ELS VANDEN MEERSCH
studied visual arts at the Sint-Lukas Hogeschool Brussels, was a post-graduate of the Higher Institute of Visual Arts, Antwerp, and she was a participant at the Rijksakademie voor Beeldende Kunst, Amsterdam. Her work consists of site specific installations and photography, in which she explores the psychological structures of architecture and how this defines the position of the individual and its self image. In 2003 she published her first photo book Transient constructions, a selection of her photo archive from 1996-2003 (Antwerp, Landschap & Portret vzw, Genk Flac©, 2003).

HILDE VAN GELDER
is professor of modern and contemporary art at the KULeuven and, together with Jan Baetens, director of the Lieven Gevaert Research Centre for Photography at the KULeuven. The author of Hortus panoramicus (Bruges: Stichting Kunstboek, 2001) and, together with Hans Vlieghe and Cyriel Stroo, of Vlaamse meesters. Zes eeuwen schilderkunst (Leuven: Davidsfonds, 2004), she is currently completing Laocoön Reversed. Changing Beliefs on Temporality and the Experience of Time in New York Art of the 1960s, forthcoming in 2005 from Leuven University Press. Her photographic research is focussed on photography’s contribution to the confusion of the artistic genres in postwar art and on the medium’s critical function in contemporary art. She regularly publishes on this topic, among others in L&B, Obscuur, A-Prior and I[&]N. She is a member of the purchasing committee at the Antwerp Photomuseum and a contributing editor to Fotomuseum Magazine.Hilde Van Gelder wishes to thank Jan Baetens, Willem Hesling, W.J.T. Mitchell, Pieter Van Reybrouck, Els Vanden Meersch and Stefan Siffer.

ALICE EVERMORE
(°USA) moved from New York City to Brussels in 1996. She has since published four book projects and participated in numerous collaborations with artists, musicians and performers.The poetry of Alice Evermore draws upon references that range from individual duality to modern physics. By blending together scientific terminology with innate self-questioning, she puts together a bizarre infusion of primal wonder and contemporary understanding. In the piece, VISITATION, a narrator explores a series of vacated places where “inescapable things have happened”. Ultimately, external wonder becomes self-reflexive, as she ponders the nature of her own unavoidable appointment with fate.