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SANDBERG INSTITUUT
MASTERS
OF ART
AND DESIGN 2015
STUDIO VacantNL
Page 55— 56
Images from student works and events, selected from Sandberg Instituut’s online archive www.sandberg.nl.
THE ONE MINUTES
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Temporary programmes touching on today’s social issues Jurgen Bey, director since 2010, looked for a way to align the institute with the dynamic of contemporary society. He introduced temporary, 2-year programmes around urgent world issues. Vacant NL —the first temporary Master’s programme— was launched in 2011. The programme explored the vast potential of thousands of vacant buildings in the Netherlands, and suggested design interventions to make these spaces suitable for temporary reuse by creative entrepreneurs, innovators, designers, scientists and engineers, thus leading to crosspollination between these fields.
New temporary Master’s In 2013, two additional temporary programmes came to life. School of Missing Studies deals with art and the public space, whereas Material Utopias investigates the shifting boundaries between new materials and techniques. The latter works closely with the Bachelor’s programmes in ceramics and glass at the Gerrit Rietveld Academie. Another three new programmes kicked off last September: Cure Master, on art and healthcare; Designing Democracy, on political spatial design; and System D Academy, on informal and self-organising social systems.
And now, with the new academic year slowly approaching, we are happy to announce new temporary programmes. Materialisation in Art and Design—which is both a continuation and a disruption of Material Utopias—focuses on materials in the context of new technology and media. Fashion Matters is a research based programme that investigates the role of fashion and design in today’s culture. The programmes start in September 2015. Applications are open until 1 April 2015.
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About the Sandberg Instituut The Sandberg Instituut is the postgraduate department of the Gerrit Rietveld Academie Amsterdam. It offers Master’s programmes in Fine Arts (MFA), Interior Architecture (MIA), Applied Art (MDes) and Design (MDes). The institute was established in 1990 by former Rietveld director, Simon den Hartog, and was originally concerned with such activities as organising seminars and exhibitions. It was its first director, Jos Houweling, who developed the Sandberg Instituut into a fully recognised educational institution with several Master’s programmes. Permanent departments in art, design and art criticism Whereas the temporary programmes reflect on situations with a sense of urgency, the main departments aim to deepen the practices of artists, designers and critics. Sandberg Instituut’s permanent programmes include Fine Arts, Studio for Immediate Spaces, Design, The Dirty Art Department and the new research Master’s programme Critical Studies.
General information The departments are relatively small (average of 20 students per programme), which allows us to keep the courses flexible and open to initiatives from students and third parties. Course directors are prominent artists, designers and curators with international practices. They invite tutors, guest teachers, theorists and critics to challenge our students to reflect on their profession, work and progress. The Sandberg Instituut is open to candidates from various backgrounds. We require a valid Bachelor degree in a field relevant to the programme you are applying for, as well as proof of proficiency in the English language.
This publication presents an introduction to each of our departments and temporary programmes. It provides a peak at what the courses entail and the work our students create. To apply for a programme, or for more information, please visit www.sandberg.nl.
Acknowledgements: Marjo van Baar, Marieke Berkers, Jurgen Bey, Liesbeth Bik, Sjoerd ter Borg, Max Cohen de Lara, Christophe Coppens, Femke Dekker, Martijn Engelbregt, Catherine Geel, Krist Gruijthuijsen, Cynthia Hathaway, Minke Havelaar, Anne Holtrop, Liesbeth in ’t Hout, Simone Kleinhout, Lizzy Kok, Judith Konz, Judith Leysner, Nora Morton, Julia van Mourik, David Mulder van der Vegt, Laura Pappa, Jos Van der Pol, Louise Schouwenberg, Jerszy Seymour, Melle Smets, Theo Tegelaers, Tom Vandeputte, Annelys de Vet, Jaap Vinken, Nancy van Vooren, Rinske Wessels and Martine Zoeteman.
Liquid Times An interview with Jurgen Bey,
director of the Sandberg Instituut
What do these two have in common: Charlie Chaplin and a giant tree rising above a rainforest? Both find impressive ways of surviving. In the film The Gold Rush, Chaplin eats his shoe.1 It produces an absurd image, but in itself the action is quite logical: Chaplin is hungry but has nothing to eat, so therefore he decides to cook a shoe. The giant tree is generous: it sacrifices itself so the larger entity—the rainforest—can survive. When it topples over, it makes space for young plants and trees. It is a premeditated act: for decades, the tree used its canopy as a natural cover, turning the areas of the rainforest underneath into a greenhouse with extremely high levels of humidity. This way it creates an environment in which its demise is synonymous with survival. These two examples arose in the interview I had with Jurgen Bey while discussing the plans of the Sandberg Instituut. Chaplin and the giant tree show us that survival is a matter of reaching for less obvious solutions and creating free space: two methods that are commonplace in the world of culture, but which also appear to be increasingly valuable for society at large as the world becomes ever more complex and liquid. ‘… a condition in which social forms (structures that limit individual choices, institutions that guard routines and patterns of acceptable behaviour) can no longer (and are no longer expected to) keep their shape for long, because they decompose and melt faster than the time it takes to shape them and for their shape to set.’2 In an age in which God is dead and in which science and economics no longer offer any absolute principles, it is now time for the era of culture, argues Bey.
The Big Excursion, Alice Gancevici and Remus Pușcariu, 2014
1 The Gold Rush is a 1925 silent film directed by Charlie Chaplin.
2 Zygmunt Bauman, Liquid Times: Living in an Age of Uncertainty, Polity Press, 2007 p.1.
This is because cultural thinking offers directions rather than ready-made answers. This is needed in a world that cannot be captured in a single sentence. Just take literature, for example. Stories convey potential. Nothing is fixed. It is down to history to solidify structures. Such a system of multiple directions does not necessarily mean that we will become completely lost. Just look at a library, for example, which is essentially an instrument full of potential, where thousands of books are neatly lined up with their spines facing the visitor. Whoever takes a book off the shelf and opens it will find a liquid world in which nothing is. The Sandberg Instituut is taking a lead in this new era. The various departments of the institute stimulate research into, and the redesign of, structures that form the core of our society, such as democracy and healthcare. The programme System D Academy, for example, is carrying out research into informal and self-organising systems. The aim is not to be iconoclastic, but to offer new directions. These will be formed through a process of creating, thinking and defining. Form and context are never fixed in advance. The institute currently faces the task of taking up its position in the world. The form this step will take for the outside world is not yet entirely clear, but perhaps we should not be seeking ready-made answers to such questions. Like the way The Dirty Art Department sees itself, the route of presenting oneself outwardly can take shape “…as a trip, and wherever it takes a pause, it remembers that ‘Any Space is the Place’.”
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Images from student works and events, selected from Sandberg Instituut’s online archive www.sandberg.nl.
PERMANENT DEPARTMENTS
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Images from student works and events, selected from Sandberg Instituut’s online archive www.sandberg.nl.
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FINE ARTS
allel parallels parameters parameters paraphernalia Paraquedas Paris Paris park Park Park PARKING part part part part part part part part part part part Part Part Part part part part participants ticipants participants participate participate participating participating participation Participation participation particular particular particular particular particular particular particularity parties parties ties parties parties partners partners partners partnership parts parts parts parts parts parts party party party Paskevicius pass passage passers-by passing passing past past past past past past past t past Paste patches patronen patterns patterns patterns pavement pavilion pavilion pavilion pavilion pavilions pavilions PDF PDF’s peculiarities pedagogy Pedro Pedro Pedro pen people people people ple people people people people people people people people people people people people people people people people People’s people’s per per perceive perceive perceived percentage perception ception perception perception perception perception Perestojka Pérez perfect perfomance performance performance performance performance performance performance performance performance formance Performance performance performance performance performance performance performance performance performance performance performance performance performance Performance formance Performance Performance performance-based performances performances performances performances performances performances Performances performances performative performative
FINE ARTS MASTER’S PROGRAMME SINCE 1994
open for application
Sandberg Instituut’s Fine Arts department retains a focus on autonomy and making, while addressing the social and economic roles of art production. The programme structurally redefines conventional notions of artistic labor in three open modules: Language, Image and Play/ Object. A main tutor develops the curriculum of each of these modules over the course of two years. Throughout this period, the Sandberg Instituut functions as a base, while encouraging each programme to modify and manifest itself both internally and externally. Fine Arts is thus a tailor-made form of education, constantly adapting to its students and current situations. The modules function merely as anchors from which ideas come to life. Students apply for one of the modules, but also have the opportunity to follow the other modules as minors. The Fine Arts department is looking for eager, active, and ambitious students, authentic makers and thinkers who are willing to reflect fundamentally on their work. A sound background in art or expertise in affiliated fields is required. Candidates are evaluated on their motivation, previous experience and portfolio. The admission committee focuses on the authenticity, artistry, and autonomous visual quality of the presented work.
