TIME WILL TELL deals with the social and psychological reality of the quarantine. What is happening outside and how does it affect what goes on inside? This project deals with the visual potential of one's immediate surroundings alongside the visual materials that enter the living space via communication channels.


March 27, 2020

Appropriation means taking possession of or claiming something that is not yours, or adopting something from other cultures and integrating it into your own culture.
For me, appropriation can be interpreted and applied in both a positive and negative sense. When it comes to mere stealing an image, an idea, a creation or an invention, I find that unacceptable. The work belongs to its original creator, because the result found both its origin and its destination thanks to that artist. It is clear to me that purely copying or using an original is not possible without the express permission of the creator.
But you can also integrate creations in your own work in many ways. It may happen that an image gives you the inspiration to create something completely new with it. You can use both the underlying idea or the method used, or even the result itself to create something new that you do own. It is important that the added value predominates and that the "borrowed" elements of the original are subordinated to the message you want to spread with your work. In this way, a new original is born, the authorship of which lies with you as an artist.
But the line between design and copy, between create and steal can be very thin and mainly depends on from whose point of view you look at the work. In my opinion it is therefore the responsibility of the person who borrows elements from another artist to do this in a very careful and respectful way. A good guideline can be: treat others (and their work) as you (and your work) want to be treated by them.

Eva Thurman (2BA)



Appropriation is the act of taking something such as an idea, custom, or style from a group or culture that you are not a member of and using it yourself.
Using an image that already exist could be turned into it’s own piece of art but in the same time it will remain just a copy.
Living in this busy technological world, all of us are or did used in a way or another ideas or photographs as inspiration but there should be a limit that divides them.
I think all the artist should always be mentioned in order to keep a fair line between originality, creation and just inspiration.

Robert Sasarman (1BA)



Before entering art school I briefly studied journalism. We often had to find images to accompany our texts and we were drilled to be cautious. Since then I feel slightly unsettled using somebody else's content. Today I really looked for the most impersonal images, without any individual style or creativity, to make myself feel as disconnected as possible to the person on the other end. Knowing that this is possibly a faint excuse I tell myself. I still don’t know where I should draw the line.
I think working with found footage is a tricky part of artistic work. Working with the work of another is not wrong in itself but asking for consent should be normalized.
I belief claiming the act of creating images in the artistic field is not only good but possibly even essential in today's society. Works of this nature shouldn’t get lost in the enormous stream of our visual culture. Since I began studying photography I became more aware of the necessity of claiming my photographs. Yet, if someone would like to use my images for an artistic reason I would be glad to borrow them. Creation is a wonderful proces that shouldn’t be limited but should be treated with respect in return. There is nothing wrong with collaboration and all names responsible for the resulting image should be mentioned.

Anke Defossé (2BA)


The basis of every new creation is inspiration. Often times that inspiration comes from pre existing works of art. Inspiration can also be taken a step further by borrowing, adopting, sampling or recycling parts or the entire form of the original. In my opinion art is not there to be claimed by the maker it is there to be shared and inspire others. There is of course limitations. A plain copy remains just a plain copy. There is no evolvement in it. As soon as the adopted work raises a new awareness, interpretation or understanding it has its valid place without being a plain copy.

Sarah Kirchner (1BA)




Appropriation means borrowing, recycling, sampling images that existed before and were made by someone else. A question arises. Who is the real creator of the work and the one who deserves the authorship? I think appropriating an existing image has it’s own form of authenticity. The image is being used in a different context and gets a whole different meaning because of this. You could say that appropriating an image is succesful when the meaning of the original image is kept in some way but there is still a subtle change in perceiving it because of the context and use of different elements. Because of the extreme presence of visual incentives in our daily lives we all posess an extensive image memory. We associate meaning to images as a result of our culture, experiences and ideas. The other way around an image can also resurface a certain meaning or feeling. This enhances the originality of an appropriated image even more.

Catherine Smet (1BA)




I believe that the first thing is important to acknowledge is the difference between appropriation and plagiarism. They both are, in technical terms, different situations, although neither of them is correct. Appropriation is directly taking over the someone’s creation. In the field of arts, no matter which field, the strongest connection there is between a work of art and the artist is his point of view on the artwork itself. This is a very delicate situation considering that art has, by its own nature, the quality of transformation, recreation, adaptation and reinvention. When using other people’s image, the authorship must be respected. The way those images will be reused will affect the originality but not the authorship. Our responsibility as artists, is to make sure that the reusage or adaptation will not affect the value nor the importance of the artwork. The necessity of respecting the artist and the artwork itself are of equal value. The artist is always the artist as long as his point of view and intention of using someone’s work is clear and humbly settled.

