Hogeschool Rotterdam Willem de Kooning Academie

Piet Zwart Institute

Piet Zwart Institute

Application Deadline: May 15th, 2017 (for European applicants only). Each Piet Zwart Masters programme is competitive. Applicants are accepted on a rolling basis and therefore early submissions are encouraged.

Dear colleague, tutor, professional relative (or to who this may concern),

Hereby we like to raise your attention to the Master of Education in Arts – PZI Call for Applications 2017-2018. We are looking for engaged, motivated and enthusiastic candidates interested in following a two-year part-time research trajectory. The Piet Zwart Institute houses the international Master programmes of the Willem de Kooning Academy, part of the Rotterdam University. Named after the pioneering Dutch designer Piet Zwart, who worked experimentally across different media and contexts, our institute offers a rich combination of in-depth specialisation and interdisciplinary exchange in a vibrant learning environment.

 A Learning Community for Innovative Research in Art and Design Education The Master of Education in Arts focuses on art and design education, participatory and public practices, curriculum design, audience advocacy, museum education, maker education, design activism and socially engaged practices. The programme explicitly connects theory and practice, focusing on contemporary issues which span different practices and discourses: education, (critical/feminist) pedagogy, politics, trans-disciplinary research, cultural theory, digital cultures, philosophy, et cetera.             The course is based on intensive seminars led by a highly qualified international staff of educators, theorists, artists and designers. Through a uniquely tailored curriculum combining collective learning with individual tutorials, practice-based research and theoretical inquiry, our programme is built around the concept of the critically reflective practitioner. Participants are encouraged to reflect upon their practice and teaching methodologies from an engaged and informed perspective. Every student graduates with an extensive research project, presented to the public in a graduation presentation at the end of the second year.

Student profile The Master Education in Arts programme reflects the expansion of the field of art/design education by preparing candidates for careers in BA or MA art and design programmes, educational institutions, museums, galleries, universities, cultural centres, community-based organisations and informal learning sites. The curriculum is designed for teachers (higher art and design education, university level, secondary education) and museum educators, but also for cultural workers, artists and designers with a profound interest in education and/or pedagogical strategies. Peer review and being part of a vivid learning community to exchange knowledge is a key feature of our programme. The course prepares graduates to engage with formal educational structures as well as informal learning environments, such as skill-sharing workshops and community-based projects. In order to attract and accommodate working professionals seeking to upgrade or enhance their professional practice, the programme is structured as a 60-credit part-time course spread over two years. All modules are taught in English.

Knowledge production We invite international guest tutors and speakers on a regular basis. Lecture series in the past were among others: Art and Design Education in Times of Change, Making Things Public, Cartographies of Acting Pedagogically: Working with Liquid Logic  and most recently: Agents in the Anthropocene. Trans-disciplinary Practices in Art and Design Education Today, which received a large international interest.

Tutors include: Ingrid Commandeur (Course Director), Kate Brehme, Jolande Bosch, Elizabeth Graham, Michelle Kasprzak, Frans-Willem Korsten, Irina Shapiro, Anthony Schrag, Renee Turner and Sjoerd Westbroek. Please have look at our website for their full profiles.

Previous guests speakers are: Peter Kraftl, Jack Halberstam, Alistair Fuad-Luke, TJ Demos, Marijke Steedman, Anna Santamouro, Mel Jordan, Melanie Buhler, Jan Boelen, Adelita Husni-Bey, Joost de Bloois, Jan Masschelein, amongst many others.

How to apply Please visit the application section of our website. Applicants are requested to submit a motivation letter (with initial idea for a graduation research question and/or project), CV and portfolio with selected projects, in English.

