Since Fall 2019, Bass-Krueger is professor in Art History at Ghent University. She works on museum history, exhibitions, fashion and textiles, and architectural drawings. Her research focuses on visual and material culture in the long nineteenth century, notably as it relates to fashion and/or architecture. She curated the exhibition Mode & Femmes 14/18 at the Bibliothèque Forney in 2017 and the American iteration, French Fashion, Women, and the First World War at the Gallery of the Bard Graduate Center (Sept 2019-January 2020). She is co-editor and author of the book of the same name, published by Yale University Press in 2019, and designed by Irma Boom. She is currently writing a monograph on nineteenth-century French architectural drawings and the historic imagination and another on the culture of fashion history in nineteenth-century France. A new project focuses on the relationship between fashion and architecture. Between 2015-2019, Bass-Krueger co-directed the research seminar "Histoire + Mode" at the Institut d'Histoire du Temps Présent (IHPT) at the CNRS in Paris. In 2017, she co-founded Culture(s) de Mode, a French network for fashion researchers financed by the French Ministry of Culture.
Godart Bakkers is a curator and writer, focusing on the intersection of film and art. In 2012 he started together with Laure Decock Etcetera in SMAK, an yearly event focussing on video-art, performance and music. In that same year he founded with Laura Herman and Matthias Yzebaerts the artspace These Things Take Time in Ghent, which ran till 2016. Bakkers was the artistic director of Art Cinema OFFoff in Ghent from 2014 till 2018 and worked as a film-programmer for the European Media Arts Festival in Osnabruck, Germany from 2017 till 2020. In 2018 Bakkers was the co-founder of Monokino, initiated by Anouk De Clercq, Monokino organizes regularly screenings in Oostend of films related to the sea. In the summer of 2020 they organized a silent film festival, with screenings and installations by Lili Dujourie, Wim Janssen and Ingel Vaikla among others. He teaches a class on artists’ writings at KASK in Ghent, is a mentor for the masters and coordinator of the KASKlezingen, the annual lecture series of the academy. He organized exhibitions at Loods12 in Wetteren, showing works of Jaakko Pallasvuo, Katja Mater, Alexandra Navratil, Voebe de Gruyter and Rober Beavers among others. He co-runs Bureau d’Alimentation together with Charlotte van Buylaere and Bert Jacobs. With BDA they broach various subjects through food. They organise orchestrated meals and discussions with a diverse set of artists, chefs and institutes. In December 2019 in the Royal Flemish Theatre in Brussel they organized a dinner in collaboration with artist Johan Grimonprez. The dinner was accompanied by Vandana Shiva and Olivier De Schutter, questioning the disappearance of the ‘commons’. From 2019 onwards, Bakkers is running a four-year research project together with Wouter de Vleeschouwer and Koen Brams, that focuses on the history of Ghent’s art scene between 1957 and 1987.
Wouter DavidtsWouter Davidts teaches at the Department of Architecture & Urban Planning and the Department of Art, Music and Theatre Sciences of Ghent University (UGent). He is the author of two volumes on museum architecture, Bouwen voor de kunst? (A&S/books, 2006) and Triple Bond (Valiz, 2017). Currently he is working on a book-length project on size and scale in postwar art, entitled Scale is Content. He has published on the museum, contemporary art and architecture in journals such as Archis, Afterall, De Witte Raaf, Footprint, Kritische Berichten, Metropolis M, OASE, Parachute, and Sculpture Journal, and in many books and exhibition catalogues. His exhibition reviews have appeared a.o. in Artforum, Camera Austria, Sculpture and OPEN.
He co-edited The Fall of the Studio (Valiz, 2009), Luc Deleu – T.O.P. office: Orban Space (Valiz, 2012), Philippe Vandenberg: Absence Etc. (Hauser & Wirth Pubishers, 2017) and most recently Trading between Architecture and Art (Valiz, 2019). Among the shows he has curated are Beginners & Begetters (Extra City, Antwerp, 2007), Abstract USA 1958–1968. In the Galleries (Rijksmuseum Twenthe, Enschede, 2010), Orban Space: Luc Deleu – T.O.P. office (Stroom Den Haag, 2013; with Stefaan Vervoort), The Corner Show (Extra City Antwerp, 2015; with Mihnea Mircan and Philip Metten), and After Scale Model: Dwelling in the Work of James Casebere (BOZAR, Brussels, 2016). Currently he is preparing the exhibition Round About or Inside for the Griffith University Art Museum, Brisbane, Australia (2021).