course directors
Krist Gruijthuijsen Maxine Kopsa coordinator
Judith Leysner main tutors
Gintaras Didziapetris Nicoline van Harskamp Lucy Skaer
theory
Jeroen Boomgaard Aaron Schuster
regularly visiting tutors
Raimundas Malasauskas Jason Dodge guest tutors
Goldin + Senneby Celine Condorelli Katya Sander Carey Young Mladen Dolar Robert Snowden Angie Keefer Lisa Oppenheim Tirdad Zolghadr Dennis Cooper Pierre Bismuth Lisette Smits Marcos Lutyens Tim Etchells Stuart Comer Sally O’Reilly Chus Martinez Trevor Paglen Stuart Bailey Joachim Koester Sissel Toolas Wayne Koestenbaum Nils Norman Doug Asfhord Beatrice Gibson Gabriel Lester Mark Turner and others
Melanie Ebenhoch, You, you, you, 2014.
Richard John Jones, Subjects of Recognition: Part 1, 2014.
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Language Language is of language and about language. The module consists of developing an artistic practice and broadening ways of seeing and working. Through specific tasks, Language takes a holistic approach to the making of art—expanding and exploring our notions of what artistic practice can include. The language group visits and is visited by various people from fields that are related or unrelated to the creative practice. Image Image centres on the notion of representation, time and context in visual and audiovisual practice. At the core of this module are both individual and collective strategies for image production, where students experiment with processing and materialising thought, intuition and knowledge. Several times a year, the Image group spends some days together in group critique sessions. During these elaborate thinking and talking sessions, participants reflect on each other’s work. Common interests that emerge through these sessions are addressed with the help of relevant invited experts. Play/Object Play/Object focuses on the contemporary constructions of ‘performativity’. It explores object-based productions within a cross-disciplinary, public context such as theatre, dance and music. Exploring performative aspects of display—including the historical context of specific materials—this module considers themes such as the ‘outsider’ position of an ancient artifact, and how it is subject to abstractions of thought and language. Activities might include journeys to see specific objects or processes first hand, experiments in collective authorship and using another’s practice as an adjunct to one’s own thinking, a visit to the stock exchange or commercial docks, or a rifle through institutional storage systems, holdings and archives.
FINE ARTS
FINE ARTS
students
Bruno Zhu Zhang (PT) Jacob Peter Kovner (US) Berkut Gunel (TR) Zazie Stevens (NL) Lucy Andrews (IR) Nina Djekic (SI) Gediminas Akstinas (LT) Claudia Pages Rabal (ES) Yulu Gao (CH) Can Boyan (TR) Ryan Rivadeneyra (ES) Alice-Lydia Gancevi (RO) Eloísa Ejarque (PT) Gerard Ortin (ES) Kent Chan (SG) Laurent-David Garnier (FR) Remus Nicolae Puscarius (RO) Robertas Narkus (LT) Weronika Trojanski (PL) Yazan Khalili (PLE) Lukas Heistinger (AT)
Yosuke Amemiya, ON ALONGSIDENESS, 2014.
First year students visit the PAF (Performing Arts Forum) spring meeting in St Erme, France during a ten day trip. PAF is a place for professional and not-yet professional practitioners and activists in the field of performing arts, visual art, literature, music, new media and internet, theory and cultural production, and scientists who seek to research and determine their own conditions of work.
Nicoline van Harskamp, main tutor of the Fine Arts department personally introduces Amsterdam and the city’s origins. We tour Amsterdam by boat for the day, leaving nearby the Sandberg Instituut, gradually moving to the city centre via the river Schinkel, the canals, the magic centre, the Amstel river and the IJ river. We get off at places of interest. The main point of the day is for students to understand the city where they will spend at least one or two years, in terms of its history, architectural patterns, water routes, and both current and former art sites.
Yosuke Amemiya, ON ALONGSIDENESS, 2014.
13 formed Performed performed performed performer performer performer-composer performing performing performing Performing performing performing performs period Period period permanent manent permanent permission permit permits Perrine Perrine Perrine Perrine person person person person person’s person’s persona persona personal personal personal personal personal personal sonal personal personal personal personal personal personal Personal personal personal personal personal personal personal personal personalities personality personalized perspective perspective spective perspective perspective perspective perspective perspective perspective perspective perspectives perspectives perspectives perspectives perspectives perspectives persuasively Peso Peso Peter er Peter Peter Peter Peter Peter Peter Peter Peter Peter Peter Peter Peter Peter Peter Peter Peter Peter Peter Peter Peter Peter Peter Peter Petersburg Petrelli Petrelli peut-être Pfeifer phase phase se phase phase PHD phenomenology phenomenon philosopher philosopher philosopher philosophers philosophical philosophical philosophical philosophies philosophy phone photo photograph photograph tograph photograph photograph photographic Photographs photographs Photographs photographs photographs photography photos photos photos phrase physical physical physical physical physical sical physical physical physicality physically physically pick picture picture pictures pictures picturing piece piece piece piece piece piece piece piece piece pieces Piet pile piles Pilgrim pink pinnacle pioneer
MODULES
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Design
ase Please please pleasure plekken Plotseling plowing poetic poets point point point point point point point point point point points points poisoning Poisonous Pol polaroids polemic poles police policies icymaking Polina political political political political political political political political Political political political politicians politicologist politics politics politics politics politics politics politics pols ponder t pop pop pop pop Pope popstars population portal portrait portrait portrait portrait Portrait portrait portraits portraiture portray portray portrayal portrayed portrayed portrayed poses posing positing ition position position position Positioning positioning positive positive positive positive positive positive possess possibilites possibilities possibilities possibilities possibilities possibilities possibilities sible possible possible possible possible possible possible possible possible possible possible post-historical post-liberation poster posters posters posters posters postgraduate posture posture potent ential Potential potential potential potential potential potential potentiality potentiality potions Pott pour poured pours power power power power power power power Power power power practice practice ctice practice practice practice practice practice practice practices practices practices practices practices practices practices practicing practicing practitioners practitioners practitioners pragmatic ktijkruimte praten pre preciousness precise precisely precisely precisely preconceived predetermined predominately preferred prelude premiered premises preoccupation prescriptions presence presence
DESIGN
THINK TANK FOR VISUAL STRATEGIES MASTER’S PROGRAMME SINCE 1995
open for application
With a selfless, committed, curious, serious, humorous and above all hazardous mentality, plus a wide diversity of tools, the Design department offers a frame for survival in our fluid future. Our Master’s students solidify their social, political and technological observations into researchbased design projects that have a strong radar for social change. Their work touches upon the contradictions of contemporary society. What are the invisible forces that shape our future? What characterises the times we are living in, and what role should the designer assume? Sandberg Instituut designers are investigative designers, critical optimists, generous collaborators, contagious initiators, natural cyberpets, eternal students, storytellers, friends, lovers and fighters. They approach global challenges from a personal standpoint. They allow vulnerability, doubt and unpredictability to lead them into their design process, where identities, stories and visual strategies merge. They investigate how to design when we are unsure whether we are online or offline, whether we are on or behind the screens or whether we are the interface ourselves. Are you my audience? Or are you the subject and am I your sole visitor? And do I like you? This is education. This is investigation.This is visual writing. This is thinking by doing. This is the antidote to our digital society. This is living life. This open programme works as a virus. Get infected.
course director
Annelys de Vet coordinator
Femke Dekker tutors
Nikki Brörmann Agata Jaworska Dimitri Nieuwenhuizen Rob Schröder Daniel van der Velden guest tutors
Lauren Alexander & Ghalia Elsrakbi Max Bruinsma Emory Douglas Mieke Gerritzen Syb Groeneveld Menno Grootveld Femke Herregraven Bregtje van der Haak Rudy J. Luijters Francisco Laranjo Kali Nikitas Pinar&Viola Malkit Shoshan Siebe Thissen Boy Vereecken Astrid Vorstermans
AA (Amsterdam – Athens), Residency and exhibition at Kunsthalle Athens, March 2014.
students
Gilles de Brock (NL) Asieh Dehghani (IR) Mirte Duppen (NL) David Ortiz Juan (ES) Marthe Prins (NL) Isaura San (NL) Sofia Stankovic (SRB) Teodora Stojkovic (SRB) Benedikt Weishaupt (D) Benedikt Woeppel (D) Marleen van der Zanden (NL) Arthur Röing Baer (DE) Andrea Carrillo Iglesias (MX) Rebekka Fries (NL) Monika Gruzite (LV) Juliette Lizotte (FR) Ekaterina Kholyapina (RU) Florian Mecklenburg (D) Birte Veenkamp (NL) Minhong Yu (CN) Agnieszka Zimolag (PL)
AA (Amsterdam – Athens), Residency and exhibition at Kunsthalle Athens, March 2014.
