AKV|ST.JOOST MA CATALOGUE 2018
FINE ART
FA
GD
GRAPHIC DESIGN
PHOTOGRAPHY
PH
AN
ANIMATION
AKV|ST.JOOST
MA CATALOGUE
2018
INDEX
FLOOR 03 192
188—193
The designers
174—187
FLOOR 02 178 184
Heads of Master Institute Vice Dean Master Institute
FLOOR 01 84 90 96 102 108 114 120 126
Sara Bagheri Giulia Bardelli Tiemen de Blanken Ada Favaron Stefan Christian Hoja Hana Jira Nicola Kirkaldy Daan Muller
80—173 132 138 144 150 156 162 168
Kim Nuijen Stanley Obobogo Badoana Marko Peck Ornella Sanfilippo Rik Schutte Fay Teo Jasper van Blokland
FLOOR 00 8 14 20 26 32 38
Corine Aalvanger Cindy Bakker Vivian Bax Aubane Berthommé Martinez Daleen Bloemers Susanne Khalil Yusef
4—79 44 50 56 62 68 74
Ektor Ntourakos Eric Patel Álvaro RincÓn Camargo Ami Tsang Ruben Üvez Peng Zhang
4
FLOOR 00 8 14 20 26 32 38
Corine Aalvanger Cindy Bakker Vivian Bax Aubane Berthommé Martinez Daleen Bloemers Susanne Khalil Yusef
5 44 50 56 62 68 74
Ektor Ntourakos Eric Patel Álvaro RincÓn Camargo Ami Tsang Ruben Üvez Peng Zhang
6
FLOOR 00
7
8 www.corineaalvanger.com
info@corineaalvanger.com
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9
Corine Aalvanger (NL)
PH
*1978
10
FLOOR 00
PH
CORINE AALVANGER
Don’t mention the war "Looking at the essence of things, it is impossible to create an image." (Anselm Kiefer) A couple of years ago I found a photograph that had been taken illegally during World War II. It shows Dutch prisoners from Kamp Erika walking through the street, in front of my house, on their way back to the camp. It opened up the history of the Besthmenerberg in Ommen: for almost a century theosophists, prisoners, holidaymakers and refugees have come by force or by their own free will to a place that houses enormous contradictions. It is a place both in a geographical sense, as well as in time. It is a place where Krishnamurti and his followers form across the world sought for the truth. Where prisoners were stigmatized, where holidaymakers come to relax and to stop thinking and where refugees come as a halfway stop on their flight from war, poverty and misery. In this place, the one thing is being forgotten for the sake of the other. Whether by religion, war or everyday life, we are continually challenged with the question of how to live and make our lives meaningful. Are the steps we take true to us, or are we propelled by the world around us? Set in this place of contradictions, the Dutch village of Besthmenerberg, "Don’t mention the war", is an installation, reflecting on how we deal with truth, things we want to forget, identity and our relationship with places. A personal starting point results in a combination of text, found footage, pictures, video and performance through which the cause and effect of the past and the future become manifest in the present. An activist and anthropological approach whereby I partake within the local and refugee community and question my position as a visual artist. 11 p.10
"LUFTWAFFE"
12
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PH
CORINE AALVANGER
13 p.12 p.13
"Caravan" "Ping Pong Table" "Don't mention war"
14 www.cindybakker.nl
info@cindybakker.nl
+31(0)624739002
FLOOR 00
15
Cindy Bakker (NL)
FA
*1989
16
FLOOR 00
FA
CINDY BAKKER
Just something we see When I look at the signals that are used in our everyday life, — that are there to guide, convince or persuade us, I wonder how they get their collective understanding. A pile of cobalt blue and citron yellow pipes are laying down, waiting to be dug in. Big cadmium red billboards across the road are making the plans of the future outcome visible, along with the sponsors who are building it. A seven by five meters green scaffolding net is covering an immense skyscraper. "Megalomania". Think big! in a world where everything is getting big, expanding and blowing up. It feels as if everything is always under construction, where sites are full of signals that guide and alarm us visually and physically. A repetitive stripe of red and white, means to all of us; Attention! Be careful! Watch out! Danger! They get their dominant attention through shape, colour and repetitiveness, — elements that through time, transmit a certain meaning. My work offers a sensory experience of these factors in a different framework of that what we think and what we know. By searching a visual translation of a specific moment when something is in between a function, use or design and undoing them from its function, — they become specific objects. That is capable to stand on its own in a screaming crowd of flickering lights and is saying; Hé there! It is just something we see!
17 p.16
"Alarm", 2018, acrylics/rubber on canvas, 100x120cm
18
FLOOR 00
FA
CINDY BAKKER
19 p.18 p.19
"Scaffolding net", 2017, scaffold/ ty-raps, 700x400x380cm "Remains of a wall", 2017, acrylics/ plastic, 150x20cm "Define linie", 2018, wallpainting/acrylics, 3500x1700x3500cm, part of a site specific work, According to the rules, residency at Witte Rook, Breda
20 www.vivianbax.com
mail@vivianbax.com
+31(0)612777649
FLOOR 00
21
Vivian Bax (NL)
PH
*1990
22
FLOOR 00
PH
VIVIAN BAX
Implosion / Explosion It’s an ambiguous time when it comes to aggression. On the one hand violence seems to be rising, and on the other side we are supposed to control ourselves according to the ruling conventions. Aggression is a taboo, something you should hold in, a sign of weakness. It’s meant for the villains, the bad guys. But we all know the boiling feeling of irritation, frustration, anger and fear. We sometimes just need an outlet, a way to release. In this context Vivian Bax made the work "Implosion / Explosion": a triptych of texts with corresponding objects. The work is meant as an experiential instruction for the audience. With this immersive work she invites the participant to experience a glimpse of how it could feel to release control. Vivian Bax is a research-based artist who observes, writes and performs in order to question current norms versus deviant behavior. This revolves around the paradox of scripted and authentic behavior. From an early age on she has been observing the social constructions around her. Her work is connected to places where control or loss of control seems important. Her urge to understand behavioral mechanisms result in work with a performative character.
23 p.22
"Implosion / Explosion", 2018, installation
24 Artist statement As a research-based artist I observe, write and perform in order to question current norms versus deviant behavior. This revolves around the paradox of scripted and authentic behavior. From an early age on I have been observing the social constructions around me. With an outsider's look, I tried to unravel the conventions that didn’t feel natural to me. As an artist this tool is still very important to me, although it’s now more connected to places where control or loss of control seems important. My urge to understand behavioral mechanisms results in work with a performative character. I often use the camera to do this, but I also use interdisciplinary ways of working.
FLOOR 00
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VIVIAN BAX
25 p.24 p.25
"Implosion / Explosion", 2018, installation, detail "Implosion / Explosion", 2018, installation, detail
26 www.instagram.com/aubane.bm
aubane.b@hotmail.fr
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27
Aubane B. M. (FR)
PH
*1994
28
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PH
AUBANE BERTHOMMÉ MARTINEZ
Munch that fruit I am an engaged artist who wants to question and show how the construction of our identity is framed by social norms. I am especially fascinated with the way our cultural and social environment influences our intimacy (including our sexuality), our perception of gender norms and the representation of men and women. I also analyze and try to deconstruct the notions of masculinity and femininity and how we use to depict them.
