Alicja Melzacka

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Selected curatorial projects

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Selected publications

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About

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portfolio

p 01-17

p 18-24

p 25

Publishing and bookbinding terminology

abounds in bodily metaphors and vocabulary

borrowed from choreography, like dos à dos

(‘back-to-back’) or tête-bêche (‘head-to-toe’).

This dual meaning underscores publishing’s

intrinsic connection to materiality–of printed

matter and the writer’s/ reader’s physicality–

and o󱐯ers a premise for the exploration of the

relationship between texts and bodies.

Taking place across two afternoons, this

programme charts an expanded eld of

publishing and strings together a series of

diverse contributions that in some places touch

each other.

The project was organised by Alicja

Melzacka, O󱐯 the Grid’s curator-in-residence

and coincided with Druk In Leuven, a word

and text festival at various locations in the city.

• Alicja Melzacka, ‘Smudged-glass writing’,

reading and discussion group

• Jeroen Peeters, ‘A table’, lecture-

performance

• Clara Amaral, ‘Do you remember that time

we were together and danced this or that

dance?’, performance

• Francesca Hawker, ‘Into Eels’, table-read

• Reinier Vrancken, ‘Teeth Surrounding a

Flower in the Meanings’, conversation

• Martha Jager (Dear,) & Isabelle Sully

(Unbidden Tongues), ‘Messy Keynote’, talk

• Henry Andersen, ‘DS’, reading

• Kate Briggs, ‘The Long Form’, passages

translated by Will Holder

• Playbill (Martha Jager & Isabelle Sully),

‘Budget Statements 2022’, performance

Back-to-back: perspectives on

artists’ writing and publishing

27-28.04.2024

O󱐯-the-Grid, Cas-co, Leuven

programme with Henry Andersen,

Clara Amaral, Francesca Hawker, Will

Holder, Martha Jager, Jeroen Peeters,

Isabelle Sully, and Reinier Vrancken

documentation by Jente Waerzeggers

[more information]

Collecting, arranging and displaying, rather

than making, constitute the core of Rokko

Miyoshi’s artistic practice. His collection spans

families of objects, amongst them a vast

number of vintage press photographs and

archival documents. For Art Brussels, Rokko

Miyoshi proposes a new installation that builds

upon this long-standing practice of critically

reframing found materials.

T.W.I.B. (The World is Bananas) extends

Rokko Miyoshi’s ongoing research into the

origins of modern propaganda, viewed through

the lens of the history of the United Fruit

Company (present-day Chiquita)–a multi-

national corporation whose aggressive banana

monopoly at the turn of the 19th century

exerted a lasting, detrimental impact on the

economic and political situation in Central and

South America. Under the inuence of Freud’s

grandson and the self-proclaimed ‘propagator

of propaganda’ Edward Bernays, the U.F.C.’s

state-of-the-art public relations strategy helped

to legitimise neocolonial violence in favour of

the United States’ commercial interest.

A carefully curated selection of objects,

photos, and archives–amongst them lavish

menus distributed on board of the U.F.C-

owned cargo-liners of the Great White Fleet–is

displayed within an imposing frame structure

that engages with the aesthetics and politics

of redaction by simultaneously supporting

and sabotaging access to the materials,

representing yet another in Miyoshi’s long line

of experiments with exhibition devices.

Rokko Miyoshi, T.W.I.B.

25.04-28.04.2024

Art Brussels 2024

solo presentation at the

Fédération Wallonie-Bruxelles booth

documentation by Silvia Cappellari

[more information]

Dear reader,

On the last three evenings of the shortest and

most feverish of months, celador is holding

a reading group on writing and illness.

We will engage with selected texts that

address, and at times embody, the need for

a new kind of language called for by Virginia

Woolf, one capable of expressing the ailments

of illness.

The kind of language that produces

diseased, ‘smudged-glass-writing’, whose

surface has been texturised by experience,

greased with topical ointments, and fogged

from the condensation of feverish exhales.

Through the lens of writing on illness, we

can approach the problem of the limits of

expressibility and empathy (vs contagion) in

the context of readership/ viewership. It is

also an experiment in the making, exploring

whether and how these kinds of texts can be

experienced collectively.

The reading group spans three evenings

(27-29.02 from 6 to 8 p.m.). Each evening, we

will focus on a di󱐯erent body of text by Virginia

Woolf, Maria Fusco, Carolyn Lazard, and Leslie

Jamison. At the same time, c’est l’ adore will

house a series of drawings of Alina Popa.

