Imagine for a moment that, not Donald Trump, but Bernie Sanders had been elected US President. Imagine also the skyline of Antwerp, with not only the cathedral, but also a mosque and a synagogue. And what would we think of contemporary art if our references included, not only the likes of Andy Warhol and Damien Hirst, but also Andrea Fraiser and Kara Walker? What would contemporary dance mean if, after Maurice Béjart, Anne Teresa De Keersmaeker had not broken through? What would our view of humankind and society be if, instead of Jean-Paul Sartre and Pierre Bourdieu, we had taken Audre Lorde and Donna Haraway as our reference points? How would we handle our everyday affairs if we didn’t allow ourselves to be swayed by the issues of the day through social media? And imagine for a moment that the news included as much cultural news as sport.

Under the banner ‘Radical Imagination’, Integrated2019 is inviting leading international artists, designers, architects, scientists, politicians and activists who offer us a radically different view of the world and of our future. We are not talking about creative visionaries who hold this or that otherworldly idea, nor about those who, under the diktat of ‘mainstream influencers’, want to saddle us with the latest trends. No, what we’re talking about is a platform for unique perspectives that speak to the collective imagination, panoramas that realign our image of art, technology and design, that readjust our perspective on a city, country or society and that, as a result, make us restless and self-critical. These new visions – whether they are political, scientific or aesthetic – not only have the power to move our world view, but also inspire us to think and act differently. So the imagination speaks not only to the individual in the first place, but also to the collective consciousness, or as, Max Haiven and Alex Khasnabish, the sources of inspiration for this Integrated edition, put it: ‘we understand the imagination as not merely the “private property” of the individual. Through shared experiences, language, stories, ideas, art and theory we share part of our imagination. We create, with those around us, multiple, overlapping, contradictory and coexistent imaginary landscapes, horizons of common possibility and shared understanding. These shared landscapes are shaped by and also shape the imaginations and the actions of their participant individuals’ (Haiven & Khasnabish, 2014: 4).

Radical Imagination thus shows the real power of creativity, i.e. the ability to create a new world and to depict an alternative world view. In doing so, the conference wishes to inspire the artistic and creative sector (in the broadest sense), to challenge researchers at university colleges and universities, but also to sharpen our political thoughts to help us get out of the social and ecological impasses we find ourselves in today.

According to philosopher Slavoj Žižek, we will only overcome today’s problems if we dare to push back the boundary between the possible and the impossible. That is why he demands that contemporary scientists once more ‘learn to think’ the impossible (Žižek, 2013). Translated into an artistic context: how can the imagination be used to perform the impossible? Simply by today already feeling, smelling, hearing and seeing how another world could be possible, we can learn to experience something as possible which we considered impossible beforehand.

Integrated 2019 offers a platform for people who challenge us to think beyond the contemporary dogma of pragmatics, functionalism, market realism and realpolitik, precisely because, to return to Žižek, today ‘the only realist option is to do what appears impossible …’ To that end we are inviting artists, politicians and scientists to dance together on the ‘aesthetic horizon’. A horizon which, according to Alexander Gottlieb Baumgarten (2009), is not the place for putting on airs and graces, for slick beauty or seductive designs. In the aesthetic horizon, it is precisely the sharp border between fact and fiction that is traded for a fluid area in which logics and aesthetics, the cognitive and the sensitive come into contact with one another and sometimes blend inextricably. Wary of distant utopias or such daydreams, but with the artistic ability to translate that world here and now. This aesthetic experience thus becomes a form of prefigurative politics (Boggs, 1977): to let people experience tangibly in the present already how a better future could look and especially how it could be ‘experienced’. It is precisely the ground of this fiction and the sense of play that offer us the laboratory to experiment today already that other, possible future.

Integrated2019 brings together the world of fiction with that of science and politics precisely in order to explore in practice where we can make possible the impossible. In doing so we hope to give the work of Haiven and Khasnabish a proverbial boost and to help shape the space for radical imagination: ‘a space where an awareness of difference can lead to new ideas, alliances, solidarities and possibilities’ (2014: 244).

As during the previous editions, Integrated welcomes a large and diverse public composed of students, teachers, policy-makers, scientists and professionals from the creative and cultural sector. For the first time, it will be organized in collaboration with St Lucas School of Arts Antwerp, the Royal Conservatoire of Antwerp and the University of Antwerp (Antwerp Research Institute for the Arts). This collaboration offers more opportunities to bring speakers in contact with students and professionals via discussion platforms, round-table discussions, intensive workshops and master classes. The iconic building of deSingel is a wonderful location for a ‘speakers’ corner revisited’, where anyone and everyone can declaim, act, present or perform.

Integrated has more than ten years’ experience in bringing together leading international artists, architects and designers such as Cecilia Azcarate, Matthew Carter, Christo, Sara De Bondt, Uta Eisenreich, Anja Groten, Julia Hasting, Morag Meyerscough, Moniker, Mike Monteiro, MVRDV, Dan Perjovschi, Post Brothers, Recetas Urbanas, Lucienne Roberts, Stefan Sagmeister, Paul Sahre, Nadya Tolokonnikova, Storm Thorgerson, Oliviero Toscani, etc. The speakers who feature on the wish list for this edition reflect a very special spectrum.

Hugo Puttaert & Pascal Gielen (Antwerp, Brussels, March 2019)

This essay is available in Dutch and English and can be downloaded from the info page.


deSingel is an arts center for theatre, dance, music and architecture, meant for a broad art-loving audience. It is a place for contemporary and interdisciplinary interaction as well as for artistic creation, where new trends and insights are challenged. deSingel’s intention is to bring performing artists and audiences together in a climate of critical reflection and pioneering the creativity on the basis of an ambitous international programme.

The Blue Hall (966 seats) is the stage for 4 x 40 minute lectures per day by our keynote speakers. The program is interrupted by 6 intriguing micro-lectures or performances (20 minutes) per day. Experimental performances are shown in the music studio, next to video screenings. There are also public interventions and installations inside and outside the building, discussion groups and last but not least: an open platform: the Integrated Speakers Corner.


Integrated 2019 is organised by St Lucas School of Arts, Antwerp (Karel de Grote-University College), ARIA/UA- Antwerp Research Institute for the Arts (University of Antwerp), KCA - Royal Conservatoire (Artesis Plantijn University College Antwerp), FWO (The Research Foundation, Flanders), Valiz Amsterdam and deSingel, International Art Campus, Antwerp.


Ticketing (only groups):

General info:


Integrated is a non-profit organisation of the three art institutions involved. The entrance fees are kept as low as possible and the participants are fairly compensated. Coffee breaks are included. Catering is provided by food trucks (to be paid separately). As with every edition, a work by one of the speakers will be realized as a multiple and donated to all participants.

