Master Programme AKV|St.Joost Catalogue 2017

1.Where are you from ?

2.Where are you at the moment ?

3.Where are you going from here ?

AKV|St.Joost Masters Catalogue 2017

A 6 Foreword 8 Manifesto 10 Portrait 26 Premise

B 30 Index 32 Students 205 Faculty

A

Foreword Towards a Master Institute Miriam Bestebreurtje

6 7

The Master's Programmes at AKV|St.Joost have been evolving over the last years. We are growing into a Master Institute that represents an intellectual biotope for students and tutors to do research, reflect on and address evolving positions in art and design. We are now ready to take the next step: after housing the programmes at the two different locations of AKV|St.Joost, we now will be able to join them in one building.

From September on we will occupy one shared building in Den Bosch with all of the participants of the different programmes. This will enhance student's ability to meet, discuss and challenge their work and opinions in a research driven community of artists and designers from very different cultural backgrounds. We take the concept of Brian Eno's ‘Scenius’ as inspiration: it honors the idea that we may create as individual artist but none of it happens in a vacuum.

In an environment where students share studios that are 24 / 7 accessible, we encourage students to take advantage of all the opportunities for exchange. We will be organizing workshops and research groups that are open to all students and have different lectures and invite guest tutors with the whole community in mind.

The building will also allow us to interact with the public, offering possibilities for exhibitions and events. There will be a lot to discover for the curious.

We are ready to explore the interaction of tutors and students from all the different programmes and look forward to all unexpected outcomes. The Master Institute will hopefully become a hotspot for serendipitous moments in art and design!

Manifesto What is education to us?

8 9

The Master Institute strives to allow two parameters to be a continuous part of students studies. One of them is a curious and reflective attitude towards societal changes – aiming to deeply understand what the drivers behind cultural and political shifts are.

This allows students and tutors to conduct open discussions on the meaning of these changes and the possible responses to them.

The other parameter is that each student has to gain their own understanding of the conditions for their practice and research. The term ‘ ’ is helpful in this endeavour. The term was coined by our current research professor Sebastian Olma, describing the principle of autonomy as an important condition for research and making. By coupling the concept of autonomy with the word performative, Olma underlines the former's potential for being discursive and playful.

Within these two parameters students gain the agency necessary to determine for themselves how they can interact with the field. They do not simply have to endure; they can act, counteract, influence and innovate. The Master Institute encourages and supports students in their experiences. We embrace a learning that transforms frames of reference – sets of fixed assumptions and expectations – to make them more inclusive, discriminating, open, reflective, and emotionally able to change.

The is encouraged in the programme. Growth and discovery often happen when different practices and types of knowledge challenge us. Our learning community is , students from different backgrounds bring different perspectives on political and artistic positions. We embrace plurality. The Institute offers a lively environment for in the specific fields of the programmes and in research groups initiated by tutors and research professors. and are key. We are committed to allowing students to grow into professionals that are able to shape their practice intentionally, strategically and ethically.

Portrait The Master Institute Jason Edwards

10 11

Exterior – approach to the Master Institute building looking North

Exterior – the Master Institute studio facade

12 13

Main floor – ceramics / wood / metal workshop area

Main floor – transitional space

Main floor – Fine Art studio (Masters)

14 15 Main floor – studio space (Bachelors)

Main floor – technical services studio

Main floor – stairwell detail

Main floor – lift detail

16 17

1st floor – shared studio space (Bachelors)

18 19

1st floor – shared studio space (Bachelors)

20 21

1st floor – shared studio space (Masters)

1st floor – shared studio space (Masters)

1st floor – shared studio space (Masters)

22 23 2nd floor – hallway (between Masters and Bachelors area)

2nd floor – studio space detail (Masters)

2nd floor – studio space (Masters)

2nd floor – studio space (Masters)

24 25

Premise Reason and Meaning Marcello J. Biffi Ada Favaron Daniel Quisek

26 27

Over the last four years, several current students and alumni of the Master Programme Graphic Design programme have collaborated on the design of the graduation catalogues. The experience gained from the previous editions has not been lost, but handed down to the newcomers. And even if the task stays the same (to design a catalogue), we, the designers, treat it as a challenge to question again our role and to find new insights. We approach the assignment every time with fresh eyes, drawing inspiration from the graduating students, their projects and the reality they inhabit.

The concept is never agreed on in advance, but it always reflects our design environment. That is particularly true this year, in which the Master Programmes are relocating. This extraordinary event has made us wonder, ‘What does it mean to transplant your roots? What do you bring with you and what do you leave behind?’ Along the same lines, most of the students have come a long way to attend the Master and from all over the world they all converged onto one spot.

