Open Sandberg 2019 by Sandberg Instituut

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Sandberg Instituut Masterâ&#x20AC;&#x2122;s Programmes in Fine Arts, Interior Architecture and Design

https://sandberg.nl

Open Sandberg 2019

MAIN DEPARTMENTS Critical Studies Design Dirty Art Department Fine Arts Studio for Immediate Spaces

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Open for applications Open for applications Open for applications Open for applications Open for applications

TEMPORARY PROGRAMMES Resolution – MA Moving Image Approaching Language Challenging Jewellery The Commoners’ Society Shadow Channel Radical Cut-Up

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Open for applications Open for applications Current Current Current Current

HOSTED PROGRAMME Master Design of Experiences

https://sandberg.nl

SAND BERG SAND BERG SAND BERG

INDEX

Current

NOTES TO FUTURE STUDENTS

30 – 40

FINISHED TEMPORARY PROGRAMMES

41 – 50

Master of Voice Reinventing Daily Life Fashion Matters Materialisation in Art and Design Designing Democracy Cure Master System D Academy School of Missing Studies Material Utopias Vacant NL

2016 – 2018 2016 – 2018 2015 – 2017 2015 – 2017 2014 – 2016 2014 – 2016 2014 – 2016 2013 – 2015 2013 – 2015 2011 – 2013

FLOOR PLAN

This publication maps the scheduled infrastructure at the Sandberg Instituut in 2019. Read into the Main Departments, Temporary Programmes and Hosted Programmes. Visit the Sandberg website for updates and news. Starting from 7 January 2019 the Sandberg Instituut will be located in the new FedLev building & Benthem Crouwel building at Fred. Roeskestraat 98, 1076 ED Amsterdam in The Netherlands.

As the postgraduate programme of the Gerrit Rietveld Academie Amsterdam, the Sandberg Instituut offers Master Programmes in Fine Arts, Interior Architecture and Design. The five Main Departments aim to deepen the practices of artists, designers and critics. In addition, the Temporary Programmes reflect on specific urgencies in society and the arts, and the Hosted Programmes focus on collaboration with other institutes. MAIN DEPARTMENTS Sandberg Instituut’s Main Departments are Critical Studies, Design, The Dirty Art Department, Fine Arts and Studio for Immediate Spaces. An average of only twenty students per programme allows each course to be flexible and open to initiatives from students and third parties. The course directors, who are prominent artists, designers, theorists and curators with international practices, invite tutors and guests who are able to challenge the students to critically reflect on their profession, their work and their progress. https://sandberg.nl

The Sandberg Instituut is open to candidates from many different 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. TEMPORARY PROGRAMMES Jurgen Bey, the Sandberg Instituut artistic director since 2010, has sought to find ways to align the institute with the dynamics of contemporary society. Bey introduced two-year Temporary Programmes that are developed according to urgent world issues. Vacant NL – the first Temporary Programme – was launched in 2011 and explored the vast potential of the thousands of vacant buildings in the Netherlands. In 2013, two additional temporary programmes were introduced: the School of Missing Studies dealt with art and the public space, whereas Material Utopias investigated the shifting boundaries between materials and techniques. Other finished Temporary Programmes include System D Academy, Cure Master, Designing Democracy, Materialisation in Art and Design, Fashion Matters, Master of Voice, and Reinventing Daily Life. Current Temporary Programmes are the Radical Cut-Up, Shadow Channel, Challenging Jewellery, and The Commoners’ Society. The two new Temporary Programmes starting in 2019 are Approaching Language and Resolution — MA Moving Image.

HOSTED PROGRAMMES

Director Jurgen Bey Staff Coordinator Marjo van Baar General Coordinator Anke Zedelius Education Advisor Jaap Vinken Administration & Finances Nancy van Vooren Medialab Ineke Bakker Jan Kees van Kampen Brian McKenna Ivo van Stiphout Location FedLev building & Benthem Crouwel building Fred. Roeskestraat 98 1076 ED Amsterdam

The Sandberg Instituut is hosting a category of educational programmes in collaboration with partner institutes and companies since 2017. The Hosted Programmes attempt to intertwine existing agendas and their stakeholders for a collective two-year studying period. The topics are essential for the future of our learning institute and of art education in a broader, international perspective. Therefore, the Hosted Programmes are surrounded by other in-house projects such as debates, writing, conferencing, etc. The first Hosted Programme is the Master Design of Experiences (2017 – 2019) in collaboration with the University of the Underground. It is part of joint investigations on the implications of ‘external funding’ for art education. Future topics are not yet decided, but might be for instance cultural-diversity discussions, the implications of artificial intelligence or the relation of art to public-urban space. ORGANISATIONS

Contact T: +31 (0)20 588 24 00 E: info@sandberg.nl W: www.sandberg.nl

Through collaborative efforts various Organisations (short and long term) have been initiated and supported by the Sandberg Instituut. In relation to the two year Masters education, these Organisations consist of projects, programmes, exhibitions, publications and gatherings for both current students, alumni and staff as well as a professional audience and public with an interest in fine arts, design and architecture. Organisations include The One Minutes (1998), Kunstvlaai (2004), Typeface (2013), Rietveld Pavilion (2015), NEVERNEVERLAND (2016), De School (2017) PS (2017), Sandberg Series (2017), Decolonial Futures (2018), PUB (2018), Sandberg Speakeasy (2018) and Unsettling (2018). https://sandberg.nl

SANDBERG INSTITUUT

Application Information There are four steps in the application process: Step 1: Registration You can register online from January 8, 2019 Deadline is April 1, 2019 Step 2: Motivation Upload your motivation letter together with samples of your work.Applications need to be submitted by 1 April 2019 at the latest. Step 3: Interview Selected candidates will receive an interview invitation. Step 4: Acceptance If successful you will be asked to submit additional paper work and pay the tuition fee. We will complete your application and accept you as a student upon receiving the tuition fee.

OPEN FOR APPLICATIONS

Degrees Sandberg Instituut’s Master’s courses are funded by the Dutch Government and accredited by the Dutch Flemish Accreditation Organisation (see NVAO). As the postgraduate programme of the Gerrit Rietveld Academie Amsterdam, we offer Master’s programmes in the fields of Fine Arts, Design and Interior Architecture. The institute is licensed to issue Master of Arts degrees: MA in Fine Art and Design for all programmes, with the exception of the SIS programme which leads to MA in Interior Architecture. This exception is made because this degree is required in the Netherlands to register as an interior architect. Tuition fees Fee for EU/EEA students without a Dutch masters degree: € 2.580,00 All students who followed a Master’s programme in The Netherlands and obtained a Dutch masters degree: € 6.156,00 Fee for non-EU/EEA students: € 6.156,00 Non-EU/EEA students can possibly apply for a Holland Scholarship.

From 8 January until 1 April 2019 the Sandberg Instituut is open for applications to the Main Departments and new Temporary Programmes. For more information and to apply to the Sandberg Instituut, visit www.sandberg.nl/2019-application OPEN SANDBERG During Open Sandberg, on 7 February 2019 from 14:00 – 19:00, the public, professional audience and press are invited to visit the Main Departments, Temporary Programmes and Hosted Programme at the Sandberg Instituut for a day.

A schedule with tours, special events and performances will be announced on www.sandberg.nl.

Department Director Tom Vandeputte Coordinator Will Pollard Tutors Jesse Darling, Joost de Bloois, Rick Dolphijn, Flavia Dzodan, Amelia Groom, Fatima Hellberg, Jakob Jakobsen, Huw Lemmey, Mihnea Mircan, Will Pollard, Wail Qasim, Jules Sturm, Tom Vandeputte, Marina Vishmidt Guests 2018 – 2019 Cédric Durand, Max Haiven, Maija Timonen, Nadine El-Enany, Sandro Mezzadra, Wail Qasim, Alberto Toscano, Linda Stupart, Florian Cramer, Yolande van der Heide, Stephanie Comilang, Sascha Pohflepp, Femke Herregraven, Rachel O’Reilly and others 2017 – 2018 Nina Power, Sami Khatib, Sara Salem, Caspar Jade Heinemann, Jaakko Pallasvuo, Hannah Proctor, Samo Tomšič, iLiana Fokianaki, belit sağ, Adam Elliott-Cooper, Snejanka Mihaylova, Florian Cramer, Polly Pallister-Wilkins, Linda Stupart, Eimear Walshe, Julie Gaillard, Migrant Domestic Workers Network, Simone Zeefuik, The Collective Liberation Project and others

The Master’s in Critical Studies is a two-year postgraduate programme in research and theory. The programme 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 that are at odds with traditional academic frameworks, including practice-led research and other intersections of research, practice and theoretical inquiry. Participants have the possibility to pursue a self-initiated research project with great autonomy, working individually or collectively with the support of a supervisor. Research projects are presented in a series of regular colloquia, which function as spaces for collective discussion and exchange. In addition to this, participants are provided with the support and resources for the development of collaborative projects related to their research, such as publications, exhibitions, screenings or symposia. https://sandberg.nl/main-department-critical-studies

https://sandberg.nl/main-department-critical-studies

CRIT I CAL STUD IES

ABOUT CRITICAL STUDIES

CRITICAL STUDIES Main Department Open for Applications

Alongside the research trajectory, participants take part in a programme of seminars, lectures and workshops. This taught programme provides a thorough introduction to key concepts in critical theory and continental philosophy, explores research methodologies in relation to cultural practices and supports participants in the development of a writing practice. In addition to this general programme, specific themes are addressed in depth each month during lectures and seminars given by visiting speakers. Students

Critical Studies welcomes applicants from a range of backgrounds, including writers, editors, activists, theorists, artists, curators, educators and other cultural practitioners interested in exploring points of convergence between research, practice and writing.

Facebook: https://www.facebook.com/sandbergcriticalstudies

Current Participants 1st Year 2018 – 2020 Nicholas Reilly-McVittie Patrycja Rozwora Luca Soudant Aimee Theriot Ben Tupper 2nd year 2017 – 2019 Mohamad Deeb Vita Evangelista Lucie Fortuin Harriet Foyster Silke Xenia Juul-Sorensen Nemo Koning Sekai Makoni Maria Muuk Filippo Tocchi Aidan Wall Alumni Graduates 2018 Lucie Berjoan Callum Copley François Girard-Meunier Özgür Kar Asja Novak Willem van Weelden Graduates 2017 Ivan Cheng Rogier Delfos Ioanna Gerakidi Rosie Haward Ad van der Koog Stefanie Rau Pieter Verbeke Graduates 2016 Gianmaria Andreetta Annie Goodner Will Pollard Nolwenn Salaün

Department Director Annelys de Vet Coordinator Charlotte Corstanje Tutors Tina Bastajian, Anja Groten, Agata Jaworska, Rogier Klomp, Rob Schröder, Daniel van der Velden Guests Rana Ghavami, Nikki Brörmann, Petra Van Brabandt, Dan Hassler-Forest, Max Bruinsma, Pascal Gielen, Laura Pappa, Ikenna Azuike, Ruben Pater, Philippine Hoegen, Emily Segal, Jack Self, Johan Gimonprez, STEIM, Ivo van Stiphout, Kevin Bray, Stefan Schäfer, Juliette Lizotte, Hannes Bernard, Noortje van Eekelen & Belle, Phromchanya, Janna Ullrich, Benedikt Wöppel, Manuel Ángel Macía, Joey Holder, Silvio Lorusso and others

Current Participants

With a selfless, committed, curious, serious, humorous and above all hazardous mentality plus a wide diversity of tools, the Design Department finds out what matters through design. Moving between reality and fantasy, chaos and systems, data and dreams; the course addresses the contradictions of our time. It responds to world issues and questions the relationship between practice and politics. Design itself is presented as a tool to organize the relationship with the outside world. Global challenges are approached from personal and human points of view, so different perspectives that exist within the department are articulated. Identities, stories and visual strategies merge into practices in personal, specific and committed manners. Forms become relations, disciplines turn into mentalities and internet is used as a common canvas for trying new things. The self-initiated projects present new disciplinary frameworks, start movements, construct collectives and invest in alternative models of living. Students

https://sandberg.nl/main-department-design

DE SIGN

ABOUT DESIGN

DESIGN Main Department Open for Applications

With a trust based educational model (filled with extreme talent, positive energy and a spirit of equality) we stimulate people to feel free and passionate about engaging in the things that they love or care about, through making and collaborating. We welcome students who embrace the vulnerability, doubt and the unpredictability of where design can lead them. They are investigative designers, critical optimists, generous collaborators, storytellers, eternal students, friends, lovers or fighters, but all sensitive guides for our precarious future. More detailed information can be found in the 2008 – 2017 Yearbooks at: https://sandberg.nl/main-department-design During 2019 Anja Groten will succeed Annelys de Vet as Department Director, who will remain engaged as a tutor.

1st year 2018 – 2020 Emirhan Akin Carmen Dusmet Carrasco Levi van Gelder Andrea González Garrán Francisca Khamis Giacoman Tali Liberman Heleen Mineur Nicolò Pellarin Charlotte Rohde Wouter Stroet Fabian Tombers Hanna Valle 2nd year 2017 – 2019 Lucie de Brechard Rowena Buur Miquel Hervás Gómez Sascha Krischock Tessa Meeus Samuli Saarinen Andreas Trenker Alex Walker Karina Zavidova Alumni Graduates 2018 Mateo Broillet Jùlia Carvalho de Aguiar Asja Keema Anastasia Kubrak Sherida Kuffour Heikki Lotvonen Stefanie Luchtenberg Juan Pablo Mejia Tereza Rullerova Graduates 2017 Ruben Baart Floris van Driel Rebekka Fries Roos Groothuizen Cyanne van den Houten Andrea Karch Nazanin Karimi Lien Van Leemput Gui Machiavelli Derk Over Mary Ponomareva João Roxo Daniel Seemayer BiYi Zhu Graduates 2016 Arthur Röing Baer Monika Gruzite Juliette Lizotte Florian Mecklenburg Birte Veenkamp Minhong Yu Agnieszka Zimolag

Website: www.sandberg.nl/main-department-design Instagram: @sandbergdesigndepartment

Department Director Jerszy Seymour Coordinator Tamara van der Laarse Tutors Saâdane Afif, Daniel Dewar, Florence Parot, Ioannis Mouravas

https://sandberg.nl/main-department-dirty-art-department

Thesis Director Catherine Somzé

The Dirty Art Department presents itself as an open space for all thought, creation and action. Although it comes from a shared background of design and applied art, it sees itself as a dynamic paradox, flowing between Cecilia Vellejos’ notions of ‘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 between other people and ourselves. Since ‘God is dead’ and ‘The Spectacle’ is omnipresent, it sees the creation of alternative and new realities as the way to reconsider our existential situation on this planet.

