Sandberg guide 2016 by Sandberg Instituut

2 Acknowledgements Marjo van Baar Ineke Bakker Rebecca Bego Jurgen Bey Sjoerd ter Borg Max Cohen de Lara Christophe Coppens Femke Dekker Linde Dorenbosch Martijn Engelbregt Catherine Geel Krist Gruijthuijsen Monika Grūzīte Hanne Hagenaars Cynthia Hathaway Minke Havelaar Anne Holtrop Liesbeth in ’t Hout Jan-Kees van Kampen Maxine Kopsa Aliki van der Kruijs Judith Leysner Juliette Lizotte Sanne Luteijn Anja Masling Brian McKenna Florian Mecklenburg

Maurizio Montalti Nora Morton Julia van Mourik David Mulder van der Vegt Laura Pappa Jerszy Seymour Melle Smets Lisette Smits Thomas Spijkerman Theo Tegelaers Tom Vandeputte Herman Verkerk Annelys de Vet Jaap Vinken Nancy van Vooren Sander van Wettum Hélène Webers Anke Zedelius Martine Zoeteman De Verenigde Sandbergen issue #76 January 2016 Master’s programmes 2016–2017 Sandberg Instituut Amsterdam

Publisher Sandberg Instituut Editor Minke Havelaar English editing UVA Talen, Amsterdam Graphic design Monika Grūzīte Juliette Lizotte Florian Mecklenburg Contributors Can Boyan Theofanis Dalezios Alexander Gustafsson Márk Redele Karime Salame Nolwenn Salaün Arthur Tramier Ekaterina Volkova Printing Drukkerij SSP & Cliteur, Amsterdam

De Verenigde Sandbergen is the magazine published occasionally by the Sandberg Instituut Print run: 3,000 ©2016 Sandberg Instituut Amsterdam Sandberg Instituut Masters of Art and Design Gerrit Rietveld Academie Visitor address Overschiestraat 188 1062 XK Amsterdam Postal address Fred. Roeskestraat 98 1076 ED Amsterdam +31 20 5882400 www.sandberg.nl

STUDIO FOR IMMEDIATE SPACES Juri Suzuki | 2015

Fashion Matters Rafael Kouto | 2015

CRITICAL STUDIES Rebecca Stephany | 2015

CURE MASTER Nyeke Koek | 2015

DESIGN Janna Ulrich | 2015

FINE ARTS Alice Gancevici and Remnus Puscariu | 2015

System D Academy ClĂŠment Carat | 2014

diry art Department Chris Rijksen | 2015

Dirty art department Michele Rizzo | 2015

Designing Democracy Sandberg Forum | 2015

Studio for Immediate Spaces Wellness Centre | 2015

Sandberg Instituut Jurgen Bey: waking the unknown

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Permanent departments Critical Studies Dirty Art Department Design Fine Arts Studio for Immediate Spaces

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Temporary programmes Master of Voice Reinventing Daily Life Fashion Matters Materialisation in Art and Design Cure Master Designing Democracy System D Academy

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The One Minutes

Table of Content

Temporary programmes Jurgen Bey, the director since 2010, has sought to find ways to align the institute with the dynamic of contemporary society. He introduced 2-year programmes that are developed according to urgent world issues. Vacant NL – the first temporary Master’s programme – was launched in 2011 and explored the vast potential of the thousands of vacant buildings in the Netherlands. In 2013, two additional temporary programmes were introduced: School of Missing Studies dealt with art and the public space, whereas Material Utopias investigated the shifting boundaries between materials and techniques. At the moment we are running five temporary programmes. Cure Master (2014–2016) on art and healthcare, Designing Democracy (2014–2016) on political spatial design, System D Academy (2014–2016) on informal and self-organising social systems, Fashion Matters (2015–2017) on alternative systems for the fashion industry, and Materialisation in Art and Design (2015–2017) which is a continuation as well as a disruption of Material Utopias. New programmes We are happy to announce two new temporary programmes that will run from September 2016 until June 2018. Reinventing Daily Life, directed by Thomas Spijkerman, seeks to integrate elements of the performing arts in everyday life. Master of Voice focusses on the

human voice as a means or an end in itself, within artistic practices. Lisette Smits heads the department. Both programmes start in September 2016, applications are open until April 1st 2016. Permanent departments Whereas the temporary programmes reflect on situations with a sense of urgency, our main departments aim to deepen the practices of artists, designers and critics. Sandberg Instituut’s permanent programmes include Critical Studies, Design, The Dirty Art Department, Fine Arts and Studio for Immediate Spaces. This publication presents an introduction to each of our departments and temporary programmes. It provides a peak at what the courses entail and the work our students create. The Sandberg Instituut is open to candidates from many different backgrounds. We require a valid Bachelor degree in a field relevant to the programme you are applying for, as well as proof of proficiency in the English language. To apply for a programme, or for more information, please visit www.sandberg.nl

Overschiestraat 188 As the Benthem Crouwel building on the Fred. Roeskestraat is being renovated, the Sandberg Instituut has moved to a temporary location. Our new visitor address is Overschiestraat 188, Amsterdam. It will be our residence for at least the next two years, and we are sharing it with the Gerrit Rietveld Academie’s Fine Arts department (BA). Sandberg eats We have our own food truck, run by students Lia Satzinger (Studio for Immediate Spaces) and Naomi Tattum (Cure Master). From Tuesday until Thursday they serve fresh soup, Lebanese bread wraps and man’oushi flatbread from their Saj, a domed griddle.

Sandberg Instituut As the postgraduate programme of the Gerrit Rietveld Academie Amsterdam, we offer Master’s programmes in Fine Arts (MA in Fine Art), Interior Architecture (MA in Interior Architecture), and Design (MA in Design). With an average of 20 students per programme, we keep our departments relatively small. This allows us to make the courses flexible and open to initiatives from students and third parties. The course directors are prominent artists, designers and curators with international practices. They invite (guest) tutors who are able to challenge the students to critically reflect on their profession, their work and their progress.

Jurgen Bey: waking the unknown

Sandberg Eats | The Lebanese Sajeria | 2015

‘If only there was more deception’, Jurgen Bey seems to lament: he wants to arrive at a better world by putting a different spin on reality, with art as an accelerator or flywheel. In Salvador Dali’s melting clocks and trees with eyes, recognition and alienation are balanced in an understandable mix on the canvas. An ideal entry point into a different reality for beginners. In the Hoog Catharijne shopping centre in Utrecht a man in a black suit and tie steps out of the crowd and dances many times in a circle with open arms. He gives the man or woman with a shopping bag full of leeks and carrots the chance to become infected by the magic of this Sufi dance in a work by artist Germaine Kruip. ‘There is the education’, says Bey, ‘in the language of what you don’t understand. Art is meant to embrace “not understanding.” ’ Perhaps we can also embrace chaos as silence.