15
Design
Design
AA (Amsterdam – Athens) Residency and exhibition at Kunsthalle Athens, March 2014 With: Tessel Brühl, Giada Fiorindi, Lenka Hamosova, Anja Kaiser, Polina Medvedeva, Mark Jan van Tellingen, Jaroslav Toussaint, Rasmus Svensson, Janna Ullrich, Tommi Vasko and guest performer Georges Jacotey. Presentation of work by the students of the Design department as part of their residency at Kunsthalle Athena. Covering a wide range of areas from technological solutions to alternative economic structures and from mutating national identities to contemporary feminism, their projects deal with urgent topics for the generation of emerging graphic designers and artists. Sandberg Network Online Yearbook 2013–2014 By Mark Jan van Tellingen and Polina Medvedeva. ‘A network of individuals bound by design, who are also humans, consumers, lovers. We are more than designers. Different backgrounds and interests shape our design practice. We do not expect a bright future; we create our own conditions. Loading a network that functions closely because of its diversity. Here are our portraits: our work, our lives and our view on how these are connected. We are not competitors. We are designers in crime.’
Mark Jan van Tellingen, Polina Medvedeva, Online Yearbook 2013–2014.
The Power Behind Mesh Self-initiated research project By Gilles de Brock, Marthe Prins and Benedikt Weishaupt. Speculative research on the possibilities of (mesh) network infrastructures. The question is: do alternative networks have a right of existence in parallel with the internet? Five characters reveal opposing ideologies and power structures concerned with current network developments.
Gilles de Brock, Marthe Prins, Benedikt Weishaupt, The Power Behind Mesh, 2014.
Gilles de Brock, Marthe Prins, Benedikt Weishaupt, The Power Behind Mesh, 2014.
Mark Jan van Tellingen, Polina Medvedeva, Online Yearbook 2013–2014.
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SELECTED PROJECTS
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DIRTY ART DEPARTMENT
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DIRTY ART DEPARTMENT MASTER’S PROGRAMME SINCE 1995
open for application
The Dirty Art Department offers itself as an open space for all possible thought, creation and action. It sees itself as a dynamic paradox, flowing between the pure and the applied, the existential and the deterministic, the holy and the profane. It is concerned with individuality, collectivity and our navigation of the complex relationship between the built world and the natural world, and other people and ourselves. It’s a place to build objects or totems, religions or websites, revolutions or business models, paintings or galaxies. Although the Dirty Art Department comes from a common background of design and applied art, it seeks to reject the Kantian division between the pure and the applied arts. Since ‘God is dead’ and ‘the spectacle’ is omnipresent, it sees the creation of alternative and new realities as the way to reconsider our life situation on this planet. The Dirty Art Department is open to students from all backgrounds, including designers, artists, bankers, sceptics, optimists, economists, philosophers, sociologists, independent thinkers, poets, urban planners, farmers, anarchists and the curious. The aim of the Dirty Art Department is to develop singular practices that are separate from medium or subject, and to give an insight into how to place that practice into the different existing contexts of art, design, performance,
course director
Jerszy Seymour
course co - director
Catherine Geel coordinator
Lizzy Kok tutors
Saâdane Asif Guillaume Dupetit Florence Parot Noam Toran activator
Erasmus Scherjon selected lectures workshops and tooling up sessions
Eric Ellingsen Piero Golia Delphine Bedel Michael Beutler Daniel Dewar Martin Heller Anthony Dunne Fabien Vallos Antonia Birnbaum Timothy Ivison Maarten Gielen Melanie Bonajo Laure Jaffuel and Elise van Mourik Thilo Fuchs Oliver Baron
Non Stop Plaza, 24-hour event at De Fabriek, Dutch Design Week Eindhoven, 2014, photo by Parking Club.
students
Théo Demans (FR) Reinier Kranendonk (NL) Mirka Severa (DE) Victor Delestre (FR) Aaron McLaughlin (UK) Chris Rijksen (NL) Michele Rizzo (IT) Matthieu de Jong (ZA) Gamze Baray (TU) Elise Ehry (FR) Kitty van Ekeren (NL) Maarten Hoogendijk (NL) Jurjen van Houte (NL) Pedro Matias (PO) Rahel Pasztor (DE) Joséphine Peguillan (FR) Michal Plata (DE) Anna Reutinger (US) Thomas Schneider (DE) Arthur Tramier (FR)
HellFun, Josefin Arnell, Graduation show Daddy Far Away, 2014, photo by Chris Rijksen.
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NON-STOP PLAZA With Parking Club (Laure Jaf fuel and Elise van Mourik) 24 -hour event and exhibition at De Fabriek, Eindhoven, during Dutch Design Week Not only our spaces and our objects are designed, but essentially also our time. We are far away from a society of necessity and well into one of desire. 24-hour parties, non-stop restaurants, stand-by, Red Bull & espresso, burn-out, snooze. The notion of work and the borders between reality and fiction are expanding into an endless blur the more it becomes a total, full-time condition. Reality is a question of “When does it start, and when does it end?”. The aim of the workshop is to delve into the notion of time as the principle material of reality. We question ideas of productivity, fiction, event and transcendence.
DIRTY ART DEPARTMENT
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PostNorma Initiative of Dir ty Ar t Depar tment students PostNorma is a ‘squat squat’ slash up and art space in Amsterdam North. The space represents a happening of a class of Dirty Art Department students and tutors who are looking for an environment and lifestyle in which they can shape, assess, reshape and reassess. The lifestyle is somewhat deficient, with no water or electricity. There is, however, a website and personalised perfume for the space. The contrast between this deficiency and the required reanalysis of functional design and the uses of modern mundane paraphernalia has been adopted by the squatters as ‘Medieval Modernal’ living. www.postnorma.org
Students making space for art, Dirty Art Department, 2014, photo by Chris Rijksen.
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SELECTED PROJECTS
writing, pizza making, etc. The final challenge is to create new context; that is, to transform reality. Since the department is concerned with our way of inhabiting the planet and therefore also our way of inhabiting the mind, it promotes a strong theoretical and philosophical agenda and is open to dangerous attempts and spectacular failures in practice. The Dirty Art Department sees itself as a trip, and wherever it stops off at, it remembers that ‘Any Space is the Place’.
DIRTY ART DEPARTMENT
Pump Up the Volume, workshop with Michael Beutler, 2014, photo by Chris Rijksen.
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STUDIO FOR IMMEDIATE SPACES MASTER’S PROGRAMME SINCE 2010
STUDIO FOR IMMEDIATE SPACES
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open for application
The Studio for Immediate Spaces sets out to actively rethink and expand the field of interior architecture and explore its immediate boundaries. In doing so, ‘space’ is understood in any way. Whether it concerns physical spaces, or imaginary ones, temporary situations or political outlines, whether we deal with a site or a mind-set, it is the common interest of the Studio and its participants to explore those possible spaces and find ways to open them up. What characterises the Studio is the participants’ different backgrounds —which range from design to architecture, performance, fine arts, marketing, sociology and other fields— and their curiosity. The Studio aims to harness these characteristics in order expand the field of interior architecture at its foundation, and to go beyond its established means, opening up the practice of architecture itself as radically as possible in favour of this wide range of specific practices that relate to space in their own way. During this 2-year Master’s programme, students take part in four studios, which are led by practitioners in architecture, design or fine art. Each studio revolves around a specific focus or methodology, for example space as a situation, as a material gesture, as collectivity, as a fiction. The Master also offers an extensive programme of invited guests who give lectures, host workshops or propose other activities—an experiment, a trip, an event, an action. An ongoing theory
course director
Anne Holtrop coordinator
Rinske Wessels team
Studio 1: Lionel Devlieger and Tristan Boniver Studio 2: Elise van Mourik and Laure Jaffuel Studio 3: Nicholas Lobo Brennan Studio 4: Hanne Hagenaars Theory: Tom Vandeputte Thesis: Margaret Tali Graphic Design: Tomáš Celizna guest tutors
Alonso Vazquez, Places of Production, field research India, 2014, photo by Chris Riksen.
