Open Sandberg 2020 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 2020

https://sandberg.nl

SAND BERG SAND BERG SAND BERG

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

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

6 8 10 12 14

TEMPORARY PROGRAMMES Disarming Design Open for Applications 16 F for Fact Open for Applications 18 Approaching Language Current 20 Resolution Current 22 Challenging Jewellery Current 24 The Commoners’ Society Current 26

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NOTES TO FUTURE STUDENTS

29 – 48

FINISHED HOSTED PROGRAMME Master Design of Experiences

2017 – 2019

FINISHED TEMPORARY PROGRAMMES Radical Cut-Up Shadow Channel Master of Voice Reinventing Daily Life Fashion Matters Materialisation in Art and Design Cure Master Designing Democracy System D Academy Material Utopias School of Missing Studies Vacant NL

2017 – 2019 2017 – 2019 2016 – 2018 2016 – 2018 2015 – 2017 2015 – 2017 2014 – 2016 2014 – 2016 2014 – 2016 2013 – 2015 2013 – 2015 2011 – 2013

FLOOR PLAN

50 51 52 53 54 55 56 57 58 59 60 61 62

This publication maps the scheduled infrastructure at the Sandberg Instituut in 2020. Read into the Main Departments, Temporary and Hosted Programmes. For news and updates visit www.sandberg.nl Since 7 January 2019 the Sandberg Instituut is located in the new FedLev building & Benthem Crouwel building at Fred. Roeskestraat 98, 1076 ED Amsterdam in The Netherlands.

SANDBERG INSTITUUT 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, Reinventing Daily Life, Radical Cut-Up, and Shadow Channel. Current Temporary Programmes are Challenging Jewellery, The Commoners’ Society, Approaching Language, Resolution. The two new Temporary Programmes starting in 2020 are Disarming Design and F for Fact.

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 Contact T: +31 (0)20 588 24 00 E: info@sandberg.nl W: www.sandberg.nl Application Information There are four steps in the application process: Step 1: Registration You can register online from January 6, 2020 Deadline is April 1, 2020 Step 2: Motivation Upload your motivation letter together with samples of your work.Applications need to be submitted by 1 April 2020 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.

HOSTED PROGRAMMES The Sandberg Instituut hosts 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 was the Master Design of Experiences (2017 – 2019) in collaboration with the University of the Underground. It was part of joint investigations on the implications of ‘external funding’ for art education. Topics covered, but not limited to, were for instance cultural-diversity discussions, the implications of artificial intelligence or the relation of art to public-urban space. ORGANISATIONS

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Through collaborative efforts various independent Organisations (short and long term) are supported by the Sandberg Instituut. In relation to the two year Master’s 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), De School (2017), PS (2017), Sandberg Series (2017), Decolonial Futures (2018), PUB (2018), Sandberg Speakeasy (2018), Unsettling (2018), Englishes MOOC (2019), Hear! Here! (2019), Commissioned Critique (2019), and UNDER CONSTRUCTION (2019)

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: € 2.640,00 All students who followed a Master’s programme in The Netherlands and obtained a Dutch masters degree: € 6.396,00 Fee for non-EU/EEA students: € 6.396,00 Non-EU/EEA students can possibly apply for a Holland Scholarship.

OPEN FOR APPLICATIONS From 6 January until 1 April 2020 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/2020-application OPEN SANDBERG During Open Sandberg, on 6 February 2020 from 14:00 – 19:00, the public, professional audience and press are invited to visit the Main Departments and Temporary Programmes at the Sandberg Instituut. A schedule with tours, special events and performances will be announced on www.sandberg.nl/open-day-2020

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

CRIT I CAL STUD IES

CRITICAL STUDIES Main Department Open for Applications Department Director Tom Vandeputte Coordinator Will Pollard Team Jesse Darling, Joost de Bloois, Flavia Dzodan, Amelia Groom, Fatima Hellberg, Jakob Jakobsen, Huw Lemmey, Mihnea Mircan, Will Pollard, Wail Qasim, Linda Stupart, Jules Sturm, Tom Vandeputte, Marina Vishmidt, Anna Zett, Chris Julien, Aylin Kuryel, belit sağ, Mikki Stelder, Thijs Witty, Mia You, Simone Zeefuik Guests 2019 – 2020 Jeff Diamanti, Elena Vogman, Oxana Timofeeva, Renisa Mawani, Françoise Vergès, Alberto Toscano and Bram Mellink, among others 2018 – 2019 Cédric Durand, Max Haiven, Maija Timonen, Nadine El-Enany, Sandro Mezzadra, Adam Elliot-Cooper, Anne Boyer, Florian Cramer, Yolande van der Heide, Becket Mingwen, Stephanie Comilang and Femke Herregraven, among others

ABOUT CRITICAL STUDIES Critical Studies is a two-year Master’s 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.

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

Participants have the possibility to pursue a self-initiated research project with great autonomy, working individually or collectively with supervisors of their choice. 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. Alongside the research trajectory, participants take part in a programme of seminars, lectures and workshops. This 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, each month specific themes are addressed in depth during lectures and seminars given by visiting speakers. Participants take an active part in shaping the educational programme and have the opportunity to organise workshops, seminars and excursions in parallel with it. Critical Studies welcomes applicants from a range of backgrounds, including writers, editors, theorists, artists, curators, educators and other cultural practitioners interested in exploring points of convergence between research, practice and writing. Critical Studies explicitly welcomes applicants who want to diverge from a trajectory that they have previously embarked on, seeking an environment that offers space for further development and experimentation.

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

Participants 1st Year 2019 – 2021 Violeta Paez Armando Jeanine van Berkel Sina Egger Al Primrose Benjamin Schoonenberg Romy Day Winkel 2nd year 2018 – 2020 Nicholas Reilly-McVittie Patrycja Rozwora Luca Soudant Aimée Theriot Ben Tupper Alumni Graduates 2019 Mohamad Deeb Vita Evangelista Lucie Fortuin Harriet Foyster Silke Xenia Juul Nemo Koning Sekai Makoni Maria Muuk Filippo Tocchi Aidan Wall 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

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

DE SIGN

DESIGN Main Department Open for Applications Department Director Anja Groten Coordinator Charlotte Corstanje Tutors Tina Bastajian, Agata Jaworska, Rogier Klomp, Silvio Lorusso, Daniel van der Velden, Annelys de Vet Guests 2019-2020 Fiep Bogedom, Petra Van Brabandt , Jesse Darling, Anja Kaiser, Jan-Kees van Kampen, Anastasia Kubrak, Annette Krauss, Klaar van der Lippe, Juliette Lizotte, Gabriel .A. Maher, Sekai Makoni, Tessa Meeus, Nirit Peled, Will Pollard, PUB, Tina Reden, Rob Schrรถder, Marco Segato, Carolyn Smith (We Are Here Venice), Rebecca Stephanie, Bart Stuart, Julien Thomas, Varia (Joana Chicau, Manetta Berends), Alex Walker, Agustina Woodgate, among others

ABOUT DESIGN

Participants

The Design Department is a two-year Master’s programme that provides space for students to develop self-driven practices informed by rigorous experimentation. Due to our open structure, we are able to reflect on and react to current urgencies, discourses, and interests of the students and tutors. The practices of our students are informed by pressing issues, personal fascinations, deep collaborations, and lived experiences.

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

Design Undisciplined: The students and tutors of the Design Department work through the complexities and contradictions of our current time. Their modes of expression range from print work, digital interfaces, films and videos, network infrastructures, games, performances, writing, educational platforms, audio tours, and more. Although our students do not always develop design practices that conform to graphic design in its traditional sense, they share the necessity to communicate through their work, may it be an informative, lyrical, dialogical, discursive, or confrontational mode of expression. Considering design as a practice of ‘making things public’, we aim to analyse the politics inherent in design, through opening up, sharing and reviewing design in progress.

1st year 2019 – 2021 Stelios Markou Alchuk Leïth Benkhedda Anna Bierler Toni Brell Zgjim Elshani Ghenwa Abou Fayad Rozemarijn Jens Nicole Blicher Jonasson Gudrun Havsteen-Mikkelsen Pernilla Majula Philip Marisa Torres Rodriguez 2nd 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 Alumni

We are looking for students from a variety of backgrounds who like to embark upon self-initiated projects, engage in collaboration with fellow students, start new coalitions, design new forms for working side by side, learning and unlearning together. Students of the Design Department embrace their vulnerabilities, sincerely deal with their own dilemmas, and will put those up for discussion.

Graduates 2019 Lucie de Bréchard Rowena Buur Miquel Hervás Gómez Sascha Krischock Tessa Meeus Samuli Saarinen Andreas Trenker Alex Walker Karina Zavidova

The Design Department furthermore welcomes students that are underrepresented in the field of design, art, education, and beyond. We acknowledge our responsibility for creating a space that is safe for all our students. Reflecting on our privileges, our position in systems of power, the department offers a range of sessions for students, tutors and staff, addressing systems of oppressions in self-reflexive ways.

Graduates 2018 Mateo Broillet Jùlia Carvalho de Aguiar Asja Keema Anastasia Kubrak Sherida Kuffour Heikki Lotvonen Stefanie Luchtenberg Juan Pablo Mejia Tereza Rullerova

Information on admission rounds: Website: www.sandberg.nl/main-department-design Instagram: @sandbergdesigndepartment

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

DIRT Y ART DE PART MENT

DIRTY ART DEPARTMENT Main Department Open for Applications Department Director Jerszy Seymour Coordinator Aurélien Lepetit Tutors Saâdane Afif, Daniel Dewar, Ioannis Mouravas, Florence Parot, Anna Reutinger

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

Thesis Director Catherine Somzé Guests

2019 – 2020 Amica Dall (Assemble), Emanuele Braga (M^C^O), Anna Reutinger, Tom Kemp, Giovanni Bozzoli, Nagaré Willemsen, Sonia Kacem, Mehraneh Atashi, Gaëlle Choisne, Robin van den Akker, Alison Gibbons, Kitty Maria 2018 – 2019 Matthijs De Bruijn & Cecilia Vellejos, Leopold Bianchini, Deborah Bowmann, Scott Evans and Wolfgang Gantner (Gelitin), Charl Landvreugd, Matteo Lucchetti, Anna Reutinger, Jonas Staal, Pilvi Takala, Zoe Gray & Jeremy Shaw, Xenia Kalpaksoglou, Fabian Schöneich

ABOUT DIRTY ART DEPARTMENT Manifesto: “The Dirty Art Department offers itself as an open space for all possible thought, creation, and action. It sees itself as a dynamic paradox, flowing between the pure and the applied, the existential and the deterministic, and the holy and the profane. It is concerned with individuality, collectivity, and our navigation of the complex relationship between the built world and the natural world, and other people and ourselves. It’s a place to build objects or totems, religions or websites, revolutions or business models, paintings, or galaxies.

