In the last five years, since our collective came into existence in Belgium, we have been invited to participate in numerous events and exchanges with artists, institutions, and communities. In these encounters, we generated disparate questions and addressed issues on participation, inclusion, collectivity, solidarity, integration, place-making, cultural activism & politics, and other aspects of artistic and cultural production.
After harvesting and reflecting on the experience of participating and showing up to these various kinds of environments and contexts, an urgency arose to design a ‘PAACT’ that would offer a set of mutually agreed conditions from which we could work – within and beyond – the collective. Our intention is to ensure that we enter a safer space – one that offers clear outlines of expectations and guidelines on how our collective of precarious people might engage with art-making and collaborating with institutions and individuals.
Questions of equality and proper recognition of the collective and its members needed to be addressed within the PAACT. We hope that this document is adoptable and adaptable for other collectives and groups as we present it here as a prototype for formulating agreements along similar lines. 


Feel free to download an empty contract here in pdf



between the parties:

WE: the members of the ………Post Collective

YOU: ………………………………………artist / institution / group or other agreeing party

WE ARE A COLLECTIVE. As such, we seek to build and maintain a place for reflection through interdependence and open exchange. We ask you to join us in the spirit of collectivity.

WE ARE NOT TOKENS. If you choose to work with us, you have to be in solidarity with our causes, wanting to be in dialogue with our cultures and aware that you are an accomplice in the circumstances that we live. Please do not ask us to engage in the ways white supremacist, colonial, patriarchal and neo-liberal capitalism is creating and validating work.

WE ARE NON-HIERARCHICAL. Do not separate us or try to find and appoint a leader.

WE ARE POROUS. As we aim to grow, connect and expand into the world on multiple fronts and directions simultaneously.

WE TAKE TIME. We require more time to make decisions and come to agreements than usually allocated by institutions and organisations as it takes much longer to arrive at truly collective, non-hierarchical decisions and solutions. Recognise the efforts we make and the nature of collective work as more time and resource-consuming.

WE ARE ASYLUM SEEKERS and REFUGEES. The state can call us in at any time for an interview, discussion or investigation. These calls cannot be rescheduled; not showing up for these meetings could even be a reason for losing your case and being deported. We require understanding and flexibility when such issues may block or prohibit planned meetings or presentations.

WE ARE PAPERLESS. The state has marked us as illegal or under process. It might be that we cannot work with legal contracts the same way you work with artists with full civil or employment rights. We need your help and advice to find the best way to create a fair payment for all of us. In cases of unresolved legal status, an effort needs to be adapted to the specific situation and subjective conditions.

WE USE ALTERNATIVE ECONOMIC SYSTEMS. Solidarity in the collective means taking active responsibility for our interrelationships on a global level. We ask you to join us in imagining and thinking about alternative modes of economy and access to common resources. Our way of working is as important as the outcome. Payment should be calibrated to provide sufficient support for individual members of the collective.

WE SEEK ANOTHER WORLD. We seek to find and use new modes for artistic and social circulation and materialisation. In these, people and the planet are valued over profit and cultural capitalism. This means creating greater equity, inclusiveness and sustainability within our collective, the institutions we work with and in broader society.

WE SEEK TRANSPARENCY. We ask you to be transparent and open when declaring and promoting your ways of working, organising and making culture. This includes admitting blind spots, biases and failures as a part of establishing empathic, collaborative modes of re-imagining the world and the place that art holds in it.

WE ARE TRAUMATISED. Be careful how you speak with us, communicate about us and programme us in events. We do not need to be othered or made to re-live our traumas in front of anybody. Please inform other participating artists of our presence as audience and contributors, so they can take care of their content. We appreciate trigger warnings. We ask you to check your privilege and take a stance of care with use of positive discrimination.

WE EXPERIMENT. Meetings and presentations aspire to be spontaneous, inclusive, and ultimately transformative. Our ways of conducting dialogue are under a constant process of revision, observation and fluidity. We welcome polyphony and cacophony as tools that ensure maximum inclusion for everyone involved. We ask you to be open to such lateral and flexible modes of communication and participation.

WE ARE ARTISTS. While not fixated on what art is, we look at what it can bring about. We take artistic positions by engaging with all our senses for both human and non-human ecologies and futures.

WE ARE PARENTS. Our children’s well-being will always be our number one priority. As migrant parents, we lack the financial resources and network of family and friends to support us – not to mention the racism and degradation we experience in social services. Sometimes it is difficult to show up to events and planned residencies because of unexpected issues and obligations as there is no structure to take care of us beyond ourselves.

