RIOT is a new gallery and bookshop in Ghent (Belgium) initiated by the founders of Art Paper Editions (APE) focussing on new and emerging artists.

The bookshop represents the top level of international independent art publishers: Art Paper Editions (APE), Spector Books, Roma Publications, Sternberg Press, Fw: Books, Nieves, Libraryman, Karma, 4478zine, RolloPress, Occasional Papers, Valiz, Mousse, Edition Patrick Frey, RVB books Bedford Press, Self Publish Be Happy, Dashwood books, Kodoji Press, Bom Dia Boa Tarde Boa Noite, Centerfold Editions, Dent De Leone, Inventory press, New Documents and many others. RIOT also offers a wide range of editions.

RIOT gallery is available for rent for events (parties, launches, etc.). Please request our prices by mail.

Dendermondsestwg 80, Ghent

Monday–friday: 11:00—18:00

and by appointment

+32 9 223 39 53

03.02.19 20.04.19 14:00
Neighbours Vol.8 — Artist Collections’ Groupshow, curated by Manor Grunewald

OPENING SUN 03.02.2019

Invited artists : Israel Lund, Louis Cane, Andy Boot, Mark Flood, Landon Metz, Josh Smith, Adrien Vescosi, Harmony Korine, Damien De Lepeleire, Eric Croes, Benoit Platéus, John Roebas, Julien Meert, Leo Gabin, Max Frintrop, Patrick Carpentier, Paul Cowan, Sarah Crowner, Manor Grunewald, Valerian Goalec, Bill Saylor, Ines Claus, Polly Huyghe, Michael St. John, Bas Van Den Hurk, Colin Penno, Dieter Durinck & Elke Van De Kerckvoorde, Jean-Baptiste Bernadet, Max Kesteloot, Marius Lut, Luc Fuller, Samuel Francois, Simon Laureyns, Peter Waterschoot, Tim Onderbeke, Stefan Peters, Michiel Ceulers, Albert Oehlen, Bert Huyghe, Jana Schröder, Benjamin Houlihan, Michail Pirgelis, Peppi Bottrop, Tobias Hofknecht, Marlies De Clerck, Joep Van Liefland, Stien Bekaert, William Crawford, Thomas Wachholz, Xavier Mary, Fabian Ginsberg, Arnaud Eubelen, Eva L’Hoest, Walter Swennen and Claire Decet.

Text by Ory Dessau

As stated in its declaration of intentions, the exhibition Neighbours presents “the art collections, about 60 works shown from different nationalities and backgrounds, of a selection of invited visual artists … (the) art collections originated from an exchange with fellow artists. The aim of the exhibition is to demonstrate the mutual connections and field of interest of the artists involved. This without being dependent on commercial restrictions accompanied by the term ‘art collector’”. To a certain extent, the exhibition reacts against the system of the institutionalized art world and art market, which involves a network of galleries, dealers, and speculators. It abandons this system in favor of an alternative network which strictly involves a direct interaction between artists. In this sense, the exhibition resonates the spirit of the European avant-garde movement of the 1920s-1930s that gathered artists from all over the continent through a prolific series of exhibitions, magazines, and other initiatives, e.g., art collections. One collection that comes to mind in this context is the collection of the Polish Avant-Garde group “a.r.”.

“a.r.” group was founded in Lodz in 1929 by painter Wladyslaw Strzeminski, sculptor Katarzyna Kobro, painter Henryk Stazewski, and poets Jan Brzekowski and Julian Przybos. In the same year, among its many activities, the group started to promote Strzeminski’s vision of an international art collection with works by the most influential artists of the time. According to Strzeminski’s plan, the collection would be stored in Lodz and managed as a public property. The group’s call was answered with great enthusiasm, and during the early 1930s many significant members of the avant-garde movement (artists like Sophie Taeuber-Arp, Hans Art, Fernand Leger, Max Ernst, and Kurt Schwitters, to name a few out of the many that reacted positively to the call) donated works. The list of artists the group approached reflected the different stages of modern art, from Cubism to Futurism and Constructivism, all the way to Neoplasticism. 

In 1931, the collection started to evolve into a meaningful event in the history of Lodz and modern Polish culture, as well as in the history of the avant-garde movement as it began to serve as the foundation of a public art collection which would later become the basis of a museum of modern art. Functional and active until today, this museum of modern art (Muzeum Stzuki, Lodz), started as a collection initiated and donated by artists, and therefore, since its inauguration in 1931, serves not only as a public institute, but also as both a social act and an ongoing artistic act.

The exhibition Neighbours is arranged as a social habitat “on one monumental wall”. As such , it refers to the classic salons d’art of Paris, but its anti-institutional aspects recall another kind of art salon, namely the Salon de Refusés (the exhibition of the rejects), which included works by artists who were rejected by the jury of the official Paris salons. The term Salon de Refusés is mainly relating to one specific salon which took place in 1863, and is considered one of the primary origins of modern anti academic painting of artists such as Edouard Manet. The anti-generic, anti-disciplinary arrangement of the salon-like wall of Neighbours seems to continue to resist the restrictions imposed by the jury of the official Paris salons.

Artist collections are more than an inventory of works. When an artist owns a work by another artist he or she are in fact saying something about their own artistic practice and its connection to the artist whose work they own. They extend their art into the art of the other artist, manifesting their own art does not prevail in a vacuum, but is part of a whole chain of artists, with whom they not only trade works, but collaborate in the deepest sense of the word collaboration.

04.05.19 05.05.19 13:00 – 18:00
Kristof Van Gestel, Gezeever and Art Paper Editions present Open Print Event ‘Vormdrukkers’ + booklaunch Idiosyncratic Machine by Kristof Van Gestel

MAY 4 — 5  2019
13:00 – 18:00

Print-jam, welcome to join!