Guests

Guests 2018 – 2019 Matthijs De Bruijn & Cecilia Vallejos, Leopold Bianchini, Deborah Bowmann, Gelitin (Wolfgang Gantner, Scott Clifford Evans), Charl Landvreugd, Xenia Kalpaktsoglue, Matteo Lucchetti, Anna Reutinger, Jonas Staal, Pilvi Takala, Zoe Gray and Jeremy Shaw 2017 – 2018 Robin van den Akker, Angelo Angelidakis, Assemble, Loren Balhorn, Emanuele Braga, Franco Bifo Beradi, Emanuele Braga, Lovis Caputo, Robin Celikates, Dave Dorell, Otto Lehto, Joseph Marzolla, Ioannis Mouravas, Navid Nuur, Angelo Plessas, Marousssia Rebecq, Vanessa Safavi, Xenia Kalpaksoglou

The aim of the Dirty Art Department is to develop singular individual and collective practices, distinct from medium or subject, and to give an insight into how to place these practices into the existing contexts of art, design, performance, writing, pizza making, etc. The final challenge is to create new context; that is, the transformation of reality. https://sandberg.nl/main-department-dirty-art-department

DIRT Y ART DE PART MENT

ABOUT THE DIRTY ART DEPARTMENT

DIRTY ART DEPARTMENT Main Department Open for Applications

The Dirty Art Department promotes a strong theoretical and philosophical agenda and is open, in practice, to dangerous attempts and spectacular failures. It sees itself as a journey, and wherever it stops off, it remembers that ‘Any Space is the Place’. 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. Please enjoy the trip. In collaboration with the Macao Collective the department was nominated for the inaugural Milan Design Prize in 2016 with the project the Wandering School, an collective, living and social sculpture. In 2018 the department continued its trip with the Wandering School Part 2: Revolution or Bust! a real derive and wandering that included meeting the oracle of Delphi, Franco Bifo Beradi, walking through the wilderness to Athens, clashes with Titans, peace offering to the Gods, helping to rebuild a refugee center, regular encounters with tear gas, and just simply being there. The collective film ‘Revolution or Bust!’ was presented at the third Youth Biennale of Bolzano in 2018 curated by Christian Jankowski.

Website: www.dirtyartdepartment.com Facebook: www.facebook.com/dirtyartdepartment Instagram: @dirtyartdepartment

Current Participants 1st year 2018 – 2020 Veronika Babayan Constantin Dichtl Janina Fritz Natalia Jordanova Sara Santana López Octave Rimbert-Rivière Sophia Simensky Linda Stauffer 2nd year 2017 – 2019 Pierre Bujeau Sun Chang Sara Daniel Walter Gotsch Jason Harvey Selma Koran Jeroen Kortekaas Christopher Lawrence David Haack Monberg Rachele Monti Daniel Munoz Ordonez Jean-Francois Peschot Leo Ravy Thomasz Skibicki Alumni Graduates 2018 Andrea Lopez Bernal Giovanni Bozzoli Quintin Dupuy Andrés García Lotte Hardeman Tom Kemp Anna Laederach Nagare Willemsen Graduates 2017 Nicola Baratto Gamze Baray Alban Karsten Bras Carole Cicciu Kitty van Ekeren Eurico Sà Fernandes Constance Hinfray Aurélien Lepetit Kolbrún Þóra Löve Thijs van de Loo Cyril de Menouillard Ioannis Mouravas Valentin Noiret Rachel-Rose O’Leary Graduates 2016 Elise Ehry Maarten Nico Rahel Pasztor Josephine Peguillan Anna Reutinger Thomas Schneider & Arthur Tramier

Department Director Maxine Kopsa Coordinator Judith Leysner Tutors & Thesis Mentors Gintaras Didžiapetris, Gabriel Lester, Lucy Skaer, Mark Turner, Jeroen Boomgaard, Yolande van der Heide Guests 2017 – 2018 Tarek Atoui, Marieke Barnas, Mor Bashan, James Beckett, Saskia Bos, CA Conrad, Jeremiah Day, Jason Dodge, Dorothea von Hantelmann, Nicoline van Harskamp, Ishion Hutchinson, Sam Keogh, Isabel Lewis, Sarah de Meuse, Valzhyna Mort, Benjamin Moser, Hans Schnitzler, Dror Shoval, Grace Schwindt, Robert Wilhite, Suzanne van de Ven

Sandberg Instituut’s Fine Arts department retains a focus on autonomy and making, while addressing the social and economic roles of art production. Core to the programme are the regular conversations with our main tutors, while guest tutors are invited for seminars and tutorials throughout the year. Studio time alternates with common activities such as workshops, one-off events such as an annual group exhibition and excursions abroad (previously to the Arctic Circle, Sharjah and the Isle of Lewis). Several times a year, students come together with staff to discuss shared interests that have emerged and can be addressed with the help of experts who, following these sessions, are invited accordingly. Student-led activities are encouraged, while internal platforms are in place to promote small-scale tryouts and experimentation in presentation. In short, we attempt to provide students with a space where they can be challenged and inspired. To ensure that the knowledge shared is vital, topical and valid to personal development and reflects topical urgency. https://sandberg.nl/main-department-fine-arts

https://sandberg.nl/main-department-fine-arts

FINE ARTS

ABOUT FINE ARTS

FINE ARTS Main Department Open for Applications

The programme unfolds across three open modules: Language: The module takes a holistic approach to the making of art, expanding and exploring our notions of what artistic practices can include. It concerns the languages of what is seen, heard and written. Image: The Image module centers on the notion of representation, time and context in various visual and audio-visual practices. The emphasis lies in developing individual production strategies for processing and materializing thought, intuition and knowledge; developed through production experience and through considering the strategies of others. Play/Object: The Play/Object module focuses on contemporary constructions of performativity and object-based productions within a cross-disciplinary, public context. It concentrates on creative processes, with particular attention paid to how objects interact with time, space and value.

Students: We are looking for eager, active, ambitious and authentic makers and thinkers who are open to fundamental reflection on their work. A sound background in art or possession of equivalent expertise in affiliated fields is required. Candidate students will be evaluated on their motivation, previous experience and portfolio, focusing on the authenticity, artistry and autonomous quality of the work presented.

Current Participants 1st year 2018 – 2020 Emilie Anouk Asselineau Anna Maria Balint Jesper Henningsson Miriam Kongstad Alexander Kuusik Pedro Matias Yara Said Aleksandr Sergienko Dimitris Theocharis Lieselot Versteeg Myrto Vratsanou Klara Waara 2nd year 2017 – 2019 Mariah Blue Mark Buckeridge Kathrin Graf Lana Murdochy Wyatt Niehaus Julie Pusztai Tina Reden YounWon Sohn Amy Winstanley Alumni Graduates 2018 Johanna Arco Loidys Carnero Philip Coyne Timo Demollin Philip Ortelli Alice dos Reis Mai Spring Tatsuhiko Togashi Mong-Hsuan Tsai Graduates 2017 Nora Barón Bing Bin César Brun Shristie Budhia Lara Alexandra Konrad Ieva Kraule Vicente Mollestad Will Peck Smári Rúnar Róbertsson Luc Windaus Graduates 2016 Gediminas G. Akstinas Lucy Andrews Can Boyan Nina Djekic Yulu Gao Claudia Pagès J acob Peter Kovner Ryan Rivadeneyra Marcello Spada Zazie Stevens Bruno Zhu

Department Director Leopold Banchini Coordinator Rosa te Velde

Tutors Marie-Avril Berthet, Laure Jaffuel, Elise van Mourik, Joseph Noonan-Ganley, Julian Schubert, Tom Vandeputte

https://sandberg.nl/main-department-studio-for-immediate-spaces

Research fellows 2018 – 2019 !Mediengruppe Bitnik

Guests

2018 – 2019 Ludovic Balland, Stephane Damsin, Remco Siebring, Sofia Mourato, Raumlabor Arno Brandlhuber, Mark Minkjan, Arna Mackic, Matilde Cassani, Katinka de Jonge, Paolo Patelli, SNDO (School for New Dance Development)

2017 – 2018 Amy Abdou, Amal Alhaag, Margaux Anoros, Boris de Beijer, Jurgen Bey, Cécile Brouse, Pierre Cauderay, Jordi Colomer, Lukas Feireiss, Roel Griffioen, Maria Guggenbichler, Miguel Heilbron, Bruno Leitao, Arna Mackic, Monica de Miranda, Andrea Rodriguez Novoa, Wendelien van Oldenborgh, Nelson Schaer, Remco Siebring, Joel Vacheron

ABOUT STUDIO FOR IMMEDIATE SPACES SIS investigates the spaces too often neglected by traditional architecture and interior architecture education. SIS focuses on the spaces created by our contemporary culture without the help of professionals; informal, temporary, social, virtual, immediate. SIS is equally interested in the social conditions and the political context of spaces, as in their architectonic components. SIS analyses these spaces through artistic research with the help of Do It Yourself and hands-on production methods of investigation. SIS learns from the genius of the Neo-Vernacular and the beauty of collective intelligence and popular culture. SIS promotes an interdisciplinary approach but values the specific tools developed by spatial disciplines. SIS constantly produces full-scale immediate spaces through workshops, collective and individual projects. https://sandberg.nl/main-department-studio-for-immediate-spaces

STU DI DI ATE O SPA FOR CES IM ME STUDIO FOR IMMEDIATE SPACES Main Department Open for Applications

The two-year programme proposes an alternative take on the field of interior architecture, exceeding the boundaries of its traditional curriculum. The interdisciplinary environment of SIS is a platform for debate and experimentation, opening up new terrains and allowing for the development of independent practices. Here, exploration fuses with reflection; design is an instrument of research, research is an instrument of discovery. Production methodologies focus on urban investigations and building processes, promoting a hands-on approach and DIY culture as a means of emancipation, celebrating craftsmanship and the immediacy of space making. By engaging critically with the context we recognize our responsibilities and take position. The course revolves around three main axes: Research, Theory & Writing and Methodology. Participants develop their own spatial practice and artistic position through these axes. While these trajectories are individual, great emphasis is put on working as a collective endeavor. Traveling, observing and building together is at the core of the education process. The backbone of the course is formed by the project studios which are led by tutors active in different fields and offer a strong support to individual projects and experimentations. Each tutor focuses on a specific topic. Through these lenses, the participants follow their own intuitions, experiment with the tangible aspects of their work, the context they relate to, or the environments they produce. Unlike other departments of the Sandberg Instituut, SIS delivers an MA in Interior Architecture. Website: www.immediatespaces.nl Facebook: www.facebook.com/immediatespaces Instagram: @immediatespaces

Current Participants 1st year 2018 – 2020 Beatriz Conefrey Ali Glover Thorben Gröbel Kyulim Kim Wei Tung Kuo María Mazzanti Ruben Mols Julica Morlok Roman Tkachenko Michael Weber Andoni Zamora Chacartegui 2nd year 2017 – 2019 Andrea Belosi Elia Castino Antoine Guay Mathilde Helbo Stubmark Francesca Lucchitta Christelle Davide Sanvee Maike Statz Elizaveta Strakhova Alumni Graduates 2018 Niels Albers Malissa Anne Canez Sabus Gauthier Chambry Naomi Credé Samuel Kuhfuss Gustavsen Liene Pavlovska Mirko Podkowik Rein Verhoef Graduates 2017 Nadjim Bigou Kristoffer Zeiner Christiansen Arie de Fijter Carolin Gießner Eva Hoonhout Shih-Hui Hung Lily Lanfermeijer Monica Mays Zsófia Szőke Aaro Murphy Kim Wawer Neeltje ten Westenend Graduates 2016 Cathrine Andresen Marijn Roos Lindgreen Loui Meeuwissen Kristine Nørgaard Andersen Márk Redele Lia Satzinger

Programme Director Juha van ’t Zelfde

https://sandberg.nl/temporary-programme-resolution

Coordinator Polina Medvedeva

Tutors Ash Sarkar, Daniel van der Velden, Kate Cooper, Rob Schröder

Previous Guests of Temporary Programme Shadow Channel

2017 – 2019 Akwugo Emejulu, Cécile B. Evans, Chino Amobi, Donna Verheijden, Flavia Dzodan Gaika, Kévin Bray, Mark Leckey, Maryam Monalisa Gharavi, Michael Oswell, Nina Power, Roger Hiorns, Rana Hamadeh, Sam Rolfes, Silvia Maglioni & Graeme, Thomson, Vinca Kruk, Warren Ellis, Yuri Pattison

ABOUT RESOLUTION – MA MOVING IMAGE ‘No darkness lasts forever. And even there, there are stars.’ — Ursula K. Le Guin Resolution – MA Moving Image is a two-year Master’s programme committed to the future of the moving image. It is the sequel to the current Temporary Programme, Shadow Channel: Film, Design and Propaganda (2017-2019). Over a period of two years, students will meet a multitude of artists, academics and activists working at the intersection of film, music, art, video games and direct action. Building on its predecessor, Shadow Channel, the programme will take place both at the Sandberg and in collaboration with partner organisations around Amsterdam. When studying at Resolution, students will work on three projects: their individual moving image work, their thesis and a collective end-of-year presentation. The curriculum has been created to help develop conceptual and technical ability through practical workshops and tutorials, critical thinking through seminars focusing on research and writing, and a sense of solidarity through collaboration and communal activities. https://sandberg.nl/temporary-programme-resolution

RESO LUTION – MA MOV ING IMAGE RESOLUTION – MA MOVING IMAGE New Temporary Programme (2019 – 2021) Open for Applications

Resolution is open to anyone looking to develop new forms of moving images, whether they already make films or design video games, make music, write stories or create art online. We do not expect students to already be professional cinematographers, to know everything about exhibiting multiscreen installations, or have a game available in the PlayStation Store. ‘What matters is not to know the world’, as the late psychiatrist Frantz Fanon once wrote, ‘but to change it’. We especially welcome applications from people who are underrepresented in education, at work and on screen. In addition to new developments in the moving image, our programme will focus on inclusivity, intersectional solidarity and radical imagination. When we say radical, we paraphrase Barbara Smith, co-founder of the Combahee River Collective: “We don’t mean in your face, lobbing verbal grenades – radical means having a deep understanding of structural oppression and being willing to eradicate it.” Students looking for an MA that combines vigour with fantasy: meet Resolution. We firmly believe art is necessary to understand and change our world. But art is also necessary to catch our breath and take care of ourselves and each other, to feel free, even if it is only for the duration of a film. No darkness lasts forever.

