Soundlab à La Cambre

Soundlab

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.

Read moreRead less

A tribute to Serge Debroux

Serge Debroux

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.

Read moreRead less

Research in action at La Cambre

Affiche Journé d'étude 2026

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.

Read moreRead less

Room Temperature

Affiche MP 56 Room Temperature Bis

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

Logline
One night every year a family transforms their home and yard into a haunted house and invite their neighbors to walk through it. What used to be a group effort has increasingly become the dad’s obsessive fantasy that his family is expected to enact.

Description
Set against the barren sprawl of the California desert, Room Temperature follows a family’s annual tradition of transforming their home into a DIY haunted house—an increasingly unhinged ritual now hijacked by the father’s obsessive vision.
Rejecting the tropes of traditional horror while steeped in its atmosphere, Room Temperature builds its haunted house from plywood, grief, and quiet despair. The cast, comprised of artists, non-actors, and one possibly spectral French teen known only as “Extra,” wanders through the film like costumed ghosts in a stage set they didn’t design. Shot in muted tones and marked by deadpan performances and disorienting emotional shifts, the film lingers in the liminal space between artifice and collapse.
Hilarious, uncomfortable, and deeply strange, this is haunted-house cinema as poetic autopsy, a slow, disquieting meditation on control, longing, and the fantasies we force onto others.


Cast
Andre: Charlie Nelson Jacobs
Dad: John Williams
Paul: Chris Olsen
Extra: Ange Dargent
Beatrice: Stanya Kahn
Marguerite: Virginia Adams

Crew
A Film By: Dennis Cooper & Zac Farley
Producers: Stefan Kalmár, Raoul Klooker, Nicolas Brevière, Luka Fisher, Charles De Meaux
Produced By: Marcus Chang, Cara Braglia
Director of Photography: Yaroslav Golovkin
Production Design: Kristen Dempsey
Wardrobe & Costumes: Edwin Mohney
Score: Puce Mary

Read moreRead less

Matières en partage

Ezgif.com webp maker 3

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.

Read moreRead less

Call for proposals – European Post-Master’s programme in artistic research

In partnership with Casino Luxembourg – Forum d’art contemporain / Casino Display, this European post-Master’s programme launched in the 2025–2026 academic year, in collaboration with the École Nationale Supérieure des Arts Visuels de La Cambre (La Cambre, Brussels, Belgium), the Haute École des Arts du Rhin (HEAR, Strasbourg/Mulhouse, France), the Koninklijke Academie van Beeldende Kunsten (KABK, The Hague, Netherlands) and the École Nationale Supérieure d’Art et de Design de Nancy (ENSAD Nancy, France).

For the 2026–2027 academic year, the programme is organised around the theme ‘On Notation’. To note is to attempt to retain what slips away, to record a trace before it vanishes. From de notatio — the act of marking — notation refers to the gesture, the form and its transmission. It invites reflection on the ways in which artistic research can be documented, shared and transmitted beyond academic or exhibition formats. Notation thus becomes a critical and operative tool, enabling the exploration of the epistemological potential of artistic research and its practices themselves.

The Casino Display artistic research laboratory is a para-academic and para-institutional space that fosters collective and transdisciplinary experimentation. Focused on process and the evolution of ideas, it encourages participants to engage in collaborative approaches and to challenge established frameworks of creation and knowledge production. The programme offers financial support, access to technical facilities and the opportunity to join an international network of researchers and artists.


What the programme covers

Travel and accommodation in Luxembourg
Daily allowance during research weeks
Production budget: €2,000 per participant
Access to Casino Display’s technical facilities


Eligibility criteria

Hold a Master’s degree (or equivalent)
Have obtained this degree within the six academic years preceding the 2026–2027 academic year
Be resident in the European Union


Research weeks
28 September – 2 October 2026
16 – 21 November 2026
25–29 January 2027
22–26 February 2027
29 March–2 April 2027
19–23 April 2027


Application procedure

Send an application to display@casino-luxembourg.lu including:
A short text (200–300 words) or a page of visual reflections on the theme “On Notation”
Portfolio
CV


Key dates
Application deadline: 8 May 2026 inclusive
Shortlist: 29 May 2026
Interview: date to be confirmed
Announcement of selection: 19 June 2026


The selection panel will consist of members of the Casino Display team, as well as one representative appointed by each of the partner institutions.

This post-master’s programme is developed in collaboration with:

Casino Display,
Casino Luxembourg – Forum d’art contemporain,
École Nationale Supérieure d’Art et de Design de Nancy (France),
École Nationale Supérieure des Arts Visuels de La Cambre (Brussels, Belgium),
Haute École des Arts du Rhin (Strasbourg / Mulhouse, France),
and Koninklijke Academie van Beeldende Kunsten (The Hague, Netherlands).

