Moa
oil on board
62 x 83,5 cm
Mark
oil on board
52 x 70 cm
191
192
Me
oil on board
65 x 41,5 cm
Me and My Sister
oil on board
100 x 150 cm
193
194
Marcus Jonsson
° 1980
Sweden
[email protected]
www.marcusjonsson.eu
Marcus Jonsson, born in 1980, grew up wanting to be a football star.
He now wants to be a famous artist.
Before beginning his education at the Royal
Institute of Art in Stockholm, Marcus received a degree in agriculture. He still works
as a farmer as well as a visual artist. This
circuitous backstory in many ways forms the
basis of Marcus’s work, which is poignant, yet
humorous.
For his Master’s exhibition: ‘I am Marcus
Jonsson’, Marcus presented a new body of
work that further developed his idiosyncratic
use of personal history. The exhibition combined paintings, videos, sculpture and original
car parts from a Saab 93 and 95. The installation made use of his melancholic sensibility
and subtle humor, to create a loaded atmosphere which suggesed longing and levity in
equal measure.
The paintings in Komask mastersalon are part
in an ongoing series.
195
196
I told Thommy B
oil on canvas
131 x 201cm
Betty in the woods
oil on canvas
111cm x 101cm
197
198
Messi Beckham Jonsson
oil on canvas
81cm x 63cm
Harbour Taxi
oil on canvas
152cm x 101cm
200
An Introduction to RSEFA
18th century
In 1786, on the eve of the French Revolution, Balthasar Paul
Ommeganck, Hendrik Frans de Cort and some other ‘fellows in the
arts’, came together in Antwerp and formed a fellowship of artists.
A few years later, in 1788, this fellowship wrote down the articles
for an association, “De Konstenmaetschappye” (The Arts Society),
which was shortly thereafter founded. These megalomaniac artists,
dreaming of restoring the once important age of Rubens, did not
assume for a moment that their association would make history.
The eighteenth century art scene could not have known that art
in the next century would become more important in society than
ever before. Art would shift to the centre of social life.
19th century
The association, initially founded for purely artistic issues by artists, changed socially and became of social importance in the beginning of the 19th century, after the admission of members belonging to the bourgeoisie. Accordingly the association renamed
itself “Maetschappij ter Ondersteuning van de Schoone Kunsten”
(Society in Behalf of the Fine Arts).
This new impetus came from B.P. Ommeganck and Willem
Jacob Herreyns, the latter founded in 1772 the Academy of Arts
in Malines. The official articles of 1816, in which bourgeoisie and
artists made a social pact, defined the association’s actions during
the entire 19th century. In 1817 the association is allowed to add
the title Royal to its name because of its firmness in retrieving the
art treasures stolen from Flanders by Napoleon. These were taken
out of the Louvre with the help of Prussian soldiers. The retrieved works of art were brought together in a new founded museum.
Florent Van Ertborn, an aristocrat and Chairman of the association between 1820 and 1826, donated by testament his collection of
Flemish Primitives to this museum. The association grew swiftly,
201
Balthasar Paul Ommeganck,
founder of the association “De
Konstenmaetschappye” (the Arts
Society)”.
202
this partly due to the rise of nationalism and the search for the roots
of the young Belgian nation. This was expressed in the aspiration to
emulate the art historical past.
In this period triennial ‘Salons’ were established, which alternately
took place in three cities. From 1830 to the end of the century, these
exhibitions remained the only official Belgian exhibitions. In 1840,
and from then on, the salons began working together with artistic
correspondents who recruited artists all over Europe (Düsseldorf,
Vienna, Rotterdam, Bremen, Hamburg, Munich, Prague et cetera).
In 1860 St. Petersburg and New York were added to the list.
collection of this new museum and assisted in the relocation of the
museum in 1890 to the neighbourhood “South”, its present location
in Antwerp.
