Royal Academy of Fine Arts Antwerp 

«New Faces»
16/11/2017 — 8/12/2017
A Selection of works by masterstudents at the photo department of the Royal Academy of Fine Arts Antwerp
Marta Galmozzi
Bertrand Cavalier
Alexey Shlyk


Embedded in one of the oldest art academies in Europe, the Photography Department of the Royal Academy for Fine Arts Antwerpen (KASKA) is an international environment where we focus on strategies behind image-making and the role of photography as a communication tool within a social and/or artistic context. Critical self-reflection, a serious understanding of mass media, contemporary art and art history are meant to lead the student to become an autonomous artist/photographer/curator/critic…

Students work on personal projects. The main focus lies on developing, presenting and distributing their artistic product, exploring photography as both a language and a craft.



The exhibition new faces presents three MA Photography students of the Royal Academy for Fine Arts in Antwerpen who engage in a practice where portraiture is combined with sculptural, historical, and architectural elements. Their hybrid and free explorations of the photographic medium aims to redefine conventional notions of the portrait.

© Marta Galmozzi  - Untitled

© Marta Galmozzi - Untitled

For Marta Galmozzi (Italian, born 1991), photography is a material substance. She builds herimages by combining layers in a constructivist way. Her portraits and landscapes are components in an abstraction process which describes the human body as a realistic and often humorous metaphorical shape expressinga more general condition of the human being. Her sculptural installations combine prints on fabric, framed collages, assemblages of images on metal and wooden supports. Gravity is made tangible by suspending her prints on ropes or mounted on the outside windows of a building.  Her installation at H18 will investigate the gallery space and and enter into a dialogue with the works by the two other artists.

© Bertrand Cavalier  - "Concrete doesn't burn"

© Bertrand Cavalier - "Concrete doesn't burn"

In his ongoing project Concrete doesn’t burn, Bertrand Cavalier (French, born 1989) compiles a visual research on the influence of  war and (military) technology on cities. He uses his camera to meticulously document the architecture, infrastructure and inhabitants of cities with a troubled past (Belfast, Cologne, Sarajevo, Berlin,…). During his walks in these European places, he encounters people on the street and portrays them as occupants of a compromised public space. Often his gaze is directed to young people hanging out on the street, photographing a generation at once unaffected and young, at the same time already burdened by their environment.

© Alexey Shlyk  - "The Appleseed Necklace"

© Alexey Shlyk - "The Appleseed Necklace"

Inspired by DIY culture that developed in his homeland during the collapse of the Soviet Union, Alexey Shlyk (Belarusian, born 1986) explores notions of craftsmanship and resourcefulness in his series ‘The Appleseed Necklace’. The work celebrates the creative usage of material by people living in conditions of constant shortages, and puts the attention to re-purposing and recycling items in the world today. Alexey is creating a portrait of survivors, at the same time the Appleseed necklace can be understood as a self portrait of the artist as a young boy, recollecting all the characters that once left a strong imprint on his memory.  

L'École Nationale Supérieure des Arts Visuels de La Cambre

"Under the Radar" 
13/12/2017 — 20/01/2018
A project from photo departement masterstudents at La Cambre, Brussels.

Eight students in the Masters program at the Ecole de la Cambre in Brussels have been invited to exhibit their work at the Hangar Art center, and have chosen the theme Under the Radar” for their portrait work.
Currently photographic images are extremely mobile and visible thanks to the media available for showing and sharing them. This profusion must not get in the way of the acuity, the reflection or the responsibility of the person creating and producing them.
As future professionals in the field, the students at La Cambre chose the portrait as a means of social representation, focusing their attention on less visible people, practices and means.


Alice Pallot: Abysses
Alice has chosen to focus on the universe of abysses, whose characteristic include difficulty of access, an absence of light, cold, and intense pressure. How does a human being deal with a place so hostile? What techniques, transformations or experiences does he or she develop to go inside them? Fusing archival images and staged spaces, Alice creates a singular and very personal world.


Joséphine Desmenez: Instagram
Working from the premise that we all want to control our images, particularly on social media, Joséphine decided to photograph moments of doubt, as well as moments where people in her entourage lost control completely. Will the social fractures of the future happen because of a non‑mastery of the codes of self-representation? Will this weakness make people more or less human?

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Sylvère Cypriani: 87.5 FM
Sylvère “broadcasts” self-portaits on 87.5 FM. By choosing an old-fashioned and rather intrusive way of communicating his self-portraits on the radio, Sylvère defends the idea of autonomy in choosing ways to share and broadcast.


Julien Sales: Mires (Sights)
Recent development of the electronics market with the introduction of digital imagery has meant a whole new series of objects have been invented for it. In general, Julien’s work focuses on these objects and the technical processes used to build an image. For this project, Julien decided to work with a collection of calibrating sights, gauging certain specific traits such as ethnicity, modes and trends.


Marjolaine Abaléa: La maison
Marjolaine lives in a commune, a house which involves both personal and shared universes; it is an economic solution which is being chosen by more and more people over the traditional option of individual housing. Marjolaine has decided to create a portrait of this small, intimate group, which changes gradually as people leave it.


Henri Doyen: Self portraits

We are not always cognizant of the photographic traces we leave behind, as the photographer or as the model. Henri finds and recovers the images people have left on smart phones used as demos in area electronics stores. These fleeting moments which the users don’t even bother to erase -- are accessible to anyone who might want them.












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Benoit Jacquemin: At work
Inside certain gigantic, ambitious building projects you will still find instances of modern slavery. Benoit approaches this issue, interacting with specific communities of people who live and work in the shadows.











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Laura François: Persona
Following a conversation with an A.I., Laura goes on a quest for identity, based on the social mask we all wear and which we carefully shape each day, making it into what we want to be.
















Chiayun Wu
Chiayun examines the grey zone between the portrait and the self- portrait and the question of action or passivity by the person taking the photos. Who is in charge in the taking of the photo? The camera or the photographer? And who is being photographed? Is it the person or the elements situated between the camera and the subject - air, dust, perhaps a mystical force?