More information and contact Please address any questions to our coordinator Susana Pedrosa: pzwart-info@hr.nl

Image by Aad Hoogendoorn  

Application Deadline: May 15th, 2017 (for European applicants only). Each Piet Zwart Masters programme is competitive. Applicants are accepted on... Lees verder

DE PLAYER presents on March 24: TGC # 3 / MAT>NET>PU – event with  Johannes Bergmark (se), Hiele Martens (be), Helga Jakobson (can) & PZI students (various ethnics)

location: DE PLAYER, Hillelaan 49 D, 3072 JE, Rotterdam, The Netherlands open: 20.00 hrs start: 20.30 hrs entrance: 7.00 euro


TGC #3 is the third issue of the TETRA GAMMA CIRCULAIRE series (an unknown audio magazine), initiated in 2015 by the polymorphic production platform DE PLAYER in Rotterdam. But it is also the second Special Issue of the Experimental Publishing (XPUB) programme of the Media Design Master of the Piet Zwart Institute (are you still following?). The TGC series is famous as a magazine because it has no limits nor exact face and appears in unexpected solutions and situations. TGC #3 fits right in. Concretely, very concretely, TGC #3 is in itself a particular kind of publishing platform (some may dare say a jukebox) experimentally engineered for sonic experiments, instruments, and installations. The first edition is limited to 12 copies, and to inaugurate its launch it is distributed with works created and compiled by the XPUB students.This evening, the new issue will be demonstrated in its dynamic applications and for the festivity we flew in some other nerdy sound makers and breakers.



Sometimes the sum of 1 + 1 adds up to 3. But if you add up 2 of belgium’s finest composers and musicians, it adds up to an infinite number. Hiele Martens, or the unexpected collaboration of Lieven Martens Moana and Roman Hiele, produced last months the most challenging music we have heard since long. They delve deep into a new territory that can be a 2017 update of Maurice Kagel’s Exotica, but for highly self-aware electronic musicians. You can expect their debut record release on Ultra Eczema as one of the highlights of upcoming year.


Whether culminating into actions or objects, her work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise my interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their knowledge sharing. I have great reverence for intuition and it’s use as a technology. For this event she will introduce and demonstrate her spider web record player.


is a Fylkingen affiliated sound artist, instrument builder and piano technician. His performances have been described as surrealist puppet theatre, in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch. Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres. Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you find him sometimes hanging on 2 piano strings from a ceiling.

XPUB (x)

Experimental Publishing is a new course of the Piet Zwart Institute’s Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Franc González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg.




21 April X years anniversary ARTKILLART label Paris

13 May System 123AGC with Manish Pingle (in), Joe Cantrell (us) & more


DE PLAYER is still supported by Mondriaan Fund, City of Rotterdam Department of Culture, NFPK+, Stimuleringsfonds, Prins Bernhard Cultuur Fonds

DE PLAYER presents on March 24: TGC # 3 / MAT>NET>PU – event with  Johannes Bergmark (se), Hiele Martens (be), Helga Jakobson... Lees verder

Time: Friday March 24 Location: Karel Doormanhof 45, Rotterdam Admission: Due to the limited seating capacity at our Karel Doormanhof venue we kindly request you RSVP to reserve a seat on pzwart-info@hr.nl, indicating MFA symposium in the subject line. We will offer seats on a first-come first served basis and announce when the event is fully booked on the MFA Facebook page and website.

  Positions – Strategies for Artistic Accountability A symposium and exhibition in conjunction with ‘The Art of Looking: Description, Analysis, Interpretation, Judgment?’, a thematic project for the Master Fine Art at the Piet Zwart Institute, led by Nana Adusei-Poku, Research Professor in Visual Culture at Rotterdam University.

Featuring Nana Adusei-Poku, Timur Akhmetov, Barby Asante, Sophie Bates, Shraddha Borawake, Connie Butler, Katharina Cameron, Larisa David, Angelica Falkeling, Quinsy Gario, Alexander Iezzi, NIC Kay, Anni Puolakka, Collette Rayner, Nicholas Riis, Erika Roux, Anastasia Shin, Eothen Stearn, Daniel Tuomey.

Does an artist’s identity matter? Or can we just focus on form?

Positions – Strategies for Artistic Accountability brings together MFA artists and invited guests to question notions of accountability and revisit identity politics in art.

This winter, in her thematic project, ‘The Art of Looking’, Nana Adusei-Poku and the MFA artists explored questions of decolonization, the contextual framings of artists and artworks, and the predisposition to read Blackness and treat Whiteness as ‘neutral’. Taking into consideration a recently published open letter by Dutch Prime Minister Mark Rutte, who suggested that those living in the Netherlands should either ‘behave normally or go away’ (‘Doe normaal of ga weg’), the question of ‘normalcy’ and the presentation of cultural identities seem to us especially urgent topics.

