A talk by Pía Baltazar, at the invitation of Myriam Pruvot, as part of the CASO (Artistic Support Course for Electives) in Sound Creation and Experimental Music.

For this event, Pía Baltazar explores the ethical, organological and aesthetic issues surrounding the relationship between technologies and practices in sound and intermedia creation. Drawing on her artistic practice and her research into ‘AI’, she views the acts of composition and perception as expressions of embodied intelligences, woven from affects and durations, which algorithmic necrocapitalism seeks to dispossess us of.
Under what conditions does composing for machines, as well as composing with them, enable us to reclaim them?


Pía Baltazar is an intermedia composer, interdisciplinary researcher and independent curator, based between Brussels and Montreal.
Her artistic research focuses on the role of the body and space in the creative process, on intersensoriality and on the experience of liminal states of consciousness.
Since 2002, her work has explored the ways in which our perception is linked to temporality and spatiality, through the use of sound, light, wind and various other materials. Situated between performance and installation, each work emerges from an encounter with a specific situation, which she explores through dedicated technological devices, conceived as instruments connecting the body and space.
Her work has been commissioned by the French government, the INA-GRM, the GMEA, the IMEB and BEK… and has been presented at festivals such as CTM and SPATIAL (Berlin), FIBER (Amsterdam), INSCAPE (Seoul), Borealis (Bergen), Présence Électronique (Paris), OutHear (London), MUTEK, Elektra and Akousma (Montréal)…
As the founder of the ossia.io initiative, she led research at GMEA (Albi, 2008–2010), then at the Société des Arts Technologiques de Montréal (2023–2025), where she explored the challenges of AI for the arts, notably by leading the ‘commons’ strand of the ArtIA project and participating in the Wilding AI research-creation project.
Since 2025, she has been collaborating on the international development of the artist-run centres iii (The Hague, NL) and perte de signal (Montreal, CA).

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A listening tent at La Cambre, organised by CASO Performance and Body Arts

Did you study at La Cambre?
Well then, let’s get together!

In 2026–2027, La Cambre will be celebrating its centenary. A hundred years of creativity, connections and shared stories.
To mark the occasion, we’re organising a big reunion evening: ‘After School’, on Friday 19 March 2027.
To ensure this anniversary is a celebration worthy of our shared history, we need your help! Whether you left the school recently or several decades ago, please take a few moments to help us track down those who have brought La Cambre to life across the generations.

And above all, spread the word! Share this post with your former classmates, your friends from your year group, and those with whom you shared workshops, projects and your years at La Cambre.

On 19 March 2027, let’s come together to celebrate La Cambre’s 100th anniversary.

As we approach this exceptional year, we invite you to explore the website dedicated to a programme of events that will bring the spirit of La Cambre to life.

The school has left its mark on the history of art, design and architecture far beyond Belgium’s borders. To mark its centenary, it is opening its doors to as many people as possible in collaboration with numerous partners. Fourteen months of exhibitions, events and creative projects will celebrate its legacy and its dynamism. An invitation to discover a place where, for a century, the ideas of tomorrow have been passed on.

From autumn 2026 to the end of 2027, La Cambre will celebrate its centenary through a programme bringing together its community and partners. Exhibitions, performances, publications and events will shed light on the history of an institution that has become an international benchmark. More than just an anniversary, this centenary will explore the role of creativity in the face of contemporary challenges and reaffirm La Cambre’s mission since its foundation by Henry van de Velde: to pass on, experiment with and imagine the world to come.

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In collaboration with the La Cambre Horta Faculty of Architecture at the ULB, Écarlate la compagnie, FAME Festival, the Wittockiana – Museum of Book Arts and Bookbinding, the Maurice Verbaet Art Center, the City of Brussels, Ceramic Brussels, the Folon Foundation and the Ixelles Museum

With the support of the Wallonia-Brussels Federation, the Brussels-Capital Region, the Municipality of Ixelles, and the Perier D’Ieteren Foundation.

Thank you to Maison Dandoy.

La Cambre is organising its 2025 Academic Year Opening Ceremony on Monday 28 September from 6.00 pm.

Eight young designers, one icon, eight creations

Eastpak has teamed up with La Cambre and invited eight students from the Fashion Design and Creation workshop to reinterpret its iconic Day Pak’r. The same accessory, the same silhouette, but eight different ways of exploring its creative potential.