Read moreRead less

Called Messages, writing with matter

Workshop BIP

Erasmus+ Blended Intensive Programme

Ever since the earliest traces of human existence, writing has inhabited walls. From the walls of prehistoric caves to the political slogans on the Berlin Wall, from votive inscriptions to anonymous declarations of love, public spaces have always been a place for expression: memory, protest, projection.

The BIP ‘Called Messages, writing with matter’ proposes to reconnect with this original dimension by considering writing not as a graphic gesture, but as an embodied, spatial and sculptural act. It is no longer a matter of writing on a surface, but of writing into matter: engraving, incising, inscribing.

What does it mean today to inscribe a message into matter? How does the choice of medium (block, fragment, architecture) determine what can be said? And what voice emerges when words, stripped of the fluidity of the line, are confronted with the resistance of the material, with duration, with erosion?

Over the course of a week, around twenty students from European partner schools, trained in graphic design and typography, will work in groups to design and engrave a message intended to take its place in space. Using blocks of aerated concrete, they will compose a temporary landscape — a topography of signs — where each intervention will interact with the others, through elevation, fragmentation and tension.

Beyond the text, it is the spatial arrangement that becomes language: construction or collapse, horizontality or verticality, proximity or isolation – all parameters that shape the reading and produce meaning.

The title ‘Called Messages, writing with matter’ evokes both engraved messages and those that emerge from a specific context. Students are invited to situate their voices: from Europe, in 2026, as young designers. It is less a matter of sending a message than of taking a stand, and of accepting the significance of what is inscribed, perhaps, to last.

The week begins with an urban stroll focusing on the inscriptions found throughout the city (engraved, carved or embedded in the architecture), followed by a session for discussion and the formulation of initial ideas. Very quickly, ideas come face to face with the material: students experiment with engraving, test the resistance of the material, and begin to inscribe their messages.

The following days are devoted to patient work of carving and construction, where the gesture is repeated, refined and made more precise. Discussions with the tutors accompany this process, raising questions of spatial positioning and the relationship between the forms produced. Gradually, a collective reflection takes shape around the forthcoming installation, without prematurely fixing its contours.

Specific time is then devoted to spatial arrangement: how do the individual messages resonate with one another? What effect does their arrangement produce? What interpretation arises from the scale, the material, and the layout? The installation thus becomes a collective language, structured by shared choices. Some students may also extend this reflection through proposals for public communication, announcing the opening to the public.

The week concludes with the installation of the exhibition, followed by an informal presentation. This temporary exhibition showcases a plurality of voices, inscribed in the material and brought into relation within the space.

Through this experience, participants explore printmaking as a typographic and material practice, examine writing as a situated act, experiment with the dynamics of construction and instability, and engage in a collective process of design and exhibition. The final installation thus reflects a polyphony: that of a generation which inscribes its stances within the material.



Academic coordination: Noémie Couronné & David Maurissen

Erasmus & International Relations: Lucas Limongelli

Participants
Anania Leonardo – Barkeev Jana – Begue Elisien – Beierbach Katharina – Benaliouat Inas – Brandt Rieke Süster – DISER Mounia – Faure Louise – Ferrario Davide – Fiems Jade – Flink Sander – Fontanari Mattia – Gaudreau Alexis – Granchamps Etienne – Ivakhno Anna – Jesdinsky Katharina – Kaya Sevda – Kortüm Maj – Lucas Deleu – Marchand Zoé – Morales Maldonado Maria Fernanda – Nanke Zuzanna Daria – Strobel Sarah Lisa – Weinelt Carlotta – Zaporojan Valeria

Read moreRead less

Chaire à vif 2026: The Ecology of the Mind in the Age of Artificial Intelligence

Chaire à vif 2026

At a time when digital technologies are profoundly reshaping the contours of our psychological, social and symbolic lives, La Cambre continues its critical engagement with a new edition of CHAIRE A VIF, an open and vibrant space for thought at the heart of the institution.

For 2026, the chair is led by philosopher Anne Alombert and artist-researcher Judith Deschamps. Together, they propose to explore a crucial question: what becomes of the human mind in an environment saturated with technical devices capable of simulating, anticipating, or even directing our mental processes?

From Plato’s allegory of the cave to generative artificial intelligence, this series of lectures examines the contemporary transformations of our modes of attention, memory and imagination. Technologies are presented here in their inherent ambivalence: both pharmakon—remedy and poison—they open up unprecedented possibilities whilst exposing new vulnerabilities.