Sandberg year opening | 2015

Silence – the lack of sound – is a strange phenomenon and

yet we regard it as soothing. In the 1970s, broadcasters organized silence on the radio. Panic ensued among the listeners; what was going on? A silence on the radio is still a sound of 24 decibels, the minimum standard. Subsequently, civilized voices discussed whether the radio should resume broadcasting. However, the freedom to carry out such experiments has disappeared. Bey’s favourite film The idiots by Lars von Trier also removes the veil between different realities. The idea for the film derives from the theory of Rudolf Steiner, who saw people with Down

syndrome as angels, as a gift for humanity. In the film a group of adults takes to the streets pretending to be mentally handicapped and give a forceful twist on the thumbscrew of normality. The reaction of the bystanders leaves no trace of the angelic idea and their discomfort and irritation is displayed unashamedly. During a visit to the Rockwool factory, one of the ‘idiots’ is allowed to briefly push the blue button, which halts production, and for a moment he is the king of isolation. The search for the ‘inner idiot’ is the counterbalance for the ordinary normative existence.

‘Nothing is without deception’, says the Idiot by Dostoevsky.

To help the world progress, it is necessary to go beyond reality, to have visionary thinking, to think unthinkable thoughts. That is the field of art. Every person constantly sees what he or she already knows, as a kind of everyday blindness. Reality? The number of realities is inconceivable. The planet Mars possesses only a tenth of our reality. Autistic, blind or deaf people share a part of our reality, but much of our reality is also removed in their life. Almost all people regard their own small circle as ‘the truth’ but this is no more than an opinion. A conviction. As soon as you leave the house and enter the public space, other norms and possibilities open up. The outside world gives you the opportunity to broaden your own limited perspective. ‘There I see the great power of art’, says Bey, ‘to awaken the unknown within

you, to seek the elasticity between those few things that you do understand’. It was possible for Obama to become the first black American president because reality was primed by TV and films, where black leaders were already shown, in anticipation of reality. With imagination, we are turning the knobs of the future. ‘For me, beauty is that imaginative power’, says Bey. The school intends to organize the principles of the cultural field, the areas where curiosity emerges. As director, Bey wants to be careful with ‘not permitting’. The different heads make the school, each produces their own space, their own noise. As a school we write the scenarios of the future, whereby the old assumptions are abandoned, because those only generate a known future. ‘Futurology has shown that

predictions rarely come true, but that those who make the journey of discovery to the future return with invaluable knowledge.’ * World peace? An era that is driven by culture? Who knows. Perhaps. At the Sandberg it is about applied questions that are not answered in an applied manner. ‘If we want to change our behaviour, we do not need technocratic solutions, but people who are nice to each other again’, says Bey at the end of our conversation. And that brings us back to Dostoevsky’s idiot, who also under all circumstances continues to believe in the goodness of humankind. Hanne Hagenaars * NRC Handelsblad 3 December 2015: Wees niet weer Kodak!

Critical Studies

Course director Tom Vandeputte Coordinator Laura Pappa Core tutors 2015–2016 Joost de Bloois Jesse Darling Amelia Groom Fatima Hellberg Huw Lemmey Naomi Pearce Marina Vishmidt and others

Guests 2014–2016 Hannah Black Erica Scourti Suhail Malik Geert Lovink Tom Holert Katrina Palmer Mark von Schlegell Maria Fusco Binna Choi Stephan Dillemuth Ellen Feiss Brian Holmes Elka Krajewska Maurizio Lazzarato

Sven Lütticken Mathew Kneebone Nils Norman Simon Sheikh Mike Sperlinger Maija Timonen Werker Magazine Dominique Hurth Naomi Pearce Adelita Husni-Bey Marieke Borren Steven ten Thije Jan Verwoert Vivian Ziherl and others

Participants 2015–2016 Gianmaria Andreetta (CH) Melanie Bühler (CH) Ivan Cheng (AU) Rogier Delfos (NL) Ioanna Gerakidi (GR) Annie Goodner (US) Rosie Haward (UK) Ad van der Koog (NL) Will Pollard (NZ) Stefanie Rau (DE) Nolwenn Salaün (FR) Pieter Verbeke (BE)

Participants have the opportunity to pursue selfinitiated research projects with a high degree of autonomy, working individually or collectively with supervisors of their choice. Research projects are presented in a series of regular colloquia, which function as a space for collective discussion and exchange. In addition to this, participants are provided with support and resources for developing collaborative projects that emerge from their research, such as publications, exhibitions, screenings or symposia.

Critical Studies is a two-year postgraduate programme in research and theory. The programme offers an open, interdisciplinary environment for developing an independent research practice, while providing a rigorous grounding in critical theory, research methods and writing techniques. We are especially interested in forms of inquiry and study that are at odds with traditional academic frameworks, such as practice-led research and other intersections between research, practice and theoretical inquiry.

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Open for application

This programme provides a thorough introduction to key concepts in critical theory and continental philosophy, explores research methodologies in relation to cultural practices, and supports participants in developing their own writing practice. Besides this general programme, specific themes are addressed in depth each month through lectures and seminars by guest speakers. Students actively participate in shaping the educational programme and have the opportunity to organise workshops, seminars and excursions in parallel. We welcome applicants from a range of backgrounds, including writers, editors, artists, curators, theorists, educators and other cultural practitioners interested in exploring the points of convergence between research, practice and writing.

Alongside the research trajectory, participants take part in a course-work programme of seminars, lectures and workshops.

Public lecture by Ellen Feiss | 2014

End of Year Programme | Paul 足足足Gangloff in conversation with Extrapool

Elisabeth Klement |Aldoâ&#x20AC;&#x2122;s bar | End of Year Programme | 2015

Dirty Art Department

Course Director Jerszy Seymour Co-director Catherine Geel Coordinator Nathalie Houtermans Tutors Saâdane Afif Florence Parot Noam Toran Daniel Dewar

Activators Erasmus Scherjon Reinier Kranendonk Selected lectures workshops and tooling up sessions Nik Kosmas / Aids 3D Emanuele Braga Delphine Bedel Anna Colin Stephane Barbier-Bouvet Alan Smart Claudia Comte Oliver Laric Rodney LaTourelle

Students, first year Nicola Baratto (IT) Ioannis Mouravas (GR) Rachel-Rose O’Leary (IE) Petros Orfanos (NL) Valentin Noiret (FR) Eurico Sá Fernandes (PT) Constance Hinfray (FR) Carole Cicciu (FR) Kolbrún Þóra Löve (IS) Cyril Menouillard (FR) Alban Karsten Bras (NL) Angelo Rrem (CH) Thijs van de Loo (NL) Aurélien Lepetit (FR)

Students, second year Gamze Baray (TU) Elise Ehry (FR) Kitty van Ekeren (NL) Maarten Hoogendijk (NL) Rahel Pasztor (DE) Joséphine Peguillan (FR) Anna Reutinger (US) Thomas Schneider (DE) Arthur Tramier (FR)

Although the Dirty Art Department arrives from a shared background of design and applied art, it seeks to reject the Kantian division between the pure and the applied arts. Since ‘God is dead’ and ‘the spectacle’ are omnipresent, it sees the creation of alternative and new realities as the way to reconsider our existential situation on this planet. The Dirty Art Department is open to students from all backgrounds, including designers, artists, bankers, sceptics, optimists, economists, philosophers, sociologists, independent thinkers,

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

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Open for application

The aim of the Dirty Art Department is to develop singular practices that are distinct from medium or subject, and to give an insight into how to place these practices into the various existing contexts of art, design, performance, writing, pizza making, etc. The final challenge is to create new context; that is, to transform reality. Since the department is concerned with how we inhabit the planet and therefore also how we inhabit the mind, it promotes a strong theoretical and philosophical agenda and is open, in practice, to dangerous attempts and spectacular failures. The Dirty Art Department sees itself as a journey, and wherever it stops off, it remembers that â&#x20AC;&#x2DC;Any Space is the Placeâ&#x20AC;&#x2122;.

poets, urban planners, farmers, anarchists and the simply curious.