Bruce Bomfim (2BA)




In the world of law, appropriation is the act of setting apart something from its application to a particular usage, to the exclusion of all other uses.
Authorship is the state or fact of being the writer of a book, article, or document, or the creator of a work of art.
We have to understand both of these terms to understand how can we handle a piece of art for personal use. In my opinion we have to respect other artists authority over there own work. There are events throughout history when artists adopted parts (or even more) from other artists work with and without consent. This lead to multiple law cases which resulted a quite strict guideline how we can use another person’s work. You have to get consent in writing and the original creator should be involved in the nature of your work (idea, message, etc.) The original artist should have been mentioned. About an appropriated artwork is hard to pin it down who is the artist. There is numerous cases stating the original creator as the artist, although in other cases the artist who appropriated got all of the rights for the art piece.

Aron Viszló (2BA)




Copying great artists has always been the great way of learning that we all have used it. It is impossible to create a completely original artwork. Art is based on previous images that the artist has collected, either keeping images in his mind or referen- ces taken from the reality itself. It is impossible to create without any influence.
But using references does not mean that you cannot create an original piece of art because you always reinterpret everything. Adding and innovating you get your own results, you get your own style.
In this series I have played with found footage imagines giving them a new life. Isolation plays a essential role in the pictures. As our environment is being the same everyday, I wanted to find new ways to relate to it. So I’ve recreated three differents relationships that I have developed with my sofa.

Violeta López




For centuries, in society, power has relied on a pyramid structure. A leader at the top and his people as a carrier. Over the years, with the arrival of the media, these people have become more aware of things that they previously had no knowledge of. Knowledge that was only destined for the higher society is now accessible to everyone. As a result, this pyramid structure is starting to flatten more and more. A good case?

Ean De Maeyer (2BA)




I like to think that all my ideas start from myself, , but it is pretty naive from me to act like i am the first and only person that ever thought of creating an image the way that I have. Being honest with each other, anything that you think about, has already been done. My approach to the arts then turns 180°: Every new piece of art resonates to the hole history of humanity, and in a personal way, it is an act of reappropriation.
So, where does originality lay? Each of us have a certain way of doing things. Our lifes, experiences and education have a big role in what we do and the way we do it. And that is something that you can really see in the work of my classmates: We all start from the same point when we are presented an assignment, yet you can see how different the results are.
Taking material, or images, or ideas, and transforming them, is what makes us artists. Nothing has been created from scratch.

Ana Lucía Fernández (1BA)




“Appropriation in art is the use of pre-existing objects or images with little or no transformation applied to them.“ E.g. Sherrie Levine reproduced as her own work other works of art, including paintings by Claude Monet and Kasimir Malevich. Her aim was to create a new situation, and therefore a new meaning or set of meanings, for a familiar image. In my opinion, she does not really have the authorship of her artwork. Maybe she had authorship on the idea of appropriation, but if Monet, or Walker Evans did not exist, her artwork would also not exist. Authorship refers to the originator of the work or artistic concept. And in my opinion, if there were no transformations applied, then it still belongs to the original artist.
In my opinion nothing is ever really original. Everyone gets his inspiration somewhere, so I think it is difficult to be original. We are all influenced by the images and other artworks of others. But on the other hand it’s impossible to do something exactly the same way, so an artwork is also never the same. Even if you use pre-existing objects or images like in appropriation. So it’s actually like a paradox.
In general I believe there are thin lines in the answer to the questions whether an artwork is original or not, authentical or not and who the artist is. But I believe that If the pre-existing objects or images that are use in appropriation are really drawn out of context and make you see or connect it with something else than before, you can be the artist of that work. But I also believe that it needs a reference to it’s original artist.

Iris Maselis (1BA)




Over het algemeen vind ik dat het geen probleem moet zijn wanneer een kunstenaar besluit afbeeldingen van een ander kunstenaar te gebruiken. Als dat mij zou overkomen zou ik mij vereerd voelen dat ik iemand heb kunnen inspireren met mijn kunst (afbeelding). Het is maar hoe je het zelf interpreteert.
Het is wel zo netjes om je bron bij te vermelden van waar je het vandaan heb eventueel.
Als het gaat om originaliteit blijft het daar ook bij te twisten. Hiermee wil ik alweer duiden op het manier hoe het tot stand is gekomen.

Kortom is het maar hoe je het zelf wilt interpreteren.

