Hogeschool Rotterdam Willem de Kooning Academie

Piet Zwart Institute

Piet Zwart Institute

The Piet Zwart Institute Master Fine Art presents Community Satisfaction, a multi-location three-part project including talks, an exhibition, and a publication, organized by and featuring artists in year one of their MFA program, plus invited guests.

MFA artists: Timur Akhmetov, Sophie Bates, Shraddha Borawake, Katharina Cameron, Larisa David, Marta Hryniuk, Alexander Iezzi, Anne Kolbe, Johanna Kotlaris, George Nesbitt, Collette Rayner, Victor Santamarina, Anastasia Shin, Nick Thomas, and Sophie Varin

Guests: Irina Botea Bucan, Orlando Cairo, Florian Cramer, Nicole Jordan, and Pawel Kruk

With the kind mentorship of Katarina Zdjelar

Trilogy Trilogy is a talk and performance program in which invited guests consider alternative communities, hidden histories, and interdisciplinary dialogues. Trilogy aims to produce generative sites for discussion and navigate tensions between a perceived cultural core and those perceived to be on its peripheries. Trilogy will consider shared experiences, challenging universalist utopian claims.

T H IS I S A LL U R E​ Taking the form, following the path, mimicking the movement, shadowing and repeating. A mold of multiple approaches. A gathering of selected sculpture, video, text and performance in a presentation by 14 MFA artists and one guest, Pavel Kruk.

The Community Satisfaction Reader A publication amassing practical and contextual information surrounding the exhibition and events, as well as a year working within the Piet Zwart Institute.


Opening: Friday, May 26, 6–9pm ​ T H IS I S A LL U R E​ Wolfart Project Space Wolphaertstraat 25C Exhibition: May 27–May 28, 12pm–5pm

Saturday, May 27, 4–5:30pm Kennis De Maken / Getting To Know Each Other Florian Cramer in conversation with Orlando Cairo Stichting Trefcentrum Wi Masanga Raw Hoffstraat 39

Saturday, May 27, 7:30–9:30pm Auditions For Revolutions Film screening and Q&A with Irina Botea Bucan Neverland Cinema Stad in de Maak, Pieter de Raadtstraat 35B

Sunday, May 28, 12–3pm The Bend In The Bough Sound and food performance with Nicole Jordan Piet Zwart Institute Karel Doormanhof 45 (limited capacity)

Guest bios Irina Botea Bucan is an artist based in Birmingham and Bucharest. Over the past twenty years she has used multiple forms to consistently question dominant socio-political ideas. She develops her works through a process in which the performers are active participants. As a filmmaker her role is in constant flux, shifting from an observational to a reflective, participatory and performative mode.

Orlando Cairo is a community organizer and board member of Wi Masanga, the oldest running immigrant community center in the Netherlands. The space was founded in the early 1970s as a squat by Afro-Surinamese immigrants and still serves as a hub for that community in Rotterdam-West.

Florian Cramer is applied research professor with Creating 010, Hogeschool Rotterdam. He has a background in comparative literature and art history combined with DIY culture, technical-critical obsessions with ‘radical’ media and analog filmmaking, and a research interest in both structural poetics and politics of the arts.

Nicole Jordan is a singer-scholar based in Rotterdam, with an interest in the psyche of the performing artist. She teaches Music Psychology, is an Artistic Research coach for Masters students at Codarts in Rotterdam, and performs and collaborates with artists from diverse disciplines.

Pawel Kruk is an artist based in Bolinas, California. Kruk approaches each new piece like a novelist would a blank page: true and untrue fuse together, projects evolve, change, and are rewritten according to which character enters the story.

Image: Collette Rayner, Note you but I (in the key of reading plumbing as partners) (still), 2017. Animation.