If you would like to attend one or more

sessions, RSVP by sending an email to love@

celador.space by February 25th.

Reading materials will be provided via email

upon subscription. We recommend pre-reading

the texts to prime oneself for these sessions.

Yours,

celador

Writing and Illness

27-29.02.2024

at celador, Brussels

reading group co-organised with

Daniel Blanga Gubbay

internal documentation by celador

[more information]

Hypertext Hotel is a network of rooms and

passages, a collective endeavour, a co-authored

text, an appropriated myth, a place of secrets

and transgressions, a narrative structure, a

mood, a premise for an exhibition.

The project borrows its title from a virtual

space for collaborative writing set up by Robert

Coover in 1991 for his workshop at Brown

University, and it takes the then-emerging

genre of ‘hypertext ction’ – one of the earliest

examples of electronic literature – as a starting

point to think of an exhibition as a collective

work of interactive ction, where di󱐯erent

scenarios and readings are not only permissible

but inevitable.

The ambition to do away with narrative

linearity goes back to the pre-digital literary

experiments, but it was hypertext ction that

rst dared to abandon the old medium and

harness the potential of the nascent computer

technology to that end. The collaborative,

do-it-yourself attitude of those involved

translated into hypertext ction’s characteristic

rudimentary visuals, and the post-cold-war

techno-optimism into its unique emotive quality.

These values and aesthetics are now looked

back at with a mixture of condescension and

desire.

Hypertext Hotel also taps into the

hotel’s reputation as a site of secrets and

transgressions, which has been established in

lm and literature, especially in the (neo-)noir

genre. While these two genres might appear

dissimilar, hypertext ction being a digital native

forking its way out of linear storytelling and

noir–a pulp paperback following a tried-and-

true narrative arc, they meet somewhere in the

vaporwave rooms of cyber-hotels.

For the duration of the project, the

delightfully postmodern interior of Clovislaan

87 is transformed into the lobby of Hypertext

Hotel. From there, the visitors can access

the physical and digital infrastructures and

explore the works of the hotel residents. The

heterogeneous body of the exhibition is held

together by the soft tissue of hypertext ction,

co-written especially on this occasion.

Hypertext Hotel

25.11.2022-14.01.2023

SB34, Brussels

group exhibition, interactive ction with

Henry Andersen, Kendal Beynon,

Bartek Buczek, Shelley Jackson,

Daniel Jacoby, Peter Lemmens,

and Stuart Moulthrop

documentation by Silvia Cappellari

[more information] [press]

Proxemities is a portmanteau of two existing

terms: ‘proximity’, which refers to a state

of nearness or closeness, and ‘proxemics’,

the study of human use of space, and more

specically, distances between people.

In cinema and lm, ‘proxemics’ refers to a set

of spatial relationships between the camera,

the lmmaker, and the subject. Between a long

shot and an extreme close-up, any variation in

distances among these three elements has the

potential to generate new meanings.

And then, there is the fourth dimension, that of

the distance between the viewing subject and

the viewed object. The images’ power to create

or, on the contrary, diminish that distance

is often exploited in cinematic and military

technologies alike.

This exhibition is the outcome of a project

proposal submitted in a much di󱐯erent form

and scope over three years ago and which

has been postponed until now. The period

between the conception of the project and its

realisation was marked by events we could not

simply bridge over: the pandemic, the following

economic crisis, 2020 Beirut explosion, and the

Russian invasion of Ukraine. Looking back at

our initial interests from the distance of today,

we decided to refocus – without completely

overhauling the project – on the ways in

which distances between bodies are being

negotiated, mediated, and regulated, or even

violently enforced. Which bodies and images

are obscured from the public sphere and

which are exposed, and what can this tell us

about broader economic and social structures?

Through a careful selection of video works,

archives, and objects, we aim to shed light on

how distance, physical and visual, can serve as

a tool of both connection and control,

by shaping our perceptions, emotional

responses, and power relations.