Vivian Ziherl Jules Schoonman Krijn de Koning Mimi Zeiger Camiel van Winkel Richard Wentworth Josef Wouters Jorinde Seijdel Wouter Davidts Lars Bang Larsen Trudy Dehue Jeremy Shaw Floris van Delft students
Alicja Nowicz (PL) Eva Schalwijk (NL) Johanna Nocke (DE) Juri Suzuki (JP) Luuc Soonke (NL) Nicolo Scatola (IT) Rachel Himmelfarb (USA) Cathrine Andresen (NO) Hein van Duppen (NL) Kristine Andersen (DK) Lia Satzinger (AT) Loui Meeuwissen (NL) Marijn Roos Lindgreen (NL) Márk Redele (HU) Tena Lazarevic (HR) Zsófia Szőke (HU) Zsófia Paczolay (HU)
Graduation Show 2014 - Elejan van der Velde -The Reminding Remains, Momart Project Space Amsterdam.
STUDIO FOR IMMEDIATE SPACES
STUDIO FOR IMMEDIATE SPACES
SELECTED PROJECTS
course offers space for reflection on the practice by means of critical thinking and writing, and offers public seminars. The programme encourages students to work beyond the limits of a single discipline and to develop a strong and independent practice. The Studio therefore offers a programme that exceeds the boundaries of the traditional curriculum, proposing a framework beyond disciplinary perspectives and pointing towards the potential of a spatial vocabulary that we have not yet imagined. LET’S DANCE — From Studio To Situation With Parking Club During this Studio, we shifted our focus from architecture as a spatial practice to one that is concerned with the conditions for something happening: towards a practice of situations. Time, or moments, became our framework. A night, a road trip, a liquid acid trip, a visit, a dream, sundown, a protest, an invasion, a lazy movie night, a backdoor entrance, occupation, accidents, a conversation, a tour, a film set, a party, dusk, hallucinations, a safari, a master key, the waiting room, lost, a construction site, a script, a programme. Making the shift from architecture of space to an architecture of event is like putting the gears in reverse: space exists because we occupy it, it will come and go as we do. Architecture is a matter of time; it ‘happens’. Once we said: ‘Everything is a stage, theatre is real, architecture is dead, unless there is a party.’ Anyway, you don’t have to build a dance floor: you just have to dance.
Workshop with artist Adrien Missika, exploring an uninhabited island with a camera drone, 2014.
Material Gesture With Anne Holtrop and Hanne Hagenaars During this Studio we worked on a project in which we took the gestures we define in materials as the start for a work. Roland Barthes defines the term gesture as a surplus of an action. ‘An action’, he writes, ‘is transitive, it seeks only to provoke an object, a result.’. In contrast, the gesture is ‘the indeterminate and inexhaustible total of reasons, pulsions, indolences which surround the action with an “atmosphere”.’ As part of the Studios we visited production sites in Belgium and India, including a bell foundry, a sand extraction area, a marble quarry, a car factory, a cotton plant, a textile printer, an animation studio, a former charcoal mine and a marl cave. The found gestures redefine ways of making and constructing. They ask: what are the gestures that give shape to the environments we inhabit? How does a material give shape to a community? What is the correlation between material, craft and regulations? What places of production do we see now, in the past and in the future? One Night Stand #1, Juri Suzuki: ‘Performing Light’. Event at a squatted cinema, 2014.
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CRITICAL STUDIES
CRITICAL STUDIES
MASTER’S PROGRAMME SINCE 2014
open for application
Critical Studies is a 2-year postgraduate programme in research and theory. It offers an open, interdisciplinary environment for the development of an independent research practice, while providing a rigorous grounding in critical theory, research methods and writing techniques. We are especially interested in forms of inquiry and study at odds with a traditional academic context, including practice-led research and various exchanges between artistic practice, research and writing. Students pursue self-initiated research projects with a high degree of autonomy, working individually or collectively with supervisors of their choice, based either within or outside the institute. Research projects are presented in a series of regular colloquia, which function as a space for collective discussion and exchange. In addition, students are provided with the resources and support to develop collaborative projects that emerge from their research, such as publications, exhibitions, screenings or symposia. Alongside the research trajectory, students take part in a taught programme of seminars, lectures and workshops. This programme provides a thorough introduction to key concepts in visual culture and critical theory, explores research methodologies in relation to artistic and cultural practices, and supports students in the development of a writing practice. Besides this general programme, a specific theme is addressed in course director
Tom Vandeputte
coordinator
Laura Pappa
Joost de Bloois Ellen Feiss Amelia Groom Fatima Hellberg Aaron Schuster Pieternel Vermoortel Jan Verwoert Vivian Ziherl guests
Binna Choi Simon Sheikh Brian Holmes Maria Fusco Sven Lütticken Mike Sperlinger Mark Leckey Tom Holert Marion von Osten Hito Steyerl Adelita Husni-Bey Nina Wakeford Marina Vishmidt Nils Norman and others
depth each month through a lecture and intensive seminar given by a visiting speaker. Students take active part in shaping the educational programme and have the opportunity to organise self-directed seminars, workshops and excursions. We welcome applicants from a range of backgrounds, including artists, curators, designers, writers, editors, theorists, educators and other cultural practitioners who are interested in exploring the intersections of research, practice and theoretical inquiry.
tutors
Programme history The Critical Studies programme emerged out of the Art and Learning pilot project, initiated by the Sandberg Instituut and Gerrit Rietveld Academie. The aim of this project was to reflect critically on current models of art education and to examine new teaching and learning approaches. While the interest in alternative approaches to education remains crucial to the methodology and structure of the Critical Studies programme, research projects of participants are not expected to have a direct link to this thematic.
students
Gianmaria Andreetta (CH) Annie Goodner (US) Elizabeth Graham (GB) Nolwenn Salaun (FR) William Pollard (NZ) Bas Medik (NL) Curdin Tones (CH) Elisabeth Klement (EE) Hansje van Ooijen (NL) Isabel Ferrand (PT) Rebecca Stephany (DE)
Talk by Ellen Feiss, November 2014.
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walls Wambacq wander wanders Wang wangen wanneer want want want want wanted wanted wanted wanted wanting wants en waren was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was was wash waste wat wat wat t Wat wat wat watches Watching watching Watching Watching watching water Water water Water water wax way way way way way way way way way Way way way way way way way way way way way way way way way way way way way way way Ways ways ways ways ways ways ways Ways ways we we we we we we we we We we We we We we we we we we we we we we We we we we we we we we we we We we we We we we We we we we we We We we We we we we we We we we we we we We We we we We we we we We We we we we we We we We we we we we we we 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NEW
TEMPORARY
PROGRAMMES
Images from student works and events, selected from Sandberg Instituut’s online archive www.sandberg.nl.
Images from student works and events, selected from Sandberg Instituut’s online archive www.sandberg.nl.