The Piet Zwart Institute Master Fine Art presents Community Satisfaction, a multi-location three-part project including talks, an exhibition,... Lees verder

Time: Wednesday, May 24 18:00 – 19:30 Location: KINO, Gouvernestraat 129-133, 3014 PM Rotterdam Admission: tickets 5 euro

The Piet Zwart Institute Master Fine Art is pleased to invite you to KINO for an evening with the Brussels-based production and distribution platform Auguste Orts, founded in 2006 by Herman Asselberghs, Sven Augustijnen, Manon de Boer and Anouk De Clerq. The four artists, who all individually work predominately with the moving image, describe their practice as ‘…at the crossroads of cinema, video, audiovisual arts, documentaries, experimental films… where media and disciplines cross-fertilize each other.’ Closely collaborating with the organization’s director Marie Logie and business director Ann Goossens on facilitating both the production and distribution of their own projects, Auguste Orts attempts to address a wider discourse through supporting other artists (so-called guest productions) and occasionally organizing talks and screening programs.

Herman Asselberghs and Marie Logie have chosen to present two films at KINO, Asselberghs’s For Now (2017) and Fairuz & El Moïz Ghammam’s Oumoun (2017), the Dutch premiere for both.

For Now Herman Asselberghs, video, color, 4:3, stereo, Dutch spoken (Eng. St), BE, 2017, 32’ In times of great turmoil, time comes to a standstill. The central two movements in For Now are horizontal panoramas shots and firm, vertical edits. They show shifts of place without the journey. Nature, the wind, movement that occurs all on its own: this would seem to be the film’s real subject matter. The film unfolds in waves. Locations come and go, and come back again – Lewinsky Park, Maximilian Park, Habima Square, Lion Square, Zucotti Park, Times Square or pastoral landscapes at opposite ends of the Mediterranean Sea. The actions are the same: people wait, pass by, kill time. The contrasts between refugees and citizens, between tourists and activists, between Israelis and Palestinians, between Europeans and Americans, all become less clear. The repetition of these unclarified relationships, Asselberghs’ decisively filming after the fact, the enigmatic inclusion of hand signals – all these work together to reveal a certain constellation in which things again come together momentarily before taking their leave. It is a film running alongside the events, and alongside time. A contemporary film in the pure sense of the word – a way of being with time.

Oumoun Fairuz & El Moïz Ghamman, BE/TN, 2017, 14’ A dialogue across languages, across cultures, across generations. ‘Dear grandma, you’ll be surprised to hear my voice in your language…’ Those are the first words in a prerecorded, spoken letter never sent but instead played aloud in real time by the Brussels filmmaker to her elderly grandmother in Mahdia, Tunisia. In the company of the camera, the lines easily turn into a voice over that, merely by listening and looking attentively, in turn gradually transforms into a dialogue across languages, across cultures, across generations.

Image: Herman Asselberghs, ‘For Now’ (2017)

Time: Wednesday, May 24 18:00 – 19:30 Location: KINO, Gouvernestraat 129-133, 3014 PM Rotterdam Admission: tickets 5 euro The Piet Zwart... Lees verder


APPLICATION DEADLINE: June 5, 2017 START DATE: September 1, 2017

The Master Fine Art at the Piet Zwart Institute, an English-language taught, two-year MA program based in Rotterdam, the Netherlands, is offering a part-time teaching opportunity starting in fall 2017.  We’d love to hear from experienced writers, academics, critics, artists, or curators with broad interests and professional backgrounds in writing in the context of contemporary art. We seek an associate with solid teaching experience and genuine enthusiasm for innovative writing pedagogy, as well as a collegial attitude towards curriculum development and collaborative work. The writing tutor will be sensitive to the expectations and needs of ambitious young artists who have a variety of linguistic backgrounds, approaches to working with language, and relationships to writing. The writing tutor will be a great communicator who enjoys sharing expertise and facilitating exchange within and outside of the MFA program. The role requires a presence of minimum two days and maximum five days per month in Rotterdam throughout the academic year (beginning September and ending mid-July), as determined by the course administration and the needs of the program. We can only consider applications with EU/EEC work authorization.