Bringing together philosophy, media history and artistic research-creation practices, CHAIRE À VIF 2026 invites us to consider these technologies not merely as extensions of the mind, but as sensitive environments, capable of revealing both our dependencies and the collective power of our imaginations.



Wednesday 8 April 2026 at 6.00 pm

AI at the end of life: technology, finitude, sublimation and melancholy

For this third instalment, Judith Deschamps will present her research-creation work, before engaging in a dialogue with Anne Alombert and the audience.

Contrary to the promises of infinite augmentation put forward by transhumanist discourse, this session proposes to consider artificial intelligence from the perspective of human finitude. It is no longer a question of competing with the machine, but of inventing, together with it, new forms of relationship, where our limitations become the very conditions for a new technological sensibility.

Read moreRead less

Open Day 2026 – Check out the programme!

Journée Portes ouvertes La Cambre 21 mars2026

21 Abbaye de La Cambre
427 Avenue Louise
1000 Brussels

La Cambre opens its doors to you on Saturday 21 March 2026, from 10am to 6pm.

OPEN, to discover all the departments and courses.
OPEN, to meet the pedagogical staff, the Student Council and the management.
OPEN, to take part in exhibitions, performances and workshops...

Graphic design: Bureau Wolewinski

More info: communication@lacambre.be

César Award for Best Set Design for Catherine Cosme

Catherine Cosme

César 2026 – Best Set Design
For ‘L’Inconnu de la Grande Arche’

CATHERINE COSME
Catherine Cosme trained at the Scénographie workshop, graduating in 2005.

Find all La Cambre alumni at alumni.lacambre.be


Photography: @anais.mabl @andreasurrel @ENS_LouisLumiere
#LaCambre #WBE #LaCambreAlumni #SetDesign #LArtEnScène

Read moreRead less

Meeting Point #55

Affiche Meeting Point 55 à La Cambre Politiques de l’image  et conditions de visibilité en Palestine

‘Image Policies and Conditions of Visibility in Palestine’
Lecture by Stefanie Baumann as part of the ARES Mobilisation project*

Stefanie Baumann is a researcher at the Institute of Philosophy of the New University of Lisbon (IFILNOVA), where she coordinates CineLab. She holds a PhD in philosophy from the University of Paris 8 and has taught aesthetics and contemporary art theories at the University of Paris 8 (2007-2010), the Lebanese Academy of Fine Arts/Beirut (2012-2015), Ashkal Alwan/Beirut (2013), the Maumaus Study Programme in Lisbon (since 2016) and the HfBK in Dresden (2023). A member of the Suspended Spaces collective, she has been collaborating for several years with artists and filmmakers (Esther Shalev-Gerz, Marie Voignier, Mounira al Solh). She recently published Voir la Palestine. Contre-champs artistiques (Lorelei, 2025). Since February 2025, she has co-directed the documentary film seminar Doc's Kingdom.

*The lecture will be followed by a discussion with the audience.

Read moreRead less

Amor 404 Exhibition

Josepha

Amor 404 — emotional wandering, glitch, lost not found, bug.

Currently completing their Master's degrees at ENSAV La Cambre, six young artists from Printmaking department present their recent and ongoing work. Each artist has a unique practice that the exhibition brings into dialogue, in a space where the printed image becomes a field for sensitive and critical experimentation.

How can materiality convey affect and emotional resonance?
How can artistic practice build community and lead to action?
How can we shout out what everyone already knows?

Between love from near and far, “Amor 404” explores flaws, bugs, and impulses, inviting visitors to discover these encounters and experiments at the Zsenne Art Lab in the heart of Brussels.

With
Nathan Bédon-Rouanet
David Cohenca
Josepha Kinsella
Sibylle Marchon
Onvs
Kenza Saleh Veschetti


Opening
February 19 / 6:00 p.m. – 9:00 p.m.

Exhibition
February 20 / 3:00 p.m. – 7:00 p.m.
February 21 & 22 / 2:00 p.m. – 6:00 p.m.

Read moreRead less

La Cambre holds its exhibition

Palais de Charleroi

La Cambre will be present at the SIEP (Study and Career Information Service) fair in Charleroi on 6 and 7 March 2026. Come and meet us to find out all about our courses and admission requirements.

This event is a prelude to the Open Day on 21 March, offering a first glimpse of the school and its departments.