29 p.28
"Untitled 1", 2017, digital collage made with analog photography, frame 60x60cm
30
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AUBANE BERTHOMMÉ MARTINEZ
31 p.30 p.31
"Untitled 2", 2017, digital collage made with analog photography, frame 60x60cm "Passive beauty", 2018, still frames from video, 20 min loop temporary image
32 daleenbloemers.com
daleenbloemers@gmail.com
+31(0)640759521
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33
Daleen Bloemers (NL)
PH
*1990
34
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PH
DALEEN BLOEMERS
A Private Understanding III The installation "A Private Understanding III" exists by relating itself to the space it is shown in. Because of the airy construction, the fleeting ghosts of uncomfortable stature seem to be a human appearance without being human. Our human body and the image that we have of ourselves and of each other forms the starting point for my work. A reaction on the daily life and how people react on one and other. Why do we have groups and why you as an individual can be out of this group for no particular reason. If you behave slightly different, you could be allowed back in the group. Who is the one who decides? And why? The changeability of the interpersonal relationship, the growing discomfort with the physical presence of the other and the fading of intimacy - these are peripheral phenomena of an increasing digital communication that is accompanied by physical discomfort. In my work I use the absurdity of our idea about the manufacturability of the body. I am an artist who works with photography, installation and sculpture between 2d and 3d. I try to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations. I reconstruct different body parts into figures of neutral, unknown bodies that no longer seem to have any identity and try to give themselves an attitude.
35 p.34
"A Private Understanding II", 2018, installation, prints on transparent plastic, dimensions vary. Photo: Rik Klein Gotink
36
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DALEEN BLOEMERS
37 p.36 p.37
"I am so happy to hear you are doing fine I", 2016, sculpture, print on plexiglass, 200x120cm "A Private Understanding I", 2017, installation, cut out print on plexiglas, wooden frame, photo stickers on plastic, 200x200x200cm, collaboration with Pim Top
38 hausmarke84@hotmail.com
+31(0)625410183
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39
Susanne Khalil Yusef (STATELESS)
FA
*1984
40
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FA
SUSANNE KHALIL YUSEF
TUSSEN WAL & SCHIP — VOOR JAFFA "De jeugdigde, turbulente beelden van Susanne Yusef zijn altijd weer een verfrissing voor het oog. Voor het eerst gaat ze in haar werk verder in op haar eigen jeugd die ook allesbehalve onbewogen was. Ze geeft inzicht in wie zij toen was en wat haar bezighield. Bijvoorbeeld door op unieke wijze de brieven te tonen die zij als klein meisje kreeg van haar vriendinnen uit Nederland, Duitsland en Amerika. Ook zullen er foto's te zien zijn van dit verleden. Deze zijn schaars door de vele keren dat ze met/en zonder haar familie moest verhuizen, maar daardoor des te krachtiger. Verder toont zij ook zoals we al eerder van haar gezien hebben een kleed, maar ditmaal op compleet nieuwe wijze geproduceerd. In zijn geheel een hele intieme, frisse en sterke tentoonstelling die een totaal nieuwe blik op en van de kunstenaar laat zien, maar in de lijn blijft van haar eerdere werk dat altijd haar Palestijnse achtergrond ontsluit." (W.T. Rodemeier) "Waar kunst steeds meer gaat over de bezoeker bereiken, interactie aangaan met de bezoeker, weet Susanne de bezoeker te raken, zowel qua inhoud, qua uitleg (ik krijg nog steeds complimenten over je Palestijnse koffie-cafÊ naast je werk), en qua vorm. Tijden veranderen, vluchtelingenproblematiek komt op, dat in combinatie met glitter en het niet-willlen-horen, Susanne is super actueel, begrijpbaar, menselijk, activistisch, en zoekend naar nieuwe materialen en vernieuwing, dit alles is zoals kunst zou moeten zijn." (Viola van Alphen) "Susanne maakt krachtig politiek getint werk. Zij is betrokken en open-minded. Tijdens haar expositie bij Drift maakte ze indruk door in een excursie voor een internationale schakelklas heel direct contact te maken met deze jongeren: zij kon zich spiegelen aan hen en hun situatie." (Ad Marijnissen)
41
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SUSANNE KHALIL YUSEF
43 p.40 p.42 p.43
"Harpy The Flying Carpet", 2018, in progress, tufted wool & lurex "LALALA", 2017, video installation with paintings and sculptures at Marres "Couch", 2017, paint on couch "Envelope From My Friend", 1999
44 www.ektorntourakos.com
ektontou@gmail.com
+31(0)624206609
FLOOR 00
45
Ektor Ntourakos (GR)
FA
*1991
46
FLOOR 00
FA
EKTOR NTOURAKOS
From A Place to Space "From a Place to Space" (2018) is a distribution centre that operates as a platform for several urban appropriations that occurred in the last two years. It represents the temporary spatial transformations that contribute to the emergence of the public space in the city’s landscape. Engagement, conflict, information exchange generated as the dialectical response to the homogenization of the physical and psychological security inhabited by the social order and the mechanisms of social normalisation that eliminate the users from the term of agency within society. The reappropriation of the place and its stability along with the spatial and social order is embraced by specific activities that operate in the city through the recognition of the potential within the space and a variety of determined modified users and their practices. The place is characterized by movement, fleeting and improvisations. The citizens activate the urban sphere in order to satisfy their own improvisations, needs and desires: freedom.
47 p.46
"Urban appropriations", 2016, documentation, Delft
48
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FA
EKTOR NTOURAKOS
49 p.48 p.49
"Reading as poaching", 2017, intervention, Rotterdam "You'll never walk alone", 2017, intervention, Den Bosch
50 @eric__patel
patel.eric@gmail.com
+31(0)641906349
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51
Eric Patel (N/A)
PH
*N/A
52
FLOOR 00
PH
ERIC PATEL
the other and its double I am interested in the ways art can offer a different perception of colonialism. My general approach to this topic begins by asking fundamental questions which guide a search for understanding. How do stereotypes transcend, naturalize or destroy the complexities of a culture? To whom does the past belong? And who has the right to speak about whom? In my recent research, I use a variety of media to examine how systems of knowledge built by colonialism afford the persistence of structural racism. According to Fanon, one of the first things the colonized learns is to stay in its place, to not go beyond certain limits. There is a violence in this lesson that largely remains invisible. To shed light on it, I consider the effect of events and practices in anthropology which situate human difference, the savage and the civilized.
53 p.52
work in progress, 2018, detail
54
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ERIC PATEL
55 p.54 p.55
work in progress, 2018, unfired clay, 78x55x75cm work in progress, 2018, detail
56 viralatarincon@gmail.com
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57
Álvaro RincÓn Camargo (CO)
PH
*N/A
58
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PH
ÁLVARO RINCÓN CAMARGO
COUNTER CHRONOLOGIES: Artistic strategies of temporal resistance. "For me, modern life is an endless cycle in which acceleration is the only constant and it’s a metaphor of the capitalistic imposition of time which is a form of social and political control, and then a resistance to the time became a metaphor for resistance to any form of control". I am always struggling with the idea of a preconceived structural and functional world that limits and tell us how to experience time, always linear and unchanging. I think the opposite, time is dynamic, heterogeneous, fragmented and I am always looking for alternative ways to experience and represent it. "Counter chronologies" is an attempt to create temporal resistances, but it’s also a conceptualization of different levels of mediated and experiential time, a dialogue between time and existence. By combining different techniques I create situations and events that enhance the sensory perception through an image reflexive experience: the "Vanishing Writing" or writing with water is a strategy created not to read it but barely to see or capture it; is an alternative to the rhythms and temporalities imposed and it is also a singular activity based on the respect for the natural time. On the other hand, the “Knitting Project” is a fictional situation in which any functional reference is deleted from a traditional practice that has a practical purpose: creating an infinite loop where nothing happens, the viewer can experience a new temporality.