The writing tutor provides key support to enrolled students in the first and second year of MA study via seminars, workshops, and individual tutorial supervision. They work in tandem with the current writing tutor, the core studio research and practice tutors, and course coordinator and report directly to the MFA course director. In addition to teaching, PZI MFA tutors help shape the curriculum, participate in assessments, and are responsible for pro-actively dealing with administrative duties linked to their role. This is primarily a teaching role, but the MFA program endeavors to support staff research by providing resources for staff initiatives in public programming, excursions, and publications.


Contribute to MFA Methods seminar and conduct individual MFA thesis supervision. Curriculum development. Participate in moderated assessments, delivery of individual grades and feedback. Presence at extra-curricular and curriculum-related MFA program activities across the academic year. Effective self-organization and management of administrative responsibilities and duties, attendance at staff meetings, coordination with program staff.


Native-level fluency in English. EU/ECC work authorization. Relevant academic qualifications according to profession (minimum Master’s degree or equivalent). A range of prior teaching experience or experience mentoring writers within a higher education framework. A strong skill base in writing in English, and a record of accomplishment in writing practice. Editing experience is a plus. A keen interest in and knowledge of contemporary art and debates around contemporary art pedagogy. The capacity to work independently, to responsibly balance part-time workload, and adhere to deadlines.

Piet Zwart Institute

The Piet Zwart Institute houses the international Master programs of the Willem de Kooning Academy and Rotterdam University of Applied Sciences (Hogeschool Rotterdam). 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 specializations and interdisciplinary exchange in an intimate learning environment. For more information about the Master Fine Art program, its students and staff, please visit: http://www.pzwart.nl/master-fine-art/

Salary and employment conditions  

Rotterdam University of Applied Sciences (Hogeschool Rotterdam) will initially offer a temporary contract, with the possibility for extension. The salary range is calculated pro-rata to HBO-CAO grade 12 (between € 4,122.09 minimum and € 5,301.29) for fulltime employment, exclusive of additional 8% holiday pay and 8.3% end-of-year bonus. Benefits include an attractive pension scheme. It is possible to negotiate offsetting travel costs for appropriate candidates who live outside the Netherlands.

How to Apply:

Please send your cover letter with a brief statement on your teaching philosophy and description of prior teaching, curriculum vitae (including bibliography), and a published writing sample before June 5, to wdka-personeelszaken@hr.nl. Please indicate MFA Writing Tutor Application in the subject line of your email. Applications will be reviewed on a rolling-basis and suitable candidates will be short-listed and invited for an interview in mid-June. The position will remain open until filled. Queries may also be addressed to wdka-personeelszaken@hr.nl.





The Master Interior Architecture: Research + Design [MIARD] is inviting applicants for a newly established position as a postgraduate teacher of design with a strong focus on contemporary spatial and artistic practice with a multidisciplinary approach. An interest in materials, objects and craft is a plus.

We offer an international, professional and critical educational environment. The job involves a high degree of responsibility, contributory influence and the opportunity to make your mark working with talented students and staff on the production of space and design research.  We value good collegial collaboration with scope for mutual inspiration and professional conversation.  The post holder reports directly to the Course Director, and she or he would work collaboratively with other tutors within our integrated curriculum structure.

Our international program offers students a unique Master level multidisciplinary design-research education with a critical and experimental focus on the complex and developing field of Interior Architecture. For more information on the program visit: pzwart.nl/interior-architecture-research-design

Responsibilities Include 

Development of a multidisciplinary postgraduate design-research project. Design studio leadership. The teacher meets with students one-day a week from January to June (7 months) Organize relevant guest lecturers, critics, public talks, collaborations and/or excursions that are course related Productive, collegial teamwork, active participation in program activities Course administration, program staff meetings and coordination with staff Co-supervise yearly activities related to publication and exhibition Supervision, assessments, archiving course and student work Contribution to the growing reputation and profile of the program