APP ROACH ING

APPROACHING LANGUAGE New Temporary Programme (2019 – 2021) Open for Applicationss Programme Directors Maria Barnas, Ilse van Rijn

The Temporary Programme, Approaching Language, investigates language as matter that shapes and determines ways of thinking, ruling our everyday life, from the personal to intricate socio-political and ethical structures. Approaching Language asks what forms materialisations of language can take and where they can be situated, if at all. How do you approach language, and how does language approach you? How does a consciousness of language as matter, in all its variations, appear in current artistic practices? What is the operative force of an artistic practice steeped in language?

Tutors & Guests To be announced

LAN GUAGE

Language hovers between persons and peoples, in word acts and affects. Terms are both generous and restrictive, signs can be aggressive and acute, silent and slow. Language generates liaisons between words and things, between works and worlds.

https://sandberg.nl/temporary-programme-approaching-language

Coordinator To be announced

ABOUT APPROACHING LANGUAGE

Approaching Language shares the concerns voiced by the French feminist philosopher Luce Irigaray in the 1980s: “If we continue to speak the same language to each other, we will reproduce the same story. Begin the same stories all over again”. The programme rethinks the traditional relationship between words and things; between practice and theory; the visible and the invisible. Special attention is given to poetry as an act that resists reigning regimes but runs the risk of being absorbed by these same – economic, political, cultural, ethical – structures. Authors and artists such as Anne Carson, Carlos Amorales, Camille Henrot and Nora Turato have demonstrated as much. Participants are invited to find ways in which language-as-poetry and art-as-language can talk to the senses, generating a rhythm, presence and time ‘of its own’. Within the programme, the potential of language is stretched, through extensive readings, writings and discussions, presentations, workshops, field work and walks, led by poet and artist Maria Barnas, researcher and art writer Ilse van Rijn and guests. The Approaching Language programme is a platform and catalyst for practices that rethink the materialisation of words and words as materialisation. Researchers, artists, designers, novelists, poets and scholars across disciplines can participate and contribute to the programme by handing in a proposal for a project to be developed in the course of two years that sheds singular light on the malleability of language and the resonance of words. 18

Programme Directors BLESS: Desiree Heiss and Ines Kaag Coordinator Sarah Mesritz

Supervisory Board Gijs Bakker, Liesbeth den Besten, Ted Noten, Ruudt Peters

https://sandberg.nl/temporary-programme-challenging-jewellery

Guests

2018 – 2020 Peter Bilak, Yonathan Keren, Buro Belén, Louise Schouwenberg, Ben van der Wal, Anne Dressen, Marijn van Oosten

ABOUT CHALLENGING JEWELLERY Challenging Jewellery focuses on building a persuasive collective. One that could be defined as both a corporate association and a movement, driven by a common interest in ‘team spirit’ and the relevance of the silent side of the beauty. The initiative is driven and operated by way of a fully-functioning company structure. Individual research and practices continuously interact with the administrative, productive and communicative tasks that everyone in the team agrees to perform. Ideally the collective that is formed over the course of the programme will naturally extend into a continued existence and significance beyond its set timeframe of two years.

Current Participants 2018 – 2020 Seline Durrer Veronika Fabian Silvia Faggiani Gabriella Goldsmith Ting Gong Eva van Kempen Morgane de Klerk Sonia Matyassy Laila El Mehelmy Marek Mrowinksi Margaret Munchheimer Stephanie Schuitemaker Marilyn Volkman Joanne Vosloo

Tutors, guests and participants form a mix that is characterised by its potential to explore while paying attention to the small, silent and private, the human handling, and the careful treatment of material thoughts, values and behaviours. This setup facilitates the study of current notions of human need while focusing on objects. Investigation will take place in fields that need aesthetic support in order to allow ‘healing’; this may for example include employing aspects of jewellery in medical and political areas. https://sandberg.nl/temporary-programme-challenging-jewellery

CHAL LENG ING JEW EL LER Y CHALLENGING JEWELLERY Current Temporary Programme (2018 – 2020)

This way, the programme challenges how jewellery relates to our present time on a fundamental level. The approach represents an attempt to think big on a small scale, and presumes an ability to understand ‘micro-working’. The input for Challenging Jewellery is based on intergenerational dialogue. An advisory board, comprising four key figures in the realm of jewellery and design, ensures this will be done in a solid cooperation with the relevant fields. The visiting tutors and guests – varying from theoreticians and curators to contemporary architects, designers and artists – guarantee a continuous renewal of viewpoints on and insights into a discipline manifest in traditions, historical design and theoretical connotations. Like the previous Temporary Programmes – Material Utopias, Materialisation in Art & Design, Fashion Matters, and the current programme, Radical Cut-Up – Challenging Jewellery works together with the Gerrit Rietveld Academie BA departments and workshops, such as Ceramics, Glass, Textile, CadCam, Wood, Metal and Photography.

Programme Directors Alicia Framis Lilet Breddels Coordinator Helena Lambrechts Guests

https://sandberg.nl/temporary-programme-the-commoners-society

2018 – 2020 Casco, Tine de Moor, Monnik, Florence Okoye, Lucy Orta, Stavros Stravides, Liam Young, Bardhi Haliti, Aldo Ramos, Josefin Arnell

ABOUT THE COMMONERS’ SOCIETY Using visual, digital, and performative tools the programme proposes a new kind of metropolis that is focused on social interaction and equal opportunities over financial growth and profit. The late writer, teacher and cultural theorist Mark Fisher (aka K-Punk) wrote extensively on the relation between neo-liberal politics and the rising numbers of depressions and suicides we see around us. He showed this is because we are caught within ‘capitalist realism’ and are no longer able to imagine alternative economic and social systems. According to the philosopher Byung Chun Han, this is specifically so because we became our own exploiters after the exploitation of others disappeared (or was removed) from our real life experience. We recognise that a way out is to actively see ‘the other’ again, to sense real presence so we can interrelate once more.

Current Participants 2018 – 2020 Gyalpo Batstra David Cross Anna Erdmann Antonio López Espinosa Franziska Goralski John Hodgkinson Kamila Kantek Kasper van Moll Amber Oskam Lucia Fernandez Santoro Willem Schenk Simpson Tse Cindy Wegner

https://sandberg.nl/temporary-programme-the-commoners-society

THE COM MON ERS’ E SO CI TY THE COMMONERS’ SOCIETY Current Temporary Programme (2018 – 2020)

The programme takes as its departure point city-making structures such as General Management, Economy, City planning and Infrastructure, Arts, Culture and Sports, Housing, Employment, Health, Environment and Climate, Mobility, Public Space, Co-habitation and relationships. These notions will of course be fundamentally restructured and probably renamed from the moment the participants get involved. With these perspectives in mind, the programme looks for new ways of living, making, owning, sharing, managing and maintaining; or generally for models for what we call ‘a new commoning’. The programme will be researching this at the Amsterdam urban development area Zeeburgereiland, where we will have our work and test terrain. The proposals we develop will be manifold, conceptual and hands on. This will be contextualised by a theoretical reflection upon earlier utopian models and strategies. It will be related to a larger research programme where the University of Amsterdam, the Rietveld Academie Lectorate Art and Public Space (LAPS), architectural platforms, the municipality, the project-developer, the building companies, etc. are working on.

Programme Director Juha van ‘t Zelfde Coordinator Polina Medvedeva Tutors Rob Schröder, Daniel van der Velden, Kate Cooper, Donna Verheijden, Ash Sarkar Guests 2018 – 2019 Flavia Dzodan, Dr. Akwugo Emejulu, Cecile B. Evans, Rana Hamadeh, Maryam Monalisa Gharavi, Johan Grimonprez, Mark Leckey, Yuri Pattison 2017 – 2018 Jananne Al-Ani, Chino Amobi, Aaron Bastani, Kévin Bray, Ben Cerveny, Flavia Dzodan, Warren Ellis, Akwugo Emejulu, Gaika, Johan Grimonprez, Bregtje van der Haak, Lawrence Abu Hamdan, Gideon Kiers, Vinca Kruk, Metahaven, NON Worldwide, Michael Oswell, patten, Nina Power, Sam Rolfes, Ash Sarkar, Rasmus Svensson, Silvia Maglioni & Graeme Thomson, Werkflow, Aiwen Yin

ABOUT SHADOW CHANNEL In recent years, high-definition video has democratised as a medium. Online platforms have lowered the cost of uploading and distributing films to zero. Social media are dominated by streaming video. Today, anyone with a smartphone has a movie camera at their disposal. It is now completely natural to think, sketch, and communicate in video. HD is the new A4. Tutors and students at the Sandberg Instituut’s Design Department have, since the department’s inception in the 1990s, been at the forefront of this development. The department’s new and radical approaches to the moving image began to eat away at the edges of film and cinema. Many experimental graphic designers – including Shadow Channel tutors Rob Schröder and Daniel van der Velden – started to present their ideas via moving image installations, online videos, and, eventually, feature films.

Current Participants 2017 – 2019 Holly Childs Marijn Degenaar Juan Arturo García Elisa Grasso GVN908 André Lourenço Kani Marouf Elif Ozbay Anna Petrova Mark Prendergast Miša Skalskis Emilia Tapprest Valeria van Zuijlen Gediminas Žygus

https://sandberg.nl/temporary-programme-shadow-channel

SHA DOW CHAN NEL

SHADOW CHANNEL Current Temporary Programme (2017 – 2019)

To channel the momentum of an emerging movement of makers who embrace new approaches to filmmaking, in 2017 we launched the two-year Temporary Programme, Shadow Channel. Shadow Channel is a utopian platform commissioning, streaming, and distributing counter-narratives created by underrepresented voices, in response to platform capitalism, post-truth politics and the rise of neo-fascism. Students of Shadow Channel operate as a renegade production studio, running a deep stream narrating the real, playing short-and-long-form documentaries, music videos, and live feeds in the shadows of the internet. Responding in real time to real-world issues, revealing and reflecting on the dominance of film and design, and the dread, desire and dizziness of freedom controlling the human condition. During the two-year programme the channel streams from the deep web, and from within cinemas, galleries, clubs, and festivals across the Netherlands. Students of Shadow Channel curate, promote, and produce public events that attempt to expand the discourse around art and activism, and push the possibility, potential and poignancy of what art can do. As author Ursula K. Le Guin rallies us, ‘resistance and change often begin in art’. There is an alternative. Another world is possible. Demand the future. The sequal to Shadow Channel open for applications is New Temporary Programme Resolution — MA Moving Image (2019 – 2021).

The Radical Cut-Up (RCU) programme critically examines and joyfully celebrates the emergence and evolution of the cut-up as a contemporary mode of creativity and a dominant global model of cultural production in the early twenty-first century.

Programme Director Lukas Feireiss Coordinator Antoinette Vonder Mühll Tutors Amal Alhaag, Amie Dicke, Maria Guggenbichler, Michiel van Iersel, Afaina de Jong, Charlie Koolhaas Guests 2018 – 2019 Gianluigi Ricuperati, Gloria Wekker, Shumon Basar, Tamar Shafrir, Margriet Schavemaker, Robert Shore, Imara Limon, Sara Blokland, Tomislav Feller, Elisa Giuliano, Natasha Papadopoulou, Matthew Day, Jonas Liveröd, Clemens Behr, Isabelle Andriessen, Sands MurrayWassink 2017 – 2018 2A+P/A, Sarah Farina, Nadine Goepfert, Hanne Lippard, Leonard van Munster, Ahmet Ögüt, Floyd E. Schulze, The One Minutes, Thomas Marecki

Against the backdrop of the accelerated growth of new digital technologies that expand the production and circulation of images, text, sound, and objects in contemporary life, the interdisciplinary programme draws on a broader definition of the term ‘cut-up’ as a mixture or fusion of disparate elements, or the art of carefully crafted juxtaposition. Within the context of this course, the term is a container for a long list of names and actions, which describes the mixing and reconfiguration of existing materials to produce new outcomes.

Current Participants 2017 – 2019 Adam Bletchly Lou Buche Daan Couzijn Rebecca Eskilsson Zsofia Kollar Wesley Mapes Juliana Maurer Barnaby Monk Alexander Murray Fabian Reichle Javier Rodriguez Fernandez Fenna Schilling Farida Sedoc Anthony Smyrski Agustina Woodgate

https://sandberg.nl/temporary-programme-radical-cut-up

RAD I CAL CUTUP

ABOUT RADICAL CUT-UP

RADICAL CUT-UP Current Temporary Programme (2017 – 2019)

The interdisciplinary programme no longer regards the artwork as an endpoint but a simple moment in an infinite chain of contributions. It embraces the ‘ecstasy of influences’ (Jonathan Lethem), refuses any form of ‘source-hypocrisy’ and boldly accepts all ideas as secondhand, consciously and unconsciously drawn from a million outside sources. Drawing on a broad and inclusive range of media, RCU embraces new methodologies for the future of education: interdisciplinarity, collaboration and co-production. It is based on a cooperative learning approach in which all participants interact with each other to facilitate individual as well as collective artistic development by capitalising on one another’s resources and skills. Beyond disciplinary boundaries and conventional pedagogical models, the programme adopts the principles of cut-up not only as its conceptual and methodological foundations but applies them directly by questioning the classical format of an institutionalised art school. Radical Cut-Up explores new forms of teaching and learning by bringing together practitioners from all over the world. In 2018, the course worked in collaboration with the Stedelijk Museum Amsterdam, Not in New York, Rotterdam and Lodown Magazine Berlin. Radical Cut-Up (RCU) is a continuation and a disruption of the former temporary material-based programmes Material Utopias (MU) and Materialisation in Art and Design (MAD).

Website: www.radicalcutup.com Facebook: www.facebook.com/radicalcutup Instagram: @radicalcutup

Programme Director Nelly Ben Hayoun Coordinator Sjoerd ter Borg

Guests

https://sandberg.nl/hosted-programme-master-design-of-experiences

2017 – 2019 Peaches Christ, Jenn Nkiru, Emma Dabiri, Jeremy Deller, Gilles Peterson, Barbara Visser, Sulsolsal, Peter Sellars, JL Dianthus, Nadezhda Andreyevna Tolokonnikova of Pussy Riot, Regine Debatty, Julijonas Urbonas, Noam Toram, Moon Ribas, Bruce Sterling, Fay Milton & Ayse Hassan of Savages, Tea Uglow, Visual Editions, Mirik Milan, Shabazz Palaces, Yamuna Forzani, Nicholas Mortimer, Lord Mayor Magid Magid, and others

Tutors Lauren Alexander, Teun Castelein, Sjaron Minailo, Dr. Mijke van der Drift, Tom Greenall, Mariana Pestana, Nina Pope Cultural Attaché Ted Gioia

ABOUT MASTER DESIGN OF EXPERIENCES The Hosted Programme Master Design of Experiences exists at the nexus between critical design, experiential, theatrical, filmic, semiotics, political and musical practices. It aims to teach students how to engineer situations, to design experiences and events to best support social dreaming, social actions and power shifts within institutions, companies and governments. Students have rarely before been given the tools and means to learn to understand their profession in terms of the increasingly multi-faceted and malleable role it assumes in today’s world (which is ever-changing and disorienting). The programme encourages students to use their own voice, style, tone and aesthetics as manifested in final outcomes of performative product scenarios, products embedded in the context of the built environment and the institutions.