Victor Delestre and Amaury Daurel | Deborah Bowmann | graduation project | 2015

The Wandering School You may have heard the gossip about next seasonâ&#x20AC;&#x2122;s finale of the Dirty Art Department series. We will make our settlement deep in the jungle of MACAO Milano (www.macaomilano.org) and be provided with accommodation from the beginning of March until mid April 2016. We will

take over the space, making use of the MACAO power, the Art faire and Salone del Mobile 2016. Squatting the squat, school no school. The Wandering School is an open brief, a model of selforganisation, a school without teachers, a society without masters and without slaves.

30 Theo Demans | Hyper Duel Temple | graduation project | 2015

Design Think Tank for Visual Strategies

Course director Annelys de Vet Coordinator Femke Dekker Tutors Nikki Brörmann Agata Jaworska Dimitri Nieuwenhuizen Rob Schröder Daniel van der Velden

Guest tutors 2015–2016 Kurt van Belleghem Hannes Bernard Filip de Boeck Luc Saucier Jesse Darling Pinar Demirdag Syb Groeneveld Anja Groten Femke Herregraven Bregtje van der Haak Chris Keulemans Rudi Laermans Rudy J. Luijters Anita Osorio (yoga) Laura Pappa Jonas Staal Astrid Vorstermans

Students, first year Ruben Baart (NL) Floris van Driel (NL) Roos Groothuizen (NL Andrea Karch (DE) Nazanin Karimi (IR) Lien van Leemput (BE) Gui Machiavelli (GB) Derk Over (NL) Mary Ponomareva (RU) Joao Roxo (PT) Daniel Seemayer (DE) BiYi Zhu (CN)

Students, second year Rebekka Fries (NL) Monika Grūzīte (LV) Ekatharina Kholyapina (RU) Juliette Lizotte (FR) Florian Mecklenburg (DE) Arthur Röing Baer (DE) Birte Veenkamp (NL) Minhong Yu (CN) Agnieska Zimolag (PL)

Global challenges are approached from a personal and human point of view, and articulated from the different cultural perspectives represented within the department. Various identities, stories and visual strategies merge through all forms of practice. The internet is used as an endless common canvas for trying new things, and design itself is presented as a tool for organising our relationship with the outside world. By doing so, the Master’s students learn to accept and welcome the vulnerability, doubt and unpredictability along their design journey.

With a selfless, committed, curious, serious, humorous, and above all hazardous mentality plus a wide diversity of tools, the Design Department finds out what matters through design. Moving between reality and fiction, touching upon social contradictions in our society, the self-initiated projects and events reveal different ways of understanding ‘our time’. Via a trust-based educational model (overflowing with talent, positive energy and a spirit of equality), we stimulate students to feel free and passionate about engaging with the things that they love or care about, through making and collaborating.

Open for application

Participants are investigative designers, critical optimists, generous collaborators, storytellers, life-long learners, friends, lovers, fighters, and sensitive guides towards the future. Together, we investigate how to design when we’re not sure whether we’re online or off, on screen or behind it, or in the (blinding) spotlight.

Gilles de Brock and Benedikt Weishaupt | Item to Item | graduation project | 2015

This is education. This is investigation. This is visual writing – thinking by doing. This is living life. This is the antidote to our digitised society. Our open programme is your virus. Get infected.

Disarming Design from Palestine | workshop in Jerusalem | 2015

Janna Ulrich | No-Man’s Land | graduation project | 2015

Fine Arts

Selected projects Network States [individual research project] Monika Grūzīte Nowadays, instead of passports, our cell phones identify us. Border control consists of cell phone towers which pick up our signal and send an SMS welcoming us to the country. Most of the time, we receive these messages before or after crossing the geographical border. When connecting to the local network, all our data – which may be sensitive – becomes subject to the law of that country without us physically being there. Our phones can be our weapon against wrongdoing. And they can suddenly be turned against us.

Disarming Design from Palestine [international workshop] Participating students: Monika Grūzīte, Florian Mecklenburg, Arthur Röing Baer, Birte Veenkamp, Hein van Duppen Disarming Design from Palestine is an inclusive design label that presents useful products from Palestine. From wearable fashions to kitchenware, office supplies and table games, all items are as thought-provoking as they are functional. The goods are developed in Palestine during an annual ‘createshop’ where local contemporary designers, artists and students collaborate with five Sandberg design students and a number of Palestinian manufacturers.

No Man’s Land [graduation project] Janna Ulrich No Man’s Land is a board game that aims to expose the absurd practices of today’s immigration industry. It embodies the bureaucratic prison that refugees get stuck in after they have fled their country but are unable to enter another. The board game is set in the fictional hyper-surveillance state of Reguland, which runs an automated bureaucratic machine for refugees.

Course directors Krist Gruijthuijsen Maxine Kopsa Coordinator Judith Leysner Main Tutors Gintaras Didziapetris Nicoline van Harskamp Lucy Skaer Gabriel Lester Theory Adam Kleinman Thesis mentor Jeroen Boomgaard

Visiting tutors 2015–2016 Jason Dodge Tino Sehgal Isla Leaver-Yap Isabel Lewis Martin Heller Adam Kleinman Mark Turner Herve Le Tellier Rosaland Nashashibi Will Holder Karl Holmqvist James Benning Chus Martinez Tirdad Zolghadr Gabriel Lester Raimundas Malasauskas

Students 2015–2016 Bruno Zhu (PT) Jacob Peter Kovner (US) Zazie Stevens (NL) Lucy Andrews (IR) Nina Djekic (SI) Gediminas Akstinas (LT) Claudia Pages Rabal (ES) Yulu Gao (CH) Can Boyan (TR) Ryan Rivadeneyra (ES) Ieva Kraule (LV) William Peck (UK) Nora Baron (ES) Smári Rúnar Róbertsson (IS) Shristie Budhia (IND) Bing Bin (CN) Cesar Brun (FR)

Lara Konrad (DE) Vicente Mollestadt (NO) Luc Windaus (DE)

Like snakeskin, Fine Arts is a tailor-made form of education that is constantly changing and adapting itself to a given situation in order to guide artistic practitioners in positioning and differentiating their bodies of work. The models function as anchors from which ideas can be freely developed.

