Title Promoter Affiliations Abstract "Resilient Artists: Psychological resilience of performing artists, a prevention program for the challenges of artistic practice" "Hanne Claessens" "Health and science, CORPoREAL" "Abstract is not available in english" "Beyond Demarcation and Fault Lines: navigating and mapping the divide through artistic practice in Post- Apartheid Cape Town and Post-War Beirut" "Bert WILLEMS" "Media, Arts and Design" "The broad research topic for this practice-led doctoral study is the evaluation of select artistic practices and public art in relation to my own practice, in countries that have undergone a political transition to democracy after years of conflict and strife. For the purposes of this study, select South African artistic practices will be compared with select artistic practices emanating from Lebanon. From the 1970s onwards these countries have parallel/ dual histories, as they both transitioned to democracy in 1990. The research will seek to illustrate whether there are similar themes and subject matter emerging from their artistic production after political transition and post-democracy. Further public space, public art and art inventions in urban space as a means of protest/ memorialising/ commemoration/ critique will also be interrogated. In particular, the focus is on Cape Town and Beirut as sister cities, both in terms of their urban design and political significance. The Post-Apartheid/ Post-War period city space will be additionally analysed, by critiquing the urban fabric and city design and how it was used during Apartheid/ wartime/ conflict to create a landscape of resistance or division. The research will overlap the fields of African Studies, Oriental Studies, Visual Culture Studies, Urban Studies, Historical Studies, History of Art, Decolonial Studies and Art/ Design Theory. Thus, it will be interdisciplinary. Further, this study is practice-led with both the creation of artworks and the curation of an exhibition forming part of the project. The artistic enquiries and curatorial strategies employed in this study will be theorised, outlined and evaluated in the accompanying thesis but the various components are conceptualised as part of an integrated and entangled whole." "Jan van Eyck: Knowledge Profile, Artistic Practice and Reception" "Maximiliaan Martens" "Department of Art, music and theatre sciences, Department of History" "Research conducted in the context of the current conservation/restoration project of Jan van Eyck’s Ghent Altarpiece and in preparation of our recent exhibition ‘Van Eyck: an Optical Revolution’, has opened new avenues for further innovative art- historical scholarship.It has been established now that Van Eyck was the first pictor doctus in the North, who was knowledgeable about antique texts, natural sciences (optics, alchemy) and theological debates. At the heart of the Van Eyck’s theoretical knowledge, which informed his artistic practice, lies the metaphysical interpretation of contemporary optical theory as a gateway to understanding God’s creation (‘Visio Dei’). This finding now raises the need for the meticulous reconstruction of the artist’s intellectual profile, based upon an in- depth study of learning at the Burgundian court and in the urban elite and guild culture of which he made part.We will further investigate how knowledge steared Van Eyck's creative processThe discovery of large areas of overpaint during the current conservation/restoration project of the Ghent Altarpiece, made it clear that during the 16thC changed reception altered not only the original appearance of the polyptych, but also its meaning. We will investigate how this change was triggered and informed by shifting religious, political, theoretical and artistic paradigms." "Practice - Towards an artistic methodology of multisensorial learning" "Kris PINT" "Media, Arts and Design, ArcK" "Traditionally, photography is perceived as a frame on our world that provides us with a sense of transparency. In contrast I want to redefine photography as performance and understand movement by means of choreography. In this research project I will investigate how these movements function as a fundamental basis for artistic practice and, more particularly, as a transit mode between multiple disciplines. The project is driven by the two-fold question: 'How do I move materials and how do they move me?'. Accordingly, it examines the tensions between stasis and movement, two- and threedimensionality, thus challenging and crossing the boundaries between media and disciplines: photography, sculpture, and choreography. Also, it questions how an image can translate or become 'body' and what happens if the starting point of our thinking is not the dichotomy between body and mind but rather the assemblage of ever-changing and moving bodies? The aim of this project is to develop tools with playful learning and to reach a closer understanding of body-based knowledge." "Copying the master or mastering the copy? Creative copying as a mediator between artistic practice and emerging art theory in the early 16th-century Low Countries." "Koenraad Jonckheere" "Department of Art, music and theatre sciences" "We investigate creative copying as a catalyst for art theory in the early 16th-century Low Countries. We define the status and function of creative copying in the altering art practice and theory by unraveling underlying visual strategies. We thus elucidate how creative copying generated opportunities to enrich art with theories of imitation and enforce pictorial innovations in the Northern decorum." "Egyptian artists in Europe. Mobility, resettlement and the reconfiguration of artistic practices" "Aymon Kreil" "Department of Languages and Cultures" "The research explores the reconfiguration of artistic practices and political engagement of Egyptian artists who have resettled in Europe in the last ten years. It analyses how the experience of ‘becoming stranger’ affects the political subjectivities of artists and in turn their creations. The central methodology of collecting data is based on ethnographic fieldwork in the cultural fields of Berlin and Marseille." "Linking places through artistic practices." "Rajesh Heynickx, Burak Pak" "History, Theory and Criticism of Architecture, Urban Design, Urbanism, Landscape and Planning" "A-PLACE. Linking places through networked artistic practicesA-PLACE will design and implement art-centred placemaking activities (i.e. performances, installations, debates, video and photography productions) in six European cities -Barcelona, Bologna, Brussels, Lisbon, Ljubljana, and Nicosia- to connect meanings and experiences associated to places across cultural and geographic boundaries. People of multiple origins and backgrounds will contribute as co-creators of a network of places which will emerge through networked artistic practices.  