Tickets are sold for the two-day event and can only be booked via the deSingel website. At the time of payment, a confirmation e-mail will be sent and the tickets will be sent to the address provided by you.

All ticket prices include 21% VAT. Only professionals receive an invoice on request.
For group tickets for art and design institutes: please contact

€150 Professionals
€75 Students
€75 Teachers
o/r Groups*

Max Haiven

Wednesday 6 November

Max Haiven is Canada Research Chair in Culture, Media and Social Justice at Lakehead University in Northwest Ontario and director of the ReImagining Value Action Lab (RiVAL). He writes articles for both academic and general audiences and is the author of the books Crises of Imagination, Crises of Power: Capitalism, Creativity and the Commons (2014), The Radical Imagination: Social Movement Research in the Age of Austerity (with Alex Khasnabish, 2014) and Cultures of Financialization: Fictitious Capital in Popular Culture and Everyday Life (2014). His latest book, Art after Money, Money after Art: Creative Strategies Against Financialization, was published by Pluto in Fall 2018.


The avenging imaginary

The reactionary and authoritarian revenge politics that today seem to dominate the globe are the natural if horrific result of a form of financialized global capitalism that is itself vengeful. From mass incarceration to climate chaos, from the disposability of "surplus populations" to the "dead zones" that form in oceans, cities and our own lives, revenge capitalism is at work. What is needed now, more than ever, is a radical imagination that can envision and catalyze collective movement towards a world fit for humanity. The stakes have never been higher. How can we move from isolating or vindictive revenge fantasies to a holistic and transformative avenging imaginary? How can we avenge what has been done to our lives and our planet is a way that generates, rather than destroys, the world we want to share?

Bahia Shehab

Wednesday 6 November

Bahia Shehab is an artist, designer and art historian. She is associate professor of design and founder of the graphic design program at The American University in Cairo where she has developed a design curriculum mainly focused on the visual culture of the Arab world. She has taught over fourteen courses on the topic. Her artwork has been on display in exhibitions, galleries and streets internationally. The documentary Nefertiti's Daughters featuring her street artwork during the Egyptian uprising was released in 2015. Her work has received a number of international recognitions and awards; BBC 100 Women list (2013), TED Senior fellowship (2016) and a Prince Claus Award (2016) among others. She is the first Arab woman to receive the UNESCO-Sharjah Prize for Arab culture. Her publications include "A Thousand Times NO: The Visual History of Lam-Alif" and the co-authored book "A History of Arab Graphic Design."


At The Corner of A Dream

In 2015 I decided to paint on the streets of cities around the world because the streets of Cairo were no longer accessible to me. I started painting different stanzas by the Palestinian poet of resistance Mahmoud Darwish. So far I have painted fourteen walls in fourteen different cities from Tokyo to Honolulu. It does not matter if my work is not in Cairo, there are no borders anymore, if my images can be uploaded online then the message will find its way. In this presentation I will share the work that started on the streets in Cairo during the 2011 uprising and how that work inspired the walls taht I am still painting today.

Laetitia Sonami

Wednesday 6 November

Born in France, Laetitia Sonami settled in the United States in 1975 to pursue her interest in the then emerging field of electronic music. Sonami's sound performances, live-­‐film collaborations and sound installations focus on issues of presence and participation. She has devised new gestural controllers for performance and applies new technologies and appropriated media to achieve an expression of immediacy through sound, place and objects. Best known for her unique instrument, the lady's glove, which is fitted with an array of sensors tracking the slightest motion of her hand and body, Sonami recently developed a new instrument, the Spring Spyre, based on the application of neural networks to real-time audio synthesis.


Out of Control.

More info soon.

Dieter Roelstraete

Thursday 7 November

Dieter Roelstraete is curator of the Neubauer Collegium at the University of Chicago, where he also teaches. He previously worked as a curator for documenta 14 in Kassel and Athens in 2017. From 2012 until 2015 he served as the Manilow Senior Curator at the Museum of Contemporary Art Chicago, where he organized The Way of the Shovel: Art as Archaeology (2013) and Kerry James Marshall: Mastry (2016) among others. From 2003 to 2011 Roelstraete worked at the Museum van Hedendaagse Kunst Antwerpen, where he curated exhibitions featuring Chantal Akerman, Liam Gillick & Lawrence Weiner, and survey shows of contemporary art from Rio de Janeiro and Vancouver. He has published extensively on contemporary art and related philosophical issues.

Wood & Harrison

Thursday 7 November

John Wood and Paul Harrison make single-channel videos, multi-screen video installations, prints, drawings, and sculptures that elegantly fuse advanced aesthetic research with existential comedy. The artists’ spare, to-the-point works feature the actions of their own bodies, a wide variety of static and moving props, or combinations of both to illustrate the triumphs and tribulations of making art and having a life.


John Wood and Paul Harrison - Somethings are hard to explain

John Wood and Paul Harrison employ exuberant invention, subtle slapstick, and a touch of light-hearted melancholy to reveal the inspiration and perspiration — as well as the occasional hint of desperation — behind all creative acts. Talking about the past 25 years of collaboration and showing extracts from video works, Paul Harrison will no doubt prove that some things are hard to explain.

Jennifer Walshe

“The most original compositional voice to emerge from Ireland in the past 20 years” (Irish Times) and “wild girl of Darmstadt” (Frankfurter Rundschau), composer and performer Jennifer Walshe was born in Dublin. Her music has been commissioned, broadcast and performed all over the world. She has been the recipient of fellowships and prizes from the Foundation for Contemporary Arts, New York, the DAAD Berliner Künstlerprogramm, the Internationales Musikinstitut, Darmstadt and Akademie Schloss Solitude among others. Walshe has written a large number of operas and theatrical works, including XXX_LIVE_NUDE_GIRLS!!! an opera for Barbie dolls, and TIME TIME TIME, with the philosopher Timothy Morton, which the Wire described as “a sprawling opus that spans the history of the planet… like Robert Ashley meets Monty Python’s The Meaning of Life”. Her visual work has been exhibited in the Chelsea Art Museum, New York, Project Arts Centre, Dublin and the ICA, London.


"Terroir, Digital Dualism and AI"

Jennifer Walshe will talk about her practice from the perspective of terroir. Terroir is a concept that originated with French winemakers, to describe how a wine is the product of a specific point in space and time, linked to climate, soil, geography, as well as the organisms that live in, on and around the vineyards. Walshe uses terroir as a way to expand the idea of writing from lived experience, at a point in time when we are enmeshed with and interpenetrated by digital technologies. Walshe will discuss recent projects including A Girl’s Book of Song, written for the Mädchenchor of the Sing-Akademie zu Berlin, and ULTRACHUNK, created in collaboration with Memo Akten, in which Walshe improvises with an AI version of herself.

