Suggestions for Further Reading is a video on flipping pages by Céline Mathieu and Christophe Clarijs. Their practices involve the shaping of text and now cross in a reflection on the act of reading. Thinking through how a reader deals with information, an edit on editing comes to life. When our eyes run across a page of text, it becomes meaningful by the activation of the mind. That which was carefully inserted in each sentence unravels itself and is made real again. Diverging voices meet in a series of chapters giving the viewer suggestions for further reading. The video was exhibited at BORG2016.

Identity developed for Antwerp Research Institute for the Arts (ARIA), which coordinates the doctorate in the arts programs of Antwerp's art colleges in collaboration with the university. Bringing together international artists and researcher working at the University of Antwerp, St Lucas School of Arts Antwerp, Royal Academy of Fine Arts Antwerp and the Royal Conservatoire Antwerp. Its logotype and visual identity is based on the diverse and expanding range of practices incorporated in the structure of a PhD. The interface-like elements and RGB separated graphic optically change and adapt for each format.

2×1 is a two volume print and web publication initiated by participants of the artist residency at Jan van Eyck Academie. It brings together text and image contributions from twenty nine artists and authors around the themes ‘Compression’ and ‘Augmentation’ finally collected in one edition, concerning itself with the literal and metaphorical expansion of cultural production. The contributions vary in form from essays and poems to interviews and editorial pieces to series of photographs and experimental writing, and an inserted stencil. Designed and edited with collaboration with fellow participants Golnar Abbasi, Beny Wagner, Alina Schmuch, Teresa Cos and Ruben Castro.

“I have lived with a fragile faith built on vague memories from an experience that I can neither prove nor explain. When I was 12, my sister was taken from me. Taken from our home by a force that I came to believe was extraterrestrial. This belief sustained me, fueling a quest for truths that were as elusive as the memory itself. To believe as passionately as I did was not without sacrifice, but I always accepted the risks - to my career, my reputation, my relationships, to life itself.” 'A Ghost Discipline' takes inspiration and material from the paranormal investigations in the TV-show ‘The X-Files’ and its real life counterparts, the works feature pseudoscientific methods of research. Revealing and archiving evidence in the form of a studio installation constructed out of an infra-red camera, an ultra violet light and glow in the dark ink, and a micro-fiche reader with inkjet prints. Its presentation was part of the Jan van Eyck Academie Open Studios.

Now Is Forever Lasting Constant In The Mind was an event curated by Pádraic E. Moore consisting of talks, screenings, readings and sounds in response to Sarah Pierce’s exhibition at the Van Abbemuseum. Conceived as a collage of different ‘effects’ or ‘affects’, over the course of one evening, the experimental marriage of these ostensibly disparate participants will reveal a methodology for making as the inherently complex communications that channel between them.

‘Een dag’ or ‘A Day’ is a series of poems written by Lieke Marsman during her residency at the Jan van Eyck Academie. Each poem adresses the morning, afternoon or evening of a day and follows its author’s observations. They are presented as an A5 booklet which folds out into an A2 poster sheet. The publication was RISO printed in 3 colours at the Charles Nypels lab. The poster's image entitled ’Exposure Hazard’ was made by Marine Delgado.

Manipulated reproductions of engravings from the 18th century treatise Het Groot Schilderboek on the theory of painting by Gerard de Lairesse. Presented in a series of five A3 RISO prints in black and flat gold, for the exhibition ‘Stupid as a Painter’ at the Jan van Eyck Academie curated by Niek Hendrix. Edition enclosed in silkscreened envelopes.

Forum for an Attitude is an exhibition and series of forums developed by Depot Basel in collaboration with Vitra Design Museum in Basel and Weil Am Rhein. “Forum für eine Haltung” questions the ambition of designers today? Why did they become designers? What kind of social influence do they hope to achieve? What image of design is conveyed to society? And how can an attitude be expressed in design? The exhibition considers these questions and presents answers and positions on the topic authored by various designers and the public. The exhibition describes design as a versatile discipline. Works are shown by 24 contemporary designers embarking on their professional career. Five multi-day forums at Depot Basel, each dedicated to a different topic, offer a platform for amicable exchange among practitioners, thinkers and amateurs. The titles of the events are Solidarity, Visibility, Intuition, Knowledge and Tools. In May of 2016, “Forum Postaw” moves to the BWA Design Gallery in Wroclaw, Poland.

A recording conceived as the outcome of a workshop organised in collaboration with Timo Demollin during The Farm that took place at the Jan van Eyck Academie. The Reproduction of Work in the Age of Mechanical Art was a session on the practice of group editing and collaborative reading, to explore the altering process of reproduction. Distributed with relevant publications as an inserted addendum. With narration by Céline Mathieu. Duration: 2 minutes and 22 seconds.

The Future Institute was an intensive week-long program composed of workshops, seminars, individual presentations and panel talks around the concept of ‘the future of art’. Students, artists, designers, curators and theoreticians were invited to give their own view on the subject. They gathered under the guise of The Future Institute, an imaginary institute yet to be organised or established. A masterclass organised by the Master of Research in Art & Design of St Lucas Antwerp at Campus Congres.