59 p.58
"Vanishing writing"
60 Artist statement For me, modern life is a hamster wheel in which we are moving frantically and not getting anywhere; acceleration is its main characteristic, productivity is its purpose, political and social control is its strategy. I am always looking for a way to jump out from this endless cycle. As an art-based social researcher, close observation, action and reaction is my process. I use it to attempt creative utopias and to propose social and political resistances against the hegemony of a culturally homogenized society that limits the individual experience. Combining different techniques, I try to create situations and events in which individual perception and individual experience of time and space from the audience are the principal inputs.
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ÁLVARO RINCÓN CAMARGO
61 p.60 p.61
"Vanishing writing" "Knitting"
62 amitth216.wixsite.com/tatata
amitth216@gmail.com
+31(0)614515755
FLOOR 00
63
Ami Tsang (HK)
FA
*1993
64
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FA
AMI TSANG
tātātā "tātātā" is a project archiving Ami Tsang's creations in 2017-18 based on her relationships between 他 (him), 她 (her), and 它 (it). In Chinese mandarin/cantonese, they are all pronounced "tā". "tātātā" consists of 3 parts: "A Physical Sense", "C-H-I-N-A" and "Foe Yong Hai". "A Physical Sense" is the artist’s representation of her father’s memories. Feelings and imaginations will be given their physical forms and be presented as memory objects on staged platform. Fragmented sound clips will guide audiences their ways in this assembled diary. "C-H-I-N-A". Image is not a rendition tool of preexisting occasions. Data and pixels in video are compressed and render the artist’s feelings and thoughts on nationality. When limited time and storyline require Ami Tsang to encapsulate a communicable idea, she made a detour with performative videos. "Foe Yong Hai". The myth of foeyonghai’s circulation in the Netherlands closely links to Chinese migration history. When looking into their struggles during the catering industry transition, and language and cultural gap with second generations, we start realising identity can be interpreted as a complex construct which can be highlighted using food as a medium. Collaborating with Fay Teo, we interviewed the Chinese community, collected memories on food, families and the country, we played with existing video footage, recordings, still imagery to decipher overseas Chinese identity. Part of the result will be shown as a short documentary called "Ngo Hai Lai Yeng Cheng" during the graduation show's screening day.
65 p.64
"A Physical Sense", _OneTwoThree, video, still image "A Physical Sense", _OneTwoThree, installation
66 Artist statement Ami involves in public discourses with research-based performative video works. Her practice suggests transformative tactics to respond to increasing migration and obscure cultural identity formation. Recent video series "C-H-I-N-A" featuring Chinese overseas investments in Europe was described as light-hearted and disarming, yet provocative. She also uses food as conversation pieces and the ritual of dining as political means, eg. by serving a sip of the octopus soup she opened up the dialogues of the South China Sea Territorial Disputes. Another project, "Foe Yong Hai", draws attention on the myth of foeyonghai’s circulation in the Netherlands which is closely linked to Chinese migration history. She documents dialogues and collages with existing materials to decipher overseas Chinese identity.
FLOOR 00
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AMI TSANG
67 p.66 p.67
"C-H-I-N-A", video, still image "Ngo Hai Lai Yan Cheng", video, still image
68 www.rubenuvez.com
rubenuvez@gmail.com
+31(0)630008740
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69
Ruben Ãœvez (NL/TR)
PH
*1992
70
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PH
RUBEN ÜVEZ
When Mountains Decay, Dust Remains "When Mountains Decay, Dust Remains" is an exploration into the experience and processing of loss. The project is a mediation on our own transience. How all that is now will some day fade, how even the mountains we hold so high at some point will turn into dust. They will not be lost, but find a new form. This transience is not to be seen as a negative process, but as a natural and in itself beautiful one. In my project, I am showing this process with a triptych, using moving image and photography. The work is non-linear and evoking a subconscious experience that shows my process of dealing with the loss of my father over time in a metaphorical and mystic way, without definitive answers or a conclusion.
71 p.70
"When Mountains Decay, Dust Remains"
72 Artist statement My work is a continuously evolving process, using photography and film, where the search is more important than the answer. Originally stemming from of a loss, I use a poetic and often metaphorical visual language to look at the world on a universal human level and find meaning in the world around us. Accepting our short presence here on earth, in which we are just a small part of everything that has been and will be.
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PH
RUBEN ĂœVEZ
73 p.72 p.73
"When Mountains Decay, Dust Remains" "When Mountains Decay, Dust Remains"
74 art-77@qq.com
+31(0)621940506
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75
Peng Zhang (CN)
FA
*1990
76
FLOOR 00
FA
PENG ZHANG
Intimacy Garden In 2006 I moved from my village to Hangzhou for studying, from there I constantly felt thick walls (concrete roads, mansions, intelligence devices‌) invisibly segregating the interpersonal relationship in the metropolis. I am currently studying abroad, the feeling of intimacy is rarely seen, which could make me cherish the memory of intimacy among persons, between people and nature. I went back home last summer, the scenery of the village was in happy harmony: local farmers were deeply engaged in cultivation; kids chasing each other cheerfully; the garden yard was flourishing prosperously, fruitfully; the fowls were eating concentratedly. The whole scene reminded me the episodes happened in my childhood: imitating pregnant women giving birth to babies, imitating farmers planting and reaping‌ we shared happiness and sorrows, helped mutually, I enjoyed the time with my friends in the gardens and farmlands, it seemed like the things related to belonging intimacy occurred just yesterday. So I imitate farmers' working postures in the farmland, bowing down to orderly "plant" in the garden with drawings and ceramics on my studio's floor, for creating my belonging intimacy I ever had, I present the pieces with ceramics above it on the ground, in order to bond the intimacy between me and people, between contemporary art and people.