Lara Garcia Diaz

Wednesday 6 November Instagram: laragarciadiaz

Lara Garcia Diaz is a cultural activist, Phd candidate at the Antwerp Research Institute for the Arts (ARIA) and part of the Culture Commons Quest Office (CCQO). Since 2016, and thanks to the prestigious Odysseus Grant of the Flemish Scientific Fund (FWO), she is investigating cultural practices with commons-based approaches via feminist theories. Lara has published in Academic journals such as Frame: Journal of Literary Studies (2017) or Art and Identity Politics (2018). She has contributed in books such as What’s the Use (Valiz, 2016), Exploring Commonism (Valiz, 2018) or Prekariart (Universidad del País Vasco, 2019). She often collaborates in exhibitions and conferences as lecturer/researcher such as The reBirth of Marx(ism): Haunting the Future (Dublin, 2018), This is not a Love Song (Amsterdam, 2018), Living Research: the Urgency of the Arts (London, 2019), Culture for Solidarity (Seville, 2019), Prelude Symposium (Oslo, 2019) or Historical Materialism (Barcelona, 2019).

Loraine Furter

Thursday 7 November

Loraine Furter is a graphic designer and researcher based in Brussels since 2007, specialized in editorial design, hybrid publishing and intersectional xfeminism. She designs and edits paper publications as well as web and digital ones, and is particularly interested in the interaction between these media.


Fab feminist publications — a herstory.

This talk presents a selection of publications that form a counter-history to the dominant narratives on artists’ books. Loraine Furter brings attention to details from these stories and unfolds their feminist, speculative, radical materiality as well as the stories they tell, murmur, cry, whisper and shout… Going deeper into the herstories around artists’ books and publishing, hidden details re-surface and help shape a different narrative for and comprehension of this field.
In the fall of 2019 Loraine Furter will start a PhD at Sint Lucas Antwerp: “The politics of publishing; researching encounters between artists’ books and intersectional feminist tools.”

Studio Renate Boere

Studio Renate Boere is a design studio that explores the latest graphic design practices. We like to work with students, artists, companies, agencies and governments on innovative products.
We develop and invent, apart from classical graphic design, interactive installations, hybrid publishing and self-initiated innovative products. Research into new channels to create visibility for these innovative products is an important part of our work.


Wanted: multi-talented designer

How can you, as a graphic designer, have an influence on society, or change something about the political landscape?
Nine years ago, this question drove Studio Renate Boere in the direction of generating self-initiated projects. After seeing a gradual increase of populism and polarization, we got involved in designing interactive installations to inform citizens about politics in a neutral and entertaining way in a.o. The Netherlands, Belgium and Germany. From this the desire to create self-initiated projects blossomed.
We discovered it’s all about generating visibility by telling a current and innovative story, timing, and a solid collaboration with stakeholders that have the knowledge, network and money you need to reach the your goal. We learned the hard way… Nowadays, we’ve managed to channel these findings into our own method which we use in our practice. From bookdesigns that put subjects on the political agenda (No Guts No Glory), to setting up a (hybrid) archive about the rise of the new protest generation (e.g. Youth for Climate), and from writing a book (I ask you to find your courage) to winning international design prizes. Every project is a designed trial and error process that simply starts with
a great idea.
During this lecture, Studio Renate Boere (Renate Boere and Quirine Dob) will take the audience through a 20 minute journey that investigates the limits of graphic design and beyond. With examples from our practice, Studio Renate Boere will show the struggles, the failures, the unexpected and the lessons learned whilst trying to launch self-initiated projects.

Sandrine Teixedo

Wednesday 6 November

Sandrine Teixido is an author, researcher and artist living in Toulouse. She created the association Le Monde en Critique in 2009 and the publishing project ISSUE in 2015. She is Music curator at the ‘New Patrons’ initiative supported by Fondation de France, and holds a PHD in ethnology and social anthropology from Centre Georges Simmel at EHESS, in Paris. In collaboration with Geneva-based artist Aurélien Gamboni, she has had various artistic interventions at the 9th Mercosul Biennial in Porto Alegre (2013), the Théâtre de l’Usine in Geneva (2014-2015), the MAC Contemporary art museum in Niterói (2016) and the Centre de la Photographie in Geneva (2017).

Seham Sultan

Wednesday 6 November

Seham Basel Sultan is a Yemeni graphic designer and an alumni of Tomorrow's Leaders; a program that targets students of Arab background who have the potential to become the community, business, and national leaders of the future. Seham graduated in 2017 from the American University in Cairo with honors, and a minor in sociology focusing on community development. Seham’s work merges design and research with the purpose of sending messages that ignite change and evoke thought. Seham is currently working as a Coordinator for the Graphic Design program at American University in Cairo and working on several projects that promote critical thinking and observational reflections of society.


What the News?!; How the news reads you.

We are constantly being bombarded with news, yet the Yemeni crisis is largely neglected by the media.To tackle this issue “What the News !?” is an unconventional, interactive newspaper that alludes to the humanitarian crisis while reminding viewers of the various media fallacies and propaganda techniques. The aim of this project goes beyond the information in the newspaper where the publication acts as an educational tool, where every spread has different themes designed accordingly to the messages. It strives to keep the reader’s attention, teaching them about the techniques and media fallacies, encouraging the readers to research and attain the skills to handle the information in everyday life.

Sue Spaid

Thursday 7 November

Belgium-based philosopher Sue Spaid, Ph. D., has been active in the artworld as a collector, curator, art writer, university lecturer and museum director since 1984. Her traveling exhibition “Green Acres: Artists Farming Fields, Greenhouses, and Abandoned Lots,” funded by an Emily Hall Tremaine Exhibition Award, concluded its tour in 2013. While Executive Director at the Contemporary Museum, Spaid co-launched "Baltimore Liste," in support of younger artists and galleries, and wrote A Field Guide to Patricia Johanson’s Works: Proposed, Built, Published and Collected to accompany a touring retrospective.

A current contributor to H Art, she is a former member of the artUS Contributors Board. Between 1997 and 2010, she published 54 articles in this LA art publication and 12 in its predecessor ArtText. While Curator at the Contemporary Arts Center, Cincinnati (1999-2002), she authored the book Ecovention: Current Art to Transform Ecologies that accompanied the 2002 exhibition she co-curated with Amy Lipton. In addition to having written three books on eco-art, she has published over 60 essays in exhibition catalogs or take-away brochures.