Proxemities

17.03-15.04.2023

La Box, ENSA Bourges

group exhibition with Alaa Mansour,

Anna Zvyagintseva, Harun Farocki,

Naïmé Perrette and Rokko Miyoshi;

co-curated with Patricia Couvet

documentation by Françoise Lauginie; images

p.13–Rokko Miyoshi, ‘Narrow Escape Plan’

p.14–Alaa Mansour, ‘Mad Man’s Laughter’

[press]

In ‘If On A Winter’s Night A Traveler’, a novel

from 1979, Italian writer Italo Calvino combines

two types of narratives: an ‘actual’ content

of the novel and a frame story, narrating the

reader’s experience. Using second-person

narration, the writer addresses the reader

directly and draws them into the plot. At the

beginning of the novel, Calvino evokes the

image of a reader on a horseback, moving

simultaneously in two parallel worlds: the

physical world and the one of the book.

This ‘reader-rider’, contrasted with the stark

image of a reader at a lectern, represents an

emancipated audi ence, taking the reins and

driving (or rather riding) the plot home. Not

without reason, the title of Alexis Gautier’s

exhibition refers to this gure. His working

method can be compared to ‘collective ction

writing’–even if the outcome is not always

literary.

In ‘Riding High in the Reading Saddle’,

Alexis Gautier presents new works and on-

site interventions, created during his working

period at Jester. While further developing

certain plot threads from his show in Leuven,

he introduces new storylines and protagonists,

encountered during his stay in Genk. Gautier

uses a motorbike as a vehicle for both literal

and narrative transportation, a so-called

MacGu󱐰n–a seemingly insignicant object

tying in di󱐯erent characters and plot threads:

from local histories of biker communities and

the landscape painters’ colony to broader

themes of drift, identity, and belonging.

Alexis Gautier, Riding High in

the Reading Saddle

21.05-07.08.2022

Jester, Genk

solo exhibition

documentation by Michiel De Cleene

[more information] [press]

VIOLETS 3 is the third episode of Ghislaine

Leung’s long-term project, developed for

Netwerk Aalst. While VIOLETS 1 and 2 were

directed inwards, at Netwerk Aalst, and

prompted self-reection on, and dissection

of its institutional body, this episode turns

outwards, towards the city of Aalst. Utilising

and inverting the organisational infrastructure

of Netwerk Aalst’s concurrent Alias project,

the score for VIOLETS 3 opens a recirculation

of goods and relations. Whilst Alias brings

artworks out of the gallery and into civic life,

VIOLETS 3 completes this cycle by bringing

civic objects from these institutional partners

back into the gallery.

The cross-organisational negotiation, loan

and display of these objects constitute the

work VIOLETS 3. In bringing together these

objects in the context of Netwerk Aalst,

VIOLETS 3 prompts not only their revaluation,

but more importantly, that of the ways in

which di󱐯erent organisational value systems

are themselves established, maintained and

instigated. This negotiation process is visible

through the display of each partners’ loan-

agreements, as per the score of the work.

With each loan processed at its own pace, the

diverse formats of the contracts reect the

formal and informal ways in which these civic

and civil structures work together.

In mobilising the existing relations between

di󱐯erent actors in the public sphere of Aalst,

Ghislaine Leung puts to test the exibility and

mutual dependencies of these institutional

bodies, attempting to create an alternative

circulation, of not only materials but public and

private institutional relations.

Ghislaine Leung, VIOLETS 3

28.09-01.12.2019

Netwerk

Aalst

solo presentation

in the scope of Alias

documentation by Tom Callemin

[more information] [press]

After smokestacks and pit heads, billboards

became new monuments to industrial

obsolescence. Wedged in the landscape,

those lonesome brutes obstruct the ow of

time and divert currency streams. Billboards

hollering ‘YOUR AD HERE’ to anyone who cares

to look up. Billboards, disappearing into the

landscape. Billboards enacting their vengeance.

‘BILLBOARD CRUSHES CAR, INJURES TWO’.

Tarp, tar, trickle, turquoise.

This is the end of the world of advertising

as we know it. Advertising has now become

fully internalised. It is no longer an extension

but a structural part of digital and subliminal

infrastructures. Living in a city used to be like

living with permanent tinnitus; we had to learn

to ignore the surrounding visual noise. Now,

I live in an ad-free part of town, where its own

carefully cultivated image, distributed across

social networks, has become its most e󱐰cient

advertisement.

I experience a pinch of nostalgia and a tangy

feel in my mouth when passing by the only

postered blind wall in this part of town. Faded

posters are peeling o󱐯, revealing traces of

information starved for attention. Someone is

leaning against the wall, holding up a cardboard

sign that reads ‘EXHIBITION TEXTS ARE

SPONSORED CONTENT – CHANGE MY MIND’.

What comes after the attention economy?

Are we all going to become prosumers, in an

autophagic manner consuming only our own

content?

