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Karin De Fleyt

• 14 oktober 2026:  STOP & BeRoer, 'Antwerpener Version by Karlheinz Stockhausen' in DE SINGEL (Theaterstudio) - UITVERKOCHT
• 15 oktober 2026: doctoraatsverdediging, Koninklijk Conservatorium Antwerpen
  • 10u: doctoraatsverdediging, Witte Zaal, voertaal Engels
  • 12u: receptie, Witte Foyer
• Promotoren: Steven Malliet (Universiteit Antwerpen) and Kathleen Coessens (Koninklijk Conservatorium Antwerpen)

Abstract

How does a musician experience time while performing? Timelessness and temporality are much-discussed themes in contemporary classical music, but usually from the composer's or listener's point of view — rarely from the performer’s perspective.

In her doctoral research, flautist Karin de Fleyt explored this question through the music of Karlheinz Stockhausen. Specialising in his repertoire, she examined how a performer becomes aware of different layers of time while playing, drawing on bodily, sensory, and lived experience. Her case studies include three works with strikingly different approaches to time: HARMONIEN (2006), Xi(1986) and STOP (1965), culminating in a new version of STOP, Antwerpener Version (2026).

In this doctoral presentation she shares the outcomes of that journey — the day after a concert with Stockhausen's music, performed as part of her PhD.

(image: Notes for the London Version of STOP are handwritten by Stockhausen on this published score page for the Paris Version. (© Universal Edition))  

Pierre-Antoine Vettorello

• 26 oktober 2026, Horloge du Sud, Rue du Trône 141, 1050 Brussel
  • 12:00 – 14:00 Publieke toegang tot het archief
  • 14:00 – 16:00 Openbare verdediging (voertaal Engels)
  • 16:00 – 17:00 Deliberatie
  • 17:00 – 18:00 Receptie
• Promotoren: Kim Gorus (Sint Lucas Antwerpen) en Diana Arbaiza (Universiteit Antwerpen)

About the Research

Drawing on family archives, historical photographs, garment reconstruction, textile practices, and museum ethnography, Black Yarns investigates how an Black women in Paris used dress as a language of self-fashioning, belonging, resistance, and memory. The project develops artistic and curatorial methodologies that bridge fashion studies, Black studies, diaspora studies, and museum practice, while proposing new approaches to conservation, care, and collective memory.

Abstract

Black Yarns: Fashion and African Women’s Resistance in the Parisian Afropea (1939–1966) investigates the fashion practices, material cultures, and visual presence of Black African women in Paris during colonialism, war, decolonisation, and migration. While Paris occupies a central place in fashion history, the experiences of Black African women remain largely absent from archives and museum collections. Combining fashion studies, Black studies, diaspora studies, museum ethnography, and artistic research, the project draws on photographs, family archives, textiles, garments, and fieldwork across Europe and West Africa.

Through a practice-based methodology, it develops the concepts of radical kinship, remeasurement, and the palimpsest to engage with archival absence and translate photographic traces into garments, textile works, and installations. Focusing on the period 1939 to 1966, the research explores how dress functioned as a language, belonging, respectability, elegance, and resistance. Ultimately, Black Yarns demonstrates how artistic practice can serve as historical inquiry, using fashion and textile as a method for recovering and reimagining overlooked histories.