Loïc Bernier, Fantin Delattre, Theodora Hadj, Alexandre Piron, Marie Scerri, Manon Schied, Adrien van Nuffel d’Heynsbroeck and Lalou Weyrich all started with the same rucksack, in the Sunday Grey colourway. Rather than designing an object from a blank page, each artist worked with an existing form, its function and its uses, to redefine its contours.

The challenge lies in striking a balance between transformation and function, between what the object already embodies and what the creative process adds to it. The familiar silhouette of the Day Pak’r thus lends itself to interventions that engage with the material, volume, construction and craftsmanship.

This collaboration with Eastpak showcases eight interpretations of the same object and, through them, the diversity of research currently being carried out at La Cambre in Fashion Design and Creation.

The pieces produced as part of this project are one-off creations and are not intended for sale.

As part of the exhibition ‘Art Nouveau versus Art Deco? 1850–1950: a century in 31 chairs’, Master’s students in Industrial Design were invited to design new chairs for the Horta Museum.

Intended for visitors and the reception team, six chairs have been placed within the historic spaces of Victor Horta’s house and studio. They harmonise with the existing architecture, furniture and heritage, whilst meeting contemporary needs.

The project thus extends the exhibition’s central question: what does a chair reveal about the way we live and position ourselves within a space? Balancing function, comfort, craftsmanship and their presence within the architecture, each design explores in its own way the relationship between a contemporary object and this museum, its architecture and its uses.

Straddling heritage and the present, these six seats take their place in the history of the site, introducing new ways of sitting, looking and experiencing the museum.

Partenaires: Galerie Zwart Huis – Hopstreet Gallery – Husk Gallery – JAP – KlotzShows – La Peau de l’Ours – LAGE EGAL – Project(ion) Room – Rossicontemporary – Schönfeld Gallery – Vue Gallery – Xavier Hufkens Gallery – Xavier Huysmans GalleryFrom 3 to 5 July, ENSAV La Cambre will be taking over the Galeries Rivoli and the Project(ion) Room to present the projects of its 2026 Master’s cohort. Installations, videos, visual artworks and performances will offer a broad overview of contemporary experimentation. The exhibition invites visitors to explore the research, approaches and creative worlds of a generation on the rise.

Curator: Lola Meotti
Graphic design: Adriaan Van Leuven

For nearly ten years, ENSAV La Cambre has held its Graduate Show at the end of each academic year, an event that has become a must-see. The 2026 edition brings together over a hundred artists and works, revealing the richness and diversity of the practices developed within the school. The curatorial work seeks to create a dialogue between this multiplicity of forms and perspectives, setting itself apart from the academic framework of end-of-course juries.


Partners: Entry Gallery – Galerie Zwart Huis – Hopstreet Gallery – Husk Gallery – JAP – KlotzShows – La Peau de l’Ours – LAGE EGAL – Project(ion) Room – RossiContemporary – Schönfeld Gallery – Vue Gallery – Xavier Hufkens Gallery – Xavier Huysmans Gallery

From May 26 to June 26, La Cambre’s 2026 juries will host a series of events focused on sharing and critically examining the research, experiments, and creative works developed by students throughout the year.

The “Graduation Show,” dedicated to the Master’s degree final projects, will take place from July 3 to 5, 2026, at the Galeries Rivoli and the Project(ion) Room, with an opening reception on July 2. The event is open to the public.

More information coming soon...

Carte blanche for the Book and Paper Design Department

The Book and Paper Design Department is one of the few courses where students learn the demanding craft of bookbinding within a primarily artistic context. The department’s mission is to train new generations of designers specialising in the book as an object, whilst preserving its artisanal heritage.

From its very inception, the book has presented itself as a complex object that unfolds throughout history and across its contents, but also in terms of its physicality. A single folded sheet of paper is enough to form a four-page book, a simple process which, in itself, raises a series of fundamental questions: the principle of front and back, double-page spreads, reading direction, endpapers, and so on. This rich and enigmatic structure offers creators infinite artistic possibilities which, paradoxically, are not hindered by the ubiquity of digital technology. Indeed, technological developments also encourage a renewed appreciation of the book’s physicality.

Thus, La Cambre’s Department of Book and Paper Design aims to be a laboratory or a space for exploring the physicality and materiality of the book and contemporary bookbinding. The field of research is vast, as it encompasses both bibliophile and fine bookbinding as well as artist’s books, which are often conceptual.

