Jan Van Eyck Yearbook

Jan van Eyck Yearbook
Name index
– Fine art – Marijke Cobbenhagen Lorenzo Chiesa

11 January, 21 September 28 January, 25 February, 22 April, 25 April, 9 December
Orla Barry
12 January, 18 May Wim Cuyvers Jonathan Dronsfield
9 January, 19 February, 22-23 March, 2 July, 9 January, 8 May, 12 September, 10 October
Anke Brüchner 27 September, 16/23 November, 6-8 December
12/13 January, 13 September, 1/3 December Barbara Formis
Maartje Dros 21 February, 23 February, 4 November
Raphaël Cuomo 29 January, 27 September, 16/23 November
9/12 January, 12 September, Christopher Gemerchak
16/23 November, 1/3 December Sandra Fauconnier 13/28 January, 22 April, 12 July,
13 January, 16 April, 21 May 16 November, 9 December
Marjolijn Dijkman
9 January, 21 June, 23 November, 1/3 December Katja Gretzinger Hanneke Grootenboer
19 April, 28 April, 16/23 November 13 January, 20 February, 6/31 March, 10/24 April,
Nikolaus Gansterer 8/22 May, 22 July, 7 September, 11 October,
13 January, 25 March, 11 June, 1/3 December Tsila Hassine 22 November
6 August
Paul Hendrikse Sönke Hallmann
9 January, 17 January, 20 April, 1/3 December Chantal Hendriksen 10 January, 8 May, 16 August,
11 January, 29 December 17 September, 6 December
Maria Iorio
9/12 January, 30 May, 16/23 November, 1/3 December Will Holder Sabine Hillen
10 January, 2 February, 23 February, 20 May 10 January
Aglaia Konrad
12 January, 28 January Sarah Infanger Benda Hofmeyr
10 January, 23 February, 30 April, 11 January, 7 June, 20 June
8 May, 20 May, 2 July 11 October, 3/24 November
Will Kwan
11 January, 25 January, 1/3 December
Jouke Kleerebezem Antony Hudek
13 January, 21 May, 2 August 10 January, 14 June
Achim Lengerer
12 January, 16 August, 1/3 December
Matthijs van Leeuwen Ils Huygens
14 January, 19 April, 16/23 November 11 January, 31 March, 20 June,
Lene Markusen
19 August, 8-9 September
10/12 January, 6 June, 25 June, 1/3 December
Urs Lehni
Charlotte Moth 10 January, 29 December Tom Van Imschoot
20 December
12 January, 31 March, 9 November, 1/3 December
Matteo Poli
John Murphy 19 April, 17 November Leyla Arzu Kececi
9 January, 25 May
7 September
Jacqueline Schoemaker
Falke Pisano 11 March, 27 September, 16-17/23 November Marc De Kesel
12/26/28 January, 6 March, 9 December
9 January, 27 June, 1/3 December
Filiep Tacq
Hinrich Sachs 10 January, 23 February, 20 May, 2 July, 1 October Irene Lucas
9 January, 1 April, 16/23 November
9 January, 6 September, 27 October,
12 November, 6 December Daniël van der Velden
11 January, 19 April, 12 September, Eva Meyer
10 October, 3/16/23 November, 31 December 16 June, 20 June
Romana Schmalisch
12 January, 15 February, 6 June, 1/3 December
Joël Vermot/Harrisson André Nusselder
10 January, 23 February, 20 May, 2 July, 18 September 12 January, 28 December
Megan Sullivan
9/12 January, 27 March,
16/23 November, 1/3/6 December Richard Vijgen Elisabeth Penker
10 January, 23 February, 20 May, 22 June, 2 July 6 January, 9 January
Inga Zimprich
13 January, 21/23 May, 6-8 December, 10 December Jozua Zaagman Johan Schokker
9 April, 27 September, 16/23 November 28 January, 22 April, 11 June, 9 December
Gon Zifroni Aaron Schuster

– c i t yg r a p h y – 12/28 January, 25 February, 11 April
19 April, 16 May, 16/23/25 November
Lilo Bauer Ruby Sircar
2 June, 25 September 9 January, 7 June
– THEOR y –
Tim Stüttgen
– D IRECT o r – Monika Bakke 11 January, 9 September, 3 October, 14-15 October
13 January, 11 June, 8 September
Koen Brams
20 February, 18/19 April, between 30 April and 1 May,
Angelika Bartl
9 January, 12 July
19 June, 10 October, 23 November
Stéphanie Benzaquen
11 January, 30 April, 20 June, 5 December
– design –
Norman Bryson
Arie Altena 26 February, 4 August, 9 September
13 January, 25 January, 21 May, 12 December
Sabeth Buchmann
Tina Clausmeyer 10 January, 6 February, 25 April, 24 May,
12 January, 13 May, 2 July 27 August, 13 November, 5 December
Project index
– Fine art – – Politics – – Rese arch –
Gala night of the cannibals Cultural activism today: Faculty of invisibility – The speech
27 October strategies of over-identification 6-8 December
19 January
Geometry in free space Research on research
26 February Media and mass violence: 10 October
process of healing and reconciliation
Language with body and image 5 December
22 March – cit y –
Post / Porn / Politics
Resonance. Or how one reality can 14-15 October Brakin. Visualizing the visible
be understood through another 2 July
1/3 December Radical passivity. Rethinking
ethical agency in Levinas Citygraphy
The cut 24-25 November 2 June
21 February
The Wal-Mart phenomenon. Logo Parc
The liberation of the voice Resisting neo-liberalist power through 19 April, 3/16/23 November, 10 October
23 May
art, design and theory
2-3 November Zhdanovka
Thinktank, faculty of invisibility 18 August
and monument as discussion Liminalit
23 May 20 June
– T h e p e n s i v e i m ag e –
– Eu r e g i o n – – P s yc h oa n a ly s i s – The pensive image
20 February, 6/31 March, 10/24 April,
Euregional Forum Circle for Lacanian ideology Critique 8/22 May, 3 July, 7 September, 11 October,
21 June, 22 June, 16-18 November, 23-25 November 26 January 22 November, 13 December
Traces of autism On identification. Reading Lacan, seminar IX

9 January, 22 March, 23 March, 27 September,
26 January, 23 February, 9/22 March, 19 April,
16/23 November
3/17 May, 15 June, 5/19 October, 27 September,
15/30 November, 9 December
– Film and television – Politics and jouissance

28 January, 25 February, 22 April
Film and biopolitics
6 February, 7 February, 1/24/25 April,
24 May, 15-16 August, – publishing –
6/7/13 November, 4/5 December
A reader
On the television work of Jef Cornelis 11 March
20 February, 19 June, 18 September
Going aerial. Air, art, architecture

11 June
– INSTITU t e –
Jan van Eyck Bookish weekend
Institutional information 20-21 May
between 30 April and 1 May
The tomorrow book
10 January, 23 February, 20-21 May
– b o dy –
The Vos case. De zaak Vos. Der Fall Vos
Reversing the body, undoing the frame: 6 September
the beauty of the back
23 February The zoo of space
30 April
Thinking through the body
4 November Ubiscribe
14 January, 21 May, 12 December
Thinking through affect
8-9 September
– M u s eu m –
Museum in ¿Motion?
18 April
The museum of conflict. Art as political

strategy in post-communist Europe
12 September
Sunday 1 January
Monday 2 January
Tuesday 3 January
Wednesday 4 January
Thursday 5 January
Friday 6 January
Elisabeth Penker 1974 / Austria

Researcher Theory / FO/GO Lab
The Viennese FO/GO Lab feminist research group
– Angelika Bartl, Leyla Arzu Kececi, Irene Lucas,
Elisabeth Penker and Ruby Sircar – was involved
in varying projects, ranging from exhibitions and
spatial setting design to conferences and per-
formances. FO/GO Lab set up a lecture series
constructed around the key issues of the project:
mobility, migration, exclusion, image, cultural
translation and feminism. Each group member
concentrates on one specific perception angle of
the issues within this trans-disciplinary series.
They not only offer different options in terms of
topics and formats, but also in an academic sense
and vis-à-vis its framework. FO/GO Lab aims to
set up networks with other feminist artist and
media collectives, institutions and single-content
producers.
Organisation events
— The (un-)making of migrancy. Von der
Schwierigkeit keine Rassistin zu sein. (10 – 11
February). Stuttgart, DE: Künstlerhaus Stuttgart.
Editorials
— Angelika Bartl, Leyla Arzu Kececi, Irene Lucas,
Elisabeth Penker & Ruby Sircar (Eds.). [fem.]
Additives. Stuttgart, DE: Lautsprecherverlag.
Reviews
— Movilities. Die schnelligkeit im Feminismus.
[review of Movilities]. In: Sonnendeck, 02/06.
— Georg Leisten. (11 February). Currywurst oder
Döner? Das Künstlerhaus beschäftigt sich mit
dem Thema Migration. [review of Movilities].
In: Stuttgarter Zeitung, 35, p. 41.
— Michael Hall. Brutal ornamental. [review of Brutal
ornamental]. In: ST/A/R Magazine.
Lectures/presentations
— Sound und Sprache. Künstlerführung als
Performance. (4 October). Graz, AT: Kunsthaus
Graz.
— [fem.] Additives. (9 February). With FO/GO Lab.
Stuttgart, DE: Künstlerhaus Stuttgart.
— FO/GO Lab. In: Opening week 2006.
(9 – 13 January). Maastricht, NL: Jan van Eyck
Academie.
Discussions/debates
— Post-autonomous praxis. London, GB: Tate
Modern.
Exhibitions
— Nada. In: Nada Art Fair Miami 2006. (6 – 10
December). Miami, US.
— Runaway. Bratislava, SK: Galeria Priestor for
Contemporary Arts.
— Protections. In: Steirischer Herbst. (23 September
– 23 October). With Tim Etchells, Daria Martin,
Roman Ondák, Markus Schinwald & Apolonija
Sustersic. Graz, AT: Kunsthaus Graz.
— Protections. Das ist keine Ausstellung. (23
September – 22 October). With Adam Budak.
Graz, AT: Kunsthaus Graz.
— Tonspur_Live15. (14 May). With Tobi Maier.
Vienna, AT: MuseumsQuartier Wien.
— Presentation Galerie Kosak Hall. In: ViennAfair
2006. (6 – 9 April). Vienna, AT: Kosak Hall.
— Movilities. (10 February – 4 March). With FO/GO
Lab. Stuttgart, DE: Künstlerhaus Stuttgart.
Saturday 7 January
Sunday 8 January
New Year’s reception
Ideal presentations?
Ann Demeester, Charles Esche, Suchan Kinoshita,
Emily Pethick, Mique Eggermont (moderator)
Concept Bonnefantenmuseum, Jan van Eyck Academie,
Academie Beeldende Kunsten Maastricht,
Marres Centrum voor Contemporaine Cultuur
Venue Academie Beeldende Kunsten Maastricht, NL
Monday 9 January
Event
Opening week 2006
Presentations Hinrich Sachs: Untitled / Falke Pisano:
Untitled / Megan Sullivan: The Hunter Seat / Jonathan
Dronsfield: On the very idea of habitation in art / Paul
Hendrikse: Performing a sculpture park / Marjolijn
Dijkman: Untitled / Wim Cuyvers: Traces of autism /
Raphaël Cuomo, Maria Iorio: Untitled / Angelika Bartl,
Leyla Arzu Kececi, Irene Lucas, Elisabeth Penker,
Ruby Sircar: FO/GO Lab
Venue Jan van Eyck Academie, Maastricht, NL
For the fifth consecutive year the Opening week marked

the beginning of the academic year. In five days all (ad-
vising) researchers – 52 international artists, designers
and theoreticians – presented the research and produc-
tions they intended to realise in 2006. The programme
comprised lectures, performances and a visual presen-
tation. The main venue was the Jan van Eyck Academie,
but there were two other settings as well. Cinema
Lumière (Maastricht) scheduled a special programme
consisting of films and videos made by researchers
of the Fine Art department. Further, a visit was paid to
the exhibition Untitled excerpts (Galerie Nadja Vilenne,
Liège) that showed work by researchers whose re-
search period had come to an end. The Opening week
offered researchers and external guests a unique op-
portunity to get acquainted with the heterogeneous
programme of the Jan van Eyck, with all the things
that the researchers, the artistic and technical staff are
concerned with. It was an intensive and dynamic week.
The individual projects of the (advising) researchers that
were presented during the Opening week are expound-
ed on on their date of birth.
Tuesday 10 January
Event
Opening week 2006 [Monday 9 January]
Presentations Will Holder, Sarah Infanger, Filiep Tacq,
Joël Vermot, Richard Vijgen: The tomorrow book / Urs
Lehni: The private press / Antony Hudek: Jean-François
Lyotard and Les immatériaux: losing philosophy in the
museum / Sönke Hallmann: The writing of community /
Sabine Hillen: A monster with horsehair / Sabeth
Buchmann: From system theory to biopolitics: remarks on
(post)avant-garde art and film discourse / Lene Markusen:
Untitled
Exhibition
Untitled excerpts
Armando Andrade Tudela, Kasper Andreasen,
Peggy Buth, Natascha Hagenbeek, Geoffrey Garrison,
Alevtina Kakhidze, Johanna Kirsch, Stefanie Seibold,
Saliou Traoré
Venue Galerie Nadja Vilenne, Liège, BE
The tomorrow book tual exchange. A collective responsibility

The project The tomorrow book aims at and critical attitude is needed to project
carrying out research into the future of towards every solution that leaves the
the book, taking a multi-disciplinary ap- studio, much in the same way that the
proach. The project concerns itself with studio would expect to be able to con-
commission-based book design. Thus, front others, outside, on an equally exis-
research can be directly tested and ap- tential level with regards to any commis-
plied in practice. Convinced that the book sion or solution (love they neighbour as
will never cease to exist, The tomorrow thyself). Any external commissions must
book focuses on the specific qualities of become a consequent part of the same
the book as a medium. The book, after all, practice, avoiding a schizophrenic split
has a physical reality that is part of a com- between approaches to what a designer
plex and process-like entity that involves does ‘inside’ as opposed to ‘outside of’
acts such as conceptualising, making, the Jan van Eyck.
distributing, reading, using, reusing and The complete model proposed for the
keeping. The book has a functionality of studio is merely an attempt at setting
its own that is indispensable in the fields a new, good example with regard to the
of education, science and the public do- future practice and position of the graphic
main. What is more, the pleasures of designer within the structure of indus-
making and reading books are distinctly try. The studio will build up a portfolio of
unique. good examples and proposals, using the
The tomorrow book engages in redefining book as a universal, tangible, open-ended Sabine Hillen 1968 / Belgium
the practice of design, and reflects on the tool for discussion. Researcher Theory
relationship of the designer to all parties Project in cooperation with the Charles Sabine Hillen wants to research the philosophical
involved in the production process, as Nypels Foundation; supported by the understanding of pain. According to Hillen, the
painful relationship between poet and muse can
well as finding a balance between theory Province of Limburg. Advising research-
be seen as a form of asceticism: in the loss of part
and practice. Initially, the project studio ers: Will Holder and Filiep Tacq. Resear- of himself the ascetic thinker maintains another
will engage primarily in internal commis- chers: Sarah Infanger, Joël Vermot (Har- part of his identity. Sometimes, the crisis of suf-
sions by (advising) researchers (Fine Art, risson) and Richard Vijgen. fering can be the stimulus for a great productive
Design and Theory) at the Jan van Eyck power. Hillen wants to compare the contempo-
Academie, wanting to become involved in See also www.charlesnypels.nl/ rary status of pain against a past in which pain
served a purpose, could lead to great creativity or
content-generation from a commission’s tomorrow.html
acted as a restraining power of the tyranny of
conception. In doing so, design and artic- Read more Saturday 20 May pleasure. In the course of the 20th century, pain
ulation of given content form a grounded seems to have increasingly moved towards prim-
affinity with that content, as opposed to itive regression, or pleasure seems no longer to
the application of arbitrary or ‘universal’ need the restraints of Freud’s reality. This is why
Hillen is researching whether pain today still
stylistic treatments. In this way the de-
serves a purpose or intention, whether wounds
signer becomes involved in the produc- can still be read as a form of criticism or under-
tion process at an earlier stage, and more mining of social order.
time can be created to consider the long-
term implications of choices made. Publications
— Kort en lang boekenplankleven. Literatuur in een
Taking the book as a model, the design-
tijd van digitalisering. Louvain, BE: Acco.
ers’ practice extends towards consider- — De fotografische blik. Luc Tuymans et Jean-Paul
ing problem-solving on a structural level Jungo’s ‘Doué pour la peinture’. In: (H)art.
as opposed to a product/presentation- — De reizen van generatie@com. Dominique
Baqué’s ‘Histoires d’ ailleurs: artistes et penseurs
oriented or formal level. Solutions with de l’itinérance’. In: (H)art.
regard to book-making must be based on Lectures/presentations
realistic research into all involved parties, — Lautreamont en het orgaanloze lichaam. (17
from publishers to distributors to authors November). In: Het gemenebest. Kalmthout, BE:
Strijboshof.
to designers to editors; then and then only — Suspendre l’événement, aimer la marge: la
can realistic proposals be made regard- solitude selon Barthes. In: Roland Barthes,
ing the future of any design practice. Be- retroactively/ après coup. (27 – 28 March). Ghent,
ing based on mutual exchange, therefore, BE: Het Pand.
— A monster with horsehair. In: Opening week 2006.
the studio considers its own function- (9 – 13 January). Maastricht, NL: Jan van Eyck
ing, as a studio, as micro-model for mu- Academie.
Wednesday 11 January
Event
Presentations Daniël van der Velden: Design research
vs. the content factory / Marijke Cobbenhagen, Chantal
Hendriksen: A man with a turban, the Lucca Madonna vs.
the virgin of chancellor Rolin / Will Kwan: Canaries: an early
storyboard / Benda Hofmeyr: What’s there to resist and
who are we to resist it? / Stephan Geene: Anyone’s life
re-animated, the freshness of commodified moments /
Tim Stüttgen: Biopolitics and film: postporn cinema /
Ils Huygens: Towards an aesthetics of embodied affect /
Stéphanie Benzaquen: Web representations of genocides
and mass murder
Thursday 12 January
Event
Presentations Marc De Kesel: Manzoni with Bataille:
scatologically writing aesthetics / Aaron Schuster: Art
as symptom and / or sublimation / André Nusselder:
Philosophy in different media / Aglaia Konrad: Desert
cities / Charlotte Moth: Between travel, method and
research / Romana Schmalisch: Astana, the new city /
Tina Clausmeyer: Mapping conspiratorial spaces / Achim
Lengerer: Untitled
Film screenings Lene Markusen: Grad (2004) / Anke
Brüchner: Fluch (2004) / Megan Sullivan: The birthplace
of Sol LeWitt (is Hartford, Connecticut) (2004 ) / Romana
Schmalisch: Der Berg (2005) / Raphaël Cuomo, Maria
Iorio: Afterwork (2004) / Orla Barry: Portable stones (2005)
Venue Lumière, Maastricht, NL
Friday 13 January
Event
Presentations Hanneke Grootenboer: Kisses
springing from her eyes: on intimate vision / Christopher
Gemerchak: The restricted economy of desire in fetishism /
Monika Bakke: Breath–taking. Air, art, architecture /
Jouke Kleerebezem: Goodbye and hello! / Arie Altena:
In the loop / Sandra Fauconnier: Designing participation /
Inga Zimprich: Thinktank / Anke Brüchner: The basement
lesson
Performance Nikolaus Gansterer: Untitled
Saturday 14 January
Presentations, discussions
Visualising social networks / knowledge sharing / virtual
structures for social exchange
Tanguy Coenen, Auke Touwslager
As part of Ubiscribe
Ubiscribe
The research project and online publica-
tion platform Ubiscribe sets out to inves-
tigate authoring and publishing in the age
of personalisation. This is a time when
many use multi-medial and multi-discipli-
nary chronicles such as weblogs, blogs,
vlogs and photologs for various purpos-
es. UbiScribe explores the intrinsic poten-
tial and technological limits of present-
day publishing. How do collaborations
come about in online environments? How
are they kept up? Can they be produc-
tive? The project investigates users, their
ideas, communication devices and
production channels. Ubiscribe was
supervised by advising researcher Jouke
Kleerebezem.
See also www.ubiscribe.net

Read more Sunday 21 May / Tuesday 12
December
Matthijs van Leeuwen 1977 / the Netherlands

Researcher Design / Logo Parc
Using graphic design next to and combined with,
for example, architecture (on a small and larger
scale) can enrich our culture, add meaning to
things, create room for dialogue. Matthijs van
Leeuwen regards the Logo Parc adventure as a
research with the objective of redefining the role
of the graphic designer within the ‘ideal’ public
sphere. In such a role, the graphic designer does
not merely address stylistic and ‘information-
design qualities’, but would have a solid base for
working with the public sphere (in cooperation
with other design disciplines). It is a space in
which everyday life will be very inspirational; a
place where the notion of ‘public space’ can truly
come alive.
Publications
— Hybriditeit van de post-publieke ruimte. Logo
Parc en de Zuidas in Amsterdam. In: Open, 11,
pp. 112-123.
— Presentation Logo Parc. (13 October). With Katja
Gretzinger, Matteo Poli, Daniël van der Velden &
Gon Zifroni. Amsterdam, NL: Gerrit Rietveld
Academie.
— Statement. (19 April). In: Logo Parc non-stop
meeting. Maastricht, NL: Jan van Eyck Academie.
Seminars/workshops/lecture series
— Logo Parc non-stop meeting. (19 April).
Maastricht, NL: Jan van Eyck Academie.
Symposia/conferences
— Art and the city. A conference on postwar
interactions with the urban realm. (11 – 12 May).
With Katja Gretzinger, Matteo Poli, Daniël
van der Velden & Gon Zifroni. Amsterdam, NL:
Het Trippenhuis.
Design
— Thinking through the body. (poster). (November).
— Citygraphy. Water in the city. (poster). (June).
Sunday 15 January
Monday 16 January
Tuesday 17 January
Paul Hendrikse 1977 / the Netherlands

Researcher Fine Art
For some time, Paul Hendrikse has been inter-
ested in phenomena occurring in the periphery of
attention. Taking walks through cities, he has
gathered material (photographs or video images)
which intrigued him, since it was different, unno-
ticed or simply ungraspable. Afterwards, the
selected footage resulted in make-overs of inci-
dental situations; these make-overs, in turn,
became installations, videos, films and objects.
By emphasising this marginal information and
putting it in the centre, it had to be revised and re-
thought.
Lately, Hendrikse has become interested in creat-
ing extensions of existing architecture, art and lit-
erature. By placing a second object next to its
‘mould’, the space between the two becomes im-
portant. It becomes the space where two identi-
ties meet and coalesce – the resonance revealing
new meaning. Like concepts, being subject to re-
vision through time and context, their shape or
meaning is not identical in two spaces: this is the
threshold where the object is undergoing a per-
manent change and reinvents itself.
— Bonne esperance, maitlands, cheviot place…
(20 April). Presentation & screening. Maastricht,
NL: Jan van Eyck Academie.
— Performing a sculpture park. In: Opening week
2006. (9 – 13 January). Maastricht, NL: Jan van
Eyck Academie.
Exhibitions
— Resonance. Or how one reality can be understood
through another. (1 December 2006 – 31 January
2007). With Armando Andrade Tudela, Pavel
Braîla, Anke Brüchner, Peggy Buth, Mariana
Castillo Deball, Raphaël Cuomo, Marjolijn
Dijkman, Olivier Foulon, Nikolaus Gansterer,
Hatice Güleryüz, Eric van Hove, Maria Iorio,
Johanna Kirsch, Will Kwan, Doris Lasch, Achim
Lengerer, Lene Markusen, Charlotte Moth, Gyan
Panchal, Falke Pisano, Ursula Ponn, Romana
Schmalisch, Megan Sullivan & Inga Zimprich.
Organised by the Jan van Eyck Academie.
’s-Hertogenbosch, NL: Artis; Louvain, BE: Stuk.
— Archipeinture – Moving in architecture. (26 – 30
July). London, GB: Camden Arts Centre.
— Adjustments & errors. (23 – 29 March). With Ives
Maes & Derek Mawudoku. Johannesburg, ZA:
The Bag Factory.
— Très riches heures. (24 February – 26 March).
London, GB: Keith Talent gallery.
— Très riches heures. (4 February – 11 March).
Brussels, BE: Le Blac.
— Très riches heures. (27 January – 26 February).
Breda, NL: Lokaal 01.
Actions/performances
— Performance. (12 June). With Martin Nachbar.
Showings
— International exhibitionist No.6: Moving in
architecture 2. London, GB: Curzon Soho.
Festivals/events
— Blackouts. An event on the memory of space.
(1 April). Alexandra, ZA: The Bag Factory.
Thursday 19 January
Symposium
Cultural activism today: strategies of over-identification
BAVO, Joep van Lieshout, Alexei Monroe, Dieter
Lesage, Jens Haaning, Boris Groys
Film screening Aernout Mik: Pulverous (2003) / Saso
Podgorsek & Laibach: Divided states of America (2005)
Launch AS#176. The spectre of the avant-garde /
Alexei Monroe: Interrogation machine
Concept BAVO
Venue Stedelijk Museum CS on 11, Amsterdam, NL
politics BAVO pleaded for artists using the strategies of

This symposium, with participants BAVO, Joep van the demagogue, said Haagsma, rather than that of the
Lieshout, Alexei Monroe, Dieter Lesage, Aernout social worker: they should exaggerate the situation
Mik, Jens Haaning, Boris Groys, tackled the new they are criticising in order to display a clearer mirror
wave of cultural activism that has occurred through to society. However, philosophy and media theory
anti-populist or anti-globalist struggles. Most activ- professor Boris Groys proposed the idea that capital-
isms today are either too cultural (and therefore be- ism is so artificial and complex that it can effortlessly
come politically harmless) or, inversely, too political absorb anything deviant or subversive. He said that
(and do not stand out against the bulk of socio-political both artist and capitalism want to distinguish them-
actions.) This deadlock is directly related to the domi- selves and always try to cross borders. Thus, Haagsma
nance of the Third Way ideology that holds the imagi- wrote, he supported those artists who are not afraid
nation of cultural forces in a suffocating grip. All actors to enter into coalitions with public and private parties.
are called upon to criticise the shortcomings of today’s After all, the question was whether cultural activism
society and to offer ‘constructive’ lines of flight; they can at all escape the influence of the market and be
are at the same time confronted with a transcendental truly undermining.
philosophy of the ‘End of History’ that does away with
all possibilities of an ‘Other’ utopia which can inspire
such acts.
Thus, in her review in Tubelight magazine, Lotte
Haagsma described how Matthias Pauwels (BAVO)
criticised some initiatives by Dutch artists and collec-
tives geared at reviving urban problem areas (Jeanne
van Heeswijk – Crooswijk; WIMBY – Hoogvliet; OpTrek
– Transvaal). All of these projects try to involve the
residents in the changes to their environment: they
are invited to give their opinions, often via websites.
According to Pauwels, these citizens are in actual fact
offered a kind of sham participation, since, in the end,
it is the councils and developers who decide – based
on money and political themes like security. Pauwels
deemed that the artists, with their friendly interven-
tions, actually render the residents’ voices of frustra-
tion harmless.
In contrast, this symposium wanted to show the
possibility of a form of activism that is both radically
political and cultural. More specifically, it was argued
that artists should employ the strategy of over-identifi-
cation in order to be truly effective. Cultural activism
today brought together cultural artists and theoreti-
cians in whose works over-identification features
centrally. It explores the potential of this strategy to
give back to cultural activism its undermining force.
Activist works produced by artists as diverse as
Christoph Schlingensief, Michael Moore, Neue
Slowenische Kunst or Atelier van Lieshout lay bare
the subversive potential of cultural acts. These acts
uncompromisingly ‘hack’ the parts of obscure dreams
and fantasies that still haunt Third Way political cor-
rectness in order to unlock inconsistencies that artifi-
cially keep our society in its so-called final historical
stage.
Attention was drawn to Christoph Schlingensief’s
work Bitte liebt Österreich (2000), which was a harsh
criticism of Haider’s FPO policies in Austria: in a Big
Brother-like programme, viewers could vote who of the
refugees, all locked in containers, would be thrown out
of the country. Aernout Mik’s film Pulverous (2003)
was also featured: it shows how stunned-looking
people pulverise the contents of a supermarket, racks
and all. According to BAVO, Mik confronts the viewer
with the suffocating emptiness of today’s consumerist
society. At the end of the afternoon, Joep van Lieshout
presented his latest project Call centre (2005): a com-
pletely autonomous telemarketing company set up like
a high-tech camp with inmates doing forced labour,
working day and night towards buying a very expen-
sive (publicly accessible) art collection.
Friday 20 January
Saturday 21 January
Sunday 22 January
Monday 23 January
Tuesday 24 January
— [Untitled]. In: Ariealt.net. Multiple weblog posts
on Ubiscribe. Published on: <http://www.ariealt.
net/blog/category/ubiscribe>
— Wie blogt bestaat: lezen en schrijven in tijden van
nieuwe media. In: Arie Altena & Sandra
Fauconnier (Eds.). Ubiscribe recent changes.
Pervasive, personal, participatory, pp. 180-191.
— Workspaces. In: Arie Altena & Sandra Fauconnier
(Eds.). Ubiscribe recent changes. Pervasive,
personal, participatory, pp. 198-201. Maastricht,
— A very simple research. (25 October). Published
on: <http://www.ariealt.net/blog/a-very-simple-
research/>
Editorials
— Arie Altena & Sandra Fauconnier (Eds.). Ubiscribe
recent changes. Pervasive, personal, participatory.
With Claudia Hardi, Jouke Kleerebezem & Inga
Zimprich. Maastricht, NL: Jan van Eyck
Academie.
— Authoring in the network. Blogging and web 2.0.
(13 December). Breda, NL: Avans Hogeschool
Breda.
(12 December). Maastricht, NL: Jan van Eyck
Academie.
(29 November). In: Future’s past: re-imagining art
and media. Groningen, NL: Hanzehogeschool
Groningen; Groningen, NL: University Groningen.
— Owning, hoarding, circulating and recombining
sound. Some remarks on the late birth of mp3-
blogging. In: Close encounters. 4th European
biannual conference of the society for science,
literature and the arts (SLSA). (13 June).
Amsterdam, NL.
— Ubiscribe 0.9.0 book launch. (21 May). In: Jan van
Eyck Bookish Weekend. With Sandra Fauconnier,
Claudia Hardi, Jouke Kleerebezem & Inga
Arie Altena 1966 / the Netherlands Zimprich. Maastricht, NL: Jan van Eyck
Researcher Design / Ubiscribe Academie.
Arie Altena’s blog research In the loop was part of — In the loop. In: Opening week 2006.
the Ubiscribe research strand. Altena’s research (9 – 13 January). Maastricht, NL: Jan van Eyck
is empirical. He investigates the ways in which Academie.
‘serious’ bloggers design their online presence
and how they use it in their intellectual practice.
Which decisions guide the editorial design of
their blogs? These decisions concern issues of Will Kwan 1978 / Hong Kong
subject matter – strictly professional, but also Researcher Fine Art
personal –, graphic design, choice of software, Canaries is a body of research and studio work
use of software functionalities (comments, rss, Will Kwan developed at the Jan van Eyck, draw-
categories, syndication, links, et cetera). His ing from contemporary theories of military econ-
research of a limited amount of serious blogs and omy and the war machine. The work of war theo-
interviews with their writers has revealed how rists offers a useful alternative reading of social
blogging transforms writing and publishing and organisation, human endeavour and world order,
gives insight into the culture of software and into by tracking the role of military and political influ-
the question of how technology, writing and pub- ence on the evolution of infrastructures, technol-
lishing influence each other. ogies, and institutions now deeply embedded in
www.ariealt.net/blog/category/ubiscribe daily civilian experience. Kwan is interested in the
ability of this discourse to establish both material
Publications and affective relationships between the personal
— 204 blogs. Screenshot collage. Published on: and the geopolitical.
<http://www.xs4all.nl/~ariealt/jve/204_blogs. Within this broad sphere of inquiry, Canaries be-
html> gins with a study of the ‘assets’ of a trans-national
— Het boek als back-up-medium en luxe object. bank founded by the British in Hong Kong in
In: Arie Altena & Sandra Fauconnier (Eds.). 1865, shortly after the Opium Wars. The identity,
Ubiscribe recent changes. Pervasive, personal, architectonics and operations of the bank be-
participatory, p. 30. Maastricht, NL: Jan van Eyck come conceptual and sculptural templates which
Academie. he appropriates and reconfigures to comment on
— Do not write more than 12 lines. In: Arie Altena &
the relationship between corporate trans-nation-
Sandra Fauconnier (Eds.). Ubiscribe recent
changes. Pervasive, personal, participatory, pp.
alism and the overseas transfer of culture and
60-61. Maastricht, NL: Jan van Eyck Academie. communities.
— Glossary. In: Arie Altena & Sandra Fauconnier www.willkwanprojects.org
personal, participatory, pp. 72-108. Maastricht, Exhibitions
NL: Jan van Eyck Academie. — The studio visit. New York, US: Exit Art.
— Metadata en de essayisten van de toekomst. — Resonance. Or how one reality can be understood
In: Arie Altena & Sandra Fauconnier (Eds.). through another. (1 December 2006 – 31 January
Ubiscribe recent changes. Pervasive, personal, 2007). With Armando Andrade Tudela, Pavel
participatory, pp. 111-113. Maastricht, NL: Braîla, Anke Brüchner, Peggy Buth, Mariana
Jan van Eyck Academie. Castillo Deball, Raphaël Cuomo, Marjolijn
— Of writing and other things, a collection of quotes. Dijkman, Olivier Foulon, Nikolaus Gansterer,
In: Arie Altena & Sandra Fauconnier (Eds.). Hatice Güleryüz, Paul Hendrikse, Eric van Hove,
Ubiscribe recent changes. Pervasive, personal, Maria Iorio, Johanna Kirsch, Doris Lasch, Achim
participatory, pp. 133-148. Maastricht, NL: Jan Lengerer, Lene Markusen, Charlotte Moth, Gyan
van Eyck Academie. Panchal, Falke Pisano, Ursula Ponn, Romana
— Over James en John Whitney, live cinema Noise Schmalisch, Megan Sullivan & Inga Zimprich.
Room en Practicum06. In: Petra Jekel (Ed.). Vijf Organised by the Jan van Eyck Academie,
jaar Kunsthuis Syb, 3. Beesterzwaag, NL: Maastricht. ’s-Hertogenbosch, NL: Artis;
Kunsthuis Syb. Louvain, BE: Stuk.
— Personal data-mining 2003-2004. In: Arie Altena — Displacement (with Chinese characters).
& Sandra Fauconnier (Eds.). Ubiscribe recent (27 October – 25 November). Shanghai, CN:
changes. Pervasive, personal, participatory, Duolun Museum of Modern Art.
pp. 149-154. Maastricht, NL: Jan van Eyck — Around. (30 June – 15 September). With Bernardo
Academie. Giorgi, C. M. von Hausswolff & Henrik Plenge
— Publiceren, overal en op elke plek. Droombeek in Jackobsen. Prato, IT: Galleria Enrico Fornello.
Enschede. In: Open, 11, pp. 134-139. Lectures/presentations
— To blog in 2006. Screenshot collage. Published — Canaries. An early storyboard. In: Opening week
on: <http://www.xs4all.nl/~ariealt/jve/2006_to_ 2006. (9 – 13 January). Maastricht, NL: Jan van
blog_small/to_blog.html> Eyck Academie.
Thursday 26 January
Seminar
On identification. Reading Lacan, seminar IX,
lesson of 17 January 1962
As part of CLiC
CLiC
The Circle for Lacanian ideology Critique
gathers researchers – researchers at the
Jan van Eyck, but also external research-
ers – who are interested in Lacanian the-
ory and who use this theory as a tool to
study contemporary (post)modern cul-
ture. CLiC ‘lays bare’ the psychoanalyti-
cal and Lacanian elements in the texts of
contemporary philosophers and critics
such as Žižek, Badiou, Rancière, Laclau,
Mouffe, Jameson, Zupancic, Agamben,
Negri, Derrida and Nancy. As such, the
researchers get to the very heart of their
critical thinking. In 2006 CLiC was su-
pervised by advising researcher Marc De
Kesel.
Psychoanalysis
Lacan’s ninth seminar is dedicated to the notion of
identification and constitutes the logical sequel to
his previous seminar on transference. Searching for
a way-out of the impasses in which he finds himself,
the analysand attempts to transfer his problems onto
the analyst. However, as the analytic cure progresses,
problems return to haunt the analysand, for the analy-
sand is nothing besides his problems. The analysand’s
very identity is, by definition, problematic insofar as
it originates in the Other. What does it mean to be
oneself, to be an identity, from the perspective of the
primacy of the Other? This is Lacan’s central concern
in his seminar Identification.
Lacan does not intend to approach this topic from
a merely ‘psychological’ standpoint. In his eyes, the
primacy of the Other – a basic axiom of Lacanian psy-
choanalysis – forces us to rethink the question of iden-
tity on a more general and philosophical level. How is
‘A=A’ possible, if A is not grounded on itself, but on the
Other – if, in other words, A is originally de-centred?
The discussion of this and other questions makes
Lacan’s seminar on identification an important con-
tribution to philosophy, one in which he enters into
dialogue with an eminent and heterogeneous
philosophical tradition, including Parmenides, Plato,
Aristotle, Descartes, Peirce and Blanchot. In times
of a re-installed ‘jargon of authenticity’, Lacan’s
seminar remains topical. It is an indispensable point
of reference for any deconstruction or decentring of
ideological discourses that promote the idea of
‘authentic’ identity.
During the year of 2006 CLiC read and discussed
this seminar and dealt with questions pertaining to the
fields of politics, logics and aesthetics. The research
resulted in a one-day workshop on identification that
took place on 9 December.
Friday 27 January
Saturday 28 January
Workshop
Politics and jouissance through aesthetics
Lorenzo Chiesa, Oliver Feltham: introduction / Joan
Copjec: Shame, hejab, cinema / Benjamin Noys: reply /
Sigi Jottkandt: Sex bomb the book: In(ter)sectal wars
of reinscription in Tom Cohen’s Hitchcock / Ruben
Debaerdemaeker: reply / Aaron Schuster: The aesthetic
revolution as condition of psychoanalysis: Jacques
Rancière’s anti-nihilist Freud / Chris Gemerchak: reply
Concept Lorenzo Chiesa, Oliver Feltham
As part of CLiC [Thursday 26 January]
Politics
In 1972 Jacques Lacan laid down a challenge to philos-
ophy: to think jouissance. The philosophers who have
most clearly taken up this challenge have done so in the
order of love and politics: Jean-Luc Nancy, Slavoj Žižek
and Alain Badiou. However, they do not strike out on
virgin territory: contra a simple reading of Lacan’s
injunction, there is a longstanding philosophical histo-
ry of jouissance: jouissance as property rights (Adam
Smith, Sièyès, Proudhon); jouissance as surplus value
(Marx); jouissance as the state of nature (Hobbes);
jouissance of the masquerade (Plato).
The question remains whether contemporary
philosophers have taken on board the full significance
of Lacan’s exploration of jouissance.
Within the context of these workshops organised
around specific research topics pertaining to the
fields of literature and the arts, science and history of
philosophy, the following speakers presented a paper:
Bernard Baas (professor of Philosophy, Strasbourg,
FR), Bernard Burgoyne (head of the Centre for
Psychoanalysis Middlesex University, London, GB), Aglaia Konrad 1960 / Austria
Lorenzo Chiesa (researcher Theory), Justin Clemens Advising researcher Fine Art
(senior lecturer, Deakin University, Geelong, AU), Aglaia Konrad travels to big cities and numerous
urban agglomerations in order to research the
Joan Copjec (professor of Psychoanalytical Studies,
contemporary urban. Using photography and
Buffalo, US), Marc De Kesel (advising researcher video she focuses on the endless variety of urban
Theory), Oliver Feltham (assistant professor, time, its structural growth, character and living
American University Paris), Dominiek Hoens order. The archive she has built throughout the
(Circle for Lacanian ideology Critique), Sigi years has become a source for installations and
Jottkandt (researcher, University of Ghent, BE); publications.
The presentation level of Konrad’s work covers
Drew Milne (lecturer in Drama and Poetry, University her interest in (exhibition) space in relation to the
of Cambridge, GB), Johan Schokker (researcher outside; using windows, entrances or any open-
Theory), Aaron Schuster (researcher Theory), ness she formulates types of ‘montage’ that are
Antonello Sciacchitano (psychoanalyst and attempts, temporary stills, preferably not to be
mathematician, Milan, IT), Charles Talcott (assis- fixed. With her publications Konrad tries to ques-
tant professor, American University of Paris, FR). tion the role of (representational) printed form.
Publications
— Desert cities. In: Francesca Ferguson (Ed.).
Talking cities. The micropolitics of urban space.
pp. 82-89. Basel, CH: Birkhäuser.
— Spectacular city. Rotterdam, NL: Nederlands
Architectuurinstituut (NAi).
— Desert cities. In: Opening week 2006.
Academie.
— Making sense in the city. (17 – 20 December).
Organised by Centre for Intercultural
Communication and Interaction (CICI). Ghent, BE:
the University of Ghent; Ghent, BE: NTG
Exhibitions
— Spectacular city. (23 September 2006 –
7 January 2007). Rotterdam, NL: Nederlands
Architectuurinstituut (NAi). (Exh. Cat).
— Desert cities. In: Festival des images.
(14 – 18 September). Vevey, CH.
— Talking cities. In: Entry 2006. Perspectives and
visions in design. (26 August – 3 December).
Essen, DE: Zegge Zollverein. (Exh. Cat).
— Plans volés. (19 May – 1 July). Geneva, CH: Galerie
Skopia.
— Österreichische Kunst am oberen Tassenrand.
(2 April – 18 June). With Franz West. Eupen, BE:
IKOB.
— daybyday & another day. In: Festival Francophone
en France. (19 February – 21 May). With Building
Transmissions, Nico Dockx & Mark Luyten. Île de
Vassivière, FR: Centre national d’art et du
paysage.
— A friend of mine. (26 January – 4 March). Geneva,
CH: Galerie Skopia.
Sunday 29 January
Seminar
Joan Copjec
Maartje Dros 1980 / the Netherlands

Researcher Design / Traces of autism
Publications
— Passionsharing. In: Nieuwe generatie
dienstencentra. Amsterdam, NL: Young
Designers and Industry (YD+I).
— Trace IV. In: BAVO (Eds.). Euregional Forum
Newspaper. Maastricht, NL: Jan van Eyck
Academie.
— Traces of autism. (27 September). With Wim
Cuyvers, Jacqueline Schoemaker & Jozua
Zaagman. Maastricht, NL: Jan van Eyck
Academie.
Design
— DFW-DEN. (exhibition).
— Ecuplein. In collaboration with adolescents.
Amsterdam, NL: Young Works.
— Passionsharing. Amsterdam, NL: Young
Designers and Industry (YD+I).
— Pixelportel. With Eric Klarenbeek. Zaandam, NL:
Council of Zaanstad; Zaandam, NL: Overtreders W.
— Youth centre Zeeburg. (In collaboration with
adolescents). Amsterdam, NL: Young Works.
Organisation events
— Bucuresti workshop. Private initiative by 16
designers. With Wim Cuyvers, Anna Heinsbroek
& Jozua Zaagman. Bucharest, RO. Published on:
<http://bukresh.blogspot.com/2006/04/
workshopping-bucharest.html>
Monday 30 January
Tuesday 31 January
Wednesday 1 February
Lecture
Language and other social spaces
Imogen Stidworthy
Thursday 2 February
Will Holder 1969 / Great Britain

Advising researcher Design /
The tomorrow book
Will Holder will attempt to advise The tomorrow
book project from a personal perspective: as a
book designer, publisher, editor and writer he
approaches books as a reader: aiming to translate
content from the inside out. Coupled with an
emphasis on language that is at the root of any
design decision or problem, he hopes to
approach the tomorrow book from a estimation
of what will be conveyed tomorrow, before con-
sidering futurist appearances. In a series of work-
shops and in apparent contradiction, he will
methodically place the emphasis on ‘thinking
while making’ in physical terms, or adaptive con-
tent in relation to physical, technical limitations
as well as conceptual ones.
Will Holder is currently translating William Mor-
ris’ News from nowhere (An epoch of rest) (1876)
into a guide for design education and practise set
in 2135: the original version having also been
written 130 years into the future (set in 2003). The
translation will initially be serialised in DotDotDot
magazine.
Holder is also producing a two-part book on the
work (1960–present) of American composer
Robert Ashley.
Publications
— Do as you like. In: The Vos case. De zaak Vos.
Der Fall Vos. Mastering printed matter since 1985,
p. 13. Maastricht, NL: Jan van Eyck Academie.
— Semantic poetry translation of John Russell’s
Tourette’s Syndrome. With Stuart Bailey, Louis
Luthi & John Morgan. In: DotDotDot, 13,
pp. 136-155.
— Tourette’s III (Black Rainbow). (6 June).
Amsterdam, NL: De Appel.
— Launch of Casco Issues #9: Past imperfect.
(29 January). With Liesbeth Bik, Jos van der Pol &
Lisette Smits. Utrecht, NL: CASCO.
— The tomorrow book. With Harrisson, Will Holder,
Sarah Infanger & Richard Vijgen. In: Opening
week 2006. (9 – 13 January). Maastricht, NL: Jan
van Eyck Academie.
— Tomorrow book. (20 – 21 May). On-demand print
workshop. With Harrisson, Sarah Infanger, Filiep
Tacq & Richard Vijgen. In: Jan van Eyck Bookish
Weekend. Maastricht, NL: Jan van Eyck
Academie.
— Bold Italic 2006. (9 May). With Julia Born,
Wim Crouwel, Experimental Jetset & Willem
Oorebeek. Organised by St. Lucas. Ghent, BE:
Kunstencentrum Vooruit.
Exhibitions
— I drew some names from a hat. (29 January).
Amsterdam, NL: Achter de ramen.
Festivals/events
— Cocktails, art and poetry at Dolores! (21 May).
With Peter Fillingham, Klaas Kloosterboer, Frank
Koolen, Charlotte Moth, Adam Nankervis, Falke
Pisano & Romana Schmalisch. Amsterdam, NL:
Ellen de Bruijne Projects (Dolores).
Design
— Liesbeth Bik & Lisette Smits (Eds.). Past
imperfect. (magazine). With Guus Beumer,
Jos van der Pol, Steve Rushton & Jan Verwoert.
In: Casco Issues, #9.
Friday 3 February
Saturday 4 February
Sunday 5 February
Monday 6 February
Film screening
L’intrus (2004) by Claire Denis [Tuesday 7 February]
Stephan Geene
As part of Film and biopolitics
Film and biopolitics

The Film and biopolitics project takes
a theoretical-historical approach and
aims at investigating the rhetoric of the
notion ‘life’ and its constitutive impact
on most of the art and film categories of
the 20th century. Hence the question to
what extent this type of language influ-
ences these forms of production and
how the concepts of ‘pure’ and ‘qualified’
life are used. The project shows that the
critique on the avant-garde, with its posi-
tive references to elements of the genre
of cinema, has already become part of a
‘critical’ self-understanding of artists and
filmmakers – while the theoretical and
political importance has not yet been
established. The project was initiated
and supervised by advising researchers
Sabeth Buchmann, Helmut Draxler and
Stephan Geene.
See also www.bbooks.de/jve

Read more Tuesday 7 February / Saturday 1
April / Monday 24 April / Tuesday 25 April /
Wednesday 24 May / Wednesday 16 August /
Monday 13 November
Tuesday 7 February
Discussion
L’intrus (2004) by Claire Denis
Stephan Geene
As part of Film and biopolitics [Monday 6 February]
Film and television

Stephan Geene (advising researcher Theory) dis-
cussed Claire Denis’ post-avant-gardist film L’intrus
(The intruder) (2004) and the film’s visual expertise and
bio-political engineering. L’intrus, nominated at the
2004 Venice Film Festival, is a mysterious, enthralling
and strangely invigorating work. The film tracks the
peregrinations of the enigmatic 68-year-old Louis
Trebor who is looking for his long-lost son and a donor
heart to replace his failing heart. From his isolated
woodland compound in the Jura mountains of France
to the boisterous markets and shipyards of Pusan,
Korea – where he buys a boat after having recovered
from a clandestine transplant operation – Trebor slowly
threads his way back to his former home on a remote
island near Tahiti. With its triptych structure, each
stage of which corresponds to a different geographical
region and a-temporal narrative, L’intrus is an allusive
memory-puzzle of sorts: dreamlike, beguiling and
visually poetic. Part of the film’s haunting quality
derives from Trebor’s opaque identity. Is he a former
spy? An international fugitive? Trebor is shadowed
by an equally mysterious, unnamed Russian woman
whose ominous appearance is a catalyst for his
journey. The scenario is further complicated by the
ambiguous, possibly imagined, ties between Trebor’s
adult son who lives near Geneva and rarely sees his
emotionally distant father and the Polynesian offspring
he left behind.
Taking inspiration from Robert Louis Stevenson,
Paul Gauguin’s idyllic South Seas paintings and a 40-
page memoir by French philosopher Jean-Luc Nancy,
from which Denis borrowed the title and heart-trans-
plant motif, L’intrus has yet another textual double:
Paul Gégauff’s 1965 adventure film Le reflux, set in
Tahiti. Footage from this old film is used in the film
to visualise the colour-saturated recollection of a
nonexistent place.
A tale of inner and outer travelling, L’intrus is an
exemplary illustration of what cinema theorist Gilles
Deleuze, in his two-volume analysis of classical and
post-war conceptual practices, termed the bal(l)ade
form, a pun on the French words for voyage and song.
The film’s theme is that of wandering through
external or internal necessity, through the need for
flight. This kind of wandering is about seeing rather
than moving. L’intrus presents a field of vision that
is at once boldly subjective and all-encompassing.
It shows exhilarating images of bodily sensuousness
and nature’s own majestic vitality: tight close-ups of
Trebor’s leathery, mask-like face as he basks in the
winter sun; long-duration shots of ocean passages;
the christening of a Korean freighter, its bright ribbons
flapping in the wind; the final image of the Queen of
the Northern Hemisphere, dog-sledding along a
snowy mountain path with joyous, adrenal exuber-
ance. As always, Denis’ concern is to explore the
literal and metaphorical borderlands where aliens
and natives, intruders and guests go wandering,
looking for signs of home within and beyond the
barriers of nation, culture, sex and family.
Thursday 9 February
Friday 10 February
Saturday 11 February
Sunday 12 February
Monday 13 February
Tuesday 14 February
Romana Schmalisch 1974 / Germany