As an independent curator, she has organized well over 50 exhibitions for artist-run spaces, university galleries, commercial galleries and museums such as Santa Monica Museum of Art, Armory Center for the Arts, SPACES and the Abington Art Center and Sculpture Park. She has also served as curator of both the Bellevue Art Museum's "Pacific Northwest Annual" (2001) and the Mississippi Museum of Art's Mississippi Invitational (2006). During her “Yes Brainer Tour” (2005-2006), she traveled via car to 38 states presenting “The Gist of Isness” along the way. From 1990-1995, she ran Sue Spaid Fine Art, a scrappy Los Angeles gallery that launched dozens of local artists’ careers.


The Aesthetic Enhancement Approach: Gauging Nature’s Wellbeing to Reverse Degradation.

Environmental aestheticians routinely wrestle with the asymmetry between aesthetic appreciation and nature’s wellbeing. For example, more information ought to cause people to appreciate swamps, mole hills, or wastelands that would otherwise find unappealing. And of course, this goes the other way around: humans find aspects of nature beautiful that they might otherwise consider abhorrent if they has sufficient information. The "Aesthetic Enchantment Approach" characterizes the way one’s appreciation of a thing or event increases when one is shown how it augments the “peaceful continuance of planetary life.”

Sylvia Jeanne Hinz Strieder

CATENATION first evolved 1996, went on a hiatus for some time, and was remodelled in 2012 featuring the artists Sylvia Hinz and Jeanne Strieder. They combine improvisation, live performance, visual and audio art. Sylvia and Jeanne are both musicians who extravagate the worlds of Dissonant Art Music, Industrial, Noise, Electro and Metal. Jeanne Strieder (born 1980 in germany) is a composer and artist. The purpose of her work is to create solace and compassion for the invisible suffering of the many and the few. The results are individual aural bodies that seek connection with those who experience darkness. praised for her equally fierce and bold dramatic performance style, Sylvia Hinz is one of the leading recorder players worldwide, specialised in contemporary music and improvisation.


[shrouded matter II]

Double bass recorder (live), voice (live) violoncello, synthesizer, distortion & fx
Catenation - Sylvia Hinz & Jeanne Strieder

In the wake of the uprising right-winged oppressors around the world, empowerment of women and the aim for equality is becoming more important every second. Inspired by feminism, we want to rouse the sleeping and offer solace to the suffering, to make those uneasy who want to keep others in the dark, to praise the resistance, to make it possible for the voice of doubt to sail through the world on the sounds of wind and air ... this is an ongoing and finished, yet unfinished project - for this concert, we will prepare tapes with nature sounds, with inaudible whispering of poems and reports. the tapes are going to be the basis for open concepts, in our very unique and special instrumentation, where a specific range of mictrotonal steps is used by us for the performance. Also, a few inaudible spoken words - in german, english, and spanish.

Post Collective

Thursday 7 November

The Post Collective is an autonomous platform of co-creation, co-learning and cultural activism for refugees, asylum seekers, sans papiers and accomplices. It seeks to introduce a range of artistic, cultural and work opportunities and to provide a collaborative environment for its members regardless of their legal status. The collective arose from the 2018 Open Design Course participants, KASK school of arts, Ghent. Generative modes of dialogue and storytelling form the basis to our speculative and experiential approaches to art+design. We aim to develop 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.



Ine Vanoeveren

Wednesday 6 November

Belgian flutist and Doctor of Musical Arts, Ine Vanoeveren (b. 1986), is specialized in contemporary music performance. She obtained her Master’s degree at the Conservatoire Royal de Musique de Liège, in the class of prof. Toon Fret, a Master in Advanced Studies in Contemporary Music Performance and Interpretation in the class of Mario Caroli, at the Conservatorio della Svizzera Italiana and a DMA in Contemporary Music Performance in the class of Prof. John Fonville, at the University of California, San Diego.

She performed at several contemporary music festivals and concert series, such as Lanterna Rossa in Lugano, Internationales Musikinstitut Darmstadt, Wednesdays @7 in San Diego, Festival Musica Sacra Maastricht, Images Sonores in Liège, Complicated Europeans Festival in New York, FIME in São Paulo and the Monday Evening Concerts in Los Angeles. In 2017, Ine toured through the US with her solo program UN(!)limited(?) and lectured at several renowned universities, such as University of California, San Diego, New York University, City University of New York and McGill University at Montréal, Canada.

Ine won awards at the Action Classics Competition, Benelux Fluitconcours and was rewarded with a Belgian American Educational Foundation grant in 2013, to continue her research in contemporary music performance in the US. In 2016 she was awarded with the Kranichsteiner Stipendienpreise for Interpretation by the Internationales Musikinstitut Darmstadt.

Wouter Gysemans

Thursday 7 November

Born and raised in this world, now creating virtual ones.



How can I estrange someone from their reality with a newly constructed reality?
Creating an escapism in a virtual space, I aspired to disturb someone's reality through a screen. The result is a 360° video, made for VR, in which the viewer is immersed. Starting in an almost similar place as the original exhibition, the viewer recognizes this space as an altered reality which is almost immediately disturbed when the camera starts moving. Video and images of our visual culture accompany selfmade 3D scans and models. Together they form the means to break the bonds of the viewers, enabling them to escape Plato’s cave and re-evaluate their reality.
Pretentious I know.

Complete Surrender


Louise Nelstrop is Director of Studies at the Margaret Beaufort Institute of Theology, Cambridge and College Lecturer in Theology at St Benet’s Hall, Oxford. She is a specialist in medieval mysticism. The film project, Complete Surrender, grew out of her research into the place of erotic desire in mysticism during an USCIA Scholarship at the Ruusbroec Institute at University of Antwerp.

Pol Herrmann is a Belgian-based film maker and cameraman, who trained at IAD. He has been involved in various films, documentaries and TV productions, most recently: Ennemi Public, Body and Soul (a documentary on love shot in India with Belgian teenagers) and Complete Surrender (his first role as director).


Complete Surrender is a short documentary film that explores love and why five artists have turned to two female medieval mystics, Marguerite Porete and Hadewijch, finding in them kindred voices that help them express contemporary concerns, particularly around the issue of love.
The film follows five artists: Anne-Mie Van Kerckhoven, an installation artist, Wim Henderickx, a composer, Aline Kiner, an author, An Pierlé, a pianist/singer-song writer, and Hendrik Vanden Abeele, a classically trained pianist, singer and leader of the vocal ensemble Psallentes, as they recount their engagement with these mystics on love and desire.

