BA Photography - CIRCLE newsletter #3

In light of our third edition of the Circle, we wanted to discuss the already most discussed topic. Yes, the topic on the foreground of every article on photography in the month of april 2023. German photographer Boris Eldagsen decided, in his words, to be a cheeky monkey one day, as he submitted an AI-generated image to no other but the Sony world photography awards. Even cheekier behavior is when he revealed he submitted to test if photo-competitions are ready for AI images to enter the mix.

By refusing to accept the prize he sparked a world-wide debate: should AI and photography mix? In his view, they are two separate entities, whose paths should never meet. But what do you think? We chose AI to be the theme of the Circle #3 issue as a way to digest how KABK students and staff use it within their own projects, and address its towering presence in the art world (and arguably, all the word).

In an article written by Adrian Chiles, he states how “In this era of AI photography, I no longer believe my eyes.” The dramatic responses to this scandal are giving many of us déjà-vu. Does this heated response not remind you of another event in photography. Say, perhaps, when photoshop first launched.

People eventually stopped calling others frauds for stepping out of their darkrooms to edit their images, and even praised those able to use the software.

Is this the fate that awaits AI-generated images, photography, and our career? There was never any criteria to effectively rule out AI in the competition. And if many already doubted that there was anything slightly off with the image, imagine how little difference between a real human face and AI-face there will be in 10 years?

We see AI bloom more and more within the inner workings of KABK. Students are using AI in their projects; in this issue we will look at Krystian Furman’s project We Gotta Shine with You. We acknowledge that we are only skimming the surface of a topic that has no definite answer. Our job is to prompt you and our community to think about issues such as the ethics of AI, copy right, and the future of a technology that will have profound impacts on our society.

DEPARTMENT ANNOUNCEMENTS

Kim Nuijen’s baby is born

Happy news, Kim’s son has been born! Lou Hardy is his name, and he arrived on Earth at 14:11 on Tuesday 16 May.

Lou is as healthy as a horse, and Kim and Dirk are enjoying every minute with him, settling into the parenting rhythm and feeling in love in a way they’ve never felt before.

Kim would like to thank everyone for all the sweet messages she has received.

Eddo Hartmann: Change of scenery

Dear colleagues and students,

I have decided to step down as a teacher at the KABK. After a successful third block with a special field trip for the second year, I think it's a good moment to bring things to a close.

Part-time Compact Course fresh start

Over the last few months, after feedback from our Part-time students, a teachers task team has been set up to see how the current curriculum and schedule can be energized. So watch this space! On 2 June, Part-time students will get a chance to give feedback on the developing ideas. In Aug’23 the Part-time Compact Course will start fresh with the first Fast Track Week!

I find myself at a crossroads where I must choose between deepening my work as a teacher or continuing my path as an artist. I have enjoyed working with all of you for the past 7 years. It has been challenging at times due to the circumstances we faced together, but it certainly never became dull :)

When I graduated from KABK in the mid-90s, I felt the need to give something back to the institution that gave me so much on many levels.

I am very grateful to have been able to do that with your help.

I am excited to see what the future holds for both myself and the academy. All the best, Eddo

ISTOTA

By Ola Lanko

Istota is a project wherein I gather my research about emotional intelligence and sensitivity. It is a collection of stories written for children and adults to engage in selfconnection and find understanding between each other through imagination and play.

Images and stories become places to meet and find a common ground to wander around each other's emotional landscapes. Through imaginative associations and storytelling evoked by images, Istota invites the audience to map out feelings and emotions and develop the vocabulary around them. I use the language of fiction and metaphors to imagine an inclusive, joyful and welcoming world populated by various creatures representing different energies that are dancing within every human being.

TAKE A LOOK AT OLA`S WEBSITES FOR FURTHER INSIGHTS:

https://www.istota.world/ (link to project)

https://www.olalanko.com/main (website)

Interview with graduating student Ira Grünberger

Can you tell me about your graduation project?