77 p.76
"Intimacy Garden", 2018, charcoal, pastel on canvas, 300x500cm
78
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PENG ZHANG
79 p.78
p.79
"Intimacy Garden", 2018, charcoal, pastel on canvas, detail, 300x500cm "Intimacy Garden", 2018, charcoal, pastel on canvas, 300×500cm "Intimacy Garden", 2018, charcoal, pastel on canvas, 300x500cm
80
FLOOR 01 84 90 96 102 108 114 120 126
Sara Bagheri Giulia Bardelli Tiemen de Blanken Ada Favaron Stefan Christian Hoja Hana Jira Nicola Kirkaldy Daan Muller
81 132 138 144 150 156 162 168
Kim Nuijen Stanley Obobogo Badoana Marko Peck Ornella Sanfilippo Rik Schutte Fay Teo Jasper van Blokland
82
FLOOR 01
83
84 www.sarabagheri.myportfolio.com
+31(0)642405550
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85
Sara Bagheri (IR)
GD
*1991
86
FLOOR 01
GD
SARA BAGHERI
Visual Design meets Hearing Disabilities Look at the people around you, everyone has some sort of disability, regardless of if it is permanent, or temporary. Maybe it is physical, mental or emotional. It could be something as simple as being pregnant, having a broken arm, being older or being a child or being a foreigner in a country which you do not know the language. Everyone has to figure out a way to cope with and navigate around their disability and these solutions are worth sharing. "Visual Design meets Hearing Disabilities" investigates the common problems which hearing impaired people are dealing with e.g. announcements in public places, communication in dark places or being called by other people. Besides some instant alerting devices which are mainly equipped with vibrator motors, visual design can offer a solution towards improving the quality of communication. Aimed for hearing impairment, the outcome is a sound visualizer system which recognizes the speech, converts it to text, detects the direction of the sound source and its intensity level, then visually applies them on the recognized text. 87 p.86
"Untitled", 2018, digital sample, a visual sample of the applied sound components on the recognized speech
88
FLOOR 01
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SARA BAGHERI
89 p.88
p.89
"Sound LED Cube", 2017, sound mapping with LED lights based on intensity, direction and distance of a sound source "The color of music", 2014, drawing collection, 21x30cm, a non-conventional translation of sound based on my personal perception "The color of music", 2014, drawing collection, 21x30cm, a non-conventional translation of sound based on my personal perception
90 www.giuliabardelli.com
info@giuliabardelli.com
+31(0)625232437
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91
Giulia Bardelli (IT)
GD
*1994
92
FLOOR 01
GD
GIULIA BARDELLI
"The Unfamiliar Body" «Can a single digital representation of my body challenge how I perceive myself?» Guided by this question, "The Unfamiliar Body" unfolds as a speculation on the way digital copies of the human body affect our self-recognition, shaping the body’s increasing desire for an audience and the tendency to (virtually) perform itself. The project — as a journey towards a shift of hierarchies between the physical body and its digital simulation — provides a coded narrative experience that illustrates the possibilities emerging at the intersection of graphic design and coding. In a first-person narrative, the app twists the user's digital image until it extends into the absurd and surreal, intensifying its inherent distortion and calling into question the user's perception of his/her own digital likeness.
93 p.92
"The Unfamiliar Body", 2018, app testing, laptop and projection
94 Artist statement Giulia Bardelli is a graphic and digital designer from Italy based in the Netherlands. Over the years she developed a strong focus on the relationship between the body and the media, particularly the digital ones. This inclination led her to assume a critical stance on topics of social relevance in the post-digital age, and to dig into the possibilities emerging at the intersection of graphic design and programming. From a methodological viewpoint, her approach is characterised by a growing level of automatisation during both research and production phase.
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GIULIA BARDELLI
95 p.94 p.95
"The Unfamiliar Body", 2018, app testing, laptop and projection, automated process of web scraping, overlaying and pixel multiplication of user's digital snapshot "The Unfamiliar Body", 2018, app testing, laptop and projection, automated process of web scraping of user's digital snapshot
96 tiemendeblanken@hotmail.com
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97
Tiemen de Blanken (NL)
GD
*1988
98
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TIEMEN DE BLANKEN
Creativity Something I noticed as a graphic designer is that fascinating and original ideas arise when least expected. Happy accidents lead to unanticipated results, and activities which seem meaningless at the time can eventually appear to be crucial building blocks for future breakthroughs. What's unknown to you holds valuable components for renewal which raises the question of how to expose it. How to uncover the unknown?
99 p.98
"Creativity" workshop, results, co-operation with Dafei Lei
100
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TIEMEN DE BLANKEN
101 p.100 p.101
Image manipulated animation Visual exploration of the unknown Results self-coded program
102 ada.favaron@gmail.com
+31(0)625207989
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103
Ada Favaron (IT)
GD
*1994
104
FLOOR 01
GD
ADA FAVARON
"The Great Beyond" The artwork investigates on a visual and conceptual level the design elements and the montage techniques that are consistently present in conspiracy theory videos on the web. The research that goes along with it is aimed to understand the psychology linked to conspiracy thinking as well as the persuasive and manipulative power of moving image and sound combined, in relation to the modern concepts of authenticity and post-truths. "The Great Beyond" consists of two parts combined into a single channel film. The first one (the Encyclopedia) is a taxonomy of conspiracies videos' visual grammar, deconstructed and classified. A visual essay divided in chapters that works on two layers: image and sound, both featuring well-known hoaxes and the most recurrent montage techniques used by truthers. The categories in which the Encyclopedia is composed are the following: glitches, collages, repetitions, typography, zoom ins, simulations, websites, talking heads, pointers, printed documents, arrows, circles, slowmotion. The second part (the Meta-conspiracy), is a triptych of short clips featuring a fictional character — Carol Thiel — who is presenting her own theory about famous conspiracists and an alleged group of Illuminati designers that manage to deceive the masses publishing content on Youtube channels. (Script by Luisa Traumann, starring Anastasia Shin)
105
106 Artist statement Ada Favaron is an Italian graphic designer and visual researcher. She questions the myths of cultural identity and her curiosity is mainly triggered by conspiracy theories, subcultures and the dilemma authentic versus fake. Interweaving modes of "mockumentary", essay and storytelling, Ada investigates how we negotiate the information we receive from the media and explores topics often ignored by popular platforms. By engaging with found footage – mainly on the web – and using a provoking tone, she questions the role of the designer as a creator of documentary material and as visual storyteller.
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ADA FAVARON
107 p.104 p.106 p.107
"The Great Beyond", 2018, still frame, single channel, 16:9, "The Great Beyond", 2018, still frame, single channel, 16:9, detail, "Slow motion" category "The Great Beyond", 2018, still frame, single channel, 16:9, detail, "Circles" category "The Great Beyond", 2018, still frame, single channel, 16:9, detail, "Pointers" category
108 www.hoja-design.com
mail@hoja-design.com
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109
Stefan Christian Hoja (DE)
GD
*1986
110
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STEFAN CHRISTIAN HOJA
Boring Den Haag, Campaign City campaigns are part of city marketing and try to establish a positive image of a community. Developing a successful city campaign is extremely complex, as different audiences with different interests meet inside and outside the city. Currently, cities compete with each other: there is a veritable struggle for investors, well-educated individuals, students and tourists. As a result, more and more communities are investing in campaigns that create a certain image. These images are intended to appeal to specific target groups. At the same time the inhabitants of a city should get positively stimulated. In The Hague, the current city campaign "This is the Hague" focuses on the maritime flair, the royal house, museums, shopping centres and leisure facilities for children and families. In the official "The Hague Brandbook" city brands are defined which take up these priorities. It also includes the brands "Leading Businesses and institutions" as well as "City of Peace and Justice" and "Seat of Government". Young adults, students and their needs as city dwellers are barely noticeable in the campaign. "Boring Den Haag" is an alternative campaign or so called anti-campaign to the existing city branding and describes problems and needs of young adults and students in a critical and ironic way. This includes among other things the high rents for student rooms, the centralized and partly one-sided nightlife and the leisure activities during the winter season, when the beach disappears as one of the main attractions. "Boring Den Haag"  may be the starting point to arise cities' municipalities awareness to this situation, enhancing the image of a so called boring city for this population group.