Researcher Fine Art
In the middle of the Kazakh steppe, a new and
enormous city called Astana is being erected on
the site of Akmola, formerly a small industrial
city. The Kazakh president had declared it the
new capital of Kazakhstan, thus moving the
capital from the Southern border to the centre of
Kazakhstan (Astana is the Kazakh word for capital).
Astana, a former single-function Soviet city, will
be transformed into a colossal capital in a short
period of time. The Japanese architect Kurokawa
was appointed to create a master plan for the
New City. In doing so, he has abandoned a gener-
al architectural form, claiming that a modern city
must be subject to a continuous process of
change, and must be versatile and adaptable to
new political and economical conditions and
requirements. This process also entails that
buildings are not constructed to last for a long
period of time. Astana is scheduled to be com-
pleted in 2030.
Currently, the city remains in the process of con-
struction. The new city has not yet become a con-
tinuous structure; its gigantic scale, however,
can be extrapolated from the size of the construc-
tion sites and scaffolds. The fragile, incomplete
state of this phase of construction still allows for
many conceptual as well as visual potentialities.
These should be reflected in the film project As-
tana, the new city, in which Romana Schmalisch
examines a city in the process of its formation.
— Presentation on Alexander Kluge. (6 June).
With Lene Markusen. Maastricht, NL: Jan
van Eyck Academie.
— Astana, the new city. In: Opening week 2006.
Academie.
Exhibitions
Hatice Güleryüz, Paul Hendrikse, Eric van Hove,
Maria Iorio, Johanna Kirsch, Will Kwan, Doris
Lasch, Achim Lengerer, Lene Markusen,
Charlotte Moth, Gyan Panchal, Falke Pisano,
Ursula Ponn, Megan Sullivan & Inga Zimprich.
— Tales from the travel journal vol. 1. (18 November
2006 – 7 January 2007). Vilnius, LT:
Contemporary Art Centre (CAC).
— La Boum II. (1 April – 13 May). Düsseldorf, DE:
Galerie Sies + Höke.
— La Boum I. (25 February – 1 April). München, DE:
Galerie Ben Kaufmann.
Showings
— Two steps back till unrise. (25 August).
With Nina Könnemann. Utrecht, NL: CASCO.
— Dom Sovietov. (16 June). In: On architecture and
other stories/2. With Robert Schlicht.
Amsterdam, NL: Agentur.
— Der Berg. (12 January). In: Opening week 2006.
Maastricht, NL: Lumière.
Festivals/events
With Peter Fillingham, Will Holder, Klaas
Kloosterboer, Frank Koolen, Charlotte Moth,
Adam Nankervis, Falke Pisano. Amsterdam, NL:
Ellen de Bruijne Projects (Dolores).
Thursday 16 February
Friday 17 February
Sunday 19 February
Projects
— Visualizing the visual.
Publications
— Brakin. Brazzaville-Kinshasa. Visualizing the
visible. With Agency, Kristien Van den Brande,
Tina Clausmeyer, Dirk Pauwels & SMAQ. Baden,
CH: Lars Müller Verlag; Maastricht, NL: Jan van
Eyck Academie.
— Edges of the city. In: Brakin. Brazzaville-Kinshasa.
Visualizing the visible, pp. 212-213. Baden, CH:
Lars Müller Verlag; Maastricht, NL: Jan van Eyck
Academie.
— De interpretatie van de publieke ruimte in de (niet-
westerse) stad: een gesprek tussen Zeynep Celik
en Wim Cuyvers [Reading public space in the
(non-western) city: a dialogue between Zeynep
Celik and Wim Cuyvers]. In: Oase, 69, pp. 32-43.
— Public space. In: Brakin. Brazzaville-Kinshasa.
Academie.
— Roundabouts. In: Brakin. Brazzaville-Kinshasa.
Academie.
— Thoughts on the public space of Brazzaville and
Kinshasa (Alcune riflessioni sullo spazio pubblico
di Brazaville e Kinshasa). In: Domus, 896, p. 69.
Reviews
— Karl Blanchet & Regina Keith. Afrika braucht seine
Ärtze selbst. (review of Brakin. Brazzaville-
Kinshasa. Visualizing the visible). In: Le Monde
diplomatique.
— Katrin Bettina Müller. (14 November). Das Rot
und das Gelb des Fortschritts. (review of Brakin.
Brazzaville-Kinshasa. Visualizing the visible).
In: Die Tageszeitung. Published on: <http://www.
taz.de/pt/2006/11/14/a0213.1/text>
— Jantine Claus & Mieke Prinse. Homoseks in
Maastricht. Een interview met architect Wim
Cuyvers. In: Mosaiek, 8 (2), pp. 43-47.
— Traces of autism. (27 September). With Maartje
Dros, Jacqueline Schoemaker & Jozua Zaagman.
— Brakin. Brazzaville – Kinshasa. Visualizing the
visible. (2 July). With Agency, Sven Augustijnen,
Guy Bomanyama, Kristien Van den Brande,
Bambi Ceuppens, Tina Clausmeyer, Raf Custers,
Vincent Kenis, Jean Michel Kibushi, Antoine-
Dover Osongo-Lukadi, Dirk Pauwels, SMAQ,
Florence de la Tullaye & Sarah Vanagt. Organised
by the Jan van Eyck Academie. Tervuren, BE:
Royal Museum for Central Africa.
— Traces of autism. (23 March). With Brice De
Ruyver. Organised by the Jan van Eyck Academie.
Genk, BE: FLACC.
— Traces of autism. (22 March). With Cobi van Beek.
Rotterdam, NL: Tent.
— [Untitled]. In: Opening week 2006.
Academie.
designers. With Maartje Dros, Anna Heinsbroek
& Jozua Zaagman. Bucharest, RO. Published on:
<http://bukresh.blogspot.com/2006/04/
— Faculty of invisibility. The speech. (6 – 8 December).
With Selina Bütler, Roé Cherpac, Paul Gangloff,
Wim Cuyvers 1958 / Belgium David Goldenberg, Sönke Hallmann, Ingela
Advising researcher Design / Johannson, Mykyta Kadan, Olesya Khomenko,
Traces of autism Matthias Kreutzer, Volodymyr Kuznetsov,
In 2006 Wim Cuyvers was primarily involved with Nebojsa Milikic & Inga Zimprich. Maastricht, NL:
two projects: Brakin. Visualizing the visible and Jan van Eyck Academie.
Traces of autism. Wander research in the Eure- Exhibitions
gion. Cuyvers coordinated the communication — Transformerhouses. Urban renewal in the Indian
between graphic designers and project research- Quarter. (3 November – 16 December).
ers, prepared the proofs for the Brakin publica- Amsterdam, NL: 66 East – Centre for Urban
Culture.
tion and organised the book presentation in
— Heilige geest. (27 May – 8 July).
Brussels.
With Marc De Blieck. Lier, BE: Voorkamer.
The Traces of autism project started in June 2006. — land’schap, o. -pen [landscape, pl. -s]. (21 January
Prior to that, there were two preliminary presen- – 12 March). Ghent, BE: De Witte Zaal.
tations of the project (in Rotterdam and in Genk). Actions/performances
Different ways of drawing up inventories for the — Common places. (8 December). In:
Euregion were explored, different parameters for Transformerhouses. Urban renewal in the Indian
different ways of ‘walking’. Fernand Deligny Quarter. Performance on top of a
serves as a theoretical background to the project. transformerhouse at the Celebesstraat in the
In September Cuyvers organised a ‘working Indian Quarter. Amsterdam, NL: 66 East – Centre
week’ in collaboration with the Design Academy for Urban Culture.
in Eindhoven. Students stayed for a week on dif- Festivals/events
ferent campsites in the Euregion and traced the — The vicissitudes of public space in the Euregion
movements of the people on these sites, which Meuse-Rhine. In: Euregional Forum Liège.
(23 – 25 November). With BAVO, Koen Brams,
resulted in a public presentation with drawings,
Pierre-Etienne Fourré, Thomas Moor & Florian de
pictures and lectures. So far, the Traces of autism
Visser. Lectures, debates, interviews, visual
project has consisted mainly of fieldwork and the presentations. Organised by the Jan van Eyck
development of the first ideas for an exposition to Academie. Liège, BE: Brasserie Haecht/Espace
be held in the summer of 2007. Nord 251.
Monday 20 February
Film screening
The body van Jef Cornelis
As part of On the television work of Jef Cornelis
Seminar
Hanneke Grootenboer
As part of The pensive image
Lecture
Gitte Villesen
Presentation
Alte Arte
Pavel Braîla
On the television work of Jef Cornelis looking at alternative models, proposed

On the television work of Jef Cornelis, by philosophers and visual theorists such
inititated by Koen Brams (director of the as Merleau-Ponty, W.J.T. Mitchell, Michel
Jan van Eyck) and Dirk Pülthau (editor-in- Foucault, Gilles Deleuze, Jonathan Crary,
chief of De witte raaf), is a research project Jean-Luc Nancy, et al.
that investigates the work of the Belgian
film-maker Jef Cornelis who worked for Read more Friday 31 March / Monday 3 July /
the Flemish non-commercial broadcast- Wednesday 13 December
ing company and realised an impressive
body of work. The stylistic qualities of the
films are analysed and the unique docu-
mentary value of the films on fine art, The pensive image
architecture and literature as well as the During the bi-weekly seminars the participants did
extraordinary working circumstances. a close reading of texts in combination with a presen-
Brams and Püthau have conducted a tation of visual material (photography, painting, film)
number of interviews with Jef Cornelis related to the specific theme. The first seminar was
and his closest collaborators. In 2006 an introductory lecture by Hanneke Grootenboer on
three of these interviews were published. the thought of painting in relation to perception and
The interview concerning Mens en agglom- deception in trompe l’oeil paintings. The next seminars
eratie (1966), Waarover men niet spreekt focused on the idea of the image staring back at us,
(1968) and De straat (1972), all films on ar- based on a reading of texts by James Elkins and W.J.T.
chitecture, was published in Open/Cahier Mitchell, two of the most prominent proponents of the
over kunst en het publieke domein. The inter- idea of reciprocal vision and of the idea that the image
view on Sonsbeek buiten de perken (1971) produces thought visually, rather than linguistically.
and other television films on art events Elkins develops the idea that the image has its own
was published in Jong Holland; that on the gaze, which functions without eyes, and thus develops
literary films that were made around 1980 its own specific form of vision and subjectivity. In a
was published in De witte raaf. later session some of these questions were re-consid-
The interviews mentioned are based on ered using texts by Jean-Luc Nancy. The gap that lies
extensive research in the records of Jef between image and text, or between the seeable and
Cornelis himself as well as in the records the sayable was further taken up during a session on
of the Flemish public broadcasting coop- Deleuze and Foucault.
eration. Other reading sessions focused on the use of the
human face in images and on how this face presents
Read more Monday 19 June / Monday 18 itself to the viewer (Levinas, Deleuze), on different
September modes of portraiture (with texts by Marin and Poe),
or on the notion of the pose and the gaze in photo-
graphy, in relation to the work of Rineke Dijkstra.
The research project also took into consideration the
The pensive image changing status of the ‘thinking image’ with the rise
The pensive image is a research project ini- of technological media like photography and cinema,
tiated and organised by Hanneke Grooten- whose automation of perception gave rise to new
boer (advising researcher Theory). The modes of ‘attentiveness’ and a wholly ‘new optical
project starts off from the hypothesis unconscious’ (Jonathan Crary, Walter Benjamin).
that images are thoughtful, implying not There were seminars on Nancy, Bazin and Blanchot,
only that they can communicate meaning and on the relation between photography and death.
or tell stories, but also that they are able Another session was devoted to Vivian Sobchack’s
to reflect on their own nature and status phenomenology of cinema, which theorises the
as images. More specifically, the research film itself as a subjective, thinking and intentionally
project wants to take further the idea of acting agent.
the image returning our gaze, looking
back at us. How can we incorporate this
‘being seen’ into our ideas on vision and
looking that have been mostly based on
monocular and uni-directional models of
seeing? And where exactly does the gaze
reside when it is not restricted to ‘the eye
of the beholder’? In trying to get away
from the dominant rhetoric of vision and
visibility, the research project has been
Tuesday 21 February
Barbara Formis 1976 / Italy
Film screening Researcher Theory
Barbara Formis’ research focuses on the aesthet-
The cut (2006) ics of ordinary gestures. By analysing different
Geoffrey Garrison artistic practices, such as performance art, walk-
ing art, Fluxus and happenings, she attempts to
Venue Jan van Eyck Academie, Maastricht, NL unveil the aesthetical potential of banal move-
ments and everyday attitudes. She is particularly
interested in comparing painting and staging
Fine Art (mise-en-scène) as procedures that mark ges-
tures without transforming them into spectacles.
The Cut is a circa twenty-minute video made by Her philosophical approach links Merleau-Pon-
Geoffrey Garrison (researcher Fine Art 2004-2005) ty’s phenomenology to Wittgenstein’s concept of
which condenses Garrison’s research on the history of language games. Thus, she wants to develop an
the John Huston film Freud the secret passion (1961), understanding of art and life as equal and analo-
starring Montgomery Clift, Larry Parks and Susannah gous experiences, unbound from the hierarchy
in which classical aesthetics places them. Rather
York. Freud the secret passion is a little-known bio-
than concentrating her analysis on aesthetical
graphical film presenting the discovery of psycho- strategies that exploit everyday gestures by mak-
analysis as a kind of detective story. The screenplay ing them expressive, poetical and metaphorical,
was based on a long, complex scenario written by she prefers to investigate strategies of diminution,
Jean-Paul Sartre and subsequently rewritten by a slowness, repetition and the absenting of narra-
series of Hollywood screenwriters. Working through tive. In her opinion, it is only these latter practices
which are fully capable of presenting the ordinari-
the layers of material left out, erased, forgotten and ness of everyday gesture. Furthermore, she is de-
repressed, another narrative emerges – a narrative veloping a genealogy of such aesthetic strategies
that deals with the traces of Freud within the popular by examining the theory of disinterestedness in
imagination, with fiction, memory, and history, and 17th and 18th century aesthetics and its implicit
with the unavoidable complexities of translation and development of a concept of ‘ordinary indiffer-
ence’.
communication. This is the narrative that Garrison
used as a basis for his screenplay for The cut. Organisation events
The video presents six scenes in which four actors — Le geste. Concept et phénomène [Gesture.
act out fragments of the film’s history and the history Concept and phenomenon]. (15 December). With
Fabian Goppelsroeder. Paris, FR: Maison Heinrich
of the major protagonists: an FBI agent interrogates
Heine, Cité International Universitaire de Paris.
John Huston about his relationship to communism, — Thinking through the body. One-day workshop on
Marilyn Monroe complains of sleeplessness and the somaesthetics, body experience, art and
disappointments of her marriage, Montgomery Clift philosophy. (4 November). Maastricht, NL: Jan
van Eyck Academie.
argues with John Huston about the portrayal of Publications
Sigmund Freud, John Huston confronts a film pro- — For an acognitive culture. The Fluxus art of Henry
ducer about the editing of his film, a priest criticises Flynt [Pur une culture acognitive. L’art Fluxus
Huston’s plans for a film on Freud, and Elizabeth Taylor d’Henry Flynt]. In: Philosophoire.
— Indiscernible gestures. For a phenomenological
comforts Clift as he descends into a pit of self-doubt aesthetics. In: International journal of the
and substance abuse. humanities, 3 (5), pp. 1-7.
While a classical film narrative usually unfolds along Discussions/debates
a linear path, focusing on the deeds of a few primary — Quotations of women. (chairperson).
With Alice Chauchat, Géraldine Gourbe &
protagonists and moving towards the resolution of a Rebecca Schneider. In: PSi#12 conference:
conflict, the screenplay at the basis of The cut follo- performing rights. (14 – 18 June). London, GB:
wed strands of narrative going in multiple directions; School of English and Drama, Queen Mary,
University of London.
they encompass the stories of many characters while
simultaneously focusing on the lacunae in the domi- — Pour une performance ordinaire [For an ordinary
nant narrative. performance]. In: Journée performance.
(20 December). Cergy, FR: Ecole Nationale
Supérieure d’Arts de Paris-Cergy.
— Pour une philosophie des gestes [For a philosophy
of gestures]. In: Le geste. Concept et phénomène.
(15 December). Paris, FR: Maison Heinrich Heine,
Cité International Universitaire de Paris.
— Du champ ouvert par Duchamp [On the field
opened by Duchamp]. In: Philosophy and
contemporary art seminar. (23 November).
Paris, FR: École Normale Supérieure.
— Introduction. (4 November). In: Thinking through
the body. One-day workshop on somaesthetics,
body experience, art and philosophy. Maastricht,
— Response to Agnès Lontrade. (4 November).
In: Thinking through the body. One-day workshop
on somaesthetics, body experience, art and
philosophy. Maastricht, NL: Jan van Eyck
Academie.
— L’ordinaire comme experience esthétique
[The ordinary as aesthetic experience]. In: John
Dewey, l’esthétique et l’art. (23 October). Paris,
FR: Columbia University; Paris, FR: Université de
Paris I, Sorbonne.
— The filiations of totemism [La filiation du
totémisme]. In: Les danses des autres. (3 April).
Paris, FR: Collège International de Philosophie.
— Feminism and animal postures in the aesthetical
representations of the body [Féminisme et
postures animales dans les représentations
esthétiques du corps]. In: Seminar of Didier
Dauphin. (23 March). Pessac, FR: Université
Michel de Montaigne Bordeaux 3.
— Reversing the body, undoing the frame. The beauty
of the back. (23 February). Maastricht, NL: Jan van
Eyck Academie.
— The lifeart process in dance. (3 – 4 March).
Two-day workshop with Anna Halprin.
Paris, FR: Canal Danse.
— Workshop on Rudolf Laban and George
Ivanovitch Gurdjieff. (24 – 25 February). In:
Geometry in free space. With Norman Bryson,
Anna Carlisle, Natascha Hagenbeek & Maja
Moser. Organised by the Jan van Eyck Academie.
Utrecht, NL: Het Gebouw van Stanley Brouwn.
Thursday 23 February
Presentation
Robert Stein
As part of The tomorrow book [Tuesday 10 January]
Presentation
Reversing the body, undoing the frame:
the beauty of the back
Barbara Formis
Seminar
lesson of 17 January 1962 [Thursday 26 January]
Body
Barbara Formis (researcher Theory) gave a presenta-
tion on reversing the body. “The neck is a mystery for
the eye,” Paul Valéry claimed. We might as well add the
back, in that both have a provocative effect when rep-
resented or simply seen: the viewer wants to complete
her vision by seeing the face so that she can identify the
person. The neck and the back are impersonal, yet this
lack of individuality stimulates and magnifies the be-
holder’s imagination. In her paper Formis sketched a
history of ‘reverse-presentations’ of the human body
via the analysis of particular paintings from the 17th
century (Dutch Masters, Pieter de Hooch, Gerard ter
Borch and Gabriel Metsu, in particular), some modern
paintings (Gustave Caillebotte and Edgar Dégas) and a
form of recent performance (Xavier Le Roy). In her
analysis these reverse-presentations work to distort
classical representation, overturn the frame and invali-
date the realm of the image; yet this is none other than
the purpose of phenomenology itself, as exemplified
by Merleau-Ponty’s idea of the ‘chiasm’. Phenomeno-
logy avant la lettre, the portrayal of the back works at
undoing representation’s face-to-face.
Friday 24 February
Workshop
Politics and jouissance through the history
of philosophy [Saturday 28 January]
Lorenzo Chiesa, Oliver Feltham: introduction / Bernard
Baas: L’érection du citoyen et les bandes politiques /
Dominiek Hoens: reply / Oliver Feltham: Politique et
jouissance / Charles Talcott: reply / Lorenzo Chiesa:
Désir pur et jouissance: Antigone, Kant, Sade et l’histoire
de la philosophie dans l’éthique de la psychanalyse / Aaron
Schuster: reply
Sunday 26 February
Workshop, performance
Geometry in free space
Natascha Hagenbeek, Norman Bryson, Anna Carlisle,
Maja Moser, Susanne Ohmann
Concept Natascha Hagenbeek
Venue Het Gebouw (concept by Stanley Brouwn), Leidsche
Rijn, Utrecht, NL
Fine Art
Geometry in free space is a product of artist Natascha
Hagenbeek’s research into the work of Pim Conradi,
one of her so-called ‘collaborators on authenticity’,
who disappeared suddenly, leaving behind his work
of geometric models, holograms, texts and tools.
Going through his texts, Natascha Hagenbeek
(researcher Fine Art 2004-2005) found that one of
Pim’s goals was to make a simple do-it-yourself kit
of the geometric Tripenta globe, an autonomous
personal shelter that everyone can build to live in
symbiosis with their surroundings.
Pim’s ideas about geometry in free space have led
Natascha Hagenbeek to the work of visionary architect
Buckminster Fuller, Yayoi Kusama and Emma Kunz
and, eventually, to the dance and movement-related
work of Rudolph von Laban and George Ivanovitch
Gurdjieff.
Natascha Hagenbeek is a strong believer in identifi-
cation and experience, as opposed to appropriation.
Hence, she organised two closed workshops, to which
she invited specific people from the disciplines of
science, art and dance, to experience the work of
Laban and Gurdjieff. The workshops took place in
the Paper Dome, designed by Shigeru Ban. On 24
February Anna Carlisle (GB) gave a Laban workshop
and on 25 February Maja Moser (DE) gave a workshop
in Gurdjieff movements.
On the third day, on 26 February, the public presen-
tation of Geometry in free space featured lectures on
the work of Laban and Gurdjieff by choreographer
and Laban expert Anna Carlisle, and by art historian
Norman Bryson (US); a display of the research
material on geometry in free space; and a showing of
a choreography / performance study based on pictures
of un-selfconscious behaviour in public space by
Natascha Hagenbeek, in collaboration with Susanne
Ohmann. The presentation took place in Stanley
Brouwn’s geometric building Het Gebouw.
Geometry in free space was produced in collabora-
tion with the Jan van Eyck Academie (www.janvaney-
ck.nl) and Beyond (www.beyondutrecht.nl).
Monday 27 February
Tuesday 28 February
Wednesday 1 March
Thursday 2 March
Friday 3 March
Saturday 4 March
Sunday 5 March
Monday 6 March
Seminar
Images looking back
Hanneke Grootenboer
As part of The pensive image [Monday 20 February]
Marc De Kesel 1957 / Belgium

Advising researcher Theory / CLiC
Marc De Kesel conducts research into theories of
the gift, the problematic status of modernity/
post-modernity, and the question of the subject
within that modernity. He has published on con-
temporary continental philosophy, psychoana-
lysis, art theory: articles on Bataille, Derrida,
Žižek, de Certeau, Blanchot, Nancy, Lacan and
others. In 2003, together with Dominiek Hoens,
Marc De Kesel set up CLiC: The Jan van Eyck Cir-
cle for Lacanian ideology Critique.
Organisation events
— Lacan and/as atheology. (8 June). With
Christopher Gemerchak, Johan Schokker &
Aaron Schuster. In: International association for
philosophy and literature conference. Freiburg,
DE: University of Freiburg.
Publications
— Einleitung. In: Dominiek Hoens & Marc De Kesel
(Eds.). Wieder Religion? Christentum im
zeitgenössischen kritischen Denken. Lacan, Žižek,
Badiou u.a., pp. 7-12. Vienna, AT: Turia & Kant.
— Hysterisch pleidooi voor Lacaniaanse theory.
In: HTV De IJsberg, 63, pp. 6-7.
— Pasolini, Badiou, Žižek und das Erbe der
Christlichen Liebe. In: Dominiek Hoens & Marc
De Kesel (Eds.). Wieder Religion? Christentum im
— Religion als Kritik, Kritik als Religion. Einige
Reflexionen zur monotheistischen Schwäche der
zeitgenössischen Kritik. In: Dominiek Hoens &
Marc De Kesel (Eds.). Wieder Religion?
Christentum im zeitgenössischen kritischen
Denken. Lacan, Žižek, Badiou u.a., pp. 15-39.
Vienna, AT: Turia & Kant.
— By way of introduction to “L’immanence: une
vie…”. In: De witte raaf, 119, p. 16.
— Wenn die Liebe das Gesetz ist. Über die
Verzückung der Lol V. Stein. In: Dominiek Hoens
& Marc De Kesel (Eds.). Wieder Religion?
Christentum im zeitgenössischen kritischen
Denken. Lacan, Žižek, Badiou u.a., pp. 269-282.
— Ze komen zonder noodlot, zonder motief, zonder
ratio. Nomadisme in Deleuze en in het
deleuzisme. In: De witte raaf, 119, pp. 1-4.
Editorials
— Dominiek Hoens & Marc De Kesel (Eds.). Wieder
Religion? Christentum im zeitgenössischen
kritischen Denken. Lacan, Žižek, Badiou u.a..
— “Absoluut weten”. Over Gilles Deleuzes
ontologie. (29 May). In: Kritische metafysica: Gilles
Deleuze. Brussels, BE: Koninklijke Vlaamse
Academie van België.
— Manzoni with Bataille: Scatologically writing
aesthetics. In: Opening week 2006.
Academie.
— On identification. Reading Lacan, seminar IX.
(9 December). With Tony Brown, Lorenzo Chiesa,
Christopher Gemerchak, Tansy Hardy, Dominiek
Hoens, Ian Parker, Johan Schokker & Aaron
Schuster. Maastricht, NL: Jan van Eyck
Academie.
Online events
— TanGhent_fear: Inviting Horror. (3 March).
Organised by V2. Broadcast on: <http://www.v2.
nl/live>
Tuesday 7 March
Wednesday 8 March
Thursday 9 March
Seminar
Friday 10 March
Saturday 11 March
Launch
A reader
Stefanie Seibold
Venue Huis aan de Werf, Utrecht, NL (symposium
If I can’t dance, I don’t want to be part of your revolution)
Publishing
A reader, published by Stefanie Seibold (researcher
Fine Art 2004–2005) is a collection of disparate
materials, such as photos, newspaper articles,
drawings, posters, literary quotes, pop lyrics, propa-
ganda slogans, manifestos, samples, group projects,
collectives, and more. The material is organised
according to themes and principles of the markings
of sex and gender and particularly focuses on gestural
and performative values and their utopian potentials.
The pin-board becomes a poster made of images and
can be read like an image atlas. It is a visual archive
that stores and collects, activates and connects the
elements, and represents the idea of the performative.
Addressing an audience from different contexts,
the images function as a hyperlink to the history of
images, which express social expectations and thus
a means of artistic and political communication.
A reader represents a realm of desire dealing with
the development of strategies to make the normative
concepts of identity, bodies, sex and gender less than
natural. Seibold created an alternative space that
allows for a narration of different identities juxtaposing
contradictory elements to create non-linear, contin-
gent statements and query obsolete hierarchical forms
of organisation and prevailing power structures.
Seibold distrusts the simple, formally beautiful truth
and triggers a new one by creating new patterns of
recognition, parallel systems without a centre or
periphery.
Jacqueline Schoemaker 1969 / the Netherlands

Cuyvers, Maartje Dros, Jozua Zaagman and
students of the Design Academy Eindhoven.
Festivals/events
— The Euregion as transgression. In: Euregional
Forum Aachen. (16 – 18 November). With BAVO,
Maarten Vanden Eynde, David Hasse, Jos
Hermans. Lectures, debates, interviews, visual
presentations. Organised by the Jan van Eyck
Academie, Maastricht. Aachen, DE: Neuer
Aachener Kunstverein (NAK).
Sunday 12 March
Monday 13 March
Lecture
Astrid Wege
Tuesday 14 March
Lecture
Gerard Byrne
Wednesday 15 March
Thursday 16 March
Friday 17 March
Saturday 18 March
Sunday 19 March
Monday 20 March
Tuesday 21 March
Wednesday 22 March
Presentations, debates
Traces of autism
Wim Cuyvers, Cobi van Beek, BAVO (moderator)
Venue TENT, Rotterdam, NL
Lecture
Language with body and image
Noritoshi Hirakawa
Seminar
Traces of autism There are limits!), which scrutinised cultural influences

The project Traces of autism, headed by ad- on economic, political and managerial integration in
vising researcher Design Wim Cuyvers, the Meuse-Rhine valley. Her conclusions are primarily
intends to draw up an inventory of pub- negative: the European Union and municipal govern-
lic space in the Euregion Meuse-Rhine, ments have invested considerable amounts of money
based on ‘walks’ (on foot, by bike, car, in the Euregion, but the collaboration and integration
bus, train) through the region and follow- envisioned by this funding is hampered by cultural
ing strict parameters. Thus, during the re- differences and self-interest. Van Beek discovered that
search, the inner borders of the Euregion people in the Euregion often have negative opinions of
function as a reference line and a kind of one another, making it difficult for them to cooperate
reading axis. constructively. The various groups in the Euregion live
In his earlier research, Cuyvers approa- on islands of their own creation. According to van
ched cities through their public space by Beek, the region is an expensive administrative hobby,
taking extensive walks through them. with no concrete results. Working together in the
Without using existing historical data or Euregion primarily amounts to collectively accepting
scientific methods, he thus makes his funding in order to subsequently divide it, each party
own inventories of a city’s public space. going its way.
The advantage for Cuyvers is that his
method produces a quick reading, while
still remaining an authentic picture of a Fine Art
city’s public space. Cuyvers seeks out Noritoshi Hirakawa is of the opinion that language
spaces that have not been privatised or and the individual’s realm of perception are fundamen-
commercialised: the ‘non-spaces’ where tally linked. The individual’s reacting to language is
garbage accumulates, dead-end streets part of a cultural phenomenon that defines human
that harbour the needy, the powerless behaviour, body movements and body language.
and the rejected all serve as indicators Language is further reflected in images because the
of public space. In all cases Cuyvers tries individual unconsciously defines the perception of
to assume the role of the unknowing, the an image he or she receives. Hirakawa in this lecture
uninformed. He tries to put himself in the showed the relationship between visual and physical
place of those in need. Another indicator effects of language in different cultures and investi-
is provided by the patterns which appear gated where the limits of the field of recognition lie.
after observation of the opposite: leisure Noritoshi Hirakawa is an artist who specialises in
activities that assail public space. video, photography, dance, performance and philo-
Cuyvers’ research method is inspired by sophy and has lived in New York since 1993. He read
that of French educationalist Fernand Applied Sociology and has exhibited in more than 200
Deligny (1913-1996), who worked with places all over the world. He further published philo-
autistic youngsters. Language not being sophical essays and photo books.
a means of expression for people with
autism, Deligny hoped to learn by fol-
lowing and watching. Cuyvers sets out
to do much the same thing, to research
public space by scanning the physical en-
vironment and using drawings and notes
to analyse and understand the forms of
occupation and use that take place there.
Thus, the researchers on the project
were asked to execute Cuyvers’ method
of wandering around as an investigative
technique, their minds tabulae rasae.
Read more Thursday 23 March / Wednesday

27 September
Euregion
Traces of autism was first presented in March, in TENT
(Rotterdam, NL), and FLACC (Genk, BE). Project coor-
dinator Wim Cuyvers, sociologist Cobi van Beek and
criminologist Brice De Ruyver presented their research
into the Euregion Meuse-Rhine.
Cobi van Beek presented an outline of her study
Samenwerking? Er zijn grenzen! (Work together?
Thursday 23 March
Traces of autism [Wednesday 22 March]
Wim Cuyvers, Brice De Ruyver, BAVO (moderator)
Venue FLACC, Genk, BE
Euregion
A second presentation of the project Traces of
autism took place at FLACC. Supervisor Wim Cuyvers
and criminologist Brice De Ruyver presented results of
their research into the Euregion Meuse-Rhine.
Brice De Ruyver (legal criminologist and security
advisor of the Belgian Prime Minister) has done research
into cross-border crime in the Euregion. He found that
travelling groups of criminals from the former Eastern
bloc are increasingly harming the safety of citizens and
causing trouble. Since these criminals cleverly exploit
differences and ambiguities in regional, Euregional
and national policies, the problem can only be tackled
Euregionally, by cross-border collaborations, not by
abandoning the specificities of the respective policies
– whether national, provincial or local –, but by extending
existing basic structures in Belgium, the Netherlands
and Germany to the Euregion.
Friday 24 March
Saturday 25 March
Nikolaus Gansterer 1974 / Austria

Researcher Fine Art
The processes of translation and allocation con-
tinuously occur in our brain when we compose
thoughts and receive information. Thus, the act
of remembering and forgetting is a constant part
of the construction of our self-identity. In his
work Nikolaus Gansterer explores these pheno-
mena of translation and transfer, in which anto-
nyms such as analogue/digital, inside/outside,
image/reality, script/language are of central
importance. As means of artistic expression he
uses drawings, installations and sound-works
that function as models and maps of reality.
Focusing on the research and reconstruction of
processes within cultural communication and
social networks, Gansterer analyses forms of
visualisations and the way the diagrammatic
view is developed and used in contemporary
science and theory. He adheres to the idea that
we lack models that correlate with the complex
world we live in. Such a model could derive its
coordinates from concepts such as time, memo-
ry and microclimates. Gansterer studies the
correlation between things and looks for the
point of overlap where both science and contem-
porary art turn into a study of being.
Publications
— Silent dances. In: The Vos case. De zaak Vos. Der
Fall Vos. Mastering printed matter since 1985, p. 7.
Exhibitions
Dijkman, Olivier Foulon, Hatice Güleryüz, Paul
Hendrikse, Eric van Hove, Maria Iorio, Johanna
Kirsch, Will Kwan, Doris Lasch, Achim Lengerer,
Lene Markusen, Charlotte Moth, Gyan Panchal,
Falke Pisano, Ursula Ponn, Romana Schmalisch,
Megan Sullivan & Inga Zimprich. Organised by
the Jan van Eyck Academie. ’s-Hertogenbosch,
NL: Artis; Louvain, BE: Stuk.
— Riss/Lücke/Scharnier A. (23 November 2006 –
13 January 2007). With Achim Lengerer. Vienna,
AT: Galerie nächst St. Stephan / Rosemarie
Schwarzwälder.
— Potential dialog. (17 – 26 November). Nanjing, CN:
RCM Museum.
— Grounded. (28 October – 19 November). London,
GB: Event Gallery.
— Stained perception. In: X.Perimenta 06: Wahr/
falsch inc. (2 – 15 June). Vienna, AT: Prater
Planetarium.
— Profiler. (19 May – 2 July). Organised by Futura
Projekte. Prague, CZ: The Karlin Studios.
— Gezeichnet. (17 March – 27 August). St. Pölten,
AT: Niederösterreichisches Landesmuseum.
— Translecture [bioc]. (23 May). Vienna, AT:
Biocenter; Vienna, AT: Institute of Molecular
Biotechnology (IMBA).
— The basement lesson. (13 January). Maastricht,
Concerts
— The vegetable orchestra. (13 October). Venray, NL:
Schouwburg Venray.
— The vegetable orchestra. (12 October).
Oosterhout, NL: Theater de Bussel.
— The vegetable orchestra. In: Synch festival.
(6 – 8 July). Athens, GR: Benaki Museum.
— The vegetable orchestra. In: Singapore arts
festival. (7 – 9 June). Singapore, SG: Jubilee Hall.
— The vegetable orchestra. (30 March). Rome, IT:
Teatro Palladium.
— The vegetable orchestra. (24 March). Berlin, DE:
Postbahnhof.
— The vegetable orchestra. (31 January –
1 February). Genoa, IT: Teatro della Tosse.
Sunday 26 March
Monday 27 March
Megan Sullivan 1975 / United States

Researcher Fine Art
Outside of social or institutional demarcations of
culture, the artist becomes an ‘opaque’ identity,
in which his/her position as artist is a filter or acti-
vator for a process of cultural production. Megan
Sullivan has often examined her own identity in
relationship to an environment as ‘artist’, linked
with other biographical distinctions which might
question the constructs of the social role of ‘art-
ist’ in general. The result is often works (printed
books, drawings, video, objects, performances,
project spaces) in which the production process
itself, as well as its reception, is staged as a frag-
ile, questionable, or enigmatic situation.
Sullivan is interested in pushing her relationship
to identity and production further, and in devel-
oping a construct in which the production pro-
cess involves a very rigorous and empirically
challenging approach, while its product might
almost disappear.
Sullivan’s plan at the Jan Van Eyck Academie is to
set up a relationship with a nearby riding school,
to become part of the environment (as assistant
or intern), to directly and physically participate in
the daily activity, and to use it as a construct to
examine her own relationship to the situation as
‘artist’.
Projects
— The Hunter Seat.
Organisation events
— FN-Hunterklasse. (29 September – 3 October).
With Wolfgang Wernicke. Seminar and riding
competition. Wenddoche, DE: RFV Wenddoche.
Publications
— Germans are reserving judgement on
showhunters. (May). Article about the final of
Land Rover Hunter Cup. In: Chronicle of the horse.
— Jumping over borders. In: BAVO (Eds.). Euregional
Forum Newspaper. Maastricht, NL: Jan van Eyck
Academie.
— Sandy. (21 December). In: Meerrettich on ice.
Berlin, DE: Volksbühne.
— The Hunter Seat. In: Opening week 2006.
Academie.
Exhibitions
Lasch, Achim Lengerer, Lene Markusen,
Charlotte Moth, Gyan Panchal, Falke Pisano,
Ursula Ponn, Romana Schmalisch & Inga
Zimprich. Organised by the Jan van Eyck
Academie. ’s-Hertogenbosch, NL: Artis; Louvain,
BE: Stuk.
— Contra golpe. Reenacting a failed operation.
(1 – 4 October). Berlin, DE: Instituto Divorciado.
— Keep passing the open windows or happiness.
(20 September – 28 October). With El Arakawa,
Agnieszka Brzezanska, Steven Claydon, Martin
Soto Climent, Charlie Hammond, Anke Kempkes,
Edwin Laliq & Christopher Williams. Cologne, DE:
Galerie Gisela Captain.
— C’est la vie – Liberty! (6 May – 14 June). New York,
US: Broadway 1602.
— The galleries show / Galerie Meerrettich.
(19 – 23 April). Antwerp, BE: Extra City.
Showings
— The birthplace of Sol LeWitt (is Hartford,
Connecticut). (12 January). In: Opening week
2006. 8 min. Maastricht, NL: Lumière.
— Film screenings. In: Opening week 2006.
(9 – 13 January). Maastricht, NL: Lumière.
Tuesday 28 March
Wednesday 29 March
Thursday 30 March
Friday 31 March
Symposium
The pensive image
Hanneke Grootenboer: introduction / James Elkins:
Can pictures think? / Ils Huygens: reply / Peter Piller:
Untitled / Charlotte Moth: reply / Rineke Dijkstra:
interview
The pensive image

This symposium comprised lectures and presentations
by James Elkins, Peter Piller and Rineke Dijkstra.
Elkins’ lecture Can pictures think? dealt with core issues
of the research project. He discussed the intention and
subjectivity of an image as one that differs from the
painter’s and criticised the idea that all thinking is based
on linguistic structures. In the second part he looked
into the question of how we can give the ‘pensive
image’ a voice and agency. And if the image can have
both, can it also be said to be alive?
Peter Piller is a photographer who collects photo-
graphs from newspapers and archives which present us
with what he calls ‘non-events’. He gave a presentation
of some of his work.
The symposium ended with a vivid discussion
between Hanneke Grootenboer and Rineke Dijkstra,
whose seemingly uncomplicated portraits acted as
interesting starting points with regard to a number of
issues related to the pensive image (the return of the
gaze, the relation between posing and seemingly
natural poses).
Saturday 1 April
Seminar, discussion
Does he deny to read these lives in a political way?
On Gus Van Sant’s Elephant (2003)
Stephan Geene
Film and television

In his seminar about Gus Van Sant’s Elephant (2003)
Stephan Geene argued that Van Sant took an opposite
approach from Michael Moore’s who politicised the
dramatic event that saw high school students shoot
fellow-students in Columbine. In his film Van Sant
shows everyday life in a sensitive and restrained way
and does not take a stance concerning the causes of
the act. The film observes in a low-key way and creates
subjectivities that are put on the line.
Irene Lucas 1973 / Spain

and vis-à-vis its framework. FO/GO Lab intends
to set up networks with other feminist artist and
producers.
Editorials
— Angelika Bartl, Ruby Sicar, Leyla Arzu Kececi,
Irene Lucas & Elisabeth Penker (Eds.). [fem.]
Organisation events
Reviews
In: Sonnendeck , 02/06.
dem Thema Migration. In: Stuttgarter Zeitung, 35,
p. 41.
— Supervision of paradise. Vienna, AT: Die
Akademie der bildende Künste Wien.
Academie.
Exhibitions
— Compromis del Territori. Valencia, ES.
— Supervision of paradise. (21 – 24 April).
With Ruby Sircar. Madrid, ES: El Ojo Atómico.
Sunday 2 April
Monday 3 April
Tuesday 4 April
Wednesday 5 April
Thursday 6 April
Presentation
Power plays: interior desires, exterior spaces
Liesbeth Huybrechts, Ive Stevenheydens
Friday 7 April
Saturday 8 April
Sunday 9 April
Jozua Zaagman 1981 / the Netherlands

Cuyvers, Maartje Dros, Jacqueline
Schoemaker and students at the Design
Academy Eindhoven. Maastricht, NL: Jan van
Eyck Academie.
designers. With Wim Cuyvers, Maartje Dros &
Anna Heinsbroek. Bucharest, RO. Published
on: <http://bukresh.blogspot.com/2006/04/
Exhibitions
— Graduation galeries 2006. In: Dutch design
week. (21 – 29 October). Eindhoven, NL:
Design Academy. (Exh. Cat).
Design
— Design of office interior. Eindhoven, NL:
Woonbedrijf Eindhoven.
— Tree house. (personal commission).
Eindhoven, NL.
Monday 10 April
Seminar
What is a face?
Hanneke Grootenboer
Tuesday 11 April
Aaron Schuster 1974 / United States
Researcher Theory / CLiC
What can psychoanalysis contribute to our un-
derstanding of the meaning of art and the nature
of creativity? The perspective on art opened by
Freud’s research still elicits controversy; psycho-
analytically inspired art criticism is often accused
of a psychological reductionism that ignores the
formal properties of specific artworks, as well as
the internal logic of art history. Art itself seems all
too happy to take on psychoanalytic themes in a
way that frequently appears naïve or inartistically
didactic. Schuster, then, will try and define the
uniqueness of Freud’s approach to the question
of art, and then to examine the conceptual diffi-
culties this approach raises within the context of
psychoanalytic theory. The problem is thus two-
fold: to determine the enduring originality of a
Freudian perspective on art, and to show how
this perspective reflects back into psychoanalytic
theory, posing new (and ultimately unresolved)
problems for Freud himself.
Aaron Schuster develops this problematic by
confronting Freud’s theory of sublimation with
the revisions and innovations of later psychoana-
lysts, including Klein, Lacan, Laplanche, Wajc-
man on the one hand, and with the phenomeno-
logical approach to artistic creation proposed by
Merleau-Ponty and Paul Valéry, on the other. Is
sublimation still a viable concept for understand-
ing the logic of current artistic practices?
Projects
— Politics and jouissance.
Organisation events
— Identity and subjectivity. Workshop on Lacan’s
seminar IX l’identification. (9 December). With
Tony Brown, Lorenzo Chiesa, Christopher
Gemerchak, Tansy Hardy, Dominiek Hoens, Marc
De Kesel, Ian Parker, Johan Schokker. Maastricht,
Publications
— 9ème triennale balte de Vilnius. In: Frog, 3.
— The all seeing eye. Pierre Busmuth and Michel
Gondry. In: Frieze, 97, p. 163.
— Enkele fascinerende opmerkingen over het
interessante. In: Yang, 42 (4).
— From monkey to man. Engels and Freud on
nature. In: Facts & comments, 1, pp. 35-48.
— It’s a bird, it’s a plane, it’s…Slavoj Žižek [Tai
paukstis, tai lektuvas, tai… Slavojus Žižekas].
In: CAC Interviu, 5, pp. 47-48.
— The manifesta decade. In: Frieze, 101.
— More is Lester. On the cinematic work of Gabriel
Lester. In: How to act. Rotterdam, NL: Veenman
Drukkers.
— Over het nut en nadeel van Deleuze voor de kunst.
In: De witte raaf, 119, pp. 8-9.
— Tai paukstis, tai lèktuvas, tai… Slavojus Zizekas /
Aaronas Schusteris kalbasi su kino re zisiere
Sophie Fiennes… [It’s a bird, it’s a plane, it’s…
Slavoj Žižek / Aaron Schuster interviews director
Sophie Fiennes about her documentary The
pervert’s guide to cinema [..]]. In: SMC interviu, 5,
pp. 4-6.
— Lacan on Kant’s transcendental aesthetic,
or psychoanalysis contra phenomenology.
(9 December). In: Identity and subjectivity.
Workshop on Lacan’s seminar IX l’identification.
— Aristotle’s God and Lacan’s enjoyment. Reading
seminar XX encore. (8 June). In: International
association for philosophy and literature
conference. Freiburg, DE: University of Freiburg.
— Response to Lorenzo Chiesa. (25 February).
In: Politics and jouissance through the history of
philosophy. Maastricht, NL: Jan van Eyck
Academie.
— The aesthetic revolution as condition of
psychoanalysis: Jacques Rancière’s anti-nihilist
Freud. (28 January). In: Politics and jouissance
through aesthetics. Maastricht, NL: Jan van Eyck
Academie.
— Art as symptom and/or sublimation. In: Opening
van Eyck Academie.
Discussions/debates
Christopher Gemerchak, Marc De Kesel, Johan
Schokker.
In: International association for philosophy and
literature conference. Freiburg, DE: University of
Freiburg.
Films/videos
— All wrong. Co-author of script.
Wednesday 12 April
Thursday 13 April
Friday 14 April
Saturday 15 April
Sunday 16 April
Sandra Fauconnier 1973 / Belgium

Researcher Design / Ubiscribe
Sandra Fauconnier wants to study the variety of
design principles and decisions that accompany
the creation and maintenance of so-called ‘par-
ticipatory web-based resources’ – web projects
whose main content stems from active participa-
tion and democratic input by users.
In 2006 Fauconnier observed and described the
spectrum of design-related aspects that have
guided a selection of ‘research cases’, from a very
broad design perspective. She also conducted
extensive bibliographic research on these as-
pects, combining theoretical and practice-based
insights.
In 2007, Fauconnier intends to select a choice
of interesting design aspects for in-depth analysis
and do more extensive research on those.
Furthermore, she wants to apply the findings of
her previous research in recommendations and
guidelines; firstly, for generic application in future
design practice and, secondly, for a number of
so-called ‘application cases’ or web-based pro-
jects which would greatly benefit from more
elaborated participation features.
Publications
— Copyright, open content and remix cultures.
In: Arie Altena & Sandra Fauconnier (Eds.).
Ubiscribe recent changes. Pervasive, personal,
participatory, pp. 33-38. Maastricht, NL: Jan van
Eyck Academie.
— Designing participation: The web design timeline.
In: Arie Altena & Sandra Fauconnier (Eds.).
Ubiscribe recent changes. Pervasive, personal,
Eyck Academie.
— Designing participation: The Dutch-language
Wikipedia. In: Arie Altena & Sandra Fauconnier
personal, participatory, pp. 55-57. Maastricht, NL:
Jan van Eyck Academie.
— Designing participation: The issue graph. In: Arie
Altena & Sandra Fauconnier (Eds.). Ubiscribe
recent changes. Pervasive, personal,
Eyck Academie.
— Writing tools. In: Arie Altena & Sandra Fauconnier
Editorials
— Arie Altena & Sandra Fauconnier (Eds.). Ubiscribe
recent changes. Pervasive, personal,
participatory. With Arie Altena, Claudia Hardi,
Jouke Kleerebezem & Inga Zimprich. Maastricht,
— Ubiscribe 0.9.0 book launch. (21 May). In: Jan van
Eyck Bookish Weekend. With Arie Altena, Claudia
Hardi, Jouke Kleerebezem & Inga Zimprich.
— Designing participation. (9 – 13 January).
— The part of the audience. (20 October).
In: Studiedag virtueel publiek en cultuur-
participatie. Antwerp, BE: University of Antwerp.
Discussions/debates
— Designing participation. (1 June). In: Seminar
social software. Brussels, BE: Vrije Universiteit
Brussel.
— Virtual values. (22 February). Thinktank 0.1.
With Roé Cherpac, Mauricio Corbalán, Jeanne
van Heeswijk, Elske Rosenfeld, Henrik Schrat &
Inga Zimprich. Published on: <http://alterfin.net/
congress/documentation/Conversation-
VirtualValues.zip>
Monday 17 April
Tuesday 18 April
Launch, discussion
Museum in ¿Motion? Conference proceedings
Wouter Davidts: Museum in ¿Motion?, publication (1979) /
Carel Blotkamp: Museum in ¿Motion?, publication (2005) /
Diana Franssen: De Straat, exhibition Van Abbemuseum
(1972) / Koen Brams: De Straat, film Geert Bekaert & Jef
Cornelis (1972) / Vinca Kruk: Presentation of Museum
in ¿Motion? Conference proceedings / Bart Verschaffel
(moderator)
Venue Van Abbemuseum, Eindhoven, NL
Museum tion to open up the ideas “beyond the museum to

This CD-ROM publication, edited by Wouter Davidts the television network”. Cornelis proposed a “con-
(architect and theoretician) and designed by Vinca tinuous live projection”. No collaboration, however,
Kruk and Adriaan Mellegers (researchers Design was established. By referring to the beginning and
2004-2005), contains the proceedings of the confer- ending of the film De Straat Koen Brams showed
ence Museum in ¿Motion?, which took place on 12 & that the exhibition and the film have little in common,
13 November 2004 at museum Het Domein in Sittard apart from the subject matter. Vinca Kruk presented
and the Jan van Eyck Academie in Maastricht. A choice the Museum in ¿Motion? conference proceedings.
was made to digitally support the conference acts, Next, a panel discussion ensued with Carel Blot-
as this made it possible to put together a low-budget kamp, Koen Brams and Wouter Davidts as parti-
publication, both in terms of production and distribu- cipants and Bart Verschaffel as moderator.
tion. The digital interface, however, is shell to a fully- The event was jointly organised by the Jan van Eyck
fledged book. The user can either navigate through the Academie, museum Het Domein and the Department
papers digitally or choose to create a material copy by of Architecture & Urban Planning of the University
printing them. of Ghent (UGent) and subsidised by the Mondriaan
The Museum in ¿Motion? conference intended to Foundation and the Province of Limburg.
trace and reassess the history of the critical correlation
between contemporary art and the museum, to chart
the various institutional responses, and to frame them
within the broader context of socio-political changes.
In that sense, the conference did not focus on the
future of the museum, but on its present and recent
history: speakers discussed the historical shifts in the
issues and themes that have directed the ‘museum
discussion’, such as the institutional mise-en-scène
(Alan Wallach), public appeal (Camiel van Winkel),
architectural investment (John Welchman), institutio-
nal critique (Christian Kravagna) and artistic mobility
(Johanne Lamoureux). They also reflected on the
notion of movement (Andrea Phillips, Naomi Stead
and Joel Sanders) and studied the contemporary
relevance and significance of the notion of typology
(Christoph Grafe, Wendy Meryem Kural Shaw and
Teresa Stoppani & Lieven De Boeck). The CD-ROM
also contains the results of the fictitious architecture
competition that was set up: three teams of artists
and architects (Fün Design Consultancy, Office, One
Architecture) were invited to design ‘their’ museum;
the presentations and the jury discussion were staged
as a ‘live event’, an alternative format to discuss the role
and significance of architecture – a discursive product
in its own right – within the museum. It further contains
reflective texts by Judith Barry, Bart Verschaffel and
Tristan Weddigen, who were respondents at the con-
ference.
Carel Blotkamp, Koen Brams, Wouter Davidts,
Diana Franssen, Vinca Kruk and Bart Verschaffel
took part in the launch of the CD-ROM at the Van
Abbemuseum. Wouter Davidts discussed the value
of the Museum in ¿Motion? publication of 1979. Art
historian Carel Blotkamp assessed the new Museum in
¿Motion? publication and compared the two. Diana
Franssen, head of the library at the Van Abbemuseum,
discussed De straat, an exhibition that was organised
in the Van Abbemuseum in 1972. In relation to that,
Koen Brams (director Jan van Eyck) gave an analysis
of De Straat, the film that Jef Cornelis made with Geert
Bekaert in the same year. Jean Leering curated the
exhibition De straat – Vorm van samenleven that was
shown at the Van Abbemuseum from 2 June until 24
September 1972. The film De Straat, realised by Jef
Cornelis and Geert Bekaert, was broadcast on 14
September 1972. At an early stage, Leering, Cornelis
and Bekaert had contacts regarding the development
of the exhibition and television film. The men even ex-
changed stimulating ideas. Bekaert made the sugges-
Wednesday 19 April
Logo Parc non-stop meeting
Daniël van der Velden / Koen Brams: De straat (1972)
by Jef Cornelis (film screening) / Realities: united (urban
research office from Berlin) / Katja Gretzinger / Jeroen
Boomgaard, Henk de Vroom / Gon Zifroni / Disturb
(urban and architectural research office from Brussels) /
Matthijs van Leeuwen / Rafael Lozano Hemmer /
Matteo Poli
Seminar
lesson of 28 March & 4 April 1962 [Thursday 26 January]
Logo Parc their homes. The function of the street, of the home
Logo Parc is a research project that looks and the working environment is marked off – there are
into design for public space. It mainly no in-between spaces left, nothing but trajectories.
focuses on the Zuidas (South Axis) in Lectures and presentations were held by: Daniël
Amsterdam, the new economic heart of van der Velden; Realities: united (urban research
Amsterdam, and its ‘symbolic’ and ‘dyna- office, Berlin); Jeroen Boomgaard and Henk de
mic’ value. The project researchers make Vroom (researchers on public art policy at Zuidas
proposals to consider the urban public Amsterdam); Gon Zifroni (spatial and architectural
space – which, in the case of the Zuidas, designer, researcher Logo Parc); Disturb (urban and
is typified as post-public, since it is a pol- architectural research office from Brussels); Rafael
icy-making city – as a new type of space. Lozano Hemmer (artist, Madrid/Montréal) lecture
In the context of globalisation, this could via video conference from Montréal; Matteo Poli
be a space where old urban laws would (architect, editor, researcher Logo Parc).
not comply. The Zuidas has no history,
but does have connections; the place is
anchored in a network. This space is only
public in a passive sense, since there is
little social traffic. Relations and connec-
tions are used virtually. Does a new de-
sign task lurk in the post-public space?
Logo Parc is trying to give shape to this
task. The research shows that challeng-
ing ideas and strategies about public
space and urban expectations are badly
needed. Logo Parc considers proposals
from four programmatic layers in the
public domain: landscape, communica-
tion, social life and virtuality. These ele-
ments are essential ingredients for a 21st
century post-public space that engenders
new ways of public behaviour. The public
space potentially portrays the symbolic
dimension of this behaviour.
Advising researcher: Daniël van der Velden.
Researchers: Katja Gretzinger, Matthijs van
Leeuwen, Matteo Poli, Gon Zifroni.
CITY
At the first semi-public Logo Parc research meeting
an inspiring array of both emerging and established
figures from the arena of architectural and urban re-
search, public art, and activism were brought together.
The goal of this meeting was to achieve a kaleidoscope
of urban visions, rather than agreement or a single
vision. De straat (The street), a 1972 documentary
directed by Jef Cornelis and written by Geert Bekaert
was screened. In this film Jef Cornelis evokes the dete-
rioration of the street, once public, into a fragment of an
unnatural, ruthless production system. The street has
turn into – to use a term by Le Corbusier – a machine
of movement, equipped to make traffic run smoothly.
The street in its original and spontaneous form, as a
breeding ground for new life, is restrained. The effi-
ciency controlling the traffic grid does not merely
affect the existing living area, but also the form and
pattern of new living. Residential areas have turned
into traffic zones, inhabitants are pushed back into
Thursday 20 April
Presentation
Bonne esperance, maitlands, cheviot place
Paul Hendrikse
Friday 21 April
Saturday 22 April
Workshop
Politics and jouissance through science 2 [Saturday 28 January]
Lorenzo Chiesa: introduction / Bernard Burgoyne:
The inertia of meaning / Johan Schokker: reply / Justin
Clemens: Man is a swarm animal / Chris Gemerchak:
reply / Dominiek Hoens: A science of the subject?
Badiou and Kierkegaard, jouissance and infinity /
Charles Talcott: reply
Sunday 23 April
Monday 24 April
Seminar
Authorship as genre: reading Robert Altman’s The player
Helmut Draxler
Seminar
The use of portraits
Hanneke Grootenboer
Lecture
The logic of sensation in film aesthetics: Sam Fuller’s
Improper communities
Drehli Robnik
Film and television