The exhibition ‘On trouvera’ provides a fine overview of the experiments carried out over the last two years by students from the department, across all levels of study. The works demonstrate the challenges overcome in using ingenious devices and materials to subvert the mass-produced nature of publishing and transform the book into a unique creation.

Works by Angeline Guzman, Anna Marguier, Assya Guermit, Eloïse Agostini, Floriane Domésor, Maïa Fourcy, Maud Lefebvre, Maude Cottenier, Ninnog Gesland-Bouilly, Nora Amaouche, Roxane Daguet, Sahoko Yoshino, Sarah Juin, Zazie Depelsenaire, Zoé Coutier, Zoé Peray.

With the invaluable collaboration of Tatsuya Inuikawa, Head of the Book and Paper Design Department, and Juliette Amigues and Élise De Maio, members of the teaching team.

The Université libre de Bruxelles is joining forces with ENSAV La Cambre, INSAS and the Royal Conservatoire of Brussels to create ATLAS – Brussels School of Arts, a unique alliance designed to serve as a forum for dialogue between the arts, sciences and society.

Signed on 21 May 2026 on the Solbosch campus, the founding declaration of the Alliance for the Transmission and Links between Arts and Sciences marks a decisive step in bringing together four institutions whose trajectories, long running in parallel, now converge around a shared ambition: to make interdisciplinarity an active space for research, transmission and experimentation.

Through ATLAS, the aim is not merely to formalise existing collaborations, but to open up a space for the circulation of knowledge where artistic practices, research, the humanities and critical pedagogies can engage with and transform one another. In an academic landscape still largely structured by disciplinary boundaries, the alliance affirms an alternative approach to higher education: cross-disciplinary, open and collective.

The Alliance builds on a long history of collaboration between the four institutions. It now provides them with a common structure and a shared vision, centred on four key areas: research, teaching, internationalisation and student support.

We have reached a crossroads where natural partnerships between our institutions are intensifying. Interdisciplinarity, for example, is now becoming a key issue for the development of research both in Belgium and internationally. With ATLAS, we will be able to structure, consolidate and expand certain innovative research projects
Benoît Hennaut, Director of ENSAV La Cambre

In particular, the platform will help to strengthen the Doctoral School in Arts and Art Sciences, develop cross-disciplinary programmes (Masters, certificates, workshops or studios) and support research and creative projects at a European level. It will also promote networking among researchers and teachers, the pooling of institutional resources, and the implementation of joint initiatives against discrimination, violence and harassment.

Subtitled ‘Brussels School of Arts’, the alliance finally affirms an international ambition befitting Brussels: a crossroads city where artistic practices, critical knowledge and contemporary forms of research find a shared ground for invention.

La Cambre, in collaboration with Bruxelles Mobilité and STIB, presents “Espèces Compagnes,” the new exhibition by the Espace urbain department at Espace Qartier, a space dedicated to contemporary arts and culture.

Opening reception on Friday, May 29. Free entrance.

Special thanks to Espace Qartier, SUB LAB, Jarr Kombucha, and Vedett for their support during the opening.

Vendredi 26 juin à la Maison Poème, les Master 2 de l'atelier Textes et création littéraire présentent leurs textes lors d’une matinée de lectures publiques.

Vous l’avez regardé depuis le ciel. Ça semblait simple. Vous avez zoomé zoomé zoomé. Gauche puis droite. C’était là. Vous avez pris place.
Il vous a fallu couper avec l’extérieur. Inspirer. Expirer. Cinq fois.
Pour enfin, observer. Cœur battant, adrénaline, trac. Ils sont là. Parmi vous. Prêts. À vous faire entendre l’oralité de leur texte. C’est insolite.
Deux ans de travail, pour le romanesque. Pour l’écriture. Pour la portée du texte. La narration. Les mots. Le singulier. Le style. Les signes. Les synonymes. La syntaxe. La ponctuation.
Deux ans. Par amour du drame.
Et une matinée. Pour se faire comprendre.
Pfff.
"Thank you for the tragedy"

Avec : Paul Brumberg, Marine Coutereel, Charlotte Dupont, Emma Georget, Mael Keppenne, Constant Léon, Maxine Loiselle.

Master’s degree final exhibition by the Ceramics, Book and Paper Design, and Typography departments.