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113 p.110 p.112
p.113
What does the city need to be attractive for young adults and students in the winter time?, 2018, photomontage Is The Hague’s city centre interesting to the target group?, 2018, still frame How can a campaign visually point out the problems?, 2018, flag pick What does the target group wish for?, 2018, still frame
114 hanajira.com
+31(0)645227708
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Hana Jira (CR)
GD
*1993
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HANA JIRA
FOODPRINT As a graphic designer, I always looked at the practice of design as a problem-solving practice with purpose of communicating a message, rather than merely aesthetical one. Driven by the power of infographics and data visualization I wanted to investigate the field of information communication and explore different possibilities. I focused on showing the information as a story, using narrative to translate data into virtual reality experience. Purpose of this approach is to show differences in sizes with the intention to retain as realistic as possible. Infographics are showing story about consequences of human activity on Earth's biodiversity. The main message I want to communicate is the importance and impact of our food choices and the indisputable connection between demand for certain types of food and losing Earth's resources. My final outcome is an interactive VR experience that shows information as a narrative in which the user is encouraged to interact with the scene and information. Showing information in through a story with an immersive approach aims to give a direct sense of individual impact when it comes to food choices. Â
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HANA JIRA
119 p.118 p.119
"Google satellite images used as a tool to compare 'signatures' on Earth's surface in 20+ years time span" "3D prototype for VR concept, users point of view" "Differences in sizes of impact shown in 3D models"
120 nicolakirkaldy.blogspot.com
nicolakirkaldy@gmail.com
+31(0)619085675
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Nicola Kirkaldy (NL/GB)
FA
*1983
122
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NICOLA KIRKALDY
Rope In present society, I feel that the balance between giving and taking is getting lost; taking often wins it from giving. That is where my urge to focus on processes that have been fused to our system by custom or habit, comes from. I believe that those processes deserve to be valued and re-valued. Thus, I often use techniques and shapes that are related to everyday life, conserving the making process and finding patterns in doing so. These are all analogue processes in which time has been invested and accumulated. You could see them, to some extent, as time-reservoirs; to me, a way of giving. I let my installations become a platform for reality; the reality in which we live, the reality of how we live, the reality of what we perceive, the reality of the act and the reality of the work itself. The idea to build a settlement came forward when I was writing a story, imagining how it would be like to live 10.000 years ago. People would have lived in a time where processes were more apparent than they are nowadays. The meaning of the word settlement stayed with me and when I construct my own, processes can naturally grow around it. 123 p.122
"Rope", 2018, work in progress
When I opened my eyes, I saw the low sun creating long shadows of foliage. Although this means that the cold is getting closer, I appreciate the long shadows, they give me a sense of security. This area will be our base for winter and it feels pleasant. Today, Gust and I are going to collect willows. Before I set off I tied my bag with tools around my shoulders and joined a few of the group at the stream. Whilst I was washing myself I felt nervous; yesterday, I lost my knife when I was collecting rosehips, it fell in the shrubs. I tried looking for it but it was late and getting dark. When I came to the base last night I didn’t have time to make a new one. I carry a few pieces of flint in my bag but a proper knife with a handle is an essential tool, not only for gathering willows but also for protection. By losing my knife I violated our first rule: never leave a trace. This rule is not even told it is one that you simply know. Another group might find it and they would know that there is another group active in the area. I decided to stop by on the way to look for it. I saw Gust at the stream and pointed to the sun; “we must hurry”. I went ahead to make sure we would head in the direction of the rosehip shrubs. As we walked into the bushes I remembered that Gust places his feet on the ground just too vigorously, something that irritates me immensely. Whatever you were set out to do, it is always better to be one step ahead and hunt instead of being hunted. Now I’m not in the position to say anything about it, I need one of his knifes. “Gust”, I said, “would you have a spear knife for me to borrow?” He looked at me in utter surprise, but fortunately didn’t ask any questions and hands me a knife with a handle made from antlers. The handle was too big and It felt too heavy for me to handle in the wright way, but I can’t complain. The ground feels hard and cool, this is the perfect ground to walk on; it’s not too cold and it leaves little traces behind. The wind is in our back, something that we didn’t foresee but which is in our favour; this way we take the animals astray, as the hunters of today are on the other side of the area. In the distance, we spot several beeches and I hoped that the animals did not get to them yet. As we got closer we could see that most of the beech nuts had already been struck. I pick a few up to see if there are any untouched. With several untouched beechnuts in our bags we continue to execute our purpose of the day. As we get closer to the rosehip shrubs I was thinking of a ruse as to why we should stop there. I’ll say that I must pee, that will give me enough time to look through the shrubs. “Gust”, I said, I must pee. He nods and remains standing to keep an eye on things. As I approach the bushes I, very lightly, smell an akin scent. I grab my borrowed knife. I must get out of here straight away. As I turned around, towards Gust I stand eye to eye with an akin. I could not see directly whether he was alone or not. Why did I not see this coming? “What do you want?” I said. He grinned at me and looked offensively amused with himself. Would he know that it was just Gust and me on the way? He should know, the way Gust walks everyone could hear us from miles away. By now I was firmly holding onto the borrowed knife, ready to use it. “This must be yours” the man said and hold my knife up in the air. “That’s careless of you to leave it laying around like that”. I didn’t create that knife for my own death, I thought. I tried to stay calm and looked around me in a subtle way to scan the surroundings for any changes.
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NICOLA KIRKALDY
125 p.124 p.125
"When I openend my eyes", 2017 "Rope", 2018, work in progress
126 www.instagram.com/daan_muller
info@daanmuller.nl
+31(0)681933141
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Daan Muller (NL)
PH
*1988
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DAAN MULLER
"...what is that plant doing?" "Again, lying on the couch. An anthropomorphic blob with a cigarette. An organism with the shape of something that’s supposed to have a function. The light green of the bookshelves that once felt homely has turned into the green of a mental hospital." Daan Muller’s installation "...what is that plant doing?" is a work of fiction in which the objects and people resist easy classifications of use and purpose. In the mise-en-scene like setting, situated in the smoking room of the venue, the boundaries between props and characters are hazy. Using text, ceramics, furniture and the visitor’s presence the installation explores the tension between function and non-function, action and non-action.
129 p.128
"...what's that plant doing?", 2018, ceramics, painted mdf, detail
130
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DAAN MULLER
131 p.130 p.131
"...what's that plant doing?", 2018, metal, ceramics, detail "...what's that plant doing?", 2018, ceramics, painted mdf, detail "...what's that plant doing?", 2018, painted plywood, painted mdf, ceramics, detail
132 www.kimnuijen.com
mail@kimnuijen.com
+31(0)648257180
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Kim Nuijen (NL)
PH
*1984
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KIM NUIJEN
Original copy. An investigation into modern trompe-l'oeil. Society is influenced by an image culture build on imagery & representations that tricked us into thinking they’re real and thus became our model for reality: a hyperreality. In "Original copy" I approach this hyperreality as a visual culture of modern trompe-l’oeil. In the work "Original copy, number I" I examine the classic and modern trompe-l’oeil effect in a formalistic way by changing perspective. The work becomes a hyperreal visualization: a moving wall that gives the spectator a hyperreal immersive experience. "Instead of a field as a vanishing point for the eye you are in a reversed depth, which transforms you into a vanishing point." (Jean Baudrillard, 1994, "Simulacra and Simulation", p. 105).