In his lecture Authorship as genre: reading Robert
Altman‘s The player, Helmut Draxler argued that
within a series of films that deal with the destiny of
Hollywood screenwriters, Robert Altman’s The player
(1991) is the odd one out. The film does not focus on a
screenwriter and the heroic nature of the profession,
but on a corporate executive who assesses the scripts
and selects some of them for production. The writers
become an anonymous mass, whereas the focus is on
the corporate executive and his fatal act. The executive
turns out to be only a character in a film that unfolds
before our eyes.
Tuesday 25 April
Seminar
Film theory since the 60s in the light of biopolitics
Sabeth Buchmann
Lecture
Kommando Otl Aicher
Alexander Negrelli
Venue Jan van Eyck Academie, Maastricht, NL Lorenzo Chiesa 1976 / Italy
Live improvised music/noise The aim of Lorenzo Chiesa’s proposed research
The same girl was twofold: to carry out a thorough analysis of
Jacques Lacan’s notion of the ‘discourse of the
Gilles Aubry, Nicolas Field capitalist’ and to compare Lacan’s fragmentary
treatment of capitalism and its ideology with the
Venue Jan van Eyck Academie, Maastricht, NL more systematic Marxist and post-Marxist
approaches offered by Louis Althusser and Alain
Badiou. This detour through the work of more
openly political thinkers will ultimately allow
Film and television Chiesa to venture beyond the restricted domain
During the 1960s and 1970s the linking of semiology, of psychoanalytical theory in a critique of the he-
Marxism and psychoanalysis became the new founda- donistic ideal of current capitalism. By also taking
tion of critical film theory, which queried the assump- into consideration contemporary ‘mass-culture’,
he aims to investigate the manifold reasons
tion that cinema is a mere mirroring or reproduction. which enable Lacan to suggest that, in our late-
Moreover, the theory regarded cinema as a system capitalistic era, the ideological imposition of hap-
of signs and codes and, consequently, as a signifying piness emerges as the most determining ‘politi-
practice of semiotic production which correlates cal factor’ and, at the same time, necessarily
incidentally (not mimetically with everyday social life). entails the fact that ‘everybody is identical to
everyone else’. More generally, Chiesa intends to
Such an understanding was the condition to see cine-
investigate the nature of the distinctive links
ma as a production with idiosyncratic rules, reproduc- between the capitalistic ideological imperative
ing reality and also constituting it. The central question which, according to Lacan, enjoins us to enjoy
of the lecture was whether and to what extent this and two other hegemonic imperatives of today’s
understanding of cinema can be linked to discourses consumer society, namely those which order us
on modern bio-power. to purchase and to learn or know.
Projects
— Politics and jouissance.
Organisation events
— Politics and jouissance. (28 January, 25 February,
22 April). Maastricht, NL: Jan van Eyck Academie;
Paris, FR: American university of Paris.
Publications
— Contemporary Italian thought. In: Diacritics
(special edition).
— Entries on Jacques Lacan and Alain Badiou.
In: J. Wintle (Ed.). New makers of modern culture.
London, GB: Routledge.
— Lacan with Artaud. J’ouïs-sens, jouis-sans,
jouis-sens. In: Slavoj Žižek (Ed.). Lacan. The silent
partners. Verso.
— Pasolini and the ugliness of bodies. In: L. Polezzi &
C. Ross (Eds.). In corpore. Rutherford, US:
Fairleigh Dickinson University Press.
— Pasolini, Badiou, Žižek und das Erbe der
Christlichen Liebe. In: Dominiek Hoens & Marc
De Kesel (Eds.). Wieder Religion? Christentum im
— Le ressort de l’amour. Lacan’s theory of love in his
reading of Plato’s symposium. In: John Sellars
(Ed.). Angelaki (special edition: Encounters with
ancient thought), 12 (2).
— Review of recent works on Antonio Gramsci.
In: Historical materialism, 14.
— Tragic transgression and symbolic re-inscription:
Lacan with Lars von Trier. In: Angelaki, 12 (1).
Translations
— Aristotle’s Dream. In: Angelaki, 12 (2).
— The discourse of the capitalist and the discourse of
the democrat. With Alberto Toscano. Oxford, GB:
St Hilda’s College.
— Introduction. (22 April). In: Politics and jouissance
through science. Maastricht, NL: Jan van Eyck
Academie.
— Désir pur et jouissance: Antigone, Kant, Sade et
l’histoire de la philosophie dans l’éthique de la
psychanalyse (25 February). In: Politics and
jouissance through the history of philosophy.
— Marx, Lacan and Badiou on jouissance.
(25 February). In: Politics and jouissance through
the history of philosophy. Maastricht, NL: Jan van
Eyck Academie.
— Twenty-four remarks prior to any possible
treatment of Lacanian truth as Marxian
materialism. In: Opening week 2006.
Academie.
seminar IX l’identification.(9 December). With
Tony Brown, Christopher Gemerchak, Tansy
Hardy, Dominiek Hoens, Marc De Kesel, Ian
Parker, Johan Schokker & Aaron Schuster.
Wednesday 26 April
Thursday 27 April
Friday 28 April
Katja Gretzinger 1972 / Germany

In her research Katja Gretzinger focuses on ways
of representation in design which allow for
dissent and scenes of communication in spaces
that trigger interruptions in perception. Graphic
design, while trying to unmask or reveal certain
narrations, creates new narrations in its turn. Can
the reframing of means of communication be a
visual aspect in design itself, a kind of language,
a form, an action, a design that refers to the unre-
liability of form?
Within the framework of the Logo Parc project,
Gretzinger is interested to see how design affects
modes of agreement and contentment. Design,
art and theory seem to have become instruments
to advance political interests. Can we find an
approach in design to resist these moments of
‘occupation’?
Publications
pp. 112-123.
— Presentation Logo Parc. (13 October).
With Matthijs van Leeuwen, Matteo Poli, Daniël
Gerrit Rietveld Academie.
— Tallinn. City of fortune. Workshop given for design
students. With Serge Rompza. Tallinn, EE: Art
Academy.
— Public private interface. Art and technology in
public space. (7 – 10 June). Oslo, NO: Atelier Nord.
— Urban age conference. (9 – 10 November).
Organised by Alfred Herrhausen Gesellschaft &
London School of Economics. Berlin, DE.
— After Neurath. (31 October). Symposium and
workshop on the work of Otto Neurath.
The Hague, NL: Stroom.
With Matthijs van Leeuwen, Matteo Poli, Daniël
Het Trippenhuis.
Design
— Lost in transmission. In: Fabrikzeitung,
(magazine issue). 219.
— Moca Maas. (visual identity). Maastricht, NL:
— Moca Maas at Hedah. Talking cures. (website).
— Moca Maas at Groothertogdom Brabant.
(supplement to exhibition). Eindhoven, NL:
Van Abbemuseum.
— Moca Maas. The stench of shit. (invitation).
through another. (flyer). Maastricht, NL: Jan van
Eyck Academie.
Saturday 29 April
Sunday 30 April
Delivery
The zoo of space
Publishing
In his project The zoo of space. Let me be your diction-
ary Saliou Traoré examines continGhent, simple
relations of objects and events. Part of his strategy is
to concentrate not on single, catastrophic events, but
to focus on precise examples such as traffic jams and
linguistic phenomena. By focusing on simple everyday
transports and movement and their meaning, the artist
brings together unexpected connections and wind-
ings, even random narratives. Unlike the historian,
Traoré does not explain the event and its proximate and
remote antecedents or causes; rather, his approach is
concerned with the process of the event, with getting
to know the conditional hospitality of the world and the
strangeness of being in the world. In his work, this
‘strangeness’ emerges from a form of comparative
performance, registering the difference in the organi-
sation of public space in Burkina Faso and the
Netherlands. The conditional sense of hospitality that
is then experienced breaks the logic of either/or – what
is included – or the logic of neither/nor – what is exclud-
ed. One might call Traoré’s work a ‘reverse anthropolo-
gy’, because his re-cognition of the conditional nature
of hospitality, of people, places, space and things does
not create a new boundary, but a frontier that opens up
new experiences. It allows the viewer to genuinely
start searching, which is not re-searching or going
over or compiling an encyclopaedia of information, but
rather tracing the paths of words, of physical flow and
stillness. Traoré presents learning as a form of looking,
stumbling, parroting and hesitating, which opens the Stéphanie Benzaquen 1971 / France
hospitality of things to lived experience, the lovely Researcher Theory
phenomenology of ‘things’. By investigating representations of genocide and
The publication The zoo of space was designed by mass killing in culture, the realms of memory,
news media, academic essays, official actions
Sarah Infanger (researcher Design). Patrick Healy
(trial, humanitarian intervention), Benzaquen
(writer, philosopher) contributed an essay. documents, visualises and finds contexts for inci-
dents of mass violence. To re-establish the com-
plexity of mass murder processes, she confronts
singular and multiple representations, canonical
and dissenting views. The coexistence, juxtapo-
sition and contradiction of these representations
clarifies roles and shows responsibilities of per-
sons, groups and powers before, during and after
instances of genocide. It is an on-going process
that takes into account the dynamics of multi-
originated, multi-layered, and multi-purposed
representations.
As a continuation and application of this re-
search, Benzaquen has recently developed an ar-
tistic and educational project related to the
representation of Nazi and Soviet legacies in
Alytus (LT). Since September 2006, she is leading
programme manager of the ninth edition of the
international art festival Break in Ljubljana (SL).
Organisation events
— Media and mass violence: process of healing and
reconciliation. (5 December). With Marija Gajicki
& George Weiss. Maastricht, NL: Jan van Eyck
Academie.
Publications
— Clear positions. Some thoughts on Israeli artistic
engagement in the Second Intifada’s years. In:
Getto.ru. Published on: <http://getto.ru/anarh/b_
17.html>
— On dictators, carnival and funny animals.
In: Camouflage comics. Maastricht, NL: Jan van
Eyck Academie.
— Two years. In: Beware! Politics! Alytus, LT.
— Clear positions. Some thoughts on Israeli artistic
engagement in the Second Intifada’s years. (3
November). In: Artist and arms. Organised by
NCCA-Kalingrad en NCCA-Moscow. Moskow,
RU: National Center for Contemporary Art of
Moscow.
— The Armenian genocide. (16 March). With Harry
van Bommel, Fred Grünfeld, Ton Zwaan.
Rotterdam, NL: Erasmus University.
— Web representations of genocides and mass
murders. In: Opening week 2006. (9 – 13 January).
Maastricht, NL: Jan van Eyck Academie
Exhibitions
— Artist and gun. In: Artist and arms. (7 April –
28 May). Gdansk, PL: Laznia Centre for
Contemporary Art.
I NS T I T U T E
Policy bodies
— Bo a r d — 3
— P oL IC Y Bo a r d — 3
— E dI T or I a L Bo a r d — 3
— S E L EC T Ion C om m I T T E E S — 5
— r ES E a rC h E r S ’ m E E T I ng — 7
— PE r S on n E L m E E T I ng — 7
The arTisTic aPParaTus

— r ES E a rC h E r S — 8
— a dv I S I ng r ES E a rC h E r S — 9
organisaTion
— r ES E a rC h E r S ’ S EC r E Ta r I a T — 11
— Wor k S hoP S — 11
— g E n E r a L C o or dI n a T Ion of a rT I S T IC ProduC T Ion S — 13
— C o or dI n a T Ion of P u BL IC Pro gr a m m E a n d Ev E n T S — 13
— E dI T I ng — 14
— I n T E r n a L a n d E x T E r n a L C om m u n IC a T Ion — 14
— L I Br a r Y — 16
— d o C u m E n Ta T Ion C E n T ru m — 16
— a dm I n I S T r a T Ion — 17
— g E n E r a L S E rv IC ES — 17
— C a T E r I ng — 18
— h u m a n r ES ou rC ES — 18
— Wor k PL aC E m E n T — 19
— C on Su LTa T Ion S a n d m E m B E r S h I P S — 20
— I n f r a S T ruC T u r E — 20
— faC I L I T I ES — 21
Finances
— Su BS I dI S I ng , S P on S or I ng a n d dI S T r I Bu T Ion 22
of Proj EC T S a n d ProduC T Ion S —
— aC C ou n T I ng Pr I nC I PL ES f or dE T E r m I n I ng 23
T h E va Lu E of a SS E T S a n d L I a B I L I T I ES
a n d T h E r ESu LT S of 2 0 0 6 —
— B a L a nC E — 24
Personnel 25
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Policy bodies
Bo a r d
General
The Jan van Eyck Academie Foundation is supervised by a board.
Composition
In 2006 the board included the following members: Jan van Adrichem, Marthe Coenegracht,
Jacques De Visscher, Tijmen van Grootheest, Fons Haagmans, Cees Hamelink, Bart Verschaffel
and Jacques De Visscher.
Each year, one or two members of the board retire and are replaced according to a roster of
resignation. New appointments to the board are based on qualities that are linked to policy priorities
of the academy and the division of tasks within the board. In 2006 there were no new board
members. Potential board candidates have been approached with a view to becoming members of
the board in 2007.
Meetings
The board met three times in 2006, in January, June and November.
P oL IC Y Bo a r d
General
It is the task of the Policy Board to deal with the institutional affairs of the academy. Institutional
affairs include: the policy principles relating to the selection and advice of (advising) researchers,
personnel, finance, investments, workshops, production bureau, library and documentation centre,
former researchers and public relations. The Policy Board deals exclusively with these issues and
meets once a month at most. The meeting comprises one advising researcher per department, the
director and the deputy director. Decisions of the Policy Board are published in the announcements.
Apart from the decisions, announcements may also contain general institutional information that
is deemed important for the (advising) researchers and the technical and administrative staff.
Composition
In 2006 the Policy Board comprised: Koen Brams (director), Marc De Kesel (Theory department),
Daniël van der Velden (Design department), Hinrich Sachs (Fine Art department) and Laurens
Schumacher (deputy director). Kim Thehu takes the minutes.
Meetings
In 2006 the Policy Board met six times: in February, April, May, July, October and November.
The Policy Board addressed the following issues:
— policy plan 2009–2012
— restructuring the workshops and collaborating with other organisations with a view to technical expertise and
infrastructure
— renovating the infrastructure
— changes in personnel
— fundraising
— researchers’ affairs (project management, researchers’ attendance, residency plan)
— public relations (PR for the programme, evaluation recruitment campaign 2006 and start recruitment
campaign 2007)
E dI T or I a L Bo a r d
General
The Editorial Board handles the artistic affairs of the academy. Artistic affairs include: initiating
and following up research and productions. These matters are the exclusive preserve of the Editorial
Board, which meets once a month. The meeting comprises one advising researcher per department
and the director. Decisions of the Editorial Board are published in the announcements. In addition,
announcements may also contain general information about the artistic programme.
A recommendation of the Editorial Board is required for production proposals that have a
budget in excess of €3,500. The Editorial Board has a production fund of at least €86,192 to fund
projects. Revenues from projects by researchers, departments and the institute flow back into the
production fund of the Editorial Board.
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Organisation
In 2006 the organisation of Editorial Board meetings was changed. Henceforth, the general
coordinator of artistic productions is responsible for organising the meetings of the Editorial
Board. Starting 1 December 2006, Anouk van Heesch has been appointed as general coordinator
of artistic productions. Kim Thehu takes the minutes.
Composition
In 2006 the Editorial Board comprised: Orla Barry (Fine Art department), Koen Brams (director),
Hanneke Grootenboer (Theory department), Aglaia Konrad (Fine Art department), Filiep Tacq
(Design department).
Procedure
With respect to projects submitted to the Editorial Board, it is a rule that content discussions
precede any budgetary discussions. Projects with budgets under €3,500 are facilitated by
researchers themselves or by the department. Researchers are expected to contribute 25% of the
budget. Moreover, this 25% own contribution must be guaranteed before a production is started.
The 25% rule does not apply to institutional projects. The Editorial Board wants to indicate an
amount of €5,000 (including the 25% personal contribution of the researcher) as a directional
budget for projects. If the researcher wishes to call in the help of external people to lend a hand in
the realisation of a project, compensation for their contributions can only be paid on a ‘per diem’
basis. The contents of project proposals from researchers staying at the Jan van Eyck for two years
must be submitted seven months prior to the departure of the researcher, at the very latest. The
corresponding budget must be presented six months before departure.
Meetings
In 2006 the Editorial Board met ten times, in January, February, March, April, May, June,
September, October, November and December. The budget of the Editorial Board for 2006 was
fully utilised. The Editorial Board dealt with the following artistic projects by (advising) researchers
and external parties:
— Monika Bakke, Going aerial. Air, art, architecture (book)
— BAVO, Cultural activism today (publication)
— Fine Art department, Resonance. Or how one reality can be understood through another (exhibition)
— Stéphanie Benzaquen, Cultural representations of genocide and mass murder (conference en book)
— Peggy Buth, Desire in representation (book)
— Tina Clausmeyer, States of secrecy (symposium)
— Raphaël Cuomo and Maria Iorio, Sudeuropa (film)
— Jonathan Dronsfield, Cryptochromism and Vibygyors (books)
— FO/GO Lab, The migrating museum (symposium)
— Barbara Formis, Quotation and re-enactment (video documentary)
— Barbara Formis, Thinking through the body (workshop)
— Nikolaus Gansterer, Figures of research. Drawing an hypothesis (book)
— Sönke Hallmann, Department of reading (development groupware)
— Paul Hendrikse, Performing a sculpture park (performance)
— Benda Hofmeyr, Radical passivity. Rethinking ethical agency in Levinas (symposium)
— Benda Hofmeyr, The Wal-Mart phenomenon. Resisting neo-liberal power through art, design and theory (symposium)
— Will Holder and Falke Pisano, Informance. ‘As Yet’ (symposium)
— Antony Hudek, Les immatériaux (website)
— Ils Huygens, Thinking through affect (symposium)
— Jouke Kleerebezem, Ubiscribe (Deaf 07) (symposium)
— Will Kwan, Canaries (research in Hong Kong)
— Achim Lengerer, Ram (random access memory) (workshop and performance)
— Lene Markusen, Mennesket (film)
— Eva Meyer, What does the veil know (book)
— Charlotte Moth, The balloon party (film)
— Hinrich Sachs, Gala night of the cannibals (happening)
— Hinrich Sachs, The Vos case. De zaak Vos. Der Fall Vos (exhibition and publication)
— Romana Schmalisch, Future city (film)
— Romana Schmalisch, Radiation (performance)
— Aaron Schuster, Identity and subjectivity (workshop)
— Aaron Schuster, The phantom of liberty (symposium)
— Stefanie Seibold, A Reader (posters)
— Tim Stüttgen, Post/Porn/Politics (symposium)
— Megan Sullivan, The Hunter Seat (publication)
— Inga Zimprich, Faculty of invisibility. The speech (workshop)
— Inga Zimprich, Thinktank (development groupware)
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S E L EC T Ion C om m I T T E ES
General
The role of the selection committees is to assess the applications (and possibly the deregistrations) of
researchers and applicant researchers. A researcher/applicant researcher can be admitted for a two-
year or one-year period of research at the academy or for a variable period of time in order to carry
out a particular project. Since researchers may have a place for one year instead of two, or spend a
variable period at the academy, the number of vacancies fluctuates. It is not the case, for example,
that eight vacancies are available at the same time each year.
The selection of researchers takes place within each department, in conformity with the
departmental structure of the academy. Candidates have to indicate their preference for one of the
departments. The committee comprises the director and a minimum of three advising researchers
of the department in question.
A strict selection policy is maintained. Admission requires that all of the application criteria
are met, both in formal terms and in terms of content. As soon as future researchers are informed
that they have been admitted, they can prepare for their arrival at the academy, with the assistance
of the researchers’ secretariat for logistical matters and with the help of the advising researchers for
issues of content.
Kim Thehu monitors the recruitment of researchers in terms of content and Leon Westenberg
deals with the practical aspects of recruitment. In 2006 the deadline for application was 15 April.
The application fee was €60.
Recruitment campaign
Preparations for the recruitment campaign started in November 2005; implementation began in
January 2006.
From November 2005 the invitation to submit research proposals was included in the weekly
programme and in the newsletter; it was also mentioned as a news item on the website. Since
the results from advertising in magazines is hard to gauge, in 2006 adverts were run only in the
following magazines: De witte raaf, metropolis m, HTV De IJsberg, Items and Texte zur Kunst. The
financial means that were freed up this way were spent on extra print work.
Marijke Cobbenhagen and Chantal Hendriksen designed the campaign, consisting of adverts,
a brochure, two accompanying posters and an application form. The brochure comprised general
information about the Jan van Eyck Academie, the departments and the collective research projects.
It also explained the application procedure. For the first time, a choice was made for this extensive,
analogue spread of information. About 3,400 brochures and posters were distributed globally to
academies, post-academies, universities, residencies, network organisations, museums, exhibition
spaces,… Blerina Berberi, student European Studies at Maastricht University, was hired to chart
this network in further detail.
The campaign was successful. A total of 376 candidates (living in 49 different countries) applied
for academic year 2006. This is a slight decrease compared to 2005, which can be explained from
the academy having pulled out of the Unesco network.
Most applications were from Germany (20%), followed by the Netherlands (17%), Belgium (11%),
Great Britain (7%), France (7%) and the United States (7%). The absolute as well as relative increase
in applications from France and Great Britain was most striking. Western Europe and North
America remain the most important areas of origin of candidate researchers. The decrease of the
number of applications from other areas, especially Eastern Europe, South America, Asia and
Africa, can in part be explained from the decrease in the number of Unesco applicants.
Selection of researchers for the research period starting in 2006 (completed in 2005)
There were 395 applications for academic year 2006. Compared to academic year 2005, this was a
large increase in the number of applications. Next to a receptive recruitment policy, the availability
of researchers’ positions was publicised for research projects formulated by the Design, Fine
Art and Theory departments: Trichtlinnburg (Fine Art department), The tomorrow book (Design
department), Logo Parc (Design department) and the Circle for Lacanian ideology Critique (CLiC)
(Theory department).
Selection of researchers for the research period starting in 2007 (completed in 2006)
There were 376 applications for academic year 2006. Compared to academic year 2005, this
represented a slight decrease in the number of applications. Next to a receptive recruitment policy,
the availability of researchers’ positions was publicised for research projects formulated by the
Design, Fine Art and Theory departments: The tomorrow book (Design department), Logo Parc
(Design department), Traces of autism (Design department), Ubiscribe (Design department), The
pensive image (Theory department) and the Circle for Lacanian ideology Critique (CLiC) (Theory
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department). Apart from these, the academy recruited a researcher for the Citygraphy project.
Committees and selection Fine Art department
There were 231 candidates who applied to the Fine Art department for academic year 2006.
Sixteen candidates were interviewed, eight of whom were admitted. This filled all of the positions
in the Fine Art department for 2006. In 2005 the selection committee of the Fine Art department
comprised: Orla Barry, Koen Brams, Aglaia Konrad, John Murphy and Hinrich Sachs. A proactive
campaign was set up for the project Trichtlinnburg. Seven candidates were interviewed, two of
whom where admitted.
There were 195 candidates who applied to the Fine Art department for academic year 2007.
Twenty-four candidates were interviewed, eight of whom were admitted. This filled all of the
positions in the Fine Art department for 2007. In 2006 the selection committee of the Fine Art
department comprised: Orla Barry, Koen Brams, Aglaia Konrad, Hinrich Sachs and Imogen
Stidworthy.
Committees and selection Design department
There were 43 applications for academic year 2006. Eight candidates were interviewed, of whom five
were admitted; two of these had applied for the Ubiscribe project, initiated by Jouke Kleerebezem.
In 2005 the committee for the Design department comprised the following members: Koen Brams,
Jouke Kleerebezem, Filiep Tacq and Daniël van der Velden. Next to the receptive recruitment
campaign, the Design department facilitated the project The tomorrow book, initiated by Filiep
Tacq, and the Logo Parc project, initiated by Daniël van der Velden. For these projects pro-active
recruitment campaigns were set up. Twenty-eight candidates applied for The tomorrow book, five of
whom were interviewed. Of these, three were accepted. The committee comprised the following
members: Koen Brams, Jouke Kleerebezem, LettError (Just van Rossum & Erik van Blokland),
Lars Müller, Filiep Tacq, Daniël van der Velden and Astrid Vorstermans. The tomorrow book is a
collaboration with the Charles Nypels Foundation. Twenty-two candidates applied for Logo Parc:
nine were interviewed, three accepted. The committee comprised the following members: Koen
Brams, Will Holder, Filiep Tacq and Daniël van der Velden.
There were 60 Design applications for academic year 2007. Twenty-two candidates were
interviewed, of whom ten were admitted. In 2007 the department facilitates the following projects:
Tomorrow Book Studio, Logo Parc, Traces of autism and Ubiscribe, for which projects pro-active
recruitment campaigns were set up in 2006. Sixteen candidates applied for the Tomorrow Book
Studio, eleven of whom were interviewed. Of these, four were accepted. Seven candidates applied
to Logo Parc. One candidate was interviewed, and accepted. There were 14 candidates for Traces of
autism, five of whom were interviewed, three accepted. Five people applied to be admitted to the
Ubiscribe project; two were interviewed, one accepted. In 2006 In 2006 the selection committee of
the Design department comprised: Koen Brams, Wim Cuyvers, Will Holder, Jouke Kleerebezem,
Filiep Tacq and Daniël van der Velden.
Committees and selection Theory department
There were 64 applications to the Theory department for academic year 2006. Eight were inter-
viewed, five of whom were admitted. Next to the receptive recruitment campaign, the Theory
department facilitated the CLiC (Circle for Lacanian ideology Critique) project, initiated by Marc
De Kesel; a pro-active recruitment campaign was set up for this project in 2005. Two candidates
applied for CLiC, both of whom were interviewed and admitted. In 2005 the committee comprised
the following members: Koen Brams, Norman Bryson, Sabeth Buchmann, Marc De Kesel and
Eva Meyer.
There were 72 applications to the Theory department for academic year 2007. Twenty were
interviewed, ten were admitted. In 2007 the department facilitates the projects Circle for Lacanian
ideology Critique (CLiC) and The pensive image, for which pro-active recruitment campaigns were set
up in 2006. Eight candidates applied for CliC; four were interviewed and two admitted. There were
15 applicants for The pensive image. Three candidates were interviewed, of which one was admitted.
In 2006 the committee comprised the following members: Koen Brams, Norman Bryson, Sabeth
Buchmann, Dominiek Hoens, Marc De Kesel and Katja Diefenbach.
Committees and selection Citygraphy
Forty-nine candidates applied to this project, which the Jan van Eyck Academie is realising in
collaboration with the Werner Mantz Foundation. Four candidates were interviewed, of which one
was admitted. The committee comprised the following members: Koen Brams, Dirk Lauwaert,
Steven Humblet, Bruno Notteboom and Kim Zwarts.
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r ES E a rC h E r S ’ m E E T I ng
General
The researchers’ meeting is intended to inform researchers about all current academy affairs, from
policy and financial matters to artistic, organisational and practical matters.
In 2006 there was one meeting with the researchers, which was dedicated to the restructuring
of the workshops, the collaboration with other organisations with regard to technical expertise and
the renovation of the infrastructure.
PE r S on n E L m E E T I ng
General
The personnel meeting is intended to inform staff about matters of policy and to talk about their
consequences for the shop floor.
General Staff Meetings (GSM)
In 2006 one general staff meetings was held. The meeting of 6 November 2006 was dedicated
to the restructuring of the workshops, the collaboration with other organisations with regard to
technical expertise and the renovation of the infrastructure.
Terms of employment scheme
The terms of employment scheme approved in 2005 was not amended in 2006. Salary measures
were followed as set by the State sector.
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The arTisTic aPParaTus
r ES E a rC h E r S
General
Researchers develop research projects, set up productions and thus contribute to the realisation
of the programme of the academy. The objectives, methodologies and timing of the projects are
determined by the researcher. To this end, the researcher can call upon technical and artistic advice.
Researchers are expected to be engaged in the projects of other researchers, on the assumption that
the research and the productions of one researcher form the formal or content-based context of the
research and productions of the other researchers.
Residency plan
The residency plan is about the development of accommodation for the researchers of the Jan van
Eyck. The residency plan also offers the possibility to engage in exchanges with the local (cultural)
infrastructure in terms of research and production, thus contributing to a stimulating climate for
art, design and theory in Maastricht. The residency plan has been worked out in further detail,
taking the residency profiles of the researchers as a starting point. It was investigated – in a general
sense – whether this plan can be realised. There has been an exploratory meeting with a housing
corporation.
Contract
The academy has worked out a contract that defines the relationship between researcher and
academy. The contract covers the following topics: registration (duration research period, et cetera),
information on policy (documentation, accommodation, studio, et cetera) and the concrete results
of the research (distribution, copyrights, sharing revenues, et cetera). In conformity with the
contract, the researcher acts as maker and the academy as producer and distributor. Core issues are:
the researcher has and keeps the intellectual property rights; the academy acquires a non-exclusive
licence with regard to the productions; in the case of exploitation of a production, revenues to an
amount equalling the investment will flow back to the Jan van Eyck. Profits are shared pro rata
according to the respective investment contributed.
Stipend
Due to the decision made by the State Secretary for Culture to halve the subsidy for stipends,
starting 2005, the academy has been obliged to work out a plan in order to offer researchers an
acceptable form of financial support. Starting point of the plan is to guarantee a basic income
position for (a maximum of 48) researchers in 2006: an annual stipend of €8,840, paid in 13 equal
terms. It has been decided that, starting in 2006, 20% of the revenues that researchers gain from
commissions that they acquired through the negotiations of the academy, will be paid into the
stipend fund.
Insurance
From 2005, researchers need to arrange for their own health insurance. They also need to show
proof of having signed a third-party insurance policy.
Accommodation
Researchers are required to have a place of residence outside of the academy. This is why they are
requested to submit a copy of their rental agreement. On not complying with this agreement, the
academy can proceed to reducing their stipend. The academy plays an active intermediary role in
acquiring appropriate accommodation for researchers. An overview was provided of the addresses
of the researchers with a view to a rapid future allocation of accommodation.
Psychological aid
On the basis of a ‘partnership’ with the University of Maastricht, researchers can receive psycho-
logical aid. The psychologists, Heiny Eilkes and Maddy Meijers, provide short series of one-hour
sessions, which target cognitive and behavioural aspects.
Visa procedure
All visa applications were submitted before the summer break. All requests were approved by the
IND (Immigration and Naturalisation Service). In July, a settlement was effected by which the
issuing of residence permits (MVVs) to foreign researchers would henceforth be dealth with more
speedily.
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Internal commissions
The Jan van Eyck regularly issues calls for internal commissions. Although such commissions can
cover all disciplines, they usually concern design commissions. In 2006 there were commissions for
the following institutional means of communication:
— the 2006 programme brochure (designed by Sarah Infanger and Joël Vermot)
— the 2005 annual report (designed by Marijke Cobbenhagen and Chantal Hendriksen)
— the 2006 recruitment campaign (designed by Marijke Cobbenhagen and Chantal Hendriksen)
— the 2007 programme brochure (designed by Matthijs van Leeuwen)
In 2006 there were commissions for the means of communication of the following artistic
projects:
— artist’s books of the Jan van Eyck (website designed by Min Choi and Sulki Choi)
— Brakin. Brazzaville – Kinshasa. visualizing the visible (book designed by Joël Vermot, Sarah Infanger,
Filiep Tacq and Richard Vijgen)
— Citygraphy. Water in the city (printed matter designed by Matthijs van Leeuwen)
— Citygraphy. Between urban politics and urban aesthetics (website designed by Ingrid Stojnic)
— Cultural activism today: strategies of over-identification (printed matter designed by Marijke Cobbenhagen
and Chantal Hendriksen)
— Euregional Forum. Towards a Euregion without borders (website and printed matter designed by Vinca Kruk
and Adriaan Mellegers)
— geometry in free space (printed matter designed by Adriaan Mellegers)
— going aerial. air, art, architecture (book designed by Toni Uroda)
— Jan van Eyck Bookish Weekend (printed matter designed by Urs Lehni)
— Museum in ¿Motion? (printed matter and CD-ROM designed by Vinca Kruk and Adriaan Mellegers)
— The museum of conflict - art as political strategy in post-communist europe (website designed by Vinca Kruk
and Daniël van der Velden)
— The pensive image (printed matter designed by Marijke Cobbenhagen and Chantal Hendriksen)
— Post/Porn/Politics (printed matter and website designed by Urs Lehni)
— radical passivity (printed matter and website designed by Joël Vermot)
— resonance. Or how one reality can be understood through another (printed matter designed by Katja Gretzinger)
— Thinking through affect (printed matter and website designed by Urs Lehni)
— Thinking through the body (printed matter designed by Matthijs van Leeuwen)
— Ubiscribe (book designed by Jouke Kleerebezem)
— The vos case. de zaak vos. der Fall vos (book designed by Kasper Andreasen and Toni Uroda)
— The zoo of space (book designed by Sarah Infanger)
Information
Information on abovementioned issues has been made available to researchers in a document.
This document contains information on the stipend and other (foreign) bursaries/scholarships,
other income, internal and external commissions policy, income from activities (supported by the
Jan van Eyck), taxation, residence and employment permits, promotion of expertise, rental and use
of equipment and studios. An extensive clarification to the contract has also been added.
a dv I S I ng r ES E a rC h E r S
General
The three departments – Fine Art, Design and Theory – are led by a team of advising researchers.
The team is responsible for such departmental activities as the selection of researchers; the initiation
and carrying out of institutional policy (and participating in the Policy Board); the initiation and
carrying out of artistic policy (and taking part in the Editorial Board); the initiation and carrying
out of the artistic programme and providing artistic advice to researchers.
Providing artistic advice is the principal task of the advising researcher. It involves querying
objectives, methodologies and completed research projects; creating conditions for the optimal
development of individual research projects (with due attention paid to the collective horizon);
participating in research groups (as participant or as a catalyst); giving advice on setting up
production plans (content, budget and time) for the Editorial Board. The advising researchers are
available to all researchers. The meetings between the researcher and the advising researcher (studio
visits) are included in the weekly programme.
Advising researchers also carry out their own research and set up projects at the academy.
To enable them to complete their projects, the facilities of the academy are at their disposal.
Lectures, seminars, presentations and other productions by advising researchers are open to all
(advising) researchers.
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Contract duration
In 2006 talks were held with the teams of advising researchers, about the composition of the
teams from 2007. Point of departure of the talks was a maximum contract duration of five years
for institutional tasks (Policy Board, Editorial Board, following up the programme and selection
committee) and a smooth transfer of advisory and institutional tasks between current and newly
appointed advising researchers.
Fine Art
In 2006 the team of the Fine Art department comprised: Orla Barry, Aglaia Konrad, John Murphy,
Hinrich Sachs and Imogen Stidworthy.
Design
In 2006 the team of the Design department comprised: Wim Cuyvers, Will Holder, Jouke
Kleerebezem, Filiep Tacq and Daniël van der Velden.
Theory
In 2006 the team of the Theory department comprised: Norman Bryson, Sabeth Buchmann, Marc
De Kesel, Helmut Draxler and Stephan Geene.
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organisaTion
r ES E a rC h E r S ’ S EC r E Ta r I a T
General
The researchers’ secretariat, managed by Leon Westenberg, looks after all matters related to
researchers, such as the selection procedure, accommodation, studio assignments (and any
infrastructural adjustments to the studios), residence and employment permits, insurance, paid
employment, promotion of expertise and the job-board. Moreover, Leon Westenberg is also in
charge of the apartments of the academy.
Information
All researchers have been handed a document relating to researchers’ affairs.
Recruitment of researchers
In November 2005 a start was made with the publicity campaign to recruit artists, designers and
theoreticians for a research period starting in 2006. A range of communication tools was employed.
Marijke Cobbenhagen and Chantal Hendriksen did the design. The poster was printed in an edition
of 3,400 copies. From January 2006 advertisements appeared in the following periodicals: De witte
raaf, Metropolis M, hTV De IJsberg, Items and Texte zur kunst.
Evaluation of the recruitment
In 2006 the recruitment campaign and the entire recruitment procedure was evaluated. This has led
to a new vision, which will be implemented in 2007.
Accommodation
Advising researchers and guests may use one of the academy apartments. Any remarks about the
accommodation can be directed to Leon Westenberg. Leon Westenberg draws up an evaluation
every year.
Wor k S hoP S
Re-determining the functionality of the workshops
In 2005 discussions were started about the future functionality of the workshops. After all, a new
balance needed to be found between the offer of techniques within the academy and the available
financial means, in relation to the age structure of the staff and the available data regarding use of
materials and past investments. These discussions led to an extensive policy document, which was
further discussed with everyone involved – the technical coordinators, the other members of staff
and the (advising) researchers – in 2006. The policy document contains a new vision on the future
functionality of the workshops, the coordination of artistic productions and the organisation of
the public programme (and events) as a set of requirements for the architectural renovation of the
infrastructure.
Points of departure of the new policy are, first, the multi-disciplinarity and internationality of
the academy programme; secondly, the broad selection of researchers, which necessitates an equally
broad technical support, and, thirdly, the numerous activities which require technical facilitation
(in the field of ‘media’ as well as having to do with the nature of the activities: from experiment to
production, and all possible forms of activities in between).
Based on these premises, a new conceptual framework has been designed. It was concluded
that the diversity of multi-disciplinary research projects and productions realised at the academy
require more flexibility. This is why, from now on, the workplaces will be called knowledge fields.
Knowledge is a dynamic category.
A number of knowledge fields, regarded as indispensable for a good functioning of the academy,
have been described. They are: analogue and digital (online and offline) publishing; materials;
time-based productions.
Also, the profile of the technical coordinators has been adjusted. The technical advisors of
the workshops are expected to provide (advising) researchers with advice on the processing of in-
formation and materials. The technical advice relates to providing information about the specific
characteristics of particular materials and production processes and the functionality of hardware
and software. Apart from this, the technical coordinators coordinate the realisation of artistic pro-
ductions. Moreover, the advising researchers can approach the technical members of staff for spe-
cialised checklists or for assistance in drawing these up, as well as for overviews, composition and
advice on production budgets, and also for control on the progress and planning of productions.
Other tasks and responsibilities of the technical coordinators include: equipment maintenance (in-
cluding making investment plans; doing research into materials and technologies; formulating fu-
ture plans for the knowledge field; helping set up and assisting at events.
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Experiments – the processing of information and materials – must be possible within the academy.
It must also be possible to realise some productions in the academy. Apart from this, productions
will henceforth be realised outside of the academy. It must furthermore be stated that the knowl-
edge amassed internally can also be exploited externally by the Jan van Eyck. A fruitful dialogue
between internal knowledge/internal production and external knowledge \ external production
needs to be kick-started. The question of which knowledge will be necessary must be linked to
the question how that knowledge can connect with external networks or even supplement these
networks. In 2006 a first agreement has been reached with the FLACC workplace (Genk, BE):
the Jan van Eyck Academie and FLACC have been working together in the area of research and
the support of residents’ projects. Research support also pertains to the use of the library and the
documentation centre and the lending of books and audiovisual material. Facilitating productions
means the use of (workplace) facilities and using each other’s (technical) expertise on realising pro-
ductions. Point of departure is that each institute implements its own selection policy. FLACC and
the Jan van Eyck Academie intend to be complementary vis-à-vis facilities and expertise as well as
create a cross-border dynamics of residing artists/researchers. Both institutes want this collabora-
tion to be extended, preferably at a Euregional level.
Knowledge fields
‘Missions’ have been formulated for each knowledge field. Based on these missions, discussions are
held about investments.
Analogue and digital (online and offline) publishing
It must be possible to realise all analogue and digital publications. In Jo Frenken, there is enough
capacity to handle the knowledge field of analogue publications (including graphic techniques).
Setting up the publishing studio was a priority in 2006. Special attention was paid to organise current
equipment (calibrate monitors, adapt software for scanners) and to investments (including an A3
colour printer), so as to generate an upgrade of the offer. The equipment for pre- and postproduction
of printwork have been brought together. It has been decided that all graphic equipment will be
abandoned, except the silk-screen printing facility. As far as photography is concerned, it has been
decided that one fully equiped dark room will remain available. For the coordination of digital
(online and offline) publications a part-time vacancy (0.6 FTE) will be advertised in 2007.
Materials
It must be possible to facilitate the most common applications and experiments to do with various
materials. There are facilities in the fields of wood, metal and stone processing, non-ferro techniques
and many other materials. In Ron Bernstein and Math Cortlever there is enough capacity to handle
this knowledge field. Due to safety issues, assistance is given on the basis of individual instruction
and guidance with independent activities of researchers.
Time-based productions
It must be possible to facilitate the most common applications and experiments to do with time-based
productions. Production methods and programmes are in accordance with the latest developments
in the field. In Berto Aussems there is enough capacity to handle this knowledge field.
Other available equipment/expertise
(Advising) researchers must be able to carry out simple scans and prints, and have email and
Internet access. The necessary investments to this end have been realised in 2006. Making pertinent
expertise available has been made dependent on the demands for it. If certain expertise was not
available internally, external expertise was sought. External experts could be met in workshops, for
which researchers had to register beforehand.
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g E n E r a L C o or dI n a T Ion
of a rT I S T IC ProduC T Ion S
General
As a result of the new vision on the future functionality of the workplaces and the reformulation of
policy in a general sense, it was decided in 2006 to reorganise the coordination of artistic produc-
tions. All technical coordinators are henceforth involved in realising artistic productions. Apart
from this, it was decided to appoint a general coordinator artistic productions. The general coordi-
nator is responsible for the proactive facilitation of artistic productions: after researchers have been
selected, the general coordinator will initiate the communication between researchers and institute,
so that the institute can provide the necessary facilitation before the start of the research period.
The general coordinator also acts as contact person for all (advising) researchers who want to submit
a project proposal to the Editorial Board and handles the organisation of Editorial Board meetings.
After the Editorial Board has made a decision on a project, the coordinator informs the relevant
(advising) researcher(s) as well as the internal technical coordinators or external staff involved in
the production. The general coordinator monitors the realisation of artistic productions and calls
meetings with the (advising) researcher(s) and the internal technical coordinators or external staff
involved in the production. Finally, the general coordinator also looks into possibilities for fund-
raising for artistic productions approved by the Editorial Board and handles the fundraising dos-
siers.
Starting 1 December 2006, Anouk van Heesch was appointed as general coordinator artistic
productions.
C o or dI n a T Ion of Pu BL IC
Pro gr a m m E a n d Ev E n T S
General
As a result of the new vision on the future functionality of the workplaces and the reformulation
of policy in a general sense, it was decided in 2006 to appoint an extra member of staff. Next to
Madeleine Bisscheroux, Anne Vangronsveld was appointed coordinator of the public programme
and the organisation of events.
Weekly programme
All productions, both internal and external, are included in the weekly programme. Any information
about former researchers is also included in the programme, up to one year after the end of their
research period. Content background information on internal and external programme activities is
available in digital format, on the website, and in physical format, in the library.
The weekly programme is publicly announced on the website and is also sent in a digital format
to those interested. The upcoming programme is distributed in a newsletter on the first working day
of each month. Recipients can chose whether they are sent both weekly programme and newsletter,
or just one of them. The weekly programme is finally also brought to the attention of the public
through advertisements.
Scheduling personnel for activities
Jo Hardy and John Damoiseaux provide assistance with the programme. In order to have the
programme run smoothly, other members of personnel can also be scheduled to help organise
special activities. This is mainly done based on the qualities connected to the expertise of the
member of staff in question. Apart form this, there is a roster dividing this kind of work equally
among members of staff.
Opening academic year 2006
The opening activity, a communal initiative by the Jan van Eyck Academie, the Academie voor
Beeldende Kunst Maastricht, the Bonnefantenmuseum and Marres, entailed a short series of
lectures by Charles Esche, Emily Pethick, Suchan Kinoshita and Ann Demeester about ‘ideal
presentations’. The lectures were followed by a debate, moderated by Mique Eggermont.
The opening week ran from 9 to 13 January. All (advising) researchers gave a presentation.
The emphasis was on projects they wish to set up during their stay at the Jan van Eyck. External
guests and interested parties were also invited to the opening week. Every year someone is
approached to carry out an intervention with a view to the opening week. In 2006 a monumental
photograph taken by Charlotte Moth was put up on the wall near the reading table in the hall.
The opening week brought on the publication of a programme brochure, designed by Sarah
Infanger and Joël Vermot. The programme brochure contains information about everyone active
within the Jan van Eyck in academic year 2006.
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Closure academic year 2006
Academic year 2006 was closed with a number of individual presentations by researchers, as well
as the opening of the exhibition resonance. or how one reality can be understood through another,
organised by German curator Astrid Wege. resonance. or how one reality can be understood through
another contained work by former, leaving and current researchers of the Jan van Eyck. The exhibi-
tion took place at Stuk in Louvain (BE) and at Artis in Den Bosch (NL). The invitation for the
exhibition was designed by Katja Gretzinger. On 15 December the final day of academic year 2006
was celebrated at the academy.
E dI T I ng
General
Petra Van der Jeught is responsible for editing analogue and digital publications of (advising)
researchers, departments and/or the institute; for coordinating and following up any external
editing of publications; for advising (advising) researchers in terms of editing, specifically for the
realisation of productions and contributing to the distribution of the publications. Dorrie Tattersall
may also provide editorial assistance.
I n T E r n a L a n d E x T E r n a L C om m u n IC a T Ion
General
Kim Thehu is responsible for reporting on meetings with researchers, advising researchers and
staff, for internal communication, coordinating the recruitment of researchers and public relations,
including editing the website. Dorrie Tattersall is in charge of translating (from Dutch to English
or vice versa) and editing the internal and external communication.
Internal communication
After the meetings of the Policy Board and Editorial Board minutes and announcements are
produced. The English translation of the announcements is distributed within a week.
Annual report
The annual report 2005, designed by Marijke Cobbenhagen and Chantal Hendriksen, was pub-
lished in two separate editions: a Dutch and an English version. Once again, the chosen set-up
gives priority to the programme – the Jan van Eyck content.
Other institutional communication carriers
In 2006 the programme brochure – providing an overview of curricula and research projects of
the (advising) researchers and technical/administrative members of staff and available from the
opening week of the academic year – was designed by Sarah Infanger and Joël Vermot. The
recruitment campaign (advertisements and poster) was designed by Marijke Cobbenhagen and
Chantal Hendriksen.
Writing model
All kinds of information carriers within the academy (including the database of the documentation
centre, the annual report, the programme brochure, the website, the weekly programme) are used
to give information on the range of productions of the institute. In order to achieve a speedy and
consistent flow of information for (among other things) the annual report, the programme brochure
and the website, a writing model has been developed.
External communication
The weekly programme is emailed to external interested parties. Moreover, elaborate background
information on programme components is distributed digitally. The component parts of the
programme are announced on the website. Based on specific programme activities, specialised
mailing lists are set up. Apart from the weekly programme, a new monthly newsletter is sent
to external interested parties. The newsletter contains information about the institutional policy,
the upcoming programme and the productions of current and former researchers. In 2006 the
programme was also publicised in advertisements. There were weekly advertisements in the
Maastricht Week-in-week-uit, bi-monthly adverts in de witte raaf and metropolis m and four-
monthly adverts in mozaïek. The underlying idea is to highlight activities by making as much
background information as possible available via the website and press releases. The campaign
proved successful: more external people than before have attended activities.
VVV
Kim Thehu took part in the VVV (tourist board) culture platform meeting in the city of Maastricht.
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Website
In 2004 the new website, designed by Min Choi and Sulki Choi, went online. Its set-up and design
link up with the heterogeneous programme of the academy. Firstly, internal and external people
are informed about the programme, the facilities and the policy. Secondly, but not less importantly,
the website offers (advising) researchers a platform to publicise research and productions. Thirdly,
there is attention for alumni. Finally, the website contains the catalogue of the library. In 2004 a
new directory was developed. In the new directory each addressee has a unique code, preventing
the entry of doubles. Also, it is possible to differentiate addressees. Finally, the directory has been
linked to the general administration, the researchers’ administration and the distribution database.
Thuur Menger is responsible for entering the addresses. On 31 December 2006 a total of 8,434
addresses were entered.
Evaluation
Based on experiences in the area of public relations in 2006, a checklist was set up for members of
staff involved. The checklist is meant to improve the internal and external communication. The list
contains three phases: the (internal) communication plan, the preparation and execution of specific
PR trajectories and the finalisation phase. An editing board, comprising Koen Brams, Petra Van
der Jeught and Kim Thehu, has been set up to make the content of events accessible after they have
been held.
Distribution
Taking into account the heterogeneity of the production of the Jan van Eyck, the core issue of the
distribution policy is a lesser dependency on existing distributors and a specific distribution based
on theme and target group per project. The Jan van Eyck, after all, is directed towards areas in the
periphery, in terms of theme as well as public. Researchers are actively involved in the distribution
of their publications. Kim Thehu is responsible for developing the distribution policy; Jo Hardy is
in charge of stock management. In 2006, Charlotte Louen was appointed as placement student in
order to assist in working out the distribution policy.
In 2005 a two-part publisher’s list (in English and Dutch), designed by Kasper Andreasen and
Ralph Bauer, was published, containing background information on all Jan van Eyck publications.
The idea is to produce such a list once a year, depending on the number of new publications.
In 2006 specific campaigns were set up for the following publications:

— Brakin. Brazzaville-Kinshasa. Visualising the visual by Agency, Tina Clausmeyer, Dirk Pauwels, SMAQ (Sabine
Müller and Andreas Quednau) and Kristien Van den Brande
— The zoo of space by Saliou Traoré
— When the story finishes light sadness grasps me by Doris Lasch and Ursula Ponn
— Trichtlinnburg. an urban affair by Hinrich Sachs (red.)
— Museum in ¿Motion? by Wouter Davidts (red.)
— “En coulisses, parfois, les artistes chanGhent de costumes”. actualités by Olivier Foulon
— Proceeding #1. Dakar 5–19/05/2002 by Filiep Tacq (red.)
— Proceeding #2. Housing and Proceeding #2. Wonen by Lieven De Boeck (red.)
— The Milgram re-enactment by Steve Rushton (red.)
In 2006 the Jan van Eyck was present at the following book fairs:
— Druksel, Ghent
— Jan van Eyck Boekenmarkt, Maastricht
— De antiquaren, Maastricht
— Caractères, Brussels
L I Br a r Y
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General
The library is first and foremost a study area for (advising) researchers and a centre of support for
the technical staff members. In addition, the library has a public research function. Digital access
to the media is made possible by connection to the IHOL network and the national accessing
system PICA. Researchers and staff members get a free borrowing pass, which enables them to
borrow from libraries in the region, including the university library in Maastricht and the libraries
of the tertiary institutes in Limburg. External researchers possessing an IHOL pass can borrow
the media (books, magazines, audiovisual material, and multimedia) present in the Jan van Eyck.
The library also lends materials via the national Interlibrary Lending Traffic (IBL). The library
catalogue can be viewed via the website.
Staffing
The library is run by Annet Perry-Schoot Uiterkamp. Monique Notermans, library assistant, con-
centrates on entering the collection into the PICA cataloguing system. Apart from that, she sees to
providing adequate service in the library, together with Annet Perry-Schoot Uiterkamp and Femke
Vluggen.
Collection
The librarian, in cooperation with the advising researchers, defines the collection profile. The profile
of the collection is based on the three disciplines within the academy. Books are preferably bought
in the original language in which they were published (English, French, Dutch and German), with
English and Dutch as duplicate languages.
Donation collections
In 2006 four special collections were acquired. The first collection, of about 2,600 books, is the
collection of art historian and former mayor M.J.A.R. (René) Dittrich (1920–1994). The collection
was donated by the Dittrich family. The second collection, donated by R. Hugo Bloksma, is that of
sixteen parts of the series reclame Jaarboeken. The third collection, consisting of about 200 books,
was collected by fine artist Gilbert de Bontridder (1944–1996). The collection ws donated by his
widow, Ms. M. Kerbusch-Michiels. Finally, in November the academy took on about 200 titles
from the library of the Centrum voor Beeldende Kunst De Beyerd in Breda. De Beyerd relinquished
these titles in connection with its becoming the Museum voor Grafische Vormgeving (Museum of
Graphic Design).
Title processing
In July 2001 a decision was made to make the library collection accessible through the PICA
cataloguing system. From that moment on, all new acquisitions for the library collection have
been immediately registered and described in PICA. Also, all lending traffic has, from then on,
been carried out via the PICA system. From 2001 all titles from the collection have been checked.
This extensive retro-project was completed in 2005. In November 2005 a new project was started:
entering the book titles from the collection of the former Vormgevings Instituut in Amsterdam,
which the Jan van Eyck Academie had acquired in 2001. This project was completed in February
2006. The rest of the year was spent on entering the donated collections of De Bontridder, part
of the Dittrich donation and part of the library of the Bonnefantenmuseum, which the museum
had donated to the Jan van Eyck Academie in 2000. At the end of 2006 the collection numbered
a total of 18,164 titles, including 1,055 titles from the Vormgevings Instituut, 1,372 titles from the
Dittrich collection and 1,001 titles from the Bonnefanten collection.
Consultation
In 2006 Annet Perry-Schoot Uiterkamp took part in the meetings of the IHOL user council,
and in the consultations of the Art History Libraries Flanders and the Art History Libraries
Netherlands.
D o C u m E n Ta T Ion C E n T ru m
General
The documentation centre, managed by Femke Vluggen, is a publicly accessible place for research
on the Jan van Eyck Academie. Its focus is on documentation about the institute; the programme
(both past and present); the work of the (advising) researchers and technical staff (both past and
present) and the response to these productions. The documentary material in the centre is for
reference only and cannot be borrowed.
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Digital archiving system
In 2003 the decision was made to design a new Filemaker database for the documentation centre.
The development of the database was completed at the end of 2004, after which a start was made
with entering the data. In the new database, selective cross-links can be made between the various
entities held in the database (researchers, projects, productions, publications, …). The database is
a source of data for the annual report and the programme brochure, without requiring intensive
formatting. In 2006 the system was ameliorated. Femke Vluggen was hired in December 2006 to
replace Armand Guicherit. Jo Reep, responsible for the building of the database, provided induction
training vis-a-vis the structure of the database of the documentation centre.
Writing model
A writing model has been developed in order to ensure a quick and consistent delivery of information
for (among other things) the annual report, the programme brochure and the website. The model
dictates the way in which information is processed in the database. The model is largely based on
the APA system and thus follows international and professional guidelines.
Inventorising the video collection
Student on work placement Dionne Pin has made an inventory of the video productions realised by
former (advising) researchers. All video productions from the period 1970–2001 (about 370 copies)
present in the academy have been watched and checked. A specific database was developed for this
project, containing all available data, including an evaluation of the technical quality of the video
tapes. An analysis was also made about how the collection could be made suitable for access.
a dm I n I S T r a T Ion
General
The administration, carried out by Martin Dassen, Thuur Menger, Yvonne Pluimakers and Carla
van Zeventer, looks after the interests of the staff and financial affairs for the technical, artistic
and administrative members of staff and researchers. Martin Dassen looks after finances, assisted
by Carla van Zeventer; Yvonne Pluimakers is in charge of personnel affairs and supports the
deputy director. Thuur Menger handles the reception of external parties, deals with the institute’s
telephone, fax, email and postal traffic as well as cash transactions with artistic, technical and
administrative members of staff and researchers.
Accountant
Based on having received various quotes, a decision was made to re-engage accounting firm Baat.
This firm meets the requirements by the Ministry of Education, Culture and Sciences. Cooperation
on drawing up the annual account for 2006 went smoothly.
Report of findings by the accountant
Since 2006 the accountant must write a report of findings, next to drawing up the annual account.
In the report of findings referring to the annual account for 2005, the accountant mentioned
building maintenance, measures to reduce the negative reserve, the fiscal levy on Christmas parcels
and the general administrative organisation. The accountant also advised taking out an insurance
against the risk of third-party claims of the board. A decision was made to follow this advice.
g E n E r a L S E rv IC ES
Systems administration
Systems management regards the set-up, maintenance and repairs of the network and the hardware
and software. René Belleflamme is the academy’s systems administrator, including managing the
workstations of the researchers who want to scan, print, email or surf the Internet.
Infrastructural maintenance
Infrastructural maintenance regards the set-up, maintenance and repairs to the building, the
apartments, the grounds and installations of the academy. Starting 1 June, John Damoiseaux
was employed as allround technical employee for infrastructural affairs. Tonnie Lindt does the
cleaning.
Facilitation for the public programme, the lending of equipment, stocks management and
distribution.
Jo Hardy and John Damoiseaux provide assistance with the public programme. Jo Hardy also
handles the lending of equipment, stocks management and distribution.
C a T E r I ng
P 16 p
General
Wil Engelen, José Nievergeld and Nicolle Vandooren were responsible for catering in 2006.
Hygiene code
The Food Inspection Department considers the canteen to be a catering establishment. A hygiene
code geared to the Jan van Eyck Academie has come into effect from 1 January 2005. As of this
date, goods will only be purchased from suppliers who state in writing that they work according to
this code.
H u m a n r ES ou rC ES
Statutory regulations
The policy plan 2005–2008 states that, with regard to the terms of employment, the academy
‘wishes to use its own Jan van Eyck arrangement, the included terms being fully in line with those
of the state sector’. This policy intention led to updates in the legal regulations set down in 1999.
In 2005 there were three meetings with the personnel committee (Annet Perry, Leon Westenberg,
Armand Guicherit) about a thorough adaptation of the statutory regulations. The new regulations
are brought together into one document, stating the (formal) legal regulations as well as the way
in which the academy applies these in carrying out its policy. In 2006 there was no change in the
statutory regulations.
Function evaluation meetings
All members of staff have had job evaluation meetings according to the procedure set down in the
statutory regulations.
Non-smoking policy
On 1 January 2006, the non-smoking policy came into effect. In effect, this means that all matters
connected with smoking have been removed from all public spaces. A non-smoking policy is also
upheld in the workshops, offices, library, auditorium and the hallways. A smoking area has been
designated for smokers.
Calamity arrangement
A calamity procedure was set up with the members of staff. The procedure proscribes what to do
in case of calamities relating to material issues (such as water, fire or storm damage, vandalism,
burglary) and in case of calamities relating to personal injury (injuries and/or deaths).
Personnel outing
Every year, on the initiative of the members of staff, a personnel trip takes place, usually in the
autumn. This outing is organised by one or more members of staff. The concept programme is
discussed with the directors. Partners have a choice to take part, or not. The outing is financed
with funds from the personnel fund (50%) and the academy (50%). The trip is put on the agenda of
the General Staff Meeting in June, where will be decided, among other things, who will organise
the trip and when it will take place. In 2006 no outing was organised; instead, two outings will be
organised in 2007.
Mutations/vacancies
— On 1 June the contract with Huub Gelissen, technical tutor wood and buildings manager, ended due to his taking
early retirement.
— From 1 June John Damoiseaux is carrying out the 60% job of allround technical employee.
— From 10 July Anne Vangronsveld is carrying out the 60% job of coordinator of the public programme and events.
— On 1 August the full-time employment agreement with Winnie Koekelbergh, coordinator of artistic productions,
ended.
— On 5 September the contract with Frans Vos, technical tutor graphic and photographic techniques, ended due to
his having reached retirement age.
— From 1 October Yvonne Pluimakers, responsible for the personnel administration, is working half a day a week
less, at her own request.
— On 1 October the part-time employment agreement with Armand Guicherit, documentalist, ended.
— From 1 November Dorrie Tattersall, translator and editor, is working one hour a week more.
— On 1 December the part-time employment agreement with Carla van Zeventer, financial employee, ended.
— From 1 December Anouk van Heesch is carrying out the full-time job of general coordinator artistic productions.
— From 1 December Femke Vluggen is carrying out the 60% job of documentalist.
— Frans Vos was appointed as a freelancer to assist researchers with the realisation of silk-screen productions.
— Bert Balcaen was appointed as a freelancer to assist researchers with the realisation of the online productions
of Sönke Hallmann, Antony Hudek and Inga Zimprich.
— Maaike Frencken was appointed as a freelancer to assist researchers with the realisation of the symposia of
Will Holder/Falke Pisano, Daniël van der Velden/Vinca Kruk and Tim Stüttgen.
— Mique Eggermont and Astrid Wege were appointed as freelancers to realise the exhibition resonance.
or how one reality can be understood through another at the Stuk in Louvain and Artis in Den Bosch.
P 17 p
— Jo Reep of JOR systems was appointed as a freelancer to familiarise the documentalist with the database
structure of the documentation centre.
— Iris Paschalidis was appointed as a freelancer to assist Koen Brams on thet project about the oeuvre of
Belgian television maker Jef Cornelis.
— Leentje Mostert was appointed as a freelancer to assist Dirk Lauwaert on the Citygraphy project.
ID position
Since 2004 the City of Maastricht has announced it will cancel the subsidy scheme placing long-
term unemployed in jobs at (state) institutions. The academy has always made its objections against
this cancellation clear. However, the city has decided that all subsidies for ID positions would be
ended on 1 January 2007. From this date, all ID employees will be incorporated by the Phoenix
Foundation in Maastricht. The Phoenix Foundation has indicated that employees can be ‘rehired’
for a maximum period of two years, against payment of compensation. The ending of this city
subsidy regards Jo Hardy’s job. There has been a meeting between the Phoenix Foundation and
Jo Hardy about the option of rehiring for a period of two years. The academy has decided to make
use of this scheme.
Wor k PL aC E m E n T
General
The rights, duties and all practical matters regarding students on work placement have been set
down in a protocol.
Placement projects
In 2006 several placement projects were set up:
Blerina Berberi, student European Studies at Maastricht University, carried out practical
support for the recruitment campaign.
Charlotte Louen, student European Studies at Maastricht University, was appointed to assist
with the implementation of the distribution policy.
Dionne Pin, student Informatiedienstverlening en -management (IDM) at the Haagse
Hogeschool in The Hague, has made an inventory of the video productions of former (advising)
researchers. She has also analysed how this collection can be made suitable for access.
First Aid
Ron Bernstein, John Damoiseaux and Thuur Menger are the academy’s first aiders.
Company Aid Assistance