Kristof Van Gestel, Gezeever en APE (Art Paper Editions) nodigen uit voor een sessie zeefdrukken in een print-jam. Op zaterdag 4 en zondag 5 mei selecteert elk een vorm via een sjabloon die eerder ontstaan is in de Idiosyncratische Machine, een participatieve teken- en knipmethode, en wordt deze gezeefdrukt in een kleur naar keuze op een gemeenschappelijke ondergrond. De resultaten blijven ter beschikking voor nieuwe vormen tot in groep wordt beslist dat ze een finale bewerking hebben bereikt. Het Eindresultaat wordt aan een democratische prijs te koop aangeboden. Deelnemen kan van 13:00 tot 17:00, een sessie duurt 40 minuten.

De print-jam neemt plaast tijdens de book launch van de nieuwe publicatie van Van Gestel in samenwerking met APE, Art Paper Editions: Idiosyncratic Machine / Idiosyncratische Machine, grafisch ontwerp door Lauren Grusenmeyer & 6’56”. Een rijk geïllustreerd boek over de teken- en knipmethode die ook tot het Vormdrukken leidt met teksten van Jeroen Peeters, Tijl Bossuyt, Phillippe Van Cauteren, Isabelle Debaets, Hidde Van Schie en Kristof Van Gestel.

Kristof Van Gestel, Gezeever and APE (Art Paper Editions) invite for a session of screenprinting in a print jam. On Saturday 4 and Sunday 5 May, each selects a form through a template that originated in the Idiosyncratic Machine, a participatory drawing and cutting method, and is screenprinted in a color of choice on a common surface. The works remain available for changes until it is decided in group that they have achieved there final state. The results are offered for sale at a democratic price. You can participate from 13:00 to 17:00, a session lasts 40 minutes.

The print jam takes place during the book launch of Van Gestel’s new publication in collaboration with APE, Art Paper Editions: Idiosyncratic Machine / Idiosyncratic Machine, graphic design by Lauren Grusenmeyer & 6’56 “. A richly illustrated book about the drawing- and cutting-method that also leads to Form-printing, with texts by Jeroen Peeters, Tijl Bossuyt, Phillippe Van Cauteren, Isabelle Debaets, Hidde Van Schie and Kristof Van Gestel.

11.05.19 12.05.19
MAY 11 — 12  2019
Opening hours: SAT: 11:00–22:00 & SUN: 11:00–19:00
Following the successful editions of the GHENT ART BOOK FAIR from 2015 until 2018 at 019 rough-and-tumble docks of Ghent, the fair’s edition 2019 moves to a new location. Art collective 019, artspace KUNSTHAL Ghent and bookshop/artgallery RIOT present the 5th edition of the GHENT ART BOOK FAIR from 11th – 12th May 2019 at former Caermersklooster, KUNSTHAL Ghent, an international space for the development and presentation of fine art in Ghent. Lange Steenstraat 14, 9000 Ghent.

Send in your application at , click ‘apply now’ !

Showcasing contemporary art books by more than 45 (inter)national independent publishers GABF 19 brings a new extensive program besides book launches and signings. An interesting side program will include international publishers’ and designers’ lectures, artists’ performances, workshops and exhibitions. All presented in the brand new artspace KUNSTHAL located in the city center of Ghent. This artspace creates a strong artistic and professional context that opens up for experimenting with new ways of developing and presenting art & books. The meeting and collaboration of a whole diversity of artistic and public actors serves as the driving force for a hybrid programme in which these actors respond to each other and the spatial context. On the same weekend, at the same location there’s also Zine Happening by Les VoiZines taking place. note: the two festivals collaborate, and share the space, but are still separate in their programming and tables (a symbiotic relationship, just as nature likes it). So the applications are also separate (the open call for Zine Happening will be launched somewhere end january/beginning february)
Complete program to be confirmed on
14.09.18 21.12.18
Ruth van Beek

Ruth van Beek, How To Do The Flowers.
15,5 × 21 cm, 508 p, ills colour / b&w, paperback
ISBN 9789490800871
design: 6′56″
Art Paper Editions and Dashwood Books

THU 13.09.18 / 19:00 — 22:00

FRI 21.12.18

Ruth van Beeks werk ontstaat in haar almaar groeiende beeldarchief. De beelden, voornamelijk afkomstig uit oude fotoboeken, zijn haar gereedschap, bronmateriaal en context. Van Beek grijpt fysiek in de foto’s in. Door te vouwen, te knippen, te snijden of door beschilderde kleurvlakken toe te voegen, herschikt en manipuleert ze het beeld net zolang tot ze een universum heeft blootgelegd dat al in de foto besloten lag. Enkel door suggestie prikkelt Van Beek de verbeelding, en daarmee het ongemak, van de kijker: passieve mensenhanden worden geanimeerd, objecten worden personages en abstracte vormen komen tot leven. Het oorspronkelijke beeld mag dan uit zijn verband zijn gehaald, maar de herkenbare beeldtaal – de formele fotografie van een instructieboek, een nadrukkelijk uitgelicht object of een geënsceneerde handeling – blijft gehandhaafd en spreekt ons collectieve geheugen aan. In Van Beeks werk gaan tegengestelde elementen met elkaar in gesprek: het tot leven wekken van het dode verleden; het letterlijke en het abstracte; het nadrukkelijk tonen en het zichtbaar bedekken; de beperking en de eindeloze mogelijkheden van een archief. Hiermee voegt Van Beek zich bij een nieuwe generatie kunstenaars die tegenwicht biedt aan de grenzeloze beschikbaarheid van informatie door beperking te zoeken in gesloten archieven. Het ordenen van de wereld om haar heen krijgt in Van Beeks werk zelfs letterlijk een rol: de herschikkende handen uit instructieboeken keren constant terug, als een zelfportret van de kunstenaar als schepper.