135 p.134
Close up of the wall that was filmed as part of "Original copy. Number I", 2017, Palazzo Rosso, Genova (IT) Originally painted by Bartolomeo Guidobono in the 17th century and restored by Luciano Arrigoni in the 60's
136 Artist statement I’m a sucker for images, they seduce me every day. They lure me into thinking that what I see is real. They make me believe that I know reality based on visual inputs. They make me forget that my actual experience is the only, or the closest, truth I can get. As an artist I study the influence that our image culture has on our society. Society suffers from loss of contact with true reality as it is replaced by an iconoclasm of simulacra and simulations (make believes). These imagery and representations tricked us into thinking they’re real and became our model for reality: a hyperreality. I work with photography, moving image and film to play with the gap between true and fake. I strive to create imagery that seduces the viewer and then aim to create space for the viewer to detach from that seduction, in order to develop a critical attitude towards the influence of imagery.
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KIM NUIJEN
137 p.136 p.137
"Original copy. An investigation into modern trompe-l'oeil.", 2017, research images, close up painted facade, Genova (IT) "Original copy. Number I", 2017, installation view
138 www.obobogo.fr
stanley.obobogo@gmail.com
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Stanley Obobogo (FR)
GD
*1994
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STANLEY OBOBOGO
What is it like to be a designer? My research project emerged from a need to understand the reallife practice of contemporary designers. As soon as design students graduate, they need to face the professional realm and initiate their careers. Some of them will establish their own offices. Some other will work for multinational communication firms, some for smaller independent structures. Figuring out upfront the practical aspects of being a designer is a complex task in a constantly evolving society. Finding a stand in the working world as well. Aiming for a better comprehension of the design industry, my work provides a glimpse inside the life of designers. Started by interviewing various Dutch design studios, this project has evolved into an educational tool for students. It reveals empirical advices, insights and practical in-field knowledge, necessary to aprehend the professional world.
141 p.140
Book, 2018, early prototype
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STANLEY OBOBOGO
143 p.142 p.143
A glimpse inside Studio Dumbar, 2018 «What is it like to be a designer?», poster, 2018
144 peck.fi
mke@iki.fi
+358504355277
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Marko Peck (FI)
PH
*1990
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MARKO PECK
Defining Nationhood I grew up between many places, speaking two languages and receiving an international education. I have lived long-term in three countries and nomadically across more than ninety. I do not entirely belong to any group and am an outsider to some degree no matter where I go. As a result, I have always related strongly to other multi-nationals, migrants, nomads and people of mixed origins. My graduation project deals with national identity and belonging in the context of regions that have seen their borders redefined in recent decades. These include the former Yugoslavia, USSR and Cyprus among others. By traveling to these areas as well as by meeting people with connections to them elsewhere, I have compiled a collection of audio-visual content based around interviews that speaks to the complexity of national identity and the impermanence of the nation state itself. Taking the role of digital storyteller I share the thoughts of my subjects via an interactive web documentary entitled "Defining Nationhood", online at nationhood.world.
147 p.146
"Hebron – Israel/Palestine" "Catholic/Protestant – Northern Ireland"
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MARKO PECK
149 p.148 p.149
"Brod — Croatia/Bosnia" "Lefkosia/Nicosia — Cyprus/T.R.N.C." www.nationhood.world, 2018
150 ornella.sanfilippo@gmail.com
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Ornella Sanfilippo (IT)
GD
*1991
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ORNELLA SANFILIPPO
The Reading Space While the book is a great device that we have been using for thousands of years, its digital version continues to fall short. Digital books make it harder to retain information and a large body of scientific research about screen-based reading highlights the urgency for the design community to investigate how to present digital text in a way that better supports in-depth reading. "The Reading Space" is a research project investigating how the new emerging reading behavior of the digital age can inform the design of on-screen reading interfaces. Aiming at raising design questions, the project reflects on the relationship between the paper book and the digital one while exploring alternative (spatial) possibilities to display text beyond the paper book metaphor.
153 p.152
"The Reading Space", 2018
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ORNELLA SANFILIPPO
155 p.154 p.155
"This is a walkable story", 2018, installation "This is a walkable story", 2018, installation, detail
156 www.rikschutte.com
info@rikschutte.com
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Rik Schutte (NL)
PH
*1989
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RIK SCHUTTE
Artistic methods: forward & backward Rather than working from project to project, my way of working changed during the master by the development of two methods: forward and backward. Both methods are inspired by a quote of the Danish 19th century philosopher Søren Kierkegaard: "Life can only be understood backwards; but it must be lived forwards." The forward method is searching for surprises by going outside with a camera and be open for any coincidence or idea which happens. Rather than a premeditated plan, the forward is based on the allowance of chance within a constructed and controlled setting and emphasizes a physical understanding of the world through experience. Most of my video performances which I refer to as "Attempts" are results of this method. The studio-based backward method derives from a state of reflection and aims to understand and question the world through an intellectual attitude. Until now this method has resulted in a body of photography works which aims to expose defects in photographic representation and dismantle the omnipresent notion of the photograph as a document of evidence. 159 p.158
"Silent exertion", 2017, video still Documentation of KunstRAI, 2018, presentation, video
160 Artist statement My practice pivots on the concepts of incompetence and uncertainty, which I attempt to manifest through video performances and photography often combined with text. Most of my works derive from an urge to deliberately embrace irrationality, like staring into the sun or running through a forest while being blindfolded. I believe we live in a time where there is no clear meaning to life. Therefore, I consider my work as an attempt to playfully defy this futile reality. My video performances thus focus on a physical experience of incompetence, while my approach towards photography is ledby the medium’s unreliability.
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RIK SCHUTTE
161 p.161
"Attempt to ignore a helicopter", 2017, video still
162 www.fayteo.cargocollective.com
sufuiteo@gmail.com
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163
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*N/A
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FAY TEO
In the Wild Now "It is very common for humans to develop things with the best of intentions that have unintended, negative consequences." (J. Rosenstein, creator of the 'like' button) Live streaming features claimed support the "most personal and emotional and raw and visceral� ways people communicate in the moment of NOW (real time). In the logic of NOW, is the idea that live streaming should mirror the real world in order to create a sense of reality? Or it builds a hyperreality world that distort reality? The thin line between reality, hyperreality, virtual reality and fake reality become more obscured. In the Wild Now put focus on the current live-stream boom. This project investigates how live stream integrate into our daily live, how we consume live stream content and what’s the costs associated with it to our modern lifestyle. Through the lens of phenomenology, we explore how does the language of reality is formed in the live stream world: the difficulty to distinguish reality or a simulation of reality and the mutated interaction reveal the reality in humanity. Live streaming is warping reality in new ways, but the question is how are we going to live with it? Maybe this is not the biggest challenge we face, but the search of the essence of humanity. Fay Teo aims to use graphic design as research tool to provide differents levels of understanding; as alternative means to provide viewpoints that not always reflected in the mainstream media, often challenge our familiar perception.
