Situated as it is at the very turn of the century, and questioning from the outset the inflation and desubstantialisation involved in the hegemony of images, Michel Mazzoni’s photographic practice is an image factory or rather an image-thinking factory. An image which outflanks it and decompartmentalises it in multifarious ways, from its installation in situ to its editorial deployment. An image qua cultural artefact in its capacity to link us to the world in a shared sense of perpetual pre...

STUFF provides an overview of ten years public art projects and includes an in-depth interview by prof.dr. Wouter Davidts about what this practice means for Van den Broek. Especially for this publication, the artist created new sketches on tracing paper that provide insight into his working process and the interaction with his painterly oeuvre. The book is lavishly illustrated and contains never before published images of designs, models, work in progress and temporary, executed and not execu...

"Dumitru is a project started in 2015. The corpus of images that composes it comes mainly from archives relating to the period of the reign of the Ceaucescu dictatorship in Romania (1974/1989). Missed Utopias, lost dreams, technologies that have become obsolete ... For four years, I drew on these images, scrutinized and enlarged their surfaces, revisited places by making new shots, trying out new assemblies, such as a montage game, until evidence emerges.

The book is a posthumous tribute to D...

Joost Colpaert (°1965, lives and works in Oudenaarde, Belgium) has been producing paintings and videos for many years in which recurring cycles, fluent progress and the force of water play a central theme. He is inspired by his musical background: where a painting is spatially restricted, music can continue to flow (eternally). In a series of paintings from around 2000 the idea of recurring cycles was expressed in the form of rings, streamers and tyres which wound around and through each oth...

As the world is becoming increasingly globalised, so are the real estate market and your client base. English for Real Estate will help real estate professionals communicate effectively in English with existing and potential clients. Each chapter is dedicated to one client-centred task professionals perform weekly, such as prospecting, pitching ideas, making calls, hosting property tours, presenting investment opportunities, closing deals, and many more. The book contains interesting real est...

TRANS architectuur / stedenbouw is a Ghent (BE) based practice established in 2011 by Bram Aerts and Carolien Pasmans bringing together a group of talented and highly motivated architects and urban planners. In a short period of time, the office has built up a strong reputation at the forefront of a much-acclaimed generation of Flemish design practices. Bram Aerts and Carolien Pasmans are committed educators at the KU Leuven, the University of Antwerp and at the Rotterdamse Academie voor Bouw...

The book Labyrinth exhibits a selection of extraordinary photographs by Tim Onderbeke (°1983) of architecture by Alfons Hoppenbrouwers, Juliaan Lampens, Paul Felix, Paul Meekels, Jul De Roover, Jan Tanghe, Lode Wouters, René Stapels, Victor Bourgeois and objects and sculptures by Roger Bonduel.

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I’m very sensitive to the ‘appearance’ of a building in an environment. As I wandered through the Flemish landscape, I was drawn to the aesthetics of these properties and to the host of ever...

Jean-Marie Bytebier (°1963) graduated from the Royal Academy of Fine Arts in Gent in 1988. Together with artists such as Wim Delvoye (°1965) he focuses mainly on the possibilities of how painting could be presented in order to understand our increasingly complicated postmodern society. In doing so he wants to seal the gap with conceptual art, as opposed to a previous generation of contemporary artists in Belgium, which followed the new German painting. Bytebier places the paintings in dipty...

This title is the book-form of a work by Matt Mullican, “The Meaning of Things (who feels the most pain?)” (2014), consisting of 676 collages and texts on sheets of standard printing paper. At the approximate center of each collage is a small image that appears to be a printout of an image procured from the Internet. Around the images are hand-drawn, quasi-calligraphic marks (in black only), curved, giving the impression of an “organic” form in the manner of ornate, rococo frames. Fir...