Lex Pott. X New Window Diptych, 2014. Wood
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zich zich zich zichzelf zijn zijn Zijn zijn zijn zijn zijn zijn zijn zitten zitten zitten Zoals zocht zodat Zodra Zodra Zoellner Zoellner zoende zolder zonder zonder zorgde zouden zouden Zuid Zuidas Zurich zusje 0 0 0 0 0:00-1:00 09:00-10:00 0cm 1 1 1 1 1 1 1 1 1-6 1.System 10 10.000 1015 1031 10th 11-20 11.00 12-8pm 12-8pm 12–17h 12–19h 120 128a 12h 132 132 14.0 140 140 140 140c 15 15 15 16 16:00-18:00 17th 18:00 18.00 18.00 18.00 18.00 18.10.2014 1868 19 19–21h 19.00 10.2014 19.10.2014 19.10.2014 1930 1940 1950s 1959 1969 1970s 1972 1972 1982 1984-1989 1989 1990 1997 1998 19th 19th 2 2 2 2 2 2 2-year 2,5 2.System 20 20 20 20 20-23 20.00 20.00 20.00 30 2003 2004 2006 2008 2008–2009 2009–2010 2010 2010 2010 2010 2011 2011 2011–2012 2011–2013 2012 2012 2012 2012 2012 2012 2012 2012 2012 2013 2013 2013 2013 2013 2013 2013 3 2013 2013 2013 2013-14 2013-14 2013-14 2013-15 2013-15 2013-15 2013-15 2013-15 2013-15 2013-15 2013-15 2013-2014 2013–2014 2014 2014 2014 2014 2014 2014 2014 2014 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and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and And And and And and and and and and and and and and and and and and and and and and and and and and and and and and and and 30 31
MATERIALISATION IN ART AND DESIGN
NEW TEMPORARY MASTER’S PROGRAMMA 2015–2017
open for application
Materials and techniques—both traditional and modern—carry a wealth of characteristics. In addition to their physical possibilities, their diverse cultural and historical references are of great potential to the artist or designer. The new Master’s programme Materialisation in Art and Design (MAD) aims to create a strong link between the experimentation with materials and various media and the development of ideas. MAD challenges the conventional hierarchy between ‘concept’ and ‘making’, ‘content’ and ‘process’, by making the material expression of works paramount. The medium is meaningful as the carrier of the message, its narrative and its function. Moreover, the making process by nature offers surprising, irrational, coincidental possibilities that the mind simply cannot predict or imagine. Art and design have become closely related fields of interest. Both could benefit from a hands-on experimental approach in order to attain innovative results. This is why the program educates both artists and designers, who thus learn from each other’s expertise. Working side by side strengthens the various positions the students will take within the fields of art and design. Throughout this 2-year programme, students experiment with various materials and techniques, while developing individual projects and a personal material library. Experimental workshops that push the boundaries of possibility play a central role. In these settings, students become acquainted with the latest technologies and materials, learn new craft skills or improve those they already have. Ample attention is paid to reflecting on working with old and new media and how these influence and define the resulting artworks and designs. Critical analysis is enhanced by, for instance, lectures and discussions with various experts on the topic of materialisation in art and design. In the final phase of the program, students
Materialisation in Art and Design
We are currently organising our team. For the latest list of tutors and other news, please see www.sandberg.nl/mad.
Materialisation in Art and Design
develop a deep awareness of the diverse contexts for their works. MAD works together with the following Gerrit Rietveld Academie (GRA) Bachelor’s departments and/or workshops: Ceramics, Glass, Textile and 3D printing. We also cooperate with external material workshops and institutes for high-tech innovation. In addition, Materialisation in Art and Design works closely with a varying group of mentors who introduce both modern technology and traditional media. Please see the list of mentors for an overview. This new temporary programme is both a continuation and a disruption of Material Utopias (MU), the Master’s programme that started in 2013 and finishes in June 2015. Because of the success of MU and the growing interest in materialisation in art and design, MAD is founded on the same philosophy and approach, while adding new fields of interest, such as the latest technologies. Applicants for Materialisation in Art and Design are requested to present proof of their expertise and interest in working with various materials and techniques, as well as their ability to analyse the inherent characteristics of these materials and techniques.
Jens Pfeifer, I Am A Mountain 2, 2014.
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32 33
34
Fashion Matters
und around around around aroused arrangement array Arrival arrived Art Art art art art art Art Art art art art art art art art art art art art art Art Art Art art Art art art art art Art Art art art Art Art Art art art art art art Art Art art Art art art Art art art Art art Art art Art art art art Arte articulated articulated articulated articulations artificial artificial artificially artisans artist artist artist artist artist ist artist artist artist artist Artist artist artist artist artist artist artist artist artist artist artist artist artist artist artist artist-led artist-led artist-run artist’s artistic artistic artistic artistic artistic artistic istic artistic artistic artistic artistic artistic artistic artistic artistic–philosophical artistry artists artists artists artists artists artists artists artists artists artists artists artists artists artists artists artists ists artists artists arts arts Arts arts arts arts arts arts arts arts Arts Arts Arts arts Arts Arts arts arts arts Arts Arts Arts Arts Arts arts artwork artworks as as as as as as as as as as as as as as as as as s as as as as as as as as as as as as as as as as as as as as as as as as as as as as as As as As as as as as As as as as as as as as as as as as as as as as as as As as as as as as as as as as as as as as As as as as as as s as As as as as as as as as as as as as As as as as as as as As as as as as as as as as as as as as as as as as as as as as as as as as as as as as as as as As as as as as as As as As as as as as as as as as as as as as
FASHION MATTERS
TEMPORARY MASTER’S PROGRAMME 2015–2017
open for application
Christophe Coppens, NoReference © Javier Barcala, 2008.
A big part of the fashion industry nowadays is based on producing and consuming gigantic amounts of clothing. Collections are manufactured all over the world at dizzying speeds and are sold all year round, every hour of the day, for extremely low or very high prices. It is a fast-changing system that seems hard to break into. How do you, as a designer, deal with this model in an ever-changing world and come up with innovative ways of designing, producing, promoting, financing, selling and eventually consuming? How do you meet the needs of today’s consumers and anticipate the needs of tomorrow’s world? The 2-year ‘Fashion Matters’ Master’s programme is a research-based course for new knowledge and practice to find an answer to those questions. It involves deep-rooted thorough research in a world that is dominated by search engines and instant communication. The focus is on the role that fashion and design play in culture and society, and ranges from environmental issues to economics and politics. Material plays a leading role. Understanding the nature, origin and possibilities of different materials, both traditional and new. From industry-based to handcrafts and back again. How can technology influence design and satisfy the consumer’s needs? Where does the design end and the product start? Students learn how to invent or reinvent materials and shapes, and to combine and reuse old and new techniques and ways of production. The main ambition of the course is to develop for each student a personal package tailored to his or her individual needs and interests. The first questions they will need to answer are: ‘What do I want to do?’ and ‘How can I make a difference?’. The 2-year programme leads students along the path from in-depth research and experimentation, to development and production. Although the final result can be a fashion collection, the research can also result in an innovative project proposal or a study that is as far from, or as close to the industrial model as the student wants it to be. Fashion is more than an industry,
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course director
Christophe Coppens
We are currently organising our team. For the latest list of tutors and other news, please see www.sandberg.nl/fashionmatters.
Christophe Coppens, No Reference, © Javier Barcala, 2008.
and making clothes is not always fashion. Be part of a fashion world and its essence, yet in a sustainable way that fits your talent and message, making use of all the new technologies available, while embracing your heritage and culture and the traditional crafts around you. Christophe Coppens leads the course. Belgian born, Christophe currently lives in Los Angeles. After a 21-year career in fashion and design, he now focuses on his work as a fine artist. His background in fashion is never far away, however, and textiles are still a big part of his work. Christophe: ‘When I closed my fashion business three years ago, I was in a state of total defeat. I was tired of the struggle with finances, buyers, production, deadlines, market and demand…. I strongly believe the time is now to come up with new ideas in fashion and make a difference. There are so many ways to function as a designer without losing yourself in the current system. And it’s up to the new generation to research and fine-tune their choices, look deeper into current options and develop forward-thinking models that put them at the forefront of a much needed new wave of fashion.’ Christophe will form a small team of teachers around him along with a group of guest teachers, speakers and influencers —designers, writers, artists, thinkers, curators— each of whom are experts in their own field. Possibilities to collaborate with institutions, companies and workshops — for example G-Star, Gerrit Rietveld Academie, Click Next Fashion, TextielLab (part of the TextielMuseum), Wageningen University, Saxion Hogescholen (textiles) and Fashion Council NL— are at the cornerstone of this course. The Believers, © Javier Barcala, 2010.
Headpiece by Shin Murayama, The Believers, © Javier Barcala, 2010.
PROGRAMMES
CURRENT TEMPORARY
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36 Fashion Matters 37
Images from student works and events, selected from Sandberg Instituut’s online archive www.sandberg.nl.
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Circus Disco at aartist residency Het Vijfde Seizoen Den Dolder, 2014.