WE ARE EXHAUSTED. General precariousness creates extremely fragile mental and physical states. Sometimes we just can’t.

WE NEED TO BE LOVED. In a system that rejects us as human beings and refuses our rights to live and prosper, we need you to create together with us this microcosm where we are accepted, respected and loved. This is the only way to work together and change, little by little, this unfair world, so we can stand side by side as equals in art and in life.

WE HAVE SO MUCH (LOVE) TO GIVE. We do not need charity. We know the immensity of the value we bring to the table. Because we have been excluded from the world of art and nation state, we take nothing for granted. We have the potential to radically rethink society, politics and art making in a world that is constantly unfolding. Sometimes you will feel we speak a different language, but please listen. There is so much love, hope and courage to give. Be open to receive it and partake in it.

Any disputes shall be subject to the exclusive jurisdiction of the collective of peers and your own conscience.

Read and agreed on ………………………

Signed by :

THE COLLECTIVE:                                                    THE COLLABORATING ARTIST/INSTITUTION/GROUP:

The Post Film Collective


The Post Film Collective practices cinema as a form of polyphony, space and communal assembly. Formed in 2020, the collective is based between Ghent, Antwerp and Brussels.
The Post Film Collective elaborates on the work and experiences of The Post Collective into the realm of cinema, upon an invitation by Robin Vanbesien. 

The Post Film Collective is currently creating its first feature film ‘On Recreation’ (working title), which explores a polyphonic cinema practice while taking its cue from the poem ‘Recreation’ by Audre Lorde. In her poem, Lorde explores a double binding of interrelating activities – ‘it is easier to work / after our bodies / meet’ – that led to what she claimed was ‘recreation’, with its connotations of play, reciprocity, care, repetition, and regeneration. The film process is available for the continuous re-composition of both conditions and artistic forms. The gathering of various languages, expressions, and rhythms prevents the film production from nesting neatly.

The film is currently in its development phase (2021).
produced by timely, Brussels;
co-produced by Kunstencentrum Vooruit (Ghent), Beursschouwburg (Brussels);
supported by VAF (Flemish Audiovisual Fund), Kunsthal Gent, Netwerk Aalst, ARIA (Antwerp Research Institute for the Arts), Sint Lucas School of Arts Antwerp.


‘(Un)SCREWING CARE’ SEMINAR opens the first phase of Catalizadora 3 * ‘CIRCLUSION’, promoting a collaboration between six organisations and cultural collectives based in Spain and Belgium, with the objective of sharing tools with which to use care both as principle and as method of resilience and resistance, in the current cultural and socio-political context.

*Catalizadoras [Catalysts] are the collective action research groups conformed around four conceptual and practical focuses. They facilitate and promote intersection of knowledges, exchange, imagination and generation of joint experiences with the communities that want to be involved in the project. In this case, Catalizadora 3 revolves around the focus ‘Care and support networks’.


‘Thinking about fucking in a different way would simply mean that when we say

I’m being fucked by the system we’re saying we’re getting badly fucked – badly circluded, for instance – or, more precisely, not getting fucked at all.’

(Sophie Lewis, 2016) 

Does care penetrate or circlude cultural organisations and artistic practices?

What is the role of care in cultural organisations and in artistic practice in order to ensure their sustainability?  

Do we want cultural institutions and artistic practices to operate from the standpoint of care?

What exactly does this mean?

How is care made tangible in artistic and cultural practices and organisations?


Nowadays, care is a concept widely used in the cultural milieu in relation to the need for devising more sustainable structures that could pay attention to the (precarious) conditions in which cultural workers operate. However, this notion of ‘care’ has historically been based upon complex relations of power structures that can be easily replicated depending on how care is inserted into cultural organisations or artistic practices. Thus, if care is really going to guide political and organisational changes in our everyday lives and in cultural practices and organisations, a space is needed from which to point out the complexities, the difficulties and the fuss that care in itself entails, so that we are not fucked at all but ‘circluded’, as Sophie Lewis would say.

Circlusion is an antonym of the noun penetration

CIRCLUSION does not penetrate, envisions care from the standpoint of circlusion


The online seminar was hosted by the Antwerp Research Institute for the Arts (ARIA) and the University of Antwerp (UA), in the framework of the Research Seminars public program of the Antwerp Doctoral School.


During the gathering, all six invited cultural organisations and collectives were encouraged to discuss about a specific methodology or tool linked to care, or something not defined as such but that they deemed and felt would be linked to care within their cultural organisation and/or practice.