Ceramics
Flore Van Eycken – Clémence Thomas – Emma Herman – Fanny Canel – Béatrice Meunier

Book and Paper Design
Maude Cottenier – Angeline Guzman – Eloïse Agostini – Sahoko Yoshino

Typography
Capu Colomès – Iris Maubille – Thaïs Cuny – Marco Chaussebourg – Carla Manckoundia – Ju Szczurek – Escuyette – Zoé Moussaron

Animus Femina

A film by Éliane de Latour, 2025
Screening followed by a discussion with the director

Éliane de Latour, a research director at the CNRS, is as much an anthropologist as she is a filmmaker. She turned to documentary filmmaking after completing her PhD, and has since divided her work between France and Africa. With each film, her ethnographic perspective takes on a new narrative tension: she moves beyond the strict boundaries of reality to venture into the freer realms of fiction.

In a world where the balance of life is under threat, the film gives a voice to four women who, each in their own way, are mending the broken bonds between humans and wildlife. The filmmaker meticulously explores the possibility of their coexistence. A poetic and urgent journey, navigating between ecological crises and glimmers of hope.

This screening is part of the ‘Subjective Territories’ series. With this fifth film, a work of fiction, we aim to explore how our relationship with territory is woven and unravelled, between sensory experience and symbolic constructs, in order to create a dialogue between representations of reality and the powers of the imagination.

The Soundlab is now officially open: a new space dedicated to exploring sound has been established, serving as a place for both guidance and experimentation.
Designed as a resource that is both educational and open, this new facility offers educational support with personalised guidance on creative projects, whilst also serving as a genuine workshop and sharing space, conducive to discussion, experimentation and free exploration.
A specialist equipment loan scheme complements these resources, providing access to equipment specifically designed for sound work.

Coordinated by Céline Gillain and Raymond Delepierre, the Soundlab is open to La Cambre students during office hours.

It is with deep sadness that we learn of the passing of Serge Debroux. Having joined the college in 2003 as a copyist supervisor, Serge was a cheerful and indispensable presence at La Cambre for some twenty years.
Today, the La Cambre community remembers a loyal and deeply compassionate colleague.

A tribute may be paid to him at the Rixensart funeral parlour on Monday 20 and Tuesday 21 April, from 5pm to 7pm.
The funeral service will be held at the ‘Champ de Court’ crematorium in Court-Saint-Étienne on Wednesday 22 April at 12.30pm. In accordance with Serge’s wishes, dark clothing is not required: everyone is invited to wear something colourful.

HYBRIDISING THE SENSIBLE AND KNOWLEDGE #3

The 2026 Study Day brings together artist-researchers from La Cambre to discuss their projects and work in progress. It provides a platform for showcasing and sharing the approaches that currently underpin creative and research practices.

Through presentations and discussions, this event opens up a field of reflection on the forms, methods and contemporary issues that are redefining the contours of artistic research. In a landscape in constant flux, it affirms the need for attentive dialogue, in which new ways of thinking, doing and transmitting are collectively developed.

Room Temperature

A film by Dennis Cooper and Zac Farley
(Duration: 1h33)

Screening followed by a discussion between the directors and Théo Casciani

As they do every year for Halloween, a family transforms their property into a haunted house. The father is determined to make the attraction as terrifying as possible, whatever the consequences.

In addition to his film collaborations with Zac Farley, Dennis Cooper (born 1953) is known for cult novels such as the five-part series The George Miles Cycle (1989–2000), The Sluts (2008), The Marbled Swarm (2014) and I Wished (2021). He has also written extensively on art, film, music and literature, and has been a Contributing Editor for Artforum since the late 1990s. After moving from Los Angeles to Paris in 2005, he wrote nine plays for the director and choreographer Gisèle Vienne.

Zac Farley (born 1988) is a Franco-American artist and filmmaker who studied at the California Institute of the Arts and Northwestern University. He co-directed Like Cattle Towards Glow (2015), Permanent Green Light (2018) and Room Temperature (2025), films that have been screened at numerous festivals. He has collaborated with Gisèle Vienne on the Kerstin Kraus project, as well as with Sabrina Tarasoff and Dennis Cooper on a virtual reality haunted house video game presented at the Collection Pinault in Paris in October 2022. He lives in Paris.