Ignace Cami


Ignace Cami (Belgium, °1986) takes his heimat as starting point to make sculptures, performative objects, installations, storytelling and writings dealing with roots, symbols and the contemporary meaning of local history. He also hosts the artist run CRYING space with Ward Zwart and is a part of collaborative projects like Haas & Gaai, Boris & Kitchenknife and Nestvlieders.

Jens Dawn

Last year Jens Dawn (1981) erased his portfolio-website as a revolt against the popular demand of hip graphic design, he replaced the pages with a chaos of graphic elements and this would be his portfolio. He still thinks this is the worst move he ever made. Jens Dawn is the perfect example how not to be a graphic designer. When he isn’t designing for clients he creates projects in arts and graphic design. Mostly his projects is to unite artist that work without a collective and to inspire people with art. He considers these projects not helpful at all for his graphic career. Oh well-- Buy the ticket, take the ride (Hunter S. Thompson).


How not to be a graphic designer.

Jens Dawn isn’t a needed graphic designer.
Who needs an opinion about fonts, signage, logo’s,...
Fuck Jens Dawn. We need a strike. We need to rally campaigns against every form of Jens Dawn graphic Design. Together we can make an end to every graphic project Jens Dawn has ever made.
Anti-Dawn is our group of activist.
We stand for:
– Unity against Jens Dawn.
– Protect clients against the artistic habits of Jens Dawn.
– Stop Jens' experimental art-projects.
– Forbid Dawn to have future graphic projects.

Kabinet Studio is founded by Freya Clijmans and An Onghena. We focus on visual communication and graphic design from print to digital. We design books, artist publications, brand identities, events design, poster and flyer design. We love to finish all projects from A to Z inhouse: from concept to creation preferable with our own risoprinter, that we welcomed in 2016. Apart from working for clients, we often do self-initiated projects, together, separately or with other artists, we also host workshops and masterclasses. In line with this we regularly discuss the status of the artist book and analogue printing technologies, as seen against the backdrop of increasing digitization.


The (new) wave in printing - a duplicating intervention.

To claim a voice, print has always supported minority groups. Above all, in the past it was mostly the only way to communicate or to spread information. Numerous variants of printing techniques have been developed. One of these printing techniques was the Stencil Duplicating Machine or the Mimeograph. The technique made it possible to quickly spead information amongst supporters, for example during World War II and made the first feminist wave possible.
Today we face the reality, a lot of communication is taken over by digital platforms. Despite of this, the way we deal with information remains the same. In both ways we still search for a way to claim a voice in favor of a more democratic society. It’s still important to recognize and learn from this progression. Without the evolution of print, the world as we know it would nowadays never have been the same.

Marilli Mastrantoni

Performer, Director and Dramaturg, based in Athens-GR and working internationally. Founder of Theatre ENTROPIA and Artistic Director of the homonymous Contemporary Performing Arts Company. As an actress has participated in theatre and live art performances, films and TV productions in Greece and abroad. She’s the director and author of several theatre performances, interdisciplinary productions and international projects, exploring current socio-political issues and the urban environment. Her practice also includes writing, curating, producing, translating, lecturing and instructing seminars and workshops on performance, cultural policies and artivism. Her work has been so far produced and presented in Venues and Festivals in Belgium, Cyprus, Czech Republic, Denmark, Finland, Germany, Greece, Hungary, Italy, Netherlands, Palestine, Poland, Portugal, S. Africa, Turkey, U.K..


Occupy Fantasy!

“Occupy Fantasy!”, is an international research platform inspired by experiences both from real democracy movements and artistic experimentation on new ways of conversing and assembling as a form of socio-artistic engagement. It is conceived as a "social sculpture", that investigates imaginative ways of resistance and interference to centre-staged politics, attempting to generate radical future-oriented solutions for positive societal change. Through an Open Space format, and using as script a series of actions, paradigms and questions, this interactive presentation’s participants will be invited as a temporary community, to collectively investigate into clandestine, heterogeneous and silenced from the dominant public discourse narratives. The purpose is to amuse, provoke and even disturb, while addressing current emergencies and their subversive potential as opportunities for change through the intensification of civic culture and dissident imagination.

Evening Class

Evening Class is a self-organised learning environment that has been running in London since 2016. Our format, aims and approach have gradually shifted over time, from replacing a Masters degree to ongoing learning, critical practice and, increasingly, prototyping viable alternatives to existing working structures within design. It was born out of a shared frustration among designers working in the cultural field but lacking scope in their workplaces to discuss practice and theory in an expansive way.

The group’s membership and structure is never fixed: over the past three years there have been 40 members in total. Currently, the group consists of 14 members. Our programme has taken the form of workshops, talks, reading groups, radio broadcasting, performances, walks, and occasionally, designing things. We often work in collaboration with other groups and activist organisations in order to contribute to wider discourses.

We currently operate through different working groups that feed research back into the collective. Some core themes that have informed our activities over time are collaboration, solidarity, care and support.


Don’t start a studio, start a ___

‘Utopia cannot be defined as a static, perfect place; it is the ongoing attempts, the fiction, the theory and the striving for the perfect existence’ – MFK. We have previously collected and documented our shared experiences of the lack of emotional well-being that can seem endemic to creative work, and self-organising. As a way to move beyond consciousness-raising, we are interested in researching and identifying functional models of sustainable practices that take into account the interdependence of emotional labour and creative practices.

In this discussion group, we will explore how co-operative models for organising work and life can be imagined, encouraged and formalised.

Institute of Radical Imagination

The Institute of Radical Imagination (IRI) is a think-tank inviting experts – political scientists, economists, lawyers, architects, hackers, activists, artists and cultural producers to share knowledge on a continuous base with the aim of defining and implementing zones of post-capitalism in Europe’s South and the Mediterranean. The think-tank works nomadically across the nodes of the network – Madrid, Athens, Istanbul, Cairo, Palestine, Naples – and connects with other nodes in “global south” – Eastern Europe, Latin America, South-East Asia. IRI is a hybrid between a travelling research centre, a refuge for intellectuals and artists at risk, a radical museum and a policy-making body generating ideas and applied knowledge that respond to specific urgent needs on the ground – more than a structure, an intellectual logistical infrastructure operating across existing arts, academic and activist networks.

Massimiliano (Mao) Mollona is an anthropologist affiliated with Goldsmiths College (London UK). He has a multidisciplinary background in economics and anthropology. Mollona is a founding member of the LUC Laboratory for the Urban Commons (LUC) in Athens. Giuseppe Micciarelli is a political philosopher and legal sociologist. He has written several essays on commoning, asylum, democracy, self-governance, art and politics.


The “end of History” comes at the end of the Radical Imagination. A polyphonic reflection on Action-Research.