The Sandberg Instituut’s Fine Arts department retains its focus on autonomy and making, while addressing the social and economic roles and implications of these traditional parameters of producing art. The programme structurally rethinks conventional notions surrounding the division of artistic labour by placing different aspects of production within the context of three open models: Language, Image, Play/Object. The principle tutor develops the curriculum for these models over the course of two years, during which time the institute functions as a base, enabling each programme to modify and manifest itself internally as well as externally.

Open for application

Image Image centres on the notion of representation, time and context in various visual and audio-visual practices. Although the programme does not disregard technical or formal considerations, nor public presentation, the emphasis lies on developing individual production strategies: strategies for processing and materialising thought, intuition and knowledge; strategies commonly developed through production experience and through considering the strategies of others. Several times a year, the Image students come together for several days for a group critique, an elaborate session for thinking and talking through each other’s works and works in progress. Common interests that emerge through these sessions can be addressed with the help of experts who are then invited accordingly. Laurent-David Garnier | performance | Lost & Found at A Festival of Choices 2015

Play/Object Play/Object focuses on the contemporary constructions of ‘performativity’ and

object-based productions within a cross-disciplinary, public context. It concentrates on the creation and practice of production, with particular attention to how objects interact with time and value. Exploring performative aspects of display (including the ways in which specific materials act in history), this programme considers themes such as an ancient object/artefact status as an ‘outsider’, and how it is subject to abstractions of thought and language. Activities include excursions to see specific objects or processes first hand, experiments in collective authorship and using other artists’ practices as an adjunct to your own thinking, a visit to the stock exchange or commercial docks, and a rifle through institutional storage systems, collections and archives. Students The Fine Arts department is looking for eager, active and ambitious students who are willing to participate in group tutorials, workshops and other forms of education. We are looking for authentic makers and thinkers who are open to fundamental reflection on their work. A sound background in art or possession of equivalent expertise in affiliated fields is required. Candidate students will be evaluated on their motivation, previous experience and portfolio. The admissions committee will focus on the

authenticity, artistry and autonomous visual quality of the work presented. Students who successfully complete the Fine Arts Master’s programme earn a Master in Fine Arts (MFA) degree. A Festival of Choices: Master of Fine Arts graduation ‘A Festival of Choices’ is a yearly festival that emphasises the relationships and choices made between graduating students and the diverse range of institutions and organisations within the cultural landscape of Amsterdam. Past festivals have seen collaboration with de Appel, Kunstverein, Rongwrong, W139, San Serriffe, SMBA, Ellen de Bruijne Projects, Tegenboschvanvreden, Galerie Juliette Jongma, Galerie Fons Welters, Jeanine Hofland, Diana Stigter, P///AKT, Lost & Found, Oude Kerk and others. For more information, see: www.festivalofchoices.nl

Language Language concerns actual language as well as language as description, and the languages of what is seen, heard and written. The programme is divided between developing artistic practice and broadening (through specific tasks) ways of seeing and working. Language takes a holistic approach to the making of art, expanding and exploring our notions of what artistic practice can include.

Alice Gancevici and Remnus Puscariu | graduation project | 2015 | Photo by Konstantin Guz

Studio for Immediate Spaces

Team Course director Anne Holtrop Coordinator Hélène Webers Core 1 Situations Parking Club Laure Jaffuel Elise Van Mourik Core 2 Material Gesture Anne Holtrop Nicholas Lobo Brennan

Core 3 Context Krijn de Koning Theory Tom Vandeputte Writing Joseph Noonan-Ganley Productions Remco Siebring Publications Tomáš Celizna (Guest) tutors 2015–2016 Martin Belou Joseph Marzolla Leopold Banchini Steie van Vugt | La Bolleur Melanie Bonajo Jonathan Muecke

Carlos Irijalba Olivier Lellouche and Olivier Lebrun Guillaume Pilet Natacha Mankowski Annee Viken Elejan Van der Velde Haruka Uemura Students, first year Aaro Murphy (FI) Arie de Fijter (BE) Carolin Gießner (DE) Eva Hoonhout (NL) Kim Wawer (NL) Kristoffer Zeiner Christiansen (NO) Lily Lanfermeijer (NL) Monica Mays (ES)

Nadjim Bigou (FR) Neeltje ten Westenend (NL) Shih Hui Hung (TW) Stef van den Dungen (NL) Students, second year Cathrine Andresen (NO) Hein van Duppen (NL) Kristine Andersen (DK) Lia Satzinger (AT) Loui Meeuwissen (NL) Marijn Roos Lindgreen (NL) Márk Redele (HU) Zsófia Szőke (HU) Zsófia Paczolay (HU) www.immediatespaces.nl Hein van Duppen | Concrete Models: Dug by hand, Shaped by the ground | open day | 2015

The Studio for Immediate Spaces seeks to actively rethink ‘space’. Whether considering physical or imaginary spaces, temporary situations or political frameworks; whether dealing with a site or a mindset, we set out to explore possible spaces and find ways of opening them up. Be it a theater script, a map, a film, sunlight, a media scandal, a camp under a highway overpass, a stage, a set, a memory, a calendar, a walk, a story, a model, openings, a tour. In doing so, we expose the practice of architecture as far as possible to a wide range of specific practices which each relate to architecture in their own way.

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Open for application

WELLNESS WEEKEND by Studio for Immediate Spaces, Martin Belou and Parking Club at BIN (Turnhout, Belgium) 2015 Using the idea of wellness as a concept, both as a means and an end, allows to think and develop certain forms

that deal with simple notions (bathing, eating, heating, resting, looking, feeling and so on) which, through exhaustion, physical work, or introspection, aims to create environments and situations where the pleasure of doing, the pleasure of the other,

the pleasure of the body is questioned and celebrated. The Wellness Weekend is proposing an attitude toward production and conditions of living, the collective experience being an intrinsic part of the work.

Wellness weekend | 2015

The studio is particularly characterised by the different backgrounds of the participants, which range from design, to architecture, performance, fine arts, marketing, sociology, or other fields. The course encourages to work beyond the limits of one discipline and to develop a strong and independent practice. Correspondingly, the Studio offers a program that knowingly exceeds the boundaries of the traditional curriculum of interior architecture â&#x20AC;&#x201C; proposing a framework beyond disciplinary perspectives and points towards the potential of a spatial vocabulary that we have not yet imagined.

Studio for Immediate Spaces | open day | 2015

Master of Voice

Master of Voice – a take on the notorious trademark His Master’s Voice – is a temporary Master programme where the voice is the distinguished discipline. In focus is the human voice, as a means or an end in itself, within artistic practice. The course is intended for students who want to work with the/their voice, for those who want to explore the voice in its various social, cultural and technological appearances – from vocal speech to speech act to singing. The Master of Voice includes a special orientation on gender and technology. The human voice has always been an integrated part of modern art, notably within performance art, sound art and conceptual art. However, this course starts from the voice as a single subject. Isn’t the voice, with its capacities to embody and adapt to all disciplines, the ultimate medium?