It came naturally to ask them ‘Where are you from?’ and map their provenance using the coordinates of the place they call home.

A second question, ‘Where are you at the moment?’, followed rapidly, framing the current state of the students. This is actually answered by presenting their projects, which represent the successful completion of their master studies: a goal which is not an end in itself but a milestone in a journey of personal and professional growth. Therefore the third and last question, ‘Where are you going from here?’ is a foreshadowing of farewell aiming to unveil their realistic plans and dreamy ambitions: a statement that one day they will all be able to go back to and revisit.

Eventually past, present, and future meet.

B

Index

34 40 46 52 58 64 70 76 82 88 94 100 106 112 118 124 130 136 142 148 154 160 166 172 178 184 190 198

Ielse Slager Lou Muuse Thom Brand Maurice Nuiten Ad van Halteren Yi-Hsien Hung Guido de Pooter Jean-François Roebers Helga Jakobson Daniel Quisek Lukáš Chládek Katarina Jazbec Matija Pekić Lavinia Xausa Elena Capra Valentina Ambrosi Nikos Kostopoulos Yanda Li Ruben Üvez Jeremiah Douglas Stroud Tooba Shahriar Weiran Han Lori Der Sarkissian Imad Gebrayel Feng Dai Revati Anilkumar Patil Sheng-Wen Lo Martijn van Mierlo

Master Fine Art Master Photography Master Fine Art Master Fine Art Master Graphic Design Master Graphic Design Master Fine Art Master Graphic Design Master Fine Art Master Graphic Design Master Graphic Design Master Photography Master Photography Master Photography Master Fine Art Master Graphic Design Master Photography Master Graphic Design Master Photography Master Fine Art Master Graphic Design Master Graphic Design Master Graphic Design Master Graphic Design Master Graphic Design Master Graphic Design Master Photography Master Photography

30 31

53° 51° 51° 51° 51° 51° 51° 51° 50° 49° 49° 46° 46° 45° 44° 43° 40° 39° 38° 37° 35° 34° 33° 33° 31° 28° 22° 51°

13' 55' 41' 38' 35' 32' 30' 11' 56' 56' 54' 19' 8' 44' 41' 37' 36' 54' 42' 56' 42' 38' 53' 53' 48' 36' 38' 55'

5" 28" 52" 24" 18" 35" 27" 48" 35" 57" 43" 49" 36" 43" 59" 5" 6" 15" 39" 5" 39" 7" 38" 38" 40" 50" 6" 12"

N N N N N N N N N N N N N N N N N N N N N N N N N N N S

5° 4° 5° 4° 4° 4° 4° 4° 97° 17° 16° 14° 16° 11° 8° 13° 22° 116° 34° 88° 51° 112° 35° 35° 119° 77° 120° 4°

56' 28' 18' 27' 46' 45' 10' 26' 9' 54' 36' 17' 49' 39' 13' 25' 58' 24' 50' 27' 18' 25' 30' 30' 58' 12' 18' 28'

41" 40" 13" 51" 35" 53" 21" 17" 27" 27" 45" 58" 43" 40" 2" 2" 31" 27" 32" 43" 41" 43" 6" 6" 27" 33" 24" 48"

E E E E E E E E W E E E E E E E E E E W E E E E E E E W

32 33

Students

Ielse Slager

ielse.slager@gmail.com www.ielseslager.com

5" 53°

13'

For my graduation I present part of my research done over the course. This research manifests itself in a small book: ‘Movement between soul and surroundings’; part theater play, part discussion.

My research that I have done is about the workings of our innerness in relation to our outside; our surroundings and others. I am researching the perception of self to see how this perception changes the relation between the self and the surroundings. The research has gone side by side with artwork; video, sculpture and drawings. Text and image try to connect with each other to form a poetic conversation about the topics researched.

N

5°

56'

41"

E

*1991 Hurdegaryp, the Netherlands

34 35 Master Fine Art Ielse Slager

Lines don't exist, 2016, videofragment

Care, 2017, projection on plaster copy of my own hands

Artist Statement Our search for our innerness makes us, in mind, travel. These journeys makes us wanderers; pilgrims.

As an artist I imagine myself to be a traveler and explore the path by making and writing. This path I am exploring is a path of understanding the world and our position in it. The position in the surroundings we take makes us aware of the self that is taking position.

I have a drive of making theory visible being it in drawing, video, sculpture or a theater play. I am researching the soul, hope, believe and imagination in the hope of understanding the workings of these powers. Searching for the definitions of abstract ideas is for the purpose to make them more concrete to offer a foundation for a conversation.

