This advanced master program focuses on the research development for artists and designers whose practice is addressing a social-political context (including but not limited to feminism, social design, migration, decolonisation, race/class/gender/queer/disability politics, capitalism, the Anthropocene, the (under)commons, community art, critical design, healing & rituals, history, AI & digital culture… The program offers time and space to conduct research without the pressure of production or exhibition.
The focus is on practice-based artistic research and research exchange. The program addresses specific theoretical interests by inviting voices from a variety of fields that can cater to the individual and collective research interests. Collective learning and participatory coaching are central to the program, foregrounding the engagement of each participant to care for each other’s well-being and research development. We, therefore, offer a coaching and participatory methodology that is anchored in intersectional situatedness and care.
The concrete program is developed in accordance with the specific research proposals, interests and needs of participants. It offers intense coaching in writing, critical studies, artistic research methodologies and sharing research. The coaching is individual, collective and participatory; every participant is invited to expand our situated knowledges and responsibilities. There is a strong focus on sharing research and (peer-to-peer) feedback; this entails collectively designing productive formats to share our insights and creating a sustainable research network.
The participants meet in Antwerpen every two or three weeks for three full days, mostly on Monday, Wednesday and Friday. These three days are dedicated to four modules (Methodology, Writing, Critical Theory and Share Research) in which we focus on the participants’ specific research proposals and enable them to advance in writing, theoretical explorations, research methodology and sharing their research. Parallel to this trajectory, we also organize three intensive weeks.These are three full-time research weeks with international or local artists or designers across the fields of artistic research.
We work with a small group of maximum 12 students. The candidates are artists or designers who have developed an individual or collaborative practice and intend to work on a practice-based artistic research project for one year. The program is particularly suitable to those interested in critically developing their practice within a social-political field or in preparation for a PhD project.
The participants are expected to be present at all sessions (three full days) every two or three weeks and at the three intensive weeks. In addition, there will be peer-to-peer workshops, seminars, talks and other events organized as part of the program.
We expect participation and engagement in a practice of collective care, critical reflection, and responsibility. The workload and intensity of the program is not to be underestimated and we therefore recommend candidates to realistically assess their availability and commitment before applying. Ideally, students are based in or willing to relocate to Antwerp or Belgium.
This program is anchored in a nurturing research environment of five dedicated and experienced tutors, and several PhD and senior researchers as well as a network of guest lecturers and partner organizations.
Small collectives or artistic duos are also encouraged to apply!
Would you like to enroll in the advanced master’s program?
‘Sint Lucas Antwerpen, School of Arts’ is part of the ‘KdG University of Applied Sciences and Arts.’
On this page of the KdG-website, you find all admission requirements such as the tuition fee, study costs, scholarships registration and the application procedure.
Application Due dates
For the 2024-25 academic year: Admissions will open in January 2024.
- Please register here and load up all the necessary document, then you will be invited to send in your research file
- The due date for sending in your research proposal is 15 April 2024.
- Selected candidates will be invited for an online admission interview on 2, 3, 6 or 7 May 2024.
- You will be informed of the decision no later than 10 May 2024.
I am a teacher and researcher at Sint Lucas School of Arts, Antwerpen. My research focuses on the intermediate space between literature and the visual arts. I teach courses on Narrative Strategies in Art & Design, Writing and I am a thesis coach for students in their master’s degree.
I am the tutor of the Writing module within the Advanced Master program.
This module will incorporate three different takes on writing: a contextual survey of the praxis of writing within and without academia, a training of academic writing skills and an exploration of creative writing. Through the reading of texts, class discussions and (collaborative) writing and editing exercises, we will investigate the possibilities of writing as practitioner-researcher.
Nataša Petrešin Bachelez
I was born in Ljubljana, Slovenia, and since 2005 live and work in Paris. I work as an interdependent curator, writer and editor and my research touches fields of knowledge and practice such as situated curatorial practices, empathy and transnational feminism, slow institutions, performative practices in the former Eastern Europe, and engaged artistic practices in the era of the Anthropocene/Capitalocene. In 2021 I was nominated as Cultural Programmes Manager at the Cité Internationale des Arts in Paris.