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

The Dirty Art Department comes from a common background of design and applied art, it seeks however to reject the Kantian division between the pure and the applied. Since ‘god is dead’ and ‘the spectacle’ is omnipresent, it sees the creation of alternative and new realities as the way to reconsider our life situation on this planet. The Dirty Art Department is open to students from all backgrounds, including designers, artists, bankers, sceptics, optimists, economists, philosophers, sociologists, independent thinkers, poets, urban planners, farmers, anarchists and the curious. Please enjoy the trip. The aim of the Dirty Art Department is to develop singular individual and collective practices, regardless of 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 a new context that is, the transformation of reality. The Dirty Art Department promotes a strong theoretical and philosophical agenda and is open 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.’” Milestones: In collaboration with the Macao Collective, with which DAD has been collaborating for five years, the department was nominated for the inaugural Milan Design Prize in 2016 with the project the Wandering School, a collective living and social sculpture. In 2018 the department continued its trip with the Wandering School Part 2: Revolution or Bust!, a dérive that included meeting the oracle of Delphi, Franco “Bifo” Berardi, walking through the wilderness to Athens, clashes with Titans, a peace offering to the Gods, helping to rebuild a refugee centre, 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

Participants 1st year 2019 – 2021 Casper Braat Eloy Cruz del Prado Jakob Grebret Negiste Johnson Margaux Koch Marvin Ogger Mariana Jurado Querico Josephine van Schendel Lucie Sahner Jan Vahl Jeanne Vrastor 2nd year 2018 – 2020 Veronika Babayan Cóilín O’Connell Constantin Dichtl Janina Fritz Natalia Jordanova Sara Santana López Octave Rimbert-Rivière Sophia Simensky Linda Stauffer Alumni Graduates 2019 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 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

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

FINE ARTS

FINE ARTS Main Department Open for Applications Department Director Maxine Kopsa Coordinator Judith Leysner Tutors & Thesis Mentors Jeroen Boomgaard, Gintaras Didziapetris, Lucy Skaer, Mark Turner, Yolande van der Heide Guests 2019 – 2020 Ama Josephine Budge, CA Conrad, Elena Narbutaitė, Monika Szewcyzk, Melvin Moti, Ellen de Bruijne, Angie Keefer, Jason Dodge, Suzanne v/d Ven, Willehad Eilers, Dirk Fleischman, Arnisa Zeqo, Philip Coyne, Falke Pisano, Clare Butcher, Isabel Lewis, Egle Budvytyte, Sofia Hernandez Chong Cuy 2017 – 2018 Tarek Atoui, Maria 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

ABOUT FINE ARTS The Fine Arts Department retains a focus on autonomy and making, while addressing the social and economic roles of art production. During the Fine Arts Master’s, our students become more of themselves, stronger in who they are and what position they intend to take on in society. They reflect on their own practice, and what it might mean on a grander scale, especially in relation to understanding one’s position in the world. The Department helps to create and test a student’s individual parameters helping them to gauge the effect their work, and challenging them to be able to critically support a piece in the context of its exhibition.

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

At the core of the programme are the consistent conversations held with the main tutors throughout the two-year period. Alongside these regular dialogues, guest tutors are invited for seminars and tutorials both in first and second year. Studio time thus alternates with an extensive series of workshops, seminars, and one-off events, that also steer the student to less familiar areas within their practice. In addition to these guests and activities, an annual group exhibition is held early on in the year and research excursions abroad take place twice annually. These trips are subdivided in focus and aim: for second-year students, an intense winter thesis writing & reflection period is organized abroad (in the past to the Arctic Circle, The Isle of Lewis and Delphi), while the first years partake in a shorter programmed excursion outside of The Netherlands. All students join in a department-wide spring research trip (in the past to Glasgow, Athens, Naples and Sharjah). Several times a year, students come together with staff and tutors to discuss common interests that have emerged and can be addressed with the help of experts who, following these sessions, are invited accordingly. Student-led activities, such as group crits, film nights and Monday lunches are encouraged, while internal platforms are in place to promote small-scale try-outs and experimentation in presentation. In short, the Sandberg Instituut functions as a base for the Fine Arts students, while encouraging participants to develop and test their practice both within and beyond the school. Candidates should be motivated to question their existing practice. An extreme curiosity is essential, as well as a willingness to enter into deep conversation with tutors and peers. Perhaps most crucially, students need to be able to work and think independently—and not be afraid to critically reflect on their work. Prospective students will be evaluated on their motivation, previous experience and portfolio. The admissions committee will focus on the authenticity, artistry and autonomous visual quality of the work presented.

Participants 1st year 2019 – 2021 Maja Chiara Faber Christian Herren Kaspar de Jong Helena Keskküla Ji Hye Lee Boyan Montero Alice Slyngstad Tao Yang 2nd 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 Alumni Graduates 2019 Mariah Blue Mark Buckeridge Kathrin Graf Lana Murdochy Wyatt Niehaus Julie Pusztai Tina Reden YounWon Sohn Amy Winstanley 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

STU DI DI ATE O SPA FOR CES IM ME STUDIO FOR IMMEDIATE SPACES Main Department Open for Applications Department Directors Julian Schubert Ludwig Engel Coordinator Arie de Fijter

Tutors Julian Schubert, Marie-Avril Berthet, Ludwig Engel, Laure Jaffuel, Leonard Streich, Elena Schütz

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

Research fellow 2019 – 2020 Rebekka Kiesewetter

Guests

2018 – 2019 Leopold Banchini, Elise van Mourik, Joseph NoonanGanley, Julian Schubert, Laure Jaffuel, Marie-Avril Berthet, Tom Vandeputte, !Mediengruppe Bitnik, Andrea Zavala, Boudewijn van den Breemer, Celine Talens, Claire Manent, Elena Schütz, Femke Dekker, Hector Zamora, Jija Sohn, Katinka de Jonge, Ludovic Balland, Ludwig Engel, Marina Otero, Mark Minkjan, Mark Redele, Neeltje ten Westend, Paolo Patelli, Paul Chatterton, Petra Noordkamp, Stephane Damsin, Sofia Mourato, Tom Dillon, Yana Foqué

2019-2020 Amica Dall (Assemble), Studio, Anh-Linh Ngo (ARCH+), Art Ashram, Bojana Mladenovic, Fabian Knecht, Formafantasma, Gareth Bell-Jones (Flat Time House), Joanna Kamm, Lorenzo Pezzani & Susan Schuppli (Forensic Architecture / Goldsmith College), Matthias Wermke, Oskar Kohnen, Paolo Patelli, raumlaborberlin, Rene Boer (Failed Architecture), Studio Olafur Eliasson, Tobias Becker

ABOUT STUDIO FOR IMMEDIATE SPACES Studio for Immediate Spaces is a two-year Master’s programme on space-related practices. Everything manifests in space. Migration is about space, ecology is about space, equality is about space. Space is political, economic, social, and aesthetic. Though, what exactly is space? We see space both as a theoretical entity and a real thing – continuously informing one another. To deal with space means to deal in space. To deal in space one needs to understand space as a form of discourse as well as the realm of action in the real world.

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

The Studio aims at exploring, investigating and shaping spatial practices that focus on the genesis and production of contemporary spatial configurations. Through extensive field investigations (excursions, studio visits, on-site workshops, location-specific method seminars), it is set up as a laboratory that tests ideas that have relevance for how we live today and how we could live tomorrow. The Studio has become a spatial agent critiquing and questioning, and possibly changing the context it works in by engaging nonacademic and non-artistic actors in the urban realm. It aims to develop practices that are informed by an uncompromised and autonomous perspective in a time when spatial experts are so direly needed to proactively and productively shape the world. We are especially opening up to urban actors, as we focus on ‘the city’ in particular. The city is not the problem, but the ultimate space to live together, as one that is socially, ecologically and economically sound. The Studio for Immediate Spaces invites ‘undisciplinary spatialists,’ whose ambition is to design, plan, test, and eventually adapt and build spaces. We prefer the collective effort of making space to an alleged genius gesture of the individual master in order to develop an alternative spatial practice – independent, collaborative, relevant. Therefore we foster collaboration in the studio as a model for education, as it is practiced in reality.

Participants 1st year 2019 – 2021 Johan Devigo Daphné Keraudren Konstantinos Kotoulas Valentine Langeard George Mazari Eleni Papadimitriou Sabrina Schlosser Maria van der Togt Diego Virgen Mathias Vincent Hannah Whittle Mariel Williams Zane Zeivate Jun Zhang 2nd year 2018 – 2020 Beatriz Conefrey Thorben Gröbel Kyulim Kim Wei Tung Kuo María Mazzanti Roman Tkachenko Michael Weber Andoni Zamora Chacartegui Alumni Graduates 2019 Andrea Belosi Elia Castino Antoine Guay Mathilde Helbo Stubmark Francesca Lucchitta Christelle Davide Sanvee Maike Statz Elizaveta Strakhova 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

Website: www.immediatespaces.nl Facebook: www.facebook.com/immediatespaces Instagram: @immediatespaces

https://sandberg.nl/temporary-programme-disarming-design

DIS ARM ING DE SIGN

DISARMING DESIGN New Temporary Programme (2020 – 2022) Open for Applications Programme Director Annelys de Vet Coordinator to be announced Guests Flavia Dzodan, Foundland Collective (Lauren Alexander & Ghalia Elsrakbi), Rana Ghavami, Pascal Gielen, Jeanne van Heeswijk, Lara Khaldi, Yazan Khalili, Nat Mulller, Shayma Nader, Marina Otero, PUB (Agustina Woodgate, Miquel Hervás Gómez, Sascha Krischock), Huda Smitshuijzen-Abifares, Jonas Staal, SulSalSol (Hannes Bernard, Guido Giglio), Julien Thomas, Petra Van Brabandt, among others

ABOUT DISARMING DESIGN Disarming Design is a two-year Master’s programme committed to design practices in situations of oppression with a particular focus on Palestine. It derives from the long-term collaboration between the Design Department and the thought provoking design label ‘Disarming Design from Palestine’.

https://sandberg.nl/temporary-programme-disarming-design

Building upon the relations and involvements of the participants and the faculty, together we aim to define what is needed to enhance the social, political and emancipatory impact of design. In parallel, we want to research and establish educational models that stimulate such practices and set up platforms that reinforce the artistic, experimental and economic independence of designers. Within this frame we explore how design can be a vehicle for political resistance and solidarity and how to engage through the act of design in realities of oppression and injustice. And in what ways design practices can resist oppression and inform strategies to set up sustainable positions in politically and geographically violated societies. With an indispensable input of the participants in shaping the program, we build collective methods of mutual learning and exchange, develop ideas and common projects. We focus on the artistic work of the participants and find tools and strategies for resilient, collaborative and sustainable positions. We define new vocabularies of design in situations of oppression and resistance, and set up alternative educational platforms related to different represented backgrounds. Out of those positions we will explore the possibility to set-up an alternative design school in Palestine, and beyond. We aim to equip the participants of the temporary Master’s programme to develop community driven platforms for organizing and learning. We are looking for a diverse group of practitioners with a design background, radical imagination and educational interests. We encourage people with non-canonical practices and those who experienced structural oppression and are determined to counteract it. Applicants have an ability and interest in collaborative work, situated learning and in creating politically driven, experimental practices dedicated to use the space of design as a multiplier of interventions where they are most needed today.

Programme Director Barbara Visser Coordinator to be announced Guests to be announced

https://sandberg.nl/temporary-programme-f-for-fact

F FOR FACT

F FOR FACT New Temporary Programme (2020 – 2022) Open for Applications

ABOUT F FOR FACT At a time when facts are increasingly framed as fantasy, and fiction is often presented as truth, F for Fact aims to develop narratives for the present by looking at past and future representations of reality through an artistic lens. At this School of Second Thoughts we investigate the nature of knowledge as we perceive, document and share it. Social and natural history, archives, fundamental science, literature and popular media is the goal to explore the physical and intellectual knowledge kept in the vaults of our collective memory. The goal is for everyone to finetune their own specific artistic method over the course of the programme.

https://sandberg.nl/temporary-programme-f-for-fact

F for Fact connects the individual artistic practice to knowledge produced and stored at various institutions and collections, mostly situated in The Netherlands. The programme supports in-depth collaborations with a selection of renowned knowledge institutes and archives related to art, science and society. F for Fact translates what we think we know, what we have forgotten and what we can imagine into a form best described as the documentary essay: the essay as an elegant attempt to observe, question and describe the world from a personal perspective, and can be articulated in any medium of choice: film, audio, speech, writing, drawing, performance, tool, object. The goal is to translate lived experience and different forms of knowledge into new forms of storytelling. This way, works of public history will emerge: hybrid documentaries, credible science fiction, digital realities and other results of hands-on research and fieldwork. The programme consists of lectures and other interactions with international guests from the edges of art and science and includes excursions to unexpected places. Participants and mentors share experience on an equal basis. Truth has always been stranger than fiction. It still is. Conceptual designers, visual artists, writers, filmmakers and unconventional thinkers with a broad curiosity, an open mind and a proactive nature are warmly invited to apply.

