The Wasp and the weather

video, colour, 16:9, stereo & 5.1, Dutch spoken (EN st), BE, 2019, 19′



‘the wasp and the weather’ is Robin Vanbesien’s new film that focuses on Rzoezie, a former youth centre in Mechelen, Belgium. Rzoezie was founded and organised in 1978 by young people of Moroccan and Amazigh descent. Inspired by Paulo Freire’s ‘Pedagogy of the Oppressed’, the centre focused on education and organisation by the youngsters, for the youngsters: bottom up and from the inside“Rzoezie” is the Arabic word for “wasp”.

In the centre the youngsters wrote poetry. These poems preserve to various extent the activist history of the moment in which they were written and dedicated to (1990-2000). In ’the wasp and the weather’, some of the original authors (M’Hamed El Ouali, Abdelhay Ben Abdellah) and contemporary poets (Samira Saleh, Mathieu Charles, members of the Post Collective) revisit, recite and discuss these poems.

The vocal score ‘Twelve Words’ is a response to Rzoezie’s poetry by The Post Collective.  
The performers of the collective – Fatma Alomrani, Muhned Bnana, Hooman Jalidi, Marcus Bergner and Mohamed Tawfiq – improvise with twelve alliterating words in their mother tongue: Amazigh, Arabic, English and Farsi.

’the wasp and the weather’ (2019) is part of an ongoing study of the imaginary which holds together self-organized social practices (starting with the film ’Under These Words (Solidarity Athens 2016)’ 2017).

Q & A

The premiere on Sunday October 20th (20:30 – 22:00) is followed by a conversation between the artist and M’Hamed El Ouali, Samira Saleh and Mathieu Charles, Abdelhay Ben Abdellah, Mirra Markhaeva, Elli Vassalou, Hooman Jalidi, Fatma Alomrani and Muhned Bnana

photos from the Q+A at Nona by Daan Broos


CATCALL ME AGAIN is a series of illustrations made by Markhaëva Mirra. It is an expression of disagreement and anger collected through years of sexual harassment endured by girls on the city streets and other contexts. Most of the times women undergo this unwanted attention from the men and do not respond, leaving the harassment unpunished and keeping negative feelings that are created by that. To express those feelings Mirra with help of her ODC comrades has come with several colourfull, fun and angry designs to put them on the streets in form of stickers and posters for everybody to see.

  • May 2019, The queer market – participation in the 1st Queer Pride Ghent 2019.
  • May 2019, ENGAGEMENT ARTS Fanzine Edition 1 Mai 2019, Brussels.
  • November 2018, Open Design Course for refugees and asylum seekers, KIOSK exhibition, KASK, Ghent

Mirra Markhaëva

Mirra Markhaëva is a young visual artist born in 1992 in the little republic named Buryatia. The range of her skills includes illustration, graphic design, lettering, painting and sculpting, but mostly she’s passionate by creation of murals. She has started her studies in ESA 75 in Graphic Design department and succeeded her jury, but couldn’t be graduated due to the fact that she’s stuck in paperless status. Searching for the ways to educate herself anyways she joined Open Design Course and then continued with Post Collective.

Elli Vassalou

Elli Vassalou (1983° Greece) is a Brussels-based multimedia artist, activist, researcher and performer. She has studied Architecture and Urbanism [M.Arch.] at the Patras School of Architecture – GR and Visual Arts [M.A.] , at Autonomous design department, KASK School of Arts, Ghent – BE. She designs and contributes in participatory platforms, actions and socially engaged projects focusing on public space, collective memory, feminist/decolonial pedagogies and the commons.
She works hybridicly with film-making, photography, movement, sound, discursive and multi-sensorial tools, site specific and archival art. She is seeking for new ways of polyphonic narrating, assembling bodies, spaces and objects in a critical and creative dialogue.
She moved to Belgium in 2015 and since then she is working on the project “Syntrofi”, a series of performative lunches about inclusion and exclusion in art & education. Currently she is active in the co-learning and co-creating platforms School of love, Sasé Istwé, Open Design Course for refugees and asylum seekers, Parallel Perceptions, Decolonize the art school research group and the Post Collective.

Marcus Bergner

Marcus Bergner is an Australian artist based in Brussels. He is a member of the Australian sound poetry group Arf Arf who have mounted hundreds of performances in Australia and Europe between 1985 and 2015. He was awarded a PhD degree in art history in 2009 from Melbourne University. He has made over 25 experimental films that have been screened extensively worldwide and a selection of these films are distributed by Light Cone, Paris and the German Film Archives, Berlin. Recently with the Belgium artist, Myriam van Imschoot, he presented a series of workshops on sound poetry in art schools and institutions in Belgium, France and Portugal. His most recent solo performance was part of ‘The Autobiographical” at Performance aan de Laan in 2018 in Rotterdam. Due to his pending residence status when moving to Brussels he followed ODC2018.

Hooman Jalidi

Hooman Jalidi was born in 1990 in Iran. He comes from Shiraz city, the capital of culture and arts in his country. He began to study visual arts and music in 2004 during this period he devoted himself in drawing, painting, collage, illustration, pattern design, digital design, fabric manipulation and textile design. In 2015 he came to Belgium. He took part in Center Cultural Omar khayam (CCOK) with his paintings in the Royal Academy of fine art in Brussels and also in the project “Next generation please festival” in Bozar. He has presented work at the art book fair 2017 in WIELS, Brussels. He is also a member of Cinemaximiliaan and ODC2018.

#FAN IN 2050

The future of KAA GENT fan/supporter identity?

What will it mean to be a football fan in …
Football is critically acclaimed as one of the last bastions of white male mass culture. It is in urgent need to be re-calibrated for the 21st century, a future that can make diversities out of differences, participation out of privileges and think intersections beyond just sporadic inclusions. In the context of this massive fan-centered sport, let’s think about:
What is the future identity of a football fan?
What can we project towards 2050/2040/2030/2020?

“FAN in 2050” is the poster made in collaboration with CC Sport and TimeLab for football club KAA Gent by Mirra Markhaëva and Kelechi Johnbosco. It is a represantation of how we want to see the football fanbase in future as well as an attempt to bring the reflection about club’s mascot and cultural expropriation.