The repetition of images, visual sequences, accidental similarities and free associations form the alphabet of a mysterious language. Starting from her archive, Ruth van Beek makes collages and books. The images from this archive are constantly conversing with one another.
A large part of the image archive finds its origin in old manuals. Books that are made as a tool, as an advisor for everyday occupations. The images mainly show hands that demonstrate how something is supposed to be done. Hands that dig in the earth, that make dolls, that arrange flowers, that cook. All sorts of daily actions pass by.
By focusing on the action and detaching from the original context, van Beeck encourages imagination, thereby provoking un-comfortable and uneasy feelings: passive human hands become animated, objects become characters and abstract shapes come to life. Hundreds of images and tests from van Beecks image archive come together. They show a method and create, in turn, a manual for creating new work.

29.06.18 31.08.18
APE library

FRI 29.06.2018 — FRI 31.08.2018

APE (Art Paper Editions) is an independent publishing platform founded in 2010 by Jurgen Maelfeyt of Ghent-based design studio 6’56”. APE focusses on the book as an exhibition space and makes publications in close collaboration with artists, writers, institutions, galleries, and other cultural protagonists. Publications are crafted to the highest standard. Many of the publications are acquired by institutional libraries such as Moma, Centre Pompidou and Macba amongst others.

This summer APE will open the complete library to the public starting from the very first publication. All publications will be shown at the gallery.

22.03.18 02.06.18
Sybren Vanoverberghe, 2099

OPENING NIGHT: 22.03.18 / 19—22:00

2099 shows images of remembrance linked to Sybren Vanoverberghes perception on the constant evolution of history and its repetitive character. Deconstructed places and manipulated icons function on an associative basis to create a new overview of the present. As a photographer Vanoverberghe is experimenting with what is staged and what is not. He researches how he as a photographer can interfere in the landscape by working on an underlying lyricism in the images. The work can both be seen as a prophecy for the future as well as a desire to the past. Some photographs are taken by chance and close to home, other were chosen to photograph on fixed historical locations and in metropoles.

Sybren Vanoverberghe, 2099
24 x 29,5 cm, 92 p, ills colour/b&w, paperback with screenprinted dustjacket
ISBN 9789490800758
€ 30

03.11.17 13.01.18
Marc Nagtzaam, Surplus

While Marc Nagtzaam’s drawings are far from devoid of any sense of discovery, they are extremely programatic, composed of tight, deliberate gestures. Filling in all the negative fields in his drawings with graphite himself, if his mode of drawing conforms in any way to what one normally expects of the practice of drawing, it is largely in terms of time. For all their seductive systematic severity, they abundantly testify to a human presence, paradoxically conveying that despite the artist’s methodically engineered absence, he was nevertheless there.

For this exhibition Nagtzaam will show various series of work: several wall drawings depicting previously made, or yet to be realized, designs for works on paper. Next to a large selection of sketches and prints, containing the fragments he uses to construct the grid like patterns of his drawings.

Marc Nagtzaam (b. 1968) is an artist who works mainly with drawing, text, artist books and occasionally sculpture. His work has been the subject of major group and solo exhibitions such as Artist Documents, National Museum of Modern and Contemporary Art, Seoul (2016), The Bottom Line, S.M.A.K., Ghent (2015), Minimal Myth at Museum Boijmans van Beuningen, Rotterdam (2012), Autumn of Modernism at De Vleeshal, Middelburg (2012), and The Unknown Group at Frac Bourgogne, Dijon (2010). Recent solo exhibitions include: A Drawing Placed Between Two Objects (with a contribution by Mark Manders), ProjecteSD, Barcelona (2016), Eight Pieces for Eight Corners, Objectif Exhibitions , Antwerp (2015), Not Available, De Kabinetten van de Vleeshal, Middelburg (2014). Other institutions that have shown his work include MACBA, Barcelona (ES), Stedelijk Museum, Amsterdam (NL), and MuZee, Ostend (B). In 1998 together with Roger Willems Nagtzaam published the very first book from Roma Publications, entitled SOME. Nagtzaam has been producing publications with Roma on a regular basis ever since.

01.07.17 02.07.17


Stien Bekaert, Touse/Toucher

Stien Bekaert communicates as a visual artist throughout an assembly of mixed media. Her work owes as much to the practice of found imagery, to photography than it does to printmaking techniques. The choice for working with a mix of those tree makes her zoom into fragments, change and bring them within a new context. The visual concept of decomposing an image in fragments takes his place in her work, the aspect of layering is important. Touse/Toucher loses the origin of the original image completely in new significations. A method to create a new identity, an interaction with the images as a result of searching for a language in and behind the selected photographs and resulting collages.

28.04.17 30.09.17
Na Kim, Red, Yellow, Blue

OPENING NIGHT FRI 28.04.17 / 19:00 – 22:00

With a background in graphic design, Na Kim creates expansive work that freely traverses the edge between fine art and design. By doing away with pre-existing rules and symbolic meanings, she studies the essential elements in form, rearranging it based on its geometric standards. In her work, the formal elements of graphic design are transformed into the formal language of the fine art, presenting an ongoing experimentation with new forms and content that transcend the boundary and differences that exist between contemporary art and design. SET v. 8: red, yellow, blue and selected Found Compositions are two main parts of this show in RIOT.

SET v. 8: red, yellow, blue is part of an ongoing series titled SET, first shown as a solo exhibition in New York in 2015. In SET a collection of past works dating from 2006 were presented. The book with the eponymous title functions as a catalog and an exhibition plan. In the SET series, the contents of the catalog are installed in the exhibition space, where either past commissions or studio works are collectively shown regardless of their production year, medium, or context. They are imbued with a new order based on visual elements from each component. SET v. 8: red, yellow, blue is also based on a series of selected images by three basic colors taken from a catalog with the same title.

The composition of images in Found Compositions has been made by purposeless practices, sketches, and the complete works since 2006. Collected materials from different times and places became the medium of containing memories by being connected with each other visually. These images or happenings are rearranged in an order while organizing them.