According to the Company Aid Assistance law, an employer must be assisted by one or more
employees with regard to carrying out its duties in the field of company aid. A plan to this end must
be drawn up. In 2006 Ron Bernstein, John Damoiseaux and Thuur Menger – as well as Laurens
Schumacher – did the course Company Aid Assistance. Laurens Schumacher is responsible for
formulating the Company Aid Assistance plan for the academy.
Promotion of expertise
The academy encourages initiatives relating to promotion of expertise. In 2006 the following
initiatives were supported:
— seminar and workshop Marketing and art libraries (Kim Thehu and Annet Perry-Schoot Uiterkamp)
— workshop Google Adwords (Kim Thehu);
— conference The anthology of computer art (Berto Aussems)
— company training Social Hygiene (Nicolle Vandooren)
— course Company Aid Assistance (Ron Bernstein, John Damoiseaux, Thuur Menger, Laurens Schumacher)
— course Filemaker Pro Basis Training (Femke Vluggen)
C on Su LTa T Ion S
a n d mEmBErShIPS
P 18 p
Memberships
In 2006 the Jan van Eyck Academie was a member of:
— Kunsten ’92 (Arts ’92)
— Res Artis, international association for artists in residencies and programmes
— IHOL – the regional library network of Maastricht University and other tertiary institutes
The contract was prolonged for the period 2005–2007
— SSHM – the Stichting Studenten Huisvesting Maastricht (Student Accommodation Foundation Maastricht)
— Werkplaatsenoverleg: the informal meeting of workplaces in the Netherlands
Collaborations
The Jan van Eyck Academie has signed a collaboration agreement with FLACC (Genk, BE) vis-à-
vis supporting the research of researchers/residents as well as facilitating their productions.
At the request of the Executive Body of the Province of Limburg, the Jan van Eyck Academie,
together with the Academie van Bouwkunst Maastricht, the Academie Beeldende Kunsten
Maastricht, the Bonnefantenmuseum and the Nederlands Architectuur Instituut Maastricht, has
contributed to drafting a future vision for the cultural infrastructure in the Province of Limburg.
The opening of the academic year was set up together with the Academie voor Beeldende Kunst
Maastricht, the Bonnefantenmuseum and Marres.
I n f r a S T ruC T u r E
General
As a result of the new vision on the future functionality of the workplaces and the reformulation
of policy in a general sense, it was decided in 2006 to formulate a plan of requirements for the
architectural restructuring of the existing infrastructure. Considerations in this were that the
original building, by architect Peutz, has an important representative value and that the location
of the institute, in the centre of Maastricht and in the proximity of other cultural institutions, is
excellent.
The plan of requirements was submitted to four architect’s bureaus; after these four bureaus
did their presentations, the commission to design a first prelimionary sketch was given to the
Eindhoven bureau | en | en. The commission pertains to the spatial restructuring of the various
– technical, service providing, private and public – functions within the existing building, taking
into account the legal framework vis-à-vis environment and health and safety. In view of the
appreciation of the building, a plan was expected exuding durability and quality. The preliminary
design should comprise a clear vision on the balance between private functions (work stations,
studios, workshops…) and the public nature of the building (library, auditorium, canteen…).
Investments accommodation
The investments in the accommodation refer to the set-up of a space for the lending of equipment,
the paintwork necessary after a water leak and the replacement of a boiler.
Studios
It has been decided that twice a year comfort-enhancing refurbishments can be carried out in the
studios. A solution for managing sunlight in a number of studios was found in moving the Venetian
blinds.
faC I L I T I ES
General
P 19 p
The technical coordinators formulate investment proposals. These include a (long-term) vision on
investments based on new developments in the field and on cohesion with investments in other
knowledge fields. Before the directors take a final decision about investments, a meeting is held
with the artistic staff. Next, the directors’ decision is clarified to everyone involved.
Investments equipment 2006
The following investments were made:
— two extra airport base stations have been installed to improve the wireless Internet links in the studios
— two A3 colour printers, monitors, computers, a simple scanner and software (Imaging Silverfast, Quark Xpress,
Adobe Creative Suite) for setting up the publishing studio and the space for printing/scanning/Internet/copying
— computer configuration for the Logo Parc project
— dishwasher (canteen)
— filing cabinet and book trolley (library)
— DVD-player, DVD-burner and PC (auditorium)
— cleaning trolley (cleaning)
— smoke detectors, First Aid kits, fittings emergency lighting (company aid assistance)
Interior decoration
The apartments have in part been renovated, redecorated and thoroughly cleaned. An additional
work station has been set up in the office of the advising researchers.
Redundant equipment
Equipment that was written off (photography, computers, monitors, fax, printers, et cetera) was
offered for sale to the (advising) researchers and the staff. Equipment was assigned based on
submitted requests. If there was no internal interest in certain equipment, it was offered for sale
externally. If there was still no interest, the equipment in question was removed.
Calamity fund
The academy has a calamity fund that is intended to cover more expensive repairs to machinery or
to meet substantial costs due to unforeseen circumstances.
Energy
The energy contract with Nutsbedrijven ran up to and including 31 December 2006.
Finances
General
P 20 p
The financial policy is geared at increasing the budgets for the development of artistic policy.
Operating subsidy
The total operating subsidy amounts to €1,989,911, in conformity with the allocations in the
context of the arts plan period 2005–2008. This amount includes government contributions to the
development of labour costs and excludes the subsidy of €250,962 for stipends.
Relationship with the Province of Limburg and the Municipality of Maastricht
In 2006, the Jan van Eyck Academie was mentioned for the first time in the annual programme
of the Province of Limburg as an institute that can strengthen the cultural infrastructure in the
region. The Province has reserve dan amount of €40,000 for activities which make visible the
‘laboratory, research and discourse function of the academy’ to a wide public and which lead to a
demonstrable exchange of ideas, skills and/or creativity in the widest sense of the word. In 2006,
the academy has submitted a programme to the Province for a total amount of €40,000.
For the first time in 2006, the Municipality of Maastricht has granted a subsidy for realising the
programme of the academy within the city of Maastricht. The academy has submitted a programme
to the Municipality for a total amount of €34,666.
Su BS I dI S I ng , S P on S or I ng a n d dI S T r I Bu T Ion
of Proj EC T S a n d ProduC T Ion S
General
Fundraising will be initiated after content approval from the Editorial Board or the department.
In every Policy Board and Editorial Board meeting overviews are presented of the state of affairs
relating to fundraising for projects and distribution of productions. The idea is to create an exchange
of information and knowledge with regard to the possibilities of fundraising and distribution.
Fundraising is coordinated by Laurens Schumacher. Distribution is coordinated by Kim Thehu.
Subsidising and sponsoring of projects
Overview of activities relating to projects of researchers and/or the academy. Apart from the
programmes which received an allowance of the Province of Limburg or the Municipality of
Maastricht, fundraising activities were set up for the following projects in 2006:
— BAVO, Euregional forum. Towards a Euregion without borders. The discussion platform received an allowance
from Interreg (Euregio Maas-Rijn) (€5,000)
— Dirk Lauwaert, Citygraphy. The research project was co-supported by the Werner Mantz Foundation (€7,500)
— The academy’s residency plan received a financial gift of €7,855, donated by Galerie Bärwalt
— Stefanie Seibold, a reader. The three posters were co-sponsored by the Festival aan de Werf (Utrecht) (€2,790)
— ubiscribe. The promotion of the online publishing project received an allowance from the Province of Limburg
(€10,000)
— Daniël van der Velden, research project Logo Parc. The project is a collaboration with the Lectoraat Kunst in de
Openbare Ruimte (Rietveld Academie & Universiteit van Amsterdam) and the Premsela Stichting, who co-finance
this project (€21,100)
Cost-reductions plan
The cost reduction plan, devised in 2004, was implemented in 2005 and continued in 2006.
This meant that measures have been taken with regard to the following areas: write-offs, waste
management, energy, financial management, infrastructure, canteen management, copying and
printing costs, mailings, materials, personnel costs, publicity, telephony and workshops.
aC C ou n T I ng Pr I nC I PL ES f or dE T E r m I n I ng
T h E va Lu E of a SS E T S a n d L I a B I L I T I ES
P 21 p
a n d T h E r ESu LT S of 2 0 0 6
General
The principles applied for the evaluation of assets and liabilities and determining the results are
based on historic costs. Unless otherwise indicated, the assets and liabilities are included at their
nominal value. Revenues and expenditure are allocated to the period to which they relate.
Material fixed assets
The buildings, land, construction/installations and inventories are valued at the price of acquisition.
Depreciation is calculated as a percentage of the acquisition price using a linear method on the basis
of economic viability. The following depreciating percentages are employed:
— buildings: 2.5%
— construction and installations: no depreciation
— grounds and foundation of buildings: 10%
— inventories: 10% and 331/3%
In the year of purchase, the inventory is determined at half the normal percentage.
The inventory with a purchase price of less than €2,500 will be written off within a year of
purchase.
Claims
Claims are valued at their nominal value following the deduction of a provision for non-collectables.
Provisions
A provision is being made for the expected cost of maintenance of buildings, renovations and
installations, based on a long-term maintenance plan. The added provision is maintained according
to the system used in previous years, inview of the planned interventions in the building. The short-
term provision for the staff relates to the estimated cost of pregnancy leave. The provisions specified
are given their nominal value.
Personnel 2006
P 22 p
Balance sheet 31-12-2006 (in Euro)
DEBIT 2006 2005

¬ Fixed assets 498,662 534,769
¬ Floating assets 667,807 506,272
Total 1,166,469 1,041,041
CREDIT
¬ Equity 264,322 262,621
¬ Provisions 71,577 58,912
¬ Long-term liabilities 67,548 88,059
¬ Current liabilities 763,022 631,449
Total 1,166,469 1,041,041
REVENUE 2006 2005

¬ Income 46,176 155,262
¬ Subsidies 2,341,084 2,326,424
Total Revenue 2,387,260 2,481,686
EXPENDITURE
¬ Management 718,261 605,459
¬ Activities 1,677,259 1,867,684
Total expenditure 2,395,520 2,473,143
¬ Balance operational
management -8,260 8,543
¬ Balance interest received
and interest charges 9,961 15,796
Sum total exploitation 1,701 24,339

Directors 2
Koen Brams, director
Laurens Schumacher, deputy director
Advising researchers 3.65

Orla Barry
Norman Bryson
Sabeth Buchmann
Wim Cuyvers
Helmut Draxler
Stephan Geene
Hanneke Grootenboer
Will Holder
Marc De Kesel
Jouke Kleerebezem
Aglaia Konrad
John Murphy
Hinrich Sachs
Imogen Stidworthy
Filiep Tacq
Daniël van der Velden
Director’s assistant 1
Kim Thehu, director’s assistant
Administration 3.00
Martin Dassen, finances
Thuur Menger, reception
Yvonne Pluimakers, personnel
Vacancy financial employee
Editing and translation 1.31

Petra Van der Jeught, editor
Dorrie Tattersall, translator/editor
Public programme and events 1.23

Madeleine Bisscheroux, coordinator
Anne Vangronsveld, coordinator
Artistic productions 1
Anouk van Heesch, general coordinator
Knowledge fields 3.6

Berto Aussems, coordinator time-based media
Ron Bernstein, coordinator materials
Math Cortlever, coordinator materials
Jo Frenken, coordinator graphic productions
Vacancy webmaster/coordinator on- and offline productions
Departmental secretariat 1
Leon Westenberg, secretary
Library and documentation centre 2.2

Monique Notermans, library assistant
Annet Perry-Schoot Uiterkamp, librarian
Femke Vluggen, documentalist
General services 4.05
René Belleflamme, systems administrator
P 24 p
John Damoiseaux, allround technical employee
Wil Engelen, canteen employee
Jo Hardy, employee public programme
Tonnie Lindt, cleaning lady
José Nievergeld, canteen employee
Vacancy canteen employee
Total amount permanent functions 24.04

Appointments
John Damoiseaux 01.06.06
Anne Vangronsveld 10.07.06
Anouk van Heesch 01.12.06
Femke Vluggen 01.12.06
Termination of employment
Huub Gelissen 01.06.06
Winnie Koekelbergh 31.07.06
Frans Vos 05.09.06
Armand Guicherit 30.09.06
Carla van Zeventer 01.12.06
Students on work placement / Start

Blerina Berberi 01.02.06
Dionne Pin 20.06.06
Charlotte Louen 21.08.06
Students on work placement / Termination

Sangeeta Bhansingh 13.01.06
Chantal Claessens 31.01.06
Noortje Fischer 31.01.06
Blerina Berberi 09.06.06
Temporary appointments / Start

Brigitte Bracke, financial employee 04.12.06
Temporary appointments / Termination

Nicolle Vandooren, canteen employee 06.11.06
Bo a r d
Dr Jan van Adrichem

(Head of Collections, Stedelijk Museum, Amsterdam)
Mr Marthe Coenegracht
(Secretary Judge, Court of Roermond)
Tijmen van Grootheest
(Treasurer; Chairman of the Board, Gerrit Rietveld Academie, Amsterdam)
Fons Haagmans
(Artist, Maastricht)
Dr Cees Hamelink
(Chairman; Em. Professor of International Communication, University of Amsterdam,
Em. Professor Media, Religion and Culture, VU University, Amsterdam)
Dr Bart Verschaffel
(Professor, Department of Architecture & Urban Planning, University of Ghent,
Senior lecturer, University of Antwerp)
Dr Jacques de Visscher
(Extraordinary Professor of Philosophy and Literature, Radboud University Nijmegen)
P 25 p
Koen Brams 1964 / Belgium
Director
Projects
— On the television work of Jef Cornelis.
— An alternative history of art in Belgium.
— Research on research.
Discussions/debates
— Research on research. (moderator). (10 October).
With Mika Hannula, Suchan Kinoshita & Daniël
van der Velden. Maastricht, NL: Jan van Eyck
Academie.
— Professional perspectives of the European art
education reforms. Consequences for art training
and for artistic careers. (28 September). Organised
by Association Internationale des Critiques d’Art
(AICA). Copenhagen, DK: The Royal Danish
Academy of Fine Arts.
— Museum in ¿Motion? conference proceedings.
(18 April). With Carel Blotkamp, Wouter Davidts,
Bart Verschaffel, Diana Franssen, Vinca Kruk &
Adriaan Mellegers. Organised by Department of
Architecture & Urban Planning (UGent), Jan van
Eyck Academie, Museum Het Domein. Eindhoven,
NL: Van Abbemuseum.
— Infonamiddag buitenlandse werkplaatsen
[Information meeting about art centres abroad].
(14 January). With Kendell Geers, Johan
Grimonprez & Dirk Snauwaert. Organised by
Initiatief Beeldende Kunst (IBK). Brussels, BE:
Vlaams-Nederlands Huis De Buren.
Festivals/events
— The vicissitudes of public space in the Euregion
Meuse-Rhine. In: Euregional Forum Liège.
(23 – 25 November). With BAVO, Wim Cuyvers,
Pierre-Etienne Fourré, Thomas Moor & Florian de
Visser. Lectures, debates, interviews, visual
presentations. Organised by the Jan van Eyck
Academie. Liège, BE: Brasserie Haecht. Espace
Nord 251.
— Art and research. (16 November). In: Teaching /
Learning / Researching in de cross-over tussen
autonome en toegepaste kunsten. Organised by
Associatie Universiteit & Hogescholen
Antwerpen, Karel de Grote Hogeschool,
Koninklijke Academie voor Schone Kunsten,
MuHKA_Media. Antwerp, BE: Museum
Hedendaagse Kunst Antwerpen (MuHKA).
— An all too pressing invitation.... (28 September).
In: From art school to professional practice.
Organised by International Association of Art
Critics (AICA). Copenhagen, DK: The Royal Danish
Academy of Fine Arts.
— De straat: de tentoonstelling en de film. (18 April).
In: Museum in ¿Motion? conference proceedings.
With Carel Blotkamp, Wouter Davidts, Diana
Franssen, Vinca Kruk, Adriaan Mellegers & Bart
Verschaffel. Organised by Department of
Architecture & Urban Planning (UGent)
Jan van Eyck Academie, Museum Het Domein.
Eindhoven, NL: Van Abbemuseum.
— België’s internationaliteit (omstreeks 1980).
(31 March). With Dirk Pültau. In: Kunst en globali-
sering. Organised by Vakgroep Algemene en
Kritische Studies, Hogeschool Sint-Lukas.
Brussels, BE: Vlaams-Nederlands Huis De Buren.
Publications
— 1980. With Dirk Pültau. In: De witte raaf, 124,
pp. 1-2.
— “Als het weg is, kan je het niet meer terughalen”.
Interview with Jef Cornelis about the television
film Mens en agglomeratie (1966), Waarover men
niet spreekt (1968) and De straat (1972). With Dirk
Pültau. In: Open, 11, pp. 60-77.
— Het ‘falen’ van extreem rechts in Wallonië.
A conversation with Guido Fonteyn. With Dirk
Pültau. In: De witte raaf, 120, p. 5.
— A conversation with Daniel Buren about the
exhibition Kunst in Europa na ‘68. With Dirk Pültau.
— A conversation with Dan van Severen. With Dirk
Pültau.
— A conversation with Lili Dujourie. With Dirk Pültau.
— A conversation with Ann Veronica Janssens.
With Dirk Pültau. In: De witte raaf, 124, pp. 17-21.
— Gij zult communiceren! Review of Artistic research.
Theories, methods and practices.
In: De witte raaf, 122, p. 19.
— “Ik ben te nieuwsgierig om alles uit handen te
geven aan de kunstenaar”. Interview with Jef
Cornelis about the television film Sonsbeek buiten
de perken (1971) and other broadcast film on art
manifestations. In: Jong Holland, 22 (3).
— Interviews Jef Cornelis. With Dirk Pültau. Published
on: <http://janvaneyck.nl/0_3_3_research_info/
cornelis.html>
— Een keuze is altijd een beperking. A conversation
with Guy Rombouts. With Dirk Pültau. In: De witte
raaf, 123, pp. 1-6.
— Art and research: a conversation with Joëlle
Tuerlinckx. With Dirk Pültau. In: De witte raaf, 122,
pp. 6-7.
— Notities bij de Encyclopedie van fictieve
kunstenaars. On the occasion of the project La
collection imaginaire. Maastricht, NL: Marres.
— “Een reflexieve houding op televisie: dat is heel
moeilijk”. Interview with Jef Cornelis about the
films on literature. With Dirk Pültau. In: De witte
raaf, 124, pp. 25-28.
Monday 1 May
Tuesday 2 May
Wednesday 3 May
Seminar
lesson of 11 April & 2 May 1962 [Thursday 26 January]
Thursday 4 May
Friday 5 May
Saturday 6 May
Sunday 7 May
Monday 8 May
Seminar
The eye of the beholder
Hanneke Grootenboer
Discussion
The Parerga. The second meeting of the
Derrida Reading Group
Jonathan Dronsfield, Sönke Hallmann
Sarah Infanger 1978 / Switzerland

Researcher Design / The tomorrow book
Sarah Infanger’s research deals with how books
are read and with the book as a material object.
The first part of her analysis concerns conscious
and unconscious ways of reading, different read-
ing patterns with regard to the objective and sub-
jective perception of content. The second part
focuses on the relationship between the book
and its content. An essential point of this re-
search is the experiment with book forms. The
material object, the book, gives content a tactile
body. How can materiality and book structure in-
fluence our perception? How does it become part
of (self)-reflective navigation?
Focusing on the relationship between the book,
its content and the reader implies investigating
how content is structured and perceived: this is
influenced by its body, tactility and narrative
structure, and by the act of reading. The book is a
mental space with visual qualities; it is the em-
bodiment of impalpable language and ideas.
week 2006. (9 – 13 January). Maastricht, NL:
— Tomorrow book. (20 – 21 May). On-demand print
workshop. With Harrisson, Will Holder, Filiep
Tacq & Richard Vijgen. In: Jan van Eyck Bookish
Academie.
Exhibitions
— I drew some names from a hat. (29 January).
Amsterdam, NL: Achter de ramen.
Design
visible. (book). With Harrisson, Filiep Tacq &
Richard Vijgen. Baden, CH: Lars Müller Verlag;
— The continuous present. (book). With Harrisson &
Richard Vijgen.
— Programme 2006 Jan van Eyck Academie.
(booklet/brochure). With Harrisson. Maastricht,
— Saliou Traoré. The zoo of space. Let me be your
dictionary. (publication). Maastricht, NL: Jan van
Eyck Academie.
Tuesday 9 May
Wednesday 10 May
Thursday 11 May
Friday 12 May
Saturday 13 May
Tina Clausmeyer 1978 / Germany

Researcher Design
In her research project Mapping conspiratorial
spaces. Visualisation of Stasi surveillance patterns
1980 – 1989 in the former GDR. Erfurt as model
city, Tina Clausmeyer investigated what has be-
come of the unofficial, conspiratorial meeting
places of the Stasi, the secret service of the
former German Democratic Republic – known as
KW’s (Konspirative Wohnungen). The project sets
out to locate and analyse visual evidence of Stasi
operative surveillance methods. It documents
the 500 secret meeting places listed in a copy of a
lost Stasi file, discovered at the State Security
Service archives of the former GDR in Berlin
(2004). The database and cartography, which will
be published on-line, testify to the invisible visible
control apparatus and the distribution and opera-
tion of the KW’s.
Projects
— Conspiracy dwellings.
— Meta Haven.
— Visualizing the visual.
Publications
— Architecture of diamond trade. In: Brakin.
Brazzaville – Kinshasa. Visualizing the visible,
pp. 180-201. Baden, CH: Lars Müller Verlag;
— Blue-white and black-white Brakin. In: Brakin.
Brazzaville – Kinshasa. Visualizing the visible,
pp. 264-281. Baden, CH: Lars Müller Verlag;
visible. With Agency, Kristien Van den Brande,
Wim Cuyvers, Dirk Pauwels & SMAQ. Baden,
CH: Lars Müller Verlag; Maastricht, NL: Jan van
Eyck Academie.
— Congo river. In: Brakin. Brazzaville – Kinshasa.
Academie.
— Congo river photo-walk. In: Brakin. Brazzaville –
Kinshasa. Visualizing the visible, pp. 282-289.
Baden, CH: Lars Müller Verlag; Maastricht,
— United Nations. In: Brakin. Brazzaville – Kinshasa.
Visualizing the visible, pp. 86-99. Baden, CH: Lars
Müller Verlag; Maastricht, NL: Jan van Eyck
Academie.
— Visualisierung konspirativer Überwachungs-
architektur des ehemaligen Ministeriums für
Staatssicherheit der DDR. Erfurt als Modelstadt.
Geheime Trefforte in Erfurt in den Jahren 1980
bis 1989. In: Heinrich Best, Jaochim Heinrich &
Heinz Mestrup (Eds.). Geheime Trefforte des MfS
in Erfurt, pp. 126-128 (Bildteil: 130-161). Erfurt, DE:
Landesbeauftragen des Freistaates Thüringen für
die Unterlagen des Staatssicherheitsdienstes der
ehemaligen DDR.
— Christian Bangel & Chris Köver. (1 April). Kinshasa
vibriert. In: Zuender [Zeit Online]. Published on:
<http://zuender.zeit.de/2006/32/brakin-
kinshasa-brazzaville-interview>
Reviews
— Karl Blanchet & Regina Keith. Afrika braucht seine
Ärtze selbst. (review of Brakin. Brazzaville –
Kinshasa. Visualizing the visible). In: Le Monde
diplomatique.
— Katrin Bettina Müller. (14 November). Das Rot
und das Gelb des Fortschritts. (review of Brakin.
Brazzaville – Kinshasa. Visualizing the visible).
In: Die Tageszeitung. Published on: <http://www.
taz.de/pt/2006/11/14/a0213.1/text>
— “United Nations” and “Architecture of diamond
trade”. (17 July). In: ..quelle Kinshasa? Lecture and
book presentation of Brakin. Brazzaville –
Kinshasa. Visualizing the visible. With Jochen
Becker & Sabine Müller. Berlin, DE: b_books.
visible. (2 July). With Agency, Sven Augustijnen,
Guy Bomanyama, Kristien Van den Brande,
Bambi Ceuppens, Raf Custers, Wim Cuyvers,
Vincent Kenis, Jean Michel Kibushi, Antoine-
Dover Osongo-Lukadi, Dirk Pauwels, SMAQ,
Florence de la Tullaye & Sarah Vanagt. Organised
by the Jan van Eyck Academie. Tervuren, BE:
Royal Museum for Central Africa.
— The state of secrecy. (17 January). In: Private
investigations. Innsbruck, AT: Künstlerhaus
Büchsenhausen.
— Mapping conspiratorial spaces. Visualisation
of Stasi surveillance patterns from 1980-89 in
the former GDR. In: Opening week 2006.
Academie.
— UFO UNO. Vereinte Nationen, Öffentlichkeit und
Kunst. (25 November). Frankfurt am Main, DE:
Frankfurter Kunstverein.
Sunday 14 May
Monday 15 May
Tuesday 16 May
Gon Zifroni 1980 / Israel

Gon Zifroni conducts research into public space
and studies how its decay is emphasised at
Amsterdam’s prime development South Axis –
situated at the peripheral highway encircling the
city. The strategy (mis)uses the massive office
and parking infrastructures deployed by local
investors, whose stake is purely economical.
Lecturing is accompanied by an online game
where the market-driven regime of represen-
tation is denuded from its façades, revealing the
brutal reality behind the varnish. Any further
enactment of power – through its image – will be
confronted with the popularity of its virtual
demystified shadowy double. Logo Parc engages
with the subliminal message that is silenced by
the generated public face and seeks to play a
game based on the dark unwritten rules.
Zifroni does research of a wholly different nature
as part of the project the Department of Reading
(DoR). The practice of reading teaches us that
collective reading works onto the very text it
deals with. The deformations and interpretations
that are woven through the text allow for new
textures and changes. Reading, as deciphering,
juxtaposing and reassembling, requires new
strategies for the online practice of collective
work.
Organisation events
— War and theory. (28 August – 13 September).
In: Department of reading. Online debate.
With Sönke Hallmann.
Publications
pp. 112-123.
Gretzinger, Matthijs van Leeuwen, Matteo Poli,
Daniël van der Velden. Amsterdam, NL: Gerrit
Rietveld Academie.
With Katja Gretzinger, Matthijs van Leeuwen,
Matteo Poli, Daniël van der Velden. Amsterdam,
NL: Het Trippenhuis.
Festivals/events
— The vicissitudes of public space in Euregion city
Liège. In: Euregional Forum Liège.
(23 – 25 November). With BAVO, Michel Antaki,
Michel Bianchi, Nicolas Firket, Stephan
Hoornaert, Thomas Moor. Lectures, debates,
interviews, visual presentations. Organised by
the Jan van Eyck Academie, Maastricht. Liège,
BE: Brasserie Haecht/Espace Nord 251.
— Transgression of the Euregion. In: Euregional
Forum Aachen. (16 – 18 November). With BAVO,
Christoph Euler, Henk Vos. Organised by the Jan
van Eyck Academie, Maastricht. Aachen, DE:
Neuer Aachener Kunstverein (NAK).
Wednesday 17 May
Seminar
lesson of 9 &16 May 1962 [Thursday 26 January]
Thursday 18 May
Orla Barry 1969 / Ireland

Advising researcher Fine Art
Orla Barry centres her practice on language, writ-
ten and spoken. Her work is strongly poetic and
lyrical. Barry was born in Ireland, and the rhythm
of her phraseology, the pictorial and narrative
vernacular on which she draws, somehow
evokes her homeland’s topography, climate and
literary heritage. Much of Orla Barry’s photo-
graphic, video, performance, text and sound
installation work searches for the place where
myth, memory and a robust and sensual physical
reality intersect.
By using several forms of address, including the
first person voice-over and text recited by some-
one else, Barry invents a fiction of multiple ‘I’s,
which enrich our understanding of the unfixed,
multiple nature of identity. Barry’s use of female
personae makes her feminism subtle, witty and
pleasantly underhand.
Reviews
— Rachel Withers. Orla Barry. Camden Arts Centre.
In: Artforum. pp. 263-264. (April).
— Report of an ongoing journey. In: W139 -
Amsterdam, Report of an ongoing journey.
Amsterdam, NL: Roma; Amsterdam, NL: W139.
— N6: The stone road. An urban countryside
(notes from the first voyage to Mons).
With Wim Cuyvers, Els Dietvorst & Johanna
Kirsch. In: Making sense in the city. (17 – 20
December). Organised by Centre for Intercultural
Communication and Interaction (CICI). Ghent, BE:
Aula Ghent University.
Exhibitions
— Being in Brussels. (25 November 2006 – 20
January 2007). Brussels, BE: Argos. (Exh. Cat).
— Gorge(l). Beklemming en verademing in de kunst
[Oppression and relief in art]. (7 October 2006 –
7 January 2007). With Louise Bourgeois & Sofie
Van Loo. Antwerp, BE: Koninklijk Museum voor
Schone Kunsten. (Exh. Cat).
— Outdoors. (6 May – 11 June). With Gerry Smith.
London, GB: Danielle Arnaud.
— Art Brussels. (21 – 24 April). Brussels,
BE: Expo-Halls.
— Portable stones and other works. (7 March –
11 June). Dublin, IE: Irish Museum of Modern Art
(IMMA).
— Wideawake. (7 March). Dublin, IE: Irish Museum
of Modern Art (IMMA).
Showings
— Portable stones. (12 January). In: Opening week
2006. Organised by the Jan van Eyck Academie.
Maastricht, NL: Lumière. Festivals/events
— 51st Cork film festival. (8 – 15 October). Cork, IE.
— Festival international des films des femmes de
Créteil. (10 – 19 March). Videofestival. Créteil, FR.
Friday 19 May
Saturday 20 May
Event Alexander van Grevenstein (director Bonnefanten-
Jan van Eyck Bookish Weekend museum) discussed the museum’s collection of
ephemera by Joseph Beuys in the context of Fluxus.
Exhibitions Marc Goethals: Concrete poetry, Fluxus and He elaborated on the compilation of this collection and
conceptual art. A book friction. / Johan Deumens: its future.
Jan van Eyck artists’ books Seth Siegelaub addressed the question of how
conceptual art books were produced and distributed.
Workshop The tomorrow book [Tuesday 10 January] In the mid-1960s Seth Siegelaub opened a gallery in
Lecture Gerhard Rühm / Alexander van Grevenstein / New York and later worked with artists of what is now
known as the ‘conceptual’ art movement. In 1968,
Seth Siegelaub: A book friction brought into the limelight he began organising and publishing conceptual art
Performance Automatic pilotless ignition (API) projects, which opposed the traditional presentation of
Book market art objects as precious, permanent and unique objects,
and posited that an idea itself can be considered a work
Venue Jan van Eyck Academie, Maastricht, NL of art. Robert Barry, Douglas Huebler, Joseph Kosuth,
Sol LeWitt and Lawrence Weiner are some of the art-
ists who worked on conceptual art projects and books
Publishing sues, thus drawing a distinctive history of the academy. organised and published with Siegelaub.
On 20 and 21 May the Jan van Eyck Academie pre- The book exhibition was part of the project Small, independent, specialised publishing, he
sented the public with a range of activities related Publications and resonances. argued, is a specific type of publishing that must be
to art and artists’ books: an exhibition, workshops, See also: http//pubres.janvaneyck.nl encouraged. He emphasised that the publishing of
lectures, discussions, a variety show and a book artist’s books is basically a form of small, independent
market. The Bookish Weekend event was part of The tomorrow book publishing, whose public and economic parameters
the Kunsttour (Art Tour) 2006. Harrisson, Sarah Infanger and Richard Vijgen are determining factors for a publisher. Since technolo-
(researchers Design) and Will Holder and Filiep Tacq gy has greatly improved book production by making
Concrete poetry, Fluxus and conceptual art. A book (advising researchers Design) of the research project publishing cheaper, easier and faster, small publishers
friction The tomorrow book invited the public to contribute to of artist’s books have to deal with problems of distribu-
Collector Marc Goethals set up a unique exhibition a temporary reference library and on-line database tion. It is essential to give a book a ‘social existence’.
showcasing artists’ books from the period 1968–1972. constructed in an on-demand print workshop. They ‘To get a book out into the world’ is all about getting
The exhibition traced how artists from the concrete investigated the influences of digital and print media it beyond the limited established network of the art
poetry, Fluxus and conceptual art movements dealt on narrative structures. The public contributed to this community. To achieve this objective, a distinctive
with the medium of the book in their practices. Inter- library and database in two ways: firstly, The tomorrow distribution network is needed.
actions between artists, mutual influences, sympa- book team provided a beginning and end of a possible
thies as well as tensions were revealed. Books were narrative and people submitted some pages – text or Book market
shown from the publisher’s lists of Hansjörg Mayer images – to complete the story in between. All material The books that fine artists, designers and theoreticians
(Herman de Vries, Dieter Roth, Gerhard Rühm, et al.) submitted had to be from existing sources. Secondly, produced at the Jan van Eyck – autonomous artworks,
and Something Else Press (Fluxus artists Robert Filliou, the team supplied three pages from a narrative and experimental design editions, volumes of essays, cata-
George Brecht, Wolf Vostell, Dick Higgins et al.) and the reader created the next page within 12 hours. logues and magazines – could be purchased at the
by artists such as Lawrence Weiner, Joseph Kosuth, All participants received a free copy of the prototype book market.
Allan Kaprow, Claes Oldenburg and Stanley Brouwn. produced.
Apart from artists’ books, the exhibition showed
magazines and presented a publication with an illus-
trated and annotated list. Marc Goethals and Filiep
Tacq (art book designer, advising researcher Design)
gave guided tours.
Automatic pilotless ignition (API)

Saturday evening brought variety entertainment on
the theme of books and art. The festive programme
featured current and former Jan van Eyck researchers,
presenting their publications through live performan-
ces, video screenings and readings. Composers were
Jan van Eyck artists’ books former researchers Olivier Foulon and Ella Klaschka.
The academy possesses an exceptional collection of
artists’ books made by Suchan Kinosita, Mariana A book friction brought into the limelight
Castillo Deball, Christine and Irene Hohenbüchler and As part of the exhibition A book friction presentations
Raoul Marroquin, to name but a few. All artists men- were held on the artist’s book. Gerhard Rühm (writer
tioned were formerly researchers at the Jan van Eyck. and musician, DE) took up the subject of concrete
These books were showcased in the library. Johan poetry and referred to his own practice. By connecting
Deumens, expert in artists’ books, conducted inter- sounds, words and gestures, through poetry and per-
views with the artists in which they discuss their work, formance, Rühm created a total experience. Rühm put
the facilities provided at the academy and related is- several of his unique artists’ books on display.
Sunday 21 May
Event
Jan van Eyck Bookish Weekend [Saturday 20 May]
Exhibitions Marc Goethals: Concrete poetry, Fluxus and
conceptual art. A book friction. / Johan Deumens:
Jan van Eyck artists’ books
Workshop The tomorrow book [Tuesday 10 January]
Lecture Stuart Bailey: Manifesta 6 School. Print workshop
Launch Arie Altena, Sandra Fauconnier, Claudia Hardi,
Jouke Kleerebezem, Inga Zimprich: Ubiscribe 0.9.0;
(Recent changes) Pervasive, personal, participatory
As part of Ubiscribe [Saturday 14 January]
Book market
publishing
As a bonus to its print workshop, The tomorrow book
team invited graphic designer Stuart Bailey to present
his print workshop for Manifesta 6. This print workshop
was supposed to run until December 2007 in Nicosia
(CY) and would produce, on demand, all printed matter
for the Manifesta 6 School. A complete self-contained
production system was set up, based on recently out-
of-date or out-of-fashion local technologies purchased
cheaply at local shops: mimeographs, stencil machines,
screen printing, Xerox. The mayor of Nicosia cancelled
the project for political reasons.
Ubiscribe
The book Ubiscribe, featuring online and offline pub-
lishing, was made on the occasion of the Kunsttour.
Ubiscribe explores the intrinsic potential and techno-
logical limits of present-day publishing. See Ubiscribe:
comments, post-centeredness, permalinks & blogs as
conversation above. Editors were: Arie Altena, Sandra
Fauconnier, Claudia Hardi, Jouke Kleere-bezem
and Inga Zimprich.
Info on the book can be accessed at: www.ubiscribe.
net/ubipod/wiki/pmwiki.php
Monday 22 May
Seminar
The seeable and the sayable
Hanneke Grootenboer
Tuesday 23 May
Lecture, film screening
The liberation of the voice
Manon de Boer
Discussion
Thinktank, faculty of invisibility and monument as discussion
Inga Zimprich
Fine Art
In her lecture Manon de Boer focused on the relation-
ship between image, sound and voice with regard
to content and form and the way this relationship
becomes apparent in the films Sylvia Kristel – Paris
(2003) and Resonating surfaces (2005). In both films
the voice, as physical presence and as language, plays
an important albeit different role. In Sylvia Kristel –
Paris the voice replaces the body and makes the viewer
wonder about the view they have of Sylvia Kristel.
In Resonating surfaces the voice is a fundamental
and formal element in the film and one of the key
biographical sources of main character Suely Rolnik.
Sylvia Kristel – Paris portrays Sylvia Kristel who
played the leading role in the 1970s cult film
Emmanuelle. The nude scenes made Kristel into a star
and made the soft porn genre boom, but the film is also
about the difficulty of representing a person’s life in a
coherent way and about the faulty working of memory.
A close-up of Kristel’s face is soon replaced by anony-
mous scenes of Paris and her voice is only heard off-
screen; we never see her pronounce the words that
she voices.
The film Resonating surfaces is about a city, a
woman and a philosophy. It tells the story of Suely
Rolnik, a Brazilian psychotherapist who lives in Sao
Paulo, of the dictatorship in Brazil in the 1970s, of the
intellectual climate in Paris in the 1970s with leading
figures Deleuze and Guattari. The film touches upon
the relation between body and power, the micropoli-
tics of desire and resistance and, finally, the voice.
Fine Art
The existence of open source software and licenses,
such as the GNU public license, has brought about
major changes in how the concepts of ownership, col-
laboration and production are interpreted. Alternatives
to personal ownership and copyrights have developed
on legal bases. These developments have affected
Inga Zimprich’s practice and her understanding of
her work.
In her research project Thinktank she investigates
the parallels between open source programming and
social and artistic collaborative practices. She brings
artists, thinkers and conceptmakers together with
open source programmers to set up a Thinktank,
a web-based structure that facilitates self-organisa-
tion, administration of collaborative projects and
networking. In 2006 talks were set up at the Jan van
Eyck and beyond about virtual values, programming
for participation, dissemination of knowledge and
the like. These talks were published in Thinktank.
The book was designed by OneDayNation.
www.think-tank.nl
Wednesday 24 May
Seminar
Pierre Klossowski, Re-animating a tableau vivant
Stephan Geene
Seminar
Passion (1982) by Jean-Luc Godard
Sabeth Buchmann
Film and television

Stephan Geene gave a lecture about Pierre Klossowski
who renounced theory and started to make drawings
instead and invented the passive assets of pornography.
Klossowski further developed a theory on existential
monetary exchange.
Klossowski read Nietzsche in a very distinctive and
personal way (as did Foucault and Deleuze in their own
right) and he put forward an interesting position for the
context of film theory having used a intrinsically visual
rather than theoretical approach that made him draw
the same pattern over and over again. He considered
in a very emblematic way the difficulty that is implicit in
theorising the visual. In collaboration with Chilean film-
maker Raul Ruiz he realised two motion pictures that are
hardly ever shown: La vocation suspendue (1977) and
L’hypothèse du tableau volé (1979) that was only re-
leased on DVD. The latter film is about the enactment
of a tableau vivant, a very daring undertaking when one
is using the medium of film.
It was Geene’s intention to broaden up the discussion
and see how contemporary approaches draw in the
viewer.
Thursday 25 May
Leyla Arzu Kececi 1971 / Turkey

in various projects, ranging from exhibitions and
producers.
Organisation events
Editorials
Elisabeth Penker & Ruby Sircar (Eds.). [fem.]
Reviews
[review of Movilities]. Sonnendeck, 02/06.
Stuttgarter Zeitung, 35, p. 41.
Academie.
Exhibitions
Friday 26 May
Saturday 27 May
Sunday 28 May
Monday 29 May
Tuesday 30 May
Maria Iorio 1975 / Switzerland

Researcher Fine Art
Maria Iorio works together with Raphaël Cuomo.
Terra Trema, filmed on location in 1948 in a small
Sicilian village, with local men acting as ‘real’
fishermen under the direction of Luchino Viscon-
ti, proposed a vision of Italy which broke with the
representations of national identity, previously
broadcast by the fascist entertainment industry.
Now integrated into the local patrimony as part of
Italy’s cultural heritage, as an authentic and pic-
turesque image of the past, as well as being used
as a tourist attraction, Terra Trema constitutes a
preliminary case study which opens up an inter-
rogation of history through the history of cinema
itself – and through history as it is constructed by
cinema – with the intention of updating some
elements of the film in their own productions.
The research follows a double migratory move-
ment: the north-south movement of tourism and
the south-north movement of immigration.
It investigates the organisation of space and time
– infrastructure dedicated to tourism and leisure,
areas controlled by the police, off-season sur-
roundings – at places where both these move-
ments cross, like the Sicilian island of Lampedu-
sa, situated between Africa and Europe. Their
work on site stems from a confrontation with the
representations of the other and the elsewhere,
produced by the tourism industry, publicity and
the media. Cuomo and Iorio propose to re-visit,
through the use of photography and video, déjà-
vu places and figures in fictions that query the
power of images and the influence of cultural
codes in meaning and problematise the act of
representation itself.
Publications
— Europe’s southern-most island. Met: Raphaël
Cuomo. In: BAVO (Ed.). Euregional Forum
Newspaper. Maastricht, NL: Jan van Eyck
Academie.
— Sudeuropa. Welcome, live. In: Ursula Biemann &
Brian Holmes (Eds.). The Maghreb connection.
Movements of life across North Africa, pp. 220-
244. Barcelona, ES: Actar.
— Making off. With Raphaël Cuomo. (19 October).
In: Journée de la recherche. Geneva, CH: Ecole
supérieure des beaux-arts.
— Welcome, live. With Raphaël Cuomo. In: Opening
van Eyck Academie.
Discussions/debates
— The Maghreb connection. Movements of life
across North Africa. (11 December). With Doa
Aly, Raphaël Cuomo, Hala Elkoussy, Brian
Holmes. Artist panel . Cairo, EG: The Townhouse
Gallery.
Exhibitions
— Sudeuropa. With Raphaël Cuomo. In: The
Maghreb connection. Movements of life across
North Africa (11 December 2006 – 13 January
2007). Cairo, EG: The Townhouse Gallery.
— Lontano nel mare. With Raphaël Cuomo.
In: Resonance. Or how one reality can be
understood through another. (1 December 2006 –
31 January 2007). With Armando Andrade
Tudela, Pavel Braîla, Anke Brüchner, Peggy Buth,
Mariana Castillo Deball, Marjolijn Dijkman, Olivier
Foulon, Nikolaus Gansterer, Hatice Güleryüz, Paul
Hendrikse, Eric van Hove, Johanna Kirsch, Will
Kwan, Doris Lasch, Achim Lengerer, Lene
Markusen, Charlotte Moth, Gyan Panchal, Falke
Pisano, Ursula Ponn, Romana Schmalisch,
— Brève ombres. With Raphaël Cuomo. In: Noir et/
ou blanc. (18 June – 2 July). Geneva, CH: Duplex,
espace d’arts contemporains.
Films/videos
— Sudeuropa (Cairo version). With Raphaël Cuomo.
Showings
— Afterwork. (12 January). With Raphaël Cuomo.
In: Opening week 2006. Organised by the Jan van
Eyck Academie. Maastricht, NL: Lumière.
Wednesday 31 May
Thursday 1 June
Friday 2 June
Symposium stance, it also tries to approximate, as closely as
Water in the city. 19th century and 21st century topographic possible, the original lighting situation. Dirk Lauwaert
gave an introduction about water in the city in 19th
photography in Maastricht century topographic photography, entitled Redefining
Dirk Lauwaert: Redefining the water in the 19th century – the water in the 19th Century - between reality and
between reality and imagination / Ingrid Evers: Maastricht imagination. Finally, Steven Humblet analysed topo-
graphic photographs in photography books of the
at the Meuse, a history of canals and locks / Steven Interbellum (1918-1940) in his presentation Water in
Humblet: Water in the illustrated books of the Interbellum the illustrated books of the Interbellum period. In doing
so, he mainly addressed the theme of the Seine in the
period / Marc De Blieck: Rephotography as photography book Paris vu...par André Kertesz, that
photographical poetics appeared in 1934.
As part of Citygraphy
Citygraphy graphic exploration of the Sphinx build-

Citygraphy examines the role of 19th cen- ing in the city centre.
tury photography in the consciousness Both the Sphinx building and the prison
and perception of the European city as a are isolated buildings/terrains; Bauer
historic focal point – a fulcrum subject to sees a link with Foucault’s panopticum.
the powers of modernisation. Contrasts As in the panopticum, she wants to look
between urban centres and expanding at the city from all directions, from the
suburbs, between handicraft and indus- high Sphinx building. Her approach to the
trial production, between transport by prison was different. Walking around the
water and over land, between conserva- building, she photographed the prison
tion and redevelopment, between resto- from different angles.
ration as both a form of protection and of Bauer’s work will be presented at some
rebuilding, between the interests of resi- point in 2007; Marres and Studio Kern-
dents and those of visitors all determine land in Maastricht have been contacted
the overall politics of life. What role did to that end. Studio Kernland is planning
the visual image play in all of this, and in a public project in the Sphinx buildings,
particular, what was the role of photo- once they have been vacated in 2007.
graphy? Citygraphy may participate in these cul-
The current research into the motif of tural events.
city iconography in cities like Brussels,
Bruges, Bologna and Rome is supported, Website
for the component ‘Water in Maastricht’, The Citygraphy website was thoroughly
by the Werner Mantz Foundation and is updated (www.citygraphy.com). The re-
subsidised by the Province of Limburg. newed site went online in November
In the context of the latest research 2006. Apart from practical details on the
project within Citygraphy, 19th century project, the site contains a wealth of his-
and 21st century topographic photography torical images of, among others, Maas-
in Maastricht, a photographer/researcher tricht, Bruges and Bologna, supported by
was commissioned. The commission numerous essays.
concerns the development of a person-
al photographic vision of 21st century Citygraphy is a joint project of the Jan van
Maastricht, taking the 19th century city Eyck Academie, the Hogeschool St Lu-
images of Maastricht as a starting point. kas Brussel, vzw Efemera and the Werner
The photographer can rely on the exper- Mantz foundation.
tise of Dirk Lauwaert (Hogeschool Sint-
Lukas Brussel), Kim Zwarts (Werner
Mantz Foundation), Bruno Notteboom
(UGent) and Steven Humblet (Hoge- CITY
school Sint-Lukas Brussel), among oth- The symposium Water in the city was organised as
ers. Supervised by Dirk Lauwaert, the part of the Citygraphy research project coordinated
research project is to last from 1 July by Dirk Lauwaert.
2006 to 31 December 2006. 49 people The theme of the symposium was water in 19th
applied, German photographer Lilo Bau- century city iconography. At the time, water was seen
er was chosen. The project group was as a threat. For hygienic reasons it was repelled from
extended with Leentje Mostert, who is the city; waterways were vaulted or filled in (Bologna
assisting Dirk Lauwaert with the realisa- and Brussels). The construction of sewers for waste
tion of the Citygraphy project. water disposal was the first of many networks in mod-
Bauer started on 1 July: on foot, by bike ern cities. On the other hand, water also had an impor-
and by car she did an extensive research tant function in terms of mobility and industrialisation,
of her new environment. She was espe- which caused the building of canals (Maastricht,
cially drawn to the outskirts of Maas- Brussels). This was also the period in which riverside
tricht, in particular the Maastricht prison quays were built in Paris and Rome. Apart from this
at Beatrixhaven. This building was the functionality, water in the city assumed an aesthetic
starting point of her photographic re- role in the planning of parks and green zones, illustrat-
search. Lilo Bauer made a series of sketch ed by the construction of ponds, and the ‘reien’ in
photographs, steadily closing in on the Brussels. This 19th century story of ‘water in the city’
building – an exploration of the context of was confronted with visual practices from the
one central issue: the prison. The work- Interbellum period.
ing title of this series of photographs is: In her lecture Maastricht at the Meuse, a history of
Around Beatrixhaven. canals and locks Ingrid Evers focused on 19th century
Furthermore, Bauer did some research in photographs of canals and sluices in / near Maastricht.
the various archives and libraries, includ- In Rephotography as photographical poetics Marc
ing the Social Historical Centre and the De Blieck talked about ‘rephotography’, or the art of
State Archives Limburg in Maastricht. rephotographing older prints. This discipline not only
Afterwards, she decided to do a photo- attempts to find out and imitate the exact camera
Saturday 3 June
Sunday 4 June
Monday 5 June
Tuesday 6 June
Presentation
In search of… working in the NAK Neuer Aachener Kunstverein
Stefanie Kreutzer
Presentation
On Alexander Kluge
Lene Markusen, Romana Schmalisch
Wednesday 7 June
Presentation Lectures/presentations
— Introduction. (24 November). In: Radical passivity.
Jan Boelen Rethinking ethical agency in Levinas. Maastricht,
Venue Jan van Eyck Academie, Maastricht, NL — Introduction. (3 November). In: The Wal-Mart
phenomenon. Resisting neo-liberalist power
through art, design and theory. Maastricht, NL:
— Isn’t art an activity that gives things a face?
Levinas on art. (11 October). In: The pensive
image. Maastricht, NL: Jan van Eyck Academie.
— Response to Erin Manning. In: Thinking through
affect. (8 – 9 September). Maastricht, NL: Jan van
Eyck Academie.
— Suffering, death and the other: the functioning of
the veil in Levinas. (21 June). In: What does the veil
know? Maastricht, NL: Jan van Eyck Academie.
— The meta-physics of Foucault’s ethics.
Succeeding where Levinas fails. In: Annual
conference of the philosophical society of
Southern Africa. (16 – 18 January). Grahamstown,
ZA: Rhodes University.
— What’s there to resist and who are we to resist it?
In: Opening week 2006. (9 – 13 January).
Ruby Sircar 1975 / Germany