Current Participants 2017 – 2019 Malena Maria Arcucci John Bricker Tom Burke Alexander Cromer Ryan Eykholt Heather Griffin Juhee Hahm Anna Maria Merkel Joseph Pleass Ada Reinthal Luke George Hardy Rideout Evita Eva-Maria Bianca Rigert Jack Waghorn

https://sandberg.nl/hosted-programme-master-design-of-experiences

MAST ER DE PE SIGN RI OF ENC EX ES MASTER DESIGN OF EXPERIENCES Current Hosted Programme (2017 – 2019)

The curriculum is concerned with a contemporary and strategic foresight implying politics, economics, systems thinking in institutions, new technologies and scientific developments both in Artificial Intelligence and in the current digital ecosystems. It makes innovative use of a variety of practices to engage members of the public with the experiences and the debates created. Partner Institute

Sandberg Instituut’s partner for the hosted programme is the University of the Underground, which was founded in February 2017 to reinvigorate creative education. The mission of the University of the Underground is threefold: it aims to forge plurality and critical thinking in leadership, supporting experiential and experimental practices by offering free education to the next generation of creatives. It aims to maintain, support and cultivate countercultures that will reactivate the public’s engagement with democratic institutions, politics and their plausible futures. Finally, it aims to nurture transnational education by defining new and co-existing models, within and outside academia, established in supportive groups in the form of federations spread across borders, beyond nation-states. The University of the Underground is developing more educative structures in London and NYC, and it is opening a research department in 2019 in Amsterdam together with a programme in New York City in the summer 2019.

Website: www.universityoftheunderground.org

30 Reading and writing in English are naturalised within the course, and due to the size of classes and the time structure, oral participation is valorised. Discussion, reaction and affect take strong positions.

Notes to future students is a project by PS (Public Sandberg, curator Jules van den Langenberg), and critic and curator, Laurens Otto.

The thesis component is not prioritised, but submitted in the first trimester of the second year and positioned as part of the continuity of the programme rather than the result. The course offers flexibility in what form it takes. As in any small educational programme, there is the possibility to shape the course to better reflect the interests of the participants. The participants are considered and invited in relation to each other by core department members, as well as students.

What do the studies consist of? The year was divided into trimesters, with a shift in tutors for writing, research and theory. From memory, the language used for the fortnightly meetings of the CS cohort was ‘roundtables’, and on a monthly basis, invited guests would come to speak in a ‘public moment’ and run a seminar. Course participants have a self-led ‘research project’ which is developed alongside the pedagogical framework, which both years encounter together.

We thank all interviewees, UvA Talen and Sandberg Instituut’s policy and research advisor Jaap Vinken.

What are you working on at the moment? This week in Antwerp at the MuHKA I conclude a project I’ve been working on over the last few months with a performance called ‘Sunset Blister’. It’s remarkably flip, but follows a negotiation of the role of ‘spy’ across the fiveact exhibition, as well as producing glass wind instruments from pumice – abrasive, porous volcanic ash – and a series of workshops I devised for young people through the museum. I’m also showing a two-channel video work and a large wall painting. The function of the in-between and limits to proposed transformations has been at the core of my research and thinking for this work.

How would you define your current practice? Like a baby, I have a baby-sized practice. It’s infantile and still finding its bearing. It’s coughing up stuff and shitting itself and it has a strange relationship to trust and expectations; maybe not strange, but burdened. The position of powerlessness is simple to adopt, ‘There’s nothing I can do about that.’ You can’t stop being a baby just because you want to.

What would the ideal format for artistic education look like to you? No form of education is right for all students, but an ideal format for artistic education is friendship, entrustment and learning from intergenerational peers. What does generosity and discipline look like?

https://sandberg.nl/writings

As I understand it now, the programme exists within an ecology of academia, and increasingly draws on a respected community of thinkers and practitioners, many of whom are based outside Amsterdam. It could be parenthetically noted that many Sandberg departments draw from international or European networks to bring interesting practitioners with mixed relationships to what teaching might constitute. In my experience, objectivity and subjectivities are constantly at the fore of negotiating what the course of study entails.

While studying, there was the sense that the programme was still coming into its identity, and we were lucky to have some voice in the way we mediated ourselves. The group I studied with did not share academic backgrounds, so a lot of reading we encountered was unburdened with background, and read for affect, construction, beyond its contextualised position of authority. Based on our group position, ‘critical’ thus had the flexibility to be conveyed as related to issues of temporality, or positioned with irony; what differentiated the tenor of pedagogy here from other studies?

How should I interpret the ‘critical’ in Critical Studies? I’ll address the ‘I’ with a simple leap to convey how I communicated my study while engaged in it. I know that my cohort would negotiate the question differently, and I have not chosen to stay so closely tethered to speak for the current students.

What is your background? While in Amsterdam, this question is posed constantly. I am Australian, my parents having migrated from Hong Kong. The negotiation of class is relative. To answer the question once clarified – the degree I earned before studying CS was a Bachelor of Music (Performance), in which I was focused on contemporary music practice and primarily interested in scores and new music. I did so in Sydney and London. During those studies and afterwards, I was making interdisciplinary performance work, and existed within different communities, also as an organiser.

IVAN CHENG Main Department, Critical Studies (2015 – 2017)

Ten different students and alumni from the Sandberg Instituut community reflect on their studies, go over their ideas about artistic education and consider the development of their practice right up to their current work and future plans. Notes to future students is based on a series of interviews which are not informed by any topic, event or reference other than the personal history of the artist in question. As the students and alumni look back, this reflection ultimately reads as advice to future students: how to navigate the sea of art under the flag of a school.

I’ve only recently realised that I’m allowed to say that bologna does not constitute my studio practice; it’s a negotiation of community and audience. We invite practitioners into the

The space that b.cc is located in was offered to me as a studio, and it felt right to use it to host. bologna marks a foray into a semi-public; we’ve hosted something like 25 events or exhibitions in the last year, and will continue to modestly do so.

How does your practice relate to the space bologna.cc you set up more than a year ago? bologna shares the same pleasures of naming that I like to exercise in my work. I love acronyms. BCC is often understood to refer to the blind copy, an audience who is not aware of the others who choose or not to observe. bologna has been operational for just over a year, following a series of events and gestures which were sited in a space I ran in the centre of town with a constantly shifting name which primarily made invitations via email. Initiating this space was directly related to the desire, shared with CS classmates, to be accountable for invited guests, to engage beyond the institute, while also recognising the protocols of paying dues and building a reputation as a space, and addressing the privilege of space that I was often away from.

How do you disseminate your work? I don’t think I engage with platforms in any way that’s totally integrated with the work, but am predisposed to no-strategy-publicness. Many past performances are subtitled and available on YouTube, which as an interface feels more pleasurable (excremental?), than say, Vimeo. Often the camera has degraded these images, and the registration meets the eye in a particular way. Self-destructively earnest, the internet is obviously also a site of deceit. Not sure how to deal with inevitable context distortion, but very grateful to work with the people I do, and to perceive their trust.

After that, I’m in Amsterdam for a few days, minding the current show at the project space I run, then touring in Lithuania with the opera Bad Weather that I wrote for Arturas Bumšteinas. It positions nativity and subjectivity in relation to the weather, and uses reconstructions of baroque noise machines, traditionally off-stage as devices to create fallacies within illusory, presentational space. After that, I go to Athens to make a performance, try to see some friends over the New Year, a stint in Sydney, then some little things in Utrecht, and working on a thing in late February at the Oude Kerk in Amsterdam. I think I’m then on tour again with Bad Weather.

NOTES TO FUTURE STUDENTS https://sandberg.nl/writings

What is your background? Nineteen years ago, I started studying Art Direction at a private school in Amsterdam. I could not imagine myself going to an advertising agency straight after that, working at an office would not fit my ideas about communication and I was still too young anyway. I then studied graphic design at the HKU University of the Arts in Utrecht. That period had a big influence on getting me to work more artistically. For the first time, I was confronted with education that tried to get the most out of you, that encouraged you to create your own world. Before that, studying had always been one directional.

YURI VEERMAN Main Department, Design (2010 – 2012)

Antwerp/Brussels, December 2018

My advice would be to think about space and what it means to take it. Do it with as little ego and as much energy and fervour as you can. Remember that any dissatisfactions that you have with a situation can lie within an institution, but can also be with yourself. Ecologies only exist if you make them, so you can’t expect to simply receive, particularly in this neoliberal paradise. In editing the text that my spoken words have transformed into, this question bears the weight of offering closure. One of the books that has stayed with me from my studies is Lee Edelman’s, No Future. I’d recommend finding a position on this book.

What would be your advice to future Sandberg students? This question presupposes a flatness across all Sandberg students, rather than acknowledging the diversity of economic and educational backgrounds among the students.

The name also refers to the Bologna Process, being located on a floor of a building which I understand to be leased by Sandberg. I find it valuable to be sceptical of things coming together into one space. To put an s in front of bologna is apparently slang for fool’s gold, or can mean to aggressively give away.

shifting context of my studio, and attempt to accommodate with grace. Somehow it has never made sense to offer a traditionally discursive programme. It has been a pleasure to defer or lose full control over how it distributes itself. Which is a good thing.

32 After Milan, the graduation show was less of a priority, as we had already been out in the ‘real world’ and done something, while for other departments it was the big final moment. Also, our show was in a giant inflatable structure that blew down after two days due to heavy winds, so not many people saw it, but it still lives on as urban legend … which is maybe better.

I picked up Josefin Arnell’s thesis the other day (another former student) and opened it at the chapter, ‘Collective’, and it was talking about how most cults and religions have some type of initiation/right of passage ritual which usually involves pain and suffering. I think that we had a few moments of that in Dirty Art, but through those moments, through all the commiserating, we became closer.

to live together amidst these techno parties and tango nights, we also had to set up our own programme of things to happen during the Salone del Mobile. Much of the work happened out of necessity (e.g. when the toilets broke, you had to find water to flush them, or sweet talk the restaurant across the street into letting you use theirs). Some of us hated it, and some loved it, but in the end we turned out to be a very tight group, and I think it really influenced our practices.

It’s a wicked realisation that if a symbol is related to a big idea, one can then bend the bigger idea by tweaking the symbol.

Is there a formula for the right intervention? The sparser the intervention, the better. The clearer the idea, the easier it is to explain the project and to get people on board. But, mostly, the simplicity makes it possible to get a hold on a complex world. If a design can itself function as a new symbol, it can then travel on its own in the world of symbols. My projects that tell a story on their own have worked best.

After graduating from the HKU, I made a one-minute video called Trots op Nederland (Proud of Holland), where a Dutch-Moroccan singer sings the Dutch national anthem in Arabic. It was a response to a quote from Rita Verdonk, former Minister for Integration and Asylum Affairs, who had proclaimed that it should be forbidden for immigrants to speak their native tongue in public. Already, while making it, I understood that it would hit a nerve. To unpack a national symbol means to remove the existing framing to build a new one. You could say that my work largely consists of unpacking The Netherlands. I always end up tweaking its strongest symbols: the flag, the language, the currency. It became my method to remix the remix in order to get back to the original.

After the Van Eyck, my student visa expired, and getting the next visa meant either paying a ton of money, or forging

What did you do after graduating? Three days after graduation, I found out about this Creative Industries grant and just applied for it and somehow got it. The grant was to do a short residency in the labs at the Jan van Eyck Academy. Coming from Dirty Art that environment felt very institutional. While I was making ‘clean’ work in Dirty Art, my impulse was to get really dirty to contrast the cleanness of Jan van Eyck. I wasn’t given a studio space, so I produced a studio on wheels made from waste material I found lying around, then I worked in every part of the institution from this very aesthetic trash heap, as a sort of protest. In the end, I produced a text which expanded on my thesis and further analysed my working method and general philosophy. I wrote about approaching physical material as being non-static and volatile, and how this can be used to take what is normally considered ‘waste’ and use it as raw material. This is of course something that people of privilege never learn, because we are told that the consumption of new things is the only way to go. The text itself is also evolving, it will never be finished.

https://sandberg.nl/writings

There were a lot of strange situations we were dropped into and had to navigate, the best of which was our time in Milan, where we spent six weeks living and working in a squatted palazzo/alternative cultural centre called Macao. There were a wide range of activities already taking place in Macao, and besides learning how

How would you characterise the Dirty Art Department? Well it depends who you’re talking to, but I like to start by saying that it’s not Fine Art and it’s not Design, but somewhere in a grey area. Every year it changes, depending on who the students are, but in my year, we started with a fashion designer, a car designer, a cabinet maker, a performance/video artist, a product designer, a photographer and a psychology professor. It’s a bit ridiculous to label them as such, as they were all looking for ways to escape the constraints of the discipline they worked in before, which is I guess what brought us together in this weird other place called Dirty Art.

What is your background? Before Sandberg, I studied Design Media Arts and Digital Humanities at UCLA (University of California, Los Angeles) so I guess I would say I have more of a ‘design’ background. Studying in such a large school of 40,000 students gave me the opportunity to take a number of really specific classes, like Introduction to Space Weather, East Asian History, and Tribal Worldviews, which I think completely informed my way of working later on. I was already making objects to avoid sitting in front of a screen all the time, and after graduating I tried to maintain that balance. After graduating, I worked as a studio assistant for two of my former professors, who had very different practices, and I also worked as a Concept Developer with a design studio. What drew me to the Dirty Art Department was part circumstantial, part deliberate, but I was really attracted to the tone coming from the department as being interdisciplinary, and that it seemed to position itself as a truly alternative school where anything could happen.

ANNA REUTINGER Main Department, Dirty Art Department (2014 – 2016)

Amsterdam, December 2018

Question each other’s work and try to learn that way. Your studies are the best time to challenge each other’s strategies and aesthetics.