We invite you join us in a collective process of discovering what strategies are used when we talk about ‘positions’, and which positions we take strategically, through an exhibition of work by MFA artists and a symposium with our invited guests, Barby Asante, Quinsy Gario, NIC Kay, and more!

Schedule: 10am-1pm:         NIC Kay movement workshop (reserved for speakers and PZI MFA students). 1.30pm-3pm:      Communal brown bag lunch and exhibition tour. 3pm-6:15pm:      Guest presentations and group discussion. 6:15pm-7:30pm: Reception with refreshments.

Guest bios:

Barby Asante  is a London based artist, curator and educator whose work explores place and identity through creating situations and spaces for dialogue, collective thinking, ritual and reenactment. Using archival material in the broadest sense, she is interested in breaking down the language of archive, not to insert or present alternatives to dominant narratives but to interrupt, interrogate and explore the effects and possibilities of the unheard and the missing.

Quinsy Gario was born in Curaçao and raised in St. Maarten and the Netherlands. He studied Theater, Film and Television Studies at the Utrecht University with a focus on Gender and Postcolonial Studies.  His most well known work ‘Zwarte Piet Is Racisme’ critiqued the general knowledge surrounding the racist Dutch figure of Black Pete. His latest focus is on state protection of the marginalized and political resistance as performance.

NIC Kay is from the Bronx. Currently occupying several liminal spaces. They are a person who makes performances and creates/organizes performative spaces. They are obsessed with the act and process of moving the change of place, production of space, position, and the clarity/meaning gleaned from shifting of perspective. (?) NIC’s current transdisciplinary projects explore movement as a place of reclamation of the body, history and spirituality.

Image: Doreen Garner, Onika, 2014. Glass, teeth, Swarovski crystals, hair weave, gold chain, polyester fiber, glitter, and petroleum jelly. Courtesy of the artist. Photo: Doreen Garner. © Doreen Garner.

Time: Friday March 24 Location: Karel Doormanhof 45, Rotterdam Admission: Due to the limited seating capacity at our Karel Doormanhof venue we... Lees verder

Time/Date: March 10, 10:00-17:00 Organized by: Master Education in Arts, Piet Zwart Institute in collaboration with Castrum Peregrini Moderated by: Renee Turner and Frans-Willem Korsten, course tutors Master Education in Arts Location: Castrum Peregrini, Herengracht 401, Amsterdam (The public entrance is at the back of the building in the Beulingstraat.)

As this is a working seminar with limited space to facilitate discussion, reservation is required. Send your request to: Susana Pedrosa: s.m.de.melo.pato.pedrosa.de.jesus@hr.nl

This event begins with a site, an apartment at Herengracht 401 in Amsterdam. Although small, the walls are lined with books and framed portraits. It is the former house of Gisele van Waterschoot van der Gracht, a Dutch artist who hid a group of young Jewish men and Dutch intellectuals during WWII. The place was known amongst them as Castrum Peregrini, or ‘the fortress of the pilgrim’. During their time of hiding, Gisele and her friend, the poet Wolfgang Frommel, taught them literature, poetry and art. Drawings were made in close proximity – a view of a rooftop out a window or a face within an arm’s reach away. Poems were read aloud or in silence, and meticulously indexed word for word. Once liberated, each, those who sought refuge and those who gave sanctuary, would recount how this intimate education conceived against all odds, nourished their souls in a time of political darkness.

Working from this unique place and its history, the seminar entitled, Critically Committed Pedagogies, examines unexpected sites and paradigms of learning, with the aim to plot spaces for maneuverability, if not resistance or possibilities for imagining and acting otherwise.

