In partnership with Casino Luxembourg - Forum d'art contemporain / Casino Display, a new European post-Master's programme will be offered from the academic year 2025-2026. This programme is the fruit of collaboration between four higher art education establishments from three European countries: the École Nationale Supérieure d'Art et de Design de Nancy (ENSAD Nancy - FRANCE), ENSAV La Cambre (Brussels - BELGIUM), the Haute École des Arts du Rhin (La HEAR - Strasbourg/Mulhouse - FRANCE) and the Royal Academy of Art (KABK - The Hague - NETHERLANDS).

This artistic research laboratory is a programme that encourages collective and transdisciplinary artistic research within an experimental and process-oriented framework. It offers emerging artist-researchers a platform to explore new methodologies, engage in collaborative research and rethink traditional notions of authorship and knowledge creation. Operating in a para-academic and para-institutional mode, the lab emphasises deceleration, open exploration and the evolution of artistic practices rather than the production of finished works. Over a series of research weeks, the programme provides financial support for participants' projects, access to technical facilities and support from an international network.

Participants will be responding to the conceptual theme of ‘folds’, approached as a tool for exploring complexity, relationality and narrative potential in artistic practice.

All the practical information, including how to apply, can be found in the attached document and on the Casino Luxembourg website.

Deadline for applications: 6 June 2025

Conference with Professor Louis Moneger, member of the SRABE (Royal Beekeeping Society of Brussels and the surrounding area) and Thomas Vancraeynest, teacher in the Industrial Design deparment. A discussion on the dangers of the Asian hornet for bees. The event will highlight the innovative solutions devised by La Cambre students, calling on the public to take action to preserve biodiversity.

Free entrance on registration

Laurence Rosier is a linguist, professor at the ULB and specialist in verbal violence. An exhibition curator, co-author and coordinator of numerous publications, she is the author of ‘Petit traité de l'insulte’ (2006, republished and expanded in 2009), ‘De l'insulte... aux femmes’ (2017), ‘Cohabitante l'égale’ (2023) and, at the start of 2025, ‘La riposte. Femmes, discours et violences’, which uses women's words as an act of resistance.

‘De quoi le curating est-il le nom? Métamorphoses d'une pratique dans le champ d'exposition’ is published by La Lettre volée. This new essay by Julie Bawin is the fruit of a reflection on the exhibition and its players, on the museum and the role played by artists in particular, and on the way in which the curatorial offer is constantly being renewed.

Over the last fifteen years or so, the word ‘curating’ has become a particularly fashionable code word in the world of contemporary art exhibitions. But what practices does it refer to exactly, and why has this Anglicism come to supplant the term ‘commissariat’ in the French language? Answering these questions is not simply a matter of highlighting the role played by artists, museum curators, authors and exhibition ‘makers’ in the revival of the exhibition field from the 1960s-1970s onwards. The idea behind this book is that curating, far from being a recent phenomenon, relates to earlier and successive (r)evolutions, both in the field of hanging and scenography and in the professional and institutional sphere in which exhibition organisers operate. Since the mid-nineteenth century, curatorial activity has passed into the hands of an ever-increasing number of protagonists, and now oscillates between hyper-professionalisation and increasingly tangible deprofessionalisation. In fact, it would seem that nowadays the profession - recognised as such - is within the reach of everyone, and in particular of those whom the author calls ‘curatorial outsiders’.

La Cambre is taking part in the 3rd edition of the Festival du Dessin, to be held in Arles (France) from 12 April to 11 May 2025. A selection of works from the Drawing department will be on show as part of the exhibition ‘La jeune garde à l'honneur’.

On the occasion of the 2024-2025 Chaire à vif devoted to ‘Art and Money’, La Cambre is joining forces with the ULB's Groupe de Recherche en Sciences des Arts et de la Culture (GRESAC) to pursue its reflections on the notions of market, value and investment in the world of art and creation.
Between the act of creation free of all constraints and the art object conceived as a product of financial investment, there are many areas of intersection and progressive nuance, both historically and in the contemporary context.
The complex relationship between art, which is supposed to be pure, and money, which is supposed to be impure, is made up of a thousand facets that are still often a blind spot in the context of art schools.
Yet questions of value, marketing, insurance and, quite simply, price are on everyone's mind as soon as creation becomes a profession and professional structuring is posed as a necessary issue for students and young alumni.