53°

Space giving space, graphite on paper, 48 x 64 cm

13'

5"

N

5°

56'

41"

E

To understand yourself is to care for your own soul. The soul is motion and the spirit is its limbs that travel between the two planes we are most familiar with; our inside and the landscape. Drawing and walking are for me the tools for this search for the understanding the soul. With imagination and thoughts we come close to our innerness and how we portray it. I believe the soul is not trapped in the body and relates with the world's soul; anima mundi. Hope is a powerful belief that gives energy to us to walk the path needed.

36 37 Ielse Slager

Master Fine Art

‘Walking has been one of the constellations in the starry sky of human culture, a constellation whose three stars are the body, the imagination, and the wide-open world, and though all three exist independently, it is the lines drawn between them – drawn by the act of walking for cultural purposes – that makes them a constellation. Constellations are not natural phenomena, but cultural impositions; the lines drawn between stars are like paths worn by imagination of those who have gone before. This constellation called walking has a history, the history trod out by all those poets and philosophers and insurrectionaries, by jaywalkers, streetwalkers, pilgrims, tourists, hikers, mountaineers, but whether it has a future depends on whether those connecting paths are traveled still.’

Rebecca Solnit, ‘Wanderlust: A History of Walking’, p. 291

Selfportrait, 2017, ceramic

E 41" 56'

Two: I believe you and I have a core, not something static, but changing like you said. Our perception of our self, or our understanding of it, is also changing. We keep reflecting on our thoughts and action, because that is in our nature; it is who we are. It is also who I am. You have a core inside that is alive; growing and changing in accordance of things learned and forgotten.

5°

One: This place surrounding us is part of me, but where does the ‘me’ end? Is there a real ‘me’? Is there something complete and unchanging; a core of my being? I do not know, because I feel like I exist of a multitude of things and feelings and I change because of the changing surroundings. I feel like I even change while talking to you.

One: We can imagine we have a soul.

53°

13'

5"

N

Short conversation from the theater play

Ielse Slager

Master Fine Art

In-between, 2017, video still

My feet will walk, my hand will make, my head will think, my heart will feel and my soul will be my guide and musician.

In-between, 2017, video still

38 39

Lou Muuse

4°

28'

40"

E

*1992 Haarlem, the Netherlands

Mag ik je even voorstellen (May I introduce you) ‘Mag ik je even voorstellen (May I introduce you)’ is a project about getting to know the Islam.

With virtual reality documentaries of the daily life of Dutch Muslim children.

28"

In ‘Mag ik je even voorstellen’ Lou created a platform that helps to decrease the distance by lowering the boundaries to meet one another. The viewer can go on a visit and can get to know Dutch Muslim children by short virtual reality documentaries of their daily lives. Next to this the project also provides illustrative explanations about the origins and developments of the Islam in history. Because she is sure that knowledge creates understanding.

N

In this project Lou researched the representation of the Islam in the Netherlands. The polarisation in the Netherlands is growing and as a result of this the population is becoming more segregated.

Negative connotations about the Islam are stimulated because the continuously stigmatising media and the created media-Muslim. A part of the segregated Dutch population don't even want to invest in getting to know muslims because of their bad associations. The distance to get to know muslims is only increasing because of the growing prejudice.

loumuuse@gmail.com www.loumuuse.com

51°

55'

www.magikjeevenvoorstellen.nl

40 41 Master Photography Lou Muuse

Still form introduction video, the representation of the Islam in the Netherlands – NOS Journal ‘Islamic’

Still form introduction video, the representation of the islam in the Netherlands – Geert Wilders is interviewed by WNL

E 40" 28' 4° 51°

55'

28"

N

‘May I introduce you’ logo, created by the illustrator of the project Manouk van Eesteren

42 43 Master Photography Lou Muuse

Stills from the virtual reality documentaries

E 40" 51°

Still from the virtual reality documentary Melisa, here she is at home learning a page from the Koran

55'

28"

N

4°

28'

Still from the virtual reality documentary Melisa, here she is at school with her best friend Lisa

Still from the virtual reality documentary Adisa, where she is dancing in her room with her best friend

In the future I'll keep creating stories around the value of cultural variety, to reduce distances by getting to know each other.

44 45 Master Photography Lou Muuse

Still from the virtual reality documentary Adisa, the mother of Adisa is filming her during horse riding

Thom Brand *1990 Dordrecht, the Netherlands

Do not make timid lungs heave. Train for big breaths. A sound soul dwells within a sound body.

Health is causality's tribute. Move about in ways that the muscles too have their festivity's.

Credit their frissons, follow their instructions; sprout thought from the Guts and the Gore. contact@thombrand.nl www.thombrand.nl

13" 18' 5° N 52"

It's only by the grace of those grins, sneers and glaring glares, that one may refrain from joining the poshly gravediggers, the lushly opinionated and the whim-less bourgeoisie.