Na Kim (b. 1979)
Na Kim is a graphic designer. After studying product design at KAIST and graphic design at Hong-ik Univ. in Korea, she participated to Werkplaats Typografie in the Netherlands. She had a design studio in Amsterdam and currently works in Seoul as a member of Table Union and involved in an artist-run-space, Common Center. She was selected as Next Generation Design Leaders in 2008, was awarded Doosan Artist Award in 2013, Today’s Young Artist Award in 2014, presented by the Ministry of Culture in Korea. Besides many other projects, she was responsible for concept and design of GRAPHIC magazine from 2009 to 2011. She has held solo exhibitions, such as SET, Doosan Gallery New York, 2015; Choice Specimen, Doosan Gallery Seoul, 2014; Found Abstracts, Gallery Factory, 2011; Fragile, BMH, 2006. In addition, she has been a curator for Brno Biennale, Chaumont Festival and Seoul International Typography Biennale. Her works been invited to many international exhibitions in Kukje Gallery, Seoul; MMCA, Seoul; V&A, London; MoMA, New York; Milan Triennale Museum, Milan; CAFA, Beijing and so on.

03.02.17 15.04.17
Manor Grunewald – PRINT ON DEMAND

FRI 03.02.2017 / 19:00 — 22:00

Manor Grunewald considers himself first and foremost as a painter, although he is also active in the fields of sculpture, installation and prints. His work is characterised by the constant analysis of the development of the pictorial in our daily environment. He finds and collects the sources of his images everywhere in daily life: in newspapers, advertising, books, etc. In his recent works, his painting is concerned with the optics, visual conformity, imperfection and arbitrariness of the phenomenon of the black-and-white copy.

17.11.16 28.01.17
Zaza Bertrand – Japanese whispers

THU 17.11.16 / 19:00 — 22:00

APE#078 / Zaza Bertrand, Japanese Whispers
22,5 x 30 cm, 96 p, ills. colour, english
design: Jurgen Maelfeyt, 6’56”
ISBN 9789490800550
edition of 500
€ 30,00

Fascinated by the concept of intimacy in Japan, and Japanese culture at large, Belgian photographer Zaza Bertrand created a documentary photo series inside rabuhos. In these kitschy safe havens, erotic desires roam freely yet anonymously, in utter seclusion. More colloquially known as love hotels, rabuhos epitomise the long-held pragmatic separation of sex and love in Japan.

Even though rabuhos have become pretty normalized in the national mindset, sentiments on this phenomenon tend to run the full gamut, from scandalized through embarrassment to titillate and sheer intrigue.

As an outsider looking in, Zaza attempted to capture these innate dichotomies and paradoxes. Her physical presence yet inability to communicate with her subjects, creates a tension so palpable between her and the visitors she portrays (or models as she prefers to call them), it echoes through in her imagery. Reflecting the ambiguous perceptions on intimacy, the documental photo series captures a frail sense of alienation and poignancy at the same time.

She was wholly dependent on her subjects: they were in charge and decided to let her in or not (in return she would pay for their room). Reliant as she was on the openness of her subjects, she could only direct and stage the shoot to some extent. There was no styling involved and her models picked the location. In these hotels adorned with neon colours and gaudy décor, she experienced a candidness that stands in remarkably stark contrast with traditional cultural hallmarks such as chastity, decency and social conformity.

The Japanese are often assumed to be sexually repressed. To some extent this rings true: the list of erotic taboos is infinite and an increasing number chooses to forgo romance in favour of a single lifestyle. Relationship phobia and romantic apathy, also known in Japan as “celibacy syndrome”, reign supreme among a persistently growing group of mostly youngsters. And while even traditional values still abound, the sex industry is the second largest industry in the country.

It makes the phenomenon of rabuhos all the more puzzling. The fully automated hotels –rabuhos are completely devoid of personnel to grant visitors the utmost privacy and anonymity- provide a window of opportunity for furtive lunchtime quickies and encounters of financial nature. Yet it is predominantly twenty and thirty-somethings who haven’t (yet) reached a state of financial independence to move out of their elderly home, that enter these love hotels. Given they often live in tiny houses with paper-thin walls with little to no privacy with their granny in the next room, intimacy is an audacious pursuit.

In that regard, in a country which according to cultural critics is experiencing a “flight from human intimacy”, rabuhos can be seen as a way to escape the yoke of parental control and re-gain some level of autarky and empowerment, albeit temporally. (Claire van den Berg)

13.10.16 12.11.16 19:00

• Exhibition (13.10.16 – 12.11.16)

APE#63 mein Bruder Karin
• Record release ‘dunkel’ + concert at 20:00

Nasa Graphics Standars Manual
• Booklaunch

• Inauguration


“Versailles City is een project dat twee jaar in beslag heeft genomen en plaatsvond in een sociale woonwijk te Neder-Over-Heembeek, Brussel. Het project bevraagt begrippen zoals territorium, gemeenschap en zowel persoonlijke als collectieve identiteit. Maar bovenal gaat het werk – doorheen mijn aanwezigheid, ontmoetingen, vriendschappen en workshops – om het geven van een representatie van de werkelijkheid en het opbouwen van een verhaal gelinkt aan mijn ervaring van de plaats.” (Amina Saâdi)
Amina Saâdi (BE) studeerde dit jaar af in grafisch ontwerp aan Kask / School of Arts (Gent, BE).

“Versailles City is a 2 year project that took place at a social housing project at Neder-Over-Heembeek, Brussels. The project raises questions about territory, community and both personal and collective identity. But mostly this work — through my presence, meetings, friendships and workshops — is about giving a representation of the reality and building a story linked to my experiences of the place.” (Amina Saâdi)
Amina Saâdi (BE) graduated this year at Kask / School of Arts (Ghent, BE).

APE#063 mein Bruder Karin, dunkel (artist edition)
mein Bruder Karin is an electronics duo from Brussels and Düsseldorf, founded by Volkmar Mühleis and Lutz Boddenberg. They mix the tradition of German songwriting with sound experiments. Boddenberg has collaborated with Kraftwerk drumcomposer Wolfgang Flür, Angela Davis and Australian singer Julia Messanger; he composes and produces the music. Mühleis writes and performs the lyrics.
Sound samples here:

Nasa Graphics Standars Manual (Booklaunch)
The project of Empire Editions is to reprint this iconic work together with a French translation as well as a visual translation of its contents. Originally designed by Richard Danne and Bruce Blackburn in 1976.