Guest Speakers

# 1 “Critical Pedagogy in Time-Space: Chronotopes of Learning” By Peter Kraftl This talk explores the interdependency between critical pedagogy, space and time. It argues that the spaces and times in which we seek to teach and learn do not merely constitute a passive background but actively shape the pedagogical situation and its outcomes. Taking as a departure point Mikhail Bakhtin’s concept of the chronotope – defined as a specific constellation of time and space that accommodates particular subjectivities and events – I reflect on how different types of space and the temporalities with which they are bound up facilitate or hamper critical pedagogies as fostering active, dialogic understanding. Specifically, I focus on the chronotopes of the parlor or salon (as discussed by Bakhtin), the classroom (in its different incarnations at the University of Amsterdam, from the see-through “fishbowls” of the PC Hoofthuis to the austere former board room of the East India Company), the hiding space (Castrum Peregrini during the Second World War) and the prison (as portrayed in the American television series Orange Is the New Black). While the physical openness of the learning space might seem to be a prerequisite for the emergence of a critical pedagogy, I will argue that confined spaces can also foster critical and creative understanding through the inherent dialogicity of language, which makes even the most isolated person a social node, and through the materialized traces all spaces bear of their histories, which manifest as hauntings demanding an active learning from both acknowledged and forgotten pasts. In the end, by paying greater attention to the time-spaces in and through which learning takes place, we may be able to apprehend and validate different ways of learning and new forms of knowledge and understanding.

Professor Peter Kraftl is Chair in Human Geography College Director of Internationalisation at the School of Geography, Earth and Environmental Sciences at the University of Birmingham. He is best known for his research on pedagogical geographies, and especially for research into the emotions, affects, materialities and practices that make up the everyday lives of children in education. He also publishes on geographies of education and architecture. His books include: Space, Place and Environment (2016); Emotions in Policy and Practice: Mapping and Making Spaces of Childhood and Youth (2015); Informal Education, Childhood and Youth: Geographies, Histories, Practices. Basingstoke (2014); Geographies of alternative education: Diverse learning spaces for children and young people (2013); and Cultural Geographies: An Introduction (2013). He is currently an Editor of the journals “Area and Children’s Geographies” and was a founding member of the Geographies of Children, Youth and Families Research Group of the Royal Geographical Society (with IBG). He is also an Honorary Professor at the School of Education, RMIT, Melbourne, Australia.

# 2 “Utopia, Alternative Education and Alter-Childhoods” By Esther Peeren This talk will reflect on a particular trajectory in my work on architecture, childhood and education. It will be split into three linked sections. In the first, it will critically explore how unsettling and uncanny forms of hoping might prompt a reconsideration of what counts as ‘utopia’. The second section examines how alternative education practices constitute material, embodied and affective spaces of autonomy. Finally, I ask, by extension, whether alternative education spaces constitute what I term ‘alter-childhoods’ – collaborations between adults and children, humans and nonhumans, which seek to imagine, practice and materialise ways of ‘doing childhood’ other than (neoliberal) mainstreams. In doing so, I will seek to raise critical discussions about the usefulness of frames of hope, utopia, autonomy and more-than-human (especially new materialist) thinking in terms of our commitment to critical pedagogies.

Dr. Esther Peeren is Associate Professor of Media Studies at the University of Amsterdam, Vice-Director of the Amsterdam School for Cultural Analysis (ASCA) and Vice-Director of the Amsterdam Centre for Globalisation Studies (ACGS). With Jeroen de Kloet, she is also series editor of Palgrave Studies in Globalization, Culture and Society.  She is the author of The Spectral Metaphor: Living Ghosts and the Agency of Invisibility (2014) and Intersubjectivities and Popular Culture: Bakhtin and Beyond (Stanford UP, 2008). She is co-editor of The Shock of the Other: Situating Alterities (2007), Representation Matters: (Re)Articulating Collective Identities in a Postcolonial World (2010), Popular Ghosts: The Haunted Spaces of Everyday Culture (2010) and The Spectralities Reader (2013). Her research on globalisation focuses on how processes of globalisation influence the formation and representation (in literature, film, and television) of marginal subjectivities, on the underilluminated impact of globalisation on rural areas, and on the changing relationship between centres and peripheries.

# 3 “A Frightful Leap into Darkness: Auto-Destructive Art and Extinction” By Jack Halbersma This talk explores variations on Auto-Destructive art from the 1960’s to the present. Recent exhibitions, like Damage Control: Art and Destruction since 1950 at the Hirshhorn Museum in Washington D.C. in 2013, and art events like The Serpentine’s “Extinction Marathon” of 2014, have returned to ADA from the 1960’s and have emphasized the links that were made then and continue to linger today between ADA and the ongoing environmental, health and military crises that define our own historical moment. This recent interest in ADA, however, attempts to draw out its productive and even positive function. And so curators like Kerry Brougher of the Hirshhorn have built shows around the idea of ADA but have emphasized the possibility that spectacles of mass destruction can morph into “something positive.” However, the spirit of the practice of ADA, which was born around the time of Adorno’s pronouncements about the impossibility of poetry after Auschwitz, invites us to inhabit corrosion, to sit with the deeply destructive tendency of the human and to see how the market exploits the contradictions between violence and art. I explore ADA against the backdrop of contemporary trans humanist thought and in relation to queer art projects that grow out of the earlier movement.

