The first thing a traveller has to learn in Palestine is to wait: the Palestinians have been doing it for more than 50 years. In the refugee camps in the Gaza Strip and on the West Bank, they have been waiting for permission to return ever since the Nabka, the catastrophe of 1948, when they were driven out of their houses and away from their land. In November 2002, the Brussels-based authors of Time Suspended went on a ten-day visit to Palestine. Like most, everything they knew of the country came from media. They discovered a complex and intricate society that could not be summed up in a soundbite. The many full-bleed images of Palestine presented here (many of them depict a somewhat deserted, laid-back, sleepy, place) challenge years of media-tainted observation and truly give insight into the daily lives of its inhabitants.

In the past 15 years, Herman Asselberghts has built a modest and precise body of audiovisual work, exploring the borders between word and image, world and media, poetry and politics.00Herman Asselberghs stelt oud en nieuw videowerk tentoon onder de noemer For Now. Het is meteen de titel van zijn jongste filmwerk. Zowel de tentoonstelling als de film staan in het teken van de aanzwellende tijd, geïnspireerd door een sprekend citaat van de Duitse schrijver Walter Benjamin: 'In tijden van grote beroering komt de tijd tot stilstand'. For Now verschijnt als een momentopname die de brug probeert te slaan tussen verleden en toekomst, tussen geschiedenis en actualiteit, tussen herinnering en verwachting.0Asselberghs stelt een constellatie van vier films voor: a.m./p.m. (2004), This was before (2014), Watching words becoming a film (2017) en For Now (2017). Toen en nu. Of wat toen nu was, en nu toen. 00Exhibition: Cultuurcentrum Mechelen, Belgium (03.12.2016-12.02.2017).

It's easy to rant about the fashion industry. Nowadays, a large part of it is based on producing and consuming gigantic amounts of clothing. Collections are manufactured all over the world at dizzying speeds and are sold all year round for extremely low or incredibly high prices. This fast-changing system seems hard to break into, or out of. How, as a designer, do you deal with this model in an ever-changing world and come up with innovative ways of designing, producing, promoting, financing, selling, and eventually consuming? How do you meet the needs of today's consumers and anticipate the needs of tomorrow's world? The masters program Fashion Matters at the Sandberg Instituut takes the liberty of addressing these issues. Copublished with Sandberg Instituut, Amsterdam Contributors Madeline Schwartzman, Javier Barcala, Christina Binkley, Raïsa Verhaegen, Timo Rissanen, Bradley Quinn, José Teunissen, Pauline van Dongen, Elisa Van Joolen, Liesbeth in 't Hout, Jurgen Bey, and the students of Fashion Matters at Sandberg Instituut

De Clercq, Anouk ; Philipsz, Susan ; Martens, Renzo ; Toufic, Jalal ; Ziura, Darius.