29.09.16 01.10.16 20:00
Pieterjan Ginckels — BIG JAMES
06.05.16 24.09.16
Experimental Jetset — Word–Things in Time–Space

THU 05.05.16 / 19:00 — 22:00

Experimental Jetset is a small, independent, Amsterdam-based graphic design studio, founded in 1997 by (and still consisting of) Marieke Stolk, Erwin Brinkers and Danny van den Dungen. Focusing on printed matter and site-specific installations, and describing their methodology as “turning language into objects”, Experimental Jetset have worked on projects for a wide variety of institutes. Their work has been featured in group exhibitions such as ‘Graphic Design: Now in Production’ (Walker Art Center, 2011) and ‘Ecstatic Alphabets / Heaps of Language’ (MoMA, 2012). Solo exhibitions include ‘Kelly 1:1’ (Casco Projects, Utrecht, 2002) and ‘Two or Three Things I Know About Provo’ (W139, Amsterdam, 2011). In 2007, a large selection of work by Experimental Jetset was acquired by the Museum of Modern Art in New York, for inclusion in the MoMA’s permanent collection. Members of Experimental Jetset have been teaching at the Gerrit Rietveld Academie (2000–2014), and are currently teaching at Werkplaats Typografie (2013–now).

14.04.16 20:30
Artist Talk: Mathew Kneebone — The Inner Workings of Clouds

For “The Inner Workings of Clouds”, Mathew Kneebone will construct weather diagrams to talk about the function of clouds and how they can describe the history of electrical technology. Often used as a metaphor, The Cloud has become the ubiquitous term for hardware and data displacement; Mathew will attempt to show how this relationship between clouds and technology pre-dates the internet.

Mathew Kneebone lives and works in Ghent is interested in the cultural mechanisms that we adopt to cope with technological change. His work is based on a research of electronic innovation coupled with superstitions induced by user anxieties and technical error. This research often conflates examples of engineering, technophobia, planned obsolescence with spiritualism and the occult. He completed his MFA from the Werkplaats Typografie in 2014 before participating as an artist at the Jan van Eyck Academie. He has given talks at Kunstverein, Amsterdam NL (2015); Sandberg Institute, Amsterdam NL (2015); San Serriffe, Amsterdam NL (2016); and O.O.R, Zürich CH (2015) among others.

21.01.16 24.04.16 19:00
Paul Kooiker — Haha Nude

Paul Kooiker is among the most interesting conceptual photographers currently working in the Netherlands. Although his work consists entirely of photographic images, he is not so much a photographer as a sculptor and installation artist. His fascination with intriguing themes like voyeurism, innocence and clichés leads him to construct fictive collections of images that are of extremely uncertain origin, subject and significance. In his latest installation, Nude Animal Cigar, created at the invitation of the Hague Museum of Photography, Kooiker looks back over his twenty-year career in the visual arts. The result is a bewildering array of two hundred photographic works, in which images of nudes and of animals are interspersed with close-ups of the countless cigars he has smoked in his studio over the years.

Paul Kooiker (b. 1964) is not interested in creating the perfect photographic image. The value of his work lies not in his individual photographs (which are sometimes overexposed, blurred by camera movement or grainy), but in what he does with them postproduction – the subsequent process of selection and manipulation. In the initial phase of his creative process he is a deliberately ‘bad’ photographer, producing a mass of exploratory material that often runs to hundreds of images. He then approaches this material as a visual artist, creating ‘collections’ in the form of three-dimensional installations and photo books. These fictive collections look as if they have been found somewhere or have turned up in some ancient suitcase abandoned for decades in an attic. To ensure their credibility, Kooiker pays meticulous attention to internal consistency of form and style. This stands in sharp contrast to the contents of his series, which are often enigmatic and vaguely disturbing.

16.01.16 15:00
DJ Workshop For Women / B2B2B2 DJ-SET

Columba, the most prominent work in the show “street photography”, is a large installation built with CD’s. Referring to the improvised scarecrows used in small Croatian city yards and terraces for repelling pigeons, the installation again speaks to Miletić’s interest in street observations and DIY culture. The CD’s are mix tapes, collected by the artist from different individuals, artists, musicians, curators and collaborators, and which will be put into service during a hands-on DJ Workshop for Women. Organized by curator and writer Amal Alhaag and artist Maria Guggenbichler, the format of the workshop challenges the stereotypical role of women within music culture, encouraging women to walk the stage and deconstruct the myth of the male DJ-guru. Here, improvisation, exchange, experimentation and learning-by-doing can offer alternatives to gender inequality and institutionalized patriarchy.

19:00 — B2B2B2 DJ-SET

06.12.15 15:00


Artist Talk: Hana Miletić

Croatian-born Brussels-based Hana Miletić explores the residues and upheavals of political changes while looking at the formation of subjectivity, on the level of both the individual and the community. She describes her artistic practice as street photography via which she documents the objects and stories generated in the aftermath of the disintegration of Yugoslavia and the global financial crisis. Photography functions as a means of orientation in her ongoing exploration of social reality.

During the artist talk at RIOT Miletić will discuss her current solo exhibition Street Photography, together with the editions she has made with APE.

This Artist Talk takes place during Gent M4tinees, open galeries and off-spaces in Ghent.

05.11.15 16.01.16
Hana Miletić — Street Photography

Hinging on social and economical issues, Croatia-born Brussels-based Hana Miletić’s work explores the residues and upheavals of political changes in Europe. Often describing her artistic practice as “street photography”, Miletić documents the objects, stories and phenomena generated in the aftermath of the disintegration of Yugoslavia and the global financial crisis. While the artist employs photography as a tool to conduct her investigations, her artistic outcomes aren’t always strictly photographic. For Miletić, photography essentially functions as a means of orientation in her ongoing exploration of social reality.

