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Philippine Hoegen

Research Group: Cultural and Creative Industries

‘Performance is about engaging with versions of the self, stretching the gaze to see what others see when they look at you.’

Philippine Hoegen was a researcher within the Cultural and Creative Industries research group from 2016 until 2020. In that period she also was a tutor at St. Joost School of Art & Design and the Master Institute of Visual Cultures. Currently Philippine works as an independent artist and researcher. 

Philippine Hoegen is an artist. She studied at the Royal Academy of Art in The Hague, the Piet Zwart Institute in Rotterdam and a.pass in Brussels. She lives in Brussels. In her multi-stranded practice she is concerned with, among other things, the way in which we constantly put versions of ourselves into the world, the strategies and technologies we use to make those versions, and what the existence of those other versions means for our understanding of the self.  

Her work mainly consists of performance and performative interventions, in which she approaches performance as a way of thinking with the body and with experience, using it as a research strategy. 

Recent activities included a series of seven broadcasts called Scores for Isolation, on Onomatopeenet / Instagram Live, April–May 2020, the presentation of her new book ANOTHER VERSION: Thinking Through Performing, during the Batard festival at the Beursschouwburg in Brussels, in January 2020, and the solo performance Ventriloquists III followed by a discussion on her research project with Caradt, The Self as a Relational Infrastructure in Process, at the conference DIS_SEMINAR by Art ≈ Research, Tolhuistuin, Amsterdam, in September 2019. 

Philippine has her own artistic practice. She also teaches at St. Joost School of Art & Design, the Master Institute of Visual Cultures in Den Bosch, and a.pass in Brussels. She is also a moderator at debates and conferences, such as BOZAR in Brussels, Buda in Kortrijk, and Het Nieuwe Instituut in Rotterdam. 


Within the research group Cultural and Creative Industries, Philippine is working on the project The Self as a Relational Infrastructure in Process, which she will conclude this year with the publication ANOTHER VERSION: Thinking Through Performing. This book approaches performance as a method of producing different versions of the self, referred to as versioning, and proposes strategies of versioning as a means of attaching gesture, speech or lived experience to research questions or problems. 

 She works in an international environment and publishes and teaches in Dutch and English. 

The Self as a Relational Infrastructure in Process

This research project is a practice-based enquiry into personhood and autonomy. 

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Hoegen, Ph. (2020), ANOTHER VERSION: Thinking Through Performing, published by Onomatopee, Eindhoven, in collaboration with Caradt.

Hoegen, Ph. (2019), co-editor ‘Fair Arts Almanac’, published by State of the Arts, BE

Hoegen, Ph. (2018), Body of Books: The BAS Collection, performatieve tekst over het kunstenaars initiatief BAS in Istanbul, uitgegeven door Collectorspace, Inc, New York/Istanbul.

Hoegen, Ph. (2018), Ventriloquists III, uitgegeven door The Society for Artistic Research in Proceedings 9th SAR Conference: Artistic Research Will Eat Itself.

Hoegen, Ph. (2018), Body of Books: The BAS Collectionarrow, performative text about the artist initiative BAS in Istanbul, published by Collectorspace, Inc, New York/Istanbul.

Research Group: Cultural and Creative Industries

The research group Cultural and Creative Industries investigates the role of artists and designers as creative innovators and drivers of social and economic change. Affiliated researchers analyse the cultural and creative industries from a critical point of view and examine the conditions under which timely forms of aesthetic expression and social connectedness can actually take place within the precarious reality of this field. What economic models are required by artists and designers to create a meaningful practice within the aesthetic, social, and economic intentions of the cultural and creative industries? What skills sets are required for those artists and designers who don’t just want to follow movements, but actually shape novel social and economic models of the future?

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