APP ROACH ING

APPROACHING LANGUAGE Current Temporary Programme (2019 – 2021) Programme Directors Maria Barnas, Ilse van Rijn

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

Coordinator Antoinette Vonder Mühll

Tutors & Guests

2019 – 2020 Anouk Hoogendoorn, Maria Fusco, Mia Lerm Hayes, Ola Vasiljeva, Josse Pyl, Nora Turato, Alfred Schaffer, Carlos Amorales, Felix Salut, W.G. Sebald, Docus van der Made

LAN GUAGE

ABOUT APPROACHING LANGUAGE 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. 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.

Participants 1st year 2019 – 2021 Manon Bachelier Tassia Bianchini Manola Buonincontri Constanza Castagnet Teun Grondman Megan Hadfield Raphael Jacobs Calli Layton Anna-Bella Papp Maria Paris Eun Jae Pil Sophie Rose Wright

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

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? 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 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. 21

Programme Director Juha van ‘t Zelfde Coordinator Elif Özbay Tutors Ash Sarkar, Rob Schröder, Beri Shalmashi, Daniel van der Velden, Rana Hamadeh Guests 2019 – 2020 Lotic, Lexie Smith, Michele Rizzo, Nicolas Jaar, Vinca Kruk, Kate Cooper, among others

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

RES O LU TION

RESOLUTION Current Temporary Programme (2019 – 2021)

ABOUT RESOLUTION ‘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 finished 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 takes place both at the Sandberg and in collaboration with partner organisations around Amsterdam.

Participants 1st year 2019 – 2021 Zuzana Banasinska Marian Rosa van Bodegraven Siomara van Bochove Eva Bosveld Lila Bullen-Smith Noé Cottencin Johan Déletang Jeroen Exterkate Allison Heniquez Hida Kasaei Rene Francis McBrearty Michelle Mildenberg Cesar Morajana Mylou Oord Catalina Reyes Sigrún Sveinsdóttir Mateo Vega

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

When studying at Resolution, students 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. Resolution is for students 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 welcomed students who are under-represented in education, at work and on screen. In addition to new developments in the moving image, our programme focuses 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.” Resolution is an MA that combines vigour with fantasy. 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.

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

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 and Thesis Tutors

2018 – 2020 Peter Biľak, Yonathan Keren, Buro Belén, Louise Schouwenberg, Ben van der Wal, Anne Dressen, Sachi Miyachi, Benjamin Lignel, Anja Aronowsky Cronberg, Pravu Mazumdar, Zoe Ryan, Benjamin Lignel, Ben van der Wal, Liesbeth den Besten, Ted Noten, Ard Huizing, Laura Mott, Anna Schetelich, Nicolas Trembley, Eva Svennung, Catherine Chevalier, David Lieske, Tido von Oppeln, Current Obsession (Sarah Mesritz & Marina Elenskaya), Roseanne Bartley, Linda Beumer

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.

Participants 2nd year 2018 – 2020 Seline Durrer Veronika Fabian Silvia Faggiani Gabriella Goldsmith Ting Gong Eva van Kempen Morgane de Klerk Laila El Mehelmy Marek Mrowinksi Margaret Munchheimer Stephanie Schuitemaker Marilyn Volkman Joanne Vosloo

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

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. 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 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.

THE COM MON ERS’ SO E CI TY THE COMMONERS’ SOCIETY Current Temporary Programme (2018 – 2020) Programme Directors Alicia Framis Lilet Breddels Coordinator Helena Lambrechts

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

Guests

2018 – 2020 Casco, Tine de Moor, Monnik, Florence Okoye, Lucy Orta, Stavros Stravides, Liam Young, Bardhi Haliti, Aldo Ramos, Josefin Arnell, Jeroen den Uyl, Deep Democracy, Janneke de Rooij, Tamar Shafrir, Martine Neddam, Shelley Sacks, Ivanka Annot

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.

2nd Year 2018 – 2020 Antonio López Espinosa Franziska Goralski David C. Kane 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 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.

Participants

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 is contextualised by a theoretical reflection upon earlier utopian models and strategies. It relates to a larger research programma 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.

Instagram: @thecommonerssociety

https://sandberg.nl/writings

Interview Series 2019

Notes to Future Students

ANNEE GRÃ&#x2DC;TTE VIKEN CHRIS RIJKSEN CLARE BUTCHER FEMKE HERREGRAVEN JOOST CONIJN PAULIEN BREMMER ROGIER ROETERS SANDER PLUG TJALLING MULDER WILLEM VAN WEELDEN

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.

Notes to Future Students is a project by PS (Public Sandberg) curator Jules van den Langenberg, and critic and curator Laurens Otto. We thank all interviewees, UvA Talen and Sandberg Instituutâ&#x20AC;&#x2122;s policy and research advisor Jaap Vinken.

ANNEE GRØTTE VIKEN Studio for Immediate Spaces (2012 – 2014) What effect did the Sandberg Instituut have on your practice? Studying at the Sandberg propelled me into a world I did not know beforehand, giving me space to create autonomous work. I had been making work like that before, but it had always felt like a compromise. At the Sandberg, I found the freedom I had been looking for. Where I come from, art is not something you do, so it took me some time to trust myself and realise that that the space was there to be used. One of my main reasons for going to the Sandberg was to find out why I was interested in space. Language was a natural tool for reflection and so I started to incorporate writing in my practice, making little texts and playing with the format, but didn’t consider writing a part of my work until much later. My tutors were not necessarily convinced that a text could be a work, and I didn’t know where it might be going either. Only in the second semester of the second year, when I started to work on the thesis, did it become clear what role it could play. As I could not see how writing an academic text would be very interesting for my work, I decided to take on a different approach and started collecting fragments from books and include them in my writing – a method I still use today. Coming from a deep admiration of literature and playfulness; it didn’t occur to me that cutting up canonical texts might be seen as a violent act. With only one week left and with a text that had slowly morphed into fiction I decided to write a screenplay on concepts of space, ranging from the pre-historic cave to the dystopian future. It took a while to find the right direction, but this was also the first time that I took my writing seriously. The final book plays a dual role: one should be able to read it as a screenplay that evokes sensations of different spaces, and at the same time as a tool for approaching space as an architect or artist. I chose the format of the screenplay for its inherent purpose to be visualised. It was essential to make it into a work in itself, not

just an essay on the page. In the end, the thesis became a book, It Had Something To Do With The Telling Of Time, published in association with Onamatopee in Eindhoven. How can literature open up the way we understand architecture? I have always been interested in space, and moving around a lot has made me even more curious about the influence it has on us; giving me an urge to crawl under its skin. Literature has the ability to take us into completely new worlds and show us what they are or help us understand what we should be making – or, for the future, what we should not be making. There is a lot of building, but there is not a lot of reflection – or rather, not a lot of understanding. The format of the book is helpful, because it can cross a line into a world that doesn’t interact with art. To the community that I’m from, I can say that I made a book and everyone will understand what that means; it can potentially be read by anyone. In that regard teaching ‘creative writing’ is inspiring. Together with students from the MA in Interior Architecture known as ‘Corporeal’ at ArtEZ I explore creative writing as a tool to develop a deeper understanding of the student’s practice and to help them understand who they are and where they come from, and to be able to communicate this in their work. What have you done since Sandberg? During my studies at the Sandberg, I started a collaborative practice known as Albergo Rosa with a friend and fellow student, the architect and artist Maximiliaan Royakkers. We had a lot of fun and continued to work together after the Sandberg. Among other things, we did a residency at the Van Eyck Academy in Maastricht, combining fiction and material research. It can be difficult to navigate the world after school as one can quickly become isolated as an autonomous artist, and even more so as a writer, collaborations has been a nice way for me to deal with this. Since graduating I have tried to keep a balance between working on my own projects and collaborating with others, combining teaching, writing and making.

For my own research I recently finished a six months intensive study at the Institut Supérieur de Peinture Van Der Kelen-Logelain in Brussels, which prides itself on being the only school in the world that teaches traditional decorative painting techniques. The structure of the school hasn’t changed in a hundred years; its way of teaching is completely unique. One part of me enjoys such conditions, while another part simply isn’t able to relate to the traditions and power structures of such a school. There’s a stark contrast between focusing on something that is very manual and the Sandberg Instituut, with its more conceptual approach to thinking about your practice. But growing up on a farm I’ve always been surrounded by crafts and interacting directly with my environment and I started to miss these aspects. Finding them increasingly important to preserve, I became interested in learning a traditional craft and including that in my practice. Many of these aspects come together in my next project, where I will research the identity of the village I come from and its future narrative through Persian miniature drawings and storytelling. What advice would you give to future Sandberg students? Be true to yourself and have the courage to explore your own interests, without comparing yourself to others. It is such an inspiring and unique environment, so take the opportunity to engage with it and learn from the people that you have around you. —————————————— CHRIS RIJKSEN Dirty Art Department (2013 – 2015) Why did you enter the Dirty Art Department at the Sandberg Instituut? After I graduated from the Photography department of the Royal Academy of Art in The Hague, I faced the problem that it is impossible to control the context on which photography depends. As an artist, you cannot determine

the conditions in which your art is exhibited. Having fallen out of love with photography, the interdisciplinary approach of the Dirty Art Department at the Sandberg Instituut appealed to me. The department’s manifesto and most of the work I had seen by graduates were precisely about engaging with the context that I hadn’t previously been able to control. I wanted to be able to design the experience of receiving an artwork, and the Dirty Art Department gave me the tools to shape the context of the work and influence how the work was received. What effect did engaging with an interdisciplinary context have on your practice? I didn’t touch my camera for the first year, but by experimenting with other media, I found out that photography could work for me again. While studying, I was finding my own bases as I struggled with the question of whether my work was art, and whether the context of a fine art institution was right for my practice. At some point, I felt confident that as long as I considered the work to be important, the question of whether it was art was irrelevant. The new problem became the need to find new ways and probably new contexts in which to show my work. I didn’t think that I would find my audience in the fine art world. The turning point was a school trip to Morocco, when I realised that a good presentation just needs to contain a good story. As I knew that I already had a good story, this realisation gave me the liberty simply to do what I wanted. Sandberg also taught me the hard lesson that you can use anything you want to get your message across; you can use a theatre play or a cooking session, there are no limitations regarding form. As an artist, you are the only one to set the constraints. At the Sandberg, I learned that I had been making work out of frustration, which was not a sustainable approach and had a negative effect on my mood. During my studies at the Sandberg, I was in the process of transitioning, which also made my daily frustration with gender and being perceived as someone I wasn’t fade away. I had to rediscover what could drive me as much to make work.

At the ‘Transketeers’, the filmmaking and advocacy collective for gender diversity that I co-founded, the philosophy is that we should at least have fun in the making process – even if it’s about a matter as serious as suicide. During my studies, I was sometimes sucked into a general discontent with the world, which didn’t help my mental situation. In my department, there was a group of students who were frustrated with capitalist society, but not frustrated enough to take this up as a project in its own right (however difficult this might be); the question just constantly hovered while we were doing our work, while I need a certain positivity to keep returning to my work. What I did learn from the Dirty Art Department is that working together is a great way to counter depression. In such a close group, you learn to have faith in group projects and to trust each person’s specific skills. What did you do after graduating? In 2015, I set up the Transketeers with two other transmen. We produce films, workshops and theatre, and use these moments as educational programmes. Our initiative aims to bridge the gap between the passive act of just showing a film and the creation of a setting where the audience can react to our material. The view of transgenders is still incredibly one-dimensional, and that’s something we want to change. Even within organisations such as the COC, which formally claim to advocate for transgenders, it can’t be taken for granted that transgenders are automatically included. This is slowly changing, but our mission will only end at the point when the gender discussion has become obsolete. Your work seems to have a solid foundation in business; did the Sandberg prepare you for those aspects? The practical aspects of tax and marketing didn’t get enough attention at the Sandberg. How can you to organise your finances and manage your own marketing so that you can continue to achieve things also once graduated? These topics shouldn’t be addressed because they are fun, but because they’re

necessary. Being able to sustain yourself is a critical part of the work. How would you define your current position? I am a storyteller who aims to broaden the image that people have of the world. I create films, educational material and workshops, and use images and the imagination to broach social issues. My primary role is to question, to ask what’s the context, what’s the perspective, within which boundaries are we thinking and why do these boundaries exist? Beyond the question of gender alone, I’m also interested in stories of resilience. I don’t know how this will evolve further, because it is still open whether I will work in TV, do consulting or continue as a freelancer, as I am now. I’m not really sure if this could be considered art, but I know it has an audience. What advice would you give to future Sandberg students? It’s easy to give tips in retrospect. I understand this question as: what would you have done differently? I would have given myself the following tips: have fun, find students and teachers that you connect with throughout all departments, and make sure you work with them. Second, as Sandberg is a well-known name – especially in the Netherlands – make use of this name if you want to get something done. Lastly, Sandberg’s education can teach you a lot about yourself and the things you find most important in your artistic practice. If you manage to survive yourself, you’ll be able to survive pretty much everything else, too. —————————————— CLARE BUTCHER School of Missing Studies (2013 – 2015) How are you currently involved in the Rietveld Academie and the Sandberg Instituut? I’m working at the Fine Arts department and I work as a tutor on the ‘Linking Bodies’ (formerly Jewellery) department, both at the Rietveld Academie. I’m also involved in the Sandberg’s Fine Arts department.