How did your practice evolve at Sandberg? At Sandberg, I found the method, the material and the subject of my practice. My material being symbols, be it words, images or shapes. It still left the question open of what then to do with these symbols, but at least at Sandberg you learn to find your own voice. At last, you are able to leave the fluff behind and focus on what is actually relevant to you.

Afterwards, I did all sorts of things, I was part of a theatre group, worked as a graphic designer and participated in social design projects; I have always been a generalist. In 2007, I did an internship at EGBG–Martijn Engelbregt, and later at the studio of the designer Annelys de Vet. At the time, Martijn was a guest tutor at Sandberg and Annelys became head of the Design Department later on, so there was already a natural link to the Sandberg. The Design Department interested me because it asks fundamental questions about design. It uses language to deconstruct things, not to proclaim them.

https://sandberg.nl/writings

What would be your advice to future Sandberg students? Welcome the unexpected, and be ready to really open yourself up. Know that you’ll go through very long periods of doubt, but that’s the only way you can have a ‘Eureka!’ moment later. In these periods, just do something, experiment,

As someone coming from abroad, how do you look at the Dutch system of funding the arts? In the States there’s basically no government funding to count on as a young artist, so it’s very commercially focused. In the Netherlands, there is less of a market and much more public funding; however, those funding entities act like any business – they always weigh the risks before making an investment. The Mondriaan Fund even asks you in their applications to ‘quantify’ a number of aspects of the work you are proposing. That impacts the work quite considerably! It becomes less about the quality of the work and its cultural contribution, and more about the numbers. I’m not sure if those entities are as self-critical about this as they could be. You see a lot of works where you think, ‘Oh, of course this was funded by the Mondriaan’. Now that I’ve said that, I will never be funded by them. For me, this was one of the reasons to move.

How would you describe your current practice? I call myself a sculptor, but I’m working across media. I still have trouble placing myself in the traditional art contexts (like showing work in a gallery) – I’m always looking for ways to make my work more accessible to an actual general public, and honestly I think that’s way more interesting. It’s crazy as an American to work in Europe, because I still can’t wrap my head around this constant country-hopping. For example, I’m producing a show now with a friend in Lyon, whom I met along with the curator in Bolzano, and the show is in Zürich. That’s four countries involved in one exhibition if you count my studio in Berlin. I think it’s dangerous in a way, this EasyJet lifestyle can’t last forever, and I’m trying to be careful and conscious of it.

a romantic relationship with a close friend. I didn’t have any money, and I didn’t want to support a system which privileged ‘romantic’ relationships over friendship, so I moved to Berlin. It was easier for me to get a visa, cheaper to live, and in a way, I think it was good for me to start all over again (although I do still miss my community in Amsterdam). Living in Berlin as an artist is like living in L.A. as an actor: everyone ends up working in a café, but everyone stays because the dream is still there, the hunger is still there. I still go back to Amsterdam though; I recently taught a workshop at Dirty Art with Daniel Dewar.

When discussing work, don’t be afraid to just say: ‘I don’t get it, why is this your approach? What are you actually trying to say? What are you actually trying to achieve?’

What would be your advice to future Sandberg students? Don’t hide behind abstractions. Be courageous enough to propose clear ideas. Design is often used to broach sensitive subjects, but the social relevance should never become the main forte of a work. Just because a work is politically relevant, doesn’t mean it is automatically any good.

What is the ideal format for artistic education according to you? That’s a hard question. When teaching at the HKU University of the Arts, I try to give examples – little video clips, or images – from completely different disciplines, so that my students can spot parallels with their work. I ask them: What can you learn from the way that someone works with their instruments, their ingredients, their materials, their audience? I feel very privileged to see the creative process of beginners (first-year students and students in the preparatory course) who have not been spoiled by the circumspection of the professional. The naiveté often leads to the most original visual ideas.

How would you define your practice now? From a negative point of view: scattered. It is challenging to shift gears between different types of work all the time. From a positive point of view: full of opportunity. It wouldn’t be productive to work only for one client at a time. I work as a designer, artist, performer, public speaker, and as a teacher.

So, your practice consists of hacking into symbols, of dismantling them. But would there then also be a space to make a constructive contribution? I was one of the founding members of Platform BK, which operates as an active think-tank for artists and other cultural workers. The first meetings actually started at the Sandberg in 2011, right after the budget cuts on culture were announced. It’s a real pain to mount a coalition of artists; to unite as a group in order to have political influence. But since it is the only way to make a difference, it had to be done. After the first enthusiastic group discussions, people quickly dropped out. I had decided that, for once, I would at no point leave the discussion but just stay to see where it would all lead. A year later, Platform BK was launched at W139. We really did achieve some things that actually had an effect on political decision-making. For example, the fair practice code and a guideline for artists’ fees.

I should not forget that an essential aspect of the programme is that you learn how to pitch your project. Architects focus on their digital drawings

How would you describe your current practice? It’s interdisciplinary in the sense that a discipline is like a colour you choose, or like the key of a song. The medium is a component of the work and communicates certain things, history, technical procedure, resemblance or connotation to something within the work. Taking the discipline into the narrative of the work, it often becomes about the process of its own making. I think that any creative process transfers knowledge directly across all mediums and methods, this is why you can always find a good cooking metaphor for any art problem. You can have different successes and different failures in all mediums. I think that having a versatile problem solving vocabulary is better than mastering anything.

After the graduation, I planned to move to Sweden but then I received a talent fund from the AFK, the Amsterdam Art Fund. It is the so-called 3Package Deal, that includes a stipend, a living/working space and support from a coalition of art institutions such as the Oude Kerk.

get, in this case it was a metronome sliding into a whale’s eardrum. I added this as an element just to mess with the tendency to seek meaning in distinct elements. It helped that the eardrum looks a lot like a human face.

How would you describe your current practice? While I was studying at Sandberg, I started the art space Dappie at the Dappermarkt in the Oost neighbourhood, as a collective of friends from my Bachelor’s days had moved to Amsterdam. It’s quite a wild bunch of people; there is also a musician and a poet involved. We started Dappie as a project space that would offer us the possibility to have an atelier in Amsterdam. We invite artists to work for a month, followed by a month-long exhibition. We see it as a raw place, to experiment, not at all promoting eye-catchers. There are too few places in Amsterdam that offer the possibility to develop your practice beyond the format into which your work has already been squeezed. Usually, you’re asked to show exactly what you have been doing for years. Can you still escape from the expectations that already surround your practice soon after graduating? We have an intense exchange with the invited artists, not by organising public talks, but through lengthy discussions in the atelier. After starting in the Nieuw-West neighbourhood of Amsterdam, we moved to the vicinity of the Tropenmuseum. Currently, we are again looking for a new space.

and models but depend on the pitch to have them realised. Before Sandberg, I was just totally lost in a group setting when I had to present my work in a design context. SIS taught me to speak about my work in a more pragmatic manner, I learned this the hard way.

How do these principles manifest in your work? For the Get Lost Art Route in Amsterdam Zuid, I took trail markers that I had collected and replaced from a four-day hike in Iceland. The old poles have an echo of the landscape in them, the wear of wind and rain create this contour of the landscape into the wood. You can see the seasons in them; it becomes a spatial – site specific object. In the Zuidas I transposed the poles as stickers onto the pavement and had them all pointing at their original direction. It

Shuffling and randomness are important aspects of my work. They create new structures. And in this randomness, new meaning is generated. I play with the concept of apophenia, that we recognise a signal in the noise and tend to see connections between things that are unrelated.

At some point I had the epiphany that I should not try to build meaning into my work. I realised I had been thinking of art sort of like a rebus puzzle, a complicated discrete communication system to convey something simple. That’s mad because you obviously shouldn’t have an explicit message or moral wrapped into the work. This led me to play with the idea of meaning itself: to play with the expectation that there should always be some sort of meaning.

These are all initiatives on the scale of the collective. What currently challenges you in your individual practice? As I come very much from the culture of construction work, I’m always afraid that my work will become too heavy. I tend to keep poetic inclinations at bay. In the future, I would like to find a new balance, to create more openness

As well as this, I’m also involved in Fabulous Future, a group of former students from my graduation year of Studio for Immediate Spaces. The purpose of Fabulous Future is more focused, as a collective we try to obtain commissions in the fields of art, design and architecture. Recently, we built a hotel room during Dutch Design Week in Eindhoven, but we have also intervened in De School nightclub and in the Vondelbunker. We want to collaborate with all kinds of different organisations, for example on a plot of land with project developers who are open to finding new functions for public and private spaces – like a communication agency for spatial design that translates commissions into formats that are financially sustainable. I want to give credit to Jurgen Bey, as he helped us to find the place. The Sandberg Instituut continues to support this initiative.

https://sandberg.nl/writings

As well as courses by architects, geographers and artists, Tom Vandeputte gave theory classes that were very instructive. They helped me to identify the power structures and systems of surveillance that I had encountered first-hand while working on the building sites but had never been able to conceptualise.

Of course, you need a structural approach to realise an architectural project, but it also deprives you of your artistic freedom to create by freewheeling. This constant balancing act between autonomous art – in my case sculptural work – and an applied artistic practice is what makes the department interesting.

The studies confront you with the reality of spatial design. To give an example, we went to the migrant camp in Calais as a group after ten days of preparation. We interacted with the local economy of the place while trying to use our practice to come up with a meaningful architectural intervention. We made a belfry out of reclaimed materials on a dune in the camp. This watchtower acted as a community centre, a tea kitchen, and playful workshop for the men. Our presence helped to amplify the already existing social dynamics, but also interfered with the privacy of the people who used the place to call their families. SIS made apparent this tension inherent to structural approaches to spatial design.

How would you describe the Studio for Immediate Spaces Department? Studio for Immediate Spaces is about breaking up architecture to find new ways to look at its practice. In general, the study programme became more formal over the two years I was there, to accommodate more students who had experience in developing architecture. It’s the only Master’s at the Sandberg that doesn’t offer a degree in Fine Art and Design but instead an MA in Interior Architecture.

What is your background? I studied Fine Art at the HKU University of the Arts in Utrecht and was a construction worker at the same time.

34 REIN VERHOEF Main Department, Studio for Immediate Spaces (2016 – 2018)

At the Graduation show, I presented the work Tabula Rasa at the exhibition space Kunstverein. In it I opened two hatches from the floorboards of the space and placed a pair of studio monitors underneath. From an iPod shuffle I played a playlist of around 1500 audio files of me reading individual words from an essay I wrote, called ‘The period is a hole that the sentence falls into after it is read.’ The essay itself discusses the reader’s relation to the writer and vice versa, while concerning itself on a broader scale with how we negotiate traces of our own temporal selves. Because it is looping and shuffled, the voice from beneath the floorboards is always making a new string of sentences, a new form. I then added another thing that sort of implies there is a specific meaning to

And then? After that, I went directly to the Sandberg Instituut. Making the decision to continue my study, I was immediately confronted by the question of what my practice actually was. I don’t think you take a masters degree directly after your BA to refine or solidify your practice. Pretty soon on, in individual talks with my tutors, I realised that I had many naive, unchallenged preconception of what my work should be and that the reason to continue was to root out and challenge these notions.

What is your background? I was born and raised in Iceland and studied VAV – moving image at the Gerrit Rietveld Academie.

SMÁRI RÚNAR RÓBERTSSON Main Department, Fine Arts (2015 – 2017)

Brussels/Berlin, December 2018

It’s also important to already imagine how you want to continue after graduation, and use your time in the Sandberg to prepare for that. Don’t worry about impressing professors, what really matters is learning from your peers and doing work that you are happy with and can defend. There will always be things that take you away from making your work, so you need to fight to find the space and rhythm to do your thing, but once you figure that out, it will help you move forward.

exercise, learn a technique, get off your ass. Those that have trouble are those who resist changing their minds, maybe they’re already too stuck in their ways.

https://sandberg.nl/writings

How would you define your practice currently, as an artist or a designer? Can I really not be both? The dominant transition that I make between practices is from fashion to the language of visual art. It still seems to be taboo for your practice to be about this slash between different fields. I still have to present myself as a ‘fashion designer’, although it is more than that.

What is the shift like from Rietveld to Sandberg? At Rietveld, you often function as an individual. Your concern is to build up your own practice. In this sense, the Sandberg to me is a step forward: it is about thinking as a collective.

What is your background? I graduated three years ago from the fashion design department at the Gerrit Rietveld Academie, and developed a practice that uses fashion in installations and through performance. I’m looking for ways to use sculpture as a garment. Since I tend to work with choreography and scenography, the focus is very much on the fabric and material choice and the relationship to movement. I recently had a performance in Shanghai with 50 people who I found through social media.

TING GONG Temporary Programme, Challenging Jewellery (2018 – 2020)

Amsterdam, December 2018

What would be your advice to future Sandberg students? Make sure that you have enough time at hand, so that you can dedicate yourself fully to your studies. This is especially important for students who already live in the Netherlands, who could be tempted to stick too much to their existing context. And if you have to focus on things outside your studies, communicate clearly to your group and tutors to avoid misunderstandings as much as possible.

on that level. I’m not an avid reader, but recently I was offered a book by Perec. He masters the ability to both maintain a superficial approach and simultaneously explore his characters in-depth. On a more practical level, I will soon go to Japan for a month-long course on traditional woodwork.

Amsterdam, December 2018

What would be your advice to future Sandberg students? I can only answer from what has worked for me: I think you should always be aware that you have unjustified and unfounded notions of what your work should be, and that these notions will dictate and confuse your work until you find and address them. You should be aware that you often don’t know why you think the way you do about things. The learning environment is perfect for shifting your opinion and people should definitely not be dogmatic about their practices. You should be open to reform or total restructuring of your ideas on a daily basis. I think ideally anything that nurtures that kind of introspective questioning is good. Regularly loosely writing out what it is you think about your practice can be a good way of achieving a distance and letting go of firm beliefs. Looking at it later, you should encounter the text like that of a stranger almost. Then do it again and again. I wouldn’t change much in the given structure of the school, as an artist try to play the cards you’re dealt.

What are you up to now? I have a show coming up on the 15th of December 2018, I will show work together with my partner at the project space Neverneverland. I will work with my collection of license plates that have fallen off cars on bad roads in Iceland. I have worked with them before, in their crooked and deteriorated condition, but now I decided to make casts of them in plaster. I have always thought of them as casts of the landscape, they become these little maps of where they fell off. As a title for my piece I’m thinking of Contour Maps of Treacherous Roads.

formed a trail that didn’t make any sense. I then recorded a lot of directions and imitations of the sound of wind. I mixed those sounds by putting different random combinations together. This piece Walking In Place (The Northern, Eastern, Southern And Western Wind) was compiled with a soundtrack as an audio guide that you can listen to on your phone while walking through the city.