Benda Hofmeyr 1972 / South Africa set up networks with other feminist artist and
Researcher Theory media collectives, institutions and single-content
“But couldn’t everybody’s life become a work of producers.
art? Why is it that in our society today, art has be- In 2006 Ruby Sircar concerned herself with artis-
come something which is related only to objects tic activism, with identifying parameters for
and not to life, practiced only by experts that are ethnic identity, with issues regarding the creation
artists and not by everybody. Why should the of a community by migrants and how all these
lamp or the house be an art object, but not our issues are represented in fiction, popular litera-
life?“ ture and the media.
What did Foucault actually mean with his ques-
tion? Was he practicing a kind of elitism by ex- Organisation events
cluding the masses or was he advocating the — The (un-)making of migrancy. Von der
wholesale aestheticisation of society? Most Schwierigkeit keine Rassistin zu sein. (10 – 11
Foucaultian scholars and even practitioners February). Stuttgart, DE: Künstlerhaus Stuttgart.
would agree that at the heart of this ‘aesthetics of Publications
existence’ is a call to resistance. Does this mean — Monster und Mütter. Heidelberg, DE:
that crafting or stylising one’s existence is prima- Heidelberger Kunstverein.
rily a move of tactical reversal – of seizing the — The waiting faun. Adam Budak curates the
power to react to constraining governmental Annual Exhibition at the Fine Art Academy
Vienna. In: ST/A/R Magazine, 12/06.
regulations, institutionalised normalisations and
Editorials
societal intolerance? But if resistance is a mere
re-action or negation, what is inherently creative Elisabeth Penker & Ruby Sircar (Eds.). [fem.]
about it? How can we answer Foucault’s appeal Additives. Stuttgart, DE: Lautsprecherverlag.
and retain the power of resistance as a positive Reviews
action on its own terms? This is the question at — Neue Begriffe. Symposium gegen Gewalt.
the heart of this project: a kind of DIY manual for In: Stuttgarter Zeitung, 34.
those who wish to take seriously the Foucaultian — Taschentiger: neue migrantische Literatur aus
invitation to increased freedom. It will move Deutschland. [review of Taschentiger]. (30 April).
between the borders of theory and practice, Stuttgart, DE: SWR2 Radio.
between philosophy and artistic expression — Movilities. Die schnelligkeit im Feminismus.
(whether theoretical or practical) with special [review of Movilities.]. In: Sonnendeck, 02/06.
emphasis on how our historical present – under- — Georg Leisten. (11 February 2006). Currywurst
stood as a time in which neo-liberalism reigns su- oder Döner? Das Künstlerhaus beschäftigt sich
mit dem Thema Migration. [review of Movilities].
preme – affect the possibility of cultural/artistic/
In: Stuttgarter Zeitung, 35, p. 41.
intellectual activism.
— Taschentiger. In: Artsensasian. München, DE:
Projects Muffathalle.
— Resistance how? — [fem.] Additives. (7 February). With FO/GO Lab.
Organisation events Stuttgart, DE: Künstlerhaus Stuttgart.
— Radical passivity. Rethinking ethical agency in — FO/GO Lab. In: Opening week 2006.
Levinas. (24 November). With Bettina Bergo, (9 – 13 January). Maastricht, NL: Jan van Eyck
Seán Hand, Alphonso Lingis & Adriaan Peperzak. Academie.
Maastricht, NL: Jan van Eyck Academie. Exhibitions
— The Wal-Mart phenomenon. Resisting neo- — Supervision of paradise. (21 – 24 April).
liberalist power through art, design and theory. With Irene Lucas. Madrid, ES: El Ojo Atómico.
(3 November). With Gideon Boie, Matthias — Movilities. (9 – 25 February). With FO/GO Lab.
Pauwels, Hito Steyerl, Erik Swyngedouw & Daniël Stuttgart, DE: Künstlerhaus Stuttgart.
van der Velden. Maastricht, NL: Jan van Eyck
Broadcasts
Academie.
— Pop the president: Greil Marcus – Amerikanischer
Publications Popkultur heute. (27 November). In: Gegen-
— The meta-physics of Foucault’s ethics. sprechanlage. Vienna, AT: Radio Orange.
Succeeding where Levinas fails. In: South African — Mantel, Degen, Sonne, Strand und Meer.
journal of philosophy, 25 (2), pp. 35-51. (18 September). In: Gegensprechanlage. Vienna,
— Review of O’Leary, T. Foucault and the art of AT: Radio Orange.
ethics. In: Journal of moral philosophy , 3 (1), — Heart of darkness. (19 June, 26 June). In: Gegen-
pp. 123-125 sprech-anlage. Vienna, AT: Radio Orange.
Thursday 8 June
Presentation
Let’s go outside
Jonathan Watkins
Friday 9 June
Saturday 10 June
Sunday 11 June
publishing
Bringing together the organic and non-organic, Going
aerial – editor Monika Bakke (researcher Theory
2004-2005) – offers an original account of the most
innovative technologically, politically and socially Monika Bakke 1967 / Poland
Researcher Theory
aware air-using strategies which have recently been
Monika Bakke set up the project Breath-taking.
developed by artists and architects in the form of Air, art, architecture, which consisted of three
machines, robots, nomadic inflatables, bubbles, elements: a series of lectures, the book publica-
ambiances and atmospheres. tion Going aerial and a website with a database.
Air is information. All organic air users, such as The project took as central notion the concept of
plants, humans and other animals, contribute to the air – the ephemeral and unique mixture of gases –
and that of breath – an individualised form of ex-
hybrid space of the atmosphere through the vital respi- change between subject and environment. It fo-
ratory cycle and through sending chemical messages. cused on air-related art practices of recent years,
Unlike other organic air users, humans, in addition, concerned with questions such as: How do we
saturate air space with electronic data, reshaping it on use air? What does air do? The project draws
a physical and mental level. This book argues in favour attention to the functions of air, rather than to
what air is. Its intention was to look closely into
of ‘remembering air’, expressed in the shift from the
coinciding individual attempts made by artists,
‘leap into the void’ to ‘going aerial’. The latter mode architects and theoreticians to consider air as a
enables us to receive and transmit airborne data of material carrier, conductor and catalyst in the
various sources, which were previously inaccessible process of communication between a breathing
due to a lack of technology and, more importantly, organism and the environment, as well as the com-
due to lack of awareness and interest in air as carrier, munication of data using wireless technology.
conductor and catalyst of communication processes. Editorials
The publication was designed by Toni Uroda — Monika Bakke (Ed.). Going aerial. Air, art,
(researcher Design 2003-2005) and contains contri- architecture. Maastricht, NL: Jan van Eyck
butions by Andrea Ackerman, René ten Bos, Annick Academie.
Bureaud, Steven Connor, Nikolaus Gansterer, — I’m too sad to tell you…The story of the grizzly
Georgios T. Halkias, Usman Haque, Steve man. (8 September). In: Thinking through affect.
Heimbecker, Ann Veronica Janssens, Ruud Maastricht, NL: Jan van Eyck Academie.
Kaulingfreks, Jaroslaw Kozakiewicz, Dominik — The predicament of zoopleasures. In: Zoo logical
garden. (26 August – 1 October). Ghent, BE: Harry
Lejman, Constantin Luser, MxHz, François Perrin, Malter Family park.
Sabrina Raaf, Michael Rakowitz, Yehuda — Breath-taking. Air, art, architecture. In: Opening
Emmanuel Safran, Tomas Saraceno, Scott Snibbe, week 2006. (9 – 13 January). Maastricht, NL: Jan
Christa Sommerer & Laurent Migonneau, Hans van Eyck Academie.
Exhibitions
Theys and Marcia Tanner. — Zoo logical garden. (26 August – 1 October).
Ghent, BE: Harry Malter Family park.
Johan Schokker 1964 / the Netherlands

The decline of what in Lacanian theory is desig-
nated as the Name-of-the-father is undeniable;
master-signifiers as ‘family’, ‘religion’, ‘class’ and
‘gender’, which used to give the identity of the
subject firm grounding, are adrift. The conse-
quences are many: one no longer has a job for
life, but a career and several employers, some-
times even at the same time. The same goes for
relationships: the constitution of families
changes easily in time. Religion is found after a
process of discovery, and life itself is experienced
as a search for identity and ‘inner growth’, not as
a mission to earn Eternal Life in an afterlife. But it
is clear that the freedom to mould our lives also
has a negative side. Besides the fact that our
identities have become difficult to sustain, reality
itself is becoming frail. To counter this, a key fea-
ture of modern life is the attempt to get rid of the
false layers of ‘deceptive’ reality and to aim for
‘the Thing itself’. The urge for adventure and the
masochistic celebration of pain are examples of
this ‘passion of the Real’. Schokker analyses the
new manifestations of modern subjectivity and
try to discover their logic with Lacanian theory as
a dissecting tool.
Publications
— Een verlangen naar kaviaar. Over het hysterische
verlangen. In: HTV De IJsberg, 63, p. 5.
— Response to Bernard Burgoyne. (22 April).
In: Politics and jouissance through science.
— Verlangen en fantasme: Over Kafka’s Het proces.
(10 March). Leiden, NL: Leiden University.
— 120 days of fame. Big Brother as a political
fantasy. In: Opening week 2006. (9 – 13 January).
Gemerchak, Tansy Hardy, Dominiek Hoens,
Marc De Kesel, Ian Parker & Aaron Schuster.
Discussions/debates
Christopher Gemerchak, Marc De Kesel & Aaron
Schuster.
Freiburg.
Monday 12 June
Tuesday 13 June
Wednesday 14 June
Antony Hudek 1976 / United States

Researcher Theory
Jean-François Lyotard and Thierry Chaput organ-
ised Les immatériaux at the Centre Georges
Pompidou in the Spring of 1985. Apart from its
conventional exhibits, Les immatériaux marked a
decisive break from museographic tradition by
rethinking every aspect of exhibition making,
from catalogue to ‘scenography’. Indeed, Lyotard
and Chaput conceived Les immatériaux as a ‘non-
exhibition’ and a ‘post-modern dramaturgy’ that
transformed an entire floor of the Pompidou Cen-
tre into a dark labyrinth, through which the visitor
negotiated a complex network of ‘sites’,
equipped with earphones. Twenty years on, the
exhibition is attracting increasing attention for its
exploration of ‘interactivity’ in the aesthetic
encounter, and for the radicalism of its mise-en-
scène.
By placing Les immatériaux in the context of
Lyotard’s oeuvre, this research project aims to
engage with his ongoing reflection on (post-)
modernity, and on the role of art in the ethical un-
certainty of communication. Hudek suggests
that such a philosophical investigation will bring
new questions to the fore, on contemporary
debates surrounding art’s political agency, the
exhibition as a site for the reformulation of com-
munitarian values and a renewed interest in aes-
thetics. Les immatériaux will therefore provide
both the object and the method of this project; it
will prompt us to ask, theoretically: How to stage,
within certain parameters of discourse, an en-
counter between the fields of art and philosophy,
and art and technology, when these fields belong
to discrepant orders of language? And practical-
ly: How, after a twenty-year lapse, to re-present
an experiment which challenged the very feasi-
bility of the representation of history?
Organisation events
— Talking cures. The discursive as heuristic medium.
(16 December 2006 – 4 March 2007). With Ron
Bernstein, Raphaële Bidault-Waddington, Olivier
Foulon, Ella Klaschka, Gianni Motti, Falke Pisano,
Lucio Pozzi & Inga Zimprich. Maastricht, NL:
Hedah.
— On the defusion of differences. Between Jacques
Derrida and Jean-François Lyotard. In: Following
Derrida: Legacies. (5 October). Winnipeg, CA:
University of Manitoba.
— Drôles de genres: Mikhail Bakhtin, Jacques
Derrida, Sherrie Levine. In: AAH Annual
Conference. (5 April). Leeds, GB: University
of Leeds.
— Jean-François Lyotard and Les immatériaux:
Losing philosophy in the museum. In: Opening
van Eyck Academie.
Discussions/debates
— Heterogeneous knowledge groups.
(23 February).Thinktank 0.1. With Tanguy Coenen,
Kent Hansen, Elske Rosenfeld & Inga Zimprich.
Published on: <http://alterfin.net/congress/
documentation/Conversation-
HeterogeneousKnowledge.zip>
Festivals/events
— Automatic pilotless ignition (API). With Simone
van Dijken, Olivier Foulon, Sönke Hallmann, Ella
Klaschka & Inga Zimprich. (20 May). In: Jan van
Eyck Bookish Weekend. Maastricht, NL: Jan van
Eyck Academie.
Thursday 15 June
Presentation
Jeanne Faust, Nina Könnemann
Seminar
lesson of 21 & 28 March 1962 [Thursday 26 January]
Friday 16 June
Eva Meyer 1950 / Germany

Advising researcher Theory
What does the veil know and what might it (not
directly) tell us? This phrasing may sound like an
odd personification, but for the moment Meyer
would like the question, and the figure of speech,
just to play in our mind, like an old tune. Against
the backdrop of this tune, we can re-examine
how we define knowledge and realise that the
veil insists, knows that there is more to it than we
can ever know about it.
An Assyrian legal text from 1300 BC restricts veil-
ing to respectable women and prohibits it for
prostitutes. Later, slave girls, too, are forbidden
to wear the veil. Ovid (43 BC-17C) in Book IV of his
Metamorphoses relies on the veil to carry the mis-
understandings of a Babylonian love story. These
first-known references to veiling all refer to the
veil’s potential of invoking the wrong conclu-
sions. It is this very potential which is embraced
by storytelling but restricted by law – in order to
contain female sexuality and to structure the
social status imposed on women. Nowadays, we
find ourselves confronted with an ideological
split that instrumentalises a cultural and religious
artefact for its various reasons. But what has
recently become synonymous with differences
that have been presented to us repeatedly as
unbridgeable and terrifying, has in fact been part
of both Western and Eastern cultures for millen-
nia, from aristocratic women of ancient Greece
to contemporary brides and widows worldwide.
It is the veil’s ubiquity that seems to allow every-
one to form an opinion about it, and it is its
ambiguity that stops us short and imposes on us
not the veil, but the omnipresence of absence, its
potentiality.
Organisation events
— What does the veil know? (21 June). Maastricht,
— What does the veil know? (1 February). Antwerp,
BE: Institute for Jewish Studies.
Publications
— Bigger, higher, leader! Ghent, BE: Stedelijk
Museum voor Actuele Kunst (S.M.A.K.).
— Orlando oder die Eigengesetzlichkeit des
Geslechts [Orlando or the idiosyncrasy of sex].
In: Julya Friedrich, Kasper König & Frank Wagner
(Eds.). Das achte Feld: Geschlechter, Leben und
Begehren in der Kunst seit 1960 = The eighth
square: gender, life, and desire in the arts
since 1960, pp. 261-267. Ostfildern, DE: Hatje
Cantz Verlag.
— Und der Räuber. In: Kombinator 3. Hamburg, DE:
Materialverlag Hochschule für Bildende Künste.
— What does art know? (9 December).
In: Concerning knowledge production. Utrecht,
NL: Basis voor Actuele Kunst (BAK).
— Das zusammengefaltete Jetzt. (10 November).
Kassel, DE: ZKM Kassel.
— Frei und indirekt. (13 September). Kassel, DE:
Kunsthalle Fridericianum.
— Orlando oder die Eigengesetzlichkeit des
Geschlechts. (13 June). Hamburg, DE: Gender-
Kolleg.
— Flashforward. (25 May). In: Vorspann Münster
Skulptur Projekte 2007. Film presentation and
discussion. Münster, DE: Art Academy Münster.
— The free indirect speech of the veil about itself.
(1 February). In: What does the veil know? With
Vivian Liska. Organised by the Institute for Jewish
Studies, Jan van Eyck Academie. Antwerp, BE:
the University of Antwerp.
— Science and fiction. (28 March – 6 April, 3 October
– 12 October). Oslo, NO: National Academy of
Fine Art.
Saturday 17 June
Sunday 18 June
Monday 19 June
Lecture
Wouter Davidts: On Daniel Buren / Kim Paice:
Damage: Subjects and landscapes
As part of On the television work of
Jef Cornelis [Monday 20 February]
Film and television

On Monday 19 June Wouter Davidts (architect and
theoretician) presented On Daniel Buren, in which he
considered the collaboration between Daniel Buren
and Jef Cornelis and how Buren’s work is visualised in
Cornelis’ films. Art historian Kim Paice (University of
Cincinnati) responded to Davidts’ lecture; in her pres-
entation Damage: Subjects and landscapes, she also
discussed the films by SIMPARCH, a Cincinnati archi-
tects’ and artists’ initiative, and Richard Serra.
Tuesday 20 June
Seminar
Liminalit
Vivian Liska: Upon revisiting the veil / Johannes Porsch:
Une seconde. Sample / Stéphanie Benzaquen: Harbin
express / Ils Huygens: Kiarostami’s ten: Mobilizing the
viewers look / Benda Hofmeyr: Suffering, death and
the other: the functioning of the veil in Levinas / Pascale
Gatzen: Untitled
Concept Eva Meyer
As part of What does the veil know?
Presentation
Emily Pethick
Politics
Two seminars on the theme of the veil were organised
by the Institute for Jewish Studies and the Jan van Eyck
Academie. On 1 February the seminar The free indirect
mode took place at the University of Antwerp at which
Eva Meyer (former advising researcher Theory) gave
the lecture The veil’s free indirect speech about itself.
Respondents were: Stéphanie Benzaquen, Ils
Huygens, Vivian Liska (director of the Institute for
Jewish Studies) and Katrien Vloeberghs (researcher
Holocaust literature).
When the gaze meets the veil, it gets out of sync with
itself, it is doubled and refracted in another gaze that
sees and is seen along with it. Are we thus arriving at a
true interaction of the different? And what would its
conditions be? If the veil is to produce conditions for
that interaction we have to give it back the freedom and
circulation of collective utterances spoken with many
voices that constantly cross the border between the
profane and the sacred, the personal and the political.
In this risky and reflective action of correlation, real ele-
ments are not only gathered, but also recomposed: as
the veil’s free indirect speech about itself.
On 21 June the seminar Liminalit was organised at
the Jan van Eyck. Vivian Liska gave the lecture Upon
revisiting the veil. Other lectures: Johannes Porsch
(researcher Theory 2004-2005): Une seconde.
Sample; Stéphanie Benzaquen: Harbin express; Ils
Huygens: Kiarostami’s ten: Mobilizing the viewer’s
look; Benda Hofmeyr: The future that death/other
gives. There was also a dress-contribution by designer
Pascale Gatzen.
The veil belongs to a series of topographical meta-
phors – threshold, border, margin – used to conceptu-
alise and, in a way, visualise division. The inflationary
topicality of these terms in recent discourse lies in their
potential to disturb a static logic of inside/outside, ex-
clusion/inclusion, totality/separation, that suggests hi-
erarchic power relations in politics and a potentially
self-defeating epistemology out to dominate a field of
knowledge. Thinking the materiality of these meta-
phors not only unfolds possibilities for a rearrangement
of social and philosophical spaces, but also unleashes
the kinetic forces as possibilities inherent in language
to no longer mark but make a difference.
Wednesday 21 June
The Euregion as global knot Marjolijn Dijkman 1978 / the Netherlands
Researcher Fine Art
BAVO, Jaap Modder, Rob Janssen, Henk van Houtum Marjolijn Dijkman investigates different aspects
of space and its context. These characteristics
Concept BAVO range from architectonic and social to aspects of
As part of Euregional Forum planning. Dijkman makes temporary changes
through different media by clarifying some quali-
Venue Stadsgalerij Heerlen, Heerlen, NL ties or adding others. The interventions try to
raise questions concerning authenticity, mean-
ing, time and spatial experience. The work affects
the organisation, definition, application or direct
Euregional Forum are of overriding importance in this process: the surroundings of a space. Dijkman collaborates
The Euregional Forum is an initiative of the imbalance between power and powerlessness, with other artists to develop her work and make
Jan van Eyck Academie; it consists of a caused by the inhabitants’ Euregional feelings always more interventions on a larger scale. With
series of debates set up by research bu- being superseded by their strong national feelings. Maarten Vanden Eynde she initiated Enough
reau BAVO (Gideon Boie and Matthias This, in turn, causes many (Euregional) politicians to room for space, a platform to produce site-specif-
ic projects. She undertakes photographic and
Pauwels) and organised with the backing feel powerless to get the Euregion off the ground. video research of spatial aspects. She is working
of partners FLACC (Genk), Stadsgalerij Secondly, fear of ‘the other’ is checked by borders. on a digital programme to archive all research
Heerlen, Neuer Aachener Kunstverein Breaking these down is scary, since the other is material. Dijkman does not want her work just to
and Espace 251 Nord (Liège). The Eure- unknown – yet, at other times, the other is also seen occupy space: she wants to create an active free
gional Forum is financially supported by as interesting, even exotic. Van Houtum wondered if space for initiative and reflection.
the European Union. we can let go of the link between territory, citizenship
Organisation events
Point of departure of the Euregional and identity to find freedom in the Euregion. — Happy hour. (16 November). With Inga Zimprich.
Forum is that in terms of culture, lan- Rob Janssen (member of the SP in the Provincial In: Liverpool Biennial. Liverpool, GB: Monro cafe.
guage, materials, politics or nationality Council of Limburg) underlined a number of identified Publications
there is more that unites the people in problems from his political practice. Topical problems — Hiscox award. Amsterdam, NL: Arti et Amicitiae.
— With stip 2006. Amsterdam, NL: Fonds voor
the Euregion than divides them. In the draw a blank from Euregional administrators. Janssen Beeldende Kunst, Vormgeving en Bouwkunst
statutes published on its website, the believes that the various regions should collaborate (BKVB).
Euregional Forum states that it provides a rather than compete with each other. The question, — Report of an ongoing journey. Amsterdam, NL:
Roma; Amsterdam, NL: W139.
platform for different actors to critically however, remains of how to put the Euregion on the
Reviews
assess Euregional affairs. More spe- map. Janssen sees Parkstad Limburg as a precursor — Documentation of Plakatieren verboten.
cifically, the Forum focuses on how the in the development of ideas to approach the problem In: Beelden.
Euregion Meuse-Rhine handles its ambi- of demographic shrinkage. He misses such social- — Plakatieren verboten! In: Mittelbayerische Zeitung.
— Radioreview. Op: Channel 1. Tbilisi, GE.
tion to integrate its constituent parts and societal thinking in the Euregional debate. — Televisierecensie. Op: Channel 1. Georgia.
enhance mobility between them. In the subsequent discussion, both debaters and — Televisierecensie. Op: IMEDI. Georgia.
public put forward that there was a divide between — Televisierecensie. Op: MZE. Georgia.
See also www.euregionaalforum.net citizens and politics. And a Euregional agenda can only — Televisierecensie. Op: 24 Minutes. Tbilisi, GE.
— [Untitled]. Op: Rustavi 2 Georgia.
Read more Thursday 22 June / Thursday 16 be created if there is broad support from its citizens. — [Untitled]. Op: 24 Hours.
November / Thursday 23 November Unfortunately, according to BAVO, it is fair to say that Lectures/presentations
the Euregion Meuse-Rhine clearly and collectively — Presentation of my work. Samara, RU: University
suffers from ‘borderline syndrome’, meaning that the of Samara.
— Presentation of my work. Tbilisi, GE: Art Academy.
region veers between claiming to be at the forefront of — Introduction. In: Opening week 2006.
euregion a border-free EU while simultaneously being home to (9 – 13 January). Maastricht, NL: Jan van Eyck
At the first Euregional Forum in the Glaspaleis in reactionary or indifferent attitudes towards the EU. Academie.
Heerlen it was investigated what strategies could While today’s global economy forces regions to form Seminars/workshops/lecture series
— Thinktank 0.1. Creating online collaborative work-
be developed for a Euregion collaborating efficiently. new unconventional coalitions, it also depends on the spaces for people from social artistic and cultural
Debaters were Jaap Modder, Henk van Houtum ‘old’ concept of the nation-state – indeed, with regional practice. (20 – 25 February). Organised by Inga
and Rob Janssen. The evening was kicked off with citizens stubbornly celebrating and identifying with Zimprich. Amsterdam, NL: Public Space With A
Roof (PSWAR).
an introduction by BAVO. things national. — Workshop. (4 – 18 February). Los Angeles, US:
BAVO argued that the Euregion was a laboratory This Euregional Forum was organised in coorpora- The Mountain school of arts.
for the European Union: a compact geographic unit, tion with Stadsgalerij Heerlen. Exhibitions
where the utopia of the EU, that is to say, intergovern- — Resonance. Or how one reality can be understood
mental and supranational cooperation between the 2007). With Armando Andrade Tudela, Pavel
participating nations in the fields of politics, economy Braîla, Anke Brüchner, Peggy Buth, Mariana
and law, can become reality. Yet, while collaboration Castillo Deball, Raphaël Cuomo, Olivier Foulon,
across borders is the ambition, both optimists and pes- Nikolaus Gansterer, Hatice Güleryüz, Paul
simists think that these same borders also serve good Kirsch, Will Kwan, Doris Lasch, Achim Lengerer,
purposes: they are either seen as the bedrock of eco- Lene Markusen, Charlotte Moth, Gyan Panchal,
nomic success, or as demarcation lines of cultural Falke Pisano, Ursula Ponn, Romana Schmalisch,
identity. BAVO believes it is time for the Euregion to the Jan van Eyck Academie, Maastricht.
show the EU the way in cross-border collaboration. ’s-Hertogenbosch, NL: Artis; Louvain, BE: Stuk.
They also think that, right now, the Euregion is limited — Georgia here we come! Part 2. (21 August –
too much to the division of subsidies from the EU 17 September). Organised by Enough room for
space (ERforS), Expodium & Geo Air. Utrecht, NL.
coffers, while lacking the power to direct managerial — Follydock IFCR. (24 June – 24 September). Rotter-
pro-cesses. Hence, trans-national thinking should be dam, NL: Nederlands Architectuurinstituut (NAi).
encouraged and governments should be made aware — The revolution is just around the corner. In: ERforS
3: Georgia here we come. (2 – 24 March). Tbilisi,
of the social-cultural aspects of the Euregion. GE: National Art Center (NAC).
Jaap Modder (chairman of the board of City Region — Hiscox art award. (25 February – 19 March). With
Arnhem-Nijmegen) argued that the region is too Mayro Koizumi, Lucia Macari, Falke Pisano & Mu
diverse to have a single perspective on the problem Yuming. Amsterdam, NL: Arti et Amicitiae.
— Wat is/wat zou kunnen. (4 February – 4 March).
of Euregional collaboration. This is why he suggested Amsterdam, NL: W139.
networking at micro-, meso- and macro-levels to Work as curator
find ways of collaborating politically, socially and — Georgia here we come! (2 – 24 March). Organised
economically. by Enough room for space (ERforS), Expodium.
Tbilisi, GE: National Art Center (NAC).
A more philosophical approach was offered by Art works
Henk van Houtum (researcher and tutor at the Centre — Sketch proposal: Hoogezand-Sappemeer.
for Border Research and at Radboud University, Permanent work in public space.
Nijmegen). He stated that thinking about borders is Showings
— Video screenings. (24 January – 13 February).
connected to our mental borders: while borders are With Jan Aadriaans. Rotterdam, NL: Sub-Urban
essentially political-governmental factors, they can be Video Lounge.
felt in the heads of European citizens – where they are Online events
continually readjusted. Consequently, according to — Look at the network. (20 February). In: Thinktank
0.1. With Robert Burghardt, Tamuna Chabashvili,
van Houtum, the Euregion will never be finished, that is Kernow Craig, Kim de Groot, Adi Hollander, Ralo
to say, fully integrated. He pointed at two factors which Mayer, Esther Polak, Elske Rosenfeld & Inga
Zimprich.
Thursday 22 June
The Euregion as economic opportunity
BAVO, Lowie Steenwegen, Peter Cabus,
Harrie de Witte
Concept BAVO
As part of Euregional Forum [Wednesday 21 June]
Venue FLACC, Genk, BE
EUREGION Emscher Park could still have a positive effect on a city

The second Euregional Forum took place at the FLACC like Genk.
in Genk (BE), where it was investigated how cities and The discussion that followed centred on the ques-
citizens can profit from the cross-border qualities of the tion whether or not our society is shapeable. What
Euregion. came out clearly was that local problems still have the
In their introduction BAVO described the ambiguity upper hand, illustrating that these borders, however
of cross-border enjoyment in the Euregion. The ques- abandoned, still exist in the minds of the people.
tion, however, was whether everyone profits (equally) This Euregional Forum was organised in coorpora-
from cross-border traffic within the Euregion, since tion with FLACC, Genk.
research has shown that ‘border enjoyment’ is mainly
experienced by those who have had higher education.
The fact that public transport is not yet geared suffi-
ciently to the Euregion means that, for the common
man in the street, the Euregion is mainly about cheap
shopping across the border. Certain cities, too, fall
by the wayside. However, according to BAVO, local
governments seem to respond to these inequalities by
assuming a provincial attitude towards their policies.
Lowie Steenwegen (regional planner at O2
Consult, council member for Groen! in Glabbeek and
former collaborator on Genk’s structural spatial plan-
ning) argued that the lack of familiarity with the phe-
nomenon of the Euregion has led to a lack of interest
among the citizens and administrators of Flanders.
For inspiration, Steenwegen pointed to the Euregionale
2008. This tri-national initiative aims to enhance the
profile of the tri-nation region of Aachen as a European
culture and knowledge area, boost tourism and rebuild Richard Vijgen 1982 / the Netherlands
the post-industrial landscape. The government of Researcher Design / The tomorrow book
Nordrhein-Westfalen tries to lessen this area’s dispari- Over the past decade, attempts have been made
ties in economic activity by more direct governance in to make the information stored in books available
certain regions, in the shape of financial, administrative on the Internet – some proprietary, some open
source. Even though some of these attempts
and logistic assistance. Similarly, the Internationale have been very successful, they usually conform
Bauausstellung Emscher Park turned around this to the old idea of the library in digital form. The
former crisis area, when a start was made with the concept is simply an evolutionary process in pro-
reuse of industrial heritage. Consistently situated in a duction and distribution, most likely to be taken
park-like setting, this served as one of the cornerstones advantage of by the bookmaking industry in the
form of ‘print on demand’. Richard Vijgen’s re-
of a new entertainment industry, leading to a dramatic
search focuses on the new paradigm of the non-
improvement of the image of the area. Steenwegen’s physical book existing in a uniform database
advice for the Euregion: create a cross-border vision, environment. The absence of physical limitations
use already existing means and budgets (for instance, and the uniformity of the structure in which the
of the Limburg Reconversion Company) and amalga- book exists, opens up new ways of thinking
mate various fields – economy, culture, nature, energy about the book. The book no longer starts at the
first page and ends at the last: it can be a collec-
supply and urban renovation – when undertaking eco- tion of quotes, pages or chapters from different
nomic collaboration. books in the library. Readers can recompose
Like Jaap Modder at the debating night in Heerlen, texts by making connections or by sampling
Peter Cabus (professor of economic geography at the books. In this scenario the ‘entity’ shifts from the
Catholic University of Louvain) talked about differenti- book to the library and beyond, challenging our
ation on diverse levels. His first point of interest was cultural perception of the book. The open source
project Gutenberg will be a test case in applying
that the disappearance of national borders has shifted such a scenario.
many cities and villages into a central position, from
having been in the (national) periphery. While this is Lectures/presentations
advantageous in terms of accessibility and attractive- — Realtime bookdesign. (10 April). New York, US:
Institute for the Future of the Book.
ness, it is less beneficial for their competitive position. — The tomorrow book. With Harrisson, Will Holder,
This change in the relationship between periphery and Sarah Infanger, Filiep Tacq. In: Opening week
centre should be addressed by politicians aiming to 2006. (9 – 13 January). Maastricht, NL: Jan van
connect various regions. Secondly, Cabus believed Eyck Academie.
that policy makers should realise that the economy is, — Tomorrow book. (on-demand print workshop).
per definition, international – and therefore a cross-bor- With Harrisson, Will Holder, Sarah Infanger, Filiep
der phenomenon. Economic networks and structures Tacq. In: Jan van Eyck Bookish Weekend.
cross borders, usually on a large scale. The Euregion, (20 – 21 May). Maastricht, NL: Jan van Eyck
Academie.
Cabus said, is really too small to contain this type of — Realtime bookdesign / The tomorrow book.
network. (3 February). Rotterdam, NL: Piet Zwart Instituut.
Third debater Harrie de Witte (GP in Genk) mainly Design
addressed the housing problem in Genk. He thought — Brakin. Brazzaville – Kinshasa. Visualizing the
visible. (book) With Harrisson, Sarah Infanger,
it a great shame that Genk, with its characteristic Filiep Tacq. Baden, CH: Lars Müller Verlag;
cultural diversity, was creating its own ghettos through Maastricht, NL: Jan van Eyck Academie.
its separate, homogeneous housing projects. De Witte — The continuous present. With Harrisson, Sarah
Infanger.
seemed to say that as long as local problems aren’t — Cultural memory in the making. (visual identity,
solved, Euregional issues will take a back seat. In website and poster). Nijmegen, NL: Radboud
conclusion, he believed that initiatives such as the University.
Friday 23 June
Saturday 24 June
Sunday 25 June
Lene Markusen 1973 / Denmark

Researcher Fine Art
The plan for the film Rest stems from the film
Mennesket, which is about Falk, a development
aid worker with a burnout, who returns to his
home country looking for peace of mind. How-
ever, Falk soon witnesses a crime in which the
entire community has taken part. He is told to ei-
ther adapt to their customs or leave. Can Falk be
forced to justify a crime against humanity – even
to take active part in one? Markusen is interested
in the interaction between a group of people held
together by an awful crime and an outsider who
attempts to find ‘access’ to the community. It
seems that Falk can only be part of the group if he
is willing to take part in the evil acts committed
by that group: their affection for Falk comes at a
price. When he realises this, it is almost too late
to protect his individuality.
In the summer of 2006 Lene Markusen decided
to shoot a pilot film for Mennesket. She preferred
a conceptual approach: how to filter a concise
narrative from the scenario and present it?
Markusen considered using the form of the one-
acter (as used in 19th century naturalist theatre).
In this form, the conflict already exists at the
beginning of the narrative and does not develop
dramaturgically. Characteristically, the action
happens in one setting. Markusen wrote the
scenario of Rest with author Sigrid Behrens.
While writing it, Markusen realised that she was
working on a film project in its own right – not just
a pilot or trailer.
— Presentation on Alexander Kluge. (6 June). With
Romana Schmalisch. Maastricht, NL: Jan van
Eyck Academie.
— Lecture. In: Opening week 2006. (9 – 13 January).
Exhibitions
Lasch, Achim Lengerer, Charlotte Moth, Gyan
Showings
— Othello: Ein Blue Movie. (24 May). With Samuel
Schwarz. Hamburg, DE: Fleet Street.
— Grad. In: Opening week 2006. Organised by the
Jan van Eyck Academie. Maastricht, NL: Lumière.
Monday 26 June
Tuesday 27 June
Organisation events
— falkeandcharlotte: We love…#2. (7 December).
With Kees van Gelder, Charlotte Moth.
Amsterdam, NL: Dolores/EdB Projects.
— State of exception. (29 November). Department of
reading. Online debat. With Sönke Hallmann.
— falkeandcharlotte: We love…#1. (24 October).
With Koenraad de Dobbeleer, Charlotte Moth.
Amsterdam, NL: Ellen de Bruijne Projects
(Dolores).
Kloosterboer, Frank Koolen, Charlotte Moth,
Adam Nankervis & Romana Schmalisch.
(Dolores).
Reviews
— Sandra Smallenburg. ‘Een mooi plaatje is niet
genoeg’. Galeriehoudster Ellen de Bruijne brengt
onbekende kunstenaars. In: NRC Handelsblad
(22 June), p. 11.
— A sculpture turning into a conversation. In: Liste
06. The young art fair. Performance lecture.
(13 – 18 June). Amsterdam, NL: Ellen de Bruijne
Projects (Dolores); Basel, CH.
— Concrete abstractions. (15 March). In: Hiscox art
award. Amsterdam, NL: Arti et Amicitiae.
— Lecture. In: Opening week 2006. (9 – 13 January).
— Exhibition workshop. (21 March). With Meris
Angioletti & Charlotte Moth. Organised by
Academie Beeldende Kunst, Maastricht.
Exhibitions
— Talking cures. The discursive as heuristic medium.
(16 December 2006 – 4 March 2007). With Ron
Bernstein, Raphaële Bidault-Waddington, Olivier
Foulon, Antony Hudek, Ella Klaschka, Gianni
Motti, Lucio Pozzi & Inga Zimprich. Organised by
Moca Maas. Maastricht, NL: Hedah.
— Just in time. Municipal art acquisitions.
(1 December 2006 – 11 March 2007). Amsterdam,
NL: Stedelijk Museum.
Lasch, Achim Lengerer, Lene Markusen, Charlotte
Moth, Gyan Panchal, Ursula Ponn, Romana
— If I can’t dance, I don’t want to be part of your
revolution edition #2. Feminist legacies and
potentials in contemporary art practice.
(17 November 2006 – 14 January 2007).
Amsterdam, NL: De Appel.
— Solo presentation of performance and installation
works by Falke Pisano, Ellen de Bruijne projects.
In: Liste 06. The young art fair. (13 – 18 June).
Basel, CH.
— Biennale finale screen event. In: Whitstable
biennale. (3 – 18 June). With Peter Fillingham,
Charlotte Moth. Whitstable, GB.
— Hiscox art award. (25 February – 19 March).
With Dimitri Byeloyartsev, Marjolijn Dijkman,
Mayro Koizumi, Lucia Macari & Mu Yuming.
Amsterdam, NL: Arti et Amicitiae.
— Wat is/wat zou kunnen. (4 February – 4 March).
Amsterdam, NL: W139.
Work as curator
— falkeandcharlotte: Simon Bedwell / Marcel van
Falke Pisano 1978 / the Netherlands
den Berg. (2 December 2006 – 13 January 2007).
Researcher Fine Art
With Charlotte Moth. Amsterdam, NL: Ellen de
Falke Pisano’s research currently focuses on ab- Bruijne Projects (Dolores).
stract sculptures. Through examining reasons for — falkeandcharlotte: Benoît Maire / Clunie Reid.
and methods of creating abstract sculptures, she (21 October – 25 November). With Charlotte
hopes to get a clearer view on sculptural practice. Moth. Amsterdam, NL: Ellen de Bruijne Projects
By looking at the features of abstract sculptures (Dolores).
as well as their reception and interpretation, she — Charlotte Moth. (8 April – 16 May). Amsterdam,
tries to deepen her understanding of the actual NL: Ellen de Bruijne Projects (Dolores).
existence of these objects. How and when does — Stefanie Seibold. (25 February – 1 April).
the abstract object detach itself from its maker to Amsterdam, NL: Ellen de Bruijne Projects
continue independently? How does the abstrac- (Dolores).
tion gradually connect itself to its surroundings? Broadcasts
— Radio transmitted time capsule 7006.
What happens when we suddenly come across
(4 September). In: Radio gallery. Curators: Ryan
an abstract object? How do we perceive and re-
Gander, Francesco Manacorda. London, GB:
late to the abstraction? What do we draw from Resonance 104.4 FM.
and attach to an object? To what extent does our Festivals/events
subjectivity obscure our interpretation and un- — Automatic pilotless ignition (API). With Simone
derstanding of the abstraction? How does our van Dijken, Olivier Foulon, Sönke Hallmann,
interpretation connect to earlier interpretations? Antony Hudek, Ella Klaschka & Inga Zimprich.
What decisions do we make while perceiving? Maastricht, NL: Jan van Eyck Academie.
And how do we communicate our encounters? (20 May). In: Jan van Eyck Bookish Weekend.
Wednesday 28 June
Thursday 29 June
Lecture
Servants and slaves
Rita McBride
Friday 30 June
Saturday 1 July
Sunday 2 July
Launch
Brakin. Brazzaville – Kinshasa. Visualizing the visible
Agency, Sven Augustijnen, Kristien Van den Brande,
Bambi Ceuppens, Tina Clausmeyer, Wim Cuyvers,
Antoine-Dover Osongo-Lukadi, Dirk Pauwels, SMAQ
(Sabine Müller, Andreas Quednau), Sarah Vanagt
Venue Royal Museum for Central Africa, Tervuren;
Panafrica, Brussels, BE
CITY
A group of researchers of the Design department
studied various manifestations of the public space of
Brazzaville and Kinshasa, two neighbouring capitals
separated by the Congo river. The group subscribed
to ‘visualizing the visible’ as a research approach and
regarded Brazzaville and Kinshasa as one city: Brakin.
The publication Brakin documents this city through
everyday phenomena such as street children, street
trade, land disputes, housing projects, UN presence,
diamond trade and roundabouts – indicators for ‘read-
ing’ the urban environment. These visible indicators
of the urban environment do not only feature in the
essays; they served as the basis for inventories and
were used to produce idiosyncratic maps. To decide
on the frame of each map – and indicate where the city
ends – the researchers used one protocolled inventory
at a time. A separate section of the book shows refer-
ences, individual inventories and reproductions of
existing maps. Somewhat like an ideal guidebook,
the publication is designed to help the reader through
present-day Brakin and at the same time serves as a
prototype for discussions of indicators of public space.
The programme comprised lectures, music, screen-
ings, an exhibition and discussions. At the launch, the
book contributors (Agency, Tina Clausmeyer, Dirk
Pauwels, SMAQ (Sabine Müller, Andreas
Quednau), Kristien Van den Brande) acted as ushers.
They moderated and participated in the discussions
and clarified their contributions.
At the Royal Museum for Central Africa in Tervuren
films were screened and an exhibition was set up: First
elections (2005) by Sarah Vanagt 2005; Panorama by
Sven Augustijnen; Kinshasa, ville de mon enfance
(2004) by Adamo Kiangebeni; La dance de Jupiter
(2005) by Florence de la Tullaye; Mayasi, taximan à
Kinshasa (2004) by Guy Bomanyama Zandu; Mwana
Mboka (1999) by Jean-Michel Kibushi.
Supplementary Brakin images were provided by
SMAQ (maps), Tina Clausmeyer (photos of the Congo
river), Kristien Van den Brande (photos of urchins)
and Dirk Pauwels (video of the Lisala market).
At the Panafrica Association, lectures were present-
ed by Antoine-Dover Osongo-Lukadi, Bambi
Ceuppens, Raf Custers, Vincent Kenis and others.
At the Espace Matonge, Congolese food and drinks
were served. Music was by Berberé, Fufu, Saka Saka
and Vincent Kenis. A free shuttle bus connected the
Matonge locations with Tervuren; during the ride,
fragments from Brakin were read out.
The project Brakin was initiated and supervised by
Wim Cuyvers (advising researcher Design). The book
was designed by Harrisson, Sarah Infanger and
Richard Vijgen (researchers Design) and Filiep Tacq
(advising researcher Design) and published by Lars
Müller Publishers and the Jan van Eyck Academie.
Monday 3 July
Lecture
The devoted divided
Kirsi Peltomaki
The pensive image

Kirsi Peltomäki (practicing visual artist and assistant
professor of art history at Oregon State University, US)
gave the presentation The devoted divided in which she
considered the construction of institutional and artistic
credibility within American artist Michael Asher’s 1984
project for the inauguration of the Los Angeles Museum
of Contemporary Art. In a performative act of dedica-
tion, Asher named the lobby of the museum after him-
self. This arrangement, which Asher marked by placing
a commemorative plaque in the lobby, placed the artist
on display as both the agent and object of the naming
act. Asher’s act of dedication points to the limits of J. L.
Austin’s theory of performativity, inasmuch as it slips
between the felicitous and what Austin termed ‘hollow’
or ‘void’ procedures. Did the attention that the Asher
Lobby called to itself and the figure of the artist actually
reach the institution proper? Moreover, does the
museum, which is typically regarded as an invisible
entity, become ‘seen’ through Asher’s lobby?
Peltomäki argued that in the Asher Lobby the museum
was both objectified and secured as the mediator of a
representational and cultural order that is split between
recognition and disavowal.
Tuesday 4 July
Wednesday 5 July
Thursday 6 July
Friday 7 July
Saturday 8 July
Sunday 9 July
Monday 10 July
Tuesday 11 July
Wednesday 12 July
— ‘9/11’ and ‘Bin Laden’: from tragedy to fetish.
(24 November). In: The locus of tragedy. University
of Antwerp International Conference. Antwerp,
BE: University of Antwerp.
— Response to Erik Swyngedouw. (3 November).
In: The Wal-Mart phenomenon. Resisting neo-
liberalist power through art, design and theory.
— Extimacy and intimacy: religious experience in
Bataille and Lacan. (8 June). In: International
association for philosophy and literature
conference, at panel Lacan and/as atheology.
Freiburg, DE: University of Freiburg.
— Response to Justin Clemens. (22 April). In: Politics
and jouissance through science 2. Maastricht, NL:
— Response to Aaron Schuster. (28 January).
In: Politics and jouissance through aesthetics.
— The restricted economy of desire in fetishism.
seminar IX l’identification (9 December). With
Tony Brown, Lorenzo Chiesa, Tansy Hardy,
Dominiek Hoens, Marc De Kesel, Ian Parker,
Johan Schokker & Aaron Schuster. Maastricht,
Discussions/debates
— Lacan and/as atheology. (8 June). With Marc De
Kesel, Johan Schokker & Aaron Schuster.
Freiburg.
Festivals/events
— Border transgression in the Euregion. In: Euregio-
nal Forum Aachen. (16 – 18 November). With
BAVO, Christoph Euler, Evelyne Mertens &
Florian de Visser. Lectures, debates, interviews,
visual presentations. Organised by the Jan van
Eyck Academie, Maastricht. Aachen, DE: Neuer
Aachener Kunstverein (NAK).
Angelika Bartl 1977 / Austria

Researcher Theory FO/GO Lab
producers.
Editorials
Christopher Gemerchak 1967 / United States — Angelika Bartl, Leyla Arzu Kececi, Irene Lucas,
Researcher Theory / CLiC Elisabeth Penker & Ruby Sircar (Eds.). [fem.]
Christopher Gemerchak’s research project is the
completion of his manuscript Fetishism and the Organisation events
crystallisation of desire (working title). The focus
Schwierigkeit keine Rassistin zu sein.
of this research project will be on the develop- (10 – 11 February). Stuttgart, DE:
ment of a philosophical determination of fetish- Künstlerhaus Stuttgart.
ism as a response to a crisis of meaning, be it per- Publications
sonal, social or religious. A traumatic figure of — Politische Subjektivität. Feministische
alterity or a crisis of faith can plunge the subject Perspektiven im Dokumentarischen am Beispiel
into a world of meaninglessness, exploding their von Hot Water – de l´eau chaude. In:
system of values or their identity. Gemerchak Graduiertenkolleg ‘Identität und Differenz’ (Ed.).
wants to show that the response to such a con- Ethnizität und Geschlecht. (Post-) koloniale
frontation has a profound influence on the life of Verhandlungen in Geschichte, Kunst und Medien,
desire; it may lead either to a transformation of pp. 351-370. Cologne, DE: Böhlau Verlag.
everyday life into a world of excessive signifi- Reviews
cance, or to an attempt to protect oneself against — Movilities. Die schnelligkeit im Feminismus.
uncertainty through perverse repetition or an [review of Movilities]. Sonnendeck, 02/06.
ideological refusal of change. The fact that these
two trends may operate simultaneously in the
construction of a fetish, points to its highly am- Stuttgarter Zeitung, 35, p. 41.
biguous nature: the subject looks for expansive Lectures/presentations
meaning in the mundane objects of desire, yet — Reflexive feminist perspectives in documentary.
blocks the proliferation of desire through fixation Slowly learning to survive the desire to simplify.
on a particular point over which it can maintain a Stockholm, SE: IAPSIS Gallery.
sense of control. — [fem.] Additives. (7 February). With FO/GO Lab.
Lectures/presentations — FO/GO Lab. In: Opening week 2006.
— Thank God for Poland… The subject and the (9 – 13 January). Maastricht, NL: Jan van Eyck
Polish signifier. (9 December). In: Identity and Academie.
subjectivity. Workshop on Lacan’s seminar IX Exhibitions
l’identification. Maastricht, NL: Jan van Eyck — Movilities. (9 – 25 February). With FO/GO Lab.
Academie. Stuttgart, DE: Künstlerhaus Stuttgart.
Thursday 13 July
Friday 14 July
Saturday 15 July
Sunday 16 July
Monday 17 July
Tuesday 18 July
Wednesday 19 July
Thursday 20 July
Friday 21 July
Saturday 22 July
Hanneke Grootenboer 1969 / the Netherlands

Advising researcher Theory /
The pensive image
In March 2006, the research project The pensive
image was launched with a symposium featuring
a lecture by James Elkins, a presentation by artist
Peter Piller and an interview with photographer
Rineke Dijkstra. Starting from the idea that paint-
ing – and photography – are forms of thinking in
visual terms (Hubert Damisch, Roland Barthes),
this project aims to research whether images can
think, and about what they are philosophising.
This subject has been a point of departure for a
series of seminars addressing issues such as
Deleuze and Guattari’s notion of art as thought,
the demand of the image (W.J.T. Mitchell), and
Foucault’s distinction between the visible and
the sayable. Seminar discussions have centred
on the ways in which images confront us, view-
ers, by somehow looking back at us.
Part of this project will be the production of a spe-
cial issue of the electronic journal Image[&]
Narrative on Thinking pictures, which will appear
in the autumn of 2007. The issue will largely con-
sist of articles by researchers of the Theory
department, as well as a visual essay, and a series
of photographs by researchers in the Fine Art
department. The project will continue in 2007
with a seminar on intimate vision, a workshop on
the dialectical image and a seminar on the status
of the portrait in contemporary philosophy.
Organisation events
— The pensive image. (symposium). (31 March).
With James Elkins, Peter Piller & Rineke Dijkstra.
Publications
— Gijsbrechts’ joke. (April). In: Circa, 117.
— Treasuring the gaze. Intimacy of vision in eye
miniature portraits. (September). In: The art
bulletin.
— The thought of painting: still life as a philosophical
genre. (December). In: From real life to still life.
Organised by Freie Universität Berlin & Max
Planck Institute.
— The portable face: intimate vision in miniature
portraits, letters, and the epistolary novel
around 1800. (November). New Haven, US: Yale
University, Dept. of the History of Art.
— Kisses springing from her eyes: on intimate
vision. In: Opening week 2006. (9 – 13 January).
— Art/as/through/for reproduction. (13 December).
With Friedrich Tietjen. In: The pensive image.
— Nancy, Blanchot, Dead Mask. (22 November).
In: The pensive image. Maastricht, NL: Jan van
Eyck Academie.
— Levinas and the image. (11 October). In: The
pensive image. Maastricht, NL: Jan van Eyck
Academie.
— Gilles Deleuze and Felix Guattari. Painting as
thought. (7 September). In: The pensive image.
— The devoted divided. (3 July). With Kirsi
Peltomäki. In: The pensive image. Maastricht, NL:
— What is thinking? (12 June). In: The pensive image.
— The seeable and the sayable. (22 May). In: The
Academie.
— The eye of the beholder. (8 May). In: The pensive
— The use of portraits. (24 April). In: The pensive
— What is a face? (10 April). In: The pensive image.
— On posing and looking: On the work of Rineke
Dijkstra. (21 March). In: The pensive image.
— Images looking back. (6 March). In: The pensive
— The thought of painting. (20 February). In: The
Academie.
Sunday 23 July
Monday 24 July
Tuesday 25 July
Wednesday 26 July
Thursday 27 July
Friday 28 July
Saturday 29 July
Sunday 30 July
Monday 31 July
Tuesday 1 August
Wednesday 2 August
Jouke Kleerebezem 1953 / the Netherlands