The distribution of power in the association drifted between artists and patrons. De arts in the 19th century were obviously and
increasingly committed to the experience of more quality, but together with this evolution the artist began to deploy himself more
and more freely towards society. Starting from a kind of opposition
towards society, the progressive artist began adding something pictorial to the political struggle. ‘Individualism’ was born. In the 19th
century it came to sporadic clashes in the association between the
artists and the patrons, who were mostly conservative and not inclined to innovation. Whereas the activities at the beginning of the
century were encouraged, were impelled by the romantic school,
the power stayed in the same hands, in spite off the artistic and social innovations of the time. Bypassed by history, those in charge of
the association were considered as artistic conservatives. Moreover
there was a controversy in the press that lasted until the last decade
of the century until ultimately society and the association opened
itself for innovating art movements. This fact was also noticeable
in the “Prix de Rome”, wich was organized by the association, with
involvement from society personalities.
This opening of the association to innovating art movements took
place under the chairmanship of Arthur Van den Nest, an alderman of Antwerp and MP. Also In the 19th century the association cofounded the “Antwerp Museum of Fine Arts”, increased the
The artist’s core of the association furthermore advised leading
members of the Antwerp bourgeoisie in the set up and enlargement
of their collections. In this way many upcoming artists were helped
in the development of their careers. During the interwar period the
articles of association were adapted to modern legislation. In 1936
it was decided to alter the association in to a non-profit association
with shareholders. All the notables of that time sat on the Board
of Directors. It was probably then the most prestigious assembly of
its time.
Cléomir Jussiant, an important art collector and patron, was president from 1938 to 1957 and he was able to give the association a
dominant character in the perception of art in the city of Antwerp.
After World War II the Belgian economy was so shaken up that
the association could no longer maintain the monopoly it held previously. Meritocracy brought a new class to power that wanted to
explore new cultural horizons. Several new patronage associations
made an entrance. At that time the RSEFA was no longer active
nationwide or abroad. The last ‘salon’ was held in 1951 and from
then on only retrospectives were organized. The art world was
globalizing, but the non–profit association as such didn’t respond
to this change. The individual freedom of the artist increased and
this freedom became proportionally, socially threatening to the
bourgeoisie. The shareholders kept their grip on the activity of the
20th Century
During the twentieth century, which is divided by two world wars
in three periods, the association placed itself in the field of art mediation. Artworks were purchased to complement the museum collections (“Crazy Violence” by Rik Wouters, “Citizens of Calais” by
Rodin, “the Dock Worker” by Constantin Meunier, ...).
“Baron Gustaaf Wappers, most important Romantic Belgian painter,
who was the association’s artistic
Chairman from 1844 to 1853”
“The long hall in the Royal Academy of Fine
Arts Antwerp”
203
“Purchase of “Crazy Violence” (1912)
by Rik Wouters . The work of art was
donated to the Royal Museum of Fine
Arts
204
association, which made its influence wane further. The association
subsidized the travels of upcoming artists and kept on buying, but
limited, works made by young people.
In 1976, the association organized a retrospective and became involved in a new non-profit association to support the Academy (Royal
Academy of Fine Arts Antwerp), called “VrikA” or “Vriendenkring
(the Academy’s Circle of Friends). In this way the association gave
financial support to the social action of this subsidiary undertaking.
In 1995 (after the death of L. Gyselinck) a notary wanted to abrogate the association, but the file ended up on the desk of the newly
appointed director of the Royal Academy of Fine Arts Antwerp,
Bart’d Eyckermans, who refused to sign the dissolution of the association. He obtained the admission of a new member into the
association, Dr. Guido Persoons, and convinced a jurist, Dr. Jan
Verwijver, who was the secretary of the association between 1961
and 1972, to give anew his backing to the association.
The association was adapted to the latest legislation concerning
non-profit associations and the official articles were rewritten. An
action plan for the association to give it a new start towards the 21st
century was implemented.
