Ornamenti: An experiment on puppet furniture and beauty props

13 poems of various length.

"I have used a procedure to write them and I am happy to share it, but it isn't what's most important about these poems. The subject matter that, I eventually realised, they share to the extent of justifying bundling them up in one pamphlet is religiosity, what stands between belief and act, be it faith or trust."

Revue du Master de Textes et de Création Littéraire de la Cambre*

Avec les textes de: Sam Bouffandeau, Chloé Clemens, Chloé Delchini, Perrine Estienne, Robin Faymonville, Gabriel René Franjou, Justine Gensse, Adèle Goardet, Bastien Hauser, Giulia Lazzara, Cyprien Muth, Sephora Shebabo.

* Le Master en Textes et Création Littéraire de l’École Nationale Supérieure des Arts Visuels de La Cambre propose un programme de formation aux étudiants qui visent à faire des métiers du texte et de la création littéraire leur avenir professionnel. Il s’adresse principalement aux jeunes écrivains et, plus généralement, à l’étudiant qui souhaite professionnaliser sa démarche artistique en lien avec la pratique de l’écrit en la confrontant à d’autres écrivains, à des éditeurs et à des professionnels reconnus de la littérature, l’informer et l’enrichir de nouveaux savoirs et de nouvelles compétences. Considérant le travail du texte et ses différentes formes comme des expressions majeures de l’homme à travers l’histoire, et les littératures des différents continents comme un art à part entière dans le champ des pratiques artistiques contemporaines, ce Master s’inscrit dans une démarche ouverte de production, de réflexion et d’instruction de l’écrit dans un monde en devenir.

Flatland: A Romance of Many Dimensions is an 1884 satirical novella by the English schoolmaster Edwin Abbott Abbott. Writing pseudonymously as "A Square," the book used the fictional two-dimensional world of Flatland to offer pointed observations on the social hierarchy of Victorian culture. However, the novella's more enduring contribution is its examination of dimensions.

Several films have been made from the story, including a feature film in 2007 called Flatland. Other efforts have been short or experimental films, including one narrated by Dudley Moore and the short films Flatland: The Movie and Flatland 2: Sphereland starring Martin Sheen and Kristen Bell.

Child’s Replay is a hallucinatory homecoming. As we follow THE CHILD in a series of private re-enactments, the present self is revealed as the past’s fragile construction. Pursuing the banality of trauma, a first-person character juxtaposes childhood events with internal misrepresentations, reflections on the emotional toll of migration, psychoanalytic theory, Brazilian history, and literary criticism. An exploration of the impact that language and fiction have on real bodies, Child’s Replay assembles a hybrid portrait of memory and anti-memory. 

This publication is limited to 100 copies, which are signed and numbered by the author. 

ÉCHOS is an intuitive investigation, redacted by using a compact digital camera. Those photos date from 2014 to 2018 and were shot in and around Brussels (up to 1350 km away), at any time of day or night, following a simple desire to look at things intensely and interpret signs playfully.

200 numbered copies
212 pages color photography printed in BE
With an introducing text by Constantin Carsoux

Guest editor: Orla Barry, City Report Brussels: Maxime Fauconnier and Natural Contract Lab, Kasper König, Kendell Geers, Lucy McKenzie, Nástio Mosquito, Lisa Vlaemminck, Paloma Bosquê, Joar Nango, Sandrine Colard, Wu Tsang, Busan Biennale

Artists Reba Maybury and Lucy McKenzie dissect power and desire in a provocative conversation that probes the material erotic, appropriation, and sex. 

In Pervert or Detective?, artists Reba Maybury and Lucy McKenzie dissect power, desire, and subversion in a provocative conversation. Maybury, who integrates her work as a political dominatrix into her artistic practice, manipulates dynamics of control, compelling her male submissives to create art under her direction, only to claim it as her own. Through confession and humiliation, she dismantles notions of authorship, masculinity, and labor. McKenzie, known for her intricate trompe l’oeil paintings and conceptual installations, similarly blurs boundaries—between art and commerce, and authenticity and illusion. Her work challenges power structures and exposes the unstable nature of representation.

Maybury and McKenzie, through an expansive discussion with French art critic Marie Canet, interrogate the logic of seduction and domination, pushing against rigid binaries to probe the material erotic, appropriation, and transformation. With an introduction by curators Fredi Fischli and Niels Olsen, an afterword by writer Susan Finlay, and extensive reading and viewing lists, Pervert or Detective? offers a compelling exchange between artists committed to unsettling the familiar and redefining artistic agency.

Introduction by Fredi Fischli and Niels Olsen
Afterword by Susan Finlay

The work of Iranian-Belgian artist Mashid Mohadjerin (°1976, Teheran) is an intricate tapestry of personal and collective memory, weaving together photography, text, video, and archival material to explore themes of displacement, resistance, and identity.

Family chronicles merge with momentous political events and are set against the background of a broader history of the MENA-region. Mohadjerin uncovers invisible nuances hidden beneath the extraordinary and the familiar.

In Riding in Silence & The Crying Dervish (2025), Mashid Mohadjerin draws from the depths of her family history, unraveling the echoes of migration, forced departures, and the quiet endurance of those caught between worlds. The book builds on her previous work, Freedom is Not Free (2021), where she explored the role of women in movements of resistance across the MENA region. However, in this latest series, she turns her gaze towards the intersection of masculinity, political ideology, and displacement, examining how historical forces shape personal narratives in ways both visible and unseen.