My project is about reimagining and reinhabiting a house that can no longer be visited. When composing a house, its shell becomes like a carrier of our memories, with its materials witnessing our personal and physical (de)construction. To understand how these memories appear in construction materials, such as metal, glass and clay, and eventually decay and dissolve, I’ve been researching into merging photographic and elemental processes.

I am trying to visualize this through an installation and publication. Both contain various elements, such as blueprints on ceramic tiles, rust imprints on fabric, and image constructions. Most of them are based on floorplans and technical drawings my father created, and reappear in the installation as steel frames inspired by their shapes. The installation represents a constructed framework, which partly deconstructs itself. For example, images imprinted on metal plates slowly dissolve through vinegar dripping on them. In this sense I hope to create a more sensitive understanding towards building materials, by showing their potential as vessels for memory and embodied trauma.

How did the idea of the concept arise? Did you extend a previous project of yours?

This project combines a lot of notions that have been present in my research from the past years, so I definitely see it as an accumulation of partly very personal notions, and as a methodology that has been shaped by those explorations. I spend a lot of time reflecting on my influences through writing, which lead to my research paper "to carve a house between this mouth and this world", but also doing material research. What binds my work together is an interest in how both space and memory is (de)constructed, and how you can explore and bend the framework of photography similar to how we construct built space.

What is the process of graduation? (Presenting concepts, green light)

In the first semester the classes are mostly designed to understand where one´s interest comes from and in which direction to move towards. Commissioned work and research paper have to be produced simultaneously. Personally I really enjoyed this semester since it gave a lot of space to experiment and make connections. In the second semester it´s about finalizing and designing the research paper, and moving from an experimentation phase towards the execution of the project. An important moment is the green light, in which there is feedback on how the work communicates and if it can be executed in time.

What are you looking forward to after graduating?

To do things intentionally, and to do things at my pace. to collaborate, to expand, to continue my research. To think through making, to reconnect. Graduating feels so much like going back to the beginning and drawing a new circle.

How stressful is finishing the 4th year? (Sorry for this question)

Honestly I feel like each year has had very stressful moments, so I'm not sure if it is any more or less stressful. I think that really depends on your way of working and your personality. What could be stress-inducing challenges in the 4th year is for example the jump to a more self-organized way of working, but that also gives much more freedom. Or when you make work that is not understood by the department, or that you might not fully understand yourself (yet). There is a lot of decisions needed, a lot of trust, for sure a lot of patience.

The Cockroach Collective Print Sale

The Cockroach Collective launched an online print sale in collaboration with Photo Lab Kieke Amsterdam, as part of their graduation campaign, to promote and fund their graduation work. For every print that is purchased 25% of the profit will go to the organization Filmlab Palestine to support the tremendous work they are doing. FilmLab Palestine aims at expanding and cultivating the existing cinema culture within Palestine, while providing the much-needed technical and artistic support for emerging Palestinian filmmaking voices. The collective wants to bridge gaps between our academy and theirs and create visibility for the next generation of Palestinian filmmakers and their organization. We see that they enable a future for young generations and artists, and we are excited to show them our support! We have noticed a lot of neutrality in the study environment regarding topics of Palestine. We do not want to stay neutral. We want to show care.

The prints are available for 85,- or 45,-.

85,- is a A3 size

45,- is a A4 size

We appreciate your support, and we invite everybody to join us at our last dance in the graduation show!

TAKE A LOOK AT ALL THE PRINTS, AND BUY THEM HERE:

Or simply support by buying them a coffee HERE

Cockroach Collective

Kim's personal advice on collectives

BY Kim Casamitjana spennhoff

With Collectives comes a lot of pressure and stress. It is quite a challenge to bring everything you did during the semester together in a 15-minute presentation.

During my past Collectives, I started making lists of stuff I wanted to improve on in the coming ones, in terms of presentation and organization; maybe it can be of some help to you?