Four types of placemaking activities (Spot-Place, Mobile-Place, Learn-Place and Digital Place) will be carried out in each of the six cities with the participation of the diversity of both, local (residents) and transient (refugees, tourists, business workers) inhabitants, in collaboration with artists and educational staff participating in the project. Artists will be commissioned to carry out works with mixed media as part of the placemaking activities. Their work will be displayed in special events organized at three consolidated international festivals. The placemaking activities will contribute to developing a sense of place which overcomes existing physical, social and cultural boundaries. Reflections on the products of these practices will be archived and later disseminated through an interactive digital platform. Partners:School of Architecture La Salle, Ramon Llull University- FUNITEC (Spain) (Project Coordinator); Faculty of Architecture, University of Ljubljana (Slovenia); KU Leuven, Department of Architecture (Belgium); Alive Architecture (Belgium); prostoRož (Slovenia); Urban Gorillas (Cyprus); Screen Projects (Spain); City Space Architecture (Italy) and Faculty of Social and Human Sciences, Universidade Nova de Lisboa (Portugal)." "Rethinking situated artistic practices. Towards collective places for imagination" "Anja Veirman" "Centre for Metaphysics, Philosophy of Religion and Philosophy of Culture, Image Research Unit, Ghent Campus" "This transdisciplinary practice-based research in the arts draws from my site-specific installation and situated performance artwork. I understand situated artistic practices as the constitution of temporary places for exploring, exchanging, and creating knowledge in collectivity through diverse art forms such as temporary sculpture constructions, expanded drawing and body movement. These practices are challenging commonalities between in-situ, site-specific and site-sensible interventions. In this study, I would like to explore further a gap I noticed between my work’s spatial/temporal dimension and the audience/participants’ tendency to perceive aesthetical experiences individually. I argue that situated artistic practices and discourses – strongly influenced by the neoliberal economic system – become mobile and disentangle the relations between narratives, sentient beings, and their territories. I propose to reorient situated artistic practices by revising their historicity via decolonial theories and practices. My inquiry focuses on three main aspects: context consistency concerning place-making, contemporary understandings and redefinitions of site and common ground, and thirdly, audience participation in terms of individual and collective engagement. The research will propose as methodology the collective co-creation of performative scores understood as written or material-based notations or scripts for diverse modes of thinking. The aim is to inquire about their applicability for learning while co-creating collective places for imagination." "A grammar of the school drama. About the creation of artistic space for contemplation in processes of theatre making as world-centred praxis in drama education of the Flemish Artistic Secondary Education (KSO)." "Nancy Vansieleghem" "Image Research Unit, Ghent Campus, Education and Society" "Theatre always touches the world. The process of theatre-making offers time and space to reflect on the world together, after which the world is opened up to the public again in a transformed way.Based on this conviction, I explore in my research how, as a drama teacher in ‘woordkunst-drama’ as field of study in the Flemish Artistic Secondary Education (KSO), I can understand the drama class as and transform it into a rehearsal space where 'the world is opened up' as a basis for processes of collective theatre-making. This approach I call the 'school drama', based on the idea of the school as 'leisure time' (scholè) that makes it possible to put the world 'in brackets', to contemplate it, to be touched by it and to relate to it as a young person.In this world-centred approach to drama education, I therefore do not focus on training the competences of the younsters as actors and theatre makers, but I investigate how I can create a collective space for contemplation together with them within an artistic process of theatre-making. In my research I therefore approach 'contemplation' as a creative act. In doing so, I investigate how different perspectives and voices can be heard, so that the space for contemplation becomes a polyphonic space in which the world is approached in its richness. Plurality is therefore essential. Finally, I explore how this immaterial space for contemplation can also develop artistically and materially into a tangible theatrical space that can be 'unlocked' to an audience.Starting from the (educational) design research as the choosen research strategy, I set up three theatre projects in the Artistic Secondary Education as practical experiments. These projects are confronted with projects by fellow drama teachers and will be inspired by the practice of a number of (contemporary) theatre makers who can be connected to this world-centred approach.The finality of the research is a description of the 'grammar' of school drama as a methodical-didactic framework that zooms in on working methods to open a collective space for contemplation in which exposure to the world is possible and on ways to open up this space in a theatrical way." "Towards Togetherness: Probing as a Decolonizing Approach for Artistic Inquiry" "Patrick Devlieger" "Associated Faculty of the Arts, Department of Social and Cultural Anthropology" "Motivated by a strong passion for the Arctic regions and a deep respect for the indigenous peoples living there, I designed my artistic doctoral research in the favor of decolonization processes. Two art projects were realized during this PhD: Food Related, for which knowledge on Arctic food is shared on a platform, and Niva to Nenets, an interactive road-movie that questions gift-giving and aspects of the us-and-them dichotomy. For both projects I experimented with probing: an inquiring method that opens up the research practice to include ambiguous results. Departing from Gaver et al. (1999, 2004), small booklets with one or more creatively asked questions were made and put in practice at schools to explore and discuss the projects’ topics. Packages of either eight or ten creative tasks – the actual probe kits – followed these explorative booklets. After that, I further developed my probing practice into a cultural event, the Picnic-Quiz. In my experience, the creativity and artistry of probing encouraged subjective and imaginative engagement. Thus, in working with probes lies a possibility to share and collect knowledge beyond intellectuality. Both the making and the use of the probes turned inspirational and functioned as a creative bridge between the participants and the artist.The outcomes were sometimes unexpected, mainly within the Food Related project for which they unveiled underlying needs. Probing enabled me to create favorable opportunities for combining and communicating knowledge, allowing discordant or conflicting (world) views to exist next to each other. Thus, I believe the probing method can be beneficial to a decolonizing approach during participatory art practices."