I’ve always preferred to look at works in their

context, from the distance of a second remove,

I tell Arthur the other day, after we both

confessed how challenging it is to put in words

our opinions – no, feelings – on painting.

Each time he sees a painting he likes, Arthur

says, he has this distinct taste on his tongue

…

‘Tangy?’ I inquire.

And Yet a Trace of the True Self

Exists in the False Self

2023

exhibition text accompanying Arthur

Cordier’s solo exhibition ‘Laatste Ron

de’ at Trixie, The Hague

abstract from ‘And Yet a Trace...’

[read here]

Marianne Berenhaut’s (1934, Brussels) diverse

practice refuses to be pigeonholed. It expands

in all directions, spanning at times tragic,

romantic lyricism, critical feminist edge, dada

humour, and imaginative juxtapositions worthy

of surrealism… and it keeps changing. Through

a curious combination of exhibition images,

previously unpublished archival material, and

newly-commissioned essays, this book o󱐯ers

a glimpse into the many lives of Marianne

Berenhaut’s works. It departs from the specic

context of Marianne Berenhaut’s solo exhibition

Mine de rien at CIAP and C-mine in Genk at the

turn of 2021 and 2022 to arrive at di󱐯erent

times and places.

In keeping with multiple meanings of the word

‘legend’, the following text provides information

about the archival materials reproduced in

this publication while, at the same time, telling

a story through and around the work of

Marianne Berenhaut.

When selecting the material, I was

particularly interested in the instances of

Marianne’s works circulating outside the gallery

or museum context, on the intersection with

other domains of life. Whether touring with a

theatre group, partaking in a feminist assembly,

or turning up in a public park, her works have

always been close to daily life, as if coming

back to the very places they originated from.

Marianne Berenhaut: Mine de Rien

2022

Published by CIAP, C-mine, Dvir Gallery

Texts by Louise Osieka, Barbara Cugli

etta, Alicja Melzacka

Design by Hannah Sakai

Photography by Michiel De Cleene

Edited by Alicja Melzacka

ISBN 9789464590609

blurb · abstract from Alicja Melzacka, ‘A Legend’

in ‘Mine de Rien’ [read here]

Unapologetically, Gash mixes feminist critique

with humorous, pulp content and mocks

widespread attempts at appearing smarter

than one is by hitting certain intellectual

markers of class, established largely by white

male thinkers of the past century. “We both

know you haven’t got a clue about them

foreign lms ... your favorite show is still

Friends” quips the intro song to Breeder or

Sucker. In this respect, Gash’s work exhibits an

“autotheoretical” quality, one that is ”personal-

theoretical, incidental and gut-centered.” By

integrating philosophy and social criticism

with autobiography, autotheory challenges

the entrenched ideas of what counts as

legitimately critical knowledge. (2) This reading

of Gash’s work appears to be reinforced by the

appearance of Chris Kraus’s autotheoretical

novel I Love Dick in a scene from Breeder or

Sucker (uncoincidentally in the vicinity of an

enormous dildo).

The fact that I could “binge” Gash’s work

with so much enjoyment gave me a reective

sense of relief. It felt like an invitation to

abandon presuppositions about how art

should be produced and consumed, embrace

its humorous and erotic sides, and, for once,

divorce “guilty” from “pleasure”.

Charlotte Gash: Bingeworthy, Five

Stars; Gleb Amankulov: Novel of

Circulation; Julius Pristauz: Staging

Indeterminacy

In Unfreezing the Scene, Kunsthalle

Wien Prize 2022

Published by Stadt Wien Kunst GmbH

/ kunsthalle wien

Edited by Ramona Heinlein, Nicole

Suzuki

Essays by Victor Cos Ortega, Attilia

Fattori Franchini, Alicja Melzacka, Inga

Charlotte Thiele

abstract from ‘Bingeworthy, Five Stars’ in

‘Unfreezing the Scene’ [read here]

Auditing Intimacy catalogues the last ve

years of O.J.A.I.’s postcard correspondence.

In addition to over 80 images, the publication

contains a specially commissioned essay

by curator Alicja Melzacka dealing with self-

institutionalization - the performing of the self

as an institution - as an approach to artistic

research and performance.