21st Century
The association attached itself to the Royal Museum of Fine Arts
Antwerp and now there are competitions organized annually to
encourage young artists. Today, in the second decade of this century, the focusing on national and international cultural activities
is reactivated. The four Royal Art Academies of Belgium (Ghent,
Brussels, Liege and Antwerp) and royal academies of art abroad,
such as Copenhagen, Stockholm and The Hague, work together
in organizing an international contest to encourage and promote
young artists, whose works are judged by an international jury of
curators and artists. This inter-academic contest is organized annually and so reinstated the association back into its former position as
a national and international promoter of the fine arts.
“The Dock Worker”, by
Constantin Meunier, 1885,
was bought and donated to
the Royal Museum of Fine
arts Antwerp”
L. Theo van Looij
Director of the Royal
Academy of Fine Arts
Antwerp from 1980 to 1988
205
206
JURY REPORT
MASTERS SALON 2015
The members of the jury:
Mr. Adriaen Raemdonck (President of the Association of
European Art Galleries), Mr. Guy Campo ( CEO International
Auction house Campo & Campo),
Mr Hans Martens (independent curator),
Sayoko Nakahara (FRAC, Regional Contemporary Art Fund
Nord - Pas de Calais and Tate Modern London),
Floor Luijk (Museum Booijmans van Beuningen, Rotterdam),
Flor Bex(Honorary Director MHKA, Museum Contemporary Art
Antwerp), Fred Bervoets (artist and painter)
Non-voting members of the jury :
Chairman Bart’d Eyckermans and the Secretaries
Lou Gils and Peter Bosteels..
The KoMASK Prize Masters Salon 2015 for painting:
Ben Sledsens
Motivation of the jury: the content of the image puts
the spectator every time in front of new discoveries and
this both in matter, coloration as story.
With this artist the jury feels an artistic quest, in which an appetite
for future paintings is impelled.
Honorable mention KoMASK Masters Salon 2015:
Jonas Raps
The monumental works draw the spectator fully in to the visual
language of the artist. He uses a considered coloring and explores
the matter. His oeuvre exhibits a strong unity.
207
208
Dankwoord
Paroles de remerciement
Een vzw kan slechts draaien door het belangeloze engagement
van actieve leden, zonder het engagement van professoren van
de Koninklijke Academie voor Schone Kunsten van Antwerpen
Peter Bosteels en Lou Gils die de organisatie en de opbouw van
de tentoonstelling realiseerden zou dit niet gekund hebben.
Une ASBL ne peut qu’exister grâce à l’engagement volontaire des membres actifs, sans
l’engagement des professeurs de l’Académie
Royale des Beaux-Arts d’Anvers Peter Bosteels
et Lou Gils qui ont organisé et monté l’exposition, tout ceci n’était pas possible.
Ook de contactpersonen in de verschillende academies Stephan
Balleux (Académie des Beaux-Arts de Bruxelles), Klaus Jung
(Koninklijke Academie van Beeldende Kunsten Den Haag),
Pieter Mathijsen (Koninklijke Academie voor Schone Kunsten
Gent), Anni Anttonen en Harri Monni (Academie voor Schone
Kunsten Helsinki), Anette Abrahamson en Sanne Kofod Olsen
(Det Kongelige Danske Kunstakademi0), André Delalleau
en Thierry Grootaers (Académie des Beaux-Arts Liège) en
Filippa Arrias en Sigrid Sandström ( Kungl. Konsthögskolan
Stockholm) hebben hun handen vol gehad om dit evenement
tot een goed eind te brengen.
Ook de verschillende directeurs verdienen een dankwoord voor
hun ondersteuning van dit project: Eric Ubben (Antwerpen),
Daphné de Hemptinne (Bruxelles), Wim De Temmerman
(Gent), Daniel Sluse (Liège) en Marieke Schoenmakers (Den
Haag).
Speciale dank gaat uit naar Nele Willems voor de realisatie
van het boek en naar Bernaded Dexters die de foto’s maakte,
Viviane Vanoppen voor het redactiewerk en Abraham Puts
voor het verzorgen van de contacten met de academies van
Stockholm en Helsinki .