Qualification Requirements  

Experience teaching at a postgraduate level Curriculum Vitae A portfolio of professional practice and a teaching portfolio (with samples of course and student work) A brief letter of motivation: teaching methods and pedagogical position Diploma at a postgraduate level Excellent English language proficiency is required Ability to handle research projects and other managerial functions Contact information of two professional references Letters of recommendations are a plus Work permit to be employed in the Netherlands

Piet Zwart Institute

The Piet Zwart Institute houses the international Master programs of the Willem de Kooning Academy 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 specializations and interdisciplinary exchange in an intimate learning environment. For more information on the Piet Zwart Insitute: http://www.pzwart.nl

Salary and employment conditions  

The Rotterdam University of Applied Sciences (Hogeschool Rotterdam) offers a temporary contract of FTE 0.2, with the possibility for extension. The salary range is HBO-CAO grade 12 (€ 4,122.09 minimum and € 5,301.29 maximum gross per month) for fulltime employment, exclusive of 8% holiday pay and 8.3% end-of-year bonus. Our fringe benefits include excellent training facilities, an attractive pension scheme, and allowance for a proper work/life balance. It is possible to negotiate offsetting travel costs for the appropriate candidate.


Please send your Qualification Requirements: motivated letter, curriculum vitae, professional and teaching portfolios, references, educational diplomas, letters of recommendation and Dutch/EU work status, documentation for compliance with the qualification requirements listed above before 15 JUNE 2017 to wdka-personeelszaken@hr.nl. All documents must be in English.

A review committee will look at applications and invite short-listed candidates for interviews in July 2017. Position begins December 2017. – For questions please contact: Susana Pedrosa t: +31 (0)10 794 47 16 Or Petra van der Kooij t: +31 (0)10 794 74 05

Image credit: Agnese Pellino, Berlin excursion, TOMÁS SARACENO STUDIO VISIT


Rotterdam, 13 April 2017

“There is no such thing as a simple room,” wrote the architect and theorist Mark Wigley in the ambitious 2011 anthology Toward a New Interior. It’s a statement and a publication that mark the increased critical interest which, in the past few years, has been directed at interior spaces and their attendant design strategies. A graduate course taking part in this re-evaluation of the interior is the Piet Zwart Institute’s two-year Master Interior Architecture: Research + Design (MIARD) programme in Rotterdam. On the occasion of the re-titling of the course – the “R” and “D” previously stood for “Retail Design” – Disegno speaks to MIARD’s course director, Alex Suárez, about the new remit, ethos and ambition of the course.

“The programme has a funny history,” says Suárez. In the five years MIARD has been in operation, he explains, “retail design became a very small component of a much larger interior architecture agenda. Little by little, we’ve realised that the name didn’t fully represent or reflect the type of students we had, the type of projects they were doing, or the expertise of the staff.” In keeping with the resurgence of critical discourse emerging in the field of interior spatial practice, the course responded by changing its name in January 2017, and by tweaking its curricular structure. “It’s been an organic, bottom-up change,” says Suárez. “It came about through conversations with staff and alumni, and an acknowledgement of the type of students we’ve attracted. What we do at MIARD is really more of a multi-disciplinary design research practice.”

The bulk of the curriculum will remain as it has been since the course’s foundation in 2011, with subtle revisions that reflect a more open-ended and cross-disciplinary approach. Three curriculum threads comprise the syllabus of the two-year programme. The first is Design Projects, the practice-based core of the course in which the students, numbering 14 to 15 per year, work on design projects in their own studio spaces provided by the Piet Zwart Institute. They are also free to make use of eight workstations – focused on interaction, audio, publication, material, fabric, drawing, business, and research – with the support of specialised technicians. “The different stations and the technical help in the workshops are really incredible,” says Suárez. “When you start at MIARD, one of the first things that happens is an introduction to the stations – we want the students to make the most of these internal resources.”