By these graces one may refrain from sinking in the excrement of the dead and deceased; the artists and intellects, the poets, painters, sculptors and musicians; the greats and grands, the exemplary, the virtuoso.

It's with those innards that you may still digest judiciously the flora, the fungi and the rot of todays dead and zombie inhabitants, but temper your hunger carefully, cultivate your nourishment, for even water can turn poisonous. Be selective in your nutriment as well, for those fodder contains no wine.

The finest way to ward oneself from the zombie apocalypse; the cataclysm of the dead, is by becoming the erratic and the capricious, the unpredictable, and the whimsical.

Live by the unknown impulses! Embrace the whispers from the depths and caverns.

Encourage the plays the creatures perform and celebrate them, celebrate them heartily.

Do not make dams where tides flow. Try not to hush the ruby rivers, let them roar and tremble, clatter and shatter.

41'

Gore; is when you would not only go for the filtered and refined residue; the grins and grace of your gut feeling, but you also barf out, in equal quantities, if not more so, the shit that resides in those very same bowels and intestines. Where ruling one feeling over the other is madness; one whim outwhimming another is ludicrous. Where creatures are to fight to the death amongst themselves, with survival the only rule; each survivor a celebration; another butterfly hatched; another smirk and grimace thrown towards the ruling rules; another glare glaring me forward.

Tendons are strung, snares are tightened; they sound the tremble of the tides that circuit through the subterranean vaults of the flesh. Gore; Guts' crude and glorious incomprehension, comes full throttle and toes cinch, gullets rattle, valves clatter and glares fever.

There is no choice now. Create or be created. Act or die slowly.

Because you see, even Gore, if done heartily, can charm me.

51°

Guts; those things that are put, somewhere between head and toes and above what any chap holds dear most. The center for ideas that my head won't understand and that most people deny existence of. They bring the underbelly feeling you receive when you hold no words for the lights and brights that boil up from the depts of your guts, bowels, colons and intestine system.

The greens, greys, darks and ruby's, the hair, the slimes, the sloths and the liver, the creatures and butterflies, sparkles, tingles, grins, sneers and the glaring glares, that wander about those caves and caverns of what people would call their underbelly; are what produce that one specific feeling, a gut feeling, very natural, but discarded by the creaking machinery of humanity.

E

What for do we have Guts and Gore

46 47 Master Fine Art Thom Brand

Lenore, 2017, wood, concrete, plaster, plants, work tools, food

E 13" 18' 5° N 52" 41' 51°

Spider plant, 2016, wood, spiderplant, plaster pot (photo made in studio)

48 49 Master Fine Art Thom Brand

Silver lining, 2017, bend wood, cloud plate, concrete base

Silver lining, 2017, bend wood, cloud plate, concrete base

E 13" 18' Stones, 2017, aluminium, cobbles

51°

41'

52"

N

5°

Sticks, 2016, sticks

I'm going to sit as little as possible.

Thom Brand

XD, 2017, sticks, other sticks, painting

Master Fine Art

50 51

Maurice Nuiten

4°

27'

51"

E

*1990 Roosendaal en Nispen, the Netherlands

We are doomed for freedom but freedom comes with responsibility.

24"

mauricenuiten@gmail.com www.mauricenuiten.nl

38'

With lensbased-media I capture my search, and be aware of the responsibility that freedom gives us in this absurd world with all its contradictions. My own life and everyday environment helps me to form the foundation of my work. Exploring the gray area between photography, film and performance, in which I involve text and installation.

51°

But why are we here? Always looking for the ultimate question that leads to the fact that you are never here. Not really. This inconvenience comes with life and life comes with love and loss, social pressure and expectations. We can always keep up the appearance that we are settled, play pretend that everything is fine. Never knowing what is going to happen next, being everything and simultaneously nothing, but mostly just restless. Living in a haze, trying to forget and escape reality.

N

So here we are, here and now, but now is already over. It's over the moment that you think about it.

It is already part of the past, but the past cannot be changed, and the only thing we have left is the future. Words that I have spoken cannot be undone, just like my past actions, they have been done.

Irreversible. Even when we stand still we are still moving. There is no way to stop this, but we can capture it, to save it at least for the time being.

52 53 Master Fine Art

I asked him how much he loved me.

He told me that he would love me to the moon and back.

At that time we had already moved 7688000 kilometers together.

The moon is 384400 kilometers away from us.

The earth turns with the speed of 1670 kilometers an hour.

To the moon and back was the same distance that we had moved already.

And just one month had past.

So it would mean our love was already over, had already been used.