Inti Guerrero (b. 1983, Bogotá, Colombia) is the Estrellita B. Brodsky Adjunct Curator of Latin American Art at Tate, London (since 2016), and Artistic Director of BAP - Bellas Artes Projects in the Philippines (since 2018). He studied History and Theory of Art and Architecture at Universidad de Los Andes in Colombia and Universidade de São Paulo in Brazil (2001-2005), and is a former fellow of De Appel’s Curatorial Programme in the Netherlands (2007-2008). Guerrero has been a guest lecturer in various universities including: School of Visual Arts, New York; California College of the Arts, San Francisco; University of the Arts - Chelsea College of Arts, London; Dutch Art Institute, Arnhem; Rietveld Academy, Amsterdam; and Hong Kong University. As an independent curator he has curated or co-curated exhibitions in East and Southeast Asia, Latin America, West Africa, the United States and Europe. His texts have been published in Afteralland has contributed to art journals including Metropolis M and Manifesta Journal
Laura Herman is a curator, writer, and editor. She is Course Director of the postgraduate Curatorial Studies programme and head of the Master of Visual Arts at KASK & Conservatorium in Ghent. Previously, Herman served as a curator at La Loge in Brussels, a space dedicated to contemporary art, architecture, and theory, where she curated ‘Learning from Artemisia’ by Uriel Orlow, ‘Palais de Justice’ by Carey Young, ‘Despina’ by Zoë Paul, among other projects. She was editor of De Witte Raaf, a bimonthly art journal distributed in Belgium and The Netherlands. Between 2018 and 2020 Herman was curator of ‘The New Sanctuary’, the 12th Satellite programme at Jeu de Paume in Paris, CAPC in Bordeaux, and the Museo Amparo de Puebla in Mexico. She is a theory tutor at the department of Contextual Design at the Design Academy Eindhoven, co-editor of The Floor is Uneven. Does It Slope? (Mousse Publishing, 2019) and co-author of publications including Herewith the Clues (Sternberg Press, 2019) and Experience Traps (Motto Distribution, 2018).
Laura’s reviews and essays have appeared in Mousse, Frieze, Spike Art Quarterly, Metropolis M, Bomb, and elsewhere, and she has (co-)curated exhibitions and events including Family Fictions’, an exhibition at Extra City Kunsthal (2019), ‘Natural Capital (Modal Alam)’ (Bozar, Brussels, 2018), ‘Definition Series: Infrastructure’ at the Storefront for Art and Architecture (New York, 2016), ‘Third Nature’ at the Hessel Museum (New York, 2016), ‘The Office for Doubts and Desires’ at P!, (New York, 2016), and ‘Wild Horses & Trojan Dreams’ at Marres (Maastricht, 2013). Between 2013 and 2015, Laura served as an assistant curator at Z33, House for Contemporary Art, working on commissioned artworks in public space. She is a Board member of Auguste Orts and of AICA, association of international art critics. Laura received an MA from the Center for Curatorial Studies, Bard College, New York, in 2016, and an MA in Comparative Modern Literature from Ghent University in 2010.
Annie Jael KwanAnnie Jael Kwan is an independent curator and researcher based in London and working across Europe and Asia. Her background is in theatre studies, cultural studies and modern and contemporary art history, and her practice is located at the intersection of contemporary art and activism with an interest in issues related to archives, histories, feminist, queer and alternative knowledges, collective practice and solidarity. She is a recipient of a Diverse Actions Leadership Award 2019 and co-leads Asia-Art-Activism, currently in residence at Raven Row till May 2021, and is the recipient of the European Cultural Foundation's Culture of Solidarity grant.