I am a guest lecturer in the Theory module within the Advanced Master program. With the students, we are reading together texts of authors of various disciplines and written in various geopolitical contexts that address the complexity and socially as well as ecologically unjust conditions of living in the contemporary moment. We are discussing intersectionality, critiques of the Anthropocene concept, decolonial ecology, black feminism and coloniality of power and gender, while attempting to answer the questions : What makes you read a certain text ? When did it occur that a theoretical text changed your view or moved you ? How does a text find you ?
I am a visual artist, mainly working with installations, sculptures and drawings. During the last decade, I investigated different forms of cultural classification systems, their linguistic, social, political and architectural translations. Since 2009 I have been a researcher at Sint Lucas Antwerpen. In 2017 I published my PhD in the format of ‘The Foundation for Exhibiting Art & Knowledge’.
Together with Loraine Furter I’m responsible for coaching and supporting participants of the Advanced Master program in their research trajectory. The Research Methodology module aims at exploring, questioning and discussing central questions concerning artistic research in general, as well related to the individual research of the participant.
I am a graphic designer and researcher based in Brussels since 2007, specializing in editorial design, hybrid publishing and intersectional feminism. I design and edit paper publications as well as web and digital ones, and am particularly interested in the interaction between these media. I’m currently working on a research project entitled Speaking Volumes — art, activism and feminist publishing. I am a PhD researcher at Sint Lucas Antwerpen, and also part of the cyberfeminist collective ‘Just for the record’.
I am taking care of the Research Methodology module within the Advanced Master , in collaboration with Wesley Meuris. In this module we discuss with the participants different tools to do research, and the ethical and political questions that come with each protocol.
I was born in Aotearoa New Zealand, and currently live in Brussels. I am a visual artist and my work engages with multiple formats, including sculpture, collaboration, editing, performance, painting, and installation. Alongside my solo work, I am a member of the All the Cunning Stunts, co-curator of Buenos Tiempos Int. and part of the team of Mothers & Daughters: A Lesbian* & Trans* Bar*. I have previously taught at l’ERG (Brussels) and on the Master of Voice program at the Sandberg Instituut (Amsterdam).
I lead the ShareResearch module within the Advanced Master program. ShareResearch is taught from a feminist and queer perspective and focuses on supporting participants to develop an appropriate written, oral and/or visual language to share their research process and reflection. Choosing the context (setting, community, language, duration) in which to share their research and participate in producing a relevant and usable body of knowledge is also part of this module. Alongside the language participants need to develop for their own research and the contexts they prioritize to share within, participants hone their abilities to critically look and listen in order to formulate insightful feedback towards their peers.
I am an artist-researcher and a joint PhD candidate in the interdisciplinary program of Concordia University, Canada and Sint Lucas Antwerpen. I have a BA in translation studies, an MFA in digital media and I am an alumna of the Advanced Master program. I have been trained in media art and design and my research-practice encompasses the interdisciplinary field of science, technology and society (STS) to bring the social thickness back into the science and technology practices that conventionally claim their fields as “immune” to social concerns. I have practiced In Iran, Canada, and now in Belgium with a focus to bring awareness to urgent social-political concerns that I find to have ties with my own lived experience
I am responsible for the theory module through which we work in large, small curated groups based on shared interests, and eventually individually to develop your theoretical frameworks based on your research interests. The focus in this module is to grasp how theoretical underpinnings that you come across can be ‘domesticated’/‘grounded’ within your practice. This practice of adjusting your lens, requires a macro understanding of theoretical concepts aligned with your research which we will diligently practice together. Beyond grappling with theory, the required group work will sensitize you to ethics of care and an ongoing negotiation for an invaluable shared understanding in between yourselves.
I am an interdisciplinary graphic designer and artist drawn to practices of remembrance and protection. Family albums, their processes of collecting, circulation and dissemination in the context of Deir-Ezzour, Syria, are often the source of various forms of reflection, feeling and telling stories. I do this through critical fabulations and activation of photographs with ancestral knowledge, poetry and traditional Islamic protection practices.
I’m born and raised in Syria and currently living in Antwerp, Belgium. I coordinate the Advanced Master program at Sint Lucas Antwerpen. I participated in residencies at Frans Masereel centrum, Futures Photography and Morpho. My work has been presented at Photoforumpasquart, Fomu Museum of Photography, Globe Aroma and Constant.
If you need more information about the advanced masters programme, contact the coördinator email@example.com.