Maurice Nuiten

Would our love last longer than that? ‌ Baby, did you know we already moved more than 768800 kilometers together?, 2017, film still from video projection, TV screen with subtitles, size variable

E 51" 27' 4° N 24" 38' 51°

Keeping up Appearance, 2017, photography, C-print, 91 x 131 cm

54 55 Master Fine Art Maurice Nuiten

Pity Party, 2017, video performance, video in loop 11:55, size variable

E 51" 27' 51°

Shelf-Life II, 2017, performance in collaboration with Imke Zeinstra, duration ± 210 minutes, photo by Tessa Spaaij commissioned by Electron Breda

38'

24"

N

4°

Shelf-Life II, 2017, performance in collaboration with Imke Zeinstra, duration ± 210 minutes, photo by Tessa Spaaij commissioned by Electron Breda

Master Fine Art

To show here (51°30'27"N 0°05'58"W) and here (40°45'41"N 73°58'40"W), while being alive.

Maurice Nuiten

Untitled, 2016, Photography, C-print on Dibont, 88 x 55 cm

56 57

Ad van Halteren

4°

46'

35"

E

*1971 Breda, the Netherlands

Why are numbers fascinating symbols? Deciphering the cultural significance of numbers

35'

adcreativecowboy@gmail.com

18"

‘Lucky 7 – Calculation of probability or luck?’ An experiment of the two most opposites in the world of numbers: superstition vs. mathematics. To physically determine if luck does exist in the context of gaming? Throwing two dice seven times seven, times seven, times seven (7 x 7 x 7 x 7) makes 2.401 throws. I have empirical proven that there is no such thing as ‘Lucky 7’. The chance of throwing 7 is six times bigger than throwing 2.

51°

‘Numbers tell a story – Deciphering the cultural significance of a number and the role of graphic design.’ On the basis of one number, the number 911, I will display the scope of cultural and sociological significance of numbers. This book will clarify the difference of signification, upon the addition of the punctuation marks, in their contextual and visual meaning.

N

A number is an idea invented by mankind. A theoretical concept used to count, measure and label.

Besides their practical use, numbers have cultural significance. They speak about belief, religion, culture and values. The cultural and sociological significance of numbers and their enclosed characteristics require research. What is the contextual role and the role of graphic design in perceiving these numbers? In a publication I will unfold the value of these charismatic numbers.

How do they behave in different contexts and in different cultures, what is their value and influence in society, and what is the role of graphic design in all of this?

Ad van Halteren

Master Graphic Design

58 59

Artist Statement

51°

35'

18"

N

4°

46'

35"

E

Design is an act of discovery.

A good idea or smart solution must be found.

Without it design is bound to be soulless.

Ad van Halteren

Master Graphic Design

60 61

51°

35'

18"

N

4°

46'

35"

E

Master Graphic Design

Another revelation in my graphic odyssey must be lying ahead of me. My approach in life is one of intuition. It has never let me down.

Ad van Halteren

62 63

Yi-Hsien Hung

4°

45'

53"

E

*1990 Taoyuan, Taiwan

Invisible Connection Between Urban Societies and Forests Graphic designers are humans; humans depend on forests. I am a graphic designer, so I depend on forests.

32'

yihsienhung@gmail.com

35"

N

Nowadays, most people do not live in the original way, hunt in forests, cut or gather wood from forests. As a substitute, with the division of labour, everyone plays a different role in the society.

People may specialise in certain fields but might have limited knowledge of things outside their fields. With an increasing number of people living in urban areas, people's connection with forests could become less and less visible, which could lead to ignorance of such and important form of land. We could be using the forests without realising it. For this reason, I would like to find a way to show this increasingly invisible connection between urban societies and forests, as a reminder of the importance of forests.

51°

World Health Organisation claims that, ‘The urban population in 2014 accounted for 54% of the total global population, up from 34% in 1960, and continues to grow.’ As a consequence, more and more people are probably living further away from forests, which cover around 30.83% land area of the Earth (The World Bank 2015) that is much less than the coverage of 31.80% in 1990.

(If you think 1% is not much, it equals 1,291,358.6 sq. km!)

Yi-Hsien Hung

Master Graphic Design

64 65

E 53" 45' 4° 51°

32'

35"

N

The Mastbos. Where the project takes place (photomontage)

66 67 Master Graphic Design Yi-Hsien Hung

Collecting findings in the Mastbos, video still

E 53" 45' 4° N 35" 32' 51°

Observation in the Mastbos. The clearer the white lines are, the more frequent I have been to the certain paths during the observation

I'm going to visit more forests around the world.