Les personnes de contact dans les académies
différentes Stephan Balleux (Académie des
Beaux-Arts de Bruxelles), André Delalleau et
Thierry Grootaers (Académie des Beaux-Arts
de Liège), Pieter Mathijsen (Académie Royale
des Beaux-Arts de Gand), Anni Anttonen,
Harri Monni (Académie des Beaux-Arts d’
Helsinki), Anette Abrahamson, Filippa Arrias,
Sanne Kofod Olsen et Sigrid SandstrÖm (Det
Kongelige Danske Kunstakademi ), Klaus Jung
(Académie Royales des Arts plastique de Den
Haag) ont été fort occupées pour mener à bien
cet événement.
Les directeurs et responsables départementaux méritent aussi des remerciements
pour leur soutien au projet : Eric Ubben
(Anvers), Daphné de Hemptinne (Bruxelles),
De Temmerman (Gand), Daniel Sluse (Liège),
Johan Van Oord (Den Haag).
Words of thanks
A nonprofit organization can only function by the disinterested commitment of its active members. Without the commitment of Peter Bosteels
and Lou Gils, both lecturers at the Royal academy of Fine Arts Antwerp,
who realized the organization and construction of the exhibition, all this
would not have been possible.
I also like to express my gratitude to the representatives of the various
academies, Stephan Balleux (Academy of Fine Arts Brussels), Andre
Dawson and Thierry Grootaers (Academy of Fine Arts Liège), Pieter
Mathijsen (Royal Academy of Fine Arts Ghent) and Klaus Jung (Royal
Academy of Pictorial Arts the Hague) who had their hands full with this
event.
The different deans also deserve a word of thanks for their support of this
project: Eric Ubben (Antwerp), Daphné de Hemptinne (Brussels), Wim
De Temmerman (Ghent), Daniel Sluse (Liège), Anni Anttonen, Harri Monni
(Academy of Fine Arts Helsinki), Anette Abrahamson, Filippa Arrias, Sanne
Kofod Olsen and Sigrid SandstrÖm (Det Kongelige Danske Kunstakademi)
and Johan Van Oord (the Hague).
A very special word of thanks goes to Nele Willems for the realization of the catalogue, Bernaded Dexters who took the pictures, Viviane
Vanoppen for the redaction an Abraham Puts for establishing contact
with the academies of Stockholm and Helsinki.
Bart’d Eyckermans
President of KoMASK
Un merci tout particulier à Nele Willems pour
la réalisation de ce livre et à Bernaded Dexters
qui a pris les photos, Viviane Vanoppen pour
le travail éditorial et Abraham Puts pour
s’engager pour contacter les académies de
Stockholm et Helsinki .
Bart D’Eyckermans,
Président SoREBA ASBL
Bart’d Eyckermans,
Voorzitter KoMASK vzw
209
210
PRESENTING PARTNERS
Koninklijke Academie voor Schone Kunsten Antwerpen
Koninklijke Academie voor Schone Kunsten Antwerpen
Deeltijds Kunstonderwijs
Athena vzw
ARTos vzw
www.immpact.be
211
212
KoMASK vzw / SoREBA / RSEFA
Royal Society for the Encouragement of Fine Arts
Plaatsnijdersstraat 2, 2000 Antwerpen (Antwerp)
Seat: Royal Museum of Fine Arts Antwerp
organisation registration number: 410.012.367
President : Bart’d Eyckermans
Vice-President: Marc Stommels
Secretary: Lou Gils
Treasurer: Gabina De Paepe
© 2016
Final Editing: Gabina De Paepe, Viviane Vanoppen
Translation: Sylvie Declercq, David Raemdonck
Layout: Nele Willems, Jes Liossatos
Photography : Bernaded Dexters
D/2016/13.471/1
No part of this publication may be reproduced and/or published by print, photo copy, electronically or by any means, without the
written permission of the Publisher/author.
in memoriam
Arsène Van Eeckhaute
˚1934 - †2016
Lid van de raad van bestuur sinds 1997
214
215
216