Petra Van Brabandt
Intensive weeks 2023-2024
“Zine making around the work of Ariella Azoulay”, facilitated by Anat Martkovich
“Chlamydia Gonorrhea Syphilis”, facilitated by Castillo and Emmanuel Cortés, co-directors of “Aids, archives, and arts assemblies in Belgium.”
“Aids, archives, and arts…” is the project to host three intimate assemblies in 2023, 24, and 25, as well as events with different audiences. It aims at devising processes to carry out projects on aids, archives, and arts made by and for people concerned with HIV and aids. These assemblies are intimate, self-organized, and hosted between a chosen diversity of people concerned with HIV and aids. The assemblies challenge traditions of expertise and ownership with chosen diversity; visibility with intimacy; and authorship with self-organization. “Aids, archives, and arts…” is coproduced with La Bellone, BUDA Kunstencentrum, Le Delta, erg: école de recherche graphique, Kaaitheater, and Sint Lucas Antwerpen, all of them in Belgium.
Chlamydia Gonorrhea Syphilis, Castillo and Emmanuel.
WetWekin is an experimental eco-pedagogical research practice living in kin relationship with water as an ally and ancestor. The research gatherings are activated with different groups in the format of workshops and hybrid spaces that are floating through hydroqueerism, politics of the feel and radical wetness. During the workshop we hear the wells, sources, rivers and seas within us and outside us, to open a “void” of discomfort and care to enable shapeshifting, kin alliances, fabulations for cosmic diplomacy and advocacy. We experiment with water semiotics, walking with methodologies, sensory rituals and other types of language to dialogue with other than humans.
Guest tutors 2023-2024
Fátima Rodrigo Gonzales, Anat Martkovich, Risk Hazekamp, Shayma Nader, Joud Toamah, Samah Hijawi, Vivi Touloumidi, Reem Shilleh…
Katy Drake (katymdrake), An-Marie Bram (the_d_drawings), Kristí Fekete (kr11st11), Yi Zhang (zhangyiii_), Andrés Milán Lara, Biyi Zhu (bitsray), , Eleftheria Tzirki, Nicolas Claessens (nicolas_clssns), Saskia Van der Gucht (nachtvreugd), Veronica Samuel, Anthe Hermans (anthe.hermans)
Intensive weeks 2022-2023
Intensive Week I “Performative Embodied Theory” with Azahara Ubera Biedma
During these sessions, the participants learned how reading theory can be a shared embodied practice through different exercises starting from collective reading, asking questions and discussions to finding ways to bring this shared knowledge through performative and dispositive activities from dance, breathing, play, music, performance etc.
Azahara Ubera: (she/her, they/them) is an artist, choreographer and researcher. They first arrived in Brussels to complete a Research Cycle at P.A.R.T.S. studios. Their practice is situated at the intersection of dance, choreography, experimental pedagogy, artistic creation and how to translate philosophical and political ideas around feminism and queer culture into somatic practices. Through performances, installations, workshops and social situations they create spaces for being together, intimate encounters to connect with otherness through movement, language games and sound creation with objects. Azahara develops their work and practice together with several collectives and organisations in Brussels and thanks to all the learnings with Somatecx, a research group initiated by philosopher Paul B Preciado in Madrid.
Intensive Week II “Aesthetics of the Political and Astrology” with Samah Hijawi
For a week, artist and researcher Samah Hijawi lead an intensive week with the participants of the Advanced Master in Art and Design Research at Wp Zimmer. During this week the students were introduced to ‘Aesthetics of the Political’ a project facilitated by Samah, in which they come together to explore how artists translate their ideas into artistic form.
Through listening, playful explorations based on everyday practices, cooking, eating and astrology readings done by Samah, they explored how to learn through alternative forms of pedagogy that puts care practices at the core of how we spend time learning.
Samah Hijawi is a multi-media artist (a painter, a performer, an astrologer, a story teller, a researcher and an academic, a cook—it’s up to you to decide). Regardless of the form through which she materializes her work, her projects are always deeply rooted in historical narratives which are used to re-imagine our contemporary life outside of the radicalized and polarized discourses that direct our lives today. In her recent project Kitchen. Table., she researches the movement of food practices over time and across geographies, and the body as a site of food memory. The research materializes in food map posters and performative dinners that map out the stories and spectacular trails of migration of plants, herbs and spices—to unfold the politics of the food on our tables.