38 39
CURE MASTER
TEMPORARY MASTER’S PROGRAMME 2014–2016
closed for application
course directors
Martijn Engelbregt Theo Tegelaers coordinator
Simone Kleinhout theory programme
Nils van Beek
invited artists , collaborators
2014-2015 OvertredersW Appie Bood Natalie Jeremienko Rosie Heinrich Prof. T. Dehue Sjim Hendriks Valentina Desideri Peik Zuylink Marjolijn Zwakman Pavèl van Houten and others and lecturers
students
Alexander Sand (SE) Silvan Laan (NL) Cathalijne Smulders (NL) Linda Beumer (NL) Hallie Abelman (USA) Brenda de Vries (NL) Olly Glaudemans (NL) Lynne Morris (UK) Naomi Tattum (UK) Emily Ijzerman (NL) Nieke Koek (NL) Eva Pyrnokoki (GR) Vera Hofmann (DE) Claudia van Dijk (NL)
Ceremony by Silvan Laan during working session at Het Vijfde Seizoen, 2014.
Cure Master
The objective of the Cure Master is to turn some assumptions upside down. We question our lifestyle and challenge current ideas about mental and physical well being. A disease or an accident confronts people with their vulnerability, but the western healthcare system is set up to help people get back to ‘their old self’ again as soon as possible. Symptoms are to be eliminated and causes are disregarded. As a starting point, we are interested in defining health, instead of labelling sickness, and in looking for possibilities instead of limitations. The idea for the Cure Master emerged from the research exhibition by artist and course director Martijn Engelbregt in conjunction with TAAK entitled BETER: de kunst van gezondheid (the art of health) at the Haaglanden Medical Centre, The Hague in 2012. Het Vijfde Seizoen We started the Cure Master as residents in Het Vijfde Seizoen (‘The Fifth Season’), an artist residency in a psychiatric institution in Den Dolder, the Netherlands. Working intensively on location, staying overnight, working with clients of the institution, we researched the theme of mental and physical pain. This residency concluded with a public presentation on the premises of the institution. Cure Park 2016 A group of autonomous thinkers, designers and artists are currently working on both individual and collective art projects. During the manifestation Cure Park 2016, participants will exhibit new ideas, tools and methods to the public. The focus will be on experience, participation and sharing. This event will be the closure of the Cure Master, as well as a celebration of the continuing collaborations and trajectories with our partner organisations.
Workshop by Peik Suyling, 2014.
Working session at artist residency Het Vijfde Seizoen Den Dolder, 2014, photo by Sanne Kat.
41 ilitate facilitates facilities facilities facing fact fact fact factor factories factories factories factories factories FACTORS factory factory factory factory facts faded fail fail failure failures faintly fall fall e false false false familiar familiar familiar familiar families family famous fantastical fantasy far far far far FAR Farbiek Farbiek farm farmer farmers fascinations fashion fashion fast fast fast fasten Faster ter faster fat fatal father father fear fear fear fears feasibility feature features features features featuring Featuring fed feeble feel feeling feelings feels Felix fell felt Feminine feminism feminisme fence ce fences Ferreira Festival festival Festival festival festival festival Festival Festival festival Festival Festival Festival Festivals festivals festivals fetishizing few few few FI fiction fiction fictional fictional ficfictive field field fields fields fields fields fiercely fifteen fifteen fighting fighting figure figure fill filled filled filled filled filled film film film film film film film film film film film film film film film film film Film filming filming filmmaker filmmakers Filmmakers filmmakers filmmakers filmmaking filmmaking filmmaking filmmaking filmmaking films films films films films films films films films films films filters final final lly finally financial financial financial find find find find find find find find finding finding findings finds finds finds Fine Fine Fine Fine Fine Fine Fine Fine Fine finish finished finissage Fiorindi fire FIRE fire eball Fireworks first first first first first first first first first first first first first first first First first first first first first first-hand first-hand first-person fit FIVE fixed FIXED fixed fixed flakes
Joseph Beuys said that art can be healing. We may need to turn this idea inside out and state, following artist A.A. Bronson, that ‘healing can be art’. Health is a crucial theme in people’s lives, as well as in politics, the economy and society at large. In what way do we want to deal with these issues, now and in the future? Can we shed new light on our understanding of health, healthcare and the way we deal with sickness? Could an artist work like a doctor or nurse? We should confront ourselves with these questions in order to exploit the potential of art in relation to social issues. The Cure Master aims to reshape the way we look at these issues, and to contribute to a new understanding of our bodies, our minds and the environment we live in. In this 2-year Master’s programme, students examine the function and definition of sickness and health in society from the perspective of art and design. We explore various fields of knowledge and artistic practice such as technology, performance art, design and medicine to develop new potentials and possible answers to questions related to health and care. Artists such as Appie Bood, Natalie Jeremijenko and Valentina Desideri facilitate workshops and lead intensive working sessions. Under the guidance of design agency OvertredersW, students work on a spatial translation of the topics addressed throughout the programme. A biweekly theory programme with lectures, close readings and workshops provides an intellectual basis for further thinking. The programme develops along six themes: ache, environment, death and loss, nutrition, body, and belief. For each theme, we partner up with one or more institutions related to the field of healthcare, such as hospitals, care homes, cultural, and non-cultural organisations related to questions of health and care in society.
Cure Master
SELECTED PROJECTS
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Designing Democracy
for for for for for for for For for for for for for for for for For for for for for for For for for for for for for for for for for for for for For for for for for for for for For for for for for for For For for For For for for for for for for for for for for for For for for for for for for for for for for for for for for for for for for For for for For for for for for for For for for for for for for for for for for for for for for for for for for for force force force forced forces foreboding foregrounded foreign foreign foreign Foreign forest forest forest forest forest forest foresters forests forged Forget forgotten forgotten forgotten klift form form form form form form form form form form form form form form form form form form formal formal formal formal formal formal formalized formalized formalized formalized formalized mally format format format format format formations formats formats formats formats formatted formed former former former former former former forming forms forms forms forms forms forms RMS forms forms forms forms formula Formula formulated formulated formulated formulated Forte Forum Forum Forum forward-oriented Forward-thinking fotolijsten found found found found found nd found found found found found Found Found found found found foundation Foundation Foundation foundation foundation Foundation Foundation founded founded Founder Founder four fragment gment fragmenten fragmenting fragments frail frame frame FramerFramed@Tolhuistuin frames frames framing framing framing France France France Frank Frankendael Frankendael Frankendael Frankova
DESIGNING DEMOCRACY TEMPORARY MASTER’S PROGRAMME 2014–2016
Installation ‘Setting’ in De Appel arts centre Amsterdam, 2014, photo by Sanne Kat.
closed for application
At a time when confidence in democracy is under increasing pressure—from the euro crisis to the US shutdown, and from the Occupy movement to the streets of Athens—this Master’s programme puts the future of democracy into question through design. Directed by architecture studio XML, students collaborate closely with artists, architects, journalists, politicians, scholars and other thinkers. This interdisciplinary programme explores the power of design to activate possible forms of collectivity—the quality or state of being collective. Activities range from intervening on the scale of personal media to rethinking the institutions of democracy itself. The programme aims to apply design as a specific method of critical thinking and use it to reimagine collective structures of dialogue, debate and social progress. Design used to be one of the self-evident tools to shape politics, but today the role of design in large-scale politics is either underestimated or controversial. During this programme, students are challenged to understand this reconfiguration and to experiment with new articulations of design that give shape to democratic politics. The Master’s programme is located at Amsterdam’s Marineterrein, a historical navy base in the city centre that will be gradually opened to the public from 2015 onwards. Although the future use of this area is still open to discussion, the Marineterrein will be the place where, during the first half of 2016, all meetings between senior officials and ministers from EU Member States will be held during the Dutch presidency of the European Union: the European project will literally come to the heart of Amsterdam. By locating the Designing Democracy programme at the Marineterrein, the actuality of today’s politics will be exposed to the research and ideas developed and presented in the programme, and vice versa. This way, questions about the roles of art, architecture
43
course directors
Max Cohen de Lara David Mulder van der Vegt coordinator
Rebecca Bego tutors and guests
Todd Reisz Jeffrey Ludlow Barend Koolhaas Kate Lydon Eva Franch i Gilabert Julika Rudelius Felix Burrichter Dennis Pohl Xaveer de Geyter Lucas Hendricks Freyja van den Boom Carola Hein, Historian Alessandro Mulieri Lars Fischer Daniel Blanga-Gubbay and others students
Fabian Hijlkema (NL) Max Smit (NL) Alberto Valz Gris (IT) Julien Thomas (CA) André Fincato (IT) Long Wu (CN) Tom Tjon A Loi (NL) Ana Maria Osorio (CL) Iskra Vukšić (KR) Ekaterina Volkova (RU) Benoît Ferran (FR)
Lecture poster, team Designing Democracy, 2014.