Entangled, dense, and at times stiing, but also

witty and subversive—O.J.A.I.’s vernacular

relies on more than emulation. Their signature

method of Political Ideation explores and

exploits the generative and transformative

potential of language, by shifting and

stretching meanings and blending authentic

and ctional bureaucratic nomenclature. In

doing so, they produce a body of eclectic, not-

always-reliable information, whose “ctionality

or facticity can’t be fully resolved,” [19] and

which is later distributed as lists, podcasts, and

performance.

From ‘o󱐰cial ction-data’ described in

The Origins of Totalitarianism (1951) to

notorious ‘fake news’ that slander the good

name of ction today, ctionality often elicits

negative connotations. But post-facts and para-

facts are not two sides of the same coin, the

major di󱐯erence being that the latter “has one

foot in the eld of the real.” [20] And this foot

can be used as subversive leverage.

In this precarious context, linguistic relativism—

the idea that the language we speak

determines our perception of reality—makes

a strong comeback. (...) And if the use of

language a󱐯ects thinking at least to some

extent, then a change in language could bring

about a change in thinking. How many of us

would shrug when hearing for the thousandth

time the phrases ‘neoliberal order’ or ‘economic

crisis’? Either these words have lost their

punch, or we have become desensitised.

O.J.A.I.’s cunning exercise of language soaks

our linguistic callousness to then e󱐰ciently

remove it.

Auditing Intimacy: O󱐰ce for Joint

Administrative Intelligence

2021

Edited by/ artworks by Chris Dreier

and Gary Farrelly

Essay by Alicja Melzacka

Design by Zero Desk

Documentation by Pauline Miko

Published by Fantôme Verlag

ISBN: 9783940999498

blurb · abstract from ‘Auditing Intimacy’

[read here]

Perhaps hypertext ction has been

conceptually awed or inherently utopian.

Hypertext has always run the risk of being

so distended and slackly driven as to lose

its centripetal force, to give way to a kind of

static low-charged lyricism — that dreamy,

gravityless, lost-in-space feeling of the early

sci- lms; something of a blessing and a curse

at once. From the impossible endeavour of

mapping the way we think, with time, it became

degraded to digital pulp.

Maybe the fault lies with the general

weariness with postmodern self-referentiality;

hypertext was, necessarily, a self-aware genre,

in which immersion gave way to interaction.

And while, from time to time, we need to break

this fourth wall, it doesn’t necessarily mean that

from now on, every space needs to give into

the open-plan fad.

Or perhaps it had to do with a certain

disenchantment, as the hyperlink technology

became absorbed by online dictionaries,

encyclopaedia, and blogs and became

commonised, de-futurised. Looking back at

hypertext ction reminds of watching an old

sci-. The poignantly outdated aesthetics

of HTML 2.0. is futuristic but in a way that

projects some distant, unrealised future. There

was no cybernetic apocalypse of meaning. The

end of the literature did not come.

From Whiteboard to Hypertext

2021

In ‘Exit Strategies And A Stand Alone

Complex’ by Peter Lemmens:

a PhD publication on distribution, the

future and narratives.

abstract from ‘From Whiteboard to Hypertext’,

in ‘Exit Strategies’ [read here]

In the months leading up to the exhibition,

the artist amassed a vast archive of images,

picturing di󱐯erent families of everyday

objects: seats, dust bins, trolleys, toys. In the

painstaking process of editing and (post)

production,5 those ‘boring’ objects become

emotionally tinted and imbued with an uncanny,

seductive quality. The purplish and bluish hues,

strong contrasts, irregular framing, and oblique

angles faintly echo neo-noir aesthethics. Sula’s

work conveys a similar sense of alienation and

nostalgia; the spaces void of people, objects

stopped amidst movement, and the sleek,

futuristic appearance of the dismembered

furniture bodies convey an almost dystopian

image of the world.

Those ‘poor images’—either snapped with a

phone or pulled o󱐯 of the internet—have been

given a sumptuous physical presence, encased

in acrylic boxes or embedded in steel benches.

A mutilated safety lock on the reverse side of

several pieces functions as a symbolic, but also

potentially operative, value placer. The allure

of these materials, well known from shopping

windows, enhances the kind of hyperreal,

distant feel of the images. Amplied by

reections, the curves of cast aluminium and

uniform surfaces of dark breglass contrast

with soft, striped textile and emanate a heady

combination of sensuality and militancy. (6)

In blending the persuasive formal language

specic to advertisement, industry, and design

with more intimate and playful registers, Sula

constructs highly controlled yet ambiguous

environments. Seen from a distance, the

installation appears almost unreal, like a

rendering or a glitch in the exhibition space.