Alongside the food research is an on-going project called the Aesthetics of the Political, an exploration of how a political position is embedded in the aesthetic choices in an artwork. This research has materialized in many forms (performances, podcast, curated program) and is also developed as a learning program for art students who are engaged with social and political issues in their work.
Intensive Week III ‘Mapping the invisble’ with Shaden Awad and Sara Khasib
The intensive week is focused on walking as an act of engaging with the city and exploring diverse, invisible processes that formed and affected the production of its spaces. The workshop considers experementing with alternative city mapping and representation methodologies and techniques.
Shaden Awad: Assistant Professor and faculty Member at the Department Of Architectural Engineering And Planning
Sara Khasib: Instructor and Faculty Member at the Department Of Architectural Engineering And Planning
Guest tutors 2022-2023
Azahara Ubera Biedma, Samah Hijawi, Shaden Awad, Sara Khasib
Intensive weeks 2021-2022
Intensive Week I “Manada” with Azahara Ubera
MANADA (herd) is a tool-box of methodologies that is activated with different groups and situations, in workshops, laboratories, exhibitions and in hybrid spaces to create and collaborate in the creation of collective knowledge through a technological, transfeminist, and posthumanistic approach to the body, the use of gestures, voice and in conversations.During this workshop we worked on various group practices to open up spaces of trust, care and physical comfort with others, in order to create a sense of a group or a temporal community.
Azahara Ubera; researcher, dancer, choreographer, a radical tender feminist. Their practice is situated at the intersection of experimental pedagogy, artistic creation and body/sound movement practices. They also develop work along with several collectives situations with; Rica Rickson, Dance for Plants and in continuity to all the learnings as a member of Somatecx, research group initiated by the philosopher Paul B. Preciado.
Intensive Week II “SOKL” with Laura Nsengiyumva
During the world wars, some bomb craters were converted into “victory gardens”, plots of cultivated ground in which the affected citizens grew vegetables. Jardin des Déracinés transposes the craters from the war to modern-day problems. On the remains of a colonial monument, they create a healing ritual with plants and songs.
We met in Jardin Des Déracinés (garden of the disrooted), part of the SOKL festival Laura is curating in Antwerp. SOKL is a series of decolonial actions in the streets of Antwerp.An empty pedestal – a copy of a pedestal that carries a statue of colonial king Leopold II – travels through the city. Where it lands, it offers a dubious decor for artists to bring their own views of power & colonialism. The king is gone, there’s space for other stories.
Laura Nsengiyumva is affiliated as an artistic researcher to KASK & Conservatorium, the School of Arts of HOGENT and howest. The “Bookclub” is part of her research project “Shaping the presence of the African diapora in Belgium” that is financed by the HOGENT Arts Research Fund.
Intensive Week III with Yasmina Reggad
This intensive week will consider the Advanced Master’s in research programme at Sint Lucas Antwerp into the newsroom of a radio station in exile. We will look and consider the research projects of each participant in the master as material for the preparation of the content to be broadcast. We will consider such technologies as transmitter and receiver as methodologies to gather and decodes information as well as ‘display’ and/or perform live a complete radio programme for an audience of listeners that is physically present in the room. Useful enquiries to expand collective imagination in order to envision a radio in exile:What can radio broadcasting in exile tell us about political activities, the relationship with the host country and notions of legitimacy, loyalty outside the nation-state, hospitality, soft power and moral guidance? To what extent can it contribute to the development of new ideas, the changing of policy and the dissemination of information? How can it shape the writing of contemporary ‘transnational and un-national histories’? Finally, how can it inform us of listenership, and of the politics of solidarity manufactured in the acts of listening?
Yasmina Reggad is an independent curator, writer, researcher, dramaturge and performance artist based in Brussels, Belgium. She holds an MA in Medieval History from the Sorbonne University. She co-founded aria (artist residency in algiers) and previously worked at the Delfina Foundation and Art Dubai Projects. She is currently the co-curator of Zineb Sedira’s solo presentation at the French National Pavilion, the 59th Venice Biennale (2022) and the Artistic Director of Bienal das Amazônias, Belém in Brazil.Yasmina Reggad has conceived exhibitions, screenings, talks, performance and educational programmes at CENTQUATREPARIS (France), Tate Modern and Institute of Contemporary Arts (UK), Madrassa – l’Atelier de l’observatoire (Morocco), and regularly contributes essays on contemporary art and performance art.