To think different, we must act different, but without critical thinking, actions are meaningless and easily subsumed to capitalism. We are proposing to reflect on what E.Bloch called as "concrete utopia”, questioning how unfolding radical theories we are able to sustain radical practices. We want to propose a panel to share ideas, acts, and methodologies on how academic, activist and artist can share action-research projects.
We are the INSTITUTE OF RADICAL IMAGINATION (IRI), a (non)-Think-Tank who share knowledge on a continuous base with the aim of defining and implementing zones of post-capitalism in Europe’s South and the Mediterranean. In one year we brought into conversation different people: in Madrid we brought into conversation occupied spaces, museums and cultural institutions; we are working in Athens the Solidarity School Network, in Istanbul with Academics for Peace, in Italy with the worker’s art movement.
Some questions, dead ends, ideas we found on our way that we want to talk about:
• What does it mean to be a grassroot think-tank, operating at the threshold of militant research, art and activism?
• Can methodologies of research intervention, workers’ enquiry and militant fieldwork support new epistemologies of struggle?
• What kind of research, enquires and practices – decolonised, decentered and non-anthropocentric – can be learned and shared for the prefiguration and enactment of life after capitalism?
• Art lets imagination free. But how do we liberate art? “Artistic critique” was unable to free from power of directors of theatres, festivals and biennials and rules of production... until now.

Roeland Vanheesbeke

Roeland Vanheesbeke (°1994, Antwerp) believes that radical minds are needed in times of populism. Coming from a working class environment, he took the long road to obtaining his masters degree in graphic design at Sint Lucas 2019. He believes in letting design be a voice of thought and critical thinking. Equality, breaking rules and kindness are values close to his heart.

Breaking The Waves.

Through his master project “Pangea”, Vanheesbeke opens up to discussion about the possibility of an utopian educational platform. How can we create a school that encourages a peaceful future in a world of crisis, togetherness in a time of separation and creativity in an era of content overload? One answer could be Pangea, the first floating world university. By uniting disciplines and ethnicities on one ship while sailing through time zones and cultures, students could get a wider perspective of what’s going on in the world and what could be done to bring it back together.

Rosalien Helsen

Hi, I'm Rosalien, illustrator and animator. I studied at graphic design at Sint Lucas Antwerpen and finished my master year in 2019. Now I work as a freelance illustrator and animator for various companies and individuals. I love telling stories with visuals (this can be in book form or as a little film) about normal people who encounter a not-so-normal event in there lives. Also I try to combine several different disciplines in one project because I believe it brings a lot of opportunities and it will challenge your work proces and your mind.


Frank & Chris

I will be showing a stop motion short film (8:40 min) and maybe the 'making of- movie' I made as my master project. The film is a 'love letter' to repetition and the rhythm of boredom. I'm not sure yet if I will be introducing the film or just show it to the audience.

Thomas Byttebier

Thomas Byttebier is the digital director at Base Design in Brussels. At Base he worked on digital experiences for brands like Studio Brussel, ING, Deezer, Bozar, Institut Français de la Mode, MoMu, Axel Vervoordt, Art and History Museum, La Fondation Cartier pour l'art contemporain, Delvaux and more. Thomas also teaches the digital design studio at Luca School of Arts in Ghent.


Beyond the interface: how to create more memorable digital experiences

To get noticed, brands need to differentiate themselves from their competitors. However, the trend is clear: more and more brands start to look very similar. Especially in digital sameness is a thing. All websites and apps today look the same. How much of an issue is this? What can brands do to create more memorable digital experiences? A nuanced answer.

Dries Wiewauters

Thursday 7 November

Dries Wiewauters is a designer living in Belgium that is interested in typographic systems in all their facets, but especially their inherent restraints and how to by-pas those.
The studio helps people and brands develop a unique visual language based on type by developing typographic solutions that are befitting to the clients by drawing anything from custom lettering to extensive collections of fonts.
There are always multiple personal projects on the back burner that are developed into commercially available fonts with their own unique premise. Other skunkworks activities are developed with an XY-plotter.
Dries received his Masters in Graphic Design at LUCA School of Arts, Gent in 2008 and a Masters degree in Typography at the Werkplaats Typografie in 2010. He is an educator at the KASK School of Arts where he teaches Typography and Type Design since 2014.


Circumventing typographic restraints.

If you design a typeface with a specific concept, you are bound to run into hard design choices. How do you keep consistency whilst balancing originality and readability? How do you answer this tricky mix of legibility and funkiness? We will crawl deep in the glyphs far beyond your regular A-Z + 0-9's, into glyphs that most designers will rarely use in their designs. What was the practical issue in the design of these and how was it circumvented with a radical, often witty, solution.
The presentation will go through a selection of glyphs explaining how certain problems were solved. How do these radical forms emerge and how does the system entice your imagination?

Claire Cunningham

Claire Cunningham is a performer and creator of multi-disciplinary performance. One of the UK’s most acclaimed and internationally renowned disabled artists, Cunningham’s work is rooted in the study and use/misuse of her crutches with a conscious rejection of traditional dance techniques. Claire is currently Factory Artist with Tanzhaus, Düsseldorf and Work Place Artist with The Place. Her recent works Give Me a Reason to Live, Guide Gods and The Way You Look (at me) Tonight, have toured extensively across the globe. In July 2019, Claire premiered a new ensemble work, Thank You Very Much, at Manchester International Festival.


4 Legs Good

This lecture performance by multi-disciplinary artist Claire Cunningham explores her artistic practice- specifically the use/ misuse, study and distortion of crutches as artistic practice and how they shape her practice. In the widest sense her work has shifted from its explorations about the connection between the crutches and the body – what is possible in the combination of the crutches with her and other bodies- to how the crutches connect her to the world.

The lecture performance is audio described live in English language.

Richard Niessen

Richard Niessen (1972) graduated from the Gerrit Rietveld Academy in Amsterdam in 1996 and became known as a graphic designer for his colourful posters and expressive typography, innovative identities and his collaborations with other artists. In addition to working on commission, Niessen regularly initiates his own projects, such as the publication series '1:1:1' (2010-2016). In 2015, Richard Niessen launched 'The Palace of Typographic Masonry', a platform that aims to combine experiments and research, connect different disciplines and embed graphic design in a broader cultural and historical context.


The Palace of Typographic Masonry

Ideally, a society offers a rich and diverse range of stories and forms, something called the ‘greater narrative of culture’. Graphic designers contribute to this diverse collective imagination, relying on their imaginative capacity, visual rhetoric and skill to create new order through a range of approaches. In its formative role graphic design sets an interaction of images and counter-images in motion – greasing the wheels of social communication. The aim with The Palace of Typographic Masonry is to make a plea for this splendour and variety of the craft. A place where the intrinsic values of graphic design can be stored and cherished, a collective building that is entirely devoted to the profession’s abundance, poetry and digressions.