Miletić is the winner of the Bozar prize at the Young Belgian Art Prize 2015.

29.10.15 20:00
Artist Talk: Stephanie Kiwitt
10.09.15 31.10.15

APE / Vlaams Bouwmeester

Stephanie Kiwitt — Four Oranges, Some Office Buildings, Woman’s Legs

WED 09.09.15 / 18:00 — 22:00

Between August and November 2014 Stephanie Kiwitt was commissioned by Team Flemish Government Architect to make a photographic work about the outskirts of Brussels: Diegem, Haren, Zaventem, Sint-Stevens-Woluwe, Kraainem, Sint-Pieters-Woluwe, Oudergem, Ukkel, Vorst, Drogenbos, Ruisbroek, Sint-Pieters-Leeuw, Anderlecht, Dilbeek, Groot-Bijgaarden, Sint-Agatha-Berchem, Ganshoren, Jette, Strombeek-Bever, Grimbergen and Vilvoorde. These neighbouring but extremely different areas cannot be conceived in terms of a single unequivocal image.

Stephanie Kiwitt, Four Oranges, Some Office Buildings, Woman’s Legs
View in shop

03.07.15 05.09.15 18:00


The Edition Show

THU 03.07.15 / 18:00 — 22:00

The most accessible and reasonably priced contemporary art show.

Artists: Hana Miletic, Eike König (HORT), Robbert&Frank Frank&Robbert, Jurgen Maelfeyt, Paul Elliman, Stine Sampers, Tom Callemin, Marc Nagtzaam, Stijn Cole, Erik van der Weijde, Charlotte Lybeer, Lotte Reimann, Gerard Herman, Kris Van Dessel, Max Pinckers, Aaron McElroy, Pieterjan Ginckels, Stefan Vanthuyne & Marijke Loozen, Dafy Hagai, Feline Taveirne, Philippe Van Wolputte, Elisabeth Ida, We Became Aware, Lara Dhondt, Aukje Koks, Timo Bonneure & Arjen Verswijvelt, Peter Lemmens, Goele de Bruyn, Mariken Wessels, Ruth van Beek, Ine Meganck, Kasper Andreasen, Thomas Min, Debby Huysmans, Ante Timmermans, Titus Simoens, Dominique Somers.

Elisabeth Ida Mulyani, Inside Embassies
View in shop

Robbert & Frank/Frank & Robbert, Guns
View in shop

Kris Van Dessel, RIOT
The replacement of a brick of a wall at RIOT by the brick out of the wall of De Garage (Mechelen)

03.07.15 19:00
Kris Van Dessel — RIOT

The replacement of a brick of a wall at RIOT by the brick out of the wall of De Garage (Mechelen).

15.05.15 16.05.16


Ghent Art Book Fair

Publishers: 4478zine, Alauda Publications, Antianti, Art Paper Editions, Be-Part, Bom Dia Boa Tarde Boa Noite, Centerfold Editions, De Grafische Cel, Éditions de La Houle, Éditions du Remorqueur, From me to you publications, Groepsdruk, Kodoji, Kwintessens, Lightmachine Agency, Malenki, MER. Paper Kunsthalle, Onomatopee, Posture Editions, Publication Studio Rotterdam, Revolver, Risiko Press, Roma Publications, Sleeperhold Publications, Smoke & Dust / ODD, Speculative Press, Sternberg Press, Théophile’s Papers, Ültra Eczema, Werkplaats Typografie. Riot selection: AA Publications, Bedford Press, Dashwood Books, Edition Patrick Frey, FW: Books, Inventory Press, Nieves, Occasional Papers, Propaganda, Public School Editions, Rollo Press, RVB Books, Spector Books, Valiz, Motto and many others.

Featured works at the fair include an edition of flags commemorating BOLD ITALIC’s 10 year run (a project in collaboration with Michaël Bussaer), a sneak-peak of Pieterjan Ginckels’s forthcoming Beaufort piece “Black Buzz”, Hana Miletic’s “Kolona”, Olivier Goethals super-sized print series, “Entropie”, and a new 019-flag by Matthew Stadler.

The BOLD ITALIC FLAG SHOW features work by: Åbäke, Office ABC, David Bennewith, Mirk Borsche, Michaël Bussaer, Ines Cox, Bart de Baets, Daniel Eatock, Paul Elliman, James Goggin, Lauren Grusenmeyer, Will Holder, Experimental Jetset, Joris Kritis & Julie Peeters, Zak Kyes, Maureen Mooren, John Morgan, Peter Nencini, Radim Pesko, Rebecca Stephany, Hanna Nilsson & Rasmus Svensson, Werkplaats Typografie, Karel Martens, Mevis & Van Deursen, Manuel Raeder, …. As a preface to the fair RIOT will hold an opening for Erik van der Weijde (4478zine) at their gallery in Ghent. As a follow up, Erik van der Weijde will give a presentation at G.A.B.F. on Friday at 20h. The fair will wrap up on Saturday with performances by Mittland Och Leo, Ratzinger and Tone Zones.
Friday, 15 May, 17-22h (Talk by Erik van der Weijde at 20h)
Saturday, 16 May, 10-22h (Performances start at 19h)

The Ghent Art Book Fair is a collaboration between 019Be-Part and RIOT.

019, Dok-Noord 5L, 9000 Ghent
(free entrance)

14.05.15 27.06.15
Erik van der Weijde — BAVARIA

Erik van der Weijde spent most of his childhood holidays in Bavaria. The southern state in Germany has been a recurring theme in his work ever since. From the castles that were commissioned by King Ludwig II, such as Neuschwanstein— which became Walt Disney’s inspiration for the Sleeping Beauty castle — to the re-shaping of the cultural landscape through architecture during the Third Reich period, Van der Weijde ‘collects’ his images to trace paths between historic entities.