Guest tutors 2021-2022
Alberto Garcia del Castillo, Masaab Hamoud, Clara Balaguer and Santiago Pinyol, Yasmina Reggad, Ammar Al Mamoun, Laura Nsengiyumva, Samah Hijawi, Azahara Ubera
Intensive weeks 2020-2021
Intensive Week I “Politics of possibility and the Anthropocene’s planetary imagery” with Maria Cruz Lucia Correia (December 2020)
Drawing discourses about rights of nature, ecocide and climate change, this workshop tackles environmental crises as complex emergency intertwined with politics, solostasia and collective environmental trauma. How do we cohabit with living forests, bacteria, mountains, rivers, algae as kin? The workshop explores the practice of walking as a ritual as way to grasp the absence, the sense of place, and the spectral haunting that comes from more-than- human loss. How does silence becomes a methodology that enables a deeper connection with the subject of artistic research
Intensive Week II “Aesthetics of the Political” with Samah Hijawi (February 2021)
“Aesthetics of the Political” is a research by Samah Hijawi that reflects on the strategies that artists use to transform political and critical ideas into aesthetic form in their work. This is an extension of her research and practice which started with a direct investigation into the relationship between the works of artists working during the revolutionary period of the 1970’s, with a specific focus on their engagement with the occupation and colonization of Palestine. Over time, this research has developed to trying to understand how politically engaged practices over the last century have been influenced and framed by their social contexts. The research asks the question; what constitutes a political gesture in artistic practices across media and disciplines?
Intensive Week III “Intensive Week III ‘Chaos & Metamorphosis” with Tracey Rose (April 2021)
Guest tutors 2020-2021
Nelle Hens, Maria Lucia Cruz Correia, Yin Yin Wong, Olivier Marboeuf, Natasa Soobramanie, Kate Briggs, Luke Williams, Gabriel Fontana, Saddie Choua, Samah Hijawi, foundland collective: Ghalia Sarakbi & Lauren Alexander, Yasmine Eid-Sabbagh, Belinda Kazeem, Miguel Peres dos Santos, Caroline Dumalin, Léuli Eshrāghi & Tracey Rose
Rachel Bacon, Vicky De Visser, Hiroko Tsuchimoto, Mona Hedayati, Martina Petrovic, Elien Ronse and Chris Rotsaert: Manoeuvre, Amelie Jakubek, Kaisa Karvinen, Tommi Vasko, Nohad Elhajj, Jennifer Clarke.
Visit Rather raw but turning softer – Advanced Master: Master of Research in Art & Design 2019-20 presentation.
Intensive weeks 2019-2020
Intensive Week I “Module for Temporary Infrastructures” with Sepake Angiama & Byron Kalomamas (December 2019)
Module for Temporary Infrastructures delves into the politics of care in relation to material gestures, devices, the body and the voice. Examining the body as a sensing tool will be our entry point for collective research. We are eager to propose this framework for collective research, discussions and thinking in order to disturb the dominant narratives on individual practice in order to create new infrastructures of support.
Intensive Week II “Containment and Contagion” with Gaelle Choisne & Lotte Arndt (Februari 2020)
“Containment and Contagion” will deal with toxicity as a metaphor, as a relational phenomenon, and as a material reality. A specific focus is put on colonial history and its present-day aftermath.
Intensive Week III “ Returning (to) the archive” with Joachim Ben Yakoub a.o. (March 2020)
“Returning (to) the archive” will invite participants to to artistically explore, excavate, compile and edit hidden, suppressed neglected or marginalized (visual) archives and histories, to learn to be conversant with different archival methods and concepts within their artistic practice.
Intensive Week IV with Lara Khaldi & Yazan Khalili (April 2020)
Guest tutors 2019-2020
Paul Hendrikse, Natasha Soobramanien, Luke Williams, Sepake Angiama, Byron Kalomamas, Mashid Mohadjerin, Grace Ndiritu, Lotte Arndt, Gaelle Choisne, Hicham Khalidi, Maria Lucia Cruz Correia, Lara Khaldi, Yazan Khalili, Joachim Ben Yakoub, Pascal Gielen, Malcom Ferdinand, a.o.