Marina Sula: You may never know

what’s causing all the trac

2021

published by CIAP Kunstverein

text by Alicja Melzacka

photographs by Michiel De Cleene

abstract from ‘You may never know...’

[read here]

Between the ochre tower blocks of the Kyiv

quarter, a group of boys is performing what

could be a parkour routine. Agile ngers

wrapped around the bar, feet sensing the kerb

underneath them before taking the decisive

step. The playground is not their usual training

ground, but they are quick to adapt to any

conditions. Climbing, lifting, and jumping, they

seem to be testing the limits of their bodies,

but even more so of the space and the existing

infrastructure.

Since the 1980s, parkour has evolved

from a military obstacle-course training to

an unrestrained way of traversing the city.

Enabling alternative navigation through urban

spaces, it can be considered a practice of

dissent. Parkour being the sport of choice

for the youth of Slavutych lends itself to a

pretty conspicuous, but nevertheless apt,

metaphorical reading, only reinforced by the

contrast with the archival footage of children

parading through the same streets just

over 30 years ago. These boys are the new

generation with entirely di󱐯erent prospects

and expectations than their parents, for whom

Slavutych was the promised land. They wear

international brands, use the latest devices,

and even though at face value not much has

changed besides their appearance, in fact

everything is di󱐯erent.

Slavutych, known as ‘the last atomic city’,

was built at a record pace to accommodate the

personnel of the Chernobyl nuclear plant and

other citizens of Pripyat, evacuated following

the meltdown. While the entire apparatus of the

Soviet Union was jarring and grinding to a halt,

this young city seemed to have only started to

accelerate. But the perspectives have changed

with the gradual decommissioning of the power

plant. Today, Slavutych is undergoing a di󱐰cult

transformation and it is uncertain whether it

can become a place to accommodate its young

citizens’ futures.

Constellations

2020

Essay written for Ingel Vaikla’s solo

show ‘Shapes and Distances’ at

Beursschouwburg, Brussels (2020)

republished in Sirp (May 2020) and

Kajet Journal (issue 5, 2021)

abstract from ‘Constellations’

[read here]

I always ima gi ned I would beco me either

a trans la tor, a wri ter, or an artist, and I guess

how I under stand cura ting takes a bit from all

of the se dis ci pli nes. In my cur rent work, I aim

to inte gra te wri ting and cura ting, often

thin king from or through spe ci c texts or

tex tu al prac ti ces. I try to cul ti va te a par ti cu lar

eco lo gy of prac ti ce, pla cing impor tan ce on

long-term enga ge ment, dia lo gi cal pro ces ses,

and col la bo ra ti ve research, and searching for

cura to ri al con texts that sup port this type of

work. I attach gre at value to self-orga ni sa ti on

and explo re its poten ti al as well as limita ti ons

as a mem ber and co-foun der of seve r al

bottom-up initiatives.

As an inde pen dent cura tor, I col la bo ra ted

with artists and organisations in Belgium,

Netherlands and beyond. Recent pro jects

inclu de ‘Back-to-back’, two-day programme

on artists’ writing at Cas-co in Leuven and

‘Hypertext Hotel’ at SB34 in Brussels, which

con cei ved of an exhi bi ti on as a work of

inter ac ti ve ction.

My texts accom pa nied mul ti ple exhi bi ti ons

and appe a red in artists’ books, cata lo gues

and art press; some publis hers inclu de HART,

KAJET Journal, BLOK Magazine, Onomatopee,

Fantôme Verlag, MER Paper Kunsthalle,

Kunsthalle Wien.

I’m a co-foun der of celad or in Brussels,

space for doing things with words co-run by

nine curators.

From 2019 to 2023, I wor ked at Jester (for-

mer ly CIAP) in Hasselt and Genk, whe re I sup-

por ted artists throug hout their resi d en cy

pro jects and cura ted, amongst others, solo

exhi bi ti ons with Beny Wagner & Sasha

Litvintseva, Marina Sula, Marianne Berenhaut,

and Alexis Gautier.

I hold a dou ble Bachelor’s degree in Art

History and Applied Linguistics & Translation

Studies from the University of Gdansk

(2011−2015) and a Master’s degree in Arts

and Heritage: Policy Management and

Education from Maastricht University (2015−

2016). In 2019, I com ple ted a post gra du a te

pro gram me in Curatorial Studies at KASK

School of Arts and Conservatorium in Ghent.

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