Hogeschool Rotterdam Willem de Kooning Academie

Piet Zwart Institute

Piet Zwart Institute


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

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