Yi-Hsien Hung

A map of the Mastbos

Master Graphic Design

68 69

Guido de Pooter

4°

10'

21"

E

*1983 Goes, the Netherlands

The summit of modern man, 2017, mixed media installation I will perform a self-written text as part of my installation. The work will be concentrated around different perspectives on storytelling.

30'

gdepooter@gmail.com

27"

N

In 1802, sixteen years after the ascension, the Teylers museum in Haarlem bought a collection of geological samples from Theodore de Saussure, the son of the famous geologist Horace-Bénédict de Saussure. Within this collection of samples was the top of the Mont Blanc. Although it is easy to imagine this rock being the very top of the mountain we now know that that's not possible.

This historical moment is a moment in time in-between the old time and the new time. A moment in-between fact and fiction. A moment in-between story and history. We are confronted with a story.

We are confronted with a history. In this story facts and fictions are getting mixed up.

51°

It's only 231 years ago that we reached the highest point of Europe for the very first time in human history, the top of the Mont Blanc. This was only three years before the French Revolution started by the storming on the Bastille on July the 14th 1789. They used to have another name for this mountain, Mont Maudite, the cursed mountain. A lot of people back then believed it was not good to climb this high. The group of men that did this expedition could measure the height of the mountain quite precise. They brought back all kinds of material and even the top of this mountain.

70 71 Master Fine Art Guido de Pooter

Untitled (trying), 2015, wood, stone and paper, 93 x 25 x 23 cm, photo by Peter Cox

Artist Statement

51°

An attempt for a chronological timeline, 2016, mixed media installation, paper plaster cardboard, ca. 300 x 1500 cm

30'

27"

N

4°

10'

21"

E

How are we able to perceive the world around us? I'm trying to make visual structures of the past, history, progress and the structures of stories. Materials and techniques I often use are; copies, collages, appropriated materials and ‘poor’– or ‘rest’ materials. My work consists of sculptures, installations, collages and texts. At this point in my work I think the main question is based on the idea of ‘how to be human?’. How are we as humans able to coop with the world that surrounds us, and, what are the tools we use for this?

72 73 Master Fine Art Guido de Pooter

An attempt for a chronological timeline (detail), 2016, mixed media installation, paper and cardboard, 40 x 21 cm

The summit of modern man (detail), 2017, mixed media installation, 29,7 x 21 cm, copy of the original by Christian von Mechel, Ascension of the Mont-Blanc in 1787 by H.B. de Saussure, copper engraving, coloured, 380 x 483 mm, collection Teylers Museum, Haarlem, the Netherlands

E 21" 10' 4° N 27" 30' 51°

Scavenger, 2016, mixed media installation, overview open studio Den Bosch

Master Fine Art

Plan: to work some years more in a structure comparable to the structure of the Master's Programme. How: applying for some specific residences.

Guido de Pooter

Scavenger (Xylotheque), 2016, collection of wood, mixed media installation, 132 x 20 x 18 cm, overview

74 75

Jean-François Roebers

4°

26'

17"

E

*1957 Utrecht, the Netherlands

Possibilities of notation of a work of graphic design

11'

48"

This topic can be regarded as abstract. The intention is concrete: how can we improve work and our process using language.

jf.roebers@avans.nl

51°

Using a language for defining aspects of a work, confronts the designer with the exploration of the balance between flexible and fixed descriptions. This is a specific task when the outcome is for multiple purposes or serial work.

N

In the design process lots of decisions have to be made. A work of graphic design may contain formal and non formal properties. Objective descriptions of the elements and their parameters of a composition are not openly present in the field of graphic design, although it can be found in scripts and corporate manuals. From a theoretical point of view it is interesting to compare this with a musical score. In this research the accent was put on practical aspects.

Jean-François Roebers

Master Graphic Design

76 77

51°

11'

48"

N

4°

26'

17"

E

Jean-François Roebers

Master Graphic Design

78 79

51°

11'

48"

N

4°

26'

17"

E

Master Graphic Design

I will continue this search by creating serial work. From singularity to complexity with a constructive approach.

Jean-François Roebers

80 81

Helga Jakobson

97°

9'

27"

W

*1986 Winnipeg, Canada

A spiderweb exists as a reflection of the moment and circumstance of its construction. It's ephemerality and delicacy represent the fleeting nature of organic life. In my practice, I often examine conditions of limbo in existence. In producing illustrations and sound from collected webs, I'm weaving my own tapestry and in doing so, I find myself reflecting on the fates, weavers and ‘spinsters’.

helgajakobson@gmail.com www.helgajakobson.com

50°

56'

The past year has been difficult in dealing with my own mortality and illnesses. I'm presenting drawings and work that reflect the process of confronting the unknown in conjunction with my study into spiderwebs and matrilineal storytelling.