Student research on Hong Kong, Fabian Hijlkema, Max Smit and Long Wu.
and design in giving shape to democratic politics can be discussed and confronted within the reality of today’s politics at a newly acquired and yet undefined public space in Amsterdam. The 2-year Master’s course offers an intensive programme of lectures, workshops and public events, which are held in the what used to be the residence of the commandant of the Marineterrein. By moving away from academic insularity through extending the interface between academia and society, the programme effectively operates as a do-tank that is capable of addressing urgencies in society. Students are challenged to invite guests to this platform who are relevant to their own individual projects and to introduce them. Furthermore, part of the process is an extensive online documentation of on-going activities. Publishing thus becomes a central tool for students to think their projects through using a common format, which helps them to address their concerns to a specific and relevant audience.
Installation at Venice Architecture Biennale.
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44 Designing Democracy 45
SCHOOL OF MISSING STUDIES
TEMPORARY MASTER’S PROGRAMME 2013–2015
closed for application course directors
Bik Van der Pol Liesbeth Bik Jos Van der Pol
coordinator
Martine Zoeteman
guest tutors
Ayreen Anastas Samira Ben Laloua Virginie Bobin Maria Boletsi Minerva Cuevas Ellen Feiss Lawrence Abu Hamdan Ernst van der Hemmel Rene Gabri Maria Lind Sarah Pierce Louis van Gasteren Moosje Goosen Pamela M. Lee Sven Lütticken Tina Sherwell Matthew Stadler Gediminas and Nomeda Urbonas Alexander Vollebregt Jeroen Zuidgeest and others.
students
Abla Bahrawy Clare Butcher Sofia Caesar Sanne Cobussen Katinka de Jonge Nikola Knezevic Grace Kyne-Lilley Mariana Lanari Geert van Mil Dina Roncevic Eloise Sweetman Meir Tati Luisa Ungar
Drawings by Luisa Ungar, student at School of Missing Studies.
School of Missing Studies School of Missing Studies
Drawings by Luisa Ungar, student at School of Missing Studies.
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material utopias
fictive field field fields fields fields fields fiercely fifteen fifteen fighting fighting figure figure fill filled filled filled filled filled film film film film film film film film film film film film film film film film film Film filming filming filmmaker filmmakers Filmmakers filmmakers filmmakers filmmaking filmmaking filmmaking filmmaking filmmaking films films films films films films films films films films films filters final final lly finally financial financial financial find find find find find find find find finding finding findings finds finds finds Fine Fine Fine Fine Fine Fine Fine Fine Fine finish finished finissage Fiorindi fire FIRE fire eball Fireworks first first first first first first first first first first first first first first first First first first first first first first-hand first-hand first-person fit FIVE fixed FIXED fixed fixed flakes flamboyflat flat fled fled flesjes flexibility flexible flexible flexible flexible flexible floor floor floor floor floor Flors flow flow flowing Floyd fluctuating fluid fly Flying Foam focus focus focus focus focus focus foes focuses focuses focusing fog foliage Folkert follow follow follow follow followed following Following following following Fondacion Fons Fons Fons Fons Fons font-family:Cambria font-size:12.0pt food d food food food foot foot foot foot for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for For for for
MATERIAL UTOPIAS TEMPORARY MASTER’S PROGRAMME 2013–2015
closed for application
Robin de Vogel, Grenada, 2014. Mixed media intervention in public space.
There were many reasons to start a materials-based Master’s programme where artists and designers could work side by side. For instance, we wanted to create strong alliances with some of the Gerrit Rietveld Academie departments and workshops— such as Glass, Ceramics, and Textile— as well as with external workshops. In addition, objects are never merely objects. Beneath the skin of both artworks and designs hide many references, narratives, ideas and memories. These are able to trigger the viewer’s or user’s imagination on many levels, as they acknowledge them as a sensuous being who is capable of discerning the spiritual within the material, of discerning the many layers of meaning that hide in physical objects. Another reason for starting this materials-based programme lays in the very act of creating art and design. The artistic process functions at its best when the human mind is confronted with coincidences. Here, the experimentation with materials comes in as a magnificent creative force. While working with materials and discovering their qualities and meaningful references as well as the potential of techniques, artists and designers quickly discover that they cannot fully control them. Materials and techniques seem to have a will of their own. One cannot hold on to preconceived plans and ideas, nor dictate the exact outcomes. One needs to rely on personal sensations and intuition, be open to whatever appears by chance, and welcome failures and mistakes as new options. The fields of art and design traditionally have many differences, such as the presumed autonomy and freedom of the arts versus the presumed functional essence of design. However, art and design practices also share many similarities, including the need to become aware of a personal voice, personal fascinations and artistic talents; the need to trust the intuition, and the need to stir the imagination of the viewer, spectator or user. In the first year
49
head of department
Louise Schouwenberg coordinator
Judith Konz
tutors and guest tutors
Louise Schouwenberg Eylem Aladogan Bastienne Kramer Jens Pfeifer Robert Zandvliet Karel Martens Folkert de Jong Laurie Cluitmans Maria Roosen Conny Groenewegen Erik Mattijssen Anton Reinders Vincent de Rijk Thomas Rentmeister Agata Jaworska Lex Pott Esther Jiskoot Aaron Schuster students
Marijke Annema (NL) Daniel van Dijck (NL) Nandi Enthoven (NL) Laura Fugmann (DE) Robert Grundstrom (SE) Vincent Knopper (NL) Sarah Meyers (LU) Tjalling Mulder (NL) Ea Polman (NL) Alice Ronchi (IT) Michelly Sugui (BR) Robin de Vogel (NL) Nadine van Veldhuizen (NL)
Robert Grundstrom, A Shelter, 2014. Plastic, wood, foam and wool.
of the programme, those similarities dominated the classes. Side by side the artists and designers experimented with a great variety of materials, techniques, forms, ideas and project objectives. They surprised and inspired each other with the outcomes of their individual processes. They also motivated each other to step outside their discipline: the designers were challenged to explore their artistic freedom, the artists to become aware of the demands of a given context. Now in their second year, the students are working towards their individual final graduations— a phase of increased awareness on the context in which their results will find a home. Time and again two questions are asked: ‘What is Design?’ and ‘What is Art?’
Vincent Knopper, OBJECT 009.8.2, 2014. Plaster.
Marijke Annema, Empty pots in their natural habitat, 2014. Glass, ceramics, paint, textile and polyester.
material utopias
We are All in the Same Boat, Gitte Nygaard, Amsterdam 2014.
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Nadine van Veldhuizen, Untitled, 2014. Steel, clay, paper and strap.
50 51
SYSTEM D ACADEMY
TEMPORARY MASTER’S PROGRAMME 2014–2016
closed for application
course directors
Melle Smets Cynthia Hathaway coordinator
Nora Morton tutors
Simon Angel Jessica Gysel Hans Abbink Christiaan Fruneaux Edwin Gardner guests
Terelterites Failed Architecture Freek Janssens Ceren Sezer Jan Dirk de Jong Joost van Onna Marc Schuilenburg Jeroen Verwaaijen Jeanne van Heeswijk Baptist Brayé Tijs van de Boomen George Hathaway Arne Hendriks Tomas Libertiny Michelle Kasprzak Gwendolyn Floyd Niek Knol Dirk van den Heuvel Prof. Theo P. Total Pek van Andel Arjo Kramer
students
Janneke Absil (NL) Karolien Buurman (NL) Clément Carat (FR) Theofanis Dalezios (GR) Maarten Davidse (NL) Lisa Deijl (NL) Annette Kouwenhoven (NL) Dennis Muñoz Espadiña (NL) Gitte Nygaard (DK) Martina Raponi (IT) Ming Sho Tang (TWN) Boo van der Vlist (NL)
system d academy
System D Heads to the Market October 2014 As international and corporate markets are more involved with how we access, trade and acquire our basic needs, System D Academy investigates the potential and meaning of informal markets, and considers their relevancy to the hyper-logistics of internationally run marketplaces and mass retail consumerism. The goal is to create new market concepts as urban strategies. System D Goes Criminal November 2014 Are there alternative systems that empower people to be more engaged with the governance of their social spaces? System D went into the grey area where social spaces are being realised by positive criminal behaviour. How can citizens become the producers of safety? System D and the Science Parliament December 2014 System D Academy researchers have set up a co-expert laboratory at the University of Utrecht to support ideas about what form a science park could take. This project was based on a sharing model of expertise where peripheral knowledge makers collaborated with scientists. System D and a Scenario for the Future of Work In collaboration with Studio Monnik A future where robots and AI have taken work off our hands, where mental and manual intelligence are again equivalent, where the basic income can allow our economically unproductive tinkering to be suddenly developed into a meaningful part of our daily lives. A sustainable and inclusive society is possible, but such a society does not just happen. We investigate a future for our society beyond the growth paradigm.