Together with Judith Leysner, we have established the extra-curricular programme known as Unsettling Rietveld Sandberg, which bridges the Rietveld and the Sandberg. The programme was initiated last year by the Supervisory Board in response to issues of diversity and inclusion in the school. The aim is to become more inclusive as a space, but also to set up protocols to deal with questions around the political positions we might take in the world as artists and designers. For many people, it’s a first step to setting up an environment in which we learn to deal with difference, because we often mistakenly think that we are already progressive and radical. We get a lot of vague explanations about what is supposedly the ‘Rietveld way’ for instance, but the baseline remains unclear as to what ‘radical,’ ‘progressive’ and ‘open-minded’ actually mean in daily practice, in a shifting cultural and political context. I think that it’s time to interrogate some of the foundational notions of this educational institution’s ideology across the Master’s and Bachelor’s. Unsettling consists of two tracks: one where we work programmatically and one that operates at the level of infrastructure. The infrastructural stream looks at policy development and reflects on the curriculum. Policy development relates to staffing, communication, evaluation and the ways in which we approach new students. Who are we reaching out to as a school? How do people perceive this space from the outside? If the teaching body and the student body change over time, then the curriculum and the climate of the school will change with them. The programmatic aspect touches on some of these questions by bringing in different voices that are currently missing from our curriculum. What will it take for Unsettling to be a success? We are currently constructing a policy draft through roundtable meetings, which all staff (also freelancers) and students are invited to join. All staff members who take part in these meetings can charge us for their hours, if they’re not already part of a representative council. For many, their own precarity and

the fact that they hold multiple jobs means that they often don’t have the time or means to participate in these kinds of structural proceedings. For myself, I think this would be a “success” if we can learn from this process and concretise a policy draft this year for implementation in the coming years. We will already see a great shift in the culture of the school if we are able to create a context in which students and staff feel that their voices and concerns are heard and that things are organised openly and transparently. Why did you join the School of Missing Studies programme at the Sandberg Instituut? The School of Missing Studies, initiated by Bik van der Pol, was a bit of an experiment for me; I wanted to understand what the temporary programme experience would be. I don’t know if this model exists elsewhere, I haven’t been able to find anything that’s quite the same. Compared to more established university Master’s, there is much more of a process of being in formation with the programme. There’s a lot of fluidity, which has worked well for some and has been quite frustrating for others – as is generally the case for learning programmes. The idea behind the School of Missing Studies was to be responsive to our questions and needs as students while bringing in amazing artists and guests, for which I’m very grateful. But I also feel that the Sandberg is missing out, because there seems to be a lack of common evaluation, feedback, and archiving methods in place, and the institute does not always have access to the possible learnings from these different programmes over time. In an age of late capitalism, we need to be highly aware of our methods, because strategies of going-with-the-flow and it-is-what-it-is are often used to demonstrate a lack of precision and commitment to educational values. It would be interesting to find ways of reflecting on the processes and questions which arise which are not only about defending that space of experimentation but also about making it more robust.

How did the programme function? The School of Missing Studies was a project that had already been running for some years outside the Sandberg. I saw this programme as an attempt to work within another educational framework, to create an alternative curriculum for activists, architects, urbanists, historians, and artists. In terms of the makeup of the students, the School of Missing Studies drew in people who were searching for something that was missing in their own personal curricula. We came from very different geographical regions, and our disciplines ranged from architecture to art, editing, writing, performance and architecture. We had a common interest in questions of space, publicness, history and narrative. The programme was based on a case study of the village of Nagele in the Noord Oost Polder. Nagele was an important example of modernist planning that was put together by Rietveld, Aldo van Eyck, Van Eesteren ... all the stars of the Dutch architecture and design world at the time it was developed. We didn’t have to respond to the site in a prescribed way, but we gained a lot of insight by being introduced to various people who had a vested interest in that space, its histories and presents.

and the increasingly distant dream that many young art school graduates have of working full-time as an artist. We initiated the ‘Avocado on Toast’ brunch for Fine Art students across different years of study and it clearly touched on something important in terms of the internal conversation it opened up within the department. During these sessions we want to address different aspects of life after graduation using the rather tongue-in-cheek image of avocado on toast: an emblem of millennial culture as delicious aesthetics combined with a completely unsustainable lifestyle. We wanted to address these questions without making this a formal part of the curriculum. Staff members of different generations have varying ideas about preparing students for their work/life practices, and with this some approaches around professional practice are often left off the “menu” so to speak. But if we think about professional practice as field which also comprises questions of ethics, being responsible, taking a position and contributing to a community – all of this needs to be supported with material resources, money, residencies or funding. Our aim with this programme was to start examining with students how we think about sustainable post-graduate practices in a way that is critical, mindful and reflective.

How would you describe your practice? Ah, the question of ‘the bio’! In the past, I would have put ‘curator’ first and then ‘educator’ second, but in the last years I’ve found that education is my medium and learning is my space. One can be curatorial even within these ways, so I think of curating as a method rather than as an identity position. Although curating is a much broader field than most people realise, it carries a lot of baggage relating to exhibition-making and authorship for me. I’m more interested in questions of how to live and learn together. And this can involve reading, listening, cooking and walking – I place these exercises on the same level as curating.

Out of personal interest, are there any books on radical pedagogy that you would recommend? As a start, I would recommend Annette Krauss’ research around ‘Site for Unlearning’, which deals with how to respond to learning and education within a critical, embodied and empathetic process. The book of poetry ‘Whereas’ by Layli Long Soldier is a constant inspiration for working through questions of history, narrative and relationships to language. From the older school, I often come back to bell hooks as a feminist counterpart to Paulo Freire and the other more male-authored work around critical pedagogy.

What is the ‘Avocado on Toast’ programme that you are running? Together with Alina Lupu, we have been reflecting on the current economic situation

Last question: what are you up to next? I have been offered a position with the Toronto Biennial as their curator for Public Programming & Learning. I’m sad to leave this space,

where the process of unsettling is getting underway so dynamically, but I’m totally convinced that it continues beyond any one individual. —————————————— FEMKE HERREGRAVEN Design (2008 – 2010) What prompted your decision to enrol at the Sandberg Instituut? I went to the Sandberg because I knew that there was an open curriculum at the Design department. Classes were only held one day a week, and the rest of the week you were free to develop your own projects. As students, we had the space to initiate our own research projects outside the realm of graphic design. As a group, we asked ourselves: if design is about information and information is no longer confined to print, but affects everything from your screen to your DNA, then shouldn’t a designer also go beyond the limited frameworks of design? In that case, the book was no longer the natural site of graphic design. How did your work evolve after graduating? After graduating, I was invited to do a residency at the Zuidas district in Amsterdam and engage with the local community. As a financial district, it is a dead and homogenous neighbourhood. Since my ‘neighbours’ were mailbox companies, I spent the months indexing them on the 33 streets in that neighbourhood. Some addresses housed more than 3,000 companies, which were evidently registered as mailbox companies to avoid paying tax. The question arose as to why the Zuidas – and the Netherlands in general – participates so actively in the international rooting of capital. This was back in 2011, when tax avoidance was not yet on the political agenda. Later on, I continued this research and proposed the idea for the online game Taxodus (2013) during the Sandberg@Mediafonds masterclass. The game was developed in just a couple of months and in a parallel trajectory Tegenlicht developed a documentary on the subject. The premise of the

game is to try to avoid as much tax as possible. On 1 April, when every Dutch person has to file their tax declaration, the game was launched on the Dutch documentary television programme Tegenlicht. It provoked an explosive debate on corporate tax avoidance, prompting parliamentary questions. This is an example of how the context of a designer’s work only emerges after its creation. In 2011 I started teaching at ArtEZ, and since 2015 I have also been teaching virtual design at the Graphic Design department of the Rietveld Academy. From 2015 on, my self-initiated projects increased so much that I stopped with commissioned design projects. Your more recent work seems to look at pressure points where natural realities meet financial constructions, such as in your work on the financialisation of catastrophes. How did this tension enter your work? When I started mapping the routes of Internet cables and how they superpose colonial routes of early telegraph cables, the question arose: what is the reality above ground? I started filming remote shorelines where these undersea cables land. Finance is often depicted as traders shouting at each other in the trading pit, but a more realistic image is perhaps that of data centres and cables embedded in remote landscapes, as nearly 80% of global trading is done by computational processes and algorithms. As the infrastructure (the cables relaying information) is also essential for finance, I started wondering why most tax havens are located in former British colonies. It was important to touch on the remote ecologies around these infrastructures, as there is a heavy material backbone to our illusion of an immaterial financial market. This is why the relation between immaterial financial flows, natural resources, landscapes, and geology entered my work. The relationship between natural phenomena and finance also comes back in other works: the prediction, calculation and financial hedging against of potential natural disasters for example. This predictive modelling lacks representations while it’s an imaginative force. Finance (for want of a better word) is a

lens through which to look at the world. It is complex because it stands, first and foremost, outside the realm of the visible. In a sense, finance is a post-aesthetic phenomenon – it evades representation. That brings me to the aesthetic of your work: how do you give form to structures that resist representation? In my work as an artist, you can see my background as a graphic designer. Its style hasn’t changed much in the past ten years. I’ve always sketched using digital software; it’s a language I developed during my Graphic Design Bachelor’s on information and data. My work could be seen as a middle ground between two persistent dogmas. The first is that authentic work equals manual artisanal labour, that a work should be expressive. Instead, as a designer, the work is inherently not about you; you are a mediator between the sender and the receiver of a message. During the past two years, when I did a residency at the Rijksakademie, people sometimes asked me: ‘Where are you in the work?’ To me, this question is not so relevant. Why should you become the poster child of your own work? I believe works are always official or unofficial collaborations wether we want to or not. Everything I know, I learned from other people during my life, there is nothing original in me by default, and it would be strange to single out one ego that created the work. The second dogma revolves around use of the minimalistic bureaucratic language of conceptual art. Interestingly, conceptual art and finance have a shared history, as the dematerialisation of the artwork in the 1960s ran parallel to the disconnection of money from the gold standard. The establishment of the dematerialised art object coincided with the dematerialisation of money. The language of conceptual art and finance are also similar: it is about language, indexes and describing something that isn’t there. It’s all about the circulation of information rather than its physical materialisation. It involves an enormous amount of imagination to create value out of nothing. As disturbing as it might sound, the financial world