- It is a moment to show what you did during the semester and what you have learned through the work you have made. Something I always keep in mind is that some of the committee members haven't seen most of my work, or any of it. When thinking of how to present it, think of how you could make your process insightful and understandable from beginning to end. Also, I always make sure to highlight what I learned from it.

- If you want to challenge yourself with the 3-minute verbal presentation by not reading it entirely off the paper (which would also be fine, by the way, no need to get anxious!), something that worked for me was to first write it on the computer and then write it down again by hand. I read it many times, highlighted the important parts, memorized

the structure and key points. Something I always do as well is hold the paper in my hands for support. When I print it, I make sure the font is big enough for me to speak quickly, and the key points are highlighted in a different color.

- Printing. Apart from the obvious advice to start printing early on (like 2 weeks prior), I make little lists as well, following a specific system. I make a list for every subject, and within each subject, a list with all the assignments I had.

I check which assignments I’ve already printed and make a separate list for every subject with what needs to be printed still. Then I make a separate list, the "Print List", and divide it between: "manual paper", "normal paper", "upstairs good printer". Each title gets a folder on my laptop containing the files that need to be printed.

After that I make another list called "Paper" and write down the sizes and paper types I will need to buy to print, so I only need to go to the shop once and have it sorted out.

"normal paper", some specific paper types of photos or publications on "manual paper", and technical skills assignments or final selections of photos for projects on the "Upstairs good printer".

This may sound a bit exaggerated but coming from someone with a strong tendency to "out of sight out of mind" my way through life, this really saved me.

I usually print all my process and theory on

- Have a plan on how you will structure your room beforehand. Study the room and make a drawing with the distribution of works. It gives a sense of security which will lower your stress levels, and as soon as you can build up, you will know exactly what to do, and if you have people helping you, it will make their life easier as well.

- Ask for feedback from classmates after you build up. What's missing, is it clear enough, is everything hung up straight...?

- Print many white papers with a grid on them, handwrite all the names of the assignments and descriptions, cut them out evenly and paste them next to the corresponding piece of work. Why handwritten? Because most probably that day you will find you have forgotten to write a couple, and instead of having to add them to a document and print them, you can just write them down on your printed grid, cut them out and add them to the presentation.

- Buy tape or Blu Tac a couple of days before, I strongly recommend Blu Tac because it is way quicker to put on the prints.

- If there is anything that you can do beforehand which makes you feel more prepared and confident, go for it. If it's rehearsing and making a friend listen to your presentation 50 times, I will feel sorry for them, but do it. If it's setting up your work in your room at home to see what works and what doesn't, go for it. If it's going out for a walk to unwind, go for it. What I usually do is get some intense exercise the day before and go to bed early. I wake up more energized, and the exercise the day before helps me release some tension and stress.

And finally, once everything is set up, congratulate yourself on the hard work and accept you did your best, and the rest is not under your control anymore.

I look at Collectives as a day where I bring all my work together, get very useful feedback and a new sense of direction for the coming semester or year.

WE GOTTA SHINE WITH YOU

By Krystian Furman

Conspiracy is like glitter. Cheap, accessible, appealing – spreads like wildfire and gets everywhere. Departing from Reddit theories about who the biggest importer of the sparkling material is, I create my own made-up stories in a childish play with the Internet dispute. I sent the invitation to release your imagination from the frame of rationality, without thinking of consequences.

The conspiracy is all-present. Just like glitter. If you have ever felt tempted to buy one of those kitschy glitter-made items of no use, you know how hard it is to get rid of every single flake of this crap. Almost as it penetrates your skin at the molecular level. It corrupts your circulatory system, sinks into your cells, and makes your mitochondrion cheesy and plastic. And then it gets into your brain.

This is also highly contagious. Once you get infected, you just cannot stop mumbling about your earth-shattering discoveries that would turn the world upside down. You stop by your friends’ place and have a small chitchat, some cookies. After that, you can’t say no to throwing up this rainbow mash made of glittering particles of conspiracy as a thank you.