Course director Lisette Smits Main tutor Paul Elliman (artist and writer, London) Currently we are further organising our team

The course aims at students who are interested in the voice and its prominent role in our postindustrial society. It welcomes participants from different artistic backgrounds, including fine arts, design, performance, music and writing. The curriculum is structured around research

Open for application

The Master of Voice programme combines research, study, experimentation and production in order to develop new artistic forms, individual or collective, which take the human voice as its primary material. Participants enter the course on the basis of a specific research or project proposal in which their ambitions are articulated.

as well as production, guided by core tutors and guest tutors. Partly, the curriculum consists of collaborative projects in which students engage together with project tutors, and which will be realised with external partners.

Background The voice remains ever more fascinating as a human technology – oscillating between body and mind, nature and culture, human and machine; it is intangible yet doesn’t exist without the body, or in fact, it does, and that’s what gives it its uncanny qualities; it is at once medium and message; the voice produces (speech, sound, music) and is reproduced (recordings); it determines thought and language; man’s primary form of communication. It ranges from the personal to the political, from prosody to whistleblower, from love to terror.

The Master of Voice reflects an increasing interest amongst a new generation of artists and writers, often female, who use the voice – subjectively and objectively – in their work (often described as a means to define their intimate relationship with the computer). This points at a condition that ‘orality’– spoken or in written text as the first person – has become a big issue today, a condition which without doubt is informed by processes of digitisation and new technologies. If the digital is analogue to the nervous system, in today’s feedback culture,

technology becomes part of the psychological impetus to be ‘lost in communication’. In a de-materialised reality, we are perhaps disembodied, reduced to ‘a voice and nothing more’. Arguably, the human voice can be considered the epitome of digitisation, not because it can be multiplied without losing quality – it can, and it cannot – but because it is without source once ‘out there’. Taking the human voice into consideration could lead to new paradigms of the relation between technology and what is human. The Master of Voice provides an environment for this investigation.

Graduates 2015 Paul Elliman | Detroit as Refrain holding a circa 1970 Votrax CS-01 voice chip from the first commercially available synth speech engine.

Critical Studies

Design

sandberg.nl/design/somewherebetweencatandruin/

Bas Medik

Curdin Tones

Hansje van Ooijen

Sofija Stanković and Teodora Stojković Dictionairy of Online Behavior

Isaura Sanwirjatmo Soso Lobi (Only Love)

Marleen van der Zanden Digital Activism

Isabel Ferrand

Elisabeth Klement

Rebecca Stephany

Benedikt Wöppel I found pills and ate them

Gilles de Brock and Benedikt Weishaupt Item to Item

Janna Ullrich No-Man’s Land

Isaura Sanwirjatmo Soso Lobi (Only Love)

David Ortiz Juan Los Hechos Son Hechos (the facts are fabricated)

Mirte van Duppen The Dutch Mountain

Asieh Dehghani Water and Community

Marthe Prins Reality by Proxi

Dirty Art Department

Fine Arts

Victor Delestre & Amaury Daurel Deborah Bowmann Grand Salon No.1

Aaron McLaughlin Stijl Making Art

Chris Rijksen Hijacking Conformity for Poetry

Elosia Ejarque Meeting Around Fountains

Gerard Ortin Nueva Sonora

Yazan Khalili Blindness of Love

Michele Rizzo Male Fa Male: Objects of Self-Forgetfulness Made by Themselves

Mirka Severa Still Life

Reinier Kranendonk Flight to Todopia: Site Generic Design

Laurent David Garnier I do not smell stories â&#x20AC;&#x201C; Cocktail interview

Lukas Heistinger Sets of 4

Robertas Narkus Dome

Weronika Trojanska Study For Sturtevant Voice (Cover Version)

Kent Chan Fictions

Alice Gancevice and Remus Puscariu Hot Bones

Theo Demans Hyperduel Temple

Studio for Immediate Spaces

Material Utopias

Alicja Nowicz Trip of My Uncle

Eva Schalkwijk Playlet & Reality TV

Johanna Nocke A Proposal on How to Live

Robin de Vogel No Friction without Dissonance

Robert Grundstrom I Have Looked At It For So Long

Alice Ronchi The Sea Project

Juri Suzuki Being Double

Luuc Sonke Proposal for Domestic Environment

Nicolo Scatola A Shop with No Goods, An Office with No Employees, A Dancefloor with No Parties

Daniel van Dijck The Fragility of Things

Ea Polman : .. - series

Marijke Annema An account of the House

Sarah Meyers & Laura Fugmann Unfolding Pigment

Michelly Sugui 123 de Oliveira 4

Nadine van Veldhuizen Enabling Disabilities

Nandi Enthoven Forced Fusion

Vincent Knopper Two Cabinets and a Sculpture

Tjalling Mulder Me, You, And Everyone We Know

Rachel Himmelfarb The Story of Another Idea

School of Missing Studies

Mariana Lanari Writing as Sculpture

Clare Butcher Men Are Easier To Manage Than Rivers

Abla El Bahrawy

Eloise Sweetman The Excitable Energy Of Small Transactions

Geert van Mil

Grace Kyne-Lilley All Low Hanging Mineral Fruit Has Been Picked

Katinka de Jonge Nagele through Nagele

Meir Tati Performing the Camp

Luisa Ungar The Lion Looks To The Right

Nikola Knezevic City Body, Bruised Like A Peach

Sanne Cobussen

Sofia Caesar The Viewfinder

Reinventing Daily Life

Dina Rončević

Performing arts, such as theatre and music, have the ability to create exceptional connections between people. Whether in a theatre, a concert hall, or another space; a relationship between performer and spectator naturally comes to life. But could it be possible to integrate more of those elements in our daily lives? Can we infiltrate ‘normal’ living with an artistic experience, even on a daily basis? And could art be used in this way to improve our lives directly, without losing any of its intrinsic quality and value?

Reinventing Daily Life examines the connections between the performing arts and daily life, between people and art, between society and the artist. During this Master’s programme we will delve into the artist’s role; we will integrate the process of connecting as an inextricable part of our artistic process and maybe even take it as a starting point.

Course director Thomas Spijkerman We are curently organising our team

Students will go on a quest for a new balance between supply and demand; searching for pressing questions and issues that people are struggling with and finding a connection between the autonomous power of their work

Open for application

We will work as a collective, but there will also be a great deal of focus on the personal creative process. Guest tutors, mostly from the fields of theatre, music and philosophy, will propose assignments that are inspired by their experiences. Each programme will include many joint and solo presentations in an organised communal space â&#x20AC;&#x201C; always outside in the real world. Besides this, there will be lectures and critical viewings of theatre and film productions. The presentations will take various forms: a performance, a composition, an installation, a discussion or an essay on the subject.

Reinventing Daily Life welcomes performers, composers, theatre and film designers, philosophers, journalists, writers, poets, fine artists and designers and all others who feel they have something to contribute to the subject. The main focus of this temporary Masterâ&#x20AC;&#x2122;s will be communicating with people in the current Dutch (or not-so Dutch) society. Therefore, a good understanding of the Dutch culture is required; speaking or understanding the Dutch language is an advantage. 67

pressing questions and issues that people are struggling with and finding a connection between the autonomous power of their work and the community they produce their work for. Reinventing Daily Life will function as a laboratory where we find out ways to improve the quality of life, resulting in integrated fantasy and creativity. From the world of music and theatre we will be offering alternatives for what is common and regular, to eventually create a new status quo.