Power to the People, Maarten Davidse, Budapest 2014.
Dennis Muñoz Espadiña, Fusi Public Washing, Budapest 2014.
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The System D Academy programme trains researchers-in-action with the ambition to explore informal and self-organising systems. System D comes from the French word débrouillardise, and means being self-reliant and resourceful. More than half of the world’s population is working and living in System D, but it is also found in highly formalised societies, albeit underground or off the radar. The growing strength and success of System D cannot be ignored, and is challenging systems to rethink traditional formats. For example, in Bogata, mayor Antonas Mockas ditched formal rules and used mime artists to regulate traffic believing Colombians were more afraid of being shamed than fined. The flexibility, self-organisation and intuitive processes found in System D can complement the rational models and static ideologies of formalised thinking. The System D Academy is built up by trial and error. We learn by doing. The researchers work in a team as an editorial board and a taskforce that do action research. This is an explorative research method where researchers infiltrate society in order to start their work from within. The two years consists of action research that covers four pillars of society—namely the marketplace, the justice system, learning and work—followed by a year dedicated to an individual thesis topic in combination with an intervention. Each researcher also develops an entrepreneurial focus in order to be able to ‘set up shop’ upon graduation. The staff consists of mentors, entrepreneurs, sociologists, scientists and hobbyists who support the researchers with workshops, internships and critical dialogue. The goal is to find and visualise the intersection of the formal with the informal.
system d academy SELECTED PROJECTS
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Images from student works and events, selected from Sandberg Instituut’s online archive www.sandberg.nl.
Cover of VacantNL’s book “Vacancy studies”, nai010 publishers. 2014.
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STUDIO VACANT NL
TEMPORARY MASTER’S PROGRAMME 2011–2013
closed for application
During the 2010 Architecture Biennale in Venice, RAAAF 1 presented the installation Vacant NL— where architecture meets ideas, proving that thousands of inspiring, vacant public buildings in the Netherlands dating from 17th to the 21st century, can potentially be reused for creative entrepre2 neurship and innovation. As a follow-up to this project, the Sandberg Instituut —together with course directors Erik Rietveld and Ronald Rietveld — developed the one-off Master’s programme Studio Vacant NL, which ran from 2011 to 2013. They wanted to encourage designers, creatives and scientists to develop fresh, innovative and realistic design strategies for the temporary use of vacant buildings and spaces. The programme challenged students to take a hands-on approach and combine insights and solutions from different fields of knowledge. Participants experimented in several unique vacant buildings, making site-specific design interventions. The graduation work included the installation Inside The White Whale —Temporary Spaces for Young Entrepreneurs, which travelled from Amsterdam to design fairs in Rotterdam, Eindhoven, The Hague, Milan, Shanghai and Shenzhen. Some graduation projects resulted in spin-offs. Sjoerd ter Borg, for example, recently applied his graduation strategy ‘Uitgeverij van Leegstand’ (Publisher of Vacancy) at the Marineterrein in Amsterdam. Results of VacantNL are published in the book Vacancy Studies: experiments & strategic interventions in architecture (nai010, Rotterdam 2014), with contributions from Ronald Rietveld, Erik Rietveld, Jurgen Bey, Arna Mackic, Barbara Visser, Ester van de Wiel and Martine Zoeteman. 1 RAAAF (Rietveld Architecture–Art– Affordances) is the former Rietveld Landscape studio, which was renamed in October 2013. It is led by Erik Rietveld and Ronald Rietveld.
2 By invitation of the Netherlands Architecture Institute (NAI), RAAAF contributed the Dutch submission to the 12th Architecture Biennale of Venice in 2010.
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56 studio vacant nl 57
Images from student works and events, selected from Sandberg Instituut’s online archive www.sandberg.nl.
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The One Minutes invites artists to contribute one minute long videos. These videos are published in series composed by various curators. We encourage artists to submit their videos and participate in the project. The One Minutes is a place for artists to experiment, to produce and to present within the inexorable limit of 60 seconds. We are a network, an archive and a producer. Our archive contains over 10.000 films from makers of over 120 different nationalities. The Netherlands Institute for Sound and Vision, who collect and preserve audiovisual heritage, have adopted our archive into their collection. In 2002, The One Minutes Jr. was initiated, in collaboration with Unicef. It is rare for an experimental platform in the visual arts to last so long—fifteen years and counting. It shows that there is broad support and a need for what The One Minutes does.
the one minutes
THE ONE MINUTES
GLOBAL PLATFORM FOR MOVING IMAGES SINCE 1998
curator
Ineke Bakker
coordinator
Sanne Luteijn
coordinator the
one minutes jr
Anja Masling
director Brian McKenna
technical
design
Moniker
And series curated by Tejal Shah, a visual artist from India who works with video, photography, sound, installation and performance; Guillermo Faivovich & Nicolás Goldberg, an artist duo who live and work in Buenos Aires; Laurel Nakadate, a visual artist from New York City, known for her challenging and provocative video, film and photography work and a series by the artist initiative/exhibition space Beirut in Cairo.
59
However, film techniques, distribution, and even our relationship with videos and their duration have changed enormously over the past fifteen years. That is why we are launching a new curated programme, dealing with the perception and understanding of the moving image. First in this series is a contemporary remake of John Berger’s classic documentary ‘Ways of Seeing’ (1972), curated by Canadian artist Lorna Mills. She invites artists to respond to what Berger calls ‘learned assumptions’ about art in dialogue with the camera and the screen in its reproduction. The One Minutes started out on local television in Amsterdam in 1998. Sandberg Instituut was asked if they could fill an hour of airtime once a month, between midnight and 1 a.m. Two students asked their friends and family to make one minute films. A new format was born—and it turned out that anything was possible within the 60-second limit. The one hour at midnight rapidly grew into a worldwide platform. Sister organisations arose, and television channels, arts organisations and film festivals all adopted segments of The One Minutes and gave them an interpretation of their own.
The One Minutes on Tour - Shanghai, Power Station of Art, Shanghai (CN), 2014. Photo: Misha de Ridder.
director
Julia van Mourik
At present, over twenty museums and cultural spaces around the world subscribe to The One Minutes and show the series at their institute.
WE ARE PLEASED TO PRESENT THE 2015 SERIES
THIS YEAR WE WILL PRESENT THE 2015 SERIES AT
Mega Armageddon Death - Long Version by British artist and musician Nathaniel Mellors.
21st Shanghai TV Festival (CN); Bonnefantenmuseum, Maastricht (NL); Dortmunder U (DE); EYE, Amsterdam (NL); Kunsthal Nikolaj, Copenhagen (DK); The Photographers Gallery, London (UK); Pudong Cultural Guidance Center, Shanghai (CN) and many other places.
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C A L L F O R APPLICATIONS Deadline for applications: April 1st 2015 www.sandberg.nl/apply
New temporary Master’s: Materialisation in Art and Design Fashion Matters
Permanent departments: Studio for Immediate Spaces Fine Arts Dirty Art Department Colophon Critical Studies Design
De Verenigde Sandbergen issue #75 January 2015
Sandberg Instituut Masters of Art and Design 2015
Publisher Sandberg Instituut Production Minke Havelaar Editors Minke Havelaar Jaap Vinken English editing UVA Talen, Amsterdam Graphic design David Ortiz Juan Benedikt Weishaupt Printing Drukkerij SSP, Amsterdam
De Verenigde Sandbergen is the occasionally published magazine of the Sandberg Instituut. It is a collection of voices that aims to inform and engage a wide audience of the institute’s projects.
Print run: 3,000 ©2015 Sandberg Instituut Amsterdam
Every effort has been made by the Sandberg Instituut to credit organisations and individuals with regard to the supply of photographs. Please notify the Sandberg Instituut regarding corrections.
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