“You’re always more than welcome” - says your friend, when the first, gleaming parasites full of colour start to march through his lungs. After that, feeling a little dizzy and having eaten a fair dose of paracetamol, he goes to tuck his kids in... I know what you all think – OH GOD, NO HE IS ABOUT TO PASS THIS SCARY DISEASE TO THE KIDS. And you’re damn right – now, not only will he look for some miraculous herbal rituals to cure his cancer but he won’t allow having his offspring vaccinated.

note fRom KRYstYna

AI can be a great tool for photographers and visual artists if they know how to make use of it. Looking at what Krystian has done in the project – Is there a better way to visualize the conspiracy theory topic rather than with the technique surrounded by conspiracy itself? It is a great way to expose our relation to technology, information, what we understand, and what we don’t understand. How do we react to it? This also relates back to the origin of conspiracy theories. I think that AI has just become one more thing in the artist’s toolbox. It does not threaten the artists like some sceptics would argue; without the artist it cannot exist on its own. Artists are too smart for that and the AI generated art lacks what people are looking for in art in the first place – a human element, a place for connection.

FIELDTRIP

“I thought I would get to see a bit of the city but in the end, I didn't. It was really just work and feedback talks, I didn’t even go out to party. On the other hand I am very satisfied with the result thanks to all the focus and little distraction.”

“During the fieldtrip, I think I gained confidence in my skills as a photographer when things don’t really go as planned. The research that I did beforehand helped me understand what drives me to create when I don’t know anything about a new city. The people I met reminded me once again that collaboration is what I truly value about photography.”

“The field trip experience showed me what working on location really looks like. The most challenging part for me was to find flexibility in my progress. I had to adjust my idea for the project that I have made in The Hague to the actual location in Brussels.”

“I had a lot of fun trying new photographic techniques, it was nice to feel so productive and create a good body of work in such a short amount of time.”

“I like how this challenge pushed the boundaries of my creativity, now I tend to be more open to changing my initial concepts, analyzing and reacting to a present situation.”

“A stressful but amazing experience. I understood better what I want to base my practice on.”

For further insight to the projects and fieldtrip, listen to the podcast by Komma, Collective!

Komma, Collective

Coming together to materialize a journey of creation, we press pause on a flow of information which eventually clears out into smaller stream lines. Join us on a discovery of individual ideas that hold together as one, while we embrace the pauses as inherent parts of the process.

The publication DOT will be published in the beginning of next semester, keep your eyes peeled!

Stay updated: Instagram Website

3rd year internship Davide Sartori

Davide Sartori interned with Amsterdam-based artist and publisher Petra Stavast. Although initially Petra informed him that she is not interested in having an additional assistant, they met for a coffee and discovered that they are indeed a match.

As Davide puts it in his internship report: “I like works which are not that easy to grasp, works that are challenging the viewer, and that are trying to trigger a self-reflection or a critique towards a story.” At the time Davide met Petra, she was working with another assistant on a follow-up to her project “Libero” which was finished 15 years ago. In the following paragraphs, Davide will give some insights into his internship and his collaboration with Petra Stavast.

During the course of the internship, I worked and helped Petra with different sections of her current project about a house in Italy that was inhabited by Concetta. As Concetta was not only the sister of Petra’s former subject Libero, but also a photographer, Petra discovered a lot of material like personal archives, glass negatives, and painted backdrops. The images and prints show slow deterioration and organic transformations.

We scanned the negatives carefully and started creating compositions of the archive. We spoke about the overall idea for her new exhibition, and we made tests on how to display the material – both physically and

through video. I was mainly doing different kinds of animations to combine her photography, with the archive, and the interview material. In order to come up with a conversation around this massive archive, we had the idea of trying to find the people mentioned in the archive material, to bring the memories back to their legitimate owner.

Part of the rescued material consisted also of old letters sent from Libero to his family. My task was to transcribe in Italian first and then make an English translation. This was more complicated than expected, since the Italian they used in the 40’s was quite different from contemporary Italian.