is an important producer of imagination. Even in literal terms, traders describe their work as ‘looking at the world, dissecting it, moulding it, creating new things ...’ It’s the same language the artist uses in their studio. In that sense, I like to think of finance as the evil twin of art. I’m thus experimenting with forms that are neither expressive nor employ the bureaucratic language of conceptual art. The word ‘research’ is often overused outside academia, but for you it appears to have a specific use. My work is research-based; I use the process of making work to learn about things I don’t know or understand. Consequently, while making the work there is an element of revealing and opening up things. In these contexts, it doesn’t work if the designer or artist is ‘dropped in’ just to develop a small project. Only by instigating your own research do you make it possible to start a conversation yourself, instead of running the risk of being instrumentalised by entering into a conversation that already exists. In my case, that meant for instance creating my own datasets during the five years that I worked on tax avoidance. What advice would you give to future students? Only when you take risks and when there is something at stake will you go beyond your comfort zone. Desktop research will only take you so far, so you need to contact people who you would not normally dare to approach. Step out of the world of art and design and then bring those elements back into your practice. As a designer or artist, you can get away with more things than academics or journalists because you are not perceived as a threat. —————————————— JOOST CONIJN Fine Arts (1995 – 1997) What is your background? After finishing high school, I travelled for a year and cycled to India on a recumbent

bicycle. I then attended the Rietveld Academy, which happened to be located right next to my primary school (the Waldorf School that is still next door). I had always built things, and saw the academy as an extension of this and as an opportunity to shape my life as I saw fit. The art academy presented itself as a vacuum cut off from the outside world, where you’d unlearn everything that you had been taught before. I felt the urge to realise something, to arrive at a higher goal. Art has this potential. Why did you enrol at the Sandberg Instituut? Jos Houweling left the Rietveld to set up the Sandberg Instituut and I followed him, because the graduation year at the Rietveld did not seem interesting to me. The students had previously been doing a hundred things at the same time, and suddenly in their final year they were cursed with having to do a single ‘project’; that was not an exciting environment. When Houweling told me that there would be no space for me inside the Sandberg building, I suggested that I work on the balcony. My welding work sparked so many complaints that I was soon offered an entire classroom. There was no equipment at the time, so we were allowed to purchase the material we needed. For 6,000 guilders I bought a Sony 1000 digital camera, which had just been just released. What did you do at the Sandberg Instituut? Before our year, the Sandberg existed without a location; we were the first class that had a building in Generaal Vetterstraat. The Sandberg consisted of big atelier spaces and no classes, and tutors would only occasionally pass by to discuss. The school was still undefined in an institutional sense; the students were the school. For me, the relationship with the director, Jos Houweling, was more one of father and son than of teacher and student. You can’t have the entire world against you; someone should always be there to watch your back, and Houweling represented this figure to me. He would stand up for his students and allowed quite a lot of space for conflict. For instance, I was allowed to drop every single class after he had initially proposed that I drop just one.

We only realised how anarchic the Sandberg was when we were asked to make a movie for the Open Day. As students, we decided to film all the other art schools in the Netherlands. We then realised that we were the only school where students were allowed to drill holes and paint anywhere we wanted. I even secretly held a master key, so we could access the building day and night and could also cook and sleep at school if we wanted to. There wasn’t really an ending to the Sandberg period. There were computers and cameras, so I had no reason to leave – I just came back after the summer. It ended when Houweling suddenly gave me two pieces of paper: diplomas from the Rietveld and the Sandberg, without having done a final presentation or anything of the sort. What is the relationship between your practice and its registration on film? A movie is not always the end result. For instance, filming was impossible during the flights I made in my self-built plane. Technically, it is too hard to film and navigate a plane at the same time, and I couldn’t film on the ground, as I was mostly landing at military airports in conflict zones. Instead, each week I would email a piece to the NRC newspaper, and these were made into a book, Piloot van goed en kwaad (Pilot of Good and Evil ). The everyday outside world can also be too disturbing for a film, so I shot my first films in the seclusion of a roof, or a desert, when I filmed the self-opening fence in Morocco (C’est une hek, 1997). I want the film to be the work and to have an autonomous force, not just to be a recording or a derivative. Registration would just be setting up a camera on a tripod without giving much attention to what was going on. I see myself as a persona in these movies, I have to be part of it. An artwork is the sum of all these different parts: the story, the interaction with the people you meet, the exhibition. A teacher once advised me to single out the moment when I constructed the fence in the desert by taking out the voyage that led to it. From the start, I was opposed to those purifying ideas that want to make it into art!

I was opposed to the snobbery and prestige of the art that happened between white walls. I thought that it would be more interesting if art were to play a role in the real world; the confrontation between art and the outside world should not be played out within an exhibition space. For instance, when I travelled in my wooden car through Eastern Europe, I wanted it to remain unclear where the art began and where it ended. Likewise, in my first book, Iron and Video, I did not want to include any critics or art historians, but rather feature short stories by the author A.L. Snijders.

unsolicited advice is even more horrible. I think it’s good to rebel against advice, it has a manipulative aspect. I am always eager for advice, but I rarely follow up on it. That’s why it’s so important for students to oppose their teachers’ views: they need to be provoked right up to the point that they are about to leave the classroom, because then you’d lose them. You shouldn’t want to be liked as a teacher, because it is not important whether the students like you, as long as they work hard.

How do you see your role as a teacher? Students should use teachers as stepping stones and should rebel against them. I personally never appreciated any of my teachers, and always thought that their ideas and work were bad. I want my current students to formulate their own assignments. I try to find out what is blocking their development, and try to delve into those issues. It’s almost at the level of psychology, trying to catch any inconsequentialities that they themselves might have missed. I try to push the students into a mindset where they lose themselves completely in the development of the work; those are the moments where things emerge and things fall your way. Students are often too scared to commit to something fully, and so busy that the work stays on a superficial level.

PAULIEN BREMMER Fine Arts (2004 – 2006)

What are you currently up to? I just came back from Afghanistan, where I was following the journalist Bette Dam, who is proposing a different perspective on the Taliban. At this stage, I’m not sure what the trip will ultimately lead to. I’m also building my own house at the moment on a 3,000-m 2 plot in Oosterwold. It’s quite a famous experiment; you can buy a plot, build your own house and even collectively construct your own street. What advice would you give to future Sandberg students? It would be a shame to answer certain questions. Giving advice is quite suspect, and offering

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What was your background before enrolling at the Sandberg Instituut? I studied architecture at TU Delft for six years. Having graduated from Delft, I started working at Wiel Arets Architects in Maastricht. After four years, when I had finished one building and had taken another project to an advanced phase, I decided that it was the right moment to move on. After I’d quit in 1999, I took a break. I listened to a certain longing I’d always had for the sea and sailed as a shipmate to Ushuaia, the southernmost point of South America. To me, it’s strange that it isn’t standard procedure for an architect to spend time at sea, as I think experiencing endless space is a pivotal experience for any architect. As I was interested in broadening my views on architecture, I decided that I would not engage solely with architecture once I was back. I went to Amsterdam to study film at the Gerrit Rietveld Academy, because I wanted to explore aspects of time and scenography. I enrolled in the DOGtime evening programme at the Rietveld, as it wasn’t possible to manage the full-time programme at the Film Academy. After a year, I made the switch to the timebased VAV department, which I could by then combine with both my teaching at TU Delft and my own practice. It was a rather schizophrenic situation to be both teacher and student at the same time.

I didn’t plan this career path in advance; the decisions arrived organically, out of curiosity. Even though I always saw artistic practice as an addition to my work as an architect, my engineering training in thinking conceptually and coming up with ideas quickly proved to be very useful at the Rietveld Academy and the Sandberg, where I went afterwards. What were your intentions when you entered the Sandberg Instituut? After the Rietveld, I wanted to have time to focus purely on the creation of autonomous work. The Sandberg facilitated very little at the time, providing only a small studio and a network of visiting critics. There were no teachers, so it was more like a residency programme akin to the Rijksakademie. What was the result of your time at the Sandberg? I graduated with the film ‘Arkadi’, which is set on an island that emerges in the Volga when the water level drops during summer. People from the city of Samara, which is opposite the Volga, who cannot afford a ‘dacha’ build their summer huts and stay on the island during summer. For a month, I filmed a man in his surroundings while living in a shack next to him. As I didn’t speak Russian, the local people thought I was a spy. The film captured the outsider figure and dealt with the claiming of one’s space, which became a recurring theme in my work. I did not receive a diploma, because I never wrote a thesis. As writing wasn’t part of the curriculum, its immediate relevance escaped me. I already had a Master’s degree, so obtaining that certificate was not important for me. I never saw that time as a period of study. I did not feel like a ‘student’ anyway, it was more like a residency situation with the luxury of having time to develop my practice. I then continued in this mode with actual residencies in Bucharest and São Paulo, where I made the film Totally Up, amongst others. How do you combine your work as an architect with your autonomous practice?

I always introduce myself as an architect, but quickly mention my autonomous background as well. A building’s capacity to influence its environment is important to me, which is the why I studied film and time-based media at VAV. Time also finds expression in architecture by providing a template for different scenarios. Amongst others, the new Feldlev building is a result of these influences, functioning mainly as a setting, a backdrop through which you can roam, as in a landscape or a film. The building was programmed both in terms of its routing and in its use as scenography. It was important that the setting would enable people to meet and operate as a collective. The remaining challenge is how to organise this multidisciplinarity with a clear goal, not just to stimulate multidisciplinarity for the sake of it. I have always continued to teach architecture on the side; education – both as student and teacher – has been fully intertwined with my practice. I currently teach at TU Delft and the Academy of Architecture in Amsterdam, but I also taught at the Rietveld Academy for about five years, for instance. How would you like to intervene in current forms of artistic education? Within art education, I would like to establish many more links with the field of scientific research. Students from both worlds would benefit tremendously from each other’s knowledge. The cross-fertilisation between art and science that you currently see in institutes such as De Waag is not yet present in art academies. Aside from the CadCam, at present there are only traditional workshops at the Rietveld Academy. I suppose that the Fedlev Building, which you designed, could be seen as the culmination of your views on the Rietveld Academy and the Sandberg Instituut? The main idea was that the building and its project spaces should stimulate new collaborations, knowledge, exchange and multidisciplinary working. We wanted to bring the Rietveld and the Sandberg closer together and create a situation where lectures could be

shared and work could be seen, for instance, allowing for cross-fertilisation between departments, and between both Bachelor’s and Master’s students. Many decisions flowed from the observation that an academy that was rooted in conceptual practices and that worked across disciplines had departments that were spatially delimited in such a way that it was impossible to see what other students were doing. The circumstances, from conception to delivery, were highly unusual, because we had to formulate our own brief while also determining the design process itself. The only set requirement was that the building had to be 3,500 m2. Projects of this size normally require more hierarchical structures and everything is usually determined in advance. This interesting situation required a longer process and specific attention. The advantage was that special requests could be granted after critical examination, which would have been impossible in any other project on this scale. The main challenge was to keep the different departments informed and on board. We worked from a Portakabin on site to facilitate communications, so that anyone could step in and ask questions, and we, in turn, were directly connected with the academy and its different departments. For the Sandberg Instituut, the question remains as to how they will further stimulate the multidisciplinarity of students with multiform backgrounds. When I studied at Sandberg, there was little room for multifaceted practice; my experience as an architect was never a topic of discussion, for instance. It would be interesting to see how attitudes have changed. What advice would you give to future Sandberg students? Back in my day, I mostly worked from my own studio, as the space at the Sandberg was too small – which was quite a pity. I would advise future students to spend as much time as possible on site, and also take the time to cook there, for instance. ——————————————