[Graphic Design: Bureau Wolewinski]
#LaCambre #ENSAV #VisualArts #ArtSchool #ArtAndDesign

 

Exhibition – Presentation of the interdisciplinary module:

Instagram post   1

The transdisciplinary module ‘The Invention of Morel Revisited’ offers an adaptation exercise, where the story moves and is translated from one medium to another. The starting point is the science fiction novel The Invention of Morel (1940) by Adolfo Bioy Casares.

This novel tells the story of a person who has taken refuge on a desert island and is confronted with strange phenomena that they cannot understand or control. Between science fiction and philosophical meditation, Bioy Casares questions images, ghosts and memories, imagining, almost a century ahead of its time, a machine capable of recording and replaying memories.

The exhibition ‘The Invention of Morel’ showcases the work of students who explored these notions of space and the virtual, recording and repetition, by transposing the novel into various forms and media. This exhibition illustrates the richness of the transdisciplinary approach and the creativity used to create a dialogue between literature and contemporary practices.

Read moreRead less

Nous, Shéhérazade

Visuel Nous, Shéhérazade vernissage

"We made our voices heard, weaving together individual stories and collective narratives. We explored the female voice as an instrument of storytelling, resistance and memory, between meaningful songs and wordless sounds, creating bridges between politics, sensitivity and imagination.

Guided by artists and researchers, we listened to and recorded the sounds of our bodies and memories, learned to capture space, shape sound textures and edit our stories through collective tracks. We wrote, deconstructed, experimented with vocal improvisation and non-semantic singing, giving voice to stories of apnoea and aquatic narratives.

We drew inspiration from women of the past and present: from the feminist songs of the 1970s to the collective practices of Japanese fisherwomen and the songs associated with pearl fishing in Bahrain. We collectively invented words, rhythms and soundscapes, giving shape to a multitude of minor narratives that resonate within the greater narrative of history."


Sound works by: Julie Correia Gomes – Juliette Demaret – Salomé Dufour – Juliette Escudé – Auriane Leclercq – Amelie Pentecôte – Julie Vanhoenacker

As part of a transdisciplinary module, “Nous, Shéhérazade” is a proposal by Raffaella Crispino (FRArt – FNRS 2024 research grant), in collaboration with Maria Teresa Betancor, Barbara Demaret, Liévine Hubert, Mathilde Maillard, Stéphanie Mangez, Ioana Mandrescu and Marine Simonis.

Meeting Point #54 Territoires subjectifs

Affiche MP 54 L'Homme le plus heureux du monde

L'homme le plus heureux du monde
Screening of the film by Teona Strugar Mitevska, 2022
(In the presence of the director)


Sarajevo, present day. Asja, 40, single, has signed up for a speed-dating event to meet new people. She is introduced to Zoran, a banker her age. However, Zoran is not looking for love, he is looking for forgiveness.

This fifth film in the Territoires subjectifs cycle, a work of fiction, explores how our relationship with territory is constructed and deconstructed, by combining representations and imaginaries. Travelling through these territories — whether geographical or bodily, and always marked by political issues — opens up a space for recognition of voices and narratives that are often invisible.

Read moreRead less

Chaire à vif 2026

Affiche Chaire a vif 2026 OK

The ecology of the mind in the age of artificial intelligence

CHAIRE À VIF is an open chair at La Cambre, consisting of a series of lectures throughout the academic year. Each edition is entrusted to a European personality who stands out in the artistic, academic, societal or scientific fields, thus offering a space for critical and creative reflection at the heart of the institution.

Led by Anne Alombert and artist-researcher Judith Deschamps, the next series of lectures analyses the metamorphoses of our minds in the age of digital technologies, from Plato's allegory of the cave to generative artificial intelligence. These devices reorganise our memories, our attention and our symbolic environments, proving to be both remedy and poison, instruments of emancipation and vectors of fragility. Philosophy, media history and artistic research and creation come together to rethink these technologies, not as mere prostheses of the mind, but as sensitive partners revealing our vulnerabilities and the richness of our collective imaginations.

Wednesday, 2 February 2026
The ecology of attention in the digital environment: artificial caves and media archaeology
Anne Alombert

In his famous allegory of the cave, Plato already evoked the power of fascination and the risks of manipulation inherent in artificial images. Since ancient Greece, our artificial caves have continued to evolve, transforming our memories and imaginations, blurring the lines between reality and fiction. In the contemporary digital cave, new powers are emerging: those of the digital giants who capture our attention and influence our behaviour through ‘persuasive technologies’ and recommendation algorithms.

What becomes of the life of the mind in this new artificial environment? How do digital media affect our attention, reflection and memory? What are the political consequences of the digitisation of our public spaces and symbolic environments? We will attempt to answer these questions by comparing philosophical analyses with contemporary issues.