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FAY TEO
167 p.164 p.166 p.167
Animated visual sketches, 2018, still Visual research material: graphic violence content, 2018 Visual research material: removed content, 2018 "Digital vanitas", 2018, interactive installation, still
168 studio.jaspervanblokland@gmail.com
+31(0)624527440
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Jasper van Blokland (NL)
AN
*1991
170
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JASPER VAN BLOKLAND
Parametric Animation: Designing with animation makes it a lot easier The research in "Parametric Animation" explores the role of animation and movement in the (graphic) design process. The outcomes generated by "Parametric Animation" are variations of a design which uses principles of animation and movement, intended for graphic designers. Several parties were involved in this research. Testing and discussing the use of parametric animation with them made a great contribution to the research, which resulted in an application that will generate different designs based on formulated conditions.
171 p.170
"Parametric Animation", 2018, experiment 1
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JASPER VAN BLOKLAND
173 p.172 p.173
"Parametric Animation", 2018, experiment 2 "Parametric Animation", 2018, experiment 3 "Parametric Animation", 2018, experiment 4, detail
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Heads of Master Institute Vice Dean Master Institute
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AKV|ST.JOOST
MA CATALOGUE
178 UH It’s a great pleasure for us in conversation together, to look back and to think forward as we celebrate the achievements of this year’s masters students and mark the completion of their studies. And what a year it has been! It started with the move to a wonderful expansive building where all master students across the Art & Design subject areas are learning together in a 24/7 studio environment. I’m particularly interested in how we institute spaces of knowledge through creative practices. As a way to contextualise this could you say something about this journey and how it has transformed the community of students? MB Maybe it all started in a very small way, when I became the head of all master subject areas and started attending each presentation held across the different programmes. I was struck by how similar the researches of some students were, although they sprang from very different contexts. In some cases, the topic of their research was similar, in others the approach or attitude was comparable. And although they were sharing space or classes sometimes, they would rarely discover these similarities themselves. It was clear to us that we really had to think this through radically and the move to the current Master Institute building propelled our discussions and decisions. In the end we reconsidered every aspect of the masters
to create an alignment that would allow an optimal situation for encounter, exchange, making, learning, researching and sharing. One of our goals was to dramatically enhance the students’ ability to shape their environment and programme. And this might have been the most encouraging change we noticed immediately after only a few weeks of moving in together last September: the students started to create a community that was self-organising, initiating and interacting. UH Across the Masters curriculum the concept of ‘transformative learning’ is echoed, and in relation to this, and to bring us closer to the idea of teaching and learning, I’m interested in the actual performative praxis of art. Art is pedagogical. By this I mean the way creative practices move ideas along in all their fragility as they evolve in time, conceptually and in space; not as end products, but each as a process of shared learning (co-research) and thinking through the practice itself. MB This has been one of the main motivations behind the forming of the Master Institute. Where previously only the visual art students had a designated studio space, we were now able to offer this to all of our students, including the subject areas of Graphic Design and Photography. This has made such material change to the learning process. The shared studio becomes
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Miriam Bestebreurtje in conversation with Úna Henry
AKV|ST.JOOST
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180 a space where ideas can move through forms, shapes, materials, dimension (size) and intensities. A place where things can sit, can be observed, seen by others who are just as invested in the ‘becoming’ as you are. UH The modus of self-organisation is an important criterium across the Master programmes. Our student cohort are from more than twenty countries across the globe. What I’ve seen over the past few months, throughout the master subject areas, is that within this model of transformative learning, there is a shift from a dominant, repressive institutional perspective of pedagogy and instruction towards a more cooperative, autonomous model of collective organisation. This, in alignment with the internationalism, appears to test how local, linguistic and situative knowledge is produced, providing this cohort of artists and designers ‘in training’ critical strategies to empower themselves. MB There are two aspects to this. The Master Institute as a locus for learning where the constellation of tutors and students create this situational knowledge. But also the Master Institute as a place to gain agency, also in response to the institutionalisation and commodification of art and design in the discourse of the ‘Creative Industries’ on which we shared ideas with Research Professor Sebastian Olma1.
UH Aligned with this, one could say that through its research programmes, arts education is perhaps the only terrain left to us that can provide a place of refuge for deep thinking and study about this historical moment. We have to produce this, institute it. What I’m interested to develop further is a discursive form as a becoming learning process, where the students, who are constituted in language, talk back, as a mode of counter speech as a condition of agency and potentiality. MB I remember a beautiful discussion in the midst of the reshaping of the curriculum about the use of the word ‘experiment’. What were the requisites for a true experiment, was an experiment without hypothesis even an experiment, would we not need an additional word such as ‘expedition’ which would describe the uncertainty of both the start and the result of the inquiry, but that would allow deep thinking to take place? UH Expedition as a mode of cognition, learning and mapping, rather than considering art as a means of production? The artist and educator, Luis Camnitzer, takes a compelling counter position regarding creative production and determines art as a means of thinking which he calls ‘art thinking’: “Art thinking is much more than art: it is a meta-discipline that is there to help expand the limits of other
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181 forms of thinking. Though it’s something as autonomous as logic might be, and though it can be studied as an enclosed entity, its importance lies in what it does to the rest of the acquisition of knowledge.�2 If we situate ourselves, as tutors and students alike, around the idea of art thinking, as well as approaching knowledge dissemination as a process of reciprocity, this is really powerful. I mean in terms of discussion and sharing the knowledge through research that is being produced by master students. It enhances the teaching activity already going on. MB Exactly! It was what we envisioned to happen, and the recent thesis conference was a significant passage in that direction. UH What I’d like to do is to move towards an alternate space of pedagogic relationality, and to reflect on the process of thinking itself and how knowledge is generated and shared, as a more productive way of legitimising knowledge production in and through creative practices. MB The discussion on knowledge production in and through creative practice is a long one. I tend to now think that rather than seeking legitimacy, the build-up of a convincing body of practice is in order. Less talking, more doing! I think back on the emancipation of gender studies in academia. Of course, vigorous self-
reflection was part of that process, but in the end, it was the body of convincing research that established the discipline. I see it as the Master Institutes potential and task to contextualise the work done by students in that way. UH By way of conclusion and in relation to contextualisation, can we embed within official art educational institutions a real transformative educational praxis where different forms of producing and sharing are actualised? Perhaps I can sketch four considerations to carry into the next stage of the master institutes development: (1) the legitimising role of the primary market and the second economy that underwrites art practice must be illuminated through pedagogic processes and the institutes responsibility to engage with capital and critique of the value form; (2) an assertion of creative autonomy and defense of avant-garde praxis through its education programmes; (3) aestheticised withdrawal and antagonistic tendency to take risks and to struggle within and against ambivalent pedagogies; (4) agonistic engagement that allows for a form of life in common. MB I really look forward to this development in the Institute and I am excited to see the how the students and their work benefit from this environment.