35"

Through physically engaging with the material doomed to Arachne's progeny, I've been weaving my own visual and sonic tapestry. The drawings, as well as the sonification of webs via my web player, are attempts at addressing feelings of female lack, reverence for the environment, the beauty of the ephemeral and loss.

N

‘Arachne's Sonifier’ is a work rooted in adapting pre existing mythology. Traditionally women's storytelling has taken place through oral mythology. Creation myths often centre around a Grandmother Spider character who weaves the night sky with her silk. In Greek mythology Arachne's myth is based in a woman's belief in her own skill as a means to challenge authority, proving her ability to herself and her community. Arachne wove a tapestry better than the Goddess of weaving, herself. In turn she was transformed into a spider, which is where the name for arachnids originated.

82 83 Master Fine Art Helga Jakobson

Arachne's Sonifier, 2017, phototransisters and servo motor, oak, marandi, and 3D print, instrument which plays spiderwebs live through MIDI interface

Artist Statement Whether culminating into actions, interfaces or objects, my work responds to conditions of limbo within existence and as platforms to confront the unknown; with a focus on death, labour and ephemerality.

Currently I'm constructing a digital and physical web; weaving together my interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and knowledge sharing; having great reverence for intuition and it's use as a technology.

50°

Black Moon Ritual, 2017, site specific installation, artist's hair hand spun by drop spindle and weaved into a spiderweb / mandala

56'

35"

N

97°

9'

27"

W

By engaging with organic material I am also mindful of ecology and exploring how an individual can autonomously cope with death, illness and the unknown. A major trajectory point in my work has been researching the phenomena of cultural iatrogenesis, which refers to the destruction of traditional coping methodologies. In this way, the medicalization of life leads to cultural harm as society members lose their autonomy. My research has led to an ongoing body of work titled ‘iatrorgenerism’ and a continued interest in finding ways to combat and reimagine how the individual and perhaps society can cope with post contemporary fear and angst.

84 85 Master Fine Art Helga Jakobson

Black Moon Ritual, 2017, site specific installation, artist's hair hand spun by drop spindle and weaved into a spiderweb / mandala

Black Moon Ritual, 2017, site specific installation, artist's hair hand spun by drop spindle and weaved into a spiderweb / mandala

W 27" 9' 97° N 35" 56' 50°

The Moons of Silence, 2017, copper plates held in artist's mouth during moments of silence and printed with ink

Master Fine Art

Towards M. Beth Dempster's idea of Sympoiesis; collectively-producing systems that do not have self- defined spatial or temporal boundaries.

Helga Jakobson

The Moons of Silence, 2017, copper plates held in artist's mouth during moments of silence and printed with ink

86 87

Daniel Quisek

17°

54'

27"

E

*1993 Opava, Czech Republic

FutureWeb.Today How to design a website for an unknown? Finding the right answer became more relevant and important these days as we see new digital devices being introduced to us almost every day. Each device comes with different size, screen resolution, rendering technology and today, even in different dimensions.

57"

ahoj@danielquisek.com www.danielquisek.com

56'

How will a future website look like? What is needed to create a truly responsive website that adapts to not only any screen but also to any dimension? How will those websites be used and designed?

The project ‘FutureWeb.Today’ speculates about where the World Wide Web is heading and how the post-web will become a cross-platform medium.

49°

My research showed that 99% of the websites today are only responsive if we scale them down, from the size of the desktop to the size of watches. Not even 1% of all the websites adapt to the screens larger than today's laptop. If we take a look into the future, the devices that will have an access to the internet won't have much smaller displays than watches. Instead, they will grow into the infinity sizes playing with three-dimensional spaces and reality.

N

The current websites are created within the technology called Responsive Web Design. This feature makes the web pages (their forms as well as their content) adaptable to different screen sizes resulting into slightly changed designs on each device. But are they truly responsive?

Daniel Quisek

Master Graphic Design

88 89

49°

56'

57"

N

17°

54'

27"

E

Daniel Quisek

Master Graphic Design

90 91

27"

TRWD is an approach to World Wide Web aimed at allowing the traditional (desktop) webpages to respond and adapt in design and content to the device of any given screen size or dimension and to the reading environment around it. TRWD is a successor to the conventional Responsive Web Design presenting a reactionary manifesto to designers creating websites for devices of the past, instead of future unknowns. TRWD is a speculative future standard in web development, allowing designers to create multidimensional internet environments with customizable content and variable components.

E

Truly Responsive Web Design (TRWD)

49°

56'

57"

N

17°

54'

https://en.wikipedia.org/wiki/Truly_Responsive_Web_Design

For a beer.