Wednesday, 18 February 2026
Pharmacology of artificial intelligence: psychological and political issues surrounding digital automata

Anne Alombert

In the famous dialogue Phaedrus, Plato questions the pharmacological dimension of alphabetic writing, which was spreading throughout Greek society: writing made it possible to increase the amount of knowledge preserved, but citizens also risked no longer practising their living memories, no longer interpreting and renewing knowledge, and allowing themselves to be seduced by the discourses of the Sophists. These three risks are being replayed in the context of “generative artificial intelligence”, to which we are delegating our powers of expression: probabilistic calculations risk standardising our symbolic environments, and ideological biases risk influencing the ways we speak and think.

How do these new linguistic machines affect our ability to write, think and connect? What exactly are we doing when we interact with a chatbot that simulates otherness? Will we still be able to believe what we see, read and hear when the majority of content is automatically generated? We will attempt to answer these questions by drawing on the history of philosophy and contemporary research on these unprecedented phenomena.


Wednesday, 8 April 2026
AI at the end of life: technology, finitude, and melancholy

Judith Deschamps (in discussion with Anne Alombert)

During this session, Judith Deschamps, artist and doctor at EUR ArTeC, will present her research and creative work carried out as part of her thesis entitled ‘AI at the end of life: towards a resubjectivation through the machinic’: this presentation will be followed by a discussion with Anne Alombert and then with the audience.

Contrary to transhumanist and techno-solutionist ideologies and their ableist imagination, which swear by augmentation, power and immortality, Judith Deschamps' research-creations invite us to test our bodies and our finitude in a reinvented relationship with digital technologies, which are not to be compared, but rather reappropriated through practices that are at once manual, sensory and memorial.

Through two artistic and collective projects, Judith Deschamps explores how the experience of puberty by soprano children and that of old age by people living in nursing homes can help us rethink our relationship with artificial intelligence and sublimate our relationship with finitude and mortality.
Between childhood and old age, incompleteness and completeness, incarnation and disincarnation, to generate new forms of relationship with AI, not in spite of our/its limitations, but through them.

Confessions Live

CasoSon 007

We are cyborgs.
We invite you to our cyborg tale.
With sound, let’s invent a cyborgian language.

With works by Salomé Abbou, Marie Ardilouze, Diana Bulai Paun, Nestor Dauchez, Félice Decleire, Tom Deplagne, Sacha Giot, Dominic Hughes, Quentin Kobia, Clotilde Martins Dias, Hava Ollitrault, Laëtitia Sigogne, Clémence Thomas. 

All works were composed in the frame of the Création Sonore et Musique Expérimentale course at the ENSAV La Cambre, in collaboration with Q-O2. The course offers students a privileged framework for listening, experimentation and reflection on sound-related issues, observed through the prism of body / machine relations. 

Tutors : Julia Eckhardt, Céline Gillain, Caroline Profanter, Myriam Pruvot.

19 Travaux 19 incidents

Expo Travaux incidents

From 16 to 18 January 2026, the Sculpture Department will take over the Museum and Gallery at Botanique to present ‘19 works, 19 incidents’.

Incidents that appear insignificant but are capable of causing disorder and shaking up the established order.

Each work is both poetic and political, conveying instability and transformation, a receptacle for emotions and stories. Each piece asserts itself as a deliberate accident, emerging in a hybrid and complex universe, conducive to movement, action, construction and doubt.

The exhibition ‘19 works 19 incidents’ unfolds as a field of experimentation and questioning, where art acts through disruption, displacement and revelation.


Flore Ascencio – Charlotte Barreyre – Louison De Wit – Alexandra Duliere – Christophe-André Garrec – Suzon Garcia – Eve Julia Gonzalez – Stefano Gringeri – Louis Lemaire – Leo Marybrasse – Monica Piloni – Quentin Plazar – Shanti Rey Fayet – Louis-Lamine Sadio – Elliott Schott – Maciej Strupczewski – Klara Tham – Raymond Vandenbos – Joseph Vincent


Pedagogical staff
Claude Cattelain & Nancy Casielles (curators) – Nine Perris – Geoffroy De Volder – Philippe Le Docte

Press release

#Visualartsindanger

Following the announcement of the closure of several major cultural institutions, most of which are dedicated to contemporary visual arts, and in anticipation of the sectoral demonstration on 15 December 2025, the professional federations of the Belgian visual arts are sounding a new alarm in response to a series of announcements at all levels of federal, community and municipal government — the scale, simultaneity and social consequences of which suggest a structural challenge to the very existence of the sector.

Press release #Visualartsindanger (in french)