Advising researcher Design / Ubiscribe
Jouke Kleerebezem’s work since 1993 is based
on presentations and publications in text and im-
age that have come about through networked
media. Personal publishing is an important part
of this body of work and he sees the decisive con-
ditions for experimental cultural production in
the coming decades meet in the public/private
realm of the Internet and World Wide Web. His
main project consists of three websites that he
set up in the years 1998–2000. Their portal is at
nqpaofu.com, ‘Notes Quotes Provocations and
Other Fair Use’, containing a web log by the same
name and two other publications: Innovation and
Design for Information Empowerment idie.net
and the Le Moulin du Merle dotcom estate lem-
oulindumerle.com.
At the Jan van Eyck, Kleerebezem is developing
multiple publishing projects and platforms spec-
ulating on the possibilities of the general content
abundance in and partially thanks to today’s com-
munication media market. At the same time, he
appraises the answerability of an editing compe-
tence which is both respectful and critical of how
our information and knowledge is produced,
processed and distributed.
Editorials
— Ubiscribe recent changes. Pervasive, personal,
participatory. With Arie Altena, Sandra
Fauconnier, Claudia Hardi & Inga Zimprich.
Publications
— The address is the message. In: Arie Altena &
changes. Pervasive, personal, participatory,
pp. 19-20. Maastricht, NL: Jan van Eyck
Academie.
— Blog ho! The blogabulary. In: Arie Altena & Sandra
Pervasive, personal, participatory, p. 29.
— Daily operations remix. In: Arie Altena & Sandra
— Glossary. In: Arie Altena & Sandra Fauconnier
— Mining NQPaOFU for ‘personal publishing’,
‘biography’, ‘documented life’. In: Arie Altena &
Academie.
— Onderzoek worden. In: De witte raaf, 122, pp. 16-17.
— Ubiscribe. In: Arie Altena & Sandra Fauconnier
— Wild edit. Writing, editing and publishing -and
reading– beyond the book? In: Arie Altena &
Academie.
— Ubiscribe 0.9.0 book launch. With Arie Altena,
Sandra Fauconnier, Claudia Hardi & Inga
Zimprich. (21 May). In: Jan van Eyck Bookish
Academie.
— Goodbye and hello! In: Opening week 2006.
Academie.
Discussions/debates
— Programming for participation. (24 February).
Thinktank 0.1. With Marthe Van Dessel, Sandra
Fauconnier, Kim de Groot, Wilfried Houjebek,
OneDayNation, Esther Polak, Elske Rosenfeld,
Ingrid Stojnic, Auke Touwslager & Inga Zimprich.
Published on: <http://alterfin.net/congress/
documentation/Conversation-
ProgramParticipation.zip>
Thursday 3 August
Friday 4 August
Norman Bryson 1949 / Great Britain

Advising researcher Theory
Norman Bryson’s (four) seminars this year fo-
cused on art’s relation to ethics. In the first two
sessions he examined the complex moral and
aesthetic strategies at work in ‘bad boy’ and
‘bad girl’ art – that is, art that wills itself into a
state of acute corruption or contamination. (The
artists he concentrated on were John Currin,
Kara Walker and Lisa Yuskavage). In the third
and fourth seminars he wanted to focus on the
work of Giorgio Agamben, and especially the
concept he names as ‘Bare Life’. His aim was to
clarify what this concept means, what its logic
is, what new scope it gives to contemporary
thought, and how Agamben’s work on Bare Life
may be related to other thinkers, whose work
deals with the bio-political, especially Foucault
and Deleuze.
— Affect, sensation, empiricism. (9 September).
In: Thinking through affect. Maastricht, NL: Jan
van Eyck Academie.
— Geometry in free space. (26 February). With Anna
Carlisle, Natascha Hagenbeek, Maja Moser &
Susanne Ohmann. Organised by Beyond & Jan
van Eyck Academie. Utrecht, NL: Het Gebouw
van Stanley Brouwn.
Saturday 5 August
Sunday 6 August
Tsila Hassine 1976 / Israel

Researcher Design / Ubiscribe
In recent years the web has undergone a shift
towards a ‘personal web’; the ‘Web 2.0’ boom
mainly provides users with various authoring
platforms for writing, image sharing and index-
ing. This shift prompted Tsila Hassine to consider
the web as her personal ‘data playground’ and in-
vestigate it as such. Her approach is about devel-
oping personal tools that have the ability to affect
the relationship between user and content.
In Image tracer she focuses on the digital image
and its networked existence. A term is entered
into a search engine – Google’s image search –,
which renders a range of results. The existence
of these images continually fluctuates online, as
they are distributed across a networked medium
where they are copied, manipulated, re-contex-
tualised, replaced and re-named. In fact, the
image can be as ‘contagious’ as the subject it rep-
resents. By tracing and archiving a set of images
along with the traces they leave along their joint
journey through the Internet galaxy, a whole
story can be archived, possibly leading to new
discoveries.
Publications
— Latest works. Michael Magruder. (19 February).
In: Furtherfield. Published on: <http://www.
furtherfield.org/displayreview.
php?From=Index&review_id=170>
— The Internet: who’s afraid of too much information?
(26 September). Part of the “Launch or Blog?”
project of no-org. Jerusalem, IL: Daila.
Exhibitions
— Image tracer version 2. In: Underfire: an exhibition
of work exploring the organisation and
representation of contemporary armed conflict.
(8 September – 7 October). With De Geuzen, Ryan
Griffis. Chicago, US: I Space Chicago Gallery of
UIUC.
Monday 7 August
Tuesday 8 August
Wednesday 9 August
Thursday 10 August
Friday 11 August
Saturday 12 August
Sunday 13 August
Monday 14 August
Tuesday 15 August
Film screening
Zabriski Point (1970) by Michelangelo Antonioni
Stephan Geene
Wednesday 16 August
Seminar
One and many. Multitude
Stephan Geene / Sönke Hallmann:
introduction Paolo Virno
Film and television

Stephan Geene organised the seminar One and many.
Multitude in which Sönke Hallmann gave an introduc-
tion to Paolo Virno’s work. Virno’s recent text The
grammar of the multitude has a rather sober bio-politi-
cal rhetoric. He argues that post-Fordist working con-
ditions highlight human linguistic capabilities. Through
the contemporary communication paradigm in the
work environment the idea of ‘multitude’, which had
been part of the private sector, then enters the public
sphere. But it is only due to the fact that the workforce,
the whole of human capabilities, is to be sold in the
capitalist process that the discourse gets a bio-political
dimension. These recent changes are linked to the rise Achim Lengerer 1970 / Germany
of liberalist thought in the 17th century, the ambiguous Researcher Fine Art
invention of property, human rights, individual ambi- Achim Lengerer intends to focus on problems
tion and the problematic status of the property of the of language and tries to understand how artistic
language works, in particular cinematic lan-
individual body, as expounded by Pierre Klossowski. guage. He will closely look at and listen to the
language of others, including Sonimag, Jean-
Luc Godard and Anne-Marie Miéville’s TV pro-
ductions. One notion he wishes to consider is
Kleist’s Über die allmähliche Verfertigung der
Gedanken beim Reden, that is to say, thoughts
are gradually produced during the act of talking.
The speaker in the corner has to start speaking
in order to be heard and to be heard quickly. At
the start there is no thought. One has to go into
the corner, breathe and raise one’s voice.
Lengerer wants to initiate a gradual production
about/in film: Filmgeschichte 1-4. Filmgeschich-
te is the title for one part of the exhibitions he is
conceiving, the other part is called the ‘archi-
tecture of talk’. For Filmgeschichte and ‘archi-
tecture of talk’ he uses the exhibition format to
produce thoughts. The label he founded in 2005
is called label für produktion.
— UFO UNO. Vereinte Nationen, Öffentlichkeit und
Kunst. (25 November). Frankfurt am Main, DE:
Frankfurter Kunstverein.
Exhibitions
— Transmitted recordings. With Dani Gal. Berlin, DE:
Ausland.
Lasch, Lene Markusen, Charlotte Moth, Gyan
— Riss/Lücke/Scharnier A. (23 November 2006 –
13 January 2007). With Nikolaus Gansterer.
Vienna, AT: Galerie nächst St. Stephan /
Rosemarie Schwarzwälder.
— Exhibition #3. The French Couple/Practising
Lucier. (11 July). Maastricht, NL: Jan van Eyck
Academie.
— “Blows into microphone: It is all right? Voice off
mike: It´s all right. Pause. h.f”. (30 March –
29 April). Vienna, AT: Kunsthalle Exnergasse.
— [Untitled]. (17 March – 8 May). Frankfurt am Main,
DE: Galerie Michael Neff.
— 13 Monde. Filmgeschichte teil 4. (21 January –
12 February). With Marcus Kaiser. Frankfurt, DE:
Rohrbachstraße 51.
— Voiceoverhead. (2 October). Kunstenaarsgesprek
en performance voor het algemene publiek.
Berlin, DE.
Showings
— H.F und Andere. (26 – 27 April). Filmschau
Votivkino im Rahmen der Ausstellung “Blows
into”. Vienna, AT: Kunsthalle Exnergasse.
— Supplement by Christopher Williams (2003).
(14 January). In: Freitagsküche. Berlin, DE:
“Apartment” Mehmhardstrasse 8.
— Screening. In: Opening week 2006.
Academie.
Thursday 17 August
Friday 18 August
Delivery
Zhdanovka
CITY
Zhdanovka, a project by Alevtina Kakhidze (research-
er Fine Art), is an artistic experiment on the book as a
medium of information. The book’s subject matter is
the small town of Zhdanovka, a mining town in East
Ukraine with a population of 14,800. There are no
museums in the town, no theatres, no cinemas, no
hotels, no art galleries. There is not even a park or river.
In post-Soviet times, from 1991, life in the industrial
regions of East Ukraine, particularly in small towns like
Zhdanovka, is very hard. People are poor and many
instances of (moral) regression, of alcohol abuse,
murder, and even cannibalism, have been recorded.
Kakhidze left the town several years ago and she
discovered many facts about the place through the
Internet. She decided to take on the position of author
and the ensuing book is a re-thinking of her decision
to leave and set up a living elsewhere.
In the process of working on the book, Kakhidze
discovered that many places in Russia, Ukraine,
Kazakhstan, Armenia go by the name of Zhdanovka.
The places she found were quite similar: small and ‘un-
successful’. Kakhidze had yearned to find something
distinctive and the experience triggered some degree
of mental anguish in her. It reminded her of the time
when she was fourteen and her drawings, which
hung in a school corridor, got scribbled on – someone
drew genitals on all of Simak’s and Lem’s characters.
The story about Zhdanovka then became the story
of ‘looking for one’s own Zhdanovka’. As such, ‘her’
Zhdanovka has become a fictional place as well.
Kakhidze placed English copies of the book in the
Jan van Eyck library for researchers to read and com-
ment on, as well as copies in Russian in the local library
in Zhdanovka for the local people to read and comment
on. The books are hand-made on photocopying
machines and are not for sale. The text consists of
different kinds of sources: personal memories, fiction-
al events, news from local newspapers, texts from the
Internet are knit together and make up a poetic, textual
network.
Saturday 19 August
Ils Huygens 1980 / Belgium

Researcher Theory
Ils Huygens’ research project Thinking through
affect was concerned with developing a concep-
tual framework and vocabulary for affect and
emotion in film studies. In the theoretical part of
the project she has been looking at various dis-
cussions on affect in philosophy (Deleuze, Berg-
son, Spinoza), but also at more scientific research
in the psychology of emotions and recent neuro-
biology. Affect is considered to be of a bodily na-
ture. When we are watching images on television
or on cinema screens, we are not only interpret-
ing the narrative and signifying level with our
minds, but also register the film with our bodies
on a more primitive affective level – stirred by
small gestures, body movements, voice timbre
and tone, a sudden shift in facial expression, but
also by camera movements, shifts in angle, the
use of zooms or close-ups. As Brian Massumi
argues in his book Parables for the virtual, it is cru-
cial to note that this level of affect does not have a
causal relation to the image’s narrative content.
He refers to it as ‘incipience’, unqualified without
content. But this incipience can be given content
through media technologies. The autonomy of
affect in the image lies in its technological means,
which have become much more powerful and
manipulative with the development of digital
techniques. In September 2006 the project cul-
minated in the organisation of the two-day sym-
posium Thinking through affect, which featured
amongst its speakers Norman Bryson, Barbara
M. Kennedy, Erin Manning, Anna Powell, Steven
Shaviro and Lesley Stern.
Organisation events
— Thinking through affect. A two-day symposium
on body, affect, emotion and moving images.
(8 – 9 September). With Monika Bakke, Maaike
Bleeker, Norman Bryson, Barbara M. Kennedy,
Tarja Laine, Erin Manning, Anna Powell, Steven
Shaviro, Lesley Stern & Tim Stüttgen. Maastricht,
Publications
— Emotion and film theory. In: Film and
philosophy, 10.
— De kooi. Bij Jana Sterbak & Ana Torfs’s
Condition, 1995. In: Robrecht Vanderbeeken (Ed.).
What are you doing?, pp. 60-65.
— Michael Jackson. AS, 177.
— Narratie of interactie: multipele narratieve
structuren in de hedendaagse cinema. In: Ladda
vzw. (Ed.). Talkie walkie. Jongerensubcultuur 4
believers/nonbelievers. Louvain, BE: Acco.
— Affects of fear in Japanese neo-horror.
(20 October). In: Real fear horror symposium.
Gainesville, US: University of Florida.
— They’re not even sure it is a baby yet… body
horror in Eraserhead. In: 4th Global conference
monsters and the monstrous. Myths and
metaphors of enduring evil. (18 – 21 September).
Oxford, GB: Mansfield College.
— Introduction. (8 September). In: Thinking through
affect. Maastricht, NL: Jan van Eyck Academie.
— Kiarostami’s ten: mobilizing the viewer’s look.
(21 June). In: The scheme of the veil. Maastricht,
— Thinking affect: a new perspective for visual
studies. (10 June). In: The works of Gilles Deleuze
conference. Greenwich, GB: University of
Greenwich.
— Response to James Elkins. (31 March). In: The
Academie.
— Multipele narratieve structuren in de
hedendaagse cinema [Multiple narrative
structures in contemporary cinema]. (17 January).
In: Talkie walkie editie 2. Followed by the
screening of Carnages (2002) by Delphine Gleize.
Ghent, BE: Film Plateau.
— Towards an aesthetics of embodied affect.
Showings
— Albert and Allen Hughes’ From hell, 2001.
(9 September). In: Thinking through affect.
— Leni Riefenstahl’s Triumph des Willens, 1934.
— Michael Powell and Emeric Pressburger’s Black
Narcissus, 1947. (8 September). In: Thinking
through affect. Maastricht, NL: Jan van Eyck
Academie.
— Werner Herzog’s Grizzly Man, 2006.
Sunday 20 August
Monday 21 August
Tuesday 22 August
Wednesday 23 August
Thursday 24 August
Friday 25 August
Saturday 26 August
Sunday 27 August
— Situative objects and/or objective situations.
(21 December). Rondleiding door exhibition Felix
Gonzales-Torres. With Judith Hopf. Berlin, DE:
Museum Hamburger Bahnhof.
— [Untitled]. (5 December). With Stephan Geene.
In: Film and biopolitics. Maastricht, NL: Jan van
Eyck Academie.
— Reform-in-process. About the notion for artistic
research. (4 December). Brussels, BE:
Erasmushogeschool Brussel.
— Jean-Luc Godard’s Passion (1982).
(30 September). In: The aesthetics of production /
Sonderforschungsbereich Ästhetische Erfahrung
im Zeichen der Entgrenzung der Künste. With
Karin Gludovatz. Berlin, DE: Freie Universität
Berlin.
— Statement on skulpturen-projekte.
(21 September). With Guy Ben-Ner, Kasper König,
Markus Müller & Carina Plath. Berlin, DE: Kunst-
Werke Berlin.
— Wenn sonst nichts klappt: Wiederholung
Sabeth Buchmann 1962 / Germany wiederholen in Kunst, Popkultur, Film, Musik,
Advising researcher Theory / Alltag, Theory und Praxis. (17 August).
Film and biopolitics Presentation van een reader over de notie van
Sabeth Buchman is artistic coordinator of the re- repetitie. Hamburg, DE: Academy of Fine Arts;
search project Film and biopolitics. The Film and Hamburg, DE: Kunstverein Hamburg.
biopolitics project takes a theoretical-historical — Verlebendigungsstrategien in zeitgenössischer
approach at investigating the rhetoric of the no- Kunst [Strategies of animation in contemporary
tion of life in its constitutive impact on most of art]. In: Is it now? Gegenwart in den Künsten.
the art and film categories of the 20th century. (11 – 12 July). Zürich, CH: Hochschule für
The intention is to show that this critique on Gestaltung und Kunst Zürich.
— Antagonistic complicity. On the reception and
avant-garde, with its positive references to ele-
critique of scientific discourses within the
ments of the genre cinema, has already become conceptualism of the late sixties and early
part of a ‘critical’ self-understanding of artists seventies. (4 July). In: Science and fiction.
and filmmakers – while their theoretical and polit- Interfaces between art, research and science.
ical importance has not yet been realised. Zürich, CH: University of Zürich.
— Response on W.J.T. Mitchell’s What do pictures
Projects want?. (30 June). Frankfurt am Main, DE: Städel
— Polypen. Academy.
Organisation events — About the relationship of Fine Arts and film.
— Lebende Bilder! [Living images]. With Hubertus (26 May). Lyon, FR: Ecole nationale des beaux arts
Butin, Achim Hochdörfer, Susanne Leeb, Regina de Lyon.
Prange & Martin Prinzhorn. Vienna, AT: Die — Film theory since the 60s in the light of biopolitics
Akademie der bildende Künste Wien. (part 2). (24 May). In: Film and biopolitics.
— The aesthetics of production / Sonderforschungs- Maastricht, NL: Jan van Eyck Academie.
bereich Ästhetische Erfahrung im Zeichen des — Film theory since the 50s in the light of biopolitics
Entgrenzung der Künste. (30 September). With (part 1). (25 April). In: Film and biopolitics.
Eric de Bruyn, Karin Gludovatz, Micheal Lüthy, Maastricht, NL: Jan van Eyck Academie.
Stefan Neuner, Franziska Uhlig, Antonia Ulrich & — About the state of the art of art criticism.
Friedrich Weltzien. Berlin, DE: Freie Universität (28 March). Vienna, AT: Depot.
Berlin. — Curatorial and artistic strategies after ‘89. In: Art
Publications in the age of globalism. (2 – 4 March). Gainesville,
— Allegorical gestures. In: Kathrin Becker (Ed.). US: University of Florida.
Maryam Jafri. Costume party: colony & native, — The Berlin art scene & collective art practices in the
pp. 44-51. Berlin, DE: Neuer Berliner Kunstverein. nineties. (23 February). Los Angeles, US: CalArts.
— Alexander Alberro & Sabeth Buchmann (Eds.). — Illusionism revisited. About Rainer Werner
Art after conceptual art. In: Generali Foundation Fassbinder and Yvonne Rainer. (17 February).
collection series. Cambridge MA, London: MIT San Francisco, US: San Francisco Art Institute.
Press; Vienna, AT: The Generali Foundation. — From systemic to biopolitical production.
— Denken gegen das denken. Produktion In: Opening week 2006. (9 – 13 January).
Technologie Subjektivität bei Sol LeWitt, Yvonne Maastricht, NL: Jan van Eyck Academie.
Rainer und Hélio Oiticica. Berlin, DE: b_books. Seminars/workshops/lecture series
— Fehler sind eine Frage der Sprache [Mistakes are — Lebende Bilder! [Living images]. With Hubertus
a question of language]. In: Annette Kelm (Ed.). Butin, Achim Hochdörfer, Susanne Leeb, Regina
Annette Kelm. Errors in English, pp. 13-17, Prange & Martin Prinzhorn. Vienna, AT: Die
Cologne, DE; London, GB. Akademie der bildende Künste Wien.
— From systems-orientated art to biopolitical art — Titel in Arbeit. (12 December). With Cosima
practice. In: Marina Vishmidt (Ed.). Media Rainer. Vienna, AT: The Generali Foundation.
mutandis. A node.london reader, pp. 51-60. — Cinematic strategies of subjectivisation. Lars von
London, GB: Node.london. Trier, Dogville (2003), Manderlay (2005).
— Gefüllte Leerstellen. Ein Gespräch über Kunst und (13 November). With Rainer Bellenbaum. In: Film
Pornografie mit Heimo Zobernig. In: Texte zur and biopolitics. Maastricht, NL: Jan van Eyck
Kunst, 16 (64), pp. 48-57. Academie.
— Die Hohe Schule. Eine Umfrage zum Stand der — Jean-Luc Godard’s Passion (1982). (24 May).
Kunstgeschichte. With Karin Gludovatz. In: Texte In: Film and biopolitics. Maastricht, NL: Jan van
zur Kunst, 16 (62), pp. 141-144. Eyck Academie.
— Kritik der Institutionen und/oder Symposia/conferences
Institutionskritik? (Neu-)Betrachtung eines — Art after conceptual art. Konferenz zum ersten
historischen Dilemmas. In: Bildpunkt. Zeitschrift Band der Schriftenreihe Sammlung Generali
der IG Bildende Kunst, pp. 22-23. Foundation. (10 – 11 November). With Helmut
— Kulturelle ProduzentInnen im Vergleich. Draxler & Christian Höller. Vienna, AT: The
In: Matthias Michalka (Ed.).The artist as…, Generali Foundation.
pp. 13-32. Vienna, AT: Museum Moderner Kunst — Art in the age of globalism. (2 – 4 March).
Stiftung Ludwig (MUMOK). With Alexander Alberro, Nora Alter, Whitney
— Ohne Titel = Untitled. pp. 98-101. Gumpolds- Davis, Helmut Draxler, Harun Farocki, Hal Foster,
kirchen, AT: D.E.A. Buch- und Kunstverlag. Brandon Joseph, James Meyer, Julyane
— Rückmarsch durch die Institutionen? With Karin Rebentisch, Terry Smith, Julyan Stallabrass,
Gludovatz. In: Kritische Berichte, 3.2006, pp. 51-54. Blake Stimson, Maureen Turim & Anne Wagner.
— Show people. In: Sabine Breitwieser, Antje Gainesville, US: University of Florida.
Ehmann & Harun Farocki (Eds.). Kino wie noch nie Discussions/debates
/ Cinema like never before, p. 79. Vienna, AT: The — Performance appropriated. Performative
Generali Foundation. Aneignung in Tanz und bildender Kunst
— Under the sign of labor. In: Alexander Alberro & [Performative appropriation in dance and visual
Sabeth Buchmann (Eds.). Art after conceptual art. arts]. (moderator). (18 November). With Tom Burr,
In: Generali Foundation Collection Series. Sharon Hayes, Yvonne Rainer & Xavier Le Roy.
Cambridge MA, London: MIT Press; Vienna, AT: Vienna, AT: Museum Moderner Kunst Stiftung
The Generali Foundation. Ludwig (MUMOK); Vienna, AT: Tanzquartier.
Monday 28 August
Tuesday 29 August
Wednesday 30 August
Thursday 31 August
Friday 1 September
Saturday 2 September
Sunday 3 September
Monday 4 September
Tuesday 5 September
Wednesday 6 September
Opening exhibition
The Vos case. De zaak Vos. Der Fall Vos.
publishing
For 20 years Frans Vos headed the graphics workshop
at the Jan van Eyck Academie. As graphic expert and
photographer he helped artists and designers produce
posters, invitations, (artists’) books and autonomous
works. Experiments with silk-screen, lithography and
offset printing were readily embraced.
In September 2006 Frans Vos retired. To pay tribute
to the skilled professional that he was, the Jan van Eyck
hosted a special exhibition that showed graphic works
made in the past 20 years. The productions were non-
chronologically presented – as if in a drawing room –
against wallpaper made for the occasion. The amount
of the works – a mere fraction of the sum total – under-
scored that the workshop breathed creativity, diligence
and dynamics.
The publication that accompanied the exhibition tes-
tifies to that. Artists, designers, colleagues and Marijke
Vos look back and relate encounters and experiences
they had with Frans and reflect on the significance of the
graphics workshop at the institute.
The publication was compiled by Kasper Andreasen
(researcher Design 2003-2005), Hinrich Sachs (advis-
ing researcher Fine Art) and Willem Oorebeek (artist).
The book was designed by Kasper Andreasen and
Toni Uroda (researcher Design 2003-2005).
Thursday 7 September
Seminar
Hanneke Grootenboer
John Murphy 1945 / Great Britain

John Murphy’s work of the last decennium is a
meditation on what might be the work of an exhi-
bition. An exhibition is an itinerary, but an itiner-
ary – as Gilles Deleuze says in his Abécédaire –
that tends towards encounter with the other.
For John Murphy an exhibition is a special place
of intervals. A place where works of art placed
side by side may start to compose their own his-
tories. A place of endless returns and of repeated
new beginnings, where works of art become un-
stable, unfixed, forever filled with new readings
and unstable meanings.
Publications
— (Between the acts). John Murphy. London, GB:
Lisson Gallery.
— Copie de voyage (numéro deux). Brussels, BE.
— Cunt(s). In: Copie de voyage (numéro deux).
Brussels, BE.
— E la nave va. In: The Vos case. De zaak Vos. Der Fall
Vos. Mastering printed matter since 1985, p. 25.
— Interview with Olivier Foulon. With Olivier Foulon,
Jean Matthee & Filiep Tacq. Published on
1 February 2006 on: <http://www.janvaneyck.
nl/4_4_cv/cv_f_fou1.html>
— John Murphy. The stench of shit. Brussels, BE:
Galerie Erna Hécey.
— [Untitled]. In: The starry messenger. Visions of the
universe. Warwickshire, GB: Compton Verney.
— Copie de voyage (numéro deux). (14 December).
Presentation second issue magazine. With
Michel Assenmaker, Olivier Foulon. Brussels, BE:
Café Greenwich.
Exhibitions
— John Murphy….The stench of shit….
(16 December 2006 – 3 February 2007). Brussels,
BE: Galerie Erna Hécey.
— The starry messenger. Visions of the universe.
(7 July – 10 September). Warwickshire, GB:
Compton Verney.
— (Between the acts). John Murphy. (22 February –
25 March). London, GB: Lisson Gallery. (Exh. Cat).
Festivals/events
van Dijken, Olivier Foulon, Sönke Hallmann,
Antony Hudek, Ella Klaschka & Inga Zimprich.
(20 May). In: Jan van Eyck Bookish Weekend.
Friday 8 September
Symposium jective and objective, and between real and imaginary
Thinking through affect become indistinguishable. The integration of the digital
in cinematic techniques presents us with new experi-
Ils Huygens: introduction / Barbara M. Kennedy: Thinking ences of time and reality, creating a different regime
ontologies of the mind / body relational: fragile faces of fleeting, less structured emotionality that requires
and fugitive graces in the processuality of creativity and different theoretical paradigms.
Two lectures dealt with the performance and ges-
performativity / Monika Bakke: I’m too sad to tell you…the tures of the moving body in film and dance. Maaike
story of the Grizzly man / Steven Shaviro: Emotion capture: Bleeker (department of Theatre and Dance, University
of Utrecht) confronted Adrian Martin’s dance theory to
affect in digital film and video / Maaike Bleeker: ‘Hit me, if ideas developed by Brian Massumi in his book Parables
you can’; Martin, Massumi and The matrix / Lesley Stern: for the virtual, and with a selection of scenes from The
Motility, transference and conversion: an exploration of matrix. In her presentation she argued that movement
is not just a medium of expression, but also of percep-
cinematic affect as exemplified in Black Narcissus tion and developed the idea of inner mimicry that takes
Film screening place when perceiving a body in motion. This lead her
Black Narcissus (1947) by Michael Powell & Emeric to the concept of ‘movement-vision’, as opposed to
Lacanian ‘mirror-vision’, an embodied mode of looking
Pressburger / Grizzly man (2006) by Werner Herzog that involves a corporeal involvement of the viewer’s
Concept Ils Huygens with the performer’s body.
Venue Jan van Eyck Academie, Maastricht, NL Bleeker’s lecture interconnected with Lesley
Stern’s thesis. Through different means and using
different theories (Warburg, Walter Benjamin), Stern
(department Visual Arts, University of California, San
Body and other discourses. Lastly, we need to reconsider the Diego) developed similar ideas on affective mimesis
Thinking through affect, organised by Ils Huygens relation between content and form of images, between and emotional contagion. Analysing the 1940s melo-
(researcher Theory) was a two-day symposium that presentation and representation. drama Black Narcissus Stern showed that the film
gathered theoreticians working along similar concep- transfers bodily energy and emotion to the viewer
tual lines to develop thought about affect and formu- Affect and creativity through cinematic gesture and excessive perform-
late a conceptual framework. Barbara Kennedy (department of Film, Media and ance. She discusses both the body on screen and the
The research project Thinking through affect is con- Cultural Studies, University of Staffordshire) proposed film as moving body in terms of their propensity for
cerned with developing the concept of affect as a pro- an affective approach to creative thought and practice movement, not only in their propensity for auto-move-
ductive tool of analysis for art, media and film studies. by developing Bergsonian ideas on duration and intui- ment but also in terms of how they move the viewer.
According to Brian Massumi, a principal reference tion in relation to the performative act. The paper pre- During the discussion at the end of the first day,
source, image-reception is two-sided: there is the level sented a necessary conceptual turn of rethinking the Stern acquiesced that besides the actor’s performance
of content and socio-linguistic codification on the one body as a body that is constantly in motion, a body that it is also important to further investigate the way the
hand and the level of affect on the other. Image-recep- never coincides with itself, a body in a continuous pro- filmic body generates this potential for movement
tion operates on a ‘supra-linear’ level and is registered cess of becoming. Kennedy proposed an alternative through montage and camera-movement. She be-
by the skin and the visceral senses as ‘intensity’, as ontology for creative production and thinking, beyond lieved that the idea of the camera gesture, and the
virtual and unqualified experience. Unqualified experi- representational structures, beyond notions of subjec- question whether the cinematic apparatus itself is able
ence can be given quality through media technologies tivity. The use or uselessness of the concept of mean- to generate gesture needs to be further investigated.
which confront us with forms of perception that are ing was debated during the discussion. Kennedy Another problem that became evident in the discus-
non-intentional and a-subjective, and have a strong argued, following a Deleuzian perspective, that in sion was that the contemporary viewer is no longer
potential for manipulation. These media technologies order to think affect and sensation in a productive and naïve, but has become a ‘corrupted viewer’. The viewer
can create a shortcut to sensual and bodily experience not reductive way it is necessary to do away with the can always refuse the affective regime proposed by a
and have the capacity to intensify, alter or distort the hierarchical structures inherent in dominant discours- film or ridicule it. Again it became clear that thinking
affective dimensions of an image, sound, voice, face es of representation and meaning. through affect means we cannot make broad generali-
or gesture. Since the level of meaning and the affective sations on the part of the image, on that of the viewer,
intensity of an image are not necessarily congruent, Non-human affectivity or on the experience of affect produced between them.
affect can be and is easily exploited for political or Monika Bakke (researcher Theory 2004-2005) We must always rely on concrete examples rather than
commercial uses. pointed out that when talking about affect in the post- ideal situations.
The project assumes an intrinsic link between human age, we cannot exclusively talk about human
image, affect, movement and emotion. Many of the affect. Since traditional categories and boundaries
lectures dealt with these connections from various have become superfluous, non-human affects such
perspectives. They did not exclusively focus on film as animal affectivity also need to be taken into consid-
and media theory; interesting references were made eration. To think of affect as something that takes place
to gender theory, theatre and dance studies as well as between bodies implies we need to rethink the relation
the fields of the visual arts, philosophy and aesthetics. between human and non-human bodies, and cut our
ways of thinking loose from anthropomorphic struc-
What is affect? tures that are part of almost any discussion of animal
Ils Huygens’ short introduction tried to define and emotional life. Moreover, Monika Bakke referred to
characterise the concept of affect as it is postulated in Deleuze’s idea of ‘becoming animal’ and to Rosi
the research project, by making various connections Braidotti’s nomadic ethics as a process of liberation,
between writings on affect in philosophy (Deleuze, as a possible line of flight away from the ‘human’ into
Spinoza, Bergson), the psychology of emotions new connections with the animal. In an atypical read-
(Tomkins) and neurobiology (Damasio, Ledoux). ing of the film Grizzly man, Bakke presented possible
Several characteristics were mentioned: first, affect, examples of different human-animal configurations.
as opposed to cognitive emotions, is of a bodily
physiological nature often not consciously registered. Cinematic affect
Secondly, it is never a purely internal experience but As was stated in the outline of the project, digitalisation
brought about by the actions of another body. Thirdly, and other new audiovisual technologies increase the
affect is durational and of the nature of a process. affective capacities of images and, consequently, of
The neurobiological research by Daniel Libet, Antonio our daily surroundings which have become suffused
Damasio and Joseph Ledoux has shown that this is with these images. Media theorist Steven Shaviro
not just a philosophical idea, but a neurological reality: discussed the impact of digital techniques on the onto-
before a stimulus is registered as a conscious percep- logical status of cinema. Paradigms of classical film
tion or cognition, it is already a complex duration. theory, such as Barthian semiotics and Bazinian real-
Most of these micro-perceptions remain virtual; they ism, seem no longer valid or operate in a different logic
do not achieve actual expression. Many of the charac- when it comes to digital images that, in turn, no longer
teristics of affect thus ask for a different conception of necessarily have referents in reality. Shaviro analysed
body, movement and image, a different way of thinking the experience of the films Waking life and A scanner
about subjectivity, about control of bodies by media darkly, which both use rotoscopy as a new kind of ‘real-
images, about current use of media images by politics ism of dreams’, in which the boundaries between sub-
Symposium
Thinking through affect
Norman Bryson: Affect, sensation, empiricism /
Tarja Laine: Eija-Liisa Ahtila’s affective images in The
house / Tim Stüttgen: Bodies that shatter: watching porns
with Williams, Deleuze and Preciado. A reconsideration of
Linda Williams’ term ‘body-genre’ / Anna Powell: Jack the
Ripper’s bodies-without-organs: affect under the scalpel
in From hell / Erin Manning: How Leni Riefenstahl moves
through fascism: from biopolitics to biograms
Film screening From hell (2001) by Albert & Allen Hughes /
Triumph des Willens (1934) by Leni Riefenstahl
Concept Ils Huygens
Body that there is a kind of non-congruence between form

On the second day of the symposium Thinking and content by looking at the complex contradictions
through affect, the film genres of pornography and and uncertainties underlying Leni Riefenstahl’s Nazi
horror were tackled. Feminist writer Linda Williams works Olympia and Triumph of the will. If the distinc-
refers to these genres as ‘body genres’, since they have tion between form and content is no longer valid, how
a strong impact on the viewer’s body. Tim Stüttgen can we possibly distinguish between affect that sub-
(researcher Theory) put forward post-gender issues, verts power and affect that reinforces it?
linking Dominique Preciado’s contra-sexual manifest During the rounding-up discussion, connections
to Deleuze in order to present an updated version of were made back to Bryson’s, Bleeker’s and Stern’s
Williams’ notion of corporeal materialism. This updat- presentations in a remark about the effect of rhythm
ed version can deal with recent shifts in the way media in painting, in dance and cinema: through montage
technologies control and produce sexual bodies. More and camera movement a movement of bodies can be
specifically, Stüttgen considered the changing visual created, exceeding the force of the individual bodies,
politics of pornography, such as the need for more real- as in Riefenstahl’s or Eisenstein’s films. Bryson and
ity and intensity. This made him pose one of the most Manning pointed out that affect and sensation are
difficult questions of this symposium: how can we talk, highly susceptible to manipulation. When they come
write and theorise affect without immediately getting together they can create a mega-discourse of politics.
stuck on the level of language and representation As was mentioned several times during the discus-
again? sions and presentations, this is a highly relevant ques-
Anna Powell’s lecture, then, attempted to formulate tion for a contemporary society which thrives on
a possible answer. Anna Powell (department of Film, producing constant waves of fear and release in its citi-
Manchester Metropolitan University) proposed an zens. The control of bodies and mechanisms of power
alternative strategy of analysing horror film in terms have become more fluid, less localisable than tradition-
of the affects it produces rather than in terms of repre- al ideologies and are based on the surplus of affect that
sented bodies. She used From hell as an example of exists and is created in the devices of our communica-
a film that presents itself as a body-without-organs, tional society.
a film that activates a series of intensive affective
atunements in the viewer in a continuous process
of becoming. From hell draws the viewer into the sub-
jective vision of an individual who resides in altered
states of awareness induced by drugs and hallucina-
tions. Through its intensive soundtrack and imagery,
the film presents the viewer with a multi-sensorial and
intensified experience.
Similarly, Tarja Laine (department of Media and
Culture, University of Amsterdam) tried to formulate
an affective mode of analysis when discussing differ-
ent strategies of perception in the work of Finnish
video-artist Eija-Liisa Ahtila. Her audiovisual installa-
tions create a viewer experience that no longer can
be explained by theories of illusion or sheer vision, but
ask for an approach in terms of affective processing.
Both Laine and Powell elaborated on one of the main
theses of the research project: the idea that perception
is always immediately contaminated by affect. In the
discussions the issue of tangible temporality was men-
tioned, as well as the changed experience of spatiality,
as exemplified by Powell’s description of From hell as
psycho-geographic journey.
The politics of affect

The sessions of the second day interlocked in pointing
at the dangers of the alignment of sensation and affect
with political projects. Norman Bryson (advising
researcher Theory) drew connections between the
present discourse on affect and empiricist philosophy
and the aesthetics of sensibilité in the 18th century.
At the time, the appraisal of sensation ultimately
culminated in aesthetic practices that were far too
easily incorporated into various political discourses.
Affect can and will become a pure ‘a-signifying force’,
‘pure manipulation’. Erin Manning, too, suggested
Sunday 10 September
Monday 11 September
Tuesday 12 September
Symposium
The museum of conflict. Art as political strategy in post-
communist Europe
Matthias Pauwels: welcoming note / Meta Haven:
Imagination of engagement / Mihnea Mircan: Wild
museology / Calin Dan: 2nd thoughts about power
architecture / BAVO: Only art can save democracy now? /
Wouter Davidts: Architecture for the people / Florian
Waldvogel: As the word dies the eyes of god grow bigger /
Raphaël Cuomo
Edi Muka: The unstable condition of ‘peripheral’ / Researcher Fine Art
1977 / Switzerland
Maria Hlavajova: reply Raphaël Cuomo works together with Maria Iorio.
Terra Trema, filmed on location in 1948 in a small
Concept Meta Haven, Jonathan Dronsfield Sicilian village, with local men acting as ‘real’
Venue Jan van Eyck Academie, Maastricht, NL fishermen under the direction of Luchino Viscon-
ti, proposed a vision of Italy which broke with the
representations of national identity, previously
broadcast by the fascist entertainment industry.
Now integrated into the local patrimony as part of
Museum it has become a space for public events, functioning as Italy’s cultural heritage, as an authentic and pic-
This research conference organised by Meta Haven, a square rather than a building. Calin also highlighted turesque image of the past, as well as being used
Jonathan Dronsfield and the Jan van Eyck Academie important differences in architectural and urban strat- as a tourist attraction, Terra Trema constitutes a
investigated the use of the art event and the contempo- egy between Linna Hall and Casa Popolurui. preliminary case study which opens up an inter-
rary art museum as a political strategy in Eastern Gideon Boie (BAVO) mainly discussed the case rogation of history through the history of cinema
itself – and through history as it is constructed by
Europe. Calin Dan, BAVO, Wouter Davidts, Meta of W.I.M.B.Y., a multidisciplinary project set up to cinema – with the intention of updating some
Haven, Maria Hlavajova, Mihnea Mircan, Edi Muka redevelop and ‘pimp’ the post-war town of Hoogvliet elements of the film in their own productions.
and Florian Waldvogel presented short lectures, (near Rotterdam). Gideon argued that the political The research follows a double migratory move-
followed by a debate. A second conference took moment of art is lost precisely in the appropriation of ment: the north-south movement of tourism and
place on 19 October, in the Museum National de semi-underground and even ‘ugly’ artistic government the south-north movement of immigration.
It investigates the organisation of space and time
Arte Contemporana (MNAC) inside the former strategies.
– infrastructure dedicated to tourism and leisure,
Casa Poporului (the palace of Nicolae Ceausescu) Wouter Davidts (architect and architectural theo- areas controlled by the police, off-season sur-
in Bucharest, where Nicolas Bourriaud, Jonathan rist) pleaded for an architecture that, “in an era of bla- roundings – at places where both these move-
Dronsfield and Ciprian Mihali & Augustin Ioan, tant political and cultural populism”, has a decisive role ments cross, like the Sicilian island of Lampedu-
among others, gave lectures. Both conferences aimed in the ‘”formation” of various public institutions such sa, situated between Africa and Europe. Their
to address similar questions: How does the institution- as the opera, the library, the theatre and the museum. work on site stems from a confrontation with the
representations of the other and the elsewhere,
al museum reflect ways in which contemporary art is Edi Muka (curator based in Stockholm and Tirana) produced by the tourism industry, publicity and
used as a representation of political change? Can art demonstrated that with the gradual withdrawal of the media. Cuomo and Iorio propose to re-visit,
take over the location of power, being ‘a symbol of Soros-founded art spaces in Eastern Europe, cultural through the use of photography and video, déjà-
openness and democracy’? institutions have often become like hollow shells vu places and figures in fictions that query the
Meta Haven had proposed the famous Casa which, with painstaking effort, have to apply for fund- power of images and the influence of cultural
Poporului (People’s House) in Bucharest as its main ing time and time again in order to be able to carry out codes in meaning and problematise the act of
representation itself.
case study. This totalitarian icon, commissioned by any activities whatsoever. Examples quoted were the
Nicolae Ceausescu in the 1980s, houses the Romanian Pyramid Cultural Centre, located in the former mauso- Publications
parliament as well as a National Museum for leum of Tiranian dictator Enver Hoxha, and the Tirana — Europe’s southern-most island. With Maria Iorio.
Contemporary Art (MNAC). The visual rhetoric of Casa Biennial. In: BAVO (Ed.). Euregional Forum Newspaper.
Maastricht. NL: Jan van Eyck Academie.
Poporului was originally designed to impose a national Florian Waldvogel (curator at Witte de With, — Sudeuropa. Welcome, live. In: Ursula Biemann &
identity. Its size certainly contributes to getting this Rotterdam and member of the curatorial team for the Brian Holmes (Eds.). The Maghreb connection.
message across: the ‘house’ is the second largest cancelled Manifesta 6 in Nicosia, CY) spoke about the Movements of life across North Africa, pp. 220-
building in the world. The building is not the only post- events he organised at Kokerei Zollverein, in a former 244. Barcelona, ES: Actar.
communist iconic remainder in what is now called industrial complex in Germany. — Making off. With Maria Iorio. (19 October).
‘New Europe’. This, and other structures, worked as In a subsequent discussion, Maria Hlavajova In: Journée de la recherche. Geneva, CH: Ecole
strong symbols for communist/socialist statehood, (artistic director of BAK and curator of the Dutch pavil- supérieure des beaux-arts.
— Welcome, live. With Maria Iorio. In: Opening week
whereas their completion is often associated with ion in the 2007 Venice Biennial) launched some fierce
the regimes’ decay. Though they have since been criticism at MNAC, stating that, apart from its location, Eyck Academie.
abandoned or re-appropriated, these buildings still it abuses the artistic integrity of the exhibiting artists Discussions/debates
carry political connotations. As part of a ‘national herit- by having them create work about the People’s House. — The Maghreb connection. Movements of life
across North Africa. (11 December). Artists’ panel.
age’, their still-intact iconic energy requires a variety of Minhea responded by saying that although a number With Doa Aly, Hala Elkoussy, Brian Holmes, Maria
responses, including the use of contemporary art. of works about the building were indeed created, this Iorio. Cairo, EG: The Townhouse Gallery.
Moderator Matthias Pauwels (BAVO) started was not an obligation. Next, the idea of Romanian poli- Exhibitions
by asking how art – either the art system or artists tics interfering with MNAC’s programme was tackled. — Sudeuropa. With Maria Iorio. In: The Maghreb
connection. Movements of life across North Africa.
individually – should operate to cause political effect. In fact, as Pauwels provocatively suggested, this toler- (11 December 2006 – 13 January 2007). Cairo, EG:
He addressed the role art is sometimes asked to play: ance could be explained as indifference, even censor- The Townhouse Gallery.
art is supposed to live out the dream of democracy and ship. It was finally emphasised how difficult it is to run — Lontano nel mare. With Maria Iorio. In:
openness. an art institute. Resonance. Or how one reality can be understood
Meta Haven (Vinca Kruk, Daniël van der Velden) A detailed outline of talks, as well as a transcription 2007).
presented a lecture entitled Imagination of engage- of the discussion, will be made available via www. With Armando Andrade Tudela, Pavel Braîla,
ment, in which they established a link between the call museumofconflict.eu and via www.metahaven.net. Anke Brüchner, Peggy Buth, Mariana Castillo
for ideas by Italian magazine Domus concerning the The follow-up conference on the topic is planned for Deball, Maria Iorio, Marjolijn Dijkman, Olivier
Ryugyong Hotel in Pyongyang (North Korea) to the January 2007 at MNAC in Bucharest. Hendrikse, Eric van Hove, Johanna Kirsch, Will
Casa Poporului museum and the ideas of political Kwan, Doris Lasch, Achim Lengerer, Lene
philosopher Claude Lefort. Meta Haven finally Markusen, Charlotte Moth, Gyan Panchal, Falke
Pisano, Ursula Ponn, Romana Schmalisch,
suggested that art’s political power lies not so much Megan Sullivan & Inga Zimprich. Organised by
in being ‘given’ power, but in taking it. the Jan van Eyck Academie. ’s-Hertogenbosch,
Mihnea Mircan (curator at MNAC) spoke about the NL: Artis; Louvain, BE: Stuk.
events and exhibitions that took place in the museum — Brève ombres. With Maria Iorio. In: Noir et/ou
blanc. (18 June – 2 July). Geneva, CH: Duplex,
since its opening in 2004. He emphasised that MNAC espace d’arts contemporains.
is a site-specific project, in part one that seeks to come Films/videos
to terms with the meaning of the building for Romanian — Sudeuropa (Cairo version). With Maria Iorio.
society, and elaborated on the meaning of the building Showings
— Afterwork. With Maria Iorio. (12 January).
for Romanian society. In: Opening week 2006. Organised by the Jan van
Artist Calin Dan talked about Linna Hall in Tallinn Eyck Academie. Maastricht, NL: Lumière.
(EE), describing how after the fall of the Soviet republic,
Anke Brüchner 1977 / Germany

Researcher Fine Art
So far, many of Brüchner’s works have dealt with
the contrast between the pause that tries to gain
some kind of overview and the movement that
mixes things up. Both still and moved drawings,
having developed from one another, can be
found in her recent animation films. The idea to
relate these drawings to each other led her to
animate them into films.
At the moment, she is interested in the kinds of
stories that hold their components together very
well and seem to offer movement and overview
at the same time, stories that are well-structured
and basic. She looks for a story which already
ex-ists and tries to work at the process of adopt-
ing it.
— [Untitled]. In: Opening week 2006.
Academie.
Exhibitions
Braîla, Peggy Buth, Mariana Castillo Deball,
Raphaël Cuomo, Marjolijn Dijkman, Olivier
Kirsch, Will Kwan, Doris Lasch, Achim Lengerer,
Lene Markusen, Charlotte Moth, Gyan Panchal,
Falke Pisano, Ursula Ponn, Romana Schmalisch,
— Die schwebende Jungfrau. In: m.a.p. (mobiles
Ausstellungsprojekt). (2 – 15 June). With Susanne
Hanus & Martin Held. Dresden, DE: Doppel DE.
Showings
— Fluch. (12 January). In: Opening week 2006.
Maastricht, NL: Lumière.
Friday 15 September
Sunday 17 September
Sönke Hallmann 1974 / Germany

Researcher Theory / Department of reading
Founded in 2006 in collaboration with other Jan
van Eyck researchers, the Department of reading
(DoR) is designed to promote new ways of read-
ing and to create new textures for existing texts.
As an on-line module, the DoR allows for inter-
ventions in/on texts through comments, ques-
tions, drawings, diagrams, images, while also al-
lowing collaborations with remote participants.
Its basic concern is to ‘collectivise’ the process of
reading and to question its potentiality and its
distinction from the notion of writing.
Based upon philosophical reflections on the no-
tion of community, including positions by Giorgio
Agamben, Jacques Derrida and Paolo Virno, Hall-
mann’s research on modern literature intends to
rethink the nexus between texture and collectivi-
ty. Attention was particularly drawn to the notion
of writing and language within a bio-political per-
spective (as featured in works by Georg Büchner,
Franz Kafka and Heiner Müller). A first outcome
of this research will be a book on the difference of
man and animal vis-à-vis the act of writing.
Organisation events
— State of exception. (29 November).
With Falke Pisano.
— On texture. (28 September). In: Department of
reading. Online debate.
— War and theory. (28 August – 13 September).
With Gon Zifroni.
— Department of reading. In: Faculty of invisibility.
The speech. (6 – 8 December). Maastricht, NL: Jan
van Eyck Academie.
— On Paolo Virno’s ‘The grammar of the multitude’.
(16 August). In: One and many. Multitude. In: Film
and biopolitics. With Stephan Geene. Maastricht,
— The writing of community. In: Opening week
Eyck Academie.
— Faculty of invisibility. The speech.
(6 – 8 December). With Selina Bütler, Roé
Cherpac, Wim Cuyvers, Paul Gangloff, David
Goldenberg, Ingela Johannson, Mykyta Kadan,
Olesya Khomenko, Matthias Kreutzer, Volodymyr
Kuznetsov, Nebojsa Milikic & Inga Zimprich.
— One and many. Multitude. (16 August). In: Film
and biopolitics. With Stephan Geene. Maastricht,
Discussions/debates
— The Parerga. The third meeting of the Derrida
reading group. (23 June). With Jonathan
Dronsfield. Maastricht, NL: Jan van Eyck
Academie.
— The Parerga. The second meeting of the Derrida
reading group. (8 May). With Jonathan Dronsfield.
Festivals/events
van Dijken, Olivier Foulon, Antony Hudek, Ella
Klaschka & Inga Zimprich. (20 May). In: Jan van
Eyck Bookish Weekend. Maastricht, NL: Jan van
Eyck Academie.
Monday 18 September
Lecture, film screening
Münster Skulpturprojekte by Jef Cornelis
Andrea Phillips
As part of On the television work
of Jef Cornelis [Monday 20 February]
Film and television

This Jef Cornelis event considered the film Openbaar
bad in Münster, dedicated to the Münster Skulptur-
projekte, which was broadcast on 6 September 1987,
a film Jef Cornelis made with Chris Dercon. The film
shows a guided tour by Christian Philipp Müller and
dance sections by Brygida Ochaim. The film was com-
mented on by Andrea Phillips, writer and art historian
and currently Assistant Director of the MA Curating at
Goldsmiths College, University of London. Phillips is
researching connections between performance, archi-
tecture and social space, and is presently completing a
book, Walking into trouble, on contemporary art and
pedestrianism. In her presentation Phillips wondered
how mobility, movement, fluctuation might be protag-
onists in the development of new and utopian forms of
space, that is to say, forms of space which embrace the
temporal, the performative and the ephemeral as new
forms of creative life. What is this public sphere, full of
articulate performances of mobile and participatory
citizenship, the very thing that attracts artists, activists,
radical theoreticians to walking and dancing on the
street? Cornelis’ film, whilst on one level a quixotic
ethnography of the public art world, also belongs to a
tradition of film-making that is committed to a utopian
desire for culture to communicate to a broad public in
a way that is anti-elitist and countercultural. Joël Vermot / Harrisson 1972 / France
This project is conducted in cooperation with argos Researcher Design / The tomorrow book
The research project Independence of tools in-
and supported by the Province of Limburg. vestigated the level of independence of editing
and, more specifically, the political importance of
production tools in graphic design software pro-
grammes. Since Adobe Corp. bought Macrome-
dia, the former has the monopoly of digital edit-
ing tools. Can editing be independent in such a
context? Can limitation of possibilities due to pro-
prietary standards be considered a form of cen-
sorship? Having analysed editing in fields such as
music, art, science and programming, it appears
that almost all systems of publication depend on
and are sometimes altered by proprietary poli-
tics.
The tomorrow book project proved a good con-
text to query the aims of design and find alterna-
tive systems. The open source philosophy was
one of the most pertinent alternatives. The re-
search focused on the possibility of designing
books with Free Software programmes. The past
years have been particularly fruitful for open
source publishing: operating systems such as
Ubuntu System made the use of Linux user-
friendly, while several graphic design software
programmes such as Scribus, Gimp, Inkscape or
Fontforge are evolving constantly. We can ex-
pect a specific philosophy and practice of design
to emerge soon. Joël Vermot is continuing his re-
search at Constant vzw, association for new
technologies and art in Brussels.
www.constant.irisnet.be/~constant/ospublish/
Sarah Infanger, Filiep Tacq. In: Opening week
Eyck Academie.
— Tomorrow book. On-demand print workshop.
With Will Holder, Sarah Infanger, Filiep Tacq &
Richard Vijgen. In: Jan van Eyck Bookish
Weekend. (20 – 21 May). Maastricht, NL: Jan
van Eyck Academie.
Design
visible. (book). With Sarah Infanger, Filiep Tacq &
— The continuous present. With Sarah Infanger &
Richard Vijgen.
— Programme 2006 Jan van Eyck Academie.
(booklet/brochure). With Sarah Infanger.
— Radical passivity. (poster/invitation). Maastricht,
Lecture
Michael Stevenson
Marijke Cobbenhagen 1978 / the Netherlands

Researcher Design
Marijke Cobbenhagen collaborates with Chantal
Hendriksen.
Marijke Cobbenhagen & Chantal Hendriksen
were responsible for the recruitment campagne
2006. They posed 100 questions about the Jan
van Eyck and used the responses in the A0 post-
er, A1-A2 poster and five advertisements. They
further designed the Yearbook 2005, in which
they gathered details of all printed matter and im-
ages of events and projects. The sum total is a
visualisation of the Academie. The book has
holes punched in it to indicate that the year 2005
has ‘expired’ and its content is no longer effec-
tive. Cobbenhagen & Hendriksen also presented
a visual proposal to create a new ‘corporate’ iden-
tity for the Jan van Eyck. It was decided that the
new identity would be based on the design of the
website, created by Min & Sulki Choi.
— A man with a turban, the Lucca Madonna vs. the
Virgin of chancellor Rolin. In: Opening week 2006.
(9 – 13 January). With Chantal Hendriksen.
— Workshop the flying enterprise. (27 March –
10 April). With Chantal Hendriksen. Tallinn, EE:
The Estonian Academy of Arts.
Design
— Cultural activism today: strategies of over-
identification. (flyer). Maastricht, NL: Jan van Eyck
Academie.
— Yearbook 2005. (institutional publication). With
Chantal Hendriksen. Maastricht, NL: Jan van
Eyck Academie.
— Recruitment campaign Jan van Eyck Academie
2006/2007. (brochure and poster). With Chantal
Hendriksen. Maastricht, NL: Jan van Eyck
Academie.
— SMART project space. (institute’s design). With
Chantal Hendriksen. Amsterdam, NL: SMART
Project Space.
— Prospectus 06/07. With Chantal Hendriksen.
Amsterdam, NL: Amsterdamse Hogeschool voor
de Kunsten.
Friday 22 September
Sunday 24 September
Monday 25 September
Lilo Bauer 1976 / Germany