A big part of Petra’s practice consists of photography and she only (or mostly) shoots analogue. Petra had the idea to print some of Concetta’s negatives. After deciding what size would fit best in an exhibition, we went to Aap-Lab, a printer in Amsterdam. I had the opportunity to stay with the printer in the darkroom and to get some information regarding the process, follow him during the printing and help out with taking the focus.

I had a beautiful internship with Petra, the environment felt always positive and allowed us to really have conversations about the work. I developed a better understanding about how to build an exhibition, also from the conceptual side. I can say that I feel more confident about my work and more eager to experiment. Before I met Petra, I always felt that it was a challenge to merge different visual styles. She also allowed me to interact and check out emails from her publishing house Fw:Books. This was very helpful to get an idea of how to fund your work and to understand how things work within a non-commercial field. I am looking forward to staying in touch with her and to having conversations about our work. It was also inspiring to see someone being able to lead a wonderful life without having to sacrifice it to succeed.

3rd year internship Mayte Breed

Dear Circle readers,

From the end of winter to the beginning of spring I spent my time in Vienna. I experienced seasonal change where the dull city turned green. Here in Vienna I was doing a 3 months internship with multi-artist Stefanie Moshammer.

Almost every day I would bike from the 8th district to the 1st, where her studio is located. The first district is characterised by its massive buildings and architecture and on every corner you are welcomed by a marble statue. We would take it day by day, not moving alongside a fixed schedule, which was a nice feeling. Working one on one with Stefanie created a good flowing dynamic and especially towards the end we got more used to each other.

We worked on 2 publications, prepared for her solo exhibition, set-up 2 exhibitions, had a store opening, worked on a story for Atmos Magazine, photographed for Zeit Magazine, retouched, edited, sequenced, made many calls, sent many e-mails and run many errands. But the most memorable thing we did together was a 5-day commission in Austrian countryside: Salzkammergut. We went there to document the carnival (fasching), which is an important part of the tradition in that area. The costumes that people wear is based on stories that are passed on through generations. We visited local pubs, people at their places and teenager parties.

Thank you Stefanie!

X Mayte

Lebohang Kganye

mother worked in a factory, Kganye says as an example, but there is not a single photograph of her working there. “The images represent only certain parts of people – often the parts they want to remember.”

Kganye’s work primarily evolves around archives and oral history as a research method. In the film Pied Piper’s Voyage (2014) she gets to know her grandfather trough relatives’ stories and archival photographs. However, Kganye expands: “I realized how the idea of archives are beyond photography. I started to think about clothes and furniture as archives as well.”

In her later work, Kganye explores further how memories work: “Family albums are almost like children’s book. They are a space for fiction.” Her grandfather has always been the hero of the family narrative. However, Kganye wants to add depth instead of simplifying what is told. On one hand, there was the brave act of finding new opportunities for his family, Kganye explains. But her grandfather also used to drink a lot – even today, stories about his alcohol abuse are told as funny anecdotes. While turning to a layered narrative, Kganye also critiques the “grand history” of South Africa.

Lebohang Kganye’s work is all about stories – stories of her family that are intertwined with historical narratives about South Africa and respond to a broader context. Still, the beauty of Kganye’s work lies in its simplicity, whether it is an exhibition with her well-known cardboard cut-outs or a video. The artist from Johannesburg is a trained photographer, but Kganye explains during her lunch lecture on the 15th of May that her work is also deeply rooted in performance.