Bruce Mau Design/Jelle Maréchal

Originally from Antwerp, Belgium, Jelle currently works as Associate Creative Director at Bruce Mau Design (BMD) in Toronto. Cherishing a complimentary background in design, advertising, and the art world, he uses graphic design to create meaningful solutions in visual identity, environmental and editorial projects. BMD brands the mission of organizations shaping the future of their respective industries worldwide. BMD is a strategic design studio, known for milestone publications and exhibitions like S,M,L,XL and Massive Change, and more recently for visual identity work for SONOS, ASICS and OCAD.
Jelle holds a master’s degree in Graphic Design from St. Lucas School of Arts in Antwerp and a master’s degree in Film Studies and Visual Culture from the University of Antwerp. His work has received accolades from D&AD, European Design Awards and Creative Belgium and has been published in books by Rizzoli, Thames & Hudson, Sandu and MER. Paper Kunsthalle.


Where is Bruce?

“Where is Bruce Mau?” is a question our office manager hears regularly. Bruce Mau Design is a creative practice named after its founder. It is often confusing for people to hear that “Bruce left the company a long time ago”.
But, did he really? Or, “Is he even a real person?”, to quote one of our younger designers. An older generation of designers and architects know Bruce as a world renowned designer and the (co-)author of books like S,M,L,XL; Massive Change and Life Style. If anyone embodies “Radical Imagination”, it would be him. But what about the company bearing his name, BMD? Do his principles still live on in our current creative practice? The marriage of formal innovation and content development is more relevant than ever. In a time when design is mainly interactive and collaborative, “Style is merely the outside of content, and content the inside of style”, as Jean-Luc Godard once said. The intimate marriage of these two holds the key to new perspectives, to making the impossible happen. Because of the increasing complexity of the challenges our clients put forward, you could say that this has become an unquestionable prerequisite. Being radical has become self-evident. So where do we go from here? In a lighthearted and candid lecture, we examine what makes our current practice relevant. We shine a critical yet celebratory light on our work, our past and our future.

Richard Pettifer

Wednesday 6 November

Twitter: @richardpettifer

Richard Pettifer is an Australian theatre and opera director, critic, and researcher based in Berlin. He is part of the collective Atelierhaus Australiasche Botschaft OST, which is housed in the former Australian Embassy of East Berlin. He writes criticism on his critical writing platform Theaterstück, as well as for publications such as Samizdat (ROM) and Arterritory (LAT) and in academia. Previous themes of his work have been travelling from Australia to Germany without flying, using a live-feedback text display system based on Berthold Brecht’s Verfremdungseffekt, and initiating a mass-jump into the Rhine River to protest lack of progress in Climate negotiations at COP23. His work often concerns climate change and art activism, emphasising our complicity with the global system through distancing mechanisms that exist in culture.


‘The Artist is Absent’: Non-Human Agency in the Situation of the Theatre.

Recent trends among environmentalists and media theorists have centred on non-human agency: the concept of an other-than-human subjectivity acknowledgeable to human consciousness. Theorists such as Haraway, Braidotti, and others claim that the anthropocene demands equality of rights among humans, nature, and objects or concepts. Such decentralisation offers us a set of romantically attractive possibilities, what Donna Haraway calls “becom(ing) with each other” . Furthermore, as artificial intelligences become increasingly autonomous, and capable of (in a general sense) creating separate and possibly self-sustaining systems removed from human control and oversight, non-human agency becomes not only a possibility, but an unavoidable reality.
A recent project has seen me collaborating with experts at the European Commission on an opera, for which we are developing ‘Hans’ – a robot baritone singer more human than human, capable of endless renditions, repetitions, and self-harmonisation – to discuss the effects of technology on considerations of environment, through a critique of non-human agency.
From the non-human turn, questions of governance arise: in a situation where escapism is the dominant response to increasingly crisis-prone material conditions, at what point does nominal granting of agency to other entities amount to a further shedding of obligations of human governance? Is there middle ground, which only a robot – acting as mediator between the material and human worlds – can produce?
What would it REALLY mean to acknowledge non-human agency – beyond offering a brief reprieve from obsessing over our own destruction?

Studio M

Thursday 7 November

Studio M specializes in art direction, graphic design and branding and offers a 360° approach to print, video, and creative consulting. Prior to founding her own studio, Elisabeth Mestdagh studied design and visual communication in Antwerp, Ghent and Berlin. She trained with Base Design, assisted Paul Boudens and spent a year at Baron & Baron in New York City where she worked on projects for clients such as Dior, Maison Margiela, Nars and The Metropolitan Museum. Elisabeth is an experienced print designer and a frequent collaborator of the Antwerp Fashion Academy’s alumni.


Elisabeth will speak in the name of Studio M about the collaboration between with her brother Quinten Mestdagh, master graduate at the Royal Academy of Antwerp Fashion department, which resulted in an extraordinary portfolio book. She will also present shortly the work she produces at Studio M for clients such as Dries Van Noten, Wouters & Hendrix, Axel Vervoordt, Gert Voorjans, Mugler and Max&Co.

Els Dietvorst


More info soon.

Anna Spool


Anna holds a BA in philosophy and political science from Columbia University. She almost had a minor in visual arts but was 1 credit short in photography because she was afraid of the dark room. After a post 9/11 move up to Boston, she completed MassArt’s graphic design certificate program where they gave her shiny gold stickers. Previous design positions were at Brandeis University's Office of Communications and at Hecht Design. In 2015, she launched Spool Design, an independent freelance studio based in Brookline, MA.

In the fall of 2018, she received a freshly minted MFA in graphic design from Vermont College of Fine Arts (VCFA); there she received a scholarship called “Future of Design Merit Award” and created a gestamtkunstwerk called Hot Dogs 24/7. She is excited to embark on new adventures in design and performative design research. She also illustrates weekly for the poetry resistance site, Love's Executive Order.

St Lucas School of Arts Antwerp

Initiator and organiser of the Integrated conferences since 2007, St Lucas is the art department from the Karel de Grote-Hogeschool, and one of Flanders leading Schools of Arts. It offers through a bachelor/master program three graduation areas, namely: Fine Arts, Graphic Design & Jewellery/Goldsmithing, next to the Master of Research in Art and Design.