Théo Casciani (born in 1995) is a writer. He studied the humanities at Sciences Po and mathematics at the Sorbonne in Paris, before joining La Cambre in Brussels, where he now teaches. Rétine, his first novel, was published by Éditions P.O.L in 2019. His fiction, translated into several languages, has been presented in various forms in France and abroad, notably by the Centre Pompidou, Montez Press, the Fondation Beyeler, Sadie Coles, Spazio Maiocchi and the Louvre Museum. His second novel, Insula, published in January 2026, was awarded the Prix La Perle.

Presented by the Master’s programme in Texts and Literary Creation

INTERGENERATIONAL SPACE – DRAWING WORKSHOP

In the often hurried world of contemporary imagery, certain experiences take the time to make us pause and look – and, in doing so, shift the very boundaries of creation. At La Cambre’s Drawing Workshop, such a shift took place, not in the solitude of the artist facing their sheet of paper, but in the fragile and fertile space of encounter.

Indeed, nothing was premeditated. From the disappearance of an expected academic framework arose a hypothesis: that of a workshop where otherness would no longer be a subject, but a condition. By inviting senior citizens from the municipality of Ixelles to share the extended process of drawing with the students, the project established an almost archaic situation—in the noble sense: that of doing things together, of gestures passed on, shifted, and sometimes thwarted.

What unfolded there goes beyond simple collaboration. It is a learning of attention. First, towards the other person — their pace, their silences, their resistance. Then, towards the material — whether it takes the form of a fragment of bark, a memory recorded on a postcard, a textile pattern or an imaginary flow. Each pair invented their own grammar, often hesitant, sometimes discordant, but always imbued with life.

From these fifteen weeks of work emerge forms that are neither quite a work of art nor quite a testimony, but rather a rare in-between: a thought in the process of taking shape. Here, the bark becomes a metaphor for the intimate and the visible; there, a rogue wave condenses fascination and threat; elsewhere, a forgotten correspondence summons the spectres of a fragmented memory. Each proposal engages with a way of being in the world, woven into dialogue.

What strikes one, perhaps, is the way in which these heterogeneous practices compose a shared landscape without ever becoming uniform. Drawing here is less a discipline than a porous territory, open to cross-pollination—from writing, sound, the body, the living. Contrary to a logic of mastery, the participants have accepted uncertainty as a method, error as a resource, the other as a condition of possibility.

In a context where generations tend to coexist rather than meet, this experience reminds us with an almost political acuity that creation can be a place of hospitality. Not a refuge, but a threshold: one where we consent to no longer know alone.

The works presented today are not so much the culmination of a project as the tangible traces of a shared process. They bear witness to a slow development—made up of adjustments, renunciations, and sudden surges—through which individuals have ventured to become a relationship.

Perhaps this, ultimately, is the most valuable aspect of this workshop: the ability to foster, at the very heart of artistic practice, a form of temporary community — attentive, vulnerable, and deeply alive.

Exhibition at the Chapelle de Boondael from 7 to 10 April 2026
Opening on 7 April 2026 from 6pm to 9pm

With
The seniors of Ixelles
Christine Denoël, Francine D’Hulst, Monique Coos, Christine Gusek, Francine Marot, Lydia Martens, Anne Parent, Michèle Roose, Chantal Soumoy, Clémentine Sungu, Dominique Thomas, Camille Verschelden.
Marie Lemaire (graphic designer, supports the teaching team in supervising the groups and is responsible for the project’s graphic design)
Pascal Capelle (head of the Senior Unit, providing support for the project’s organisation).

Students from the Drawing department
Nizar Boukroun, Tifenn Capaldi, Tristan Diederich, Camille Gloux-Frenkiel, Augusta Herbiet, Mona Raharinosy, Armand Reynaud, Adèle Simonet, Jeanne Thiebaut, Irène Van Rompay, Noémi Vossenrich.

Pedagogical staff
Aleksandra Chaushova (artist, PhD in Art, lecturer in the Drawing workshop), Léonore Frenois (artist and PhD student, supporting the project), Manu Tête (artist, lecturer in the Drawing workshop), Catherine Warmoes (artist, lecturer, head of the Drawing workshop, organiser and coordinator of the project).


A project initiated by Romain de Reusme, Mayor; Jacques de Jonghe d’Ardoye, Councillor for Senior Citizens; Gautier Calomne, Deputy Mayor responsible for Education and Culture; and members of the College of the Mayor and Councillors of Ixelles.