Vanitas Extended is an exhibition for which seventeen artists present their work in musea, the public sphere, the cultural centre and on historical sites of the city of Ypres, Belgium. The concept of Vanitas Extended gave license to develop an identity based on exhuberance and excess in the use of typefaces, imagery and composition. Souvenir and a bespoke black letter run across faux marble textures and titled installation views. Two signifiers were chosen, the circle and the line, to come to terms with the passing of time. The catalogue was edited and designed in collaboration with writer and artist Céline Mathieu. It features selected contributed works out of the artists’ oeuvres and essays by curator Nathalie Vanheule, Céline Mathieu, Agnès Violeau and Liesbet Waegemans.

Display is a publication on the notion of showing, initiated by Matylda Krzykowski. For the duration of one week Timo Demollin, Kaja Kusztra, Kasper Pyndt and myself worked as a temporary studio to design and print the book consisting of texts found imagery and visual contributions. It aims to serve as a handbook for future window exhibitions at Depot Basel. Debut of the typeface Dalat. Riso printed in an edition of 100 in the Charles Napels Lab at the Jan van Eyck Academie.

The Subversive Form's focus lies on the apparent connection between marginalised forms of aesthetics and conceivable activist ambitions in the work of artists, designers and outsiders. It is an anecdotal investigation, which attempts to make room for the less reliable, the underexposed or even the amateur. Studying the broader topic of the politics of the 'screen', it dwells on the appearance of various Web phenomena in our daily lives as manifestations of the present-day spectacle. Proposing the former as contemporary cases within and juxtaposed to a historic tradition of publication—such as avant-garde manifestos—and other methods for distribution of radical ideals. The tension between dilettante movements who aim to undermine the status quo and the professional mainstream culture which recuperates radical signs is the main dynamic of the work. Taking position on the surface of apparent oppositions, such as original and duplicate, private and public, ambitious and nihilistic feeds new inquiries into the subversive, its content and forms of presentation.

The Guise of Masked Celebrity is a saddle-stitched newsprint zine collecting paparazzi snapshots of celebrities wearing a disguise to hide their appearance in public. Full-bleed images run into the margins of the thin booklet to disturb the reader's attention. In reference to The Subversive Form, after the e-flux article 'Self-Design and Aesthetic Responsibility' by Boris Groys.

For the exhibition Wild Horses and Trojan Dreams in Marres, co-curator Pieter Vermeulen and I collaborated on a folded hand-out poster delivering an encouraging reflection on weakness, failure and disappointment as tools for the exhibition’s emerging artists. Our contribution closely resembled the official communication for Marres Currents #1 due to its yellow colour and similar size. This emphasized its function as a trojan horse by confusing visitors about its origins. The poster was distributed during the opening by participating artist Laetitia Jeurissen as part of her performance as the events’ hostess.

An analysis of the 'coming of age' film, which deals with the rise of films featuring and marketed towards young adults in Hollywood productions of the last sixty years. Rather than grouping all “teen pictures”, as traditionally occurred due to film history's apparent disinterest in their cinematographic value, it aims to develop a genre distinct for the relationship between what occurs on the screen and their educational influence on the viewer. A method, parallel to the Bildüngsroman, explores the 'cinematic rite of passage' by taking two films for each decade to indicate generic themes and tropes within the narrative and stylistic representation of youth. The thesis was written for the master of Filmstudies and Visual Culture at University of Antwerp and self-published as a pocket sized book in which stills were collected as footnotes, similar to end credits running from bottom-to-top across its pages.

The masterpublication of St Lucas Antwerp for the academic year of 2011-2012. It features the final presentation of the work of all master graduates in graphic design, fine arts and jewellery design & silversmithing. It functions as a catalogue to showcase and describe each of their projects in depth. Furthermore it contains photographs by Johan Luyckx with details of the construction of the exhibition. Textual additions were included in the form of a foreword by Ad van Rosmalen and critical essays by Petra Van Brabandt and Pieter Vermeulen respectively. Its title refers to the past series of editions called ‘Finals’ as well as the fact it was launched at the start of the new academic year. Assembled and designed in collaboration with Hugo Puttaert and Boy Vereecken.

‘Piracy and Publishing’ consists of an experimental graphic approach to explore the influence of internet piracy on the value of the printed object. The project was initiated in the master of Graphic Design at St Lucas Antwerp. A small print-on-demand publication, a poster series and a video installation document an investigation in the dubious connection between an internet phenomenon and its influence on visual culture, through the illegal distribution of music, movies and books. Focusing on the effects of censorship in the publishing industry as well as aspiring to engage with benefits of the new means of publishing at our disposal today.

Integrated is an international art and design conference, held biennially in deSingel, Antwerp. Among the speakers of the 2011 edition were Matthew Carter, Paul Sahre, Jer Thorp, Designpolitie, Julia Hasting, Dan Perjovschi and Henning Wagenbreth. The conference manifesto ‘Let’s Get Rid of All Dictates’ highlights a desire to embrace complexity and hopes to do away with elitism. It can still be read on what ironically was referred to as the “ugliest website of all time”. Find out more about the entire conference on 2011.integratedconf.org. The identity and all printed matter, including everything from the banner to the posters, flyer and buttons were created, in collaboration with Hugo Puttaert, during my internship at Visionandfactory.