The second strand is Critical Strategies. “We think it’s very important for our students to consider the critical position of their work in a larger historical and theoretical context,” says Suárez. “In the context of interior architecture and interiors, there are very few masters programmes that really have as part of their agenda trying to contribute to the discourse.” By this token, MIARD has changed its third curricular strand, formerly Visual Communications, to Multiple Media. “We thought the visual was not fully representative the type of media that our students were working with,” says Suárez. “Multiple Media really expands the conventions available to the interior practitioner.”

The conventions of interior architecture are circumscribed by adjacent and overlapping fields. “Traditionally, interior design has borrowed heavily from architecture: the histories, theories, drawings, and the modes of representation. If you look at interior design curriculums out there,” Suárez says, “a lot of the projects are also grouped by typology: retail design, hospitality and residential.” Such classifications are not present at MIARD. “Those typologies are something we want to challenge by looking at the interior space multidimensionally and also at multiple scales: from the local to the global; from architecture to object and beyond.”

Delivering the programme is a roster of international tutors and lecturers with a broad range of skills and specialisations including architecture, interaction design, graphic design and design criticism. MIARD’s core curriculum is also augmented by national and international guest lecturers, who often visit in conjunction with joint projects. One such project coming up in October 2017 is the traveling exhibition Drawing Ambience: Alvin Boyarsky and the Architectural Association – MIARD will be one of three partners to respond to the show when it comes to Antwerp. The ethos informing MIARD’s programming is “making public”. For the five past years, for instance, students have shown projects at Milan’s Salone del Mobile. They have also exhibited on several occasions at Het Nieuwe Instituut, one of MIARD’s closest institutional partners, in addition to yearly graduation shows.

After following the three curricular strands, students will spend the final six to seven months of the programme working on their graduation project with they guidance of their tutors. This project can take many forms, in keeping with the experimental remit of the course. “One of our current students is a filmmaker,” says Suárez. “Her films are highly spatial in that they deal with the cinematic experience of the interior as a way of designing space.” Other students push the limits of what comprises a thesis. “We have a student with an amazing talent for drawing and representation, who is fascinated by Jacques Tati’s critique of modernity and technology. This student has appropriated Tati’s critique for modern times and is making a satirical comic looking at the smart house.” Another current student is producing her thesis in the form of a memoir set in 2071, looking at the significance of artificial intelligence in 2017. “There still so much to contribute to the practice of the interior and to its disciplinary canon,” says Suárez by way of summary.

Upon completion of the course, MIARD alumni have taken accordingly diverse professional routes. “I’ve seen alumni go into more typical roles, like working in top architecture and interior architecture offices,” says Suárez. “But mainly, what I’ve seen is diversity. We’re a very international program, so some go home and set up their own practices there while others stay and do so locally. Others go into research, working for offices here in the Netherlands such as Bureau Europa and Droog. Some go into exhibition design, and a couple continue along the academic route and do PhDs.” Local and international institutional affiliations also help develop the students’ network and other multidisciplinary forms of design practice. “We have an ongoing collaboration with Het Nieuwe Instituut,” says Suárez. “But the collaboration happens on different scales, with our current students also doing internships there.”

“I hope that our students leave with a very international, diverse experience and a set of advanced skills,” says Suárez. Key to this diversity is not only the fact the the student body represents approximately 20 different countries at any one time, but also the freedom to approach interior space through a multiplicity of media. “I hope the students will also leave with an acknowledgement that they can be a relevant and critical voice in the field and expand the boundaries of the profession.”

The call for applications to MIARD is open until 15 May 2017.

Image: MIARD alumnus Wojciech Gawronski’s graduation project, Objects in this room are closer to nature than they appear, 2016. Image courtesy of MIARD

Link to article

Rotterdam, 13 April 2017 “There is no such thing as a simple room,” wrote the architect and theorist Mark Wigley in the ambitious... Lees verder

Time: Wednesday April 19, 7pm. Location: Karel Doormanhof 45, Rotterdam Admission: free

In this talk, Jeremiah Day will briefly introduce his practice before diving into an exploration of what Debbie Lusignan has started to call “the shadow work” – a process of taking personal responsibility for our own “co-dependent enabling” of this political system.

