Ismini Kyritsis is a curator and art historian working at the intersection of art, science, and ecology. With a specific interest in the ecological and societal impact of digital technologies, her curatorial practice takes an ecosystemic turn shaping connections between different entities, disciplines and practices. Through exhibitions, research, and residencies, she fosters dialogue between human, natural, and technological entities while developing curatorial methodologies that respond to ecological and ethical uncertainties.

Ismini holds a Masters degree in Arts and Culture (Museums and Collectiosn) from Leiden University (2023) and a postgraduate degree in Curatorial Studies form the Royal Academy of Fine Arts in Ghent (2024). In recent years she has co-curated exhibitions and public programs in Kusthal Ghent (BE), Het Paviljoen (BE), Vleeshal (NL), iMAL (BE) and TINC (KR). She is currently part of Off-Centre, a collective of art workers bringing visibility to local art initiatives within the neighborhoods of Brussels through public tours and workshops. With a focus on artist-run spaces, its members aspire to foster community engagement, encourage mutual support, and create opportunities to learn from local collectives who demonstrate resilience in face of cultural and economic challenges.



Contact: isminikyritsis@gmail.com

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The End and the Beginning

iMAL, Centre for digital cultures and technology (BE)

Nov. 8th, 2024 - Mar. 30th, 2025

Link: https://www.imal.org/en/events/endbeginning Artists: Annelie Berner, Johanna Bruckner, Nicolas Gourault, Darsha Hewitt, Dasha Ilina, Rosa Menkman, Vivien Roubaud, Caroline Sinders (in collaboration with Trammell Hudson), Studio Above&Below, Endi Tupja and Klodiana Millona, T(n)C, Total Refusal, Ava Zevop, Alex Verhaest

Eco-scenography: GiIbard
Graphic Desing: Open Source Publishing (OSP)

Challenging long-held notions of human singularity, excessive progress, and growth, The End and the Beginning redefines care and resilience as ecological and relational structures connecting humans, nature, and technology.

Within the framework of the European Media Arts Platform (EMAP) residency program and funded by Creative Europe, the exhibition presents 15 works by international and Belgian-based artists dealing with the relationship between humans and machines. Their encounter offers space for reflection and reconsideration of formative societal infrastructures such as labour, communal practices, and energy consumption and highlights the vitality for inter-species knowledge exchange and the importance of empathy for humans and other-than-human entities through diverse lenses.

The End and the Beginning, iMAL, 2024-2025, exhibition view
The End and the Beginning, iMAL, 2024-2025, Vivien Roubaud,  The Creeping
The End and the Beginning, iMAL, 2024-2025, Vivien Roubaud, Stalactite
The End and the Beginning, iMAL, 2024-2025,  Studio Above&Below, Meditative Cohabitaion
The End and the Beginning, iMAL, 2024-2025,  Annelie Berner, Plant Futures
The End and the Beginning, iMAL, 2024-2025, Rosa Menkman,  Refractions
The End and the Beginning, iMAL, 2024-2025, Caroline Sinders (in collaboration with Trammell Hudson), The Potato Internet
The End and the Beginning, iMAL, 2024-2025, Caroline Sinders (in collaboration with Trammell Hudson), The Potato Internet
The End and the Beginning, iMAL, 2024-2025, Ava Zevop, Sun-Flowers and Unstable Media
The End and the Beginning, iMAL, 2024-2025,  Darsha Herwitt, High Fidelity Wasteland II, The Protoplastic Groove
The End and the Beginning, iMAL, 2024-2025,  Dasha Ilina, Advice Well Taken: Folk Tales of Digital Salvation


Eco-scenography by Gilbard

“The eco-design approach is part of a global questioning shared by our collective and iMAL on the subject of (over)production and sustainability in cultural practices. Thus, we seek to reduce as much as possible the general waste” 

“All the materials used are second-hand. The panels, from old iMAL scenographic elements, will subsequently be added to our recycling library. The bricks, rented from BC Materials, will be returned to the supplier to restore their original function. Using a strap as an assembly method ensures the materials remain unaltered.”


Graphic Desing by Open Source Publishing (OSP) 

“[...] we consider how weeds, often seen as undesirable, can grow even through concrete, embodying strength and persistence—an idea that resonates with the THE END AND THE BEGINNING.“