Rachael Rakes is a curator, arts writer, editor, film programmer, and educator. She is currently Curator for Public Practice at BAK basis voor actuele kunst, an Editor at Large for Verso Books, and a Programmer at Large for the Film Society of Lincoln Center—where she co-curates the annual experimental nonfiction festival Art of the Real. Until 2019, she was the Head Curator and Manager of the Curatorial Programme at De Appel in Amsterdam. From 2011 until 2018 she was a contributing editor to the Brooklyn Rail. She has taught recently at New Centre for Research & Practice, The New School, Harvard University, and Sandberg Institut. Rakes is co-editor of the publication Practice Space (2019, NAME/De Appel) and has contributed criticism and essays to Art-Agenda, Artforum, and the Brooklyn Rail, among other publications and catalogues. Recent exhibitions and programmes include DECODERS/RECORDERS: Forms are Facts (Cosmic Rays, UNC), Steffani Jemison and Samson Young (De Appel/Looiersgracht 60, Amsterdam), Relational Capacities (Frame Contemporary/Amos Rex, Helsinki), On Watching Men (SAIC, Chicago), Dark Progress + Uncontained Energy and Contained Fear (Tabakerlara, San Sebastian), In Between: Tacita Dean (Centre Pompidou, Paris), EVAN IFEKOYA: A Score, A Groove, A Phantom, A Congregation (De Appel), On Documentary Abstraction (Oolite Arts (Miami), Estructuras de la Razón (Walgreens, Miami), BEN RUSSELL: It is Here, It Will Last Forever (De Appel), and Formal Complaint (Knockdown Center, NYC). With Laura Huertas Millan, Rakes runs Counter-Encounters, a research and curatorial firm that engages tools of ethnographic refusal in visual and audio practices.
Samuel SaelemakersSamuel Saelemakers is a curator, currently working as curator of the Public Art Collection of the city of Antwerp, under the wings of the Middelheim Museum. Prior to this position, from 2012 to 2019 he was curator at (FKA) Witte de With Center for Contemporary Art, Rotterdam. He holds an MA in Art Philosophy and Aesthetics from the Université Paris IV–Sorbonne and an MA in Philosophy from the University of Antwerp. Before joining Witte de With he was research assistant to curator Jean-Hubert Martin and project assistant at SAM Art Projects, Paris. Saelemakers has curated numerous solo and group exhibitions, many of which included the production of newly commissioned work, publications, and international institutional partnerships. Amongst these are solo projects and exhibitions by Tramaine de Senna, Irene Kopelman, Federico Herrero, Judy Radul, Goshka Macuga & Ahmet Ögüt, Douglas Coupland, Qiu Zhijie, Daniel Dewar & Grégory Gicquel, Mark Geffriaud, Charlemagne Palestine, and a series of commissioned solo presentations by Camille Henrot, Germaine Kruip, Mahony, Zin Taylor, Ozlem Altin, Freek Wambacq, and Xu Zhen. Group exhibitions he (co)curated include topical projects on the epistolary form in contemporary art, and Chinese contemporary art in the 1980s and ‘90s.
Dr. Sanneke Stigter is an art historian (1996 University of Amsterdam) and contemporary art conservator (2003 SRAL, Cum Laude). She is Assistant Professor in Conservation and Restoration of Cultural Heritage at the University of Amsterdam, for which she set up the Contemporary Art specialisation in 2007. She worked at the paintings conservation departments of the Stedelijk Museum Amsterdam, the Frans Hals Museum De Hallen, and the Cultural Heritage Agency of the Netherlands, before becoming Head Conservator for Modern Sculpture and Contemporary Art at the Kröller-Müller Museum in 2004. She worked there for nearly eight years, also curating several exhibitions on art conservation. In 2016, she defended her PhD thesis: Between Concept and Material. Working with Conceptual Art: A Conservator's Testimony, in which she has combined her theoretical insight and museum experience. During her career, she has been partner in many international research projects devoted to the conservation of contemporary art, both for the museum (Artist Interviews, Inside Installations and PRACTICs) and the university (New Strategies in the Conservation of Contemporary Art, NeCCAR, and NACCA). In addition, she has been principal investigator for various NWO research projects: Interviews in Conservation Research, DIAL for Complex Artworks: Digital Index of an Artwork’s Life and as Comenius Teaching Fellow for Media Art Conservation Module. In addition, Stigter has been on the board of several artist estates, does editorial work, amongst others for kM, and is on the Steering Committees of the SBMK and INCCA. She was Assistant Coordinator of the ICOM-CC Modern Materials and Contemporary Art Working Group, is Chair of the Board of the ICOM-CC Fund and of the Alumni Network Conservation and Restoration in the Netherlands. Her research interests lie in conservation theory, museum practice, oral history and artist participation, with a special focus on conceptual art, photoworks and installation art. She has lectured and published widely on these topics, to be found on her university profile page:
Anna Stoppa is working at KASK & Conservatorium, Ghent as project coordinator for Curatorial Studies and as internship coordinator at the Master in Fine Arts. She has been teaching history of artists’ books at the CIty Lit Centre for adult learning in London and she has been working as assistant at Studio Ryan Gander, co-editing Artists’ Cocktails and Artists’ Cocktails Here among other publications. She is co-founder of moss, a curatorial collective focused on observation of creative processes and Kolder, an artist-run space based in Ghent. Her current focus is on curatorial practices in live arts, movement, performativity and their generative role in relationship to spectatorship. She is interested in those contemporary practices that explore the contaminations and the limits of artistic expression, being able to raise questions about what is urgent and needed in our contemporary society.