Banksy | Dismaland | 2015

The Truman Show | Director: Peter Weir

Key questions within the programme are: •

Is it possible to preserve the creative and alternative power of the performing arts, while answering to the demanding powers in society?

•

Can performing arts take on an applied art form, delivering functional products?

•

To what degree can artists work autonomously when answering external questions?

•

Do performing arts need a shared framework to optimally communicate with an audience?

Fashion Matters

At this particular stage of designing this temporary Master’s programme we are in discussion with various artists, working spaces and companies regarding collaboration throughout the programme. More information about the programme and the team will be presented soon on the website of the Sandberg Instituut.

Course Director Christophe Coppens Coordinator Martine Zoeteman Main tutors Pieter Van Bogaert Anne Marie Commandeur Liesbeth in ’t Hout Research assistant Aliki van der Kruijs

Guest teachers Javier Barcala Christina Binkley Walter Van Beirendonck Nicky den Breejen Pauline van Dongen Anita Evenepoel Kate Fletcher Karen Van Godtsenhoven Katrien Van Hecke Eric Klarenbeek Eve Marie Kuijstermans Lise Lefebvre Chris Lindland Rickard Lindqvist

Emma Lundgren Sonja Noël Sophie Pay Bradley Quinn Timo Rissanen Madeline Schwartzman Penelope Smith Henrik Vibskov Jólan van der Wiel Veerle Windels Anna Nicole Ziesche

Students Fieneke Ploeger (NL) Gerda Postma (NL) Gerrit Jan Vos (NL) Karime Salame Sainz (MX) Maaike Fransen (NL) Margret Wibmer (AT) Mona Maria Steinhäußer (DE) Rafael Kouto (CH) Sanne Karssenberg (NL) Timna Weber (AT) Vera de Pont (NL) Duran Lantink (NL) Supported by G-Star Raw

We have been talking for years about the need to conceive new ideas in this regard and to make a difference in the industry, but we need more practice within the fashion education system. It’s up to the new generation of designers to research and fine-tune their choices, to look deeper into current options and to develop forward-thinking models that put them at the forefront of a much-needed new wave of fashion.

A significant proportion of the fashion industry works perfectly fine, but what if you love fashion but don’t feel that you want to be part of the current system? What if you cannot find fashion to your taste within the industry? It is important to get it right from the start and understand which possibilities are available to you and what your responsibilities are. In essence, it is no longer possible to produce something without being fully aware of its environmental, social and economic impact. This is all part of the contemporary creative process. Anything less would be pure ignorance.

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Closed for application

The two-year â&#x20AC;&#x2DC;Fashion Mattersâ&#x20AC;&#x2122; Masterâ&#x20AC;&#x2122;s programme is a research-based course intended to uncover answers to these questions. The main ambition is for each student to develop a personal research package tailored to his or her individual needs and interests. The programme takes students on the journey from in-depth research and experimentation, to development and production.

Excursion to Texel for workshop with Eric Klarenbeek | 2015

It is easy to feel pessimistic about and frustrated with the fashion industry in its current form. A large proportion of the sector is devoted to the production and consumption of colossal amounts of clothing. Collections are manufactured all over the world at dizzying speed and sold all year round, for extremely low or very high prices. It is a fastchanging system that seems hard to break into. How do you, as a designer, deal with the current model in an ever-changing world and come up with innovative ways of designing, producing, promoting, financing, selling and eventually consuming fashion?

Mona SteinhĂ¤uĂ&#x;er | Adulthood | 2015

Materialisation in Art and Design

Materials and techniques, both traditional and new, carry a wealth of characteristics and potential, as well as changing cultural and historical references. The aim of this programme is to understand those characteristics and meanings, and learn to work with them during the hands-on process.

Materialisation in Art and Design challenges the conventional hierarchical relationship between ‘concept’ and ‘making’, ‘content’ and ‘process’. The medium is therefore a meaningful and major part of the message, narrative and function. Moreover, the making process, by its very nature, offers many surprising, irrational, coincidental possibilities that the mind simply cannot predict or imagine.

Course Directors Herman Verkerk Maurizio Montalti Coordinator Linde Dorenbosch

Guest tutors Eylem Aladogan Marjan van Aubel Laurie Cluitmans Cocky Eek Pascale Gatzen Thomas Feuerstein Jens Pfeifer Slava Shevelenko Alexander van Slobbe Peter Svenson Jo Taillieu Marta Volkova Vincent Zedelius and others…

Students Helena Adalsteinsdottir (IS) Oliver Barstow (UK) Carly Rose Bedford (AU) Iris Box (NL) Anne Büscher (DE) Dominique Festa (US) Mio Fujimaki (JP) Thom van Hoek (NL) Caroline Jacob (FR) Emma van der Leest (NL) Julien Manaira (FR) Johan Buskov Romme (DK) Ellen Vårtun (NO)

Because art and design have become closely related fields of interest, both potentially benefiting from a hands-on experimental approach in order to achieve innovative final results, the programme is directed to both artists and designers. Throughout the twoyear programme, each student experiments with various materials and techniques, while developing

Closed for application

Materialisation in Art and Design works together with the following Gerrit Rietveld Academie departments and/or workshops: Ceramics, Glass, Textile, CadCam, Wood, Metal and Photography.

Vulcano Workshop | 2015 | photo by Helena Adalsteinsdottir

individual projects and a collective material library. The artists and designers thereby benefit from each otherâ&#x20AC;&#x2122;s expertise. In the final phases of their studies, students gain in-depth awareness of the different contexts for which they will create their works. Working side by side will strengthen the various positions that the students will work in within the fields of art and design.

Materialisation in Art and Design works closely with a changing group of mentors who introduce a variety of high-tech as well as traditional media. The programme creates a strong link between process and content by experimenting with various materials and media, leading to surprising ideas.

We also cooperate with external materials workshops and institutes for high-tech innovation.

Vulcano Workshop | 2015 | photo by Helena Adalsteinsdottir

Cure Master

Course Directors Martijn Engelbregt Theo Tegelaers Coordinator Simone Kleinhout (Curepark) Anke Zedelius Tutor Nils van Beek

Guest tutors Huub van Amersfoort Nils van Beek Hannes Bernard Melanie Bonajo Appie Bood Prof. Trudy Dehue Valentina Desideri Ivo Dimchev, Marius Engelbrecht Gijs Frieling Willum Geerts Jasper Griepink Egon Hanfstingl

Rosie Heinrich Madelon Hooikaas Peter van Houten Natalie Jeremijenko Ida van der Lee Ruchama Noorda Mauk Pieper Rory Pilgrim Floris Schoenfeld William Speakman Corazon del Sol Peik Suyling Louwrien Wijers Marjolein Zwakman

Students Alexander Gustafsson (SE) Silvan Laan (NL) Cathalijne Smulders (NL) Linda Beumer (NL) Hallie Abelman (US) Rosalinde Christopher Zeidman (NL) Olly Glaudemans (NL) Naomi Tattum (GB) Emily Ijzerman (NL) Nieke Koek (NL) Eva Pyrnokoki (GR) Vera Hofmann (DE)

A group of autonomous thinkers, designers and artists are working towards Cure Park 2016 on individual and collective art projects: a manifestation focusing on experience, participation and sharing that will present new tools, methods and ideas to the public. This event will mark the end of the Cure Master programme, although the collaborations and trajectories with our partner organisations on the programme will continue.