Jack Halberstam is Professor of Gender Studies and English at Columbia University. Halberstam is the author of five books including: Skin Shows: Gothic Horror and the Technology of Monsters (1995), Female Masculinity (1998), In A Queer Time and Place (2005), The Queer Art of Failure (2011) and Gaga Feminism: Sex, Gender, and the End of Normal (2012) and has written articles that have appeared in numerous journals, magazines and collections. Halberstam has co-edited a number of anthologies including Posthuman Bodies with Ira Livingston and a special issue of Social Text with Jose Munoz and David Eng titled “What’s Queer About Queer Studies Now?” Jack is a popular speaker and gives lectures around the country and internationally every year. Lecture topics include: queer failure, sex and media, subcultures, visual culture, gender variance, popular film, animation. Halberstam is currently working on several projects including a book titled WILD THING on queer anarchy, performance and protest culture, the visual representation of anarchy and the intersections between animality, the human and the environment.

Photograph of Gisele’s apartment by Simon Bosch, courtesy of Castrum Peregrini

Time/Date: March 10, 10:00-17:00 Organized by: Master Education in Arts, Piet Zwart Institute in collaboration with Castrum Peregrini Moderated... Lees verder

Nowadays, interior architects have to deal with a world in continual transformation, made of challenges in real estate, technology, socio-politics, ecology and economics.

Designers are therefore called to broaden their professional horizons in order to face today’s complex problems and anticipate a future role for their discipline. Run by the Piet Zwart Institute of the Willem de Kooning Academy at Rotterdam University of Applied Sciences, the Master’s in Interior Architecture: Research + Design (MIARD) was conceived precisely to satisfy the demands of this ever-changing world, offering students in-depth post-graduate training focused on the intricate and dynamic sector of interior architecture.

By re-examining the conventions of interior architecture, MIARD aims to overcome the sector’s traditional disciplinary boundaries, with the objective of spawning new prospects for the creation of space. Thanks to its multidimensional nature, the research project is simultaneously active on a number of didactic paths and a variety of scales, from local to global, from objects to architecture. This cross-disciplinary and proactive educational and design structure produces an open and intellectually demanding atmosphere that seeks to cultivate highly innovative designers for the 21st century.

Visit link for the full article: http://www.domusweb.it/en/advertisement/2017/02/01/master_interior_architecture_miard_at_the_piet_zwart_institut.html

Nowadays, interior architects have to deal with a world in continual transformation, made of challenges in real estate, technology,... Lees verder

Date: Saturday February 11, 2017 Time: 10:00-19:00 Location: Master Fine Art Piet Zwart Institute, Karel Doormanhof 45 Rotterdam, the Netherlands.

Coinciding with the WdKA/PZI Open House, the Master Fine Art at the Piet Zwart Institute is pleased to announce STUDIOS OPEN!, an occasion during Art Rotterdam week for visitors to meet emerging artists in their studios and engage directly with them about their practices.

In addition to opening their studio doors to you, the MFA artists will present their work in two group exhibitions in the Karel Doormanhof building.

Featuring: Timur Akhmetov, Sophie Bates, Shraddha Borawake, Connie Butler, Katharina Cameron, Larisa David, Angelica Falkeling, Marta Hryniuk, Alexander Iezzi, Tor Jonsson, Ash Kilmartin, Anne Kolbe, Johanna Kotlaris, George Nesbitt, Anni Puolakka, Collette Rayner, Nicholas Riis, Erika Roux, Victor Santamarina, Anastasia Shin, Eothen Stearn, Viktor Timofeev, Nicholas Thomas, Daniel Tuomey, Sophie Varin.