The silkscreens in the Third Reich series are based on a box of collector’s cards, found by the artist when he was eight years old, showing only Nazi propaganda. The three large format photographs show a part of van der Weijde’s latest series Ludwig II for which he visited and documented King Ludwig II’s buildings and life events. The ceramic works shown in the exhibition are an interpretation of a postcard from the artist’s collection of Hermann Goering’s dining room in his house on the Obersalzberg. Prominantly displayed is what seems to be Goering’s collection of silverware. All ceramic plates in the exhibition have a swastika stamped on the back, but this remains invisible to the public.

On display in the bookstore is a collection of original postcards from the Berchtesgaden, the most touristic area in southern Germany, filled with Alpine tradition, but also stained by Nazi history.

“Through his accurate series of photographs, he is tracing a path between history, culture, education, cliché and everyday habits; thanks to the attention to small odd details that each of them is hiding behind he is able to trace a link between far entities. He is collecting and showing images which become a symbol of the subjects they portray, showing us the weight and sometimes forgotten graveness of their existence. His photographic work is accompanied by many different books and zines which in many cases point the attention to the idea of repetition and constancy of his photographic series, allowing the research to be fully presented through the publications.”

24.04.15 27.04.15
RIOT at Poppositions — Hana Miletić, Street Photography

In consequence of the War of Independence in the 1990s, followed by the global financial crisis and consequently Croatia’s membership to EU, the country’s economy has become very weak. Ongoing austerity measures and high unemployment rates have forced some Croatians to come up with creative solutions for the shortage of money in their daily lives. This mainly concerns inventing ways to bypass official fees and taxes, or means to preserve and protect previously acquired good.

Hana Miletić has focused on everyday utility objects that she considers to materialize the current economical relations in her home country. Examples are, amongst others, officious mooring bollards for ships or protective covers for car wheels. Miletić has researched the design and production process of these DIY items in order to be able to re-create and re-present them. By isolating the objects from their usual environment and by expanding them in the exhibition space their role as tokens of recession gets amplified, and we can speculate on their use value.

Canal Wharf Akenkaai / Quai des péniches, Bruxelles

03.04.15 09.05.15
Jan Hoek — Me & My Models: The Golden Edition

THU 02.04.2015 / 18:00 — 22:00

Jan Hoek (1984) is artist and writer. Jan Hoek has photographed amateur models, mentally ill homeless people in Africa, a girl with no arms and legs, a heroin addict who dreams of being a model, or people he has simply found in advertisements on the internet. The photo shoot is never what he expected, model and photographer always have different expectations. The model actually wants sex while Jan Hoek wants to shoot the dog. The model tries to be as glamorous as possible, while Jan wants to picture the decay. Photographing is not just about the image but also the relationship between the photographer and the model. How far can you go with your models? In the accompanying film, Me & My Models, Jan talks about the nasty, funny, painful or touching things that happen around photographing people.

“I believe there is always a certain degree of ethics involved in photography. It is almost impossible to take photographs of people without consciously, or unconsciously, crossing boundaries and with things happening that you don’t want or expect. I feel this is often covered up in photography, while I would like to show it … ”

13.02.15 28.03.15
Max Pinckers — Will They Sing Like Raindrops or Leave Me Thirsty

12.02.15 / 18:00 — 22:00

The idea of love – in its myriad shapes and with its many meanings – has long inspired and provoked the human imagination. A central preoccupation of art, and life, it has been explored by countless artists in numerous forms and through several mediums. It is also the focus of Max Pinckers’s latest photobook Will They Sing Like Raindrops or Leave Me Thirsty that attempts to document and capture, stage and bring to life, the multiple facets of romance and marriage within a contemporary Indian context. Inspired and influenced by the paradigms of Bollywood, India’s Hindi cinema industry, these photographs offer a spectrum of scenarios that combine humour, pathos, allegory and drama to produce an elegiac and nuanced representation of the conception of love, with all its paradoxes and ironies, in India today. In a country that is constantly attempting to balance tradition and modernity, religious and secular values, the institution of marriage and the possibilities of romantic engagements are strongly bound to socio-cultural realities that are caught up in the push-and-pull of a nostalgic past and an imagined future. Pinckers’ remarkable sensitivity to the complexities of this diverse context is displayed not only through his treatment of the subject that never presumes or dictates, but also his use of kitsch as form to subtly evoke the ways in which Bollywood and related media industries inform and produce the idea of ‘love’ and what it means for a large section of young people. — Shilpa Vijayakrishnan, Tasveer Journal, India, July 2014.

Jelena Vanoverbeek – PLAKAT

08.01.15 / 18:00 — 22:00

Modern desire, caused by an insatiable wish-production of the individual, is a wound of reality, covered up violently by cultural industry. The conceptual-artistic practice of Jelena Vanoverbeek occupies the symbolic dimension of the images, types, text and formats that echo from the fiction screen onto reality, identifying concepts such as ‘love’, ‘happiness’, ‘death’, ‘truth’, etc.

In her artistic practice, Vanoverbeek pushes forward the subject of the artist as being an explicit signifier which operates simultaneously as a pseudonym for the Western, collective ‘I’. Her graphical expertise is the perspective from which she observes, acknowledges and appropriates the footage. This process provokes an ‘interfiction’: a vacuum where fiction folds back onto its strategy and purpose, making every work an anatomical study; a dissection of the body of a medium, a language, a symbol, a culture, an experience. 

14.12.14 14:00


SNOR’S Dummy Date

The making of a photobook is usually a rather solitary practice. Because of that Belgian online photography magazine SNOR ( presents the DUMMY DATE, a cozy Sunday afternoon where they invite six photographers who are working on a photobook to discuss their book dummy in group and in the most casual way. By the end of the day, participants hopefully will go home with new insights and fresh ideas concerning selection, sequencing, design and production.

Special guest is Antwerp based photographer Debby Huysmans, who recently published Late Spring, her first book with Art Paper Editions and her third in total. From her own experience and expertise, she will look at and participate in the discussion of each one of the book projects.