Lucy Cordes Engelman (USA)
Lucy is currently researching the historically suppressed folklore — in contrast to the more dominant narratives — that exist in the former ‘low countries’ relating to water. She is delving into current values and fears relating to the possibility of flooding, and she is curious about the possibilities of hydrofeminism in fluidity with haptic cinema as a converging delta, flowing into new ways of living with water and the more-than-human world.
Simona Da Pozzo (Italia/Venezuela)
Research title: “Hacking Monuments”
To which extend does the hacking of monuments stress and re-code the relationships between people, heritage, art and power? This auto-ethnography researches the phenomena of hacking monuments, which has a performative character, by weaving multilayered connections between monuments, denizens, activist and artists.
Risk Hazekamp (Netherlands)
Research title: “Facing White in Black Histories – how cyanobacteria shed light on colonialism”
Risk starts from the confrontation with the toxicity of the medium of analog photography and dissects both its chemical as its racist implications. By connecting photosynthesis to analog photography, Risk relates the ancient wisdom of cyanobacteria, being the first to produce oxygen in the atmosphere, to processes of colonization and suffocation.
Anna Housiada (Greece)
Anna’s research originates with a century-old cookbook that illustrates a still-dominant identity narrative in Greece which idealises models of the West and demonises influences of the East. Starting from the premise that identity is constructed in relation and not in isolation, her research is exploring the relationship with the non-Western Other and the sense of belonging within the diverse communities of the West and their established cultural hierarchies.
Agata Jastrzabek Filarowska (Poland)
Research title: “The Word became Flesh” (Bible, John 1:14)
Agata’s research explores the transition and a movement from logos (gr. word in the sense of semantics) to egneto (gr. flesh, essence). Her search circulates within the tense and vital relationships between transcendence and embodiment, spiritual and erotic, physical and imaginary (in the sense of mundus imaginalis as defined by Shiite mysticism). Content and methodology are intertwined in her daily practice with kamancheh, voice, touch and writing.
Alicia Jeannin (France/Chile)
Research title: “Quand ils parlent… “
This research project aims to apprehend the relationship between oral language and power, through a theoretical and practical exploration of political speeches performed in the public space.
Anne Marie Moreira Sampaio (Brazil)
On her research, Anne Marie currently explores the power and flexibility of language in the Brazilian social-political context, with a focus on the oral and written manifestations of extremist president Jair Bolsonaro. Based on that, she isolates words and sentences from Bolsonaro’s speeches, in an effort to create new places for those words to inhabit (audio pieces, lyrics, collages, objects). By doing this, Anne Marie seeks to shift the energy and weight of language by opening up the possibility of creating poetry, joy, beauty and pleasure from words that were previously used to attack, confine and exclude.
Felipe Muhr (Chile)
His research project is an investigation in the relationship between drawing and nature, focusing on concerns about the representation of animals and picturing extinction, mainly in contexts where drawn pictures are used as vehicles of knowledge, entertainment and mass communication.
Paz Ortúzar (Chile)
Paz researches, by way of a series of experimental art pieces, the hegemonic imposition of current measurement systems as neutral infrastructure and immovable truths. She investigates the ties that contemporary measurement systems have with spirituality, science and colonialism, and how these three perspectives are intrinsically woven within its political power.
Tunde Toth (Hungary/Ireland)
Tunde’s research is an investigation of commoning methodologies developed by artists working in collaborative, co-operative, conversational social arts practices. She is interested in long term projects addressing social exclusion, social justice and environmental/climate activism.
Kaat Van Doren (Belgium)
Research title: “Golden Hour, an in-situ research installation”
Research question: Will sunlight ever return to the same place?
Her work reflects on the (in)visible processes of change and human dependence on natural (in)predictable phenomena in which humankind becomes entangled.
Pierre-Antoine Vettorello (France/Ivory Coast)
Pierre-Antoine is researching the potentiality of craft, in this case basket making in the context of Ireland, to soothe and comfort a process of migration, within the contemporary context of Direct Provision Centers (centers for refugees).
Apart from that he is also researching his family tree, gathering testimonies of his grandmother about her grandfather Galandou Diouf, who was the deputy of Senegal in the A.O.F. (the federation Afrique-Occidentale française) from 1934 until 1941.
Header : Photo by Risk Hazekamp & artwork by Rossella Biscotti