In her earlier work, Kganye herself performs in front of the camera. In “Ke Lefa Laka: Her-story” (2013), Kganye traced her deceased mother’s life by visiting the same places and wearing her clothes. In other projects she embodies her grandfather. But performative aspects are also in the archival photographs she uses: “The photographs are a space for my family to present themselves. Family archives are not only about memories, but also representation.” Her

↳ PIED PIPER'S VOYAGE, FILM STILL (2014), Lebohang Kganye

When asked towards the end of the lunch lecture how to make personal stories accessible for others, Kganye anwers: “For me, this question is about how far I should take the conversation. It’s about proximity.” In May, Kganye’s work was exhibited at foam Amsterdam. As her projects also touch upon forced migration and colonialisation, the context of the exhibition (be it the Netherlands or South Africa) matters a lot. “How close do I let people in? How accessible does it need to be?”. When it comes to the titles of her work for example, Kganye refuses to translate them from seSotho to English. This connects to her childhood in post-apartheid South Africa when she was not allowed to speak in her mother tongue. Kganye says: “I realise that I struggle with Sotho when interviewing my family. Through my projects, I also try to get closer to my family and my language. In my projects, proximity and accessibility is always to be negotiated.”

The way Kganye lets her audience be part in the very intimate stories is also what sticks with me after the lunch lecture. Although some of the specific anecdotes and happenings remain unknown or strange to me, there are many aspects (also in the strong aesthetics) that I can connect with. I admire how Kganye makes so many “big” topics such as identity, family, society and historical narratives tangible by interweaving her own experiences with her family’s stories and collective memories. Her work makes me understand once more how to be very specific and personal and still refer to a wide and layered narrative.

↳ KE LEFA LAKA, Lebohang Kganye

In the shelves above the bars

On Saturday, May 27th, graduating student Clara Sharell (BA Photography) and alumni Emily Stevenhagen (MA Artistic Research) opened their exhibition „In the shelves above the bars“ at Amare. The exhibition brings together young artists based in The Hague, who met working in the Horeca team at Amare and aims to showcase the creative background of people who serve the public everyday.

From May 27th until June 24th you can find the works of KABK students

Thomas van Poppel (photography, 2nd year), Anna Masiukiewicz (photography, 3rd year) and Clara Sharell (photography, 4th year) alongside the works of Emily Stevenhagen (fine arts alumni), Dax Niesten (fine arts alumni, Gerrit Rietveld Academy) and Noa Weijers (graduating fine arts student, WDKA) all around the building. The works will be located at the bars on floor 1,2 and 3, as well as in the Spinozafoyer (1st floor) and the Stadskantine (3rd floor). The opening event was celebrated with a performance by the musical duo Pakita y Pon, consisting of Carolina Agudín (KC alumni) and Janire de Paz (graduating KC student).

Hope to see you there!

OPEN CALLS

PERMANENTLY OPEN

open British Journal of Photography

Submit to Editorial and submit your work free for review by the 1854 award-winning editorial team. The team will review all work submitted via the portal regularly and will be in touch if they feel your project could be a fit for the upcoming editorial!

open The Zone Zine

Submissions are open worldwide to photographers and photography based media artists with no restrictions in terms of age or genre. The Zone Zine is always looking to discover new work. You can send multiple submissions during the year!

open WÜL Magazine

A Contemporary Photography and Fashion online publication and a platform for artists to share their voice and vision. WÜL accepts projects and series, photobook releases, ongoing events, and short films to be presented.

open C41 Magazine

Accepts completed projects only. C41 is daily produced and created by an editorial team based in Milan (Italy) with content contributed by artists from around the world.

open Phase Mag

An online magazine that focuses on international contemporary photography. Open submissions, no guidelines. Send a link of your website, online work or a few attached images in low resolution!

open Safe-light Paper / Online story feature

Theme – “Slow Photography”, which refers to a slower approach of creation, placing placing the story at the center to have more personal, substantial and meaningful projects. Photography projects adding a manual process (print, collage, mixed media, painting, sculpture, etc) are also welcome.

open 1000 Words

1000 Words is interested in seeing new or previously unpublished photographic work. If you would like to be considered for a feature in the magazine, go to a website and send an e-mail with the needed info!

SUMMER

aug Open Eye Gallery / Open Source

Submissions open for Summer 2023

Open Source is a rolling submissionbased open call, giving developing and early-career artists the opportunity to showcase their work digitally on the gallery’s exterior screen. A new photographer will show for the duration of a month, every month. There is no theme and no limit to number of submissions and the aim of the platform is to make lesser-known artists more visible.