ROGIER ROETERS Fine Arts (2006 – 2008) What is your background? I had the talent to become a professional footballer, but when that didn’t work out, I ended up studying management. I wasn’t happy when I graduated and decided to start doing something creative, which I had never done before. Why did you apply to the Sandberg Instituut? I graduated from the AKV St. Joost academy in Den Bosch at the time when Sandberg was still actively scouting for talent. The director, Jos Houweling, would ask former students to look around academies to find participants who would fit in at the Sandberg Instituut. I received an email inviting me to participate in the two admissions rounds. I got through the first round, but couldn’t attend the second round to present my work in person. I wasn’t accepted after they judged my work in my absence. When I went to the Sandberg to pick up my work after the holidays, I had a great conversation with Jos Houweling and staff coordinator, Marjo van Baar. They decided on the spot that I was accepted after all, and could start after the summer. At the risk of sounding cheesy, this moment really saved me, as I had no clue what else to do. At that time the Sandberg only had the Fine Arts and Design departments, with around 20 to 25 students per class. The two didn’t mingle, but you knew everyone in your own department. I’m still in contact with some of the students from those days, including Michiel Huijben and Judith Leysner. The Sandberg felt like a family and still does today. I still feel very connected to the Sandberg, but I see the school from more of a distance now; I only return every one or two years. I came back this year to do a mindreading show as a spicy intervention at the start of the year. What did the Sandberg bring you? I felt that I was finally being heard and that anything was possible; we could invite guest teachers ourselves, for example. Being around

so many open-minded people really opened me up. It opened up my eyes to people from rough places and with different mentalities. During those two years, I made costumes and let people perform in them. I filmed these situations, and I also made a lot of other videos at that time. I used to make drawings for the performances and films, which have now have become objects in their own right. I’m currently making around ten a day! All my work – the drawings, the films, and the magic, of which I will speak later – starts from obsessions. I have a lot of energy and need to channel it into work. Even at the academy in Den Bosch, my teachers would tell me: go deeper or go wider. But this energy wasn’t directed at my thesis, which I didn’t finish until years after ‘graduating’. I kept sending in all kinds of texts, but I was always told they were rubbish. I proposed that I just sit in front of the jury and explain my ideas, because I couldn’t write them down. Many years later, I finally made it by the skin of my teeth. What did you do after Sandberg? After I graduated, I worked for RietveldTV and changed the format into making portraits of students and alumni, to demonstrate the diversity of what happens during and after studying at the Gerrit Rietveld Academie. After the Sandberg, I also worked in the film industry, but it made me feel like a hooker. I also had to quit a few days after working as a creative art director for an agency. I’m able to come up with a lot of different ideas quickly, but I don’t care about the details; about choosing the right shade of green, for instance. Then I decided to follow my heart ... I’d always been fascinated by magic tricks, but I had never been able to combine this with my football career. In Amsterdam, when I was working for RietveldTV and making a documentary, I discovered a small place in Vught where a group of retired lawyers and doctors were practising as amateur magicians. Up until that moment, I had always felt very alone doing magic tricks, as there was no way to find out that such a community existed before the Internet. At first, they were quite suspicious

and paranoid, as though I was going to steal their magic tricks. I joined the club, because the only solution was to become a member. Two men acted as my mentors and explained all their routines to me. They would put my name up when they couldn’t do a gig themselves, and I started to perform. The world of magic is divided into groups; we give each other a gig if one of us is unable to make it, but it is not done to pass a gig to someone outside our clan. More generally, I love to play with expectations and reality, whether by making drawings, films or magic. What I currently want to learn is how to make something small BIG for the audience. I want to learn how some magicians are able to build an entire story around a small object. Looking at things from different perspectives is also a trick, and it’s so easy to trick people; anything can be an illusion. I don’t yet have the guts to bring the magic into an art context – not as a mere magic trick, but intertwined in a larger performance. It is easier to perform magic tricks than to make drawings and films, because the audience is much clearer; they are standing directly in front of you. I don’t do any magic under the name of Rogier Roeters, because I don’t know how my corporate clients would react to my drawings and films. For instance, I wouldn’t want the costumes I created in which people can do sex acts to circulate in the corporate sphere of my magic shows. How do you position yourself as a magician? At first, it took a lot of stress and many sleepless nights to start performing, but now I do magic a few days a week. The thinking behind magic is more interesting than the trick itself, so every day I watch around two hours of lectures to learn new tricks. I haven’t been able to come up with a new trick myself yet – something as weird as Tom Mullica’s cigarette trick in ‘Julien DonkeyBoy’ by Harmony Korine. I fear that there is no audience for a such new trick; the art scene would probably accept this kind of magic readily, but would only look at you for five minutes and then turn their backs to continue drinking their wine. I would love to make an

absurd piece that sat on the interface between the commercial and artistic worlds. What advice would you give to future Sandberg students? Don’t trust any advice. Once you’ve got as far as entering the Sandberg, you won’t need any advice from me, because you will make it and you will manage. —————————————— SANDER PLUG Fine Arts (2002 – 2004) What is your background? I studied Industrial Design in Delft, which is a relatively technical programme. I was able to pull it off, but back then I was already drawn towards more conceptual questions. After my studies, I started working for a design office, but quit after a year. I moved to Amsterdam, bought a computer and started working as a freelance graphic designer. That was back in 1997. I subsequently entered the advertising world to work at FHV/BBDO, an agency with 450 employees – advertising was then in its heyday. After a year and a half, I wanted to enter an art school to not spend all my life in an advertisement environment. I was accepted at the Sandberg Instituut because they were curious about how someone from the commercial world would relate to an art school. At that time, the Sandberg was still located in Prinses Irenestraat, with Jos Houweling serving both as director and head of the study programme. What did studying at the Sandberg Instituut bring you? I was preoccupied with finding my own voice, and I was continuing commissioned work in addition to my autonomous practice. Even in a literal way, I was finding my own ‘signature’ by engaging with life drawing. I tried to discover my own position as an artist. That was a complicated process, as I was still stuck in the constant rhythm of doing commissions. That would already be my first piece of advice

to future students: make sure that you can focus on your studies. Find a way to avoid getting too distracted by your side job, which is a mistake I made at the time. I ultimately needed to detach myself from commissions to find a way to work more slowly on more autonomous projects. The Sandberg gave me a sense of freedom that allowed me increasingly to follow my own ideas and conceptions, rather than having to execute projects where the brief was more important than the creativity. Eventually, clients started contacting me precisely because I took the freer approach of an autonomous creator. For me, the exciting aspect has always been this phase of conceptualisation. With the right people, anything can be produced, but it’s the initial fine-tuning of the idea that moves me. What did you do after graduating? I have kept on making autonomous work. In 2008, I restaged the first encounter with my Spanish ex-boyfriend and our ensuing relationship until the breakup. When I interviewed him ten years after our relationship had ended, I realised how fragmented and conditioned both our accounts of that time were. This resulted in an interview published in split form, with each of our accounts printed on a separate page. For the exhibition Amateur, I performed this dialogue of our first meeting together with him in an old model drawing classroom in the centre of Barcelona, as all of the students simultaneously sketched us. One year before creating that work, I started collaborating with Lernert Engelberts as Studio Lernert & Sander. As creatives, our trademark minimal style resulted from a need to present a precise idea without any background noise, enabling you to look at an image or a story in a focused way. Our designs never aimed to show a personal touch, but to show objects in their most iconic form. The resulting style was never the end goal, it was just a consequence of our aim to present things as clearly as possible. Because this ‘style’ was never a goal it itself, I find it bewildering that it has been copied and that we’ve even been asked specifically to reproduce its minimalistic aspects.

The few autonomous artworks I have realised have allowed me to step beyond the constraints of applied work, where after just five minutes you think you are ready to start executing your initial idea – always being just one step away from the final realisation. Those few artworks have helped me to slow down the conceptualisation process and escape the reality of applied work. How would you define your current practice? That is an important question, as I have simultaneously been involved in advertising, film, product design, art direction and fine art, among others. Ultimately, it is essential to avoid being framed, by keeping your practice ambiguous. Despite our efforts, Studio Lernert & Sander has nonetheless been perceived mainly as a practice of film directors. As you have chiefly worked in the field of communication – how to get an idea across? – what role has the Internet played in your work? As Studio Lernert & Sander, we are the curators of our own frame on the Internet; we can construct who we are and what work to show. We started to approach the presentation of our work as a brief in itself, instead of simply presenting a portfolio with one video clip after the other. Our website responds to a certain ideal of beauty, but we have also shown our failures. We have presented failed projects on stages where people expected us to showcase our jewels. We have tried to dissect what components can make a project fail by openly discussing this in public with a younger audience. But a deep distrust of the Internet also runs throughout our practice. On a basic level, the Internet kills inspiration; it makes it impossible to develop your own ideas without using others’ references. On a more abstract level, we addressed the perils of search engines with our documentary I Love Alaska in 2009, which chronicled the search history of a single user. The public broadcaster VPRO asked us to make a sequel that would feature the person behind the search queries, but this film was never realised, as it was too hard to confront this person.

Besides what you’ve mentioned already, do you have any other advice for future Sandberg students? You should be able to present your work! I’ve seen too much gaffer tape and too many bad projectors at graduation shows; I can’t agree with the still-persistent idea that work shouldn’t be too perfect. To make work is one thing, but presenting it is, in the end, the essence – it’s what makes or breaks the work. Final presentation didn’t receive enough attention when I was judging graduation shows seven years ago, but I hope this has changed over the years. It’s also important to be able to negotiate the conditions of a project, to know when to say no. This process should be separated from the creative work as much as possible, because otherwise it gets infected with financial shenanigans. The moment you have to talk money as an artist, the magical membrane of creativity is perforated. I’m happy to be in the comfortable position of having an agent, which enables me to focus purely on the conceptual aspects. Whenever there is a financial matter, I can redirect my clients. Both at the Rietveld Academie and the Sandberg Instituut, students are still clueless regarding financial matters and how to present themselves; they are not prepared for what happens after their studies. The safe womb of an art school should be infiltrated by the harsh reality of the outside world, so that after your studies you are able to convert an artistic practice into a living. This model might lead to some collateral damage, but a lot of artists would benefit from engaging with applied art so that they are able to take a firmer position in the world at large. —————————————— TJALLING MULDER Material Utopias (2013 – 2015) What is your background? When I returned to the Netherlands after travelling and working in Australia, I started to

draw and make various objects. A friend of mine had suggested that I apply to the AKI art academy in Enschede, and I was accepted. At the time, I didn’t even know that other academies existed; I didn’t have a clue. During that Bachelor’s, I didn’t have a broader vision of what I was making. I was mostly working with ceramics, and made works that were small conceptual jokes. I’d put a small pedestal on a carpet, which stood on a larger pedestal and carpet, or installed works high on a socle so that you couldn’t see them from up-close, and could only apprehend them from afar. Why did you enrol on the Temporary Programme on Material Utopias at the Sandberg Instituut? I enrolled on the programme to find a clearer direction in my work; at that time I was focused on the technical execution of works in plaster, ceramics and steel. The fact that there was an introductory meeting to get to know the tutors and the programme was a huge draw. How was the programme structured? The aim was to spend two years on conducting material experiments with media such as ceramics, glass and textiles. The programme consisted mainly of students who had just finished their Bachelor’s, from either a Fine Art or a Design background. This mix of students allowed all of us to broaden our vision. We were explicitly asked to stop doing exhibitions and focus entirely on our studies; we had classes every day, all day long, from Monday to Friday. The programme had a strong connection with the Bachelor’s students at the Rietveld; we did material workshops with them, which added a lot to the programme. It was a situation where I could suck in as much information as possible, try to get to know the ins and outs of materials and techniques. The level of the ceramic workshops was incredibly high, with tutors including Anton Reijnders, Gijs Assmann and Bastienne Kramer, with whom I’m still in contact today, outside the Sandberg. The overloading of the programme led to strong bonding within our group and also with