Lusignan, an activist and independent political commentator, came to achieve underground prominence during the Bernie Sanders Presidential Campaign (for example: https://www.youtube.com/watch?v=nrnACRaiuOU).

Intended as a response to Florian Cramer’s talk “The Alt-Right” Day will argue that while Trump and Wilders are for sure no solution, nor are they the problem.  Debbie Lusignan has started to suggest that we are the problem, and we are the solution.

Jeremiah Day (1974, USA) graduated from the art department of the University of California at Los Angeles in 1997 and lived and worked in Los Angeles until moving to Holland in 2003 to attend the Rijksakademie.  From 2000 to 2002 Day was artist-in-residence at Beyond Baroque Literary Arts Center in Los Angeles working with Fred Dewey, where he organized such events as “The Great Silence: 10 Years After the Burning,” commemorating the 1992 riots.  From 2012 to 2015 he was a member of General Public, Berlin.

His performances and installations have been presented at such venues as the Centre George Pompidou in Paris, the Liverpool and Thessaloniki Biennials, the Emily Harvey Foundation, New York and the CCA Glasgow, and his work is included in such collections as Frac Champagne Ardenne and the Stedelijk Museum, Amsterdam.  Day is represented by Arcade, London and Ellen de Bruijne Projects, Amsterdam.

Image: The Frank Church – River of No Return Wilderness, 2011-14, production still.


Time: Wednesday April 19, 7pm. Location: Karel Doormanhof 45, Rotterdam Admission: free In this talk, Jeremiah Day will briefly introduce his... Lees verder

Tijd voor de 5e aflevering van Alles behalve de Inhoud. Dit keer storten we ons vol in een subgenre van het boek: het zine. Ontstaan in de jaren 40 heeft het een bewogen geschiedenis doorgemaakt. Groot in de jaren ’70 en ’80 is het fenomeen een tijd uit beeld geweest. Maar de laatste jaren zien we op steeds meer plekken weer (veelal heel mooie) zines verschijnen.

Aan de hand van gastprogrammeur Florian Cramer (lector visuele cultuur Willem de Kooning Academie + medeorganisator Zine Camp Rotterdam in WORM) gaan we door de geschiedenis van de zine-cultuur heen, onderzoeken haar politieke, sociale en esthetische kanten, krijgen een inkijkje in een van de grootste verzameling zines, en gaan zelf ook aan de slag.

Met bijdragen van Lídia Pereira (kunstenaar en designer, Rotterdam) over haar Immaterial Labour Union zine, Albert Jongstra, artist/DJ/music producer (Klemtoon, Rotterdam) en zinemaker met het Downhill Collective over zijn zines met het Downhill Collective, Jere K (anarchitect, Rotterdam) over anarchistische en punk zines in Balkan-landen, Ras Mashramani (schrijver, ontwerper, activist in het Metropolarity Collective, Philadelphia, V.S.) over het maken van queere/black/speculatieve/science fiction zines, Marc van Elburg, (kunstenaar en musicus, Arnhem) over de Zinedepo zinebibliotheek.

Daarnaast zijn er natuurlijk heel veel voorbeelden voor handen, mogen jullie zelf aan de slag en beginnen we die avond mogelijk iets nieuws in de Leeszaal.

Om alvast in de sfeer te komen is iedereen vanaf 19.00 welkom in de ‘zine reading room’ van onze buren PrintRoom, Schietbaanstraat 17 (om de hoek van Leeszaal West), met de speciale zine collectie van PrintRoom – zines uit Nederland, België, Frankrijk, Engelland, V.S. en Mexico.

Aanvang: 20.00 Entree: € 5, studenten € 2,50


Tijd voor de 5e aflevering van Alles behalve de Inhoud. Dit keer storten we ons vol in een subgenre van het boek: het zine. Ontstaan in de jaren... Lees verder

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