Wednesday 9 April 2025
Questions of value in art
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Nathalie Moureau, in dialogue with Anne-Sophie Radermecker

What are the multiple values that make up a work of art? How do the players in the art world work together to create value, and who ultimately decides the price? Is the artistic value of a work necessarily reflected in its market value, and vice versa? Starting with the now-famous Comedian, a banana taped to a wall by the artist Maurizio Cattelan and sold for $120,000 at the Art Basel fair in Miami in 2019, Nathalie Moureau (Université Paul-Valéry-Montpellier) and Anne-Sophie Radermecker (ULB) discuss the strategies of distinction and legitimacy in the contemporary art world. Using this polemical case study as a starting point, they also ‘peel back’ the mechanisms by which the price of works is determined, extending their analysis to other categories of artistic production in order to gain a better understanding of buyers' motivations and willingness to pay for certain characteristics.

‘Affleurement’ is a group exhibition resulting from an initial encounter between the practices and personal research of the Masters 2 students in the Printmaking and Printed Image workshop.

With: Nathan Bédon-Rouanet, Louise Cauchy, Jana Di Leva, Léo Gasiglia, Inès Guillén Coste, Dieuwke Raymakers

Six young artists from the Photography workshop are invited to create a counterpoint to the themes and photographs selected by The House of European History.

Coordination: Hervé Charles & Olivier Thieffry

La Cambre opens its doors to you on Saturday 22 March 2025, from 10am to 6pm.

OPEN, to discover the different workshops and courses.
OPEN, to meet the teaching staff, enrolment officers and management.
OPEN, to take part in exhibitions, openings and workshops...

+ More info soon to come soon...

With: Isabel Baraona, Maud Brunstein, Sam Bouffandeau, Xavier Duffaut, Matilde Gazeau Frade, Felix A. D’Haeseleer, Sophie Holmström, Romane Iskaria, Jana Katanic, Maelle Luca-le Garrec, Oya, Célia Rancelot, Killian Ryan, Alba Suau et Maj-Britt Verheijen Van Dyck

Attached are the profiles of the vacancies (published in the Moniteur belge 2025). The call is open from 4 to 20 March 2025, for teaching and administrative staff.

To apply, please follow the instructions in circulars no. 9450 (teaching staff) and no. 9449 (administrative staff).

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Since 2018, ENSAV La Cambre has been publishing an annual yearbook showcasing the work of its young graduates.

In this 2024 edition, no fewer than 129 young artists and designers reveal their work and intersect across twenty disciplinary fields. More than ever, La Cambre presents the result of a fertile, exploratory, and uninhibited creative approach, far beyond a singular attachment to a specific discipline or departments.

Elise Mazac aka Mazaccio (1988) and Robert Drowilal (1986) are two French artists working under the name Mazaccio & Drowilal.
Influenced by conceptual art, Pop painting and the Pictures Generation, their para-photographic work is based on the principle of ‘collimage’.
Their work tackles a range of subjects including celebrity, branding and identity.

In 2013, the duo won the 3rd BMW residency at the Musée Nicéphore Niépce. In 2017, they were residents at the International Studio & Curatorial Program (ISCP) in New York.
Their work has been shown in solo exhibitions at Les Rencontres d'Arles (2014), the French Institute, New York (2015), Les Abattoirs, Toulouse (2018), the Musée des Beaux-Arts de la Chaux-de- Fonds (2021), and group exhibitions at Galleria Continua, Les Moulins, the Musée Nicéphore Niépce and the Palais des Beaux-Arts, Paris.
They have also published a number of artist's books, including Wild Style (Camera, 2014), Champagne (RVB Books, 2015), The Happiness Project (RVB Books, 2018), Paparazzi (RVB Books, 2021), and Iconology (RVB Books, 2024).
They are visiting lecturers at the Ecole cantonale d'art de Lausanne (ECAL) in Switzerland.