the Rietveld students, but it also gave rise to quite a lot of frustration. In the second year, the programme reacted to our frustrations by giving us more freedom, an opportunity to initiate our own research, and the possibility of contributing input to the programme itself. As a group, however, it was still hard to articulate the direction we wanted to take as students, and to come up with concrete proposals for how to make the programme more interesting for both artists and designers. All in all, I think that these temporary programmes at the Sandberg are great and are part of the game, even if they are sometimes chaotic. If you keep all the possibilities they offer in mind, you even forget these conditions. It’s a context where you can achieve a lot if you make use of the many opportunities. What kind of work did you make during the programme? One of the assignments was to create a library of materials. The assignment was based on the silly premise that it was something you could continue to do for the rest of your life, which I might in fact be doing. I decided to make dildos in every possible material and now have about 900 specimens, ranging from wood to plastics to 3D-printed examples. The phallic form lends itself perfectly to execution in all materials, which makes it possible to test different creation processes on a dildo. Unfortunately, both logistically and in terms of insurance, it has been impossible to exhibit the entire collection so far. In addition to this library, I also made videos that showed me breaking my sculptures, either by smashing them or humping into them. How would you describe your current practice? I like to assist artists in their practice, because you develop your technical skills faster when you don’t have to ponder conceptual questions as you make the work. It enables me to learn new methods while earning a living. This has given me a sense of peace and quiet in my work; I might make less, but now I do it with much more conviction. For instance, it has allowed me to witness the large amount of work

that succeeds even when executing it initially appears to be impossible. Currently, my whole focus is on working with ceramics. I work at Sundaymorning (at)ekwc, a workplace where artists and designers explore the technical and artistic possibilities of ceramics. I guide the participants, most of whom don’t have any major prior experience of working with ceramics, and provide them with advice to arrive at the work they have in mind. I try to provide as much space for experimentation as possible, while trying to avoid only the most terrible mistakes. If something appears to be technically impossible, I try to find a solution to work around the limitations. Part of the job is providing psychological support, as making ceramics is incredibly tricky. Since last November, I have also been working at the Royal Academy of Arts to help students in the context of ceramics workshops. As making ceramics is a slow process with a number of different, carefully-planned stages, I make sure that the classes themselves are quite relaxed. I still enjoy making work, but I’m currently less focused on exhibiting. Doing exhibitions can be a distraction from the work schedule you need to create a ceramic work without rushing it. I’d much rather lie low to focus fully on the creation of work. What advice would you give to future Sandberg students? I can’t answer this, as every student is different. The only general advice I can give is to make the most of your time in the context of an institution. Use your energy and use its networks to create things beyond the limits of the institute, and to achieve what you have in mind. When I teach at the Royal Academy of Arts, I try to push the students to make work that goes beyond what the academy can offer, so that the school has to support them in realising it elsewhere. The Sandberg should also take on this role and push the students beyond the confines of the institute. ——————————————

WILLEM VAN WEELDEN Critical Studies (2016 – 2018) What is your background? I have a background in Sociology, video activism, Net art – all far off the grid of traditional art. Seeing Lyotard’s exhibition Les Immatériaux in 1985 had a huge impact on me. It shattered my belief in visual art, and from then onward I adopted a view of art that was embedded in scientific practices in the context of the rise of the Internet. I subsequently abandoned the art world altogether, because I was convinced that it was a purely feudal system that had to be overthrown In 2003, I was asked by the head of the DOGtime department Manel Esparbe i Gasca to teach Communication at IDUM (Unstable Media Interaction Design). I considered this job a parochial affair, safeguarding the sheep before the gates of hell and moving them towards working with the conditions of life, rather than the masturbatory art world that mainly reproduces its own traumas. I try to push the students out of their traditional notions and mainstream orientations, which seem to surface more and more over time. Today, most students who apply are drawn to Picasso and Van Gogh, which baffles me. Does your aversion to traditional painting explain your inclination towards media art? My aversion to painting originated in the vehemence with which developments in media art were attacked in the 1980s by artists such as Jan Dibbets and Toon Verhoef, who were my teachers at Ateliers ’63, together with Stanley Brouwn. Back then, the art world was more segregated into circuits than it is today, but I also tried to mediate between environments such as W139 and Aorta, which opened in Amsterdam in 1982. It was the time of the rise of video art, which happened underground. It brought the sense of ‘tactical media,’ with exhibitions that challenged the thendominant ideas on media. Only later, around 1986 – 1987, when V2_ in Den Bosch became a centre for media technology, did I start to

recognise the importance of this movement. The Manifesto for Unstable Media by the director, Alex Adriaansens, was a big inspiration for me and everyone else who stood for an art that was theoretical in approach and activist in practice, with a truly international scope. This involvement came from an interest in Conceptual Art, which addresses the problematics of mediation and challenges the coding of meaning. Joseph Kosuth was particularly influential with his book The Making of Meaning, in which he sums up his anthropological programme. By deconstructing various codes of meaning-making, it makes the entire notion of ‘meaning’ in texts and visuals unstable. This is linked to what I teach in New Media environments regarding the instability of meaning and the possibilities of going beyond the representational function of art. How does your interest in media inform your own work as a teacher? I’m constantly experimenting with forms of education that are not necessarily focused on making art per se. The image is still too important in the making of art. Instead of thinking that you can make new images, you should disrupt this entanglement, as we are fully connected in media systems. This should also be done in education: education should be based on an interventionist attitude. As soon as solidification occurs, you have to make things fluid again. Why did you enrol in the Critical Studies department? As the director of the Rietveld Academie, Ben Zegers came up with the idea of ‘teaching the teachers’. I embraced this idea wholeheartedly, not only in order to see education as a lifelong engagement, but also to question the authority involved in education as part of the learning experience. I felt an urge to deepen my own research and to claim more research time for myself. I had searched for a way in somewhere, but had hitherto failed miserably. Enrolling in Critical Studies offered me a step towards doing a PhD, as I didn’t even have a Bachelor’s degree beforehand.

Given the nature of my project, it was obvious from the start that I would be on my own. I organised some seminars for the students, but they weren’t much of a success; there was little connection or mutual interest. I tried to connect by sending out several gigabytes of relevant reading material after someone’s presentation, but that didn’t help. I went solitary and met my two mentors outside of the department, Yuk Hui in Berlin and Rick Dolphijn at the University of Utrecht. It was an incredibly pleasant experience to have them as a sounding board for my research on new materialism and Lyotard for my project entitled Time as Matter. The idea was to hand this project over to the Critical Studies department when it was finished. After a long struggle to find the right form and style of writing, it resulted in two extended essays and a 360˚ virtual reality environment with a sound piece, which are now serving as stepping stones for a future project. Have you noticed any changes compared to your earlier student years? I have encountered a new prudishness and more political correctness, which take any political discussion hostage before it has even started. There appear to be a whole set of unwritten rules and codes with which I should comply. It’s an awkward situation, feeling you’re imposing while doing nothing. Social Studies has invaded specific formats of writing and, with it, a corpus of behavioural imperatives. Imagination starts from the conviction that there is a free space where you don’t know shit. If you want to create an atmosphere for permanent education, you have only to embrace the possibility of being an ignorant asshole and get rid of the symbolic debris you have accumulated over the years, so that you can encounter the circumstances afresh. No new ideas can emerge if this condition is not met. What advice would you give to future Sandberg students? Focus on independence, which goes beyond the idea of being an autonomous artist. The epithet of being an autonomous artist is as

ridiculous as thinking you are free in this society. The pastoral idea of the art world as a happy sanctuary where you can express yourself has to be debunked from day one. The technique is to deconstruct these truisms not in parlance, but in your practice, which is highly theoretical at the same time. It is in the event that the thinking is done, that is your job. You have the obligation to invest in this prospect, even if there is no guarantee of meaning, let alone success.

Read more Notes to Future Students Interview Series 2018: https://sandberg.nl/writings

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

Programme Director Nelly Ben Hayoun Coordinator Sjoerd ter Borg

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

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

Alumni 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 Guest tutors 2017 – 2019 Bruce Sterling, Jasmina Tesanovic, Rachel Armstrong, Barbara Imhof, Paula Scher (Pentagram), Dana Gioia, Stefan G. Bucher, Michael Bierut, Tea Uglow, Suzanne Wertheim, Fay Milton &

Ayse Hassan, Mirik Milan, Alex Margot Duclot, Ross Allmark, Our Machine, Clemens Winkler, Sina Najafi, Farah Anede, Joseph Popper, Visual Editions, Yonathan Keren, Simone Ferracina, Rolf Hughes, Andrew Ballantyne, Austin Houldsworth, Gareth Owen Lloyd, Shabazz Palaces, Yamuna Forzani, Nicholas Mortimer, Peter Sellars, JL Dianthus, Nadezhda Andreyevna Tolokonnikova (Pussy Riot), Regine Debatty, Julijonas Urbonas, Noam Toram

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

RAD I CAL CUTUP

RADICAL CUT-UP Temporary Programme Finished (2017 – 2019) Programme Director Lukas Feireiss Coordinator Antoinette Vonder Mühll Tutors Amal Alhaag, Femke Dekker, 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 Murray-Wassink, Lara Joy Evans, Rachael Rakes, Christian Nyampeta Guests 2017 – 2018 2A+P/A, Sarah Farina, Nadine Goepfert, Hanne Lippard, Leonard van Munster, Ahmet Ögüt, Floyd E. Schulze, The One Minutes, Thomas Marecki Alumni 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-shadow-channel

SHA DOW CHAN NEL

SHADOW CHANNEL Temporary Programme Finished (2017 – 2019) 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, Akwugo Emejulu, Cécile B. Evans, Rana Hamadeh, Maryam Monalisa Gharavi, Johan Grimonprez, Mark Leckey, Yuri Pattison, Roger Hiorns Guests 2017 – 2018 Chino Amobi, Kévin Bray, Ben Cerveny, Flavia Dzodan, Warren Ellis, Gaika, Gideon Kiers, Vinca Kruk, Metahaven, Michael Oswell, patten, Nina Power, Sam Rolfes, Ash Sarkar, Silvia Maglioni & Graeme Thomson Alumni 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-master-of-voice

MAST ER OF VOICE

MASTER OF VOICE Temporary Programme Finished (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 Kyung Bin Koh Maria Montesi Natasha Papadopoulou Danae Papazymouri Duncan Robertson Eva Susova Cécile Tafanelli Mavi Veloso

RE IN VENT ING DAI LY LIFE

REINVENTING DAILY LIFE Finished Temporary Programme (2016 – 2018) 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

https://sandberg.nl/temporary-programme-fashion-matters

FASH ION MAT TERS

FASHION MATTERS Temporary Programme Finished (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 TE IN RI ART AL AND I DE SA SIGN MATERIALISATION IN ART AND DESIGN Temporary Programme Finished (2015 – 2017)

Tutors Jens Pfeifer, Laurie Cluitmans, Tamar Shafrir 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

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

Programme Directors Herman Verkerk Maurizio Montalti Coordinator Linde Dorenbosch

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

CURE MAST ER

CURE MASTER Temporary Programme Finished (2014 – 2016) Programme Directors Martijn Engelbregt Theo Tegelaers Coordinators Simone Kleinhout Anke Zedelius Tutors Nils van Beek, Valentina Desideri, Rory Pilgrim, Louwrien Weijers, Egon Hanfstingl, William Speakman Guests 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

DE SIGN ING DE MOC RA CY

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

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

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

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

SYS TEM D ACAD E MY

SYSTEM D ACADEMY Temporary Programme Finished (2014 – 2016) Programme Directors Cynthia Hathaway Melle Smets Coordinator Nora Morton 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

MA TE RI AL U PI TO AS MATERIAL UTOPIAS Temporary Programme Finished (2013 – 2015) Programme Director Louise Schouwenberg

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

Coordinator Judith Konz

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

SCHOOL OF MISS ING STUD IES SCHOOL OF MISSING STUDIES Temporary Programme Finished (2013 – 2015)

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

Programme Directors Liesbeth Bik Jos van der Pol 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-vacant-nl

VA CANT NL

VACANT NL Temporary Programme Finished (2011 – 2013) 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

BC 1

Critical Studies / Theory (CS)

Project Space

Critical Studies (CS)

Dirty Art Department (DAD)

(FA)

https://sandberg.nl

(DAD)

(CS) (SIS)

Studio for Immediate Spaces (SIS)

Project Space Bridge

Fine Arts (FA)

FEDLEV BUILDING

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

Media Lab (ML)

Approaching Language (AL) Challenging Jewellery (CJ) Disarming Design (DD) F for Fact (FFF) Resolution (RES) The Commonersâ&#x20AC;&#x2122; Society (TCS) Media Lab (ML) Open Day locations of new Temporary Programmes (Disarming Design, F for Fact) to be announced.