Marijke Van Eeckhaut
Dr. Marijke Van Eeckhaut is an art historian and an art interpretation, education and participation expert. She earned her PhD at Ghent University for research on interpretation and education in art museums. Within this field of expertise, she combines research, practice and teaching. In addition to the course ‘Audiences and Learning’ at the Curatorial Studies programme in Ghent, she teaches and lectures on similar topics in Flanders as well as abroad (e.g. Utrecht University). These teachings draw from both research and practice. Her recent research focuses on participation, including a study of audience participation in the arts field (research commissioned by the Flemish administration, in collaboration with KdG University of Applied Sciences and Arts) and a practice-based research project experimenting with diverse forms of participation in the arts, set up by Bamm!, M Leuven and Cera. She is also engaged by Bamm!, one of the largest art and heritage education organisations in Flanders, to develop its methodology through practice-based research. As for practice, she acquired extensive experience with the nitty-gritty of art interpretation and education as staff member at the Museum of Contemporary Art in Antwerp, and nowadays she advises museums and art and heritage organisations in Flanders and abroad on diverse questions concerning audiences and learning. Projects include collaborations with Museum Boijmans Van Beuningen, MAS, KMSKA, the municipal museums’ renewal processes in Brugge, Lier and Mechelen, Stedelijk Museum in Amsterdam, M HKA, Kunsthal Extra City, Z33, GUM, Middelheimmuseum, Kazerne Dossin etc.
Sung Yoon Ahn
Nathan Pramudiya Ishar
Vincent van Laeken
Johannes de Bruycker
Michiel van Damme
May Lie Basyn
Olivier Van D’Huynslage
Rachelle Dufour Annelies Legein
Pauline Scharmann Josephine Van de Walle
Josephine Vandekerckhove Lieve Vanmaele
Wouter De Vleeschouwer
Isabel Van Bos
Lenja Van Laeken
Emma Van Wolferen
Laura Le Bral
Valérie De Neef
Geert Van de Caspeele
Thomas Van Haren
Lisa De Brouwere Marlies De Clerck
Anna De Paepe
Anna De Ridder
Waldo De Roo
Evelyn Van Asbroeck
Ramona Van Gansbeke
Lisa Van Gerven
Simon Leenknegt Lisbeth Martens
Lara Van Oudenaarde
Sander Van Raemdonck
Course DirectorLaura Herman
Guest tutors and lecturers masterclasses in 2020-21
Cecilia Alemani (Curator Venice Biennale 2022)
Rebecca Lamarche Vadel (Director Lafayette Anticipations, Curator Riga Biennial)
Karen Archey (Curator Stedelijk Museum)
Ippolito Pestellini (Curator Manifesta Palermo)
Nav Haq (Associate Director Muhka)
Joanna Warsza (Director Konstfack)
Staci Bu Shea (Curator Casco Utrecht)
Philippe Van Cauteren (Director S.M.A.K.)
Tanja Boon (Curator S.M.A.K.)
Liesje Vandenbroeck (Assistant Curator S.M.A.K.)
Sue Spaid (Curator)
Bianca Baldi (artist)
Florence Cheval (Curator Intersections of Care)
Prem Krishnamurthy (P! KW Berlin)
Kate Strain (Director Kunsthalle Graz)
Ekaterina Degot, (Director Steirischer Herbst)
Zoë Gray (Curator WIELS)
Kasper Bosmans (artist)
Marie Logie (Director Auguste Orts)
Melanie Deboutte (Director Raveel museum)
Evelyn Simons (Curator Horst)
Laila Melchior (Curator)
Course Directors2016-20: Antony Hudek
2012-16: Jan Debbaut