12.12.14 20:00
Artist Talk: Geert Goiris

We are proud to present our first artist presentation with Geert Goiris. Geert Goiris will be talking about his work and his latest publication with Roma Publications. Published to coincide with the exhibition of a series of photographs by Geert Goiris at the Mauvoisin Dam (Valais, Switzerland), this sublime series of 30 images suggests a timelessness and contained restlessness through its potential narratives of place and collective memory. Labyrinthine trees, strange rock formations, contemplative figures, man-made objects and wide mountain landscapes work together to instil a sense of serenity on the observer, yet one that evokes a certain tension, a primal longing generated by the environments Goiris portrays. Included is an insightful essay by Jean-Paul Felley and Olivier Kaeser. Design: Roger Willems. Comes with an original, signed Lambda print in a limited edition of 300 copies.

04.12.14 21:00

Girls Like Us

Girls Like Us Magazine Launch

GIRLS LIKE US – Issue 6, Secrets

RIOT hosts the international launch of GIRLS LIKE US Issue 6. GIRLS LIKE US is an independent journal turning the spotlight on an international expanding community of women from all genders within arts, culture and activism. Through personal stories, essays and vanguard visuals GIRLS LIKE US unfolds feminist legacies in arts and writing. Mixing politics with pleasure, the magazine is mapping new routes towards a feminist, post-gender future.

A secret can be a private space for self-creation – or a shared site of pleasure.

We explore secrets in a plethora of forms and contexts. From layered accounts of mediaeval ecstasy to the unexplored sensory experience of smell. From camouflaged play to queer readings of astrological charts and the hidden history of house music. From a very analog point of view to the outskirts of the internet.

Interviews with art critic Linda Yablonsky, scent researcher Sissel Tolaas and artist Juliana Huxtable. Artwork by Melissa Gordon, Lotte Reimann and Sara Van der Heide. Other people featured are a.o. filmmaker Chloé Robichaud, astrologist Rhea Wolf and singer Zhala Rifat, next to a hidden correspondence between writers Carson McCullers and Annemarie Schwarzenbach, a registry of pseudonyms by Riet Wijnen and much more.

21.11.14 28.12.14


Pieterjan Ginckels — BLANK BUZZ CLUB

The Brussels artist Pieterjan Ginckels enters into his projects as archivist of contemporary trends and technologies. Blurring the boundaries between performance, installation and conceptual art. His works switch between object and pop culture aesthetics , DIY and design.

In the bureaucratic performance S.P.A.M. OFFICE mans Pieterjan Ginckels a self-designed office. A local network of S.P.A.M. OFFICERS is recruited in 2011 by Be- Part (Waregem) and in 2014 by Andor Gallery (London). These servants printing and archiving spam e-mail. The mails, forwarded by the public, are the exhibition BLANK BUZZ CLUB re- digitized and printed in the book edition THE AFFORDABLE ARCHIVE (SPAM SCULPTURE ), a voluminous document time.

Pieterjan Ginckels takes over the solo exhibition BLANK BUZZ CLUB brand new exhibition space and artbookshop RIOT in. He introduces himself as anti – curator and transforms RIOT to PJGLAND the eMALEVICH, twitter pizza and vodka Putinoff included.

Was previously seen in Neuer Aachener Kunstverein (Aachen), De Brakke Grond (Amsterdam), von Cirne (Cologne) and Jai & Jai (Los Angeles). Pieterjan work Ginckels 1000 Beats is included in the permanent collection of Mu.ZEE (Ostend). In 2011 Ginckels received with Horta x SKIING prestigious Young Belgian Painters Award – Prize of the Palace of Fine Arts.

20.11.14 20:00


Hana Miletic & Ibrahim Khayar — Tenir Paroles

parole (French): speech, utterance, voice, tone, language, word, sentence, saying; word of honour tenir sa parole: to keep one’s word 

Hana Miletić explores the experimental potential of poetry and hip hop through an ongoing collaboration with a collective of young rappers from Brussels, La Frénétick (age 17 and 18 years). Miletić has been working with La Frénétick since 2012 when she met the rappers during photographic workshops that she organized together with the non-profit organization Foyer in Molenbeek, Brussels. The outcomes of these workshops led to the previously released LP The Molem Collective, (APE#026, 2013).

The title of the brand new publication, Tenir Paroles (APE#046, 2014), considers the artistic and political potential of poetry. Departing from a background in documentary photography, Miletić started wondering whether words could also act as images. And what could the role of poetry be then in this world of appearances? The artist recalls Hannah Arendt’s thinking: that words are increasingly not just the medium in which we think, but the medium in which we live. Miletić believes that poetry can be an ally, or “a barking dog to a revolutionary reconfiguration of human society – a revolution which would destroy all social roles, that of the poet included” (quoted from a lecture by Marina Vishmidt, Piet Zwart Institute, Rotterdam, April 2014).

In close readings of La Frénétick’s lyrics, Miletić discovered multiple poetic moments. In addition to their textual sensibility, the songs often reference a figure which can be understood as the classic cursed poet (‘le poète maudit’), the artist who lives outside of society as an outcast, such as Baudelaire, Mallarmé, Rimbaud or Verlaine.

Until recently La Frénétick had never performed live. All of the rappers’ activity happened almost exclusively online, on YouTube and Facebook. As a way of representing La Frénétick’s writing in physical form and of expanding the reading beyond a merely online temporality, Miletić started editing the original raps into a collection of poetry. Simply by bringing parts of the rappers’ lyrics to the surface, the fragments began to function as aphorisms and short poems. The editing process was done in close consultation with a co-editor, Ibrahim Khayar, who was also enrolled in the Foyer workshops and had been part of the Molem group. The poetry book Tenir Paroles, is the fruit of all of these multiple, long-term relationships.

During the opening night of Riot bookshop and gallery, Khayar and Miletić will do a collaborative reading of poetry from the publication Tenir Paroles.

20.11.14 21:00
20.11.14 18:00