What needs to be done to make this work? It would be good to have courses on the financial side of things, on copyright, taxes and other business issues. It would also be good to learn something besides our main professional work in these two years, so that we can improve what we are not good at. Then, the possibility of mixing things up a bit would be good, between the departments and programmes at Sandberg, which still stand very much on their own. This would also involve theory courses, because currently most is done through talking. It also means that we, as a group, need

Group decisions are made using a method from deep democracy: you make a mind map of the different positions, then proceed by voting, and then the majority has to accommodate the minority to ensure it is on board. So, what I realised is that in theory this is teaching people how to express and communicate in a group, both consciously and unconsciously, and how to structure a convincing plan within a group. The main question then remains: How do you bring your own practice to the group?

It will be important to find the core of the company, because now it is only a structure. Basically, the aim here is to create a business plan with the group and then execute it. Right now, we are meeting twice a week. You have to learn to work by talking, normally it works by practice. That means that I have to train myself to become more of a mediator. The most challenging task is that we plan everything from zero. This means that you can’t hide behind the role of the student anymore.

How has the programme functioned in these first few months? We are organising ourselves to become a company, a persuasive collective. We have regular studio visits to learn from other functioning models of established practitioners.

How does your own practice relate to the Challenging Jewellery programme? As my practice lies in the context of fashion, installation and performance, I am constantly searching for the link between my profession as a fashion designer and artist, and who I am, and how that plays out in a group.

For me, a space is always the beginning. That’s why the catwalk doesn’t work for me, because then the context too often comes after the work. I don’t see any boundaries in the work; in my mind, fashion is an artistic criterion, it is not about the collection or the clothing.

How would you define your own practice? I am a consultant and would like to advise communities, cities and regions on how to discover and incorporate local identities in new forms of public space and ownership. I’m also approaching this programme as work. I try to handle the situation as it comes, just as I would work with a client. I want to give everyone a seat at the table, including people who have never been invited, like the minorities of the community, and make sure their needs

That seems ambitious, but still quite manageable on that scale. Would you also use commoning in a more structural approach? Today, I had an interview with the global company Shell on how to integrate commoning into their new energies department. I’m excited to work with the bad guys, I’ve done that for some time and I want to keep on doing it. From my angle, it would be unethical not to work with companies such as Shell just because they are considered evil; it is in fact evil to not engage in a system in which you take part anyway. Shell is investing in new energies, so this venture is an opportunity to change things from within. In The Hague, they have 300 people working purely on the question of how you can integrate new energies into a community. I think I can help them with this, and use their resources to bring about structural change, over and above merely showcasing an individual social project in cultural venues.

One of the first projects that I proposed was a community centre to design typography. I came up with the idea of Common Sans, a font that people could use to communicate with each other within the neighbourhood and for the municipality to communicate with them. It would be based on a composite version of everyone’s handwriting.

and voices are present when imagining a better future for everyone. But I am excited to work with the ‘bad guys’ too, I feel that by influencing the big companies things can reach more communities at a faster pace.

Amsterdam, December 2018

Also, try to set up cross-disciplinary collaborations and build a professional network. And, finally, if you want to operate in a collective, everyone in the group needs to learn to be a great mediator.

What would be your advice to future Sandberg students? First, be patient. As there is an open education structure to follow, we sometimes tend to fall into endless meetings. While you can zone out, you should never leave the discussion.

The way of working there brings in a lot, but it can also be too fast. In Shanghai, you would be much more in demand, people would take the initiative to work with you. But that also creates the tendency for the work to become commercial. Also, if your work has a political side, then it needs constant negotiation to make it happen. How to go to China and work there and not get hurt, that is the question.

Amsterdam, December 2018

Also, come with high expectations of yourself. Dare to approach people you otherwise wouldn’t approach. Remember that the programmes are very free, so use the chaos. Don’t do things because others do them in a certain way, do them the way you want. Know your own agenda and know what you want to take from the programme. Keep in mind that you will probably not be taught a new profession, you will become better at what you’re doing already.

What would be your advice to future Sandberg students? Come with high levels of trust in yourself and others. Joining a Temporary Programme means the same uncertainty for everyone, both students and programme directors. Don’t let uncertainty scare you off, and keep believing in yourself and the co-members of your programme. However, don’t discuss everything collectively to eternity, try to set boundaries and spend the majority of your time producing – together.

https://sandberg.nl/writings

I miss a stronger connection with the outer world; the option to directly work with society, with the government or even industry, beyond the cultural field. With some guidance, it would open much more possibilities to co-produce work.

Does this structure work for you? Yes, the only issue is that currently the programme is housed in a temporary location in the city of Amsterdam, which is a little isolated from the other temporary programmes and main departments. Stronger hybridity between my practice and other practices (including nonartistic forms) would be useful. We are such a diverse group of people, consisting of artists, designers, a dancer ... with so many different needs and ideas about this programme. So, even if we are not closer to other departments, we nevertheless have a lot to teach to each other.

Our programme is now involved in a project that takes Zeeburgereiland as a testing ground for our initiatives. The idea was initiated by the BPD building company culture fund to incorporate art into the public space in the neighbourhood. Alongside independent researchers from Rietveld and the UvA, The Commoners’ Society MA also jumped on that boat. The project is still in its initial development phase, but we have already taken off and we can probably start working from the plot of land on Zeeburgereiland from March 2019 if all goes well.

What would be a typical day in The Commoners’ Society programme? I can only answer that by depicting four different days. Day one would be a group outing to places that study or practice commoning. This might be an initiative in the neighbourhood or an organisation such as Casco in Utrecht, for instance. Day two consists of guest lectures, for instance from architects Liam Young and Stavros Stravides and performer Lucy Orta. On day three, we debate and present our ideas to each other. Day four would be a reading group, where we discuss various texts on commoning together.

When would you consider you have succeeded in that? If we as a department became the institute. Also, I would eventually like to take the programme to China. Because, while we can just have an exhibition here in Amsterdam and that would be fine, just having a show there and then leaving would not be fine. It could only work if it is an exchange between institutions that leads to true cultural exchange.

Where could this lead to? What I learned from my group is that we need to get rid of the gallery system, currently the dominant system of distribution for limited edition works and jewellery. Jewellers have suffered too much from this dependence, and it hinders them in finding a larger audience. As a group, we are currently working on a manifesto to spell these things out; thinking how to change the practice of design in a structural sense.

To function as a company or collective would require even more transparency. We, as students, are in charge of a budget to organise things ourselves. Ideally, we should also be able to look into the broader budget of the programme, so that we can ensure equal payment for everyone involved, including the coordinators.

sessions to learn how to give and receive feedback.

https://sandberg.nl/writings

Because we are a diverse group, the goal of the programme is more than just making a film. We engage in creating counter-narratives, question what cinema is, experiment with different methodologies and really learn from each other when it comes to techniques and using different media. It could be about writing, filming, making music, scores, or having discussions about distributing the work beyond the white cube.

Everyone is very enthusiastic and open and this led me to learn a lot about art practice in all its diversity. In a way, this is what our course director Juha van ’t Zelfde wanted for us as well, this solidarity in either working together or supporting each other, through which we can educate each other. This becomes the backbone of the group. Of course, we had some issues in the beginning; it’s inevitable with this diverse group of people. Everyone has a different background, interests, their way of working and also a different level of artistic practice. But in the end, you get over these hurdles quickly, since the time you have together is only two years.

What is the goal of the programme? My idea of Shadow Channel when I applied was that I would be collaborating with a lot of fellow students. The collaboration turned out differently than I expected. Everyone is mostly focused on their own projects, which for me, unexpectedly, has worked really well. The way we all work together is in helping each other out in our own personal projects and works. I film, edit and make the music myself. Whenever there is a problem, or I have certain questions, I can talk to my group. And this group consists of people who I see as my comrades.

What is your background? I did my Bachelor’s at the Design Academy in Eindhoven and graduated from the Man and Communication Department. After graduating, I worked as a graphic designer and filmmaker. I had fun with the freelance life, but at some point I felt like I needed more job security. So, right now I’m working as a digital designer and producer at Johnny Wonder, a communication agency that focuses on valuable digital storytelling. This work gives me knowledge I won’t be able to find in my studies, while my work can’t provide the personal growth that my studies gives me. I very much enjoy the balance of these two worlds.

ELIF ÖZBAY Temporary Programme, Shadow Channel (2017 – 2019)

For instance, we managed to build the New York Textile Month from the ground up, just by collaborating with partners and aligning agendas without any budget. I see commoning more as an attitude than as a very refined concept. As commoning popped up in academia, everyone started to come up with their own definition. I see it as a trend. I want to elaborate on it from a position as mediator.

To then go to Sandberg seems quite a shift. I wouldn’t go so far as to say that I was already commoning before, but I definitely was co-doing.

In 2016, I moved to New York with Lidewij Edelkoort. She became the Dean of Hybrid Design Studies at the Parsons School of Design. We worked on a new hybrid first year for all freshmen that would focus on the body, space and time, alternatively from the perspectives of the humanities, architecture and art. We didn’t manage to set this programme up because the tuition costs and thus the career expectations in the US are just too high for students to engage in an experimental programme. We did, however, manage to launch a Master of Fine Arts in Textiles, which is currently running. To gain even more awareness of the importance of textiles and to give future graduates of the MFA a platform to present themselves, we also launched the New York Textile Month (the third edition just finished this September).

Being an assistant means being able to speak like your boss, to understand her ideas through and through. It is an intense rhythm, where you present two different trend forecasts a year through books and lectures, precisely eighteen months in advance of the collection presentation of the fashion brands. Coordinating these lectures all over the world meant to schedule meetings, to negotiate contracts and give presentations myself.

What is your background? After I graduated from AMFI, the Amsterdam Fashion Institute, I started working as an assistant to the trend forecaster Lidewij Edelkoort in Paris and New York. We worked together from the Arnhem Fashion Biennial in 2013 up until the moment I started at Sandberg a few months ago.

WILLEM SCHENK Temporary Programme, The Commoners’ Society (2018 – 2020)

Do you have a connection with other departments? I have personal connections with other departments of course. But as part of Shadow Channel, we are sharing lectures by our guest tutors with the other departments. We also share our main tutors, Rob

Before Sandberg, I started a project with a friend called OUR EYES, which we saw as a platform and a keeper of stories. We talked to many of our peers with mixed backgrounds and we shared amazing stories with each other. These stories are so important to us that we didn’t want to make them visible to everyone. These stories are on lockdown. Not everything is made to be overly shared. Not everything in Shadow Channel needs to fit the fast circulation of information-sharing. There is a place for these opinions in Sandberg, as well as the ones that work within the position you mention in your question.

I guess everyone who applied for Shadow Channel was critical of such statements. And that is exactly the point. To not take these statements as a fact, and critically reflect on them. Does it mean that my work should be transparent and accessible, or fast? Not at all, I think.

From the description of your programme, I get the sense that it wants to be more professional and cleaner than cinema. It takes from the recent democratisation of HD video (‘Anyone with a smartphone has a movie camera at their disposal’), suggesting that students should aim for maximum circulation and accessibility of counter-narratives.

Reclaiming certain elements from my background, using only what fascinates me, inspires me, and makes me proud, instead of telling the story that’s expected, is what I find very liberating. It’s also the only way for me to take this very personal theme to a level where it becomes more than only my voice. It can become bigger. And I believe that is exactly the point of being aware of whose story you’re telling.

Then I guess it is not only about producing counternarratives, but to set the stage for other voices. Well, the moment someone else steps onto this stage for these unheard voices, is precisely the moment where it can go wrong. We address these topics in Shadow Channel in various classes and discussions. Because of these discussions and the knowledge they provide, it definitely was the positive push for me to realise the capacity of storytelling and personal experiences.

In general, as a philosophy, it would always be good to have trust in the process. It will only work if you’re confident. Because if you’re not confident, the work won’t be good. That is also naïve, but it can save you from a breakdown.

I would suggest you make your study truly yours, even if that might sometimes mean attendance in your own department decreases and increases in another department. Sorry if I’m messing something up here, Jurgen and co., but I really enjoy seeing departmentally fluid students running their rounds.

Stay informed! School politics are interesting and in order to make changes you have to be up to date. Stay in touch with friends from other departments that you met at the academic year opening dinner. I missed out on a lecture and Q&A by Mark Leckey, whom I adore, you don’t want to make the same mistake, and with the number of guests invited, it is likely to happen.

What is your background? I studied music journalism. Before deciding on what to study, I had written twenty applications to all kinds of universities in Germany, ranging from architecture to theatre and science, because I had no idea what I wanted to do. As I was very interested in a lot of things, I thought that maybe in journalism I could bring together this generalist perspective of dealing with any kind of topic. During my Bachelor’s degree, I felt that journalistic forms were limited, and in order to challenge them, I found answers in the arts.

FABIAN REICHLE Temporary Programme, Radical Cut-Up (2017 – 2019)

Amsterdam, December 2018

What would be your advice to future Sandberg students? Be sensible and sensitive. Be enthusiastic about each other’s progress and work.

The thread through these past studies up to my current work and time at the Sandberg is to approach space as a language. In the end, architecture means not proposing a building; it comes down to the communication of a drawing. I see architecture as communication. Beyond this, for me, the question is: How do I involve movement in a space with non-verbal elements, with objects? This is a cinematic approach: if a space is a scenario, then moving through it means filming it. Your eyes are a camera. This is how I became interested in film and vision. The horizontal view of a resident is very different from the top-down view of an architect. My practice is to make people understand what

What is your background? I studied spatial design in South Korea and communication design in Eindhoven, where I made furniture, installations, video and clothes. My career continued with video and drawing because it was easier to work on that by myself. That is still the core of my practice at this moment, but my way of drawing spatial situations only came about after my graduation from my Bachelor’s. I was bored and needed distraction, so I decided to do one hundred days of drawing. That’s how I started.

JUHEE HAHM Hosted Programme, Master of Design Experiences (2017 – 2019)

Amsterdam, December 2018

https://sandberg.nl/writings

What would be your advice to future students? When I came to Sandberg, I really said to myself, ‘I’m going to give it everything or I’m not going to do it’. There will always be things that can be looked at critically, but there are so many things that I took as a chance. Take what you can! In our class, we have a very good base for communication. We have a lot of people who are incredibly social and who come with a certain experience of being in a group and being part of a class. Create a base in the beginning! It will come in handy. We also come from so many different places, so we can learn a lot from each other. The 10 Rules for Students and Teachers, popularised by John Cage, were always in the back of my head. Use your time smartly! It is just two years, so let’s do something. Don’t forget that it’s a small institute, so if you want help, just ask for it. You just need to find the right person.