Date: Saturday February 11, 2017 Time: 10:00-19:00 Location: Master Fine Art Piet Zwart Institute, Karel Doormanhof 45 Rotterdam, the... Lees verder

Date: February 22, 2017. 18.00hrs Location: Wijnhaven 61, Room 4.320, 4th floor Admission: Free

Point Supreme’s stubborn commitment to reality ends up in the production of accurate and constantly updated lists of things including all sort of elements: islands, chairs, fruits, animals and mountains. These visual lists operate at all scales, making no difference between rooms and cities, trees and forests, stones and mountain ranges. Point Supreme’s lists combine interiors and exteriors, public and private, geography and architecture. Within these lists different scales are combined in order to describe the contemporary metropolitan condition: subjects move in the cities followed by their personal collection of objects and public spaces are the product of the accumulation of these different personal collections. The city described by Point Supreme seems to be made of innumerable components. Public and private spaces have no clear boundaries within these careful lists: the house is a museum and the museum is a house, the table is a public space and islands are tableware (expert from Systematic Surrealism by Pier Paolo Tamburelli in ‘Athens Projects’, Graham Foundation, Chicago 2016)

Point Supreme was founded by Konstantinos Pantazis and Marianna Rentzou in 2008 after working in London, Rotterdam, Brussels and Tokyo. Point Supreme regularly publishes self-initiated studies and projects for Athens, the city where they are based. Their research and projects for the contemporary city was exhibited in the Greek Pavilion at the Venice Architecture Biennale in 2012. That year they were included by popular Greek newspaper LIFO among the 20 most influential personalities in Greece. They are currently nominated for the Iakov Chernikhov Prize and are included in Wallpaper* magazine’s Architects Directory for 2015. ‘Athens Projects’, the first book dedicated to their work was published as part of the Treatise Series in 2015 by Graham Foundation in Chicago.



Point Supreme, Totems, Pavillon De L’ Arsenal, Paris, 2017, photo by Yannis Drakoulidis


Date: February 22, 2017. 18.00hrs Location: Wijnhaven 61, Room 4.320, 4th floor Admission: Free Point Supreme’s stubborn commitment to reality... Lees verder

In 2016, the WdKA Research Prize was extended to not only include outstanding bachelor projects, but also exceptional work from the Master programmes. Moving away from the convention of research being solely conducted through writing a thesis, this award honours the research of artists, designers, and educators in its entirety. Research, in this context, is understood to encompass a broad scope of methodologies and a range of forms, such as visual work, installations, sonic and haptic pieces, campaigns, networking, writing, and performance. It also includes a breadth of possible orientations across autonomous, social and commercial creative practices. This year the jury based its decision on the preliminary criteria of originality, criticality, links between theory and practice, accuracy, clarity, crafts, storytelling and context awareness in the nominated projects. Carefully reviewing all of the nominees research, the jury decided to split the award between two projects which, seen next to each other, exemplify the diversity of artistic research and its potential. They are also excellent examples of autonomous and social artistic research practices respectively.

Tracy Hanna (Master Fine Art) “Can’t quite come to terms with perms” and a reflective text “Tingling”

“Tracy Hanna’s body of research consists of an installation, “Can’t quite come to terms with perms”, and a reflective and explorative text entitled “Tingling”. The installation combines crafted ceramic sculptures, video, pigment, with found elements, such as a fire extinguisher or a light switch, to create a lyrical grammar between various figurative elements and the space itself. Much like the installation a similar approach has been taken in her writing. Hanna, who graduated from the Master of Fine Art programme, continues her research into the sensual and visceral by reusing other artists’ writing, both in style and content, and turning her thesis into an artwork. It is a piece whose self-reflexiveness can be deceptive because the writing might be drawn from another source. Parasitic and appropriative writing has a long tradition in modern and contemporary art (from the Dadaists to Kathy Acker’s postmodernism to Kenneth Goldsmith’s contemporary Uncreative Writing), which the thesis acknowledges through its bibliography. As a whole, the jury found this a compelling, coherent, well-executed work of artistic research. The installation and writing were complementary, both sharing commonalities in content and approach, and at the same time showing a strong sensitivity to what each medium makes possible.”