From this starting point, the collectives participating in the seminar shared the following 12 ways of approaching, understanding and using care in cultural practices, groups or organisations:

1. Exchange system that evolves through, and is based on, care.

2. Organisation models that challenge the production-reproduction divide, suggesting the possibility of unifying both concepts.

3. Care as a form of hosting and be hosted.

4. Redistributing resources by balancing privileges.

5. Value systems and values that incorporate care.

6. Multiple and multi-species care.

7. A tool for promoting access of what is ‘residual’ and ‘marginal’.

8. Support mechanism.

9. Act of resistance (individual and collective).

10. Intersectional device.

11. Building community method.

12. Healing device.


This 1st phase of Catalizadora 3 ‘CIRCLUSION’ was developed as an online seminar. A format typical of the academic environment hosting it, but that at the same time made visible and challenged the abilities and limitations of such format regarding the promotion of spaces of trust from which to encourage the generation of collective processes.

An important issue to be taken into account is the peculiar moment in time in which this seminar took place, traversed by the COVID-19 health crisis and the era of social distancing. This is the reason why the seminar had to be devised as an online format, taking into account the resources offered by the University of Antwerp. This led to questions such as: How do care methodologies change in an online reality? And how do we approach physical distance in collective creation processes? How can careful and caring methodologies be configured in an online format?

How do we generate virtual closeness? How do we foster virtual intimacy? How do we achieve virtual warmth?

These questions led us to envision and generate ‘Being sky a matter of circlusion’, in collaboration with Belgian artist Katinka de Jonge, a series of guided exercises/meditations directed towards the creation of a space of trust and imagination, in which to share and co-create the ethical and practical bases that were the guidelines for the seminar.


The following have been part of the (Un)SCREWING CARE Care Seminar:

KAK; corresponds to the initials of Koekelbergse Alliantie van Knutselaars; an alliance of theater men, handymen, musicians, thinkers and other cheaters who organize their own working conditions horizontally. Both their working methods and the forms of presentation change from one project to another. K.A.K. understands theater as a heterotopia and seeks to mix fiction and reality, with the intention of being receptive and open to possible encounters. K.A.K functions as a platform for meeting and dialogue, and as a project in search of new forms of creation and presentation. Their aim is to accommodate eclectic and unclassifiable works from the field of performing arts, in which there is no obligation of result, but there is a desire and a persistent need to work together. K.A.K. are Annelore Crollet, Aurelie Di Marino, Benjamin Opdebeeck, Ciska Thomas, Dries Gijsels, Esther Gouarné, Femke Stallaert, Frederika Del Nero, Karlien Torfs, Lotte Diependaele, Nathalie Goossens, Nicolas Delalieux, Nikolas Maholas Lestaeghe, Nona Gohieu Goethijn and Mats Van Herreweghe.

Volksroom; is an off-performance-studio space located in Anderlecht, Brussels. It is an independent space dedicated to artistic research on performance and dance. It’s an open space that invites all curious to come and visit them, and offers residencies to artists, possibilities to perform, research or to teach workshops.

Post Collective; is an autonomous platform of co-creation, co-learning and cultural activism created by and for refugees, asylum seekers, sans papiers and accomplices. It seeks to introduce a range of artistic, cultural and employment opportunities, as well as provide an overall collaborative environment for its members regardless of their legal status. Generative modes of dialogue and storytelling form the basis of the Post Collective’s speculative and experiential approaches to art+design, with the aim of developing creative alternatives beyond the dominate systems of control and exclusion we are facing. This means facilitating the position where we do not struggle to be assimilated, but instead rethink and re-conceptualize critically a future together as community. The Post Collective is conformed by illustrator and graphic designer Mirra Markhaeva (Buriatia); graphic and game designer Mohammed Tawfiq (Iraq); philosopher and designer Sawsan Maher (Syria); photographer and visual artist Mahammed Alimu (Somalia); filmmaker, writer and sound artist Marcus Bergner (Australia); fine artist, musician and digital designer Hooman Jalidi (Iran); and artist, activist, designer and researcher Elli Vassalou (Greece).

Katinka de Jonge; is a Belgian artist whose investigative practice focuses on reflection and definition. She is interested in what happens ‘between the lines’, and makes connections between brief conversations, archive material and unobtrusive processes in- and outside organizational structures and its surroundings. This results in (site specific) installations, audio works, multiples and publications that hold a mirror to the context in which it is presented, but at the same time transcend this. Katinka has a broad interest in collaborative arts practice and artist-run initiatives. Currently, she is connected as a researcher on artistic self-organisation to The Royal Academy of Antwerp and a shadow member of the Culture Commons Quest Office.