JUNE 2023

12.06 Carte Blanche Students 2023 / Paris Photo

On the occasion of Paris Photo 2023, which will be held from November 9 – 12, 2023 at the Grand Palais Ephémère, Carte Blanche Students will kickstart the careers of 4 students, whose projects are selected from among over 100 European photography and visual arts schools, with the exceptional opportunity to take part in the largest international art fair dedicated to the photographic medium.

18.06.Foam Talent Call

Being selected as a Foam Talent puts you in the spotlight of the international photography world. It recognises your artistic potential as an emerging artist and gives you the support to jumpstart your career. Selected artists receive a number of career-building opportunities, including a publication in Foam Magazine’s biennial talent issue, participation in (online) programmes and events, as well as the potential to be added to the prestigious Art Collection Deutsche Borse.

↳ Background generated with "Craiyon.com" Prompt: Royal Academy of Art Photography Horoscope

Summery Summary

You can feel it in the air as soon as you walk through the door, energies run at a new frequency in the last weeks of the semester. Having the grad show on the horizon brings a multitude of emotions. For fourth years it might be a combination of excitement to break out of the structure of classes, for new environments, for new endeavors, and chilling nervousness for what lies on the outside of the structure that this academy has provided over the last few years. For the staff it might be the long overdue sigh of relief from getting the students to the end of another semester, for a chance to engage in their own work outside of school with one less task on their list for a while. For other students, the end of the semester brings its own versions of this. Tense for collectives, to put themselves and their work into the hands of others after months of hard work, and longing to round things off and spend their days in the sun rather than hours and hours in the print room.

We hope that whatever you are feeling in these last days of the school year, you take a moment to congratulate yourselves for all that you have been through to get to where you are now. Whether that means receiving your degree, setting your work proudly on the wall (or floor or ceiling), or just waking up and starting a new day. It all takes effort and often we don’t recognize or honor that enough. May this coming summer break offer you a plethora of opportunities. Opportunity to rest, to work, to get away, to stay put, to experiment, to spend your time as you like to spend it!

We wish the graduates good luck as they finalize their presentations and take on their practices beyond the school's walls. We thank the teachers for their guidance through our challenges. We sign off for now and see you again in the next issue of CIRCLE.

Save the date for the Graduation Show!

30 june - 4 juLY

During the annual Graduation Show from June 30 to July 4, the work of more than 200 graduates can be seen. The corridors and classrooms of the KABK are transformed into exhibition spaces in which the graduates show with their work how they look at the outside world, how they react to it and how they position themselves.

Wander through the corridors and classrooms and find a variety of art and culture. Performances, illustrations, graphic design, installations, photography, film, painting, objects and sound art: it's all there!

Opening hours:

Friday 30 June: 17.00 - 21.00

Saturday 1 to Tuesday 4 July: 11.00 - 20.00

On June 23rd a preview of BA Photography Graduation show will take place only and especially for students and staff of our department. More details will follow soon on Megaphoto.

CiRCLe team Paula Punkstina, Krystyna Gorayska, Ellie Sparacio Warner, Kim Casamitjana Spennhoff, Salome Erni, Anna Rogneby, Emily Josephine Rooney, Alex Avgud.

puBLished BY the Photography Department of the Royal Academy of Art, The Hague issue#3 June 2023 Den Haag, Netherlands

ContRiButions BY Ola Lanko, Ira Grünberger, Cockroach Collective, Krystian Furman, Komma Collective, Davide Sartori, Mayte Breed.

Based on VisuaL identitY BY Jenny Konrad (mail@jennykonrad.com)

fonts BY Samara Keller (Tempos Mono), Stefan Wetterstrand (Lunchtype)

You can reach us with questions, thoughts, ideas and more at circlenews@kabk.nl

Colophon