The idea for the Cure Master programme emerged from a research exhibition by Martijn Engelbregt and TAAK (BETER â&#x20AC;&#x201C; the art of health) at the Medisch Centrum Haaglanden in The Hague in 2012. During the programme, the functions and definitions of sickness and health in society are researched from an art and design perspective. Health is a crucial theme in our lives, and accordingly at a political and societal level as well, which involves overarching economic and social interests. How do we want to deal with these issues, both now and in the future, and can we shed new light on our understanding of health, care and the ways in which we deal with sickness?

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Closed for application

The aim of the Cure Master is to turn a number of assumptions upside down. A disease or accident confronts people with their own vulnerability, but the whole Western healthcare system is set up to make people â&#x20AC;&#x153;feel like their old self againâ&#x20AC;? as soon as possible, to eliminate symptoms and disregard the underlying causes. We think it would be interesting to begin by

84 Olly Glaudemans | In 8 Easy Steps To Enlightenment | 2015

defining health instead of sickness, possibilities instead of limitations. We believe that art and artists can help reshape the way we look at these concepts and contribute to a new way of understanding our bodies, minds and environment. The premise in the Cure Master is that there is value in connecting different forms of knowledge from different fields of expertise and disciplines such as art, technology, cooking, design, dance and medicine to develop potential new treatments and possible answers to questions related to health and care. The Cure Master develops over time along six themes: aching, environment, death/loss, nutrition, body and belief. For each theme, the programme partners up with one or more institutions in the field of care or health, such as hospitals, care homes or other (cultural) organisations, which relate in a more or less direct way to matters concerning health and care in society.

Cure Master: Second year The central question this year is how the relationship between individual art practice and practice in the field of care will develop. The students will focus on the following themes during the first semester of this academic year: Nutrition and Body. In addition, they will research and write their personal thesis.

Semester 1 The NUTRITION theme is led by Theo Tegelaers (TAAK), in collaboration with Valentina Desideri, Louwrien Wijers, Egon Hanfstingl and Hannes Bernard. Wijers asks the students to keep a Food Diary. During the first workshop, the students cooked Blissful Peace Soup,

along with Egon Hanfstingl. During the workshop with Hannes Bernard, the students worked on developing the Conditional Café, where treatments were offered as a public service on 27, 28 and 29 November 2015. The theoretical programme, headed by Nils van Beek (TAAK), is dedicated to Joseph Beuys. The week of 26 to 29 October was ‘Joseph Beuys Week’. The Cure Master programme organised an excursion to the Joseph Beuys’ archive, which is part of the Museum Schloss Moyland in Bedburg-Hau, Germany. Louwrien Wijers, who was counted among Beuys’ intimate friends during his life, played an important role during this excursion.

Vera Hofmann | Bathtub Conversations | 2014

Joseph Beuys said that art can be healing. We may need to turn this idea inside out and say (à la artist AA Bronson) that “healing can be art”. Could an artist also do the work that is currently confined to the field of medicine and performed by doctors and nurses? We should confront these questions in order to stimulate change, to make better use of the potential of art in relation to social issues. Artists such as Valentina Desideri, Ivo Dimchev, Rory Pilgrim, Louwrien Weijers, Egon Hanfstingl and others give workshops and lead intensive working sessions with Cure Master students.

Designing Democracy

88 Course directors Max Cohen de Lara David Mulder van der Vegt (XML) Coordinator Rebecca Bego

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

Speakers to date Eva Franch i Gilabert Joshua Wong Eric Corijn Kate Lydon (IDEO) Franco ‘Bifo’ Berardi Hans Aarsman De Designpolitie Thonik BKB and Jurgen Bey

Students Tom Tjon A Loi (NL) Iskra Vuksic (NL) Benoît Ferran (FR) Ekaterina Volkova (RU) Julien Thomas (CA) Alberto Valz Gris (IT) Max Smit (NL) André Fincato (IT) Fabian Hijlkema (NL) Long Wu (CN)

Designing Democracy aims to apply design as a specific method of critical thinking and use it to reimagine collective structures of dialogue, debate and social progress. Design used to be one of the self-evident tools for shaping politics, but today the role of design in large-scale politics is generally underestimated or even controversial.

In a time when confidence in democracy is under increasing pressure – from the Euro crisis to the US shutdown, from the Occupy movement to the streets of Athens, this Sandberg Master’s programme brings the future of democracy into question through design. Directed by XML architecture studio, students collaborate with artists, architects, journalists, politicians, scholars and other thinkers within an intensive environment. This interdisciplinary studio explores the power design has to activate different forms of collectivity – the quality or state of being collective – ranging from interventions on the scale of personal media to rethinking the institutions of democracy itself.

Closed for application

By also locating our studio on this former naval base, we hope to link the research and ideas developed during the programme to the reality of todayâ&#x20AC;&#x2122;s politics. This way, beyond academic insularity, questions concerning the roles of art, architecture and design in giving shape to democratic politics can be confronted and discussed in the context of current politics in a newly-acquired and as yet undefined public space in Amsterdam.

The aim of the studio is to understand this reconfiguration and to experiment with new articulations of design that give shape to democratic politics. As a temporary programme, Designing Democracy ends in the first half of 2016. During this period, the Netherlands will be holding the presidency of the Council of the European Union, based in a single location: the Marine Etablissement Amsterdam.

www.designingdemocracy.com

Marineterrein Amsterdam | home base of Designing Democracy | 2015

Selected projects

Sandberg Forum (Recurring event: February 2015 – June 2016) The bi-weekly ‘Sandberg Forum’ public lecture series invites leading international artists, architects, writers, filmmakers and other thinkers to discuss the role of art in shaping the future of democracy. Location: Commander’s House at the Marine Etablissement in Amsterdam. ICEBERG magazine (Publication: May 2015) A collective publication presenting the results of an intensive ten-week research course, created under supervision of guest tutor Felix Burrichter (founder of PIN-UP Magazine). Editorial note: “The first edition of Iceberg comprises an audacious and far-reaching exploration of democracy today. Rather than limiting our inquiry to the staid domain of

institutional critique, the articles and essays enclosed suggest that lively analyses of politics are necessary in responding to ever-mounting societal pressures. Iceberg’s contributors believe that democracy can and should be found in the details of everyday life.” ICEBERG radio (Paris fieldtrip: May 2015) In May 2015, the students of Designing Democracy made themselves heard during Make It Work in Paris – a simulation of the recent COP 21 summit on climate change. After receiving a personal invitation from acclaimed professor Bruno Latour, they saw the conference as an opportunity to bring their current research interests to life. Under the name ‘ICEBERG Radio’, they produced live interviews and podcasts throughout the conference, covering a range of emerging topics and events.