Karel de Grote-Hogeschool

Karel de Grote-Hogeschool is a catholic university college that has over 10.000 enrolled students and that employs about 1.000 staff members. This makes us the largest university college in Antwerp and the second largest in Flanders.


deSingel is an arts center for theatre, dance, music and architecture, meant for a broad art-loving audience. It is a place for contemporary and interdisciplinary interaction as well as for artistic creation, where new trends and insights are challenged. deSingel’s intention is to bring performing artists and audiences together in a climate of critical reflection and pioneering the creativity on the basis of an ambitous international programme.

The large-scale infrastructure consists of a medium-sized concert hall (966 seats), a large theatre for drama and dance (803 seats), an exhibition area, a music studio (150 seats) and a theatre studio (270 seats). Visitors are always welcome to use the well resourced reading room. In addition deSingel houses a Grand Café, a brasserie where you can have breakfast, lunch or a beer.


YellowPress is the on- and offline publishing platform of St Lucas School of Arts, Antwerp. YellowPress is a reference to the so-called ‘Yellow Journalism’, a term that derives from a late 19th-century row between Joseph Pulitzer (New York World) and William Hearst (New York Journal). Yellow Journalism is often characterized by misleading news, garish images and headlines and a strong sympathy for the underdog. Notice the ironic wink that clarifies its name.

YP provides publishing services for researchers and/or platforms within St Lucas Antwerp. In addition, YP is researching new publication formats for artistic research in the current media landscape. YP also wants to develop an open and multidisciplinary attitude towards contemporary representation formats in the wider artistic field.

Antwerp University Association (AUHA)

The Antwerp University Association (AUHA) is a structural cooperation of five higher education institutions in Antwerp. Member institutions are: Universiteit Antwerpen (University of Antwerp), Artesis Hogeschool Antwerpen (Artesis University Col- lege Antwerp), Hogere Zeevaartschool (Antwerp Maritime Academy), Karel de Grote-Hogeschool (Karel de Grote-University College) and Plantijn Hogeschool (Plantijn University College).

University of Antwerp

The University of Antwerp is characterised by its high standards in education, internationally competitive research and entrepre- neurial approach. It was founded in 2003 after the merger of three university institutions previously known as RUCA, UFSIA and UIA. Their roots go back to 1852. The University of Antwerp has about 18 500 students, which makes it the third largest university in Flanders. 13% of the students at the University of Antwerp are international students.The University of Antwerp formes the backbone of the Antwerp University Association (AUHA) a strategic collaboration with 3 university colleges located in Antwerp.


Within the University of Antwerp, ARIA (Antwerp Research Institute for the Arts) is the point of contact with the Schools of Arts of the Antwerp Association, and supports the development of artistic research. More specifically, ARIA is qualified for the doctorate in arts. ARIA also furthers the contacts between University, Schools of Arts and the artistic world.

Arctic Paper

Arctic Paper is a leading European producer of graphic fine paper and delivers value, reading pleasure and a sense of touch through quality paper grades. The product portfolio includes well-known brands such as Amber, Arctic, G-Print and Munken. Annually Arctic Paper delivers 700.000 tonnes of premium graphic paper – for quality printing, reading and branding purposes – produced by more than 1.250 dedicated employees at three mills and distributed by 14 sales offices.


ANTWERP. POWERED BY CREATIVES. is the design platform for the province of Antwerp. It supports designers, connect them with other industries and advocates the value of design. The platform is an open house that brings together professionals with a background in design, government, education and other industries. ANTWERP. POWERED BY CREATIVES. enables designers to share knowledge, launch new projects and inspire each other. Let's make ideas work.

Digital Agency Network (DAN)

Digital Agency Network (DAN) focuses on collaboration, knowledge-sharing, business support and exploration.

DAN is a global network of carefully selected, highly talented, independently operated marketing & advertising agencies with digital DNA. DAN’s mission is to support member agencies’ businesses and enhance the intelligence, expertise, reach and effectiveness of the members through knowledge sharing and collaboration.

Today, there are more than 500 DAN member agencies operating in 57 cities worldwide. All member agencies are amongst the market leaders in their respective countries in terms of creativity, with an impressive portfolio of campaigns and awards.


In the spring of 2014, Artoos acquired the Brussels based printing company Hayez. Since then the two of us do business as Artoos-Hayez. Driven by the one-stop-shop principle, we relieve you of the burden of all your marketing and corporate communications. Being thé supplier of integrated solutions for on and offline publications, we offer you innovative solutions that shorten the time-to-market of your communications and increase your return on marketing investment. By tailoring our work to your needs, we enable you to optimize your total cost of ownership, day after day.

Present Company

Present Company is a family business since 1999 with offices in Belgium and The Netherlands and is your best source for (green) promotional gadgets. With our inhouse designstudio we can help you visualize and realize your custom made / bespoke merchandising ideas, from a pen to a bag or a complete merchandising line, everything is possible. Check our green division : Feel free to contact us for more ideas and trends in promotional merchandising.


Graphius Group is an umbrella organisation for a collection of printing firms. We operate on 3 locations: Ghent, Beersel (Brussels) and Nazareth, where we have set up vertically integrated industrial print works.

The Graphius production system, with 113 recent Heidelberg print towers and completely integrated bookbindery is among the most extensive on the European market. The whole production, ranging from a brochure to a hardcover book, is done in-house, giving us maximum control over quality, budget and throughput time, and last but not least, the environmental footprint of the production system is kept as minimal as possible.


The digital printing company Triakon was founded in 1998 by Lucien De Schamphelaere, one of the pioneers of digital printing and the founder of Xeikon, the legendary Belgian manufacturer of digital color presses. Nowadays Triakon is one of the leading digital printing companies in Belgium. They deliver 'extraordinary digitally printed stuff' on virtually any material and in almost every conceivable dimension. "Out of the ordinary" is not an empty phrase at Triakon.


Since its founding in 1957, form has been the leading special interest magazine for designers and design-interested readers, that reports across all topics of design and the latest developments in the field. With news, focus themes, and analyses form sets topics, provides orientation and stimulates the design discourse. The publishing house form also offers special editions, art prints as well as design-oriented literature.

form is turning 60 – and on Friday, 13 October 2017 from 19.57 pm form invites you to enjoy music (DJ Hamansutra), drinks and design from the past six decades at the Museum Angewandte Kunst in Frankfurt/Main.

Neon Moiré

Neon Moiré is a curated event guide and a monthly newsletter with on the world's most interesting design-driven conferences and events on our digitized world. The agenda focus on graphic design, typography, interaction design and creative coding, conferences, not to forget design film festivals and an overview of the top design summer schools. Next to the agenda we interview event organizers and speakers in written form as well as in our podcast the Neon Moiré Show.

Neon Moiré is a project by graphic designer Thomas Dahm.

Creative Industries Fund NL