BC 5

https://sandberg.nl

Resolution (RES)

Approaching Language (AL)

Challenging Jewellery (CJ)

(CJ)

(RES) (AL)

BC 4

(D) Design (D)

Auditorium BENTHEM & CROUWEL BUILDING

BC 3 63

https://sandberg.nl/2020-application

APPLY NOW APPLY NOW APPLY NOW

Master’s Programmes 2020 – 2021 Sandberg Instituut Amsterdam Publisher Sandberg Instituut Director Jurgen Bey Curator Jules van den Langenberg Coordinator Anke Zedelius Editing Jules van den Langenberg Laurens Otto Jason Page Jaap Vinken Contributors All departments and programmes, staff and students Graduates 2019 PS (Public Sandberg) Graphic Design Our Polite Society Typefaces Bill, OPS Kappla, OPS Used Future Printing Raddraaier SSP, Amsterdam Binding Patist, Den Dolder De Verenigde Sandbergen Issue # 80 January 2020 De Verenigde Sandbergen is the magazine published occasionally by the Sandberg Instituut. © 2020 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 The Netherlands Contact T: +31 (0)20 588 24 00 E: info@sandberg.nl W: www.sandberg.nl

HTTP:// SAND BERG . NL /

GRA DU A TION 2019 /

JURGEN SPEARS Felt cute, might be nervous later.

BRITNEY BEY

I’ll be fine, I’ll be fine, I’ll be fin— Jurgen Spears freezes mid-sentence. ‘Am I wearing my black cardigan? And if so, am I wearing it the right way, the inside-out way? I can’t, however, turn my head that far back to check. Damn!’ Jurgen fumbles with hands behind his back. As Jurgen Spears manages to locate the tag of his inside-out worn cardigan, he sighs in relief. ‘An exposed tag signals transparency’, mutters Jurgen to himself.

YEAH

Jurgen struts up to the microphone. The microphone notices and decides to ignore the Sandberg top star and instead start to hum autonomously and monotonously. ‘I’ll be fine’, Jurgen muses, ‘I won’t be discouraged by a measly microphone, I’ll simply do this the old way! ‘This microphone does not work,’ Jurgen shouts, as he signals with his hands to the arrogant microphone, while looking out over a crowd of bushy-eyed students, ‘and the host is sick today. I never asked for such a platform nor for this much microphone time, but I’m here and let’s break open this year!’

YEAH

Jurgen coughs nervously. ‘Hello, I am Jurgen, and I am more nervous than you are. Good to have you here.’ A robed figure in the crowd cheers. Mr Spears spreads his arms out in an insecure yet magnanimous gesture. ‘You know, I never want to be a manager— I mean director. Too few artists are involved in politics and big companies. I’m a designer in a school, not a manager— I mean director. Why don’t we put the bar very high. Why don’t we make new libraries? Why don’t we agree?’ The second-year Critical Studies students moan ironically at the showpersonship.

YEAH

‘Am I getting through to these students?’ Jurgen’s mind is racing, and his palms are sweaty, knees weak, arms are heavy; there’s vomit on his cardigan-sweater already, mom’s spagh— As he takes a deep dramatic breath, a thought occurs, ‘Jurgen, everyone is here, everyone is watching’, and as Jurgen stands on stage, he ever so slowly, starts to sing.

YEAH

‘Cause now I’m stronger than yesterday Now it’s nothing but my way My loneliness ain’t killing me no more I, I’m stronger Come on, now Oh, yeah Here I go, on my own I don’t need nobody, bette’ — the lunch-break buzzer buzzes. Interrupting the enthralling performance. The audience leaves for gossip and the grumpy microphone smokes a cigarette outside. Spears has retreated back into his dressing room. As he sits down in front of his broken mirror and readjusts his lace-front wig, Jurgen Spears can’t help but let out another sigh. In the corner, Britney Bey smiles back.

YEAH

After the break Jurgen walks in with renewed vigour to the stage, adorned in an ostrichfeathered pants-suit paired with a simple yet sleek black cardigan — tag on the inside. Why don’t we think about new ecologies, new econo— rhythmic music pumps through the gym and the robed figure stands up. ‘Marry me!’ the student demands. Jurgen gasps, and so does the audience. ‘Jurgen Spears do you take this student in a wedding gown to be your lawfully and spiritually wedded student, in sickness and in healt—‘Arsefuc—SHHIT’ Jurgen howls.

YEAH

The advisory board disapproves loudly of such language by the manage—director and makes a mental note to bring it up at the next meeting. Jurgen actively fights back the tears, that trickle down his neck, through black cardigan and cardigan and ostrichfeathered pants-suit combination. His hands confidently reach for the tag, and in a single succinct tug, the tag is released. ‘No, I won’t marry!’ exclaims Jurgen. ‘Marry the new libraries, marry the new languages, marry the future, each other, the desert cities—’ and as Jurgen sums up all that could be married, his tears water the ground of the dusty gym floor. Hydrangeas start blooming, radical idea’s start growing and animals decomposing, all in front of the eyes of the new students. ‘... marry the mountain tops and tabletops or marry each other’ A tense silence befalls the gym, and even the Critical Studies second years have ceased moaning. As Jurgen looks down at the Gym floor and sees what has sprung up, he confidently lets his gaze meet with the gaze of his students and staff and whispers ‘w-o-r-k b-i-t-c-h’.

YEAH

CRITICAL STUDIES

END OF YEAR PROGRAMME

PARTICIPANTS 2019

Main Department

FedLev Building

Mohamad Deeb Vita Evangelista Lucie Fortuin Harriet Foyster Silke Xenia Juul Nemo Koning Sekai Makoni Maria Muuk Filippo Tocchi Aidan Wall

1 2 3 4 5 6 7 8 9 10

DESIGN Main Department

NOT TOO CLOSE TO THE WALLS OR THE CORNERS Studio Spijkerkade

PARTICIPANTS 2019 Lucie de Bréchard Rowena Buur Miquel Hervás Gómez Sascha Krischock Tessa Meeus Samuli Saarinen Andreas Trenker Alex Walker Karina Zavidova

11 12 13 13 14 15 16 15 17

DIRTY ART DEPARTMENT

THE AND OF THE WORLD

PARTICIPANTS 2019

Main Department

The Dirty Art Foundation

Sun Chang Sara Daniel Walter Götsch Jason Harvey Selma Köran Jeroen Kortekaas Leslie Lawrence David Haack Monberg Rachele Monti Daniel Ordonez Munoz Jean-François Peschot Léo Ravy Tomasz Skibicki

18 19 20 21 22 23 24 25 26 27 28 29 30

FINE ARTS

GRADUATION SHOW

PARTICIPANTS 2019

Main Department

De Oude Kerk Ellen De Bruin International Instituut voor Sociale Geschiedenis Kunstverein Rongwrong Zone 2 Source/Glazen Huis

Mariah Blue Mark Buckeridge Kathrin Graf Lana Murdochy Wyatt Niehaus Julie Pusztai Tina Reden Younwon Sohn Amy Winstanley

31 32 33 34 35 36 37 38 39

STUDIO FOR IMMEDIATE SPACES Main Department

IN THE OPEN

PARTICIPANTS 2019

Public space around De Fabriek Volkskamer

Andrea Belosi Elia Castino Antoine Guay Francesca Lucchitta Davide-Christelle Sanvee Maike Statz Elizaveta Strakhova Mathilde Stubmark

40 41 42 43 44 45 46 47

RADICAL CUT-UP

GRADUATION SHOW

PARTICIPANTS 2019

Temporary Programme

Looiersgracht 60

Adam Bletchly Lou Buche Daan Couzijn Rebecca Eskilsson Zsofia Kollar Wes Mapes Juliana Maurer Barnaby Monk Alex Murray Fabian Reichle Javier Rodriguez Fenna Schilling Farida Sedoc Anthony Smyrski Agustina Woodgate

48 49 50 51 52 53 54 55 56 57 49 58 59 60 61

SHADOW CHANNEL

AS REAL AS IT CAN GET

PARTICIPANTS 2019

Temporary Programme

The Arcade Hotel Botanische Tuin Zuidas MACA

Holly Childs Marijn Degenaar Juan Arturo García González Elisa Grasso GVN 908 André Lourenço Kani Marouf Elif Ozbay Anna Petrova Mark Prendergast Miša Skalskis Emilia Tapprest Valerie van Zuijlen Gediminas Žygus

62 63 64 65 66 67 68 69 70 71 72 73 74 62

MASTER DESIGN OF EXPERIENCES Hosted Programme

2017 – 2019

PARTICIPANTS 2019

De Marktkantine

Malena Maria Arcucci John Charles Bricker Tom Burke Alexander Cromer Ryan Eykholt Heather Griffin Juhee Hahm Annamaria Merkel Joseph Pleass Ada Reinthal Luke George Hardy Rideout Evita Eva-Maria Bianca Rigert Jack Waghorn

75 76 77 78 79 80 81 82 83 84 85 86 87

CRITICAL STUDIES Main Department END OF YEAR PROGRAMME

FedLev Building

DESIGN Main Department NOT TOO CLOSE TO THE WALLS OR THE CORNERS

Studio Spijkerkade

DIRTY ART DEPARTMENT Main Department THE AND OF THE WORLD

The Dirty Art Foundation

FINE ARTS Main Department GRADUATION SHOW

De Oude Kerk Ellen De Bruin International Instituut voor Sociale Geschiedenis Kunstverein Rongwrong Zone 2 Source/Glazen Huis

STUDIO FOR IMMEDIATE SPACES Main Department IN THE OPEN

Public space around De Fabriek Volkskamer

RADICAL CUT-UP Temporary Programme GRADUATION SHOW

Looiersgracht 60

SHADOW CHANNEL Temporary Programme AS REAL AS IT CAN GET

The Arcade Hotel Botanische Tuin Zuidas MACA

Mohamad Deeb Vita Evangelista Lucie Fortuin Harriet Foyster Silke Xenia Juul Nemo Koning Sekai Makoni Maria Muuk Filippo Tocchi Aidan Wall Lucie de Bréchard Rowena Buur Miquel Hervás Gómez Sascha Krischock Tessa Meeus Samuli Saarinen Andreas Trenker Alex Walker Karina Zavidova Sun Chang Sara Daniel Walter Götsch Jason Harvey Selma Köran Jeroen Kortekaas Leslie Lawrence David Haack Monberg Rachele Monti Daniel Ordonez Munoz Jean-François Peschot Léo Ravy Tomasz Skibicki Mariah Blue Mark Buckeridge Kathrin Graf Lana Murdochy Wyatt Niehaus Julie Pusztai Tina Reden Younwon Sohn Amy Winstanley Andrea Belosi Elia Castino Antoine Guay Francesca Lucchitta Davide-Christelle Sanvee Maike Statz Elizaveta Strakhova Mathilde Stubmark Adam Bletchly Lou Buche Daan Couzijn Rebecca Eskilsson Zsofia Kollar Wes Mapes Juliana Maurer Barnaby Monk Alex Murray Fabian Reichle Javier Rodriguez Fenna Schilling Farida Sedoc Anthony Smyrski Agustina Woodgate Holly Childs Marijn Degenaar Juan Arturo García González Elisa Grasso GVN 908 André Lourenço Kani Marouf Elif Ozbay Anna Petrova Mark Prendergast Miša Skalskis Emilia Tapprest Valerie van Zuijlen Gediminas Žygus

1 2 3 4 5 6 7 8 9 10 11 12 13 13 14 15 16 15 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 49 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 62

De Marktkantine

75 76 77 78 79 80 81 82 83 84 85 86 87

Photography by Sander van Wettum (DOP), Tom Janssen, and Willem de Kam.

MASTER DESIGN OF EXPERIENCES Hosted Programme 2017 – 2019