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Sebastian Olma, In Defence of Serendipity: For a Radical Politics of Innovation (Repeater, 2016) 1
See Luis Camnitzer’s essay "Thinking about art thinking" in Eflux Journal 56th Venice Biennale, http://supercommunity,e-flux.com/texts/thinkingabout-art-thinking/ 2
MA CATALOGUE
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MA CATALOGUE
184 RB It is with great pleasure to write a few words of congratulations in the catalogue of the masters of 2018. These master graduates are a talented group of artists and designers who have developed their independent research over the past two years and shown us in many novel ways how they respond to the views and positions of their peers and to the current discourses of visual production within their specialist field: visual art, graphic design and photography. During the course of two years they have gained confidence, maturity and interpersonal skills, developed awareness and a knowledge base of the current issues within their professional field, and identified and explored rigorous methods germane to their practice. This has resulted in new work and relevant visual and textual research that we will see presented at various exhibition platforms in ‘s-Hertogenbosch and Amsterdam. With the critical knowledge they have gained, new direction has been given to their practices and they have made original contributions to the development of a dynamic and evolving professional field of creative practices. Today’s graduates connect the past and the future. They build on what has already gone before them and level the path for new generations of art and design graduates. The process of interrogation, reflection
and transformation that the students go through during their study does not only apply to them. The Master Institute, its tutors and support staff, feel great responsibility for enabling each and every student to achieve the highest possible standards through their personal investigations and ability to position their questions and practices within the specialist field of creative practices. This field is in rapid flux. This is why we continually question the role and purpose ofthe Master Institute, now and in the future. We have formulated a number of ambitions through which we will be innovating how we organize the Master Institute and its specialist subject areas in the coming years. We will broaden the multidisciplinary studio-based practices and strengthen further the intercultural dimension with different perspectives on issues within the profession. We will bring an integrated approach and an interdisciplinary way of working to the curricula in order to deal with the rapid changes within society, the role of the creative practitioner and fundamental questions regarding personal and social responsibility, make new connections and build partnerships to tackle the complex real-world challenges of our times that stem from these shifts. This will foster new ways of thinking, interlinking practice, theory and research discourses from within.
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René Bosma
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MA CATALOGUE
186 The thinking process started early this year when we embedded our international graduate learning community at our new location in ‘s-Hertogenbosch; in a building with 24/7 studio access and a strong connection to the bachelor studies. By reading through the pages of this book you will recognize that our ambitions are already clearly identified within some of the graduation works. The catalogue itself is created with great passion and rigor by the students themselves and undoubtedly shows what we strive for at our Master Institute:
an atmosphere where one can study in openness and safety, take responsibility and learn how to independently develop oneself further, also after the education gained. These master graduate students are ready to take the next step in their professional careers. I am proud to send them off with the knowledge that the talents they have developed here at the MA, the knowledge gained, and the community of friends they have made will stand them in good stead as they move on to the next stage of their career paths. They have learned a lot and we have learned a lot from them.Â
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The designers
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AKV|ST.JOOST
MA CATALOGUE
192 AF As the student in the group who has taken part in the design of the previous catalogue I'd like to start the conversation by saying that this year the process leading to the final outcome has been pretty different from the previous editions. First and foremost due to the environment in which Giulia, Zeynep and I were able to meet on a weekly basis to develop the volume. One of the main aspects we wanted to highlight in this year’s edition is the new setting in which we've been working: for some of us the studios have become a second home, a living space for gathering and learning from each other’s habits. During this year we’ve been fully experiencing the building, taking the chance to get to know one another fostering mutual learning. GB The broad diversity in matters of provenience among all the students, enhances an atmosphere where we're constantly stimulated by each other's background. Furthermore, since the departments are now merged in the very same building, we started perceiving some sort of interdisciplinarity within the courses, which is something we've been aiming for since the start of our academic paths. ZG While settling into our new “habitat”, we were strongly encouraged to see the building and the Master Institute as a whole, creating our own studio spaces without departmental separations. This spatial planning process has been one of our main source of inspiration for the editorial structure: as graphic designers we wanted to visualize this concept of “non-division”
into the catalogue. By having a first look at the volume, the reader can easily see the separations via the grounds: Floor 00 and Floor 01, featuring all the students; Floor 02, where the administrational office is located, and lastly Floor 03, where our editorial group meetings took place during these months. AF Last year, as a design team, we took the decision to place the students in the index based on their answer to the questions “Where are your from?”. This year we gave continuity to the 2017’s concept by focusing on “Where are you at the moment?”, in a rather literal way – mapping the academy's current setup in terms of students' locations throughout the structure of the building. GB Speaking of consistency, this year the publication is part of a whole identity that Ada and I designed for the graduation shows of all the three master departments. Again, this decision is a sign that the Master Institute is willing to move along with the artistic realm, aiming towards a more interdisciplinary profile where research-based practices have less precise boundaries and imply the use of several media that aren’t necessarily those one associates with a specific field. We've been witnessing this shift even by looking at the students’ graduation projects which do not necessarily fit into established classifications nor definitions. ZG Yes, indeed! Hopefully, with the upcoming design team we’ll be able to follow the Master Institute along this path and project its vision in the next years’ catalogues.
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THE DESIGNERS 193
Giulia Bardelli Ada Favaron Zeynep Gürsel
AKV|ST.JOOST
MA CATALOGUE 2018
FINE ART
GRAPHIC DESIGN
PHOTOGRAPHY
CORE TUTORS Mounira Al Solh Thomas Bakker Erik Hagoort Iris Kensmil George Korsmit Bas van den Hurk
CORE TUTORS Simon Davies Joris Landman Annemarie Quispel Arthur Roeloffzen Coralie Vogelaar
CORE TUTORS Marnix de Nijs Nout Heerkens Marga Rotteveel Martine Stig Mariska van den Berg Frank van der Stok Michiel van Opstal
GUEST LECTURES Lado Darakhvelidze Juliet Gagnon Anne Geene Hans Gremmen Thomas Kuijpers Vibeke Mascini Patricia Reed Ieke Trinks Sander Uitdehaag Dan Walwin
HEAD OF MASTERS Úna Henry
GUEST LECTURES Annette Behrens Harris Blondman Michael Ellsworth Juliet Gagnon Anne Geene Hans Gremmen Leon Kranenburg Vibeke Mascini Open Set Lab Gabriel Stromberg Teyosh Sander Uitdehaag Petr van Blokland Emmy van Thiel
OFFICE OF MASTER Nancy Stipkovits Lise van Zaalen
TUTORS
GUEST LECTURES Dries Depoorter Juliet Gagnon Anne Geene Hans Gremmen Alfons Hooikaas Thomas Kuijpers Emmanuel Lambion Femke Lutgerink Marta Masiero Vibeke Mascini Frans Oomen Nicole Robbers Jan Rosseel Kuno Terwindt Sander Uitdehaag Eefje van Hoof Dan Walwin
RESEARCH PROFESSOR Sebastian Olma Michel van Dartel
AKV|ST.JOOST
MA CATALOGUE 2018
TEXTS Giulia Bardelli Miriam Bestebreurtje Rene Bosma Ada Favaron Zeynep Gürsel Una Henry and the students TEXT EDITING Ada Favaron Luisa Traumann CONCEPT AND DESIGN Giulia Bardelli Ada Favaron Zeynep Gürsel PHOTOGRAPHY Dorien Scheltens PRINTING Unicum by Gianotten BINDING Boekbinderij Patist B.V. Edition of 400 copies © AKV|St.Joost and the students. All rights reserved. ISBN 978-90-71015-49-6
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