After our kickstart last year, we’ve had the opportunity to do amazing projects, like a broadcast during Het Weekend at De School on sexism in the music industry and the resistance to it. Afterwards, we were also invited to a design festival in Switzerland. So, it’s kind of just starting and I think that once these connections have been made, it will be difficult to end the initiative. I hope the Sandberg Instituut sees the quality in this project and with its support and dedicated students, I see a bright future.

PUB should pass on knowledge, not only internally but also to the public. And at the same time, for me it works as some kind of student union, where you collaborate and engage with people from other departments. Agustina Woodgate and Miquel Hervás Gómez, the initiators of the whole PUB movement, have begun a strategy to pass things on from second to first-year students. In our second year, we often don’t have the capacity to work on these kinds of initiatives, because it’s the moment to write our theses and graduate. However, I hope that PUB is something that will continue. There is now a team that is doing the PUB journal, and there are people who are doing PUB TV and PUB radio.

for me worked as some kind of hybrid between art piece and journalistic medium. In order to do something else with the student-run PUB initiative, I started producing jingles for the radio. And then during the Graduation Exhibitions and Events in 2018, I hosted a radio show that was broadcast non-stop for 24 hours, doing eight hours each day. The last time I hosted a show was years ago and I had never hosted longer than two hours.

What will you do after Shadow Channel? Most of us are working on quite big projects, so I believe they will be extended after graduation. I still see a lot of collaborative work in the future. Especially as Shadow Channel is being extended an extra two years, I see us coming back together now and then to see how we can either support the new group or how we still want to make work together. A lot of stuff can still happen.

Then there is also graduating of course and thinking of what to do after and how to handle it all in such a short amount of time. ‘We got this’, is the mantra of this year.

What are you up to now? As I’m now in my second year of Shadow Channel, my thesis has the highest priority. Right now, we are on our way to Nida Art Colony in Lithuania to write our theses. It will be nice to start this hectic assignment together and push each other through the process of writing.

Schröder and Daniel van der Velden, with the Design Department. Some of us were very interested in the methodology weeks run by Studio for Immediate Spaces, so we proposed a collaborative week, which will happen very soon.

https://sandberg.nl/writings

As tuition in this two-year hosted programme is free, ironically it becomes clearer that I’m investing my time and my career. No tuition fee means scholarship, and I applied for the scholarship and was selected. Now, I just need to work hard on what I applied for. At the same time, I have to make good use of the system in my development. To invest my time and energy to develop myself should be the aim of the educational institution. Therefore, when I achieve my aim, the purpose of the institution and the intention of the scholarship should have been achieved. If an institution is geared towards helping the student, then this will ultimately go back to the institution and benefit them.

The programme functions according to the corporate structure of a brief. A brief might be: talk with an institution, find out what is their trauma, and make an opera out of this – within two months. But then, I have to ask myself: How do I articulate my own position within this brief? I know what I’m interested in but how do I use that in the context of a rigid form of a brief. And, in a more general sense: How do you talk with an institution? How do you initiate projects with institutions while keeping control of your artistic freedom?

The programme is an initiative of the University of the Underground, hosted by the Sandberg Instituut. The programme is externally funded, for example, by WeTransfer, meaning that our tuition is free. The programme reflects the global scale of this set-up. It investigates the implications of external funding for art education and it is about learning to intervene in global structures: about getting funding; finding a network. Next to developing my practice, I wanted to learn how to talk with institutions.

It actually sounds like the opposite of networking, where the people are defined first, and then used to define the structure. That network building seems to lie at the core of the Master of Design Experiences. How do you see this hosted programme?

is going on in a space. A wall and a door don’t really mean anything, it is about the activity that goes on in the space. The drawings are a mix of both digital and hand drawings. It might be hand drawing on the computer, painting, 3D drawing, etc. I start with them in the same way you would start a building: with the structure. Then I define the activity that can happen in-between the elements. The people in the drawings come last.

Is there a link with your background as a journalist and your work with PUB radio? Before PUB Radio was founded, I had started collaborating with Arif Kornweitz and Tamar Shafrir from the online radio platform Ja Ja Ja Nee Nee Nee on some soundpieces that

In the end, this temporary programme is a good context to work in, with the current speed of travel of things. The cut-up as an art form is nothing new, I admit, but I think it’s just a good moment to face it in the context of our times. We should document this and try to learn from it.

We talk a lot about how appropriation, stealing, borrowing and copying are defined. What is plagiarism and when could it be justified? With the premise that everything has already been done, does originality even exist? If something has been done before, why would I be stopped from doing it again? Maybe picking up something and putting it in a new context can make it mean something completely different – by using the cut-up as a method, and by questioning its use, such as with cultural appropriation, for example. It is not a juridical approach, but more an ethical one, asking: What are the common rules? I think the real relevance right now just comes from the current circulation of information, imagery and sound. It all revolves around the question: Who does knowledge belong to?

How do you see your Temporary Programme, Radical Cut-Up? First, it is interesting that it is a temporary programme that will only run once for two years. To some people, the themes of these programmes might sound ridiculous, such as ‘Material Utopias’, ‘Challenging Jewellery’, ‘Reinventing Daily Life’. It could be frowned upon. If you don’t know much about the institute, and you hear those terms, you might ask yourself what is the relevance of these temporary programmes in these times? But it is interesting precisely because it only happens once. It is a frame in which a single person, in this case, Lukas Feireiss, initiates a movement that triggers the emergence of a collective. In our case, we wanted to have a deep look into documenting and defining the cut-up as a form of expression in all kinds of disciplines.

For me, a lot of artwork serves as a presentation of research, and in that sense it can also be journalism. As a curator you can be a journalist, as an artist you can be a journalist. So, what I’m doing now and what I’m planning to do after Sandberg can be still considered journalism in a certain way, but wrapped up differently.

Amsterdam, December 2018

Two years is not really that long. First, look at yourself, what are you interested in, what are you strong at, and then look around institutions, communities and find ways to merge these two. I would recommend collaborating with other departments, or other schools, even if that school is not about art. I think it is important not to be trapped solely in art.

What would be your advice to future Sandberg students? Hang out with other Sandbergers as much as possible, look for collective work, and also look around Amsterdam and the Netherlands as much as possible, especially if you are from abroad. Talk with as many people around you as you can, including neighbours, friends, people from school, the institution, because these will be your assets.

In the Master of Design Experience, we have constantly been questioning and discussing our aims, what the course is about and what our position is as individuals between institutions. This is the difficult question, it boils down to: How to talk with society – not only with yourself? Or, more concretely: What is the institution? How do you make use of an institution as an individual? I think these are important questions for any new applicants to temporary programmes. For me, it brings in bigger questions, such as: Who am I? What am I good at? What is my position as a designer? Am I a journalist? A researcher? An architect? How is my position different from those? What I’m good at is making things pretty ... but that’s not enough. Then, how can I survive?

My programme is all about rethinking, analysing, hacking into the institutions and individuals behind them, as a response to the precarious position of designers. We, as students, are more focused on our experience and our portfolio than on finances. We also have a lot of discussions about post-colonialism, neoliberalism, we applied to the programme because we are interested in these questions, and explore how to solve these problems as individuals by using the existing system, which means existing institutions.

https://sandberg.nl/temporary-programme-master-of-voice

https://sandberg.nl/writings

MAST ER OF VOICE

40 MASTER OF VOICE Finished Temporary Programme (2016 – 2018)

Programme Director Lisette Smits

Coordinator Dorothé Orczyk

Tutors Paul Elliman, Amelia Groom, Snejanka Mihaylova, Marnie Slater, Lisette Smits

Guest tutors 2016 – 2018 Tyler Coburn, Jeremiah Day, Lubomir Draganov, Maria Guggenbichler, Lisa Holmqvist, Raimundas Malasauskas, Boryana Naydenova, Falke Pisano, Hinrich Sachs, Cally Spooner, Cara Tolmie, Wu Tsang, Alex Turgeon, Evelyn Taocheng Wang, Werker Collective, Geo Wyeth

Alumni Angelo Custódio Thom Driver Miyuki Inoue Bin Koh Maria Montesi Natasha Papadopoulou Danae Papazymouri Duncan Robertson Eva Susova Cécile Tafanelli Mavi Veloso

Programme Director Thomas Spijkerman Coordinator Puck Mathot

Tutors Matthijs Bosman, Martijn de Rijk, Maarten Gulickx, Nastaran Razawi Khorasani & Davy Pieters, Guy Königstein, Lucas de Man, Suze Milius, Henriette Olland

https://sandberg.nl/temporary-programme-reinventing-daily-life

Guests

2016 – 2018 Jeroen Boomgaard, Erik Hagoort, Nelly Ben Hayoun, Harmen de Hoop, Hans van Houwelingen, Ruben Jacobs, Anneke Jansen, Jeroen Jongeleen, Rosa Reuten, Lara Staal, Berend Strik, Nienke Scholts, Judith Wendel Alumni Laura Bolscher Sean Cornelisse Kees de Haan Luuk Imhann Sjors van Leeuwen Anouk van Reijen Daan Roukens Céline Talens Gijs Velsink Carlijn Voorneveld Nadja van der Weide

FASH ION MAT TERS https://sandberg.nl/temporary-programme-fashion-matters

RE IN VENT ING DAI LY LIFE

REINVENTING DAILY LIFE Finished Temporary Programme (2016 – 2018)

FASHION MATTERS Finished Temporary Programme (2015 – 2017) Programme Director Christophe Coppens Coordinator Martine Zoeteman Tutors Pieter Van Bogaert, Anne Marie Commandeur, Liesbeth in ’t Hout, Mikki Engelsbel, Aliki van der Kruijs Guests 2015 – 2017 Acreati, Javier Barcala, Christina Binkley, Walter Van Beirendonck, Pauline van Dongen, Peet Dullaert, Elisa van Joolen, Anita Evenepoel, Lukas Feireiss, Liselore Frowijn, Katrien Van Hecke, Kitty de Jong, Nicole Hoefsmit, Eric Klarenbeek, Jos Koninckx, Lisa Konno, Eve Marie Kuijstermans, Rickard Lindqvist, Elja Lintsen, Emma Lundgren, Edwin Oudshoorn, Bradley Quinn, The Cloud Collective, Timo Rissanen, Madeline Schwartzman, Saskia Stoeckler, Jeroen Teunissen, Raïssa Verhaeghe, Viktor & Rolf, Danielle Wanders, Veerle Windels, Workmates Presents, Anna-Nicole Ziesche Alumni Maaike Fransen Sanne Karssenberg Rafael Kouto Duran Lantink Fieneke Ploeger Vera de Pont Gerda Postma Karime Salame Sainz Mona Maria Steinhäußer Gerrit Jan Vos Timna Weber Margret Wibmer

MA TION DE TE IN SIGN RI ART ING AL AND DE I DE MOC SA SIGN RA CY

DESIGNING DEMOCRACY Finished Temporary Programme (2014 – 2016) Programme Directors Max Cohen de Lara David Mulder van der Vegt Coordinator Rebecca Bego

Tutors Felix Burrichter, Alfons Hooikaas, Barend Koolhaas, Gabriel Lester, Jeffrey Ludlow, Reineke Otten, Todd Reisz, Julika Rudelius, Saskia van Stein, Coralie Vogelaar, Francien van Westrenen

MATERIALISATION IN ART AND DESIGN Finished Temporary Programme (2015 – 2017)

Guests

2016 – 2017 Nina Glockner, Hedwig Houben, Mariana Lanari, Saskia Noor van Imhoff, Lex Pott, Ronald van Tienhoven

2015 – 2016 Eylem Aladogan, Marjan van Aubel, Laurie Cluitmans, Cocky Eek, Thomas Feuerstein, Pascale Gatzen, Alexander van Slobbe, Jo Taillieu, Marta Volkowa & Slava Shevelenko, Vincent Zedelius Alumni Oliver Barstow Carly Rose Bedford Iris Box Anne Büscher Dominique Festa Mio Fujimaki Caroline Jacob Thom van Hoek Julien Manaira Johan Romme Ellen Vårtun

Coordinator Linde Dorenbosch

https://sandberg.nl/temporary-programme-designing-democracy

Tutors Jens Pfeifer, Laurie Cluitmans, Tamar Shafrir

https://sandberg.nl/temporary-programme-materialisation-in-art-and-design

Programme Directors Herman Verkerk Maurizio Montalti

Alumni Benoit Ferran André Fincato Fabian Hijlkema Max Smit Julien Thomas Tom Tjon A Loi Ana Maria Osorio Alberto Valz Gris Ekaterina Volkova Iskra Vukšić Long Wu

CURE SYS MAST TEM ER D ACAD E MY CURE MASTER Finished Temporary Programme (2014 – 2016)

SYSTEM D ACADEMY Finished Temporary Programme (2014 – 2016)

Programme Directors Martijn Engelbregt Theo Tegelaers

Programme Directors Cynthia Hathaway Melle Smets

Coordinators Simone Kleinhout Anke Zedelius

Coordinator Nora Morton

Tutors Nils van Beek, Valentina Desideri, Rory Pilgrim, Louwrien Weijers, Egon Hanfstingl, William Speakman

2014 – 2016 Appie Bood, Melanie Bonajo, Trudy Dehue, Valentina Desideri, Ivo Dimchev, Marius Engelbrecht, Gijs Frieling, Jasper Griepink, Rosie Heinrich, Madelon Hooykaas, Machteld Huber, Natalie Jeremijenko, Ida van de Lee, Ruchama Noorda, Overtreders W, Mauk Pieper, Stephan Schäfer & Emily West, Floris Schönfeld, Esther Vossen, Henry Weessies, Peik Zuyling Alumni Hallie Abelman Linda Beumer Claudia van Dijk Olly Glaudemans Kim Haagen Vera Hofmann Emily IJzerman Nieke Koek Silvan Laan Lynne Morris Eva Pyrnokoki Alexander Sand Cathalijne Smulders Naomi Tattum Brenda de Vries

https://sandberg.nl/temporary-programme-system-d-academy

https://sandberg.nl/temporary-programme-cure-master

Guests

Tutors Arne Hendriks Bart Witte Christiaan Fruneaux Jessica Gysel Simon Angel Guests 2015 – 2016 Leila Anderson (DasArts), Ed van Hinte, Thomas Hirschhorn, Harmen de Hoop, Michele Kasprzak, Sophie Krier, Monnik, Bart Witte, Erik Wong 2014 – 2015 Hans Abbink, Daan Alkemade, Pek van Andel, Baptist Bray, Kris De Decker, Failed Architecture, Gwendolyn Floyd, George Hathaway, Dirk van den Heuvel, Ed van Hinte, Freek Janssens and Ceren Sezer, Jan Dirk de Jong, Arjo Klamer, Niek Knol, Tom.s Libertiny, Dirck Mollman, Monnik, Joost van Onna, Prof Corn. Pieterse, Pink Pony Express, Willem de Ridder, Prof Jan Rothuizen, Marc Schuilenburg, T.relt.r.t.s, Francien van Westrenen Alumni Janneke Absil Karolien Buurman Clément Carat Theofanis Dalezios Maarten Davidse Dennis Muñoz Espadiña Annette Kouwenhoven Gitte Nygaard Martina Raponi Ming Sho Tang Boo van der Vlist