Jaïr-Marc Castillo




Nothing comes from nothing. Everything we create, speak of, or even think about is induced by context, feelings and ideas. Every idea is based off of another idea. Just like every theory is based off of another conflicting theory. It’s in our nature to have this ego-driven desire of privatization and ownership, even though there will never be a clear origin in anything. Think about the never-ending question of who discovered The New World, or the ownership of the Machu Picchu artifacts, or Newton vs. Leibniz on who invented calculus. Think about the fact that there are tens of medical staff working on a vaccine for COVID-19, yet they will not post their evolution publically in fear of losing ownership. Even at the end of the long conflicts, and expensive law suits, the “rightful owner”, gains power by “owning”.
In my opinion, ownership and authorship is nothing more than a power. We have to realize that everything flows through everything and originality is pretty much a non-existent concept. However, I do believe that in the industry there has to be a law of conduct in relation to authorship, and to me that would be crediting other people’s work, and crediting their inspiration, openly.

Daria Oprean (1BA)





March 20, 2020

“Je raakt gewend aan je eigen woonomgeving en daardoor kijk je er niet meer naar. Als je op reis bent verwacht je van een heleboel dingen dat ze interessant zijn en daardoor ben je ontvankelijk voor bijna alles. Als ik naar het postkantoor loop denk ik: dit is thuis, dit ken ik allemaal. Terwijl ik in Amsterdam denk: oh kijk, interessant. Het moet wel bijzonder zijn, want het is hier anders. Niet dat Londen saai is, maar daar woon ik. Als je met iemand trouwt, komt er een moment dat je niet meer nadenkt over hoe bijzonder die persoon is. Als je partner dan een auto-ongeluk krijgt denk je opeens: oh god, hij of zij had wel dood kunnen zijn. Het idee dat je iets kunt verliezen is helaas een belangrijk deel van onze motivatie om iets op te merken.
Omdat we doorgaans maar korte tijd op vakantie gaan, zijn we onderweg erg ontvankelijk voor alles wat we zien. Je krijgt de kans niet te wennen aan het gebied dat je bereist. Jij komt naar Londen en jij ziet dit dorp, een dorp dat erg leuk is als je niet elke dag vanaf hier naar Picadilly Circus moet voor je werk. Een kleine afstand, maar het kost je wel anderhalf uur. Dat soort dingen. Je kijkt selectief, want je bent reiziger.
Alles is al gezien en gebeurd, alles is al beschreven. Veel reisboeken van nu gaan over hoogst ongewone dingen: hoe ik de Mount Everest beklom, hoe ik het Kanaal overzwom; gekke rare inspanningen. Ik denk dat de echte uitdaging niet ligt in het hebben van een nieuwe ervaring, ik denk dat je de oude ervaring in een nieuw daglicht moet proberen te zien. Niet de ervaring is interessant, maar wat jij maakt van die ervaring.”

Alain de Botton, uit De kunst van het reizen

Fish acknowledging their world got a little bit smaller.
Robert Sasarman (1BA)

Research: Sian Bonnell


Winter is gone and with it our hope will soon be gone too. (...) there is no return to the past. All we have are some memories that we cannot even trust.
Ana Lucía Fernández (1BA)

Marguerite Bornhauser, Plasic Colors


Outside the box.
Daria-Ana Oprean (1BA)

Research: Chema Mendoz

Noise off, past and present, no escape, I can breathe again.
Sarah Kirchner (1BA)

Research: Cang Xin, Communication Series, 1996-2006


We need to disconnect to ever reconnect.
Eva Thurman (2BA)

Research: Max Pinckers, Margins of Exess, 2018


When time stands still, it feels like nothing is going forward, but only the worse can get worse and that makes it difficult to see good changes happening. Things that we don’t notice very quick but things around us are still happening and changing very slow where we will maybe see vitamin see again.
Valentina Stellino (Alumnus)

Research: Laura Letinsky, Untitled #40 Rome, 2001


De smaak naar volkssoevereiniteit.
Ean De Maeyer (2BA)

Research: Stephen Shore Room 125, July 18, 1973


Today felt like a horrible day filled with sadness and i wish i hadn’t gotten out of bed this morning because my foot hurts and it won’t stop hurting.
Catherine Smet (1BA)

Research: Martin Parr


When I looked out the window I’ve realized that now we have been shelved.
Aron Viszló (2BA)

Research: Will McBride, Overpopulation, 1969


When your enemy becomes your best friend, the nature of this relationship transforms not only itself but your very perception of yourself as a whole.
Bruce Bomfim (2BA)

Research: Stephen Shore


When the only things around me are the ordinary, I’m waiting for my imagination to take over.
Anke Defossé (2BA)

Research: Takashiya Sumara, A Spice Rack, 1999


distressingly close
keep using those pretty lungs
Iris Maselis (1BA)

Research: Anna and Bernhard Blume, Küchenkoller - Kitchen Frenzy, 1986


The inside when its open.
Jaïr-Marc Castillo (1BA)

Research: Martin Parr, Space Dogs


Caught in an open trap.
Violeta López (MA)

Research: Maurizio Cattelan-Betsy, 2002