Researcher Citygraphy
As researcher/photographer for the project City-
graphy, Lilo Bauer will develop a contemporary
topographic interpretation of 21st century Maas-
tricht, on the basis of photo-technical, photo-
theoretical, semiotic and cultural-historical re-
search and taking the 19th century city images of
Maastricht as a starting point. Not that long ago,
Maastricht was an industrial town, yet few visible
traces are left. Going through archived photo-
graphs, Bauer found a postcard from the late 19th
century showing workers leaving the Sphinx fac-
tory through the gate on the Boschstraat. The
Sphinx factory will soon be closed and trans-
ferred from the city centre to the outskirts of
Maastricht. The postcard raises questions about
power, control and representation in the past and
the present. Focusing on the process of transfor-
mation on that site, Bauer wants to research the
idea of progress and continuity.
Publications
— [Untitled]. In: Finale. Halle, DE: Burg Giebichstein
Hochschule für Kunst und Design.
— Down the block. Diploma Presentation. Leipzig,
DE: Pierogi Galerie Leipzig.
Exhibitions
— Diplomausstellung 2006. (31 July – 19 August).
Leipzig, DE: Hochschule für Grafik und Buchkunst
Leipzig.
— Finale. (17 March – 9 April). Halle, DE: Burg
Giebichstein Hochschule für Kunst und Design;
Halle, DE: Thalia Theater.
Presentations
Wim Cuyvers, Maartje Dros, Jacqueline Schoemaker,
Jozua Zaagman and students of the Design Academy
Eindhoven
As part of Traces of autism [Wednesday 22 March]
Seminar
lesson 21 & 28 March 1962 [Thursday 26 January]
EuregioN not linked to the borders. Like Jacqueline Schoemaker,

Research results – campsites Dros emphasised the empty, hollow reality of the
In October, Wim Cuyvers, Maartje Dros, Jacqueline Euregion Meuse-Rhine.
Schoemaker and Jozua Zaagman (the Traces of autism Similar to Dros, Jozua Zaagman walked alongside the
team) gave a presentation of their work so far. Students of inner borders of the Euregion and, at 1 km-intervals, pho-
the Design Academy Eindhoven presented the results of tographed both sides of the border. He emphasised that
a week-long ‘recording act’ in the Euregion Meuse-Rhine. only through this automatic, mindless ritual could one
Under supervision of Cuyvers, the students of the fully understand the essence of the Euregion’s inner bor-
Public Space department at the Design Academy ders as well as their immediate surroundings. Zaagman
Eindhoven studied campsites in the Euregion Meuse- typified this essence in terms of utter emptiness: “It is
Rhine. Rigidly applying Deligny’s research method, they only by walking and sleeping along the border that you
meticulously recorded – through lines drawn on sheets realise that the Euregion Meuse-Rhine is nothing but a
of paper – the movements of (mainly elderly) people non-entity.” And indeed, the many pictures he showed
who reside at the campsites. The main outcome of the illustrated that border areas are nothing but non-places,
students’ research was that the people staying at the mostly grasslands, forests and bushes. Another aspect
Euregional campsites hardly move at all, since their main of Euregional reality that Zaagman came across was what
desire is simply to ‘do nothing’. Another remarkable result he called “the monstrosity of tourism”: an entire tourist
the research showed was that the majority of the camp- industry exclusively focusing on the elderly and ‘exploit-
site dwellers stayed in their own country. More significant ing’ their immobile state.
was the fact that there was hardly any foreigner from So, the autistic approach in the research of both Dros
countries outside of the Euregion Meuse-Rhine, apart and Zaagman, with its no-nonsense focus on the material
from some Polish and English workers. According to reality of Euregional inner borders uncovered their insig-
BAVO (Gideon Boie and Matthias Pauwels), this is a nificance. However, it was the opinion of BAVO that their
disturbing precursor to the future of the integration of research left the question unanswered of “why people
nation states in Europe, in which the ‘autistic’ immobility nonetheless believe in these borders”. BAVO, though,
of the national communities, firmly locked into their own had an answer to this question: “The relativistic attitude
territories, is disturbed only by the ephemeral presence towards the old national borders in the Euregion Meuse-
of a group of permanently mobile cheap labour forces. Rhine is made possible by the militarisation of the outer
The irony in this story, BAVO posited, is that the autism borders of the EU.”
of the local communities has become possible thanks
to these labour forces that do the dirty work, yet never Research results – rituals
obtain the right to settle. Combining the results of the Traces of autism team with
those of the Design Academy students, Wim Cuyvers
Research results – border complexes expressed his view that leisure, as Zaagman briefly
Team members of the Traces of autism project made touched upon too, will be the crux to understand the
an inventory of the 250 kilometres of internal national Euregion Meuse-Rhine. According to Cuyvers, the immo-
borders of the Euregion Meuse-Rhine. bility of the residents of the campsites in the Euregion
First, Jacqueline Schoemaker presented her findings Meuse-Rhine is symptomatic for the region as a whole:
on the workings of the legal and political institutions of “The boredom of the campsite correlates with the bore-
the Euregion Meuse-Rhine. Schoemaker came to the dom of the Euregion, it is not an exception.” Cuyvers saw
conclusion that the Euregion manifests a disturbing lack this as symptomatic for the way in which the Euregion
of a political or public authority that can transcend the Meuse-Rhine functions as a whole: “It is as a religion,
murky sphere of the economy, in which half-legal social an ideology, a common ritual.” The clearest example of
and economic bodies establish vague bonds and com- this ritualistic character of the Euregion Meuse-Rhine was
pete perpetually. Thus, as its deputies readily admit, the the leisure activity organised by the tourism departments
Euregional Council is nothing but an impotent organising of the respective countries. Cuyvers argued that this con-
body, guided by economic forces and local communities. stant encouragement and mobilisation is meant to trans-
This observed ‘shrinking’ of politics into mere manage- form the insignificant, undefined place that the Euregion
ment is neither new nor unique to the Euregion Meuse- Meuse-Rhine is into an exciting, dynamic region.
Rhine, but reflects a more profound shift from govern- Cuyvers expounded his choice of research method:
ment to governance. when one eliminates all cognitive data and sticks to the
Maartje Dros and Jozua Zaagman followed a totally rule “to walk the border whatever it takes”, “one walks to
different tack in mapping the public space of the Euregion a higher degree.” This allows the subject to become con-
Meuse-Rhine. Like the students from the Design scious of the futility of the Euregion Meuse-Rhine and its
Academy, Maartje Dros undertook an autistic reading, borders. Regions are defined by their centres and their
in her case of the inner borders of the Euregion Meuse- outer borders; the centre of the Euregion Meuse-Rhine is
Rhine. While walking these borders – over 250 kilometres an insignificant border that is both a reality and illusion.
altogether – Dros meticulously photographed their physi- BAVO, on the other hand, wondered whether this re-
cal reality, while simultaneously making an inventory of sult was not the logical outcome of the research method.
all the signs she encountered. Dros then concluded that In BAVO’s view, such a specific autistic research method
in their material, physical reality, borders are made up of will yield autistic research results: it is not very surprising
vague and nonsensical signs, which mostly have nothing that an autistic mapping of the inner borders finds these
to do with the border itself. According to her, the inner borders to be mute and devoid of all illusions.
borders of the Euregion Meuse-Rhine are not so much
physical as virtual entities which regulate transactions of
its inhabitants, transactions that (again) are most often
Friday 29 September
Sunday 1 October
Filiep Tacq 1951 / Belgium

Advising researcher Design /
The tomorrow book
Filiep Tacq was the initiator and artistic advi-
sor of the research project The tomorrow book.
Within this framework and within the scope of
his independent practice as a graphic designer,
he focuses on different views of books by artists,
architects, curators, writers, designers, editors,
historians… He intends to re-investigate ‘the
Book’ and test the limits and potential of today’s
book. In doing so, the Book is not only treated as
a carrier of text and image, but also as a medium,
with its own rules and habits. Various devices
used in books, such as capitals, italics, subscript,
but also margins, footnotes, index, running
heads, French title and the like will be examined
as materials for a more complete and subversive
way of using the medium.
Publications
— (Between the acts). John Murphy. London, GB:
Lisson Gallery.
— Gesprek with typograaf en vormgever Filiep Tacq.
— On books. Ghent, BE: St. Lucas.
van Eyck Academie.
— Tomorrow book. On-demand print workshop.
With Harrisson, Will Holder, Sarah Infanger &
Richard Vijgen. In: Jan van Eyck Bookish
Weekend. (20 – 21 May). Maastricht, NL: Jan van
Eyck Academie.
Work as curator
— Concrete poetry, Fluxus and conceptual art. A
book friction. With Marc Goethals. In: Jan van
Eyck Bookish Weekend. (20 – 21 May). Maastricht,
Design
— 3 short stories. Brussels, BE: Argos.
visible. (book). With Harrisson, Sarah Infanger, &
— Concrete poëzie, Fluxus en conceptuele kunst: een
boekenfrictie. (catalogue). Maastricht, NL: Jan
van Eyck Academie.
— Coussée en Goris architecten. Ghent, BE: Ludion.
— Étés. (book). Luxemburg, LU: Casino
Luxembourg.
— Female drawings I. Thierry De Cordier. New York,
US: Marian Goodman Gallery.
— (Homo fabre). Jan Fabre. (book). Brussels, BE:
Fonds Mercator.
— John Murphy. ..The stench of shit.. (catalogue).
Brussels, BE: Galerie Erna Hécey.
— Juan Muñoz. New York, US: Marian Goodman
Gallery.
— Kunst in opdracht. Brussels, BE: Vlaamse
Bouwmeester.
— Naturalmente artificial. Segovia, ES: Museo de
Arte Contemporáneo Esteban Vicente.
— On/off. Luxemburg, LU: Casino Luxembourg.
Monday 2 October
Tuesday 3 October
— Queere Kunst. Theory. Politik. (7 – 8 April).

With Renate Lorenz. Hamburg, DE: Hochschule
für Bildende Künste.
Publications
— Zehn Fragmente zu einer Kartografie
postpornografischer Politiken. In: Texte zur
Kunst, 16 (64 (December)), pp. 58-65.
— Weiter, weiter, immer weiter. (11 November).
In: Die Tageszeitung, p. 20.
— Gespenster kommen uns entgegen. (18 January).
In: Die Tageszeitung, p. 16.
Reviews
— Chris Köver & Julya Reinecke. ‘Für uns ist Porno
Politik’. [review of Post/Porn/Politics]. In: Die Zeit
online. Published on: <http://zuender.zeit.
de/2006/42/post-porno>
— Philipp Rimmele. (20 October). Hetero, Homo und
zurück. Erstes Porn-Film-Festival Berlin. [review
of Post/Porn/Politics]. Op: ZDF. Published on:
<http://www.zdf.de/ZDFde/
inhalt/9/0,1872,3989737,00.html>
— Detlef Kuhlbrodt. (17 October). Erst kommt das
Gesicht, dann der Schwanz. [review of Post/Porn/
Politics]. In: Die Tageszeitung, 8101, p. 16.
Published on: <http://www.taz.de/pt/2006/10/17/
a0170.1/textdruck>
— Catherine Newmark. (17 October). Lass die
Brüste tanzen. Und zum Schluss kam Annie
Sprinkle: Die Volksbühne veranstaltete ein
Symposium über ‘Post Porn Politics’. [review of
Post/Porn/Politics]. In: Berliner Zeitung, p. 26.
Published on: <http://www.berlinonline.de/
berliner-zeitung/archiv/.bin/dump.
fcgi/2006/1017/feuilleton/0005/index.html>
— Michael Pilz. (17 October). Pornografie ist ja
längst Kultur. [review of Post/Porn/Politics].
In: Die Welt. Published on: <http://www.welt.de/
data/2006/10/17/1075345.html>
— Martin Conrads. (17 October). Die Unterschicht
als Sexobjekt. [review of Post/Porn/Politics]. In:
Netzeitung. Published on: <http://www.
netzeitung.de/voiceofgermany/446800.html>
— Uh-Young Kim. (15 October). Porno-Kongress.
Komm schon, denk nach! [review of Post/Porn/
Politics]. In: Spiegel. Published on: <http://www.
spiegel.de/kultur/gesellschaft/0,1518,442533,00.
html>
— Vorsetzer: Post-Porn-Politics. [review of Post/
Porn/Politics]. (16 June).
— Response to Isaac Julyen. (17 November). In: Bild
Tagung: Lektüren des Visuellen – Visuelle
Lektüren.
— The fun of castration. (4 November). Hannover,
DE: Kunstverein Hannover.
— Introduction. In: Post/Porn/Politics (14 – 15
Tim Stüttgen 1977 / Germany
October). Organised by the Jan van Eyck
Researcher Theory / Film and biopolitics Academie. Berlin, DE: Volksbühne.
Tim Stüttgen wants to extend the research — Bodies that shatter: watching porn with Williams,
project Film and biopolitics, especially in relation Deleuze and Preciado. A reconsideration of Linda
to questions of gender (feminist and queer theo- Williams’ term ‘body-genre’. (9 September).
ry), possible interfaces between film and televi- In: Thinking through affect. Maastricht, NL: Jan
sion, media art and video clips and filmic fields. van Eyck Academie.
He will focus on Asian cinema with its contempo- — Porn and queer-feminist materialism. (7 July).
rary ‘new waves’ and motives of loss, memory In: Queer festival. Copenhagen, DK.
and the return of the suppressed. In doing so, he — Post porn happiness. (21 June). In: Gender:
wishes to adopt the approach of critically reread- Medien. Cologne, DE: Kunsthochschule für
Medien.
ing of Deleuze and Guattari, and asking their film-
— Disidentification in the centre of power.
philosophical questions about axioms for new The performer and director belladonna as a
filmic affects in relation to new modes of produc- contrasexual producer. (26 May). In: Bitch, witch,
tion concerning work and love, life and death. whore: representations of women in word and
Another focus will be on a critical queer perspec- image. Newcastle upon Tyne, GB: Newcastle
tive of mainstream porn cinema. In line with con- University.
temporary porn studies, outlined by Linda Wil- — Biopolitics and film: Post porn cinema.
liams, and queer theory approaches towards In: Opening week 2006. (9 – 13 January).
sexual practice, Stüttgen wants to find counter- Maastricht, NL: Jan van Eyck Academie.
discursive perspectives in possibly the most re- Exhibitions
gressive form of capitalist film production: por- — Phone sex hotel. (6 January – 3 February). Photo’s
nography. In fact, this film genre could be seen as and play in three acts. Berlin, DE: Barbie
a bio-political standard for the production of bod- Deinhoff’s.
ies, gender and sex. Actions/performances
Especially ‘the anal’ – popular in the new queer — Genet, money and me. (27 July). In:
Montagspraxis: Queer and Prekär. With Timi May
theory and progressive capitalist criticism from
Monigatti. Hamburg, DE: Hamburger
Deleuze to Godard and in the new ideologies of Kunstverein.
mainstream porn – will be at the centre of a — [Untitled]. With Simone van Dijken, Olivier
search for major structures and minor lines of Foulon, Sönke Hallmann, Antony Hudek, Ella
flight in the productive process of permanent Klaschka & Inga Zimprich. (20 May). In: Jan van
sexual subject de- and reterritorialisations. Eyck Bookish Weekend. Automatic pilotless
ignition (API). Maastricht, NL: Jan van Eyck
Organisation events Academie.
— Post/Porn/Politics (14 – 15 October). With Murat — Two precarious performances. (27 April).
Aydemir, Bruce La Bruce, Katja Diefenbach, In: Making of Prekarität Show. With Timi May
Stephan Geene, GirlsWhoLikePorno, Werner Monigatti. Cologne, DE: Raketenclub.
Hirsch, Bubu de la Madeleine, Namosh, Annie — A queer song for Europe. (13 April). In: Opening
Sprinkle, Todd Verow & William Wheeler. celebration Queer Institut Hamburg / Berlin. With
Organised by the Jan van Eyck Academie. Berlin, Frau Kraushaar & Timi May Monigatti. Hamburg,
DE: Volksbühne. DE: Prinzenbar.
Wednesday 4 October
Thursday 5 October
Seminar
lesson 21 & 28 March 1962 [Thursday 26 January]
Friday 6 October
Saturday 7 October
Sunday 8 October
Monday 9 October
Tuesday 10 October
Research on research
Mikah Hannula: Artistic research. Theories, methods &
practices / Suchan Kinoshita: reading / Koen Brams, Jonathan Dronsfield 1962 / Great Britain
Researcher Theory
Daniël van der Velden (moderators) Dronsfield intended to show how contemporary
Venue Jan van Eyck Academie, Maastricht, NL art is ethical in how it internalises the question
of what it is. Thus, the question is transformed
in the performative way in which art raises it,
which at the same time denies the possibility of
Research any definitional or fixed answer to the question of
The Jan van Eyck wishes to expand the perceptions what art is. In that way, art shows us something
around ‘art and research’/‘design and research’ in a essential about what it is to be a human being:
the singular event that is an artwork rehearses a
series of discussion meetings entitled Research on way in which we can come to ourselves as con-
research. The first meeting featured two presentations structions whose nature is secondarily made up
followed by a discussion. The first presentation was of our (self-)interpretations. Within a conceptual
given by Mika Hannula (professor of Art in the Public field delimited primarily by the work of Derrida,
Space in the Academy of Fine Arts in Helsinki, FI, and Heidegger, Margolis, Nancy and Wittgenstein,
but referring constantly throughout to the work
co-author of the book Artistic Research – theories,
of contemporary artists and curators, his work
methods and practices (together with Julia Suoranta involved inquiring into what makes a work work,
and Tere Vadén), published by Academy of Fine Arts, the blindness of the artwork, the temporality of
Helsinki and University of Gothenburg/Art Monitor, SE, art, art as a space of questioning, and broader
in 2005). ‘Who am I?’, ‘Where do I come from?’, ‘What questions of autonomy, freedom, responsibility
is driving me?’, ‘Where am I going?’: those were some and decision.
of the guiding questions Mika Hannula proposed in Projects
order to anchor oneself in the research that should — The Parerga reading group.
convert one’s artistic practice into a communication of Organisation events
what it is about. Although this implies of course that his — The museum of conflict. Art as political strategy
in post-communist Europe. (12 September).
concept of artistic research is necessarily self-reflec- With BAVO, Calin Dan, Wouter Davidts, Maria
tive and, consequently, that the self is inevitably a pre- Hlavajova, Meta Haven, Mihnea Mircan, Edi
dominant subject of artistic communication, Hannula Muka, Matthias Pauwels, Alina Serban, Daniël
stressed that the outcome of the artistic research he van der Velden & Florian Waldvogel. Maastricht,
stands for always remains unsure. Artistic research is Publications
not about going backward nor about clinging to what — The condition of film as philosophy: or, how can a
one already knows, but about ‘going somewhere’ and film ask a question? In: Film and philosophy, 10,
therefore possibly about ‘failing in a productive way’. pp. 135-150.
— Nowhere is aesthetics contra ethics. Leicester, GB:
The second presentation was by Suchan Kinoshita, University of Leicester.
fine artist and former advising researcher at the Fine — On the very idea of sustainable art. In: Praesens:
Art department. Kinoshita’s work oscillates between central European contemporary art review (special
issue: Art & ecology – economy), 1, pp. 74-79.
a range of spheres: within and outside the walls of the — The question lacking at the end of art: Heidegger
museum, with or without active participation of the & Danto. In: Philosophy today, 49 (5), pp. 153-160.
public, recognisable as a work of art or camouflaged. Lectures/presentations
She read from Gertrude Stein’s Composition and hint- — Klossowski and Deleuze and the pantomime of
the couple. (11 November). In: Representations of
ed at the possibility of a ‘continuous present’, a notion flesh. London, GB: Whitechapel Gallery.
of time that is not linear but dynamic. The ensuing — Art theory. (12 August). Dale, NO: Nordic Artists’
discussion was moderated by Koen Brams, director Centre.
of the Jan van Eyck Academie and coordinator of the — “To each other bound so much the more by
nature”: On Catherine Sullivan. (5 August).
research project on the oeuvre of Belgian television London, GB: Sketch Gallery.
maker Jef Cornelis, and Daniël van der Velden, — Nowhere is aesthetics contra ethics. In: On
advising researcher Design and coordinator of the aesthetics and politics: With and around Jacques
Rancière. (20 – 21 June). Amsterdam, NL: the
Meta Haven and Logo Parc research projects. University of Amsterdam.
— The actions of friendships. On the films of Jonas
Mekas. (13 May). London, GB: Sketch Gallery.
— Reading Derrida reading art. (11 May). In: Theory
seminar. Reading, GB: University of Reading.
— Reading Derrida reading art. In: Contents.
Discontents. Malcontents. 32nd AAH Annual
Conference. (5 – 7 April). Leeds, GB: University of
Leeds.
— Aesthetics contra ethics: Rancière and Lyotard and
the freedom of the work of art. (15 February).
London, GB: The Royal College of Art.
— Aesthetics contra ethics: Rancière and Lyotard and
the freedom of the work of art. (8 February).
Leicester, GB: Centre for Philosophy and Political
Economy.
— On the very idea of sustainable art. In:
Sustainability and contemporary art.
(30 – 31 March). Budapest, HU: Central European
University.
— On the very idea of habitation in art. In: Opening
van Eyck Academie.
— Art deconstructing actuality. (29 September).
— Derrida’s pharmacy. (17 – 21 July). Città di
Castello, IT: Collegium Phaenomenologicum.
Discussions/debates
— Dematerialised critical practices. In: LX AICA
Congress: Critical evaluation reloaded.
(moderator). (15 – 20 October). Paris, FR:
International Association of Art Critics (AICA).
— Deleuze and the philosophy of creation. (25 May).
In: Provocations. (chairperson). With Peter
Hallward. London, GB: Forum for European
Philosophy, L’Institut Français.
— Heidegger: the question concerning technology.
(27 April). In: Provocations. (chairperson). With
George Pattison. London, GB: Forum for
European Philosophy, L’Institut Français.
Wednesday 11 October
Seminar
Hanneke Grootenboer / Benda Hofmeyr: Isn’t art an
activity that gives things a face? Levinas on art
Thursday 12 October
Lecture
Bethan Huws
Friday 13 October
Saturday 14 October
Symposium
Post / Porn / Politics
Tim Stüttgen: introduction / Katja Diefenbach: Dyed
in white. On fetishistic repetition, commodity and body
experiences / Todd Verow: How to shoot sex scenes
and become a porn star / Murat Aydemir: Ejaculatory
interpunction: the cum shot as period, ellipsis and question
mark / Stephan Geene: The happiness of the displaced
feeling: the invisible hand, penis surrogates and sex / Bruce
La Bruce: But is it art? Notes from a reluctant pornographer /
GirlsWhoLikePorno / Annie Sprinkle: My life and work as
a post porn modernist for 30 years
Performances Bubu De la Madeleine, William Wheeler,
Werner Hirsch et al. / Namosh / DJ Sprinkles aka Terre
Thaemlitz: Deeperama / DJ Eric D. Clark
Concept Tim Stüttgen
Venue Volksbühne, Berlin, DE
politiek
Post / Porn / Politics was an event and symposium
on the biopolitics of pornography conceptualised
and organised by Tim Stütggen (researcher Theory).
It was staged in collaboration with the porn film festival
Berlin and the Volksbühne Berlin and presented by
spex and b_books.
Why watch porn? Why not? Or why not look for
‘other’ porn? How to theorise sex performances?
How to produce other bodies? How to celebrate
critical pleasures? How to criticise without censorship?
Why affirm the fetish? Why enjoy sexualised aliena-
tion? How to intensify the relation between theory &
practise? Why is power sexy? And why is the body a
victim of capitalist commodity thinking? Why not fuck
differently, instead of idealising a way back to nature?
The term ‘post porn’ was made famous by sexwork-
er cum performance artist Annie Sprinkle, who estab-
lished a new level of sexual representation. Through
identifying with joy, independence and agency in sex
performance, Sprinkle made us think of sex as a queer/
feminist pleasure well beyond the victimising frame-
work of censorship and taboo.
Today, queer theorists like Beatriz Preciado are
revaluing the term post-porn to theorise sex in the age
of transgender subjectivity and drag kings, cyberspace
and queer studies. When understanding pornography
as a central dispositif in late capitalism for the normali-
sation and disciplining of pleasures and bodies, politi-
cal ambivalences and counter-strategies are to be
discussed and mapped out beyond totalising cultural
pessimism.
This symposium featured theorists, performers,
filmmakers, artists and musicians and made a political
intervention into both the heterosexism of mainstream
porn and the discourses of the public, which make it
impossible to think and enjoy criticism and pleasure
at the same time. The day and night programmes
comprised lectures and presentations that ranged
from sceptical to utopian, panels, interviews about
Internet-porn experiences, and performances.
Sunday 15 October
Symposium
Post / Porn / Politics [Saturday 14 October]
Ela Wünsch: Genets anal inscriptions / Maxime Cervulle:
Poor guys do it better. Ethnic gay pornography and class /
Terre Thaemlitz: Viva McGlam? Is transgenderism a
critique of or capitulation to opulence-driven glamour
models? / Lee Edelman: Toward dehumanisation:
pornography and the queer event / Tobaron Waxman:
Work presentation (Dedicated to Brixton Brady) /
Annie Sprinkle, Elizabeth Stephens: Post porn love!
Panel Katrien Jacobs, Matteo Pasquimelli, Marije
Janssen: Confessions of a porn (fashion) victim
Performances Rhythm King & her friends / Shu Lea
Cheang / DJane Heidi Mortensen
Concept Tim Stüttgen
Venue Volksbühne, Berlin, DE
Monday 16 October
Tuesday 17 October
Lecture
Matti Braun
Lecture
Dyed in white. On fetishist repetition, commodity and body
experiences
Katja Diefenbach
Thursday 19 October
Seminar
lesson 4 & 11 April 1962 [Thursday 26 January]
Friday 20 October
Saturday 21 October
Sunday 22 October
Monday 23 October
Tuesday 24 October
Thursday 26 October
Friday 27 October
Event
Gala night of the cannibals
DJ Don Londi, Goldin & Senneby, Ethidium Gould,
Francis Picabia, Henrietta Sachs, Jochen Schmith,
Hiram Serapis, Carlos Tapioca
Concept Hinrich Sachs
Fine Art
The Jan van Eyck hosted the Gala night of the canni-
bals, simultaneously taking place in the virtual online
world called Second Life and in real space.
About 300,000 Second Life users were invited to
gather, chat and party in their avatar appearances to
the live streaming sounds of DJ Donlondi in the specif-
ically developed virtual copy of the Jan van Eyck build-
ing, digitally hosted by The Port. In Second Life, the
dancers could see a video stream of the music and real
dancers at the Jan van Eyck. Thus, both spaces were
linked to each other that night.
The specific Second Life feature of constantly
changeable avatars has led to organising a gala night:
a ‘bal masqué’ in this virtual online world. The gala aims
to challenge the users vis-à-vis the lifetime consuming
relationship between identity, reality, and virtuality.
The gala was organised by Hinrich Sachs, advising
researcher Fine Art, together with Jochen Schmidt
and the Swedish artists Simon Goldin and Jakob
Senneby (founders of Second Life community The
Port). Ansgar Philipsen designed the virtual academy
building. The title refers to Francis Picabia’s famous
thematic gala nights of the early 1930s in Cannes, but
also hinted at the relation between Second Life and real
life (First Life in the SL jargon): avatars nibbling away at
real life like cannibals. Choreographing and decorating
the online event – as well as the real space at the Jan
van Eyck –, like Picabia’s balls in the 1930s, was meant
to introduce a supplementary notion of historicity to
the context-free and timeless virtual space.
After the party, Sachs and Golding interviewed each
other and others to find out what kind of connections
are created when First Life and Second Life spaces are
linked to each other. They wondered if something like
‘translocality’ came into being, and what that was like,
or if there was communication between the two levels
of reality. They were also interested in the specific visu-
al aesthetics of Second Life and in the question
whether a critical attitude can exist there.
Saturday 28 October
Sunday 29 October
Monday 30 October
Tuesday 31 October
Wednesday 1 November
Thursday 2 November
Friday 3 November
Symposium cused on the effects of economic processes on the so-
The Wal-Mart phenomenon. Resisting neo-liberalist power cial and urban landscape from the perspective of social
geography. How is Wal-Mart (and other comparable
through art, design and theory incarnations of present-day economic power) reshap-
Benda Hofmeyr: The Wal-Mart phenomenon: power/ ing our social and spatial lifeworld? He considered the
knowledge/resistance / Hito Steyerl: The role of the politics of neo-liberal urban tactics and how these
shape contemporary ‘global’ urbanisation processes.
documentary film today: from art to politics and back / In his lecture Can a creative engagement with
Erik Swyngedouw: Assessing the Wal-Mart phenomenon present-day ‘public space’ also be critical? Daniël
van der Velden (advising researcher Design) consid-
from the perspective of social geography / Matthias ered how we define public space within the context of
Pauwels & Gideon Boie (BAVO): It’s about taking the recent cultural, social and political changes. The Wal-
utopian promise of shopping seriously, stupid! On Walter Mart phenomenon clearly illustrates that economic
vitality can also signal social stultification and can have
Benjamin, Wal-Mart and creative destruction / Daniël van a severely adverse effect on public space. Mobility and
der Velden: Can a creative engagement with present-day dynamism paradoxically often discourage the develop-
‘public space’ also be critical? ment of critical design strategies – as argued by the
research project Logo Parc. Can creative solutions
Film screening Wal-Mart. The high cost of low price (2005) reclaim or at least revitalise public space? How can we
by Robert Greenwald (short version: 20”) critically reflect upon our role as cultural producers – a
Concept Benda Hofmeyr role that is necessarily intertwined with economic and
corporate interests?
politics all-inclusive network-power? Do we as cultural pro-

The Wal-Mart phenomenon was a one-day colloquium ducers (artists, designers, theorists) have a role to play
on power and resistance organised by Benda in this struggle? More specifically, do we have a moral
Hofmeyr (researcher Theory). Robert Greenwald’s film responsibility to resist and if we do, is it still possible
Wal-Mart. The high cost of low price was used as a given the wholesale aestheticisation of our lifeworld?
critical platform to discuss the workings of neo-liberal- In It’s about taking the utopian promise of shopping
ist power and possible strategies of resistance. The seriously, stupid! On Walter Benjamin, Wal-Mart and
focus was both on the media used to reflect upon creative destruction BAVO (Gideon Boie & Matthias
these phenomena and the actual socio-political and Pauwels) argued that the selling methods used by
economic processes underlying them. shopping giants like Wal-Mart – exemplified by the
The following issues were addressed: the nature of famous image of a semi-demolished Wal-Mart shop,
neo-liberalist power and the possibility of resistance through the ruins of which one can already detect a
from a philosophical point of view; its various incarna- new shop under construction – are hardly new. It was
tions in and effects on the social and urban landscape the very thing that inspired Walter Benjamin’s
(built environment and public space); the effects of Passagenwerk. Benjamin was fascinated by the fact
economic processes on spatial development from the that the once so vibrant and celebrated shopping pas-
perspective of social geography and the complexity of sages of Paris were, only half a century later, complete-
documentary approaches in visual arts production. ly decrepit as a result of massive investments in newly
In The Wal-Mart phenomenon: power/knowledge/ built grand bazaars. Marxist social geographer David
resistance Benda Hofmeyr outlined the nature of the Harvey has developed a theoretical concept to consid-
workings of power today and the possibilities of resist- er this seemingly irrational succession of investment
ance offered by certain formats of cultural and artistic and disinvestment in the built environment. He speaks
production from a philosophical point of view. She of ‘creative destruction’. It refers to capitalism’s need
argued that the usurpation of the aesthetic and the re- to destroy its ‘old’ regimes of consumption in order to
sultant capitalisation or ‘commoditisation’ of cultural create newer, more effective and complete ones.
production are characteristic of the current functioning According to Harvey, only through such a cycle of ‘con-
of power. The prevailing form of power can be under- struction – destruction – reconstruction’ can capital-
stood as the fusion of political and economic thinking, ism prevent potentially fatal crises and maintain itself.
beginning in the 1970s and increasingly prominent In her paper The role of the documentary film today:
since 1980, which de-emphasises or rejects govern- from art to politics and back Hito Steyerl (documenta-
ment intervention in the economy, focusing instead on ry filmmaker, theoretician, Berlin, DE) focused on the
structured free-market methods. The means and the complexity of documentary approaches in visual art
ends of this neo-liberalist form of power cohere in the productions. She argued that apart from the overtly
pivotal and paradoxical phenomenon of globalisation. political use of the documentary film genre as in Robert
A spectacular rise in living standards has occurred as Greenwald’s Wal-Mart, Michael Moore’s Fahrenheit
barriers between nations have fallen, and the resulting 9/11, Bowling for Columbine, Roger & me and The big
escape from poverty by hundreds of millions in those one, as well as Mark Achbar, Jennifer Abbott and Joel
places that have joined the world economy certainly Bakan’s film The corporation, we also observe the in-
counts as among the undeniable merits of openness. creasing tendency of adopting documentary methods
At the same time, we have become all too aware of the in contemporary arts: ‘documentarism’. Given the
high cost of low price, illustrated by Robert poststructuralist and postmodernist dismantlement of
Greenwald’s latest documentary film, the focus of this Truth, this turn to place- and time-specific construc-
event’s proceedings. The film tells the real story of the tions of contingent truths opens up a platform for criti-
corrosive effects that Wal-Mart wreaks upon the com- cal debate. Furthermore, given that documentary is
munities in which it operates and the men and women about presenting facts objectively without editorialis-
it employs. Barrier-busting international trade does not ing or inserting fictional matter, the use of documenta-
only bring riches to those previously excluded from the ry elements in the arts is unavoidably problematic
free market circuit, but also spreads the less desirable given its subjective and rhetorical nature. What kind of
side-effects of neo-liberalism such as those associated knowledge and effects are produced when documen-
with opening nations to entry by multi-national corpo- tary approaches are used in art? Can ‘docu-art’ be said
rations. As we know, it is often at odds with fair trade, to be more subversive than the Moore film that is the
labour rights and social justice. As globally mobile product of the proliferating relativistic information
capital reorganises business firms, it sweeps away age? What is the ethical and political responsibility of
regulation and undermines local and national politics. these productions?
Globalisation creates new markets and wealth, even Erik Swyngedouw’s (social geographer, School
as it causes widespread suffering, disorder, and unrest. of Environment and Development, University of
How to resist the often invisible and always insidious Manchester, GB) lecture Assessing the Wal-Mart phe-
meshes of such an interlaced, ever proliferating, and nomenon from the perspective of social geography fo-
Saturday 4 November
Workshop
Thinking through the body The question of the naturalisation of the body
The concluding debate was opened by Jacinto
Barbara Formis: introduction / Agnes Lontrade: What Lageira (art critic, assistant professor of Art History at
place for the body in aesthethic experience? / Barbara Paris I) who discussed the problematic idea of natural-
Formis: reply / Erica Ando: Feldenkrais workshop / ising the body. Lageira started his argument by point-
ing out that when aesthetics was born in the 18th cen-
Richard Shusterman: Thinking through the body / Aline tury, the writings which flourished were the treatises
Caillet: reply / Jacinto Lageira: Can we naturalise the art and essays on natural beauty, on nature – a compulsory
exercise for any philosopher worthy of the name – on
body? / Emmanuel Alloa: reply the influences of nature on art, on their parallels and
Concept Barbara Formis their conflicts, but there was nothing on a possible nat-
Venue Jan van Eyck Academie, Maastricht, NL uralisation of the aesthetic sentiment or the judgement
of taste. In other words, the idea of aesthetics has not
been considered a natural experience.
Nevertheless, the distinction between nature and
body ( jouissance). The task of somaesthetics is to find a me- culture, between experience and knowledge, is very
Thinking through the body, a one-day workshop on dian and more stable position for the body through hard to maintain. Lageira insisted on this point by refer-
somaesthetics, body experience, art and philosophy awareness. ring to contemporary body practices in art, such as
was an international encounter between philosophers, performances, live music and dance. Live art is inevita-
art critics, artists and body practitioners. The main Feldenkrais workshop bly composed of two parts: the material component
purpose of the event was to investigate new ways of Erica Ando (Feldenkrais instructor) gave a Feldenkrais (the score, the instrument, the accessories, the stage,
dealing with the body, either as a living experience or course, which all participants attended. Through the the text, the lighting, the set …), and the subjective
as an aesthetical concept. It consisted of three presen- technique of body scan, participants were invited to component, which is the body of the performer.
tations (each followed by a response) and a Feldenkrais accomplish simple movements and to think those Thus, these two components of art are intrinsically
technique workshop. movements from different perspectives; either from linked. And this is true not only for the actual perform-
the point of view of their accomplishment, or from the ance, but also for the aesthetical judgement pro-
The place of the body in aesthetic experience simple idea of making the movement. Some body nounced upon it.
Agnès Lontrade (art critic, assistant professor in adjustments were revealed through this way of direct- Lageira explained the duality of body performance
Aesthetics and Philosophy at Paris I) started with ing the participants’ attention. This kind of renewed through phenomenology (Merleau-Ponty, Husserl).
a treatise on the place of the body in aesthetic body awareness can prove useful in obtaining better The danger of naturalising the body (by associating
experience. Lontrade insisted on the fact that the or easier movement, without necessarily judging the it with proper qualities), he claims, is not only aestheti-
supposed devaluation of the body in philosophical value of the movement. cal, but also ethical and political. Lageira explains: “If
and aesthetical writings is in fact a historical caricature. bodies are really beautiful or plastic, there is then a dan-
Instead, Lontrade claimed that the aesthetic experi- Introducing somaesthetics ger of radical naturalisation via a socio-biologisation of
ence in its very foundation remains one of the first real Richard Shusterman (professor of Philosophy at bodies, which would be nothing other than a bio-aes-
approaches to the body; the body of aesthetic experi- Florida Atlantic University) gave a talk based on his thetics linked to a bio-power.” One response to this
ence was never absent from the aesthetics of the text Thinking through the body. Somaesthetics pro- problem was provided by Donald Davidson, who posit-
Enlightenment. Lontrade provided a historical over- vides an interesting tool to understand the place of the ed that mental properties are irreducible to physical
view of the role of pleasure and sensibility in different body both in philosophy and in ordinary experience. ones. Another response comes from neurosciences
theories, including those of Gracian, Bouhours, According to Shusterman, somaesthetics concerns and their idea of body plasticity, which could provide a
Perrault and Roger de Piles. the body as a locus of sensory-aesthetic appreciation perceptual grammar in order to universalise our body-
Lontrade’s presentation intended to explain the cen- (aisthesis) and creative self-fashioning. As an ameliora- mind functions.
tral position of the body in aesthetic thought, and the tive discipline of both theory and practice, it aims to en- Lageira proposes a reconciliation of these two posi-
way the inquiry, initiated in the 17th century, continued rich not only our abstract, discursive knowledge of the tions. The consequence of a naturalisation of aesthetic
in the 18th century in the works of the English empiri- body but also our lived somatic experience and per- norms is a certain platitude of the irreducible structure
cists. The result has been a certain ‘irrationalisation’ of formance. Somaesthetics should be conceived as a of aesthetics, insofar as it is fully related to culture and
art. Lontrade explained that art as a refuge for sensibili- discipline in the field of human sciences and education. language. Such a position is connected to Merleau-
ty liberated from the constraint of reason and the aes- Shusterman insisted on the reason why the body has Ponty’s idea of inter-corporeality.
thetic project of establishing a science of sensation been denigrated throughout the history of philosophy: In response, Emmanuel Alloa (philosopher, FR)
would therefore have remained under the philosophi- it exemplifies the ambiguity of humanity. talked about the reversibility of the idea of naturalising
cal rule of the formal instinct. Many prejudices have created obstacles to the un- art and spoke of the idea of ‘artialisation of nature’.
However, the ambivalence of the idea of the body derstanding of the body; the body is assumed to be a He suggested that this reversibility would work against
lies in the fact that it is both a physical constraint and a burden, a simple vehicle, or a mere instrument to the idea of the autonomy of the arts. The naturalisation
subjective tool for emancipation. That’s why the expe- attend higher and more valuable finalities. The inferiori- of aesthetics passes through two phases: the naturali-
rience of pleasure is linked with the conceptualisation ty of the body compared to the mind also tends to be sation of art and the naturalisation of the body. These
of a new sexuality; Freud’s psychoanalysis gives rise to demonstrated by it being typically associated with two phases show both the analogy between aesthet-
the concept of jouissance or enjoyment, which may be femininity and service. Shusterman underlines the ethics and somatics and the inner link between bodily
understood as subjective ways of interacting with ical norms which influence our bodily movements and practices and their linguistic expressions.
collective structure. behaviour: he analyses habits as both the result of bad See also: thinkingbody.janvaneyck.nl/
The problem of taste is central to Lontrade’s inquiry. practices and also of cultural schematisations.
A judgement of taste is also the expression of a specific Somaesthetics is thus not only a form of body fashion-
pleasure and, according to Lontrade, the Kantian sys- ing: it also has ethical aims.
tematisation of taste should be rethought. Indeed, she William James’ and Immanuel Kant’s philosophies
insisted that sensibility is thus no longer something to provide some conceptual tools for thinking through
be combatted but something to understand. This task the body, but their refusal of somatic introspection
was lucidly taken up by Hannah Arendt. prevails. Shusterman invites us to reflect on body
Through its conceptualisation, the body undermines awareness and performance as both an aesthetical
the classical notions of pleasure and juxtaposes con- and ethical discipline. This is the role of somaesthetics,
cepts with sexual eroticism. In the sensual experience a discipline which proposes to cultivate our body
of jouissance, the body cannot disengage anymore and awareness in order to reconcile somatic awareness
the judgement of taste cannot be enunciated with clari- and consciousness.
ty. This is also valid for the experience of disgust. The Aline Caillet’s (professor Aesthetical Philosophy)
reconciliatory attempt to bring together body experi- response was based on the practical consequences of
ence and consciousness is one of the main strengths somaesthetics, either through political emancipation
of pragmatist aesthetics, specifically of somaesthetics. or through artistic performance. She also drew atten-
Barbara Formis’ response was based on the idea tion to the role that somaesthetics should accord to
of placing together two different and almost opposite bodily pathologies and handicaps, presenting the work
positions of aesthetic experience: empirical praxis and of French performer Jacques Coulais, who makes
jouissance. These two positions underline the peculiar paintings with his wheelchair. Caillet pointed out
place of the body: confronted with the idea of pleasure, that the wheelchair, instead of being an obstacle to his
the body is either not aware enough (empirical judge- practice, is in fact a powerful extension of his body and
ment and praxis), or too overwhelming and powerful a valuable tool for artistic production.
Sunday 5 November
Monday 6 November
Film screening
Stephan Geene
Tuesday 7 November
Seminar
Subjectivity, and its life(-form). A comparison between
Giorgio Agamben and Paolo Virno
Stephan Geene
Thursday 9 November
Charlotte Moth 1978 / Great Britain

Researcher Fine Art
For a number of years Charlotte Moth has been
building a photographic archive. This archive as
visual vocabulary functions as a methodological
kind of matrix, where continuous additions and
omissions establish a culture for the collection of
found forms, architectural structures and envi-
ronments, situated predominantly within mod-
ernist seaside spaces/leisure locations. These re-
veal varying forms of mimicry and doubling,
connected to actual phenomenological experi-
ences of time and place.
The photographs have an analogue core; they are
imprints that exist as forms of doubles, split from
their original. They enable disparate areas of in-
quiry within the respective genres of film and
photography as formal outcomes. Moth is cur-
rently developing methods of externalisation for
this archive.
Moth’s practice apart from the archive considers
spaces themselves as sites within which to install
site-specific or context-specific works. These
works are dependant upon certain conditions in
which they can come into being; developing and
researching these conditions is an important part
of this methodology, which is linked to a chain of
material questions exploring notions of layering
and methods of removal. These processed con-
siderations lead to the creation of falsifications
within staged real-time events and resulting doc-
umentation.
Organisation events
— falkeandcharlotte: We love…#2. (7 December).
With Kees van Gelder & Falke Pisano.
(Dolores).
— falkeandcharlotte: We love…#1. (24 October).
With Koenraad de Dobbeleer & Falke Pisano.
(Dolores).
— Response to Peter Piller. (31 March). In: The
Academie.
— Between travel, method and research.
— Exhibition workshop. (21 March). With Meris
Angioletti & Falke Pisano. Organised by
Academie Beeldende Kunst, Maastricht.
Exhibitions
Lasch, Achim Lengerer, Lene Markusen, Gyan
— Miss Mao. (17 – 30 September). London, GB:
Blacklist Projects.
— Beauty and the beast. (8 September – 1 October).
London, GB: Fieldgate Gallery.
— Biennale finale screen event. With Peter
Fillingham & Falke Pisano. In: Whitstable biennale.
(3 – 18 June). Whitstable, GB.
— Charlotte Moth. (8 April – 13 May). Amsterdam,
NL: Ellen de Bruijne Projects (Dolores).
Work as curator
— falkeandcharlotte: Simon Bedwell / Marcel van
den Berg. (2 December 2006 – 13 January 2007).
With Falke Pisano. Amsterdam, NL: Ellen de
Bruijne Projects (Dolores).
— falkeandcharlotte: Benoît Maire / Clunie Reid.
(21 October – 25 November). With Falke Pisano.
(Dolores).
Festivals/events
Kloosterboer, Frank Koolen, Adam Nankervis,
Falke Pisano & Romana Schmalisch. Amsterdam,
NL: Ellen de Bruijne Projects (Dolores).
— Automatic pilotless ignition (API). (20 May).
With Simone van Dijken, Olivier Foulon, Sönke
Hallmann, Antony Hudek, Ella Klaschka & Inga
Zimprich. In: Jan van Eyck Bookish Weekend.
Friday 10 November
Saturday 11 November
Sunday 12 November
Hinrich Sachs 1962 / Germany

Hinrich Sachs is an artist and writer, based in
Basel. Critically reflecting upon communicative
and cultural frameworks, he focuses on testing,
elaborating, choreographing and transferring
cultural material, in other words: its forms and
formats. Since 1999 he has worked as an artist
both within and outside the art-world context,
working with architects, exhibition designers,
publishers and others.
Projects
Organisation events
— Gala night of the cannibals. (27 October).
Publications
— Copyright zu versteigern. In: Dérive Zeitschrift für
Stadtforschung, 23.
— Lee Lozano. In: De witte raaf, 124, p. 45.
— Re-doing Kaprow. In: Metropolis M, 2006/2007
(6), pp. 65-70, 100-102.
— The regime of printed matter. A closer look, with
personal bits and pieces. In: The Vos case. De zaak
Vos. Der Fall Vos. Mastering printed matter
since 1985, pp. 2-3. Maastricht, NL: Jan van Eyck
Academie.
— Very early pictures. In: D is for drawing, 01,
pp. 91-109.
Reviews
— Inge Hinterwaldner. Über modellierte und
geknetete Tatsachen. In: Designing truth.
(Exh. Cat.). Duisburg, DE: Wilhelm Lehmbruck
Museum.
— At present: Anna Winteler. (16 December).
In: Archiving disappearance. Amsterdam, NL:
Stedelijk Museum CS.
— Five landscapes of the world heritage. (12 May).
Inauguration of the longterm public art work on
the grounds of the Cecilien-Gymnasium.
Düsseldorf, DE.
— Image monopolies. (20 January). Amsterdam, NL:
De Appel.
— Image monopolies. (17 January). Stockholm, SE:
Kungliga Konsthögskolan.
— What is a commissioner? In: Opening week 2006.
Academie.
— Research on research. (31 May). Maastricht, NL:
Discussions/debatten
— Social capital. (21 February). In: Thinktank 0.1.
With Tanguy Coenen, Daniela Paes-Leao, Elske
Rosenfeld & Inga Zimprich. Published on: <http://
alterfin.net/congress/documentation/
Conversation-SocialCapital.zip>
Exhibitions
— Radical chic. With Barnaby Drabble. Zürich, CH:
Cabaret Voltaire.
— Regionale 7. (25 November – 31 December).
Muttenz/Basel, CH: Kunsthaus Baselland.
— Sprung ins kalte Wasser [Jump into Cold Water].
(2 June – 30 July). Zürich, CH: Shedhalle.
— De kleine biennale. (28 May – 18 June).
International contemporary art for children.
Organised by Stichting Storm. Houten, NL: Fort ‘t
Hemeltje.
— Designing truth. In: 29th Duisburger Akzente:
Believe in what? (30 April – 25 June). With Sabine
Maria Schmidt. Duisberg, DE: Wilhelm
Lehmbruck Museum. (Exh. Cat).
Work as curator
— The Vos case. De zaak Vos. Der Fall Vos.
With Willem Oorebeek. (6 – 18 September).
Art projects
— Five world heritage landscapes. Publiek
kunstproject. (from 2004 onwards). Düsseldorf,
DE: Cecilien-Gymnasium.
Showings
— Designing truth. (1 November). In: After Neurath.
The Hague, NL: Stroom.
— Designing truth. (22 June). Film screening
followed by discussion with Ansgar Philippsen.
Duisberg, DE: Filmforum.
Monday 13 November
Seminar
Cinematic strategies of subjectivisation
Rainer Bellenbaum, Sabeth Buchmann
Film screenings Dogville (2003) and Manderlay (2005)
by Lars von Trier
Film and television

Rainer Bellenbaum and Sabeth Buchmann conduct-
ed the seminar Cinematic strategies of subjectivisation
on Lars von Trier’s Dogville (2003) and Manderlay
(2005), in which they argued that the functioning of
classical cinema correlates largely to the modernist
concept of a self-reflexive subjectivity. In other words,
the way a film produces perceptions or actions can be
considered true, persuasive or appropriate – depend-
ing on the cinematic position that is taken. Such func-
tioning is supported by the very photographic image
that reproduces a concrete point of view with its stable
or moving central perspective. It is further supported
by the cinematographic tradition of montage, creating
sequences to establish identifiable coherence and
meaning. In his reflections on bio-politics, Michel
Foucault argued that the production of a coherent sub-
ject fails to include and grasp the social shift and the
structure of power. It can present a challenge to con-
sider the productivity of subjectivity in post-modernist
films like Dogville and Manderlay, which very impres-
sively deal with social and bio-political conflicts. The
filmic production of subjectivity was discussed while
focusing on the films’ staging of looks, their position-
ing of exterior and interior relationships and their strat-
egies of knowledge and deception.
Tuesday 14 November
Seminar
lesson 23 & 30 May 1962 [Thursday 26 January]
Thursday 16 November
Border transgression in the Euregion
BAVO, Evelyne Mertens, Christoph Euler, Christoph
Gemerchak, Pieter Caljé, René Thewissen, Michael
Wirtz, Melanie Bono
Concept BAVO
Venue Neuer Aachener Kunstverein Aachen, DE
EuregioN age by means of landscape interventions and educa-

Core issue of the Euregional Forum in Aachen was tional programmes.
the ambivalent status of the Euregional borders as a Jacqueline Schoemaker (researcher Traces of
source of cross-border enjoyment, while also being autism) argued for a different approach to the spatial
a hindrance to setting up a positive, umbrella project borders in the Euregion, according to the strategy of
between the constituent parts. autism to investigate the Euregional borders – not
Organiser BAVO argued that people and users of taking into account familiar social or cultural values.
the Euregion suffer from schizophrenia vis-à-vis the The discussion then focused on the persistence of the
numerous borders in this area. On the one hand, enjoy- experience of the borders, however absent or imagi-
ment is to be found in crossing these borders: there’s a nary, when determining behaviour and mobility of the
‘different’ space nearby, offering unique experiences average Euregional citizen.
and transactions. On the other hand, obstacles present Gon Zifroni (researcher Logo Parc), on the other
themselves when a greater approach between the hand, regarded the vagueness and inconsistencies
constituent parts is attempted; then, differences are of the borders, which are like black spots in the land-
often emphasised. scape, as a great advantage. The naked, raw landscape
According to BAVO, the explanation is globalism, of the Euregion led to an experience of directness and,
which is also typified by a feeling of ambivalence to- at the same time, impenetrability. This could arm the
wards borders. Never before have so many people, region against the increasing virtualisation of European
goods and capital crossed borders, and have multi-na- space, which is more and more inundated with signs
tionals cooperated, constantly eroding the relevance and signals, promising more than can be offered.
of the nation-state. Yet, this same nation-state is clung At the start, the discussion clearly illuminated the
to as the primary unit of political identification – possi- different positions within the debate about the possible
bly because multi-nationals derive so many advantag- strategies for overcoming the split attitude towards the
es from the lack of a powerful political management Euregional borders. The proponents of a more horizon-
globally, or even just at a European level. This, they tal, market-driven light approach faced their critics,
claim, is the ‘rationality behind the irrationality’ regard- who claimed the political approach was turned down
ing a strong, cross-border political managing body. in order to hold on to economic advantages. In the end,
Michael Wirtz (president Chamber of Commerce the debate on the physical presence of the borders led
and Industry Aachen) confirmed this theory by mainly to interesting proposals to cross the (im)material bor-
speaking of the horizontal way in which companies co- ders and soften them through a spatial perspective.
operate and cross borders in the Euregion. As an exam- At the Aachen Forum the newspaper Euregional
ple, he mentioned business park Avantis, which pro- Forum Paper was presented. The paper contains texts
motes itself as the first cross-border business park in by BAVO, reports of earlier Euregional Forums in
Europe, perhaps even the world. Here, employers can Heerlen en Genk, a report of the research project
choose between different tax regimes and can shop Traces of autism and contributions by ‘allied’ research-
between Dutch and German terms of employment for ers Irene Lucas & Christoph Euler, Logo Parc (Katja
their employees. Gretzinger, Matthijs van Leeuwen, Daniël van der
Euregional politician Jos Hermans (president of the Velden, Gon Zifroni) and Traces of autism (Wim
parliament of the Euregio Maas-Rijn Stichting) con- Cuyvers, Maartje Dros, Jacqueline Schoemaker,
firmed this practice of horizontal business-driven col- Jozua Zaagman), Raphaël Cuomo & Maria Iorio and
laboration. He argues that the Stichting should mainly Megan Sullivan.
focus on a number of light issues, such as education
and the recently erected taskforce intercultural educa-
tion. Melanie Bono (NAK staff member and director
After Cage project) even thought that cross-border
intercultural projects would be better off without politi-
cal involvement in the form of EU subsidies, which
often leads to fairly forced collaborations. In that sense,
she is in favour of a Euregion without EU.
Artist Maarten Vanden Eynde had serious doubts
about the optimistic discourse of Wirtz and Hermans
and about the use and advantage of light, horizontal
collaborations for the integration of the Euregion. In his
critical flag design for the EU he refers to a two-speed
Europe. He blames this separation on the lack of will-
power to let politics regulate the integration process,
since people believe that market forces will negate all
differences in the end.
Pieter Caljé (cultural scientist) and René The-
wissen (historian) presented their project Frounty
(Grenzschaft, Fronté, Grensschap), in which they cast
doubt on the hardness of the borders between Belgian
and Dutch parts of the Euregion. In their view, this bor-
der is the product of the Interbellum period, when the
Albert canal was dug for logistic as well as military rea-
sons. They also believe that this border is strengthened
by placing all kinds of aesthetically disruptive elements
along the borders (business parks, wind mills). With
their project, they want to restore the former identity
of the landscape and revive its common historical herit-
Friday 17 November
The Euregion as transgression [Thursday 16 November]
BAVO, Jos Hermans, Jacqueline Schoemaker,
Maarten Vanden Eynde, David Hasse
Concept BAVO
Venue Neuer Aachener Kunstverein Aachen, DE
Matteo Poli 1973 / Italy