With their research project entitled ‘Paravent Pictures’, Mazaccio & Drowilal are among the winners of the 6th edition of the Institut pour la photographie's research and creation support programme, devoted to the historical, theoretical or creative study of video walls.

As artists, Mazaccio & Drowilal are interested in what forms the backdrop to our lives: the images produced by consumer society, their abundance and the ways in which they are disseminated.
What narratives do they convey? How do they shape our visions of the world and our identities? To explore the notion of the wall of images, they are using the screen as an object of experimentation. Drawing on a range of disciplines, from art history and visual studies to anthropology, psychoanalysis and communication theories, they look at the making of icons and role-models, as well as the concepts of persona and extimacy that are intrinsically linked to them.

On the occasion of the 2024-2025 Chaire à vif devoted to ‘Art and Money’, La Cambre is joining forces with the ULB's Groupe de Recherche en Sciences des Arts et de la Culture (GRESAC) to pursue its reflections on the notions of market, value and investment in the world of art and creation.

On the initiative of the Design Textile workshop

Presentation of the Artistic Sound Creation and Experimental Music Course

With proposals from Charlotte Barreyre, Sam Boisbineuf, Marilou Dard, Dima Emelianenko, Adèle Fisch, Marius Herbert, Raphaël Humbert-Martin, Justine Jossen, Seza Lebars, Coline Lebeau, Mopsa Marciano, Léo Marybrasse, Dan Meyer, Nathan Pierard, Joseph Vincent, Sebastian Voigt.

‘Public art put to the test by censorship

by Julie Bawin, Professor of the History of Contemporary Art at the University of Liège and Director of the Musée d'art contemporain en plein air du Sart Tilman.

By imposing itself on the community as a whole, and thus confronting a plurality of judgements and opinions, the work of public art is, more than any other instituted creation, the object of tension and rejection. From the nineteenth century to the present day, works commissioned for public spaces have been censored both vertically and horizontally, both by the State and its spheres of power and by individuals from civil society. Julie Bawin invites us to take a look at the history of censorship in the public space, with the aim of showing the variability and permanence of the arguments that, from decade to decade, have been put forward to challenge, ban or dismantle works that were intended to meet with the approval of the greatest number of people.

In 2024 Julie Bawin published Art public et Controverses XIXe-XXIe siècle (Paris, CNRS Éditions).

Presentation of the work of CASO students Performance

With Paul Brumberg I Yuna Choi I Romain Clary I Stav Friedman I Giulia Giordano I Maël Keppenne I Camille Laffargue I Ana Malnar I Julia Pakuszewska I Oliwia Pakuszewska I Luca Valentino

Echoing the events of the Second World War, in 2022 the Kiev metro will become a fallout shelter for thousands of people, marking a new fragment of history.

Integrated into the architecture of the stations, the lettering of the Kiev metro reveals the memories of the city. This typographic heritage inspired the Kyiv Metro Fonts research project, which led to the publication of the KTF Metro typeface family. This project aims to preserve the typographic memory of Kiev, reviving historic letterforms while serving to raise funds for Ukraine.

A meeting, a rendezvous, a meeting place, a gathering space: with MeetingPoint, La Cambre encourages exchanges around a guest who is visiting a studio and who gives us the pleasure of an open talk. On Monday 20 January 2025, the typography workshop invites designer Yevgeniy Anfalov. Born in Kiev in 1986, he is co-founder of Kyiv Typefoundry. A meeting not to be missed.

This exhibition by the Masters of the Atelier Sculpture takes as its impetus David Bowie's famous title, to evoke the place in which the event takes place, but also as a potential metaphor for the artistic process that generates fictions, points of view, oddities, escapes, disorientations, overtaking, accidents, controls...

All of the proposals, some of which are conceived in situ, are multidisciplinary, with a concern for space.

With: Charlotte Barreyre, Tanguy Danjou, Bruno D'Hubert, Eve Julia Gonzalez, Leo Marybrasse, Lyriane Renault, Elliott Schott, Vittoria Toscana, Joseph Vincent.

In partnership with Young European Artists