Conciencia Afro; [Afro Conscience] is configured as a meeting space for the Afro-descendant, African and black community in Spain through their cultures. In recent years, through the Festival held annually, as well as through its publications and its support network, Conciencia Afro has established itself as a space where African, Afro-descendant and black associations, projects and entities meet the in order to continue building a heterogeneous, transnational and strong community, creating a place of empowerment for the different voices and trajectories that compose it. The ConcienciaAfro team is made up of African and Afro-descendant people from different fields that make up a multidisciplinary and choral team. These people are Deborah Ekoka, Yeison G. López, Sheherezade Shepard, Mary Ilda Antonio Ramos, Esther Mayoko, Rubén H. Bermúdez, Ladis B. Site, and Pilar Oyana Nse. Conciencia Afro is one of the resident programs at the Matadero Madrid Artistic Residency Center.

Plata; is a place under construction where a common and common coexistence is organized. A place where the community is invited to propose lines of creation, thought and research, and in which the artists participate, as one more family, of the context. For them, the most interesting thing is to link ourselves to as many bodies and knowledge as we can and elaborate what they call an ‘aesthetics of sharing’ through alternative practices and other forms for collaboration and exhibition that are capable of developing bearable ways of life, recovering the alliance between creation and the profession of living. Plata gives continuity to the little practices that La Fragua had been developing in the Convent of Santa Clara.

Larre; is a feminist collective that uses cultural mediation to propose processes of social transformation with an intersectional and intergenerational perspective. Its organization is structured based on putting care at the center, which affects the articulation of its processes as well as the work dynamics established in the group itself. Larre is a propositional force formed by Priscila Clementti, Lara García Díaz y Ángela Palacios. Since 2018 they imagine and work with the aim of developing and putting into use (together with other agents) thinking and practice feminist tools to generate a common and plural ground from which to point out, question and reconstruct theories and practices of/in the current cultural sector. Larre is the collective that impulses the project Te( n ) cuidado.



The film project On Recreation (working title) by The Post Film Collective is based upon an exploration of polyphonic authorship. The project takes its cue from the poem ‘Recreation’ (1973) by Audre Lorde. In her poem, Lorde explores a double binding of interrelating activities – ‘it is easier to work / after our bodies / meet’ – that led to what she claimed was ‘recreation’, with its connotations of play, reciprocity, care, repetition, and regeneration. The film process is available for the continuous re-composition of both conditions and artistic forms. The gathering of various languages, expressions, and rhythms prevents the film production from nesting neatly.

The film is currently in its development phase (fall 2020, spring 2021). With and by Mahammed Alimu, Marcus Bergner, Hooman Jalidi, Sawsan Maher, Mirra Markhaëva, Robin Vanbesien, and Elli Vassalou;

produced by timely, Brussels; co-produced by Kunstencentrum Vooruit, Ghent;

supported by Flemish Audiovisual Fund (VAF), Kunsthal Ghent, Netwerk Aalst, Antwerp Research Institute for the Arts (ARIA), Sint Lucas School of Arts Antwerp.


Towards a Manual/Code/Manifesto of Care/Conduct/Ethics, including notes on CONTRADICTIONS

The post collective finds in Buda Art Center the space and the time for reflection, listening and writing their codes of caring, fair practices and governance model. 
They will reflect by using material from their past presentations, meeting recordings, notes and experiences, asking and seeking answers to difficult questions by discussing, mapping, illustrating and poetically recomposing them.

How to Build Up a Collective in COVID times


Friday 26 February at 20.00, on ZOOM

At the beginning of 2020, the Post Collective (POCO), a group of refugees, asylum seekers, sans papiers and accomplices, took the brave step, together with Kunsthal Gent’s support within their residency program, to speculate on how they might work together in a co-creative, commoning way. And this acknowledging the fact that they have different legal and social statuses/ rights, creative practices, cultures, languages, ages, genders, needs, privileges, accesses, and exclusions within society.
In March 2020, the covid pandemic hit society hard, and specifically, it hit the intersections on which POCO were standing. Many opportunities were taken away and with this the possibility to work together in the same space. They adapted their approaches and invented new ways of staying united and engaged while being physically distanced.
In this 1.5h presentation, POCO will share with the audience their experiences in art making, organizing, communicating,  experimenting with online meeting platforms, standing together in solidarity through loneliness, fear, instability, health and sickness, legal processes, and the ever pressing bills for the supermarket and housing.
Through our polyphonic and trans-lingual narratives, using a hybrid of different media (illustration, storytelling, sound poetry, video, photography, music) we want to create an environment within this presentation that welcomes discussion with the audience on the importance of initiating forms of collectivity locally and globally in covid times.