The Logo Parc research project intends to rede-
sign ‘the politics and aesthetics of economy’, to
focus on public and private space and use tools to
improve its effectiveness. Instances of commu-
nication design – editorials, ways of finding one’s
bearings, typography, identity design such as
logos, as well as commercial advertising and
web-based devices – will be studied as well as
corporate identities. Public space, too, will be
thoroughly assessed.
Innovation is increasingly the product of the fu-
sion of two technologies or the application of a
known concept to a new field. Leading technolo-
gy companies resort to a systematic process of
technology scouting to find, research and ac-
quire new technologies while ‘scanning’ a specif-
ic field or technology to identify new develop-
ments of interest, and ‘tracking’ advancements
in a specific technology or technological ap-
proach. Technology scouting applied to Logo
Parc might be able to debunk design from its self-
referential attitude.
Publications
pp. 112-123.
Gretzinger, Matthijs van Leeuwen, Daniël van der
Velden & Gon Zifroni. Amsterdam, NL: Gerrit
Rietveld Academie.
With Katja Gretzinger, Matthijs van Leeuwen,
Daniël van der Velden & Gon Zifroni. Amsterdam,
NL: Het Trippenhuis.
Transgression of the Euregion [Thursday 16 November]
BAVO, Henk Vos, Christoph Euler
Concept BAVO
Venue Neuer Aachener Kunstverein, Aachen, DE
Sunday 19 November
Monday 20 November
Tuesday 21 November
Seminar
Nancy, Blanchot, dead mask
Hanneke Grootenboer
The vicissitudes of the public space in the
Euregion Meuse-Rhine
Koen Brams, Wim Cuyvers, Pierre-Etienne Fourré,
Thomas Moore, Florian de Visser et al.
Concept BAVO
Venue Brasserie Haecht bij Espace Nord 251, Liège, BE
EuregioN marketing Liège as a cheap alternative for Brussels,

The fourth Euregional Forum, in Liège, was held in the with its overstrained housing market. To this end,
Espace Nord from 23 to 25 November. The objective of the current make-over of the station district of Liège
this forum was to find out how the Euregion Meuse- Guillemins has already led to new zero tolerance poli-
Rhine could form a political community and what could cies of the Liège municipality – with the homeless
be at the basis of this entity. being driven into the surrounding woods. He argues
Organiser BAVO saw a possible communal basis for that public space in Liège is being ‘disneyfied’, cleared
collective political action in the peripheral location of of unwanted elements, in order to present a clean im-
the Euregion (as compared to stronger, more central age as future satellite city to Brussels.
European regions such as the Randstad, the Vlaamse The presentation by Wim Cuyvers (advising re-
Ruit or the Frankfurt region). They believe that this ‘pe- searcher Design) also cast doubts on the present way
ripheral condition’ is expressed in numerous problems: in which the Euregion tries to carve a niche for itself.
the phenomenon of shrinking regions due to the de- Through an analysis of the dense network of cycling
clining number of births and an ageing population; the routes throughout the Euregion, as well as its special-
miserable mobility connections; the smaller economic ised accommodations of drinking, eating and sleeping,
defence against the leaving of industry and the brain he argued that the Euregion is turning into a pleasure
drain of young people who move to areas with more park for old-age pensioners.
perspective. BAVO suggested taking this condition as Nevertheless, one of the conclusions of the three
the basis for the construction of a trans-national politi- days of debates and presentations was that there was
cal space – based on the idea that together the different support for the construction of a communal political
parts of the Euregion can make a fist against its threat- space for the Euregion – fed by the effects of the in-
ening marginalisation. They saw a communal political creasing marginalisation of the constituent parts of
strategy, in other words, a deepened integration of the the region, in a geographical, cultural and socio-eco-
Euregion Meuse-Rhine, as the necessary survival strat- nomic sense. A strategy that was suggested as the way
egy to achieve this goal. forward was to change the so-called handicaps of the
One of the many debated questions in Liège was region into advantages.
whether the differences between the various parts Apart from the abovementioned presentations,
of the Euregion are smaller than their communal inter- several projects were presented at the Liège forum, by
ests. Michel Antaki (editor-in-chief of C4, a Belgian Filip Berte (architect) on his project EUtopia; Marjolijn
monthly for the unemployed) seemed to answer this Dijkman (researcher Fine Art) on her project Theater of
question in the negative. He pointed to the fundamen- the world and Gon Zifroni on the Logo Parc project.
tal obstacle of the language barrier, which he regarded At the Forums in Aachen and Liège, the Euregional
as the tenacious core of the identity of various commu- Forum Paper was presented. It contains texts by
nities in the Euregion. He made a case for realism: with BAVO, reports on the previous Euregional Forums in
the differences between the constituent areas of the Heerlen and Genk, a report on the Jan van Eyck re-
Euregion firmly in mind, he rather suggested to get to search project Traces of autism. Wander research in
a communal political project on the basis of an analysis the Euregion Meuse-Rhine and contributions by ‘al-
of what the constituent parts cannot do together. lied’ researchers Irene Lucas & Christoph Euler,
This would avoid politically correct projects based Logo Parc (Katja Gretzinger, Matthijs van Leeuwen,
on wishful thinking, which would only be ineffective. Daniël van der Velden, Gon Zifroni) and Traces of
Moreover, he said, not all parts of the Euregion are autism (Wim Cuyvers, Maartje Dros, Jacqueline
equally peripheral: Maastricht’s latest new shopping Schoemaker, Jozua Zaagman), Raphaël Cuomo &
centres being an example of the much higher affluence Maria Iorio and Megan Sullivan.
of this city compared to other cities in the Euregion.
Koen Brams (director Jan van Eyck) put Antaki’s
picture of a two-speed Euregion into perspective.
It was his view that Maastricht, in spite of its higher
affluence compared to other Euregional cities, should
definitely be seen as a kind of cultural backwater –
not just compared to the Randstad, but also even
compared to a city like Eindhoven. Brams gave a telling
example of the socio-economical consequences of
this cultural peripheral location of the Euregion: when
his institute had a vacancy for a handyman, he was
inundated with applications by artists from the entire
Euregion. This, to him, was a clear indication that there
is a lack of Euregional perspective for artists, which
may lead to a brain drain of young people to areas
which have more to offer in this respect.
Thomas Moore (architect and journalist of architec-
ture magazine A+) argued for a strategy that looks for
the possible advantages of the peripheral position of
Euregional cities. He cited Liège as an example, where
lower rents had drawn in artists from all over, resulting
in a blossoming international music scene. He sug-
gested that other communities could be drawn to the
region, giving it new élan and charisma.
The potential of such a strategy was somewhat un-
dermined by the statements of Jean-Pierre Fourré
(artist). He drew attention to the negative effects of
Friday 24 November
Colloquium unmotivated, disinterested submission to the other’s
Radical passivity. Rethinking ethical agency in Levinas command.
Peperzak’s paper, entitled Sincerely yours, isolated
Benda Hofmeyr: introduction / Bettina Bergo: In dreams desire as that which poses one of the greatest chal-
begin responsibilities: radical passivity in Levinas and lenges to “me” as faced by the other, Autrui. As a
Merleau-Ponty (Lectures of 1954-55) / Adriaan Peperzak: rem(a)inder of the essential essence which my for-the-
other-ness disavows, how am I, how is “me” to enjoy,
Sincerely yours / Seán Hand: Ab-originality: radical find pleasure in what I am, what I desire and appre-
passivity through Talmudic reading / Alphonso Lingis hend? Desire runs through an ego-interestedness,
without which I could not be for-the-other in the first
Concept Benda Hofmeyr place, but which continually seduces me into the world
Venue Jan van Eyck Academie, Maastricht, NL of society and politics (and war). Desire also motivates,
Presentations, debates without compromising or violating, the disinterested-
ness or indifference at the heart of radical passivity,
The Euregion as a public space [Thursday 23 November] and as such finds itself bound to Infinity, a word whose
Filip Berte, Jean-Michel Botquin, Selcuk Mutlu philosophical ambiguity Peperzak (and later Alphonso
Venue Brasserie Haecht bij Espace Nord 251, Liège, BE Lingis) regretted. This ambiguity, however, is precisely
the symptom of a tension, between Totalité et infini
Concept BAVO and Autrement qu’être, between Levinas and Kant.
As part of Euregional Forum [Thursday 22 June] In Totalité et infini Levinas summarises desire,
Infinity, and for-the-other-ness as disinterested good-
ness: “The infinite in the finite, the more in the less,
which occurs through the idea of the Infinite, produces
politics the game of a conscience played once outside of ob- itself as desire. Not as a Desire which can be quenched
The year 2006 marked Emmanuel Levinas’ centenary, session, touching the other without being assigned by by the possession of the Desirable, but as the Desire of
and Radical passivity was a fitting tribute to the philos- it; a play of conscience/consciousness – semblance. the Infinite which the desirable arouses, instead of sat-
opher’s thought, bringing together eminent scholars For Merleau-Ponty on the other hand, dreams belong isfying. Perfectly disinterested desire – goodness.”
from Europe and the US to, as Hofmeyr announced in to a set of what Bergo termed a “plurality of passivities” Taking up Peperzak’s argument, one would be justified
the colloquium’s programme, “assess the moral signif- – acts of an un-psychoanalytic corporeal unconscious in questioning the latter sentence of the quote, where
icance of the inversion or disruption of the traditional which, besides dreams, include memory, sleep and an infinite Desire for Desire itself turns into a disinter-
conception of agency associated with freedom of “desire as obsession and delirium”. Overlooking desire, ested desire equivalent to goodness – that is to say,
choice”. and barely touching upon memory, Bergo’s argument when what overflows my consciousness in a surge of
The programme further stated that “Kant’s practical centred on sleep and dreaming since both Merleau- interestedness in hosting the other becomes the inter-
philosophy will facilitate a critical re-evaluation of Ponty and Levinas agree on this at least: that the ested moral symbol for disinterested goodness. While
radical passivity in Levinas”. Kant, however, remained dream-state presents a case of lived time suspended, Peperzak deplores the ambiguity of the Infinite as it
a muted presence throughout the colloquium, in where perception becomes faulty, partial, subject to “accomplishes itself” (s’accomplit) in desire, it could
contrast to other references – Freud, Hegel, Heidegger, logics alien to those determining consciousness. But be seen affirmatively to give way, in Autrement qu’être,
Husserl, Merleau-Ponty, Sartre. One of the reasons for sleep for Merleau-Ponty is much more than a loss of to the formulation of an incarnated, carnal jouissance,
this elision may be that there is more than one “Kant” in consciousness of/to the world: it becomes the site of a a desire in/for the other which can only take place in
Levinas’ oeuvre, and focusing on the Kant of law and passive drifting towards and into and even beyond the bodies “of flesh and blood”. And as Geert van Eekert
freedom would necessarily be to the detriment of oth- other, a submission unhampered by legal or moral im- noted in his response to Peperzak, the uncertainty sur-
ers, arguably more influential for Levinas – such as the peratives. Whereas the nocturnal non-activity of sleep rounding the necessity of the I’s interests – be it in the
Kant of religion. No doubt Kantism was, as Levinas is for Levinas a state to be avoided, a voided state, for other or for its self as “me” – allows Levinas’ oeuvre to
puts it in Autrement qu’être ou au-delà de l’essence, Merleau-Ponty sleep unhinges the fixity of even the intersect here with Kant’s. Van Eekert cited Kant’s
the basis of philosophy – providing one concedes that phenomenology/non-phenomenology distinction, competing virtues of love (where the subject strives for
“philosophy is ontology”. For Levinas of course philos- becoming a “hermeneutic reverie”, as he phrases it, proximity to the other) and respect (where distance
ophy exceeds ontology – or if this is saying too much capable of merging the worlds of waking and sleep from the other is desired) as a precarious balancing act
too fast, what emerges of Levinas’ deconstruction of into a doubtful, symbolic continuum. At the end of between the I’s desire in/for the other and “my” own
ontology (and Adriaan Peperzak was right to stress in her paper Bergo asked, provocatively: “What if all desires for fulfilment, jouissance and love. At this point
his paper that Levinas is in no way simply against ontol- the immense work Levinas undertakes to unveil an of hesitancy in Levinas’ terminology between Totalité
ogy) would also be something else than (autrement ‘otherwise than being’ were, itself, a kind of herme- et infini and Autrement qu’être, one could also have
que, au-delà de) philosophy. Thus, once admitted that neutic reverie?” invoked Kant’s sublime in the Third Critique which,
Levinas “feels particularly close” to Kant, one could This last question is provocative, problematic, like the Levinasian Infinite, supersedes the I’s control,
ask: exactly how close? To what in Kant’s philosophy because it takes the imprecision of the historical rela- submerging it – rendering the subject defenceless to
is he close? These would be questions for a follow-up tion between Levinas and Merleau-Ponty for a philo- an event beyond its noumenal comprehension.
colloquium. sophical one, so that Merleau-Ponty, as if in a dream, Referencing Jean-François Lyotard’s work – starting
Yet, already in the papers presented in Radical pas- could have said, even corrected Levinas avant la lettre, with Discours, figure (1971) – in which Levinas is re-
sivity one could sense areas where cross-readings be- in that time-space continuum characteristic of the peatedly summoned in the company of Merleau-Ponty
tween Levinas and Kant might occur (or have, in fact, “hermeneutic reverie”. In regard to the dedication of and Kant, would have helped bring the colloquium
occurred). Bettina Bergo chose to confront Merleau- Autrement qu’être – written in “memory of those most back, from Bergo’s paper via Peperzak’s, to Kant.
Ponty’s recently published lecture notes on passivity dear among the six million murdered by the National- From the audience, Peter Zeillinger characterised
from 1954-1955 to Levinas’ Totalité et infini (1961) and Socialists …” – one has no choice but to repudiate, in Peperzak’s “performance” as an epistolary excuse or
Autrement qu’être (1974). Reading the author of the name of the historical event, Bergo’s suggestion apology (“Sincerely yours”) before the impossibility of
Phenomenology of perception together with Levinas, that “we take Levinas’ other, and his (non)perception of ‘coming to terms’ with Levinas’ injunction of for-the-
whose radical passivity goes far in the undoing of a the other as dreams”. Philosophically, too, the question other-ness. Zeillinger called Peperzak’s “gesture” one
phenomenal grasping of the world, is fraught with diffi- of whether Levinas’ work to “unveil an ‘otherwise than of uncertainty, of bearing witness, accurately perform-
culty – if not impossible, as Marc De Kesel objected in being’” is a kind of hermeneutic reverie immediately ing the opening paragraphs of chapter III of Autrement
his response. One could argue that Bergo did little to disqualifies itself, as the process of unveiling is qu’être, where Levinas says that knowledge is by ne-
elucidate the nature of the intellectual relation between precisely the semblance which he sought to displace, cessity “indirect and tortuous”. What Levinas tries to
Merleau-Ponty’s lecture notes from the fifties and between radical passivity and expression. detect – for it would be impossible to demonstrate, or
Levinas’ two later texts. For example, Bergo repeatedly Another question, more central to Levinas’ texts, tell – is the turning point (virement) when the Saying
qualified the former’s position vis-à-vis the latter as one might refer to Bergo’s quote from Merleau-Ponty’s (Dire), from pure donation, becomes a Saying speaking
of “anticipation”: this seems like a weak qualification notes: “It is not a question of subordinating awakened a Said (Dire énonçant un dit), a “fable”. Importantly,
for Levinas to come out strengthened of this co-read- life to oneiric life. Simply, we must understand that they this Said at the cost of Saying is the steep price to pay
ing (which he does not), and for Merleau-Ponty to [these modalities of life] communicate; the fundamen- for a return upon the Saying, a new return to something
emerge as anything more than a potential philosopher tal function: desire and the fecundity of desire”. Desire that can only be regained, after and through language.
of ethics (which he does). Nevertheless, and disregard- disappeared in Bergo’s paper after her initial list of “plu- But the Said performance of a Saying – and not a reflec-
ing De Kesel’s abrupt dismissal of a phenomenological rality of passivities”; yet Merleau-Ponty’s quote clearly tion on or speculation of the Saying – is perhaps what
interpretation of Levinas – an interpretation in fact identifies desire as central to an attempt at arriving at a Levinas intuits when he writes of a paradoxical “latent
legitimised by Autrement qu’être, if less so by Totalité form of Levinasian agency as radical passivity. If desire birth of knowledge in proximity” through the Said.
et infini – the difficulties Bergo raised merit attention. is indeed “function”, then its role, at the crossroads of The perhaps here is crucial, for it preserves that which
Levinas’ radical passivity excludes the dream as means and ends, intentionality and volition, jouissance
mere phantasm. The dream and illusion, he writes, is and eros, would become a pivot in the articulation of an Radical passivity continues on 25 November
The vicissitudes of the public space in the Euregion Meuse-
Rhine [Thursday 23 November]
Michel Antaki, Michel Bianchi, Nicolas Firket, Stephan
Hoornaert, Thomas Moor, Gon Zifroni
Concept BAVO
Venue Brasserie Haecht bij Espace Nord 251, Liège, BE
Continuation of Radical passivity on 24 November
stands forever and irremissibly outside of the Said’s

command, the an-original and an-archic word for, and
name of, God.
The last two papers presented at the colloquium –
by Seán Hand and Alphonso Lingis – considered the
performance of the Said as it approaches the proximity
promised by the Saying. Hand analysed a specific con-
text of allocution: the Colloque des intellectuels Juifs
de langue française, an annual gathering of Jewish
scholars where, from 1957 onwards, Levinas com-
mented on passages from the Talmud. In a paper titled
The fundamental ethical experience, Lingis adopts a
tone which also warrants the term “performance”: in
a distinctive ‘voice’, not dissimilar from Levinas’ own –
close to prose, at times closer still to poetry – Lingis
narrates situations in which he feels Levinas’ notion of
responsibility for-the-other fails to impel the subject
into effective, reparative, action. One by one Lingis’ cri-
tiques of Levinas can be checked. To the objection that
Levinas bars the non-human from the encounter of the
face, neglecting the suffering of plants or animals for
example, one can quote from a text dated 1951 where
Levinas asks, straightforwardly, and without providing
an answer: “Can things take on a face?” To Lingis’ call
for a relativisation of Levinas’ Wholly Other into “the
otherness of every human who faces us”, one could
claim for Levinas a plural view of the divine, headed by
a name that can only be synonym, not condition, for.
Where Lingis singles out Levinas’ insistence on the vul-
nerability of the other facing me, apparently oblivious
to “the intrinsic joyousness of life,” one need only point
to the conclusions of Totalité et infini, where Levinas re-
futes the negativity of being as finitude: “Exteriority is
not negation, but a marvel”, Levinas posits. Finally, to
the argument that Levinas seems to expect uncondi-
tional devotion to all that faces me, drowning me in de-
mands I could never possibly meet and overwhelming
me with guilt, one has only to read the last pages of
Autrement qu’être to ascertain the ecological role of
the Levinasian subject: “For the subject does not find
itself a space in his and her own volume, nor in the
night. She and he open up onto space, but are-not-in-
the-world. The restlessness of breathing, exile in itself,
selfhood without rest, is not an impossibility of dwell-
ing which would already be motion from here to there;
it is a panting, a quivering of substantiality, a sub-Here –
passivity of ex-position that refuses to take shape.”
It is significant that the colloquium concluded with
two papers by respected translators of Levinas’ work,
each contending with the performative: Hand’s exe-
gesis of Levinas’ performances of passivity vis-à-vis
sacred texts; Lingis’s performances of Levinas’ posi-
tioning of the un-rooted subject in the world. For the
point (the lesson?) would be not so much to take issue
with – to know, to reflect upon, to say – Levinas’s phi-
losophy, but to translate it into the myriad, infinite,
ubiquitous situations where ethical agency is called for,
today more than ever.
Text by Antony Hudek

Sunday 26 November
Monday 27 November
Tuesday 28 November
Seminar
lesson of 6 & 13 June 1962 [Thursday 26 January]
Friday 1 December
Opening exhibition
Resonance. Or how one reality can be understood through
another
Armando Andrade Tudela, Pavel Braîla, Anke Brüchner,
Peggy Buth, Mariana Castillo Deball, Raphaël Cuomo,
Marjolijn Dijkman, Olivier Foulon, Nikolaus Gansterer,
Maria Iorio, Johanna Kirsch, Will Kwan, Doris Lasch,
Achim Lengerer, Lene Markusen, Charlotte Moth,
Gyan Panchal, Falke Pisano, Ursula Ponn, Romana
Schmalisch, Megan Sullivan
Venue Stuk, Louvain, BE
Fine Art
How can one reality be understood through another?
This question is aimed at the artistic approach of apply-
ing a subjective way of seeing to existing aspects of
reality and, concomitantly, of developing a unique sys-
tem that follows a set of rules differing from the norm.
It identifies a process of translation that comprises mo-
ments of discontinuity, semantic shifts and omissions,
all of which are inherent in the production and appro-
priation of images. It is an interpretation of found and,
to an extent, recalled and projected images, which in
turn generate new imaginings and provide a tool to
approach, focus and unsettle the aesthetic, social and
political realities we encounter everyday.
The exhibition Resonance. Or how one reality can
be understood through another compiled a selection
of works by artists associated with the Jan van Eyck
Academie’s Fine Art department in the past seven
years. In included drawings, photographs, installa-
tions, sculptures, videos, films and performance and
was staged at two locations: Stuk in Louvain (BE) and
Artis in ’s-Hertogenbosch (NL). Curator of the exhibi-
tion was Astrid Wege (Cologne, DE); its architecture
was designed by Milica Topalovic (Rotterdam, NL and
Basel, CH).
Resonance was an initiative of the Jan van Eyck’s
Fine Art department and was realised in cooperation
with Stuk and Artis.
Saturday 2 December
Sunday 3 December
Opening exhibition
Resonance. Or how one reality can be understood through
another [Friday 1 December]
Armando Andrade Tudela, Pavel Braîla, Anke Brüchner,
Peggy Buth, Mariana Castillo Deball, Raphaël Cuomo,
Marjolijn Dijkman, Olivier Foulon, Nikolaus Gansterer,
Maria Iorio, Johanna Kirsch, Will Kwan, Doris Lasch,
Achim Lengerer, Lene Markusen, Charlotte Moth,
Gyan Panchal, Falke Pisano, Ursula Ponn, Romana
Schmalisch, Megan Sullivan
Venue Artis, ’s-Hertogenbosch, NL
Monday 4 December
Lecture
Hackers and hackology
Yuval El-Hanani
Seminar
Strategies of Verlebendigung (vivification) in art and film
Stephan Geene
Tuesday 5 December
Lecture
Media and mass violence: process of healing and reconciliation
Marija Gajicki, George Weiss
Concept Stéphanie Benzaquen
Seminar
Sabeth Buchmann, Stephan Geene
politics ethnic tension and conflict such as Congo, Burundi,

Mass media often contribute to genocidal policies. the Middle East and India. Weiss presented the meth-
Once the opposition is silenced, television, newspa- od of the Radio Benevolencija campaign in Rwanda.
pers, radio, and cinema become ideal channels to Developed by Ervin Staub, professor at the University
influence the people, collectively and individually. They of Massachusetts and Dr. Laurie Perlman, co-founder
reflect and participate in the radicalisation and mobili- of the Trauma Research, Education and Training Insti-
sation of a society that engages in mass violence. The tute, the RICH method (Respect, Information, Commu-
Nazis showed their mastery in mass communication. nication and Hope) comes down to a neighbour-to-
In the Ottoman Empire, the posters on the village walls neighbour approach to healing. Its aim is to prevent
calling for the slaughtering of Armenians proved effec- the reignition of violence since the justice
tive to young Turks. In Pol Pot’s Cambodia, despite the system of the Gacaca set up tribunal village assemblies
great leap backward and the renouncement of technol- confronting survivors and perpetrators. It provides the
ogies, a single radio station was operative to broadcast survivors and their relatives with frameworks that help
Khmer Rouge propaganda. The mass media, acting as them come to terms with their traumatic experiences.
a ‘lie machine’, forged and fuelled the 1990s Balkan Weiss showed visual documentation and gave a pres-
wars through distortion and fakery of information. The entation of the weekly radio drama series Musekeweya
media system was re-structured, independent journal- (New dawn), a fiction-based radio soap opera that nar-
ists were harassed, radio and television transmitters rates the lives of various radio drama characters in two
were destroyed. The ‘hate media’ in Rwanda were in- neighbouring villages. Kuki (Why?), a monthly journal-
strumental in the 1994 genocide of Tutsis and moder- istic radio programme, gives accurate information on
ate Hutus. Among them, Radio-Television Mille genocides and justice-related issues.
Collines that tracked down the victims, directed the mi-
litias and death squads to hiding places and encour-
aged the killings.
Two guest lecturers talked about their personal ex-
perience and projects and discussed issues such as:
How can we counter the destructive effects of mass
manipulation? How to erase the dangerous stereo-
types that media campaigns have helped root in socie-
ty? Can the very communication channels that incited
people to murder become part of the community heal-
ing?
Marija Gajicki is member of the Serbian NGO
Vojvodjanka. In 2002 Vojvodjanka organised the tour-
ing exhibition Blood and honey in Novi Sad, showing
64 photographs by American war photographer
Ron Haviv which document incidents from the wars
in Croatia, Bosnia and Herzegovina, Kosovo and
Macedonia. The show was cancelled in several Serbian
cities under the pressure of nationalist groups and
individuals. Gajicki presented the social and political
context of the show. In order to avoid the problems
encountered during the former presentations of Blood
and honey, Vojvodjanka and its Novi Sad partners,
the Center for Education in Politics and MEDIAPACT,
showed a display that would make the visitors active
participants. The photographs were not captioned
and the visitors could write their comments on paper
sheets placed next to the pictures. A paper wall was
installed on which people could pin their personal
documents such as photographs, letters and press
articles. Gajicki further screened Vivisect, the docu-
mentary film she realised during the ten days of exhibi-
tion. It depicts the wide range of visitors’ reactions,
ranging from anger to willingness to understand and
debate. She also retraced the development of the
Vivisect project: the publication that included the
written commentaries and documents of the visitors;
various reconciliation-related events and academic
teaching using the Vivisect book and documentary;
the birth of the Vivisect festival of human rights films
with panels and symposia.
George Weiss works for the NGO Radio
Benevolencija. Since 2002, Radio Benevolencija has
initiated a research-based mass media campaign in
Rwanda, providing broad public education on the
causes and responses to genocide issues and aiming
at facilitating societal reconciliation. The association is
currently developing humanitarian projects in areas of
Wednesday 6 December
Workshop
Faculty of invisibility – The speech
Selina Butler, Roe Cherpac, Wim Cuyvers, Paul
Gangloff, David Goldenberg, Ingela Johansson,
Mykyta Kadan, Olesya Khomenko, Matthias Kreutzer,
Volodymyr Kuznetsov, Nebojsa Milikic
Concept Inga Zimprich
Research
The Faculty of invisibility was a three-day workshop or-
ganised by Inga Zimprich (researcher Fine Art) on 6, 7
and 8 December.
Speech was the central concept of the first meeting
of the Faculty of invisibility. The format of The speech is
that the tutors that head a department tackle questions
that are essential in artistic productions: the constitu-
tion of an addressee, the act of addressing and assign-
ing identity, the act of assuming identity through the
act of speaking.
Each tutor of the Faculty opened their departments
with inaugural speeches. The venue was filled with
lecterns to evoke the idea of public representation.
The speeches were analyzed and reviewed by the other
tutors and could subsequently be altered, rehearsed
and given again. Focal point was the difference of artis-
tic practices and the extent to which context deter-
mines ways of addressing and positioning.
The tutors, apart from heading their individual de-
partment, form the body of students of the Faculty of
invisibility. Each participant has a practice of their own,
and is both tutor and student. The Faculty aims at con-
structive and dynamic exchange among institutional
partners in order to develop challenging and confront-
ing modules. Rather than collecting specialists’ views
of the issue of speech, it was important that different
approaches come together to sustain a dialogue that
would engender new formats and manifestations.
What is the position we take up when we speak?
What is the context of the Faculty? What audience do
we constitute when we deliver speeches? And how
does a message ‘hit home’? On what occasions do we
deliver speeches in public? To conclude this event, the
speeches delivered by the tutors were published in the
first issue of the newspaper of the Faculty of invisibility,
designed by OneDayNation. It was up to the tutors to
decide who would receive it and in what languages it
would appear. The Faculty creates several platforms
which focus on specific elements of practices of invisi-
bility and in which the members of the Faculty act as
mediators on topics such as translation, knowledge,
encounter, presence.
Departments are: Department in foundation: Roe
Cherpac, Hinrich Sachs, Natascha Haagenbeek;
Department of learning: Nebojsa Milikic; Department
of reading: Sönke Hallmann; Department of haunting:
Paul Gangloff; Department of doubt: Monika Vykoual;
Department of survival: Volodymyr Kuznetsov;
Department of post-autonomy: David Goldenberg;
Department of common spaces: Wim Cuyvers;
Department of symbiosis: Nikita Kadan; Department of
play: Lesya Khomenko; Department of second-genera-
tion cultural gastarbeiter: Branimir Stojanovic;
Department of practice: Inga Zimprich; Department of
amateur sportsmanship: Megan Sullivan; Department
of uncertainty: Ingela Johansson.
See: www.faculty.cc and www.reading.depart-
ment.cc
Thursday 7 December
Workshop
Faculty of invisibility – The speech [Wednesday 6 December]
Friday 8 December
Workshop
Faculty of invisibility – The speech [Wednesday 6 December]
Saturday 9 December
Seminar
Identity and subjectivity. Workshop on Lacan’s seminar IX
l’identification [Thursday 26 January]
Tony Brown, Lorenzo Chiesa, Christopher Gemerchak,
Tansy Hardy, Dominick Hoens, Marc De Kesel, Ian
Parker, Johan Schokker
Concept Aaron Schuster
Sunday 10 December
— Thinktank media. In: Arie Altena & Sandra
— Thinktank 0.3. With OneDayNation.
— Thinktank. In: Arie Altena & Sandra Fauconnier
— Understanding the information age. In: Arie
Altena & Sandra Fauconnier (Eds.).Ubiscribe
recent changes. Pervasive, personal, participatory,
Academie.
— Wissen is Gebrauch. Versuch einer Praxis-
beschreibung – thinktank 0.1. In: Arie Altena &
Sandra Fauconnier (Eds.).Ubiscribe recent
Academie.
— Thinktank, faculty of invisibility and monument as
discussion. (23 May). Maastricht, NL: Jan van
Eyck Academie.
— Ubiscribe 0.9.0 book launch. With Arie Altena,
Sandra Fauconnier, Claudia Hardi, Jouke
Kleerebezem. (21 May). In: Jan van Eyck Bookish
Academie.
— Thinktank. In: Opening week 2006.
Academie.
— mini.school #1. (24 – 28 August). Kiev, UA: Centre
for Contemporary Art (CAC).
Moderating
— Programming for participation. (24 February).
In: Thinktank 0.1. With Marthe Van Dessel, Sandra
Fauconnier, Kim de Groot, Wilfried Houjebek,
Jouke Kleerebezem, OneDayNation, Esther
Polak, Elske Rosenfeld, Ingrid Stojnic, Auke
Touwslager. Published on: <http://alterfin.net/
congress/documentation/Conversation-
ProgramParticipation.zip>
— Heterogeneous knowledge groups.
(23 February). In: Thinktank 0.1. With Tanguy
Inga Zimprich 1979 / Germany Coenen, Kent Hansen, Antony Hudek, Elske
Researcher Fine Art Rosenfeld. Published on: <http://alterfin.net/
Open source software and licenses, such as the congress/documentation/Conversation-
GNU public license, have brought about major HeterogeneousKnowledge.zip>
changes in our understanding of ownership, col- — Virtual values. (22 February). In: Thinktank 0.1.
laboration and production. Alternatives to per- With Roé Cherpac, Mauricio Corbalán, Sandra
sonal ownership and copyrights have developed Fauconnier, Jeanne van Heeswijk, Elske
Rosenfeld, Henrik Schrat. Published on: <http://
on legal bases; this affects Inga Zimprich’s prac-
alterfin.net/congress/documentation/
tice. Conversation-VirtualValues.zip>
Through Think Tank Zimprich investigates the — Social capital. (21 February). In: Thinktank 0.1.
parallels between open source programming and With Tanguy Coenen, Daniela Paes-Leao, Elske
social and artistic collaborative practices. Part of Rosenfeld, Hinrich Sachs. Published on: <http://
her research will be to bring artists, thinkers and alterfin.net/congress/documentation/
concept-makers together with open source pro- Conversation-SocialCapital.zip>
grammers – ‘We are the artists: we make the — Look at the network. (20 February). In: Thinktank
code’, a programmer claimed at an open soft- 0.1. With Robert Burghardt, Tamuna Chabashvili,
ware conference – in order to create a first Think- Kernow Craig, Marjolijn Dijkman, Kim de Groot,
tank, a web-based structure that facilitates self- Adi Hollander, Ralo Mayer, Esther Polak, Elske
organisation, administration of collaborative pro- Rosenfeld.
jects and networking amongst autonomous initi- Exhibitions
— Talking cures. The discursive as heuristic
atives.
medium. (16 December 2006 – 4 March 2007).
What can evolve might become a tool to strength- With Ron Bernstein, Raphaële Bidault-
en local and informal networks and will offer Waddington, Olivier Foulon, Antony Hudek, Ella
technological solutions to non-commercial and Klaschka, Gianni Motti, Falke Pisano, Lucio
artistic production. Pozzi. Organised by Museum of Contemporary
www.thinktank.con-gress.net Art Maastricht (MOCA Maas). Maastricht, NL:
www.con-gress.net Hedah.
Projects through another. (1 December 2006 – 31 January
— Ubiscribe. 2007). With Armando Andrade Tudela, Pavel
— Thinktank. Braîla, Anke Brüchner, Peggy Buth, Mariana
— Faculty of invisibility. Castillo Deball, Raphaël Cuomo, Marjolijn Dijk-
Organisation events man, Olivier Foulon, Nikolaus Gansterer, Hatice
— Faculty of invisibility. The speech. Güleryüz, Paul Hendrikse, Eric van Hove, Maria
(6 – 8 December). With Selina Bütler, Roé Iorio, Johanna Kirsch, Will Kwan, Doris Lasch,
Cherpac, Wim Cuyvers, Paul Gangloff, David Achim Lengerer, Lene Markusen, Charlotte Moth,
Goldenberg, Sönke Hallmann, Ingela Johannson, Gyan Panchal, Falke Pisano, Ursula Ponn,
Mykyta Kadan, Olesya Khomenko, Matthias Romana Schmalisch, Megan Sullivan. Organised
Kreutzer, Volodymyr Kuznetsov, Nebojsa Milikic. by the Jan van Eyck Academie.
Maastricht, NL: Jan van Eyck Academie. ’s-Hertogenbosch, NL: Artis; Louvain, BE: Stuk.
— Happy hour. With Marjolijn Dijkman. — Group exhibition. (9 September – 15 October).
(16 November). In: Liverpool biennial. Liverpool, Mönchengladbach, DE: Altes Museum.
GB: Monro cafe. — Private with public. (9 September – 10 October).
— Thinktank 0.1. Creating online collaborative work- Kiev, UA: Centre for Contemporary Art (CAC).
spaces for people from social artistic and cultural Art projects
practice. (20 – 25 February). Amsterdam, NL: — (Remote) conversations through Skype and
Public Space With A Roof (PSWAR). ARSC (A Really Simple Chat). In: Thinktank 0.1.
Publications (20 – 24 February). With Elske Rosenfeld (host).
— Glossary. In: Arie Altena & Sandra Fauconnier Festivals/events
(Eds.). Ubiscribe recent changes. Pervasive, — Automatic pilotless ignition. (API). With Simone
personal, participatory, pp. 72-108. Maastricht, van Dijken, Olivier Foulon, Sönke Hallmann,
NL: Jan van Eyck Academie. Antony Hudek, Ella Klaschka. (20 May). In: Jan
— Thinktank conversation. In: Arie Altena & Sandra van Eyck Bookish Weekend. Maastricht, NL: Jan
Fauconnier (Eds.). Ubiscribe recent changes. van Eyck Academie.
Monday 11 December
Tuesday 12 December
Lecture
Authoring in the Network / Blogging & Web 2.0
Arie Altena
As part of Ubiscribe [Saturday 14 January]
Publishing
In Arie Altena’s latest contribution for Ubiscribe,
entitled Comments, post-centeredness, permalinks &
blogs als conversatie, he talks about the most recent
technological developments and their impact on blog-
ging.
Before 2000, Altena writes, bloggers wrote their
own HTML and blogs were page-centred. This chang-
es with the arrival of blog software based on the data-
base model. Blogs now become ‘post-centred’. A tech-
nological divide is created between content and form
and between data (the post, the content) and metadata
(author, category, time, date). Technology makes inter-
blog communication easier, which makes blogs even
more a conversational genre of writing.
Previously, blog conversations were merely sup-
ported by the classic hyperlink. Blog software – espe-
cially permalinks – creates the technological structure
to link such conversations better, to actually let them
take place as written conversations and follow them
through time. The permalink is a unique identifier for a
blog post, building bridges between different web
logs. Its internal memory makes sure that links now
work and stay consistent and that conversations can
be archived and reread.
Quite quickly, blog software adds the option for
others to post comments. First, bloggers still wrote
their own script to add comments; later, websites (or
services) appeared enabling comments to be added
as plug-ins to one’s own site. Finally, this functionality
became part and parcel of all blog software. From
then on, comments have defined blogs emphatically
as conversation.
The fact that blogging thus becomes a conversation-
al genre – a post is an invitation to converse – can be ex-
plained as a result of blogging being a way of writing
which creates links between various online bits of in-
formation. After all, bloggers once started to develop
scripts and software in order to facilitate such manner
of writing. Blogs as a conversational genre is a result of
a technological development driven by specific com-
municative and rhetorical needs. You could also say
that blogs – and the web – finally become really interac-
tive with the arrival of blog software.
Thus we can distinguish two tendencies within blog-
ging: the blog as authentic voice of the author, as the
soapbox of an individual: a leading concept in the early
formation of the blog as a genre. Secondly, after the
success of blog software, the idea of the blog as con-
versation becomes dominant.
Arie Altena himself tends to weaken the claims that
blogs are conversations. After all, there are also a lot of
blogs where comments hardly play a role. Even more
important, says Altena, is the fact that, in the end, the
decision to start blogging is based on the drive to
‘make one’s voice heard’. To write, to publish: these
are the grand passions of the blogger. However, it is
still the case that the path which has been cleared
through the development of blog software unequivo-
cally leads in the direction of conversation, not in the
direction of strengthening an autonomous, purely
individual authorship.
Seminar
Art/and/as/through/for/reproduction
Friedrich Tietjen
The pensive image

Friedrich Tietjen (researcher Theory 2001-2002)
gave the lecture Art/and/as/through/for/reproduction
about the paradoxical and negative approach in the art-
world against the use of reproduction-techniques.
Thursday 14 December
Friday 15 December
Saturday 16 December
Sunday 17 December
Monday 18 December
Tuesday 19 December
Tom Van Imschoot 1978 / Belgium

Researcher Theory
Having looked into the ways of the imagination
during the act of reading, Tom Van Imschoot fo-
cuses upon that specific instance of reading
when the reader is touched by the experience of
fascination moving the writer. The project cen-
tres on the experience of fascination – where im-
agination and the corporeal meet. Van Imschoot
wants to question why fascination (a term which
has grown into a highly determined yet poorly ne-
gotiated key term in today’s discourse) is used as
a totalitarian means to master perception. Apart
from this, he also tries to re-evaluate the experi-
ence of fascination as a potential – to be found in
the impossibility to which its subject gets re-
duced.
The work of Maurice Blanchot – who saw fasci-
nation as ‘a passion for the image’, an experience
of being touched by the distance the image incor-
porates or encloses – will play a prominent role in
this research, which is all about the experience of
fascination as a disowning confrontation be-
tween the imagination of the reader and the writ-
er. It is a confrontation with what fascination truly
entails: an experience of the body attracted, dis-
tracted. First, Van Imschoot will draw up an anal-
ysis of the link between the introduction of fasci-
nation through writing and the accompanying
reading experience as a ‘dance with an invisible
partner’. Next, the second part of his research
will comprise a performance of La folie du jour.
Based on his reading of the Flemish author Louis
Paul Boon, Van Imschoot recently wrote a play in
order to investigate the very dynamics between
his research’s two tracks, called Was alles maar
zo puur gebleven.
Publications
— Communication and its failure. Sketching the limits
of the debate on artistic research. Review of
Research on research. Published on: <http://
janvaneyck.nl/0_4_4_printed_info/research_on_
research.html>
— A conversation with Marcel van den Berg. In:
falkeandcharlotte 2. Published on: <http://www.
logoparc.com/falkeandcharlotte/publication2.
html>
— Het imaginaire lezen. Wolfgang Iser en Maurice
Blanchot in wederzijds perspectief with het oog op
een lectuur van de fantasmatische dimensie in het
oeuvre van Louis Paul Boon. (dissertation). Ghent,
BE: the University of Ghent.
— Kunstkritiek in rekto:verso? In: Courant.
Informatieblad van het Vlaams Theater Instituut,
79, p. 27.
— La lecture à corps distrait. In: Travaux en cours, 2,
pp. 21-22.
— Netwerkman schrijft een brief. Over de werking
van de hersenen bij Gust De Meyer en over smaak
valt niet te twisten. In: Rekto:verso, 3 (20),
pp. 22-23.
— Ziek van kritiek. In: Rekto:verso, 3 (15), p. 20.
— The experience of reading and the imaginary.
(18 September). Viva. Ghent, BE: the University of
Ghent.
Friday 22 December
Sunday 24 December
Monday 25 December
Tuesday 26 December
André Nusselder 1969 / the Netherlands

In 2006 André Nusselder concentrated on the
transformation of his PhD thesis into two books.
These are now about to be published: Interface
fantasy considers the computer screen from the
perspective of psychoanalytic theory as a screen
of desire, while Frameworks provides a system-
atic theory of the role of the screen of fantasy in
the work of Jacques Lacan. Since he works on
Lacanian theory, Nusselder was also involved in
the CLiC seminars on Lacan.
Publications
— Interface fantasy. A Lacanian cyborg ontology.
(dissertation).
— Interface fantasy: a Lacanian cyborg ontology.
(16 November). Rotterdam, NL: Erasmus
University.
— Philosophy in different media. In: Opening week
Eyck Academie.
Friday 29 December
Chantal Hendriksen 1978 / the Netherlands
Researcher Design
Chantal Hendriksen works together with Marijke
Cobbenhagen. Marijke Cobbenhagen & Chantal
Hendriksen were responsible for the recruitment
campagne 2006. They posed 100 questions
about the Jan van Eyck and used the responses in
the A0 poster, A1-A2 poster and five advertise-
ments. They further designed the Yearbook 2005,
in which they gathered details of all printed mat-
ter and images of events and projects. The sum
total is a visualisation of the Academie. The book
has holes punched in it to indicate that the year
2005 has ‘expired’ and its content is no longer
effective. Cobbenhagen & Hendriksen also pre-
sented a visual proposal to create a new ‘corpo-
rate’ identity for the Jan van Eyck. It was decided
that the new identity would be based on the de-
sign of the website, created by Min & Sulki Choi.
— A man with a turban, the Lucca Madonna vs. the
Virgin of chancellor Rolin. In: Opening week 2006.
(9 – 13 January). With Marijke Cobbenhagen.
— Workshop the flying enterprise. (27 March –
10 April). With Marijke Cobbenhagen. Tallinn, EE:
The Estonian Academy of Arts.
Design
— Cultural activism today: strategies of over-
identification. (flyer). Maastricht, NL: Jan van Eyck
Academie.
— Yearbook 2005. (institutional publication). With
Marijke Cobbenhagen. Maastricht, NL: Jan van
Eyck Academie.
— Recruitment campaign Jan van Eyck Academie
2006/2007. (brochure and poster). With Marijke
Cobbenhagen. Maastricht, NL: Jan van Eyck
Academie.
— SMART project space. (institute‘s design). With
Marijke Cobbenhagen. Amsterdam, NL: SMART
Project Space.
— Prospectus 06/07. With Marijke Cobbenhagen.
Amsterdam, NL: Amsterdamse Hogeschool voor
de Kunsten.
Urs Lehni 1974 / Switzerland

Researcher Design
Urs Lehni’s project, entitled Private press, is
divided into two sub-projects: the theoretical
Research on the fanzine and the more practical
Our magazine. Research on the fanzine focuses
on private motivations within the world of fan-
zines, leading to the publication of magazines
and books. The fascination about these fanzines
emerges from their immediacy, their radical na-
ture and their ability to outflank all kinds of diffi-
culties concerning production, funding, censor-
ship and the like. The aim of the research project
is to explore this idiosyncratic interplay of visual
and textual expression, to analyse it and to estab-
lish quality criteria based on the observed material.
With the project component Our magazine, Lehni
proposes the production of two new issues of the
magazine of the same name, established by Mel-
anie Hofmann, Nick Widmer and Lehni in 2002.
Each issue of Our magazine is dedicated to a dif-
ferent topic of global and everyday content. Con-
tributions venture beyond the fields of art and
culture. The rejection of common, categorising
art propositions (high/low, commercial/artistic,
conceptual/intuitive) is an important quality of
the project.
www.our-magazine.ch
— Recent posterwork. With Lex Trueb. Brussels, BE:
La Cambre: École Nationale Supérieure des Arts
Visuels.
— Shapeshifters. Alex Trüb & Urs Lehni et Laurent
Benner. With Lex Trueb. Brussels, BE: De
Beursschouwburg.
— Things to do, vol. 2. With Jürg Lehni. Zürich, CH:
School of Art and Design.
— Things to do, vol. 1. With Jürg Lehni. Amsterdam,
NL: Gerrit Rietveld Academie.
— The private press. In: Opening week 2006.
Academie.
— Brand new second hand. With Rafael Koch.
Luzern, CH: School of Art and Design.
— Uncommon usage. With Jürg Lehni. Amsterdam,
NL: Gerrit Rietveld Academie.
Exhibitions
— [Untitled]. In: 22nd International biennale of
graphic design. (13 June – 15 October). Brno, CZ:
Museum of Applied Arts.
Sunday 31 December
Daniël van der Velden 1971 / the Netherlands

Advising researcher Design / Logo Parc
Daniël van der Velden works as a graphic design-
er, writer and researcher. As advising researcher
at the Jan van Eyck Academie, Daniël initiated the
Meta Haven: Sealand identity project, proposing a
corporate identity for Europe’s smallest nation
state, the Principality of Sealand. Subsequently,
he co-founded the design research project Meta
Haven with researchers Vinca Kruk, Adriaan
Mellegers and Tina Clausmeyer. Meta Haven is
involved in forward thinking regarding (corpo-
rate) identity, design and politics. In the autumn
of 2007 Meta Haven will publish its first book: Un-
corporate identity.
Daniël van der Velden’s most recent project is
Logo Parc. Its multidisciplinary design research
team will critically focus on the spatial politics of
neo-liberal capitalism.
Projects
— Meta Haven.
Organisation events
— The museum of conflict. Art as political strategy in
post-communist Europe. (12 September). With
BAVO, Calin Dan, Wouter Davidts, Jonathan
Dronsfield, Maria Hlavajova, Meta Haven, Mihnea
Mircan, Edi Muka, Matthias Pauwels, Alina
Serban & Florian Waldvogel. Maastricht, NL: Jan
van Eyck Academie.
Publications
— CC./BCC. map. In: The creativity. With Vinca Kruk,
Meta Haven.
pp. 112-123.
— Annelys de Vet (Ed). De publieke zaak van de
grafisch ontwerper [The public role of the graphic
designer].
— Research & destroy. Een pleidooi voor grafisch
design als onderzoek. In: Metropolis M, 2,
pp. 36-39.
— Can a creative engagement with present-day
‘public space’ also be critical? (3 November).
In: The Wal-Mart phenomenon. Resisting neo-
liberalist power through art, design and theory.
Gretzinger, Matthijs van Leeuwen, Matteo Poli &
Gon Zifroni. Amsterdam, NL: Gerrit Rietveld
Academie.
— Logo Parc. Economy, symbol and architecture on
the Amsterdam Zuidas. (12 May). With Katja
Gretzinger, Matthijs van Leeuwen, Matteo Poli &
Gon Zifroni. In: Art and the city. Amsterdam, NL:
Het Trippenhuis.
— Design research vs. the content factory.
— The museum of conflict. Art as political strategy in
post-communist Europe. (12 September).
With BAVO, Calin Dan, Wouter Davidts, Jonathan
Dronsfield, Maria Hlavajova, Meta Haven, Mihnea
Mircan, Edi Muka, Matthias Pauwels, Alina
Serban & Florian Waldvogel. Maastricht, NL:
Discussions/debates
— Rijksvormgever: noodzaak of nonsens?
(15 November). (participant). The Hague, NL:
Internationaal perscentrum Nieuwspoort.
— Research on research. (10 October). (moderator).
With Koen Brams, Mika Hannula, Suchan
Kinoshita. Maastricht, NL: Jan van Eyck
Academie.
— Nieuwe beelden voor Nederland. (15 March).
With Ursula Tirschner, Annelys de Vet & Rutger
Wolfson. Eindhoven, NL: Design Academy.
Design
— If I can’t dance, I don’t want to be part of your
revolution. Edition 2: Feminist legacies and
potentials in contemporary art practice. (booklet/
brochure). With Maureen Mooren.
Studio practice and light
May-June 2007
Jean-Baptiste Maitre
— Paris/Maastricht
“Before I started working at the Jan van Eyck Academie in January 2007 my photography practice was mainly something
related to an experience, and then transferred to a computer image. Often, there was a kind of confrontation between
my photography and the ‘outer reality’, but it always remained virtual photography, sometimes printed on proofprints,
in order to check whether the colours were correct. I considered the practice of photography as the main subject of photography,
not involving so much the object of the print itself.

Entering one of the many studios at the Jan van Eyck, and staying there in order to produce art, in the old-fashioned way,
has made me reconsider the practice of the spectator as something related to the practice of photography, or art.

Que faire ? I guess that is the most frequently asked question in the studio. This includes the freedom of doing
nothing, or just wander around. Whatever I do, there’s always the daylight, underlined by the venetian blinds of the
Jan van Eyck studio, which just reminds me that an image cannot compete with an experience (Hamish Fulton).”
Colophon
This Yearbook was realized with the support of publisher’s press Media Groep Limburg
(that publishes the dailies Dagblad de Limburger and Limburgs Dagblad)
and its printing office Nieuwsdruk Limburg, Heerlen
and of bindery Boekbinderij W. Tindemans B.V., Weert
Design: Tomorrow Book Studio

Production: Jo Frenken
Excerpt spine: from The old man and the sea by Ernest Hemingway
Print body and dust cover: Nieuwsdruk Limburg, Heerlen; Jos Dassen, Joey Systermans
Print green pages: Bern. Claessens, Sittard
Cover: Hofmans Drukkerijen, IJsselstein
Bound by: Boekbinderij W. Tindemans B.V., Weert
Edition: 1,000 Dutch & 1,000 English
Maastricht, 2007
Jan van Eyck Academie

Academieplein 1
6211 KM Maastricht
The Netherlands
t. +31 (0)43 3503737
f. +31 (0)43 3503799
e. info@janvaneyck.nl
w. www.janvaneyck.nl
Jan van Eyck Academie

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– Fine art – Marijke Cobbenhagen Lorenzo Chiesa

Gon Zifroni Aaron Schuster

– Fine art – – Politics – – Rese arch –

Traces of autism On identification. Reading Lacan, seminar IX

– Film and television – Politics and jouissance

Going aerial. Air, art, architecture

The museum of conflict. Art as political

Elisabeth Penker 1974 / Austria

For the fifth consecutive year the Opening week marked

The tomorrow book tual exchange. A collective responsibility

See also www.ubiscribe.net

Matthijs van Leeuwen 1977 / the Netherlands

Paul Hendrikse 1977 / the Netherlands

politics BAVO pleaded for artists using the strategies of

Maartje Dros 1980 / the Netherlands

Will Holder 1969 / Great Britain

Film and biopolitics

See also www.bbooks.de/jve

Film and television

Romana Schmalisch 1974 / Germany

On the television work of Jef Cornelis looking at alternative models, proposed

Marc De Kesel 1957 / Belgium

Jacqueline Schoemaker 1969 / the Netherlands

Traces of autism There are limits!), which scrutinised cultural influences

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Nikolaus Gansterer 1974 / Austria

Megan Sullivan 1975 / United States

The pensive image

Film and television

Irene Lucas 1973 / Spain

Jozua Zaagman 1981 / the Netherlands

Sandra Fauconnier 1973 / Belgium

Museum tion to open up the ideas “beyond the museum to

Film and television

Katja Gretzinger 1972 / Germany

The arTisTic aPParaTus

In 2006 specific campaigns were set up for the following publications:

Company Aid Assistance

DEBIT 2006 2005

Total 1,166,469 1,041,041

Total 1,166,469 1,041,041

REVENUE 2006 2005

Total Revenue 2,387,260 2,481,686

Total expenditure 2,395,520 2,473,143

Sum total exploitation 1,701 24,339

Advising researchers 3.65

Editing and translation 1.31

Public programme and events 1.23

Knowledge fields 3.6

Library and documentation centre 2.2

Total amount permanent functions 24.04

Students on work placement / Start

Students on work placement / Termination

Temporary appointments / Start

Temporary appointments / Termination

Dr Jan van Adrichem

Sarah Infanger 1978 / Switzerland

Tina Clausmeyer 1978 / Germany

Gon Zifroni 1980 / Israel

Orla Barry 1969 / Ireland

Automatic pilotless ignition (API)

Film and television