What is the Link with Democracy? (Exhibition: 2015, Marine Etablissement Amsterdam) This is an end-of-year group exhibition based on a selection of prototypes that gave rise to individual inquiries and points of interest. As a studio that seeks to investigate and rearticulate urgent public issues, dialogue with the public is crucial. These works were presented as points of connection and invitations to reflection, discussion, feedback and inspiration.

System D Academy

Course directors Cynthia Hathaway Melle Smets Coordinator Nora Morton Tutors Simon Angel Arne Hendriks Christiaan Fruneaux Jessica Gysel Guests tutors Thomas Hirschhorn Leila Anderson Michelle Kasparzak Pek van Andel Jan Dirk de Jong Joost van Onna

Freek Janssens Ceren Sezer Mark Schuilenburg George Hathaway Antal Lakner Tereleterites Hans Abbink Francien van Westrenen Brad Wursten Edwin Gardner Failed Architecture Jeroen Verwaaijen Jeanne van Heeswijk Tijs van de Boomen Tomas Libertiny Gwendolyn Floyd Niek Knol Dirk van den Heuvel Prof Theo P. Total Arjo Kramer

Students Janneke Absil (NL) Annette Kouwenhoven (NL) Boo van der Vlist (NL) Karolien Buurman (NL) Dennis Muñoz Espadiña (NL) Clément Carat (FR) Theofanis Dalezios (GR) MingSho Tang (TW) Maarten Davidse (NL) Martina Raponi (IT)

The growing strength and success of System D cannot be ignored and is challenging other systems to rethink their technocratic set-up. For example, in Bogotá, Columbia, Mayor Antanas Mockus ditched formal rules and used mime artists to regulate traffic, based on his belief that Colombians were more afraid of being shamed than fined. The flexibility, selforganisation and intuitive processes found in System D can complement the rational models and static ideologies of formalised thinking. The System D Academy is based on action research – an explorative research method where researchers infiltrate society in order to start their work from within. In the first year, research

The System D Academy programme trains researchers-in-action with the goal of exploring informal and self-organising systems. System D comes from the French word débrouillardise, and means being self-reliant and resourceful. More than half of the world’s population lives and operates in System D, but the system is also found in highly formalised societies, often surviving underground or off the radar.

Closed for application

Researchers draw on a variety of sources of expertise offered by the department’s mentors: an external network of entrepreneurs, sociologists, scientists and hobbyists. The researchers are supported through workshops, boot camps (on location in Budapest and Paris), internships and critical dialogue. The goal is to explore, visualise and activate the intersection between the formal and the informal.

The Republic of Paradise | Leidseplein, Amsterdam | 2015

projects investigated given themes and contexts such as the black market, positive criminality and learning by pathfinding. The second year is dedicated to conducting research on individually selected themes and writing a thesis. Each researcher also gains entrepreneurial skills in order to be able to ‘set up shop’ following graduation.

System D Goes Criminal Are there alternative systems that empower people to be more engaged with the governance of their social spaces? System D goes into the grey area where social spaces are being realised by positive criminal behaviour. How can citizens become the guarantors of safety?

System D ReSearches System D Academy researchers have set up a joint expertise laboratory at Utrecht University called the Department of Search to support ideas on the form of a new science park. This project is based on a model for sharing expertise where peripheral knowledge makers collaborate with scientists.

The One Minutes

Open day presentation | 2015

System D Heads to the Market As international and corporate markets become increasingly involved with how we access, trade and acquire our basic needs, System D Academy investigates the potential and meaning of informal markets, and considers their relevance to the hyperlogistics of internationally-run marketplaces and mass retail consumerism. The goal is to create new market concepts for application as urban strategies.

Director Julia van Mourik Curator Ineke Bakker Coordinator Sanne Luteijn Coordinator The One Minutes Jr. Anja Masling Technical Director Brian McKenna Design Moniker

Guest curators Afrikan Boy Korakrit Arunanondchai Melanie Bonajo Felix Burger Helen Dowling Cécile B. Evans Samson Kambalu Shana Moulton Janis Rafa Tejal Shah Dick Verdult and others

www.theoneminutes.org

The One Minutes is a global network for moving images. Since 1999, The One Minutes has produced and distributed over 10,000 video works from creators of 120 different nationalities. The Netherlands Institute for Sound and Vision, which collects and preserves audio-visual heritage, has incorporated The One Minutes’ archive into its own collection. This unique network was largely built by former students of the Sandberg Instituut. The One Minutes maintains its base at the institute and is involved in most of the institute’s video projects. It offers a platform for international exposure via screenings and exhibitions. The monthly-curated programme of events focuses on the perception and understanding of the moving image; every month an artist is invited to conceive and curate a series. The One Minutes is a place for artists to experiment, produce and present. Within the time limit of 60 seconds, anything is possible. The sheer variety of the films at every conceivable level is what makes The One Minutes so compelling.

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102 Screening at Transfer Gallery, Brooklyn | Photo by Misha de Ridder | 2015

organising students’ ideas, whether in the form of a statement, experiment, short story, documentation or a lucky shot. The One Minutes’ format has also proven to be a great tool for communicating research to others.

Workshops At the beginning of each year, The One Minutes visits the Sandberg Instituut’s departments to run a workshop for first-year students. A 60 second video is an exceptional format for concisely and coherently

The One Minutes Jr. In 2002, together with the European Cultural Foundation and Unicef, The One Minutes Jr. was set up to develop new tools for youth empowerment and social change. It organises workshops for youngsters all over the world;

in 2015 alone we went to Albania, Azerbaijan, Cambodia, Kyrgyzstan, Myanmar, the Philippines, South Sudan and Ukraine. During these workshops, Sandberg Instituut students and alumni function as trainers. The Trainer For Trainers concept within each workshop allows experienced trainers to coach new trainers directly. If safety and security can be assured, students are welcome to stay on after the workshop to work on their projects out in the field.

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Participate We invite students to participate in the project and submit their one-minute videos. Please find an overview of upcoming series and deadlines on our website: theoneminutes.org

The One Minutes at Kunsthal Nikolaj, Copenhagen. Photo: Misha de Ridder | 2014

Fine Arts Gerard Ortin | 2015

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DESIGN Monika Gr큰z카te | 2015

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FINE ARTS Eloisa Ejarque | 2015

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Materialisation in Art and Design Vulcano Workshop | 2015 | photo by Helena Adalsteinsdottir

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The Dirty Art Department Reinier van Kranendonk | 2015

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Studio for Immediate Spaces Alicja Nowicz | 2015

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Studio for Immediate Spaces Luuk Sonke | 2015

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SYSTEm D academy Institute for Post Marine and Theology Studies | 2015

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Apply now Reinventing Daily Life Master of Voice

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Applications open until April 1st 2016 www.sandberg.nl/apply

Visit the Open Day Thursday February 4th 2016 2:00–7:00 PM DESIGN Areej Ashhab (PS), Birte Veenkamp (NL) and Monika Grūzīte (LV) | 2015

Sandberg Instituut, Overschiestraat 188, Amsterdam

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Critical Studies Design, Think Tank for Visual Strategies Dirty Art Department Fine Arts Studio for Immediate Spaces