Mascha van Zijverden (Master Education in Arts) “Recrafting Craft: A Synergy of Crafts within Fashion Design Education at Art Schools in the Netherlands”

Mascha van Zijverden “Recrafting Craft”, Photo: Waag Society

“Mascha van Zijverden’s research on “Recrafting Craft: A Synergy of Crafts within Fashion Design Education at Art Schools in the Netherlands”, a graduation project in the Master Education in Arts, had proven its value for the professional field even before the jury reviewed it. Van Zijverden characterizes the contemporary fashion system as “broken” because of unmet challenges in social innovation, sustainability and digital manufacturing. This analysis is widely shared in the field, supported through findings of major Dutch fashion researchers and further backed up by van Zijverden’s excellent field research on the Dutch and British fashion systems. In her project, Mascha Van Zijverden’s networked key players of the fashion system. In a series of workshops with fellow educationalists and students, visions of the “future fashion professional” and “craft as fundament for change” were collectively developed. The jury found Mascha van Zijverden’s project extensive in its scope and careful in its execution. As a classical piece of practice-oriented research, it found its validation in the professional field for which it was made.”

In 2016, the WdKA Research Prize was extended to not only include outstanding bachelor projects, but also exceptional work from the Master... Lees verder

Date: February 8, 2017. 18.00hrs Location: Wijnhaven 61, Room 4.320, 4th floor Admission: Free

From the first written records of design analysis until the recent past, the discussion of design has revolved around the relationship of form, function, and interpreted meaning. Meanwhile, material was seen as something neutral that merely awaited the application of a formal idea. This can be observed in the lag between the development of a new material and the discovery of its potential: for example, in architecture, the Greek stone temples echoed elements of wood construction, and cast iron structures originally took the motifs of stone carving. Form had its own development and momentum, often independent from that of material. This legacy carries on in some “iconic” buildings and products; the form is the central reference, the message of the work. This lecture suggests a different narrative in which design begins from the properties and transformations of “raw” material.

Several points will be examined:

How did the philosophical and scientific discoveries of the Enlightenment change the way people looked at and altered material? How can the effects of these scientific discoveries be read in design prototypes and architectural examples of the 20th century? How did post-minimalism or the Fluxus movements in art contribute to this new investigation into material? How are the new heroes of architectural/design philosophy (Deleuze & Guattari/Manuel de Landa/James Gordon) championing the energetic potential of material over the arbitrary superficiality of form in design? How are contemporary designers engaging in this dialogue with material in different ways, crafting an idea in the material/energy (that is, the medium) itself?

Tamar Shafrir is a writer and designer based in Rotterdam. She works as a design researcher at Het Nieuwe Instituut and a lecturer on design and critical writing at the Design Academy Eindhoven and the Sandberg Instituut. Her writing has been published in magazines including Domus, Volume, Dirty Furniture, Disegno, and MacGuffin, as well as books including Printing Things, Open Source Architecture, SQM: The Quantified Home, and Symbolic Exchange. In 2013, she co-founded the studio Space Caviar with Joseph Grima in Genova. Their projects have been exhibited at the 2014 Venice Architecture Biennale, Vitra Design Museum, V&A, and Istanbul Design Biennial.

Image: Pol Bury, “Monument dédié à 12 000 billes”, 1971

Date: February 8, 2017. 18.00hrs Location: Wijnhaven 61, Room 4.320, 4th floor Admission: Free From the first written records of design analysis... Lees verder

Opening Tuesday 31st January 6pm-8pm 1st Floor, Karel Doormanhof 45

Also open 6pm-8pm Wednesday 1st – Thursday 2nd February.

“I am not interested in real time and also not in the dramatic and codified time of cinema that manipulated duration. Let’s say I take ‘my time.’” — Chantal Akerman

I set myself the goal to make interesting images within the restrained space of my room and using the visual material of my daily life. Not really knowing what I was searching for, I let the camera be an intruder into my intimacy, through a choreography between recording tool and myself. The video is a collection of moments, try-outs, improvisations of sound and moving images.

The Free Shop is a space for exhibition-making, experimentation and speculation outside of an academic framework. The space is programmed by Sophie Varin and Nick Thomas. Thanks to VSR and PvdK.

Opening Tuesday 31st January 6pm-8pm 1st Floor, Karel Doormanhof 45 Also open 6pm-8pm Wednesday 1st – Thursday 2nd February. “I am not... Lees verder