SCHOOL MA TE OF MISS RI AL ING PI STUD U TO AS IES MATERIAL UTOPIAS Finished Temporary Programme (2013 – 2015)

Programme Director Louise Schouwenberg Coordinator Judith Konz

SCHOOL OF MISSING STUDIES Finished Temporary Programme (2013 – 2015)

Coordinator Martine Zoeteman

Tutors and guests Lawrence Abu Hamdan, Nick Aikens, Ayreen Anastas and Rene Gabri, Samira Ben Laloua, Bik Van der Pol, Maria Boletsi, Jeremiah Day, Charles Esche, E.C. Feiss, Louis van Gasteren, Moosje Goosen, Ernst van den Hemel, Pamela M. lee, Maria Lind, Sven Lütticken, Sarah Pierce, Tina Sherwell, Matthew Stadler, Nomeda & Gediminas Urbonas, Alexander Premala Vollebregt, Jeroen Zuidgeest Alumni Abla elBahrawy Clare Butcher Sofia Caesar Sanne Cobussen Katinka de Jonge Nikola Knezevic Grace Kyne-Lilley Mariana Lanari Geert van Mil Dina Rončević Eloise Sweetman Meir Tati Luisa Ungar

https://sandberg.nl/temporary-programme-material-utopias

https://sandberg.nl/temporary-programme-school-of-missing-studies

Programme Directors Liesbeth Bik Jos van der Pol

Guests Eylem Aladogan, Gijs Assmann, Laurie Cluitmans, Mikel van Gelderen, Conny Groenewegen, Bart Guldemond, Agata Jaworska, Esther Jiskoot, Folkert de Jong, Matthias Keller, Bastienne Kramer, Karel Martens, Erik Mattijssen, Ted Noten, Jens Pfeifer, Lex Pott, Anton Reijnders, Thomas Rentmeister, Vincent de Rijk, Maria Roosen, Aaron Schuster, Louise Schouwenberg, Robert Zandvliet Workshop assistants Claire Verkoyen, Sander Boeijink, Marie de Bruyn, Nicky den Breejen & Lise Lefebvre Alumni Marijke Annema Daniel van Dijck Nandi Enthoven Laura Fügmann Robert Grundström Vincent Knopper Sarah Meyers Tjalling Mulder Ea Polman Alice Ronchi Michelly Sugui Nadine van Veldhuizen Robin de Vogel

Programme Directors RAAAF Coordinator Martine Zoeteman Tutors Ronald Rietveld, Erik Rietveld, Ester van de Wiel, Barbara Visser, Frank Havermans, Vibeke Gieskes, Martine Zoeteman Guests 2012 – 2013 John Lonsdale, Hessel Dokkum, Annet Jantien Smit 2011 – 2012 Mike Lee, 2012Architecten, Rob van Kranenburg Alumni Christiaan Bakker Daan van den Berg Sjoerd ter Borg Ruiter Janssen Jorien Kemerink Pieter Alexander Lefebvre Henriette Waal Celine de Waal Malefijt

https://sandberg.nl

https://sandberg.nl/temporary-programme-vacant-nl

VA CANT NL

VACANT NL Finished Temporary Programme (2011 – 2013)

INDEX FedLev building & Benthem Crouwel building:

FL 1

Critical Studies / Theory (CS)

Project Space

Critical Studies (CS) Design (D) Dirty Art Department (DAD) Fine Arts (FA) Studio for Immediate Spaces (SIS)

Media Lab (ML)

Resolution – MA Moving Image (RES) Approaching Language (AL) Challenging Jewellery (CJ) Shadow Channel (SC) Radical Cut-Up (RCU) Media Lab (ML)

External Locations:

The Commoners’ Society (TCS) Master Design of Experiences (MDE)

BC 5

Critical Studies (CS)

(FA)

Shadow Channel (SC)

Studio for Immediate Spaces (SIS)

Radical Cut-Up (RCU) https://sandberg.nl

Dirty Art Department (DAD)

https://sandberg.nl

(DAD)

(CS) (SIS)

Challenging Jewellery (CJ)

(SC) (RCU)

BC 4

Project Space

(D)

Bridge

Design (D)

Fine Arts (FA)

Auditorium BENTHEM CROUWEL BUILDING

FEDLEV BUILDING

(CJ)

BC 3 53

https://sandberg.nl

APPLY APPLY APPLY APPLY APPLY APPLY

Acknowledgements Tom Vandeputte Will Pollard Annelys de Vet Charlotte Corstanje Jerszy Seymour Tamara van der Laarse Maxine Kopsa Judith Leysner Leopold Banchini Rosa te Velde Alicia Framis and Lilet Breddels Sjoerd Kloosterhuis Gijs Bakker Ted Noten Ruudt Peters Liesbeth den Besten Juha van ‘t Zelfde Polina Medvedeva Lukas Feireiss Antoinette Vonder Mühll Thomas Spijkerman Puck Mathot Lisette Smits Dorothé Orczyk Christophe Coppens Martine Zoeteman Herman Verkerk and Maurizio Montalti Linde Dorenbosch Max Cohen de Lara and David Mulder van der Vegt Rebecca Bego Martijn Engelbregt and Theo Tegelaers Simone Kleinhout Cynthia Hathaway and Melle Smets Nora Morton Liesbeth Bik and Jos van der Pol Martine Zoeteman Louise Schouwenberg Judith Konz RAAAF Nelly Ben Hayoun Sjoerd ter Borg Jurgen Bey Marjo van Baar Anke Zedelius Jaap Vinken Nancy van Vooren Jules van den Langenberg Jason Page

https://sandberg.nl

NOW NOW NOW NOW NOW NOW

Master’s Programmes 2019 – 2020 Sandberg Instituut Amsterdam Printing Drukkerij Raddraaier SSP, Amsterdam Photography all image credits on https://sandberg.nl Graphic Design Our Polite Society Contributors All departments and programmes, staff and students Alumni 2018 PS (Public Sandberg) English Editing UvA Talen, Amsterdam Editors Jules van den Langenberg Jason Page Jaap Vinken Anke Zedelius Coordinator Anke Zedelius Curator Jules van den Langenberg Director Jurgen Bey Publisher Sandberg Instituut De Verenigde Sandbergen Issue # 79 January 2019 De Verenigde Sandbergen is the magazine published occasionally by the Sandberg Instituut. © 2019 Sandberg Instituut Amsterdam (NL) Sandberg Instituut Master’s of Fine Arts, Interior Architecture and Design Gerrit Rietveld Academie Location FedLev building & Benthem Crouwel building Fred. Roeskestraat 98 1076 ED Amsterdam Contact T: +31 (0)20 588 24 00 E: info@sandberg.nl W: www.sandberg.nl

HTTP:// SAND BERG . NL /

GRA DU A TION 2018 /

BRITNEY BEY – JURGEN SPEARS A man is unloading crates at the docks. They’re heavy crates, but he manages. ‘Excuse me, Mr Bey?’ A raincoated figure stands not too far from him. Bey looks up. ‘Are you busy, Bey’, the figure asks. Bey appears to be busy. ‘I am – busy.’ ‘I see, I won’t take much of your time, a couple of questions, max. If you please?’ Hands gesture towards some crates near the water. ‘Call me Jurgen’, said Bey as he flicked away his Virginia Slim. He reaches in his tanned cowboy boot for another cigarette and lights it. We do look ever so kindly to strangers here. He gives the stranger a good up’n down with his right eye. ‘So what can I do for you today, puddin?’ ‘I’m looking for someone – maybe several someone’s actually.’ She grins, sheepily. ‘Have you tried the police?’ Bey replied. He grins, toothily. ‘Red Bull? I brought cups’. ‘No thanks, I’m busy – too f***ing busy. Or vice versa, it’s hard to tell.’ Bey displayed a feat of linguistic excellence. The figure puts the cups down. ‘Mr. Bey I, – sorry Jurgen, I am here to investigate the disappearance of miss Britney Spears, Britney Jean Bey Spears.’ No response. ‘You know anything about her, Jurgen?’ Bey scratches his chin. ‘Britney, Britney …’ then suddenly he snaps his fingers, ‘Britney Jean! Yes, I remember her. Used to work here on Tuesdays. Then she graduated.’ An U-boat passes by the docks, and they fall silent for a minute. ‘Did something happen to her, muffin?’ Bey asks, then immediately continues. ‘Always found her to be an excellent worker, on Tuesdays. She probably retired from all that philosophy – maybe settled down, took up some small town semantics. Or vice versa.’ Jurgen decides to take a swig of the Red Bull. ‘Is that what happens, you think, after they leave the docks?’ The raincoated figure nods absentmindedly as it’s foot pushes a crate in the water below. ‘What a destructive composure!’ Bey said to himself. His energy really started kicking in as he reached into his boot again, – no not the .39, nor the Magnum, there it is, the scissors. A good designer never leaves the house without it. Yet, before Bey can act the figure asks: ‘Semantics? You think I would settle for semantics?’ Fiery eyes light up the hooded face, showing the merest wisp of a beard. A realisation washes over Bey. He takes his scissors and snips his jeans short. The figure stands motionless on the docks. Determined now, Bey cuts of his hair and beard, even trims his nails. When this is done, he throws the scissors on the ground and leans in, to the raincoated figure. Tears run over his cheeks as he moves some blond hair out of the stranger’s ear and whispers, I think I’ve found her, the stranger smiles – grabs his chin and kisses him, I think so too Britney, I think we’ve found her.

CRITICAL STUDIES

END OF YEAR PROGRAMME

PARTICIPANTS 2018

Main Department

Butcher’s Tears

Lucie Berjoan Callum Copley François Girard-Meunier Özgür Kar Asja Novak

1 2 3 4 5

DESIGN

CELESTIAL SERVICES

PARTICIPANTS 2018

Main Department

De School

Mateo Broillet Júlia Carvalho de Aguiar Asja Keeman Anastasia Kubrak Sherida Kuffour Heikki Lotvonen Stefanie Luchtenberg Juan Pablo Mejía Tereza Rullerova

6 7 8 9 10 11 12 13 14

DIRTY ART DEPARTMENT Main Department

THEY SWORE IT COULD TALK TO DOGS Bageion Hotel, Athens, Greece

PARTICIPANTS 2018 Giovanni Bozzoli Quentin Dupuy Andy G. Vidal Lotte Hardeman Tom Kemp Anna Laederach Andrea Lopez Bernal Nagare Willemsen

15 16 17 18 19 20 21 22

FINE ARTS

GRADUATION SHOW

PARTICIPANTS 2018

Main Department

Looiersgracht 60

Johanna Arco Loidys Carnero Philip Coyne Timo Demollin Philip Ortelli Alice dos Reis Mai Spring Tatsuhiko Togashi Mong-Hsuan Tsai

23 24 25 26 27 28 29 30 31

STUDIO FOR IMMEDIATE SPACES Main Department

EVENT HORIZON

PARTICIPANTS 2018

Klaproos

Niels Albers Gauthier Chambry Naomi CredÃ© Samuel Kuhfuss Gustavsen Liene Pavlovska Mirko Podkowik Malissa Anne Canez Sabus Rein Verhoef

32 33 34 35 36 37 38 39

MASTER OF VOICE

MOUNTAIN SONG

PARTICIPANTS 2018

Temporary Programme

Dokzaal

Angelo Custódio Thom Driver Miyuki Inoue Danae Io Bin Koh Natasha Papadopoulou Maria Montesi Duncan Robertson Eva Susova Cécile Tafanelli Mavi Veloso

40 41 42 43 44 45 46 47 48 49 50

REINVENTING DAILY LIFE

GRADUATION SHOW

PARTICIPANTS 2018

Temporary Programme

De Kantine Truck Stop Cafe Bij Marjan Vent du Noord

Laura Bolscher Kees de Haan Sjors van Leeuwen Daan Roukens CÃ©line Talens Gijs Velsink Carlijn Voorneveld Nadja van der Weide

51 52 53 54 55 56 57 58

Butcher’s Tears

DESIGN Main Department CELESTIAL SERVICES

De School

DIRTY ART DEPARTMENT Main Department THEY SWORE IT COULD TALK TO DOGS

Athens, Greece

FINE ARTS Main Department GRADUATION SHOW

Looiersgracht 60

STUDIO FOR IMMEDIATE SPACES Main Department EVENT HORIZON

Klaproos

MASTER OF VOICE Temporary Programme MOUNTAIN SONG

Dokzaal

REINVENTING DAILY LIFE Temporary Programme GRADUATION SHOW

De Kantine Truck Stop Cafe Bij Marjan Vent du Noord

Lucie Berjoan Callum Copley François Girard-Meunier Özgür Kar Asja Novak Mateo Broillet Júlia Carvalho de Aguiar Asja Keeman Anastasia Kubrak Sherida Kuffour Heikki Lotvonen Stefanie Luchtenberg Juan Pablo Mejía Tereza Rullerova Giovanni Bozzoli Quentin Dupuy Andy G. Vidal Lotte Hardeman Tom Kemp Anna Laederach Andrea Lopez Bernal Nagare Willemsen Johanna Arco Loidys Carnero Philip Coyne Timo Demollin Philip Ortelli Alice dos Reis Mai Spring Tatsuhiko Togashi Mong-Hsuan Tsai Niels Albers Gauthier Chambry Naomi Credé Samuel Kuhfuss Gustavsen Liene Pavlovska Mirko Podkowik Malissa Anne Canez Sabus Rein Verhoef Angelo Custódio Thom Driver Miyuki Inoue Danae Io Bin Koh Natasha Papadopoulou Maria Montesi Duncan Robertson Eva Susova Cécile Tafanelli Mavi Veloso Laura Bolscher Kees de Haan Sjors van Leeuwen Daan Roukens Céline Talens Gijs Velsink Carlijn Voorneveld Nadja van der Weide

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58

Photos by Sander van Wettum.

CRITICAL STUDIES Main Department END OF YEAR PROGRAMME