the project is part of the development residency of the post collective: collaborative speculations and is supported by: Arts in society award, Kunsthal Gent, Staad Gent, RefuInterim

On Recreation (working title)

The film project On Recreation (working title) by The Post Film Collective is based upon an exploration of polyphonic authorship. The project takes its cue from the poem ‘Recreation’ (1973) by Audre Lorde. In her poem, Lorde explores a double binding of interrelating activities – ‘it is easier to work / after our bodies/meet’ – that led to what she claimed was ‘recreation’, with its connotations of play, reciprocity, care, repetition, and regeneration. The film process is available for the continuous re-composition of both conditions and artistic forms. The gathering of various languages, expressions, and rhythms prevents film production from nesting neatly.

The film is currently in its development phase (fall 2020, spring 2021).
With and by Mirra Markhaëva, Elli Vassalou, Marcus Bergner, Sawsan Maher, Hooman Jalidi, Mohammed Tawfiq, Mahammed Alimu, and Robin Vanbesien;
produced by timely; co-produced by Kunstencentrum Vooruit, Ghent;
supported by Flemish Audiovisual Fund, Kunsthal Ghent, Netwerk Aalst, Antwerp Research Institute for the Arts, Sint Lucas School of Arts Antwerp.



One of our ongoing and collaborative activities has been in producing and performing voice and language-based artworks in various contexts or arrangements. During the lockdown, we carried out a series of online vocal and performative sessions. These turned out to be surprisingly effective and inspiring, as we used social media platforms such as Jitsi and Skype in new and unorthodox ways via our vocal and language-based experiments.
We are now calling for new collaborators to join us in regular online weekly sound poetry and voice practices.

No previous experience is required other than being prepared to use your voice and language(s) in new and exploratory ways. We aim to create a virtual chorus where participants write and arrange their own songs for collaborative performing. This will draw from and ‘give voice’ to the diverse linguistic and poetic/artistic experiences and backgrounds of all those participating.
After an introductory session, those who wish to continue will meet on a regular Friday basis to develop material for future online public performances.

A voice means this: there is a living person, throat, chest, feelings, who sends into the air this voice, different from all other voices.
– Italo Calvino (A King Listens)

Introduction session: 06 November 11.00-13.00
and EVERY FRIDAY at 11.00

Join us:
Please register your name and online contact details here: Sound Poetry Signup Pad

Download ZOOM and find us here: ZOOM Link

Listen to other scores and improvs here: Soundcloud – Piece of Hope 

OPEN SCHOOL – Intersections of Care: Decolonial practices

Facebook Event

Intersections of Care @ Wiels, Open School / Risquons-Tout 

September 12, 2020, to January 10, 2021
Intersections of Care presents a display, an environment, and a discursive program gathering artifacts, humans and non-humans, to share questions and tools for organizing, sharing, and caring. The different elements unfold in the spaces and times of the events program, in the exhibition catalog and in cyberspace on Thought as an expanded publication, the installation weaves together oral, written, visual stories, and combines fluid and evolving forms, floating textiles, mobile and permeable elements digital and analog, bodies, plants, and minerals. This proposition is constructed in close dialogue with artists and artworks that address issues of care, maintenance, storytelling, conditions for being and working together.


Saturday 17.10.2020, 15:00 – 20:00 Caring, healing, access — Sofia Caesar, Laurie Charles & Greg Nijs
Saturday 21.11.2020, 15:00 – 20:00 Decolonial practices — Zakaria Almoutlak, Lotte Arndt, Olivier Marboeuf / Mangrove, The Post Collective, Golnesa Rezanezhad
Saturday 12.12.2020, 15:00 – 20:00 Guidelines, Codes and Protocols — Clémentine Coupau, Sirah Foighel Brutmann, Sarah Magnan & The White Pube 

Saturday 09.01.2021, 15:00 – 20:00 Intersections of Care & Heide Hinrichs – Listening / embodying — Rachel Dedman, Elizabeth Haines, Heide Hinrichs, Melanie Noel, Jo-ey Tang & Susanne Weiß (A program by our editorial committee member Heide Hinrichs, as part of her project Second Shelf) 

 Intersections of Care is supported by FRNS-FRArt and Académie des Beaux-Arts de Bruxelles

A workshop and a collective discussion on decolonial practices in art.

decolonial practices

The Transformation of the Art Space as Politics?


Friday 2 October 2020, 14:00 -18:00
The transformation of the art space as politics?
by Stijn Van Dorpe, with presentations by Matthijs De Bruijne, The Post Collective, Magdalena Kwiatkowska & The Laundry Collective with Tomaš Kajanek (via skype), Reinaart Vanhoe
In English

14:00 -18:00
Seminar: The transformation of the art space as politics?
by Stijn Van Dorpe, with presentations by Matthijs De Bruijne, The Post Collective, Magdalena Kwiatkowska (via skype), Reinaart Vanhoe

In this seminar, we focus on the question of the meaning of the art space, conceived as an artificially constructed space that is usually considered as a place in which artistic actions, interventions, or presentations take place. The art space can take many forms: it can be very visible (such as the museum or the art gallery) or rather mental (such as an internalized frame of reference) and therefore we better speak of art spaces in the plural. The starting point is that these places, contrary to what they might make appear, are never or can never be neutral. They are always marked by values and powers.

We investigate how art workers, art collectives, and artists who attribute a strong social or political significance to art relate to these art spaces. My thesis is that when the relationship between art and society is taken seriously, art cannot ignore these spaces and must focus on transforming them. At the same time, these transformations should be approached as an artistic/aesthetic process. It means that artistic actions, interventions, or presentations do not really take place within an art space, but that they show the ambition to create new (art) spaces themselves, where other power relations apply.

Stijn Van Dorpe
is an artist, researcher, educator, and initiator of this seminar.

About the participating artists:
Matthijs de Bruijne
is a Dutch artist whose practice is built on and imbued with political commitment. With his work, he investigates relationships between economics, culture, and social life, with a view to critical collective consciousness. At some point, he concluded that creating awareness about social injustices among a small, specialized art audience is not enough to bring about change. He was looking for other ways to step outside the realm of art and in 2010 he started working for the Union of Cleaners of FNV Bondgenoten. About this, he said that it was not his priority to further develop his career as an artist. Above all, the work of art should support the union’s campaign (see: De Witte Raaf, edition 198)

Magdalena Kwiatkowska & The Laundry Collective – The Laundry Collective emerged from the collaboration of a group of homeless women, LGBTQ people, and the Polish artist Magdalena Kwiatkowska, living and working in Prague. From November 2019 to January 2020, she was a resident at INI Project, an independent platform for contemporary art in Prague. She used the exhibition space at her disposal to meet up with homeless and LGBTQ friends where together, they came up with Magdalena’s laundry project. In this way, they also found protection from the cold winter. Because the art residency required presentation moments, they organized small public moments such as a workshop ‘packing cigarettes’, or ‘exercises to warm the body after a cold night’. However, the owner of the building closed the project prematurely.

The Post Collective
 is a young collective that wants to create an autonomous platform of co-creation, co-learning, and cultural activism, set up by and for refugees, asylum seekers, sans-papiers, and accomplices. The aim is to create different artistic, cultural, and employment opportunities and to provide an overall collaborative environment for those involved, regardless of their legal status. The collective originated from the Open Design Course for Refugees and Asylum Seekers 2018 at the KASK school of arts in Ghent after some alumni and teachers decided to continue the collaboration. They want to facilitate a position in which they are not assimilated, but instead, together as a community, can critically re-conceptualize a future. The Post Collective is working on the development program of Kunsthal Gent in 2020.

Reinaart Vanhoe is an artist whose practice consists of all kinds of collaborations and in which teaching at the Willem de Kooning academy in Rotterdam has an important place. His working method contains elements that are similar to anarchistic ways of organizing. He conceived the concepts of Also-Space and (g)Locally Embedded Art Practise (gLEAP) as approaches that re-evaluate the production and positioning of the artist. “How can we develop an artistic practice that does not define itself as an ‘alternative’ or ‘in opposition’ to the society in which it exists, but rather as an integral part of the different communities in which the artist functions, produces or lives, and is therefore very much a part of? (Excerpt from Also-Space, From Hot to Something Else: How Indonesian Art Initiatives Have Reinvented Networking, Reinaart Vanhoe, about, among others, the Indonesian art collective ruangrupa).

This seminar is supported by Research Unit Image – Luca School of Arts.