Daniel Quisek

Master Graphic Design

92 93

Lukáš Chládek

16°

36'

45"

E

*1991 Moravská Třebová, Czech Republic

lukaschladek8@gmail.com www.lukaschladek.com

43" 49°

54'

My biggest interest is in experimental typography (especially tactile), because it enhances its meaning by communicating both textually and visually, which makes much stronger message. There are lots of 3D tactile alphabets, words and /or statements out there. Some designers experimented with this typographic form in order to come up with something new, extraordinary and wanted to reinforce their message. The others just did it for fun. Whatever the purpose was, these creative solutions are admirable. Though, what we see is just a static picture of a work of somebody else.

Experiment is such a common term not only in graphic design, but most of the people don't know what it actually means and they very often use it when they are not sure about what they do. In my final project, I would like to show what is happening in designers head while experimenting, what steps does he make and how does he think. I decided to experiment myself to find that out.

Likewise, I would like to push the physical experimentation with typography a little bit further by making the 3D tactile typfaces interactive and usable in all styles just like vector fonts.

N

Explicit look in the head of a designer while experimenting

Lukáš Chládek

Master Graphic Design

94 95

49°

54'

43"

N

16°

36'

45"

E

Lukáš Chládek

Master Graphic Design

96 97

E 45" 36' 16° N 43" 54' 49°

This poster describes the difference between 5 sub genres of alternative rock both textually and visually. However, they have something in common – the desire for freedom – which each sub genre tried to express differently

98 99 Master Graphic Design

I will never tell you.

Lukáš Chládek

I wanted to show the differences by several experimentations with one photograph of a view from an open window, which reflects desire for freedom. Each damage of that photograph is based on lyrical and emotional meanings of each sub genre

Katarina Jazbec

14°

17'

58"

E

*1991 Kranj, Slovenia

jazbec.katarina@gmail.com www.katarinajazbec.com

49" 19'

The project is part of my long-term research in the political potential of shared reading of fiction literature as a new way of dialogue that enables mutual understanding both through empathy and confrontation of different interpretations.

46°

In my final project I read a selection of short fiction stories together with a group of male inmates at the Belgian prison in Turnhout every week for two months. Having a profound fascination with reading, I wanted to visually articulate what happens in such process. At the same time I wanted to tell a story that can challenge the stereotype of a criminal and bring to light the intertwined actuality of fiction and reality. The project resulted in a meta-fictional documentary where narrator's, readers', writer's and translator's interpretations meet and are used to tell the story.

N

I Read with 12 Eyes

Katarina Jazbec

Master Photography

100 101

Artist Statement

46°

19'

49"

N

14°

17'

58"

E

I am a documentary maker who has been deeply shaped by reading fiction. If birds' nests are made of straws, mine was made from books. My work springs from a long-term artistic research into new ways of empathic and critical storytelling, which at its core explores the complex relationship between fiction and reality. My narratives are disguised visual enquires into the questions of ethics, identity, freedom, social inequality and illness from different perspectives and ways of knowing. As a maker I am most dedicated to communicate with the image, both still and moving, in a way that engages, stimulates and empowers the viewer in an empathic, imaginative and self-reflective way.

Katarina Jazbec

Master Photography

102 103

46°

19'

49"

N

14°

17'

58"

E

I'm going to follow Odysseus, wild woman and the sun.

Katarina Jazbec

Master Photography

104 105

Matija Pekić

16°

49'

43"

E

*1992 Koprivnica, Croatia

36"

Based on existential questions, the project explores the concepts and meaning of memories in a short narrative fiction film installation. It follows the journey of a character who encounters figures from her memories. The film starts with a meditative sequence and introduces the main character set in a seemingly natural environment, but as the story progresses further the reality begins to shift and fall apart. Through body movement, camera and sound the work investigates form derived upon the ideas of memory and time. Formal experiments and the spatial experience of the screen installation manipulate the viewer's expectations and the point-of-view of the story, making the viewer an integral part of the work.

N

All that ever was

matija@mpekic.com www.mpekic.com

46°

8'

Triple channel film installation, 30 min. loop, 4 x 4 m

106 107 Master Photography Matija Pekić

All that ever was, 2017, film still

All that ever was, 2017, film still

Artist Statement Using photography, moving image and sound, my work contemplates reality and existence, where I use the form itself to distort and manipulate it.

My aim is to find a different perspective on my personal and everyday moments of life, often on the nature of reality and memories; on how we treat them and what value they have for us? What is the future of memories within virtual realities? Additionally, how can a medium be used as a metaphor of these questions, how can it represent them?

16°

49'

43"

E

In my artwork, the viewers experience itself is also important. Through visual media and sound, I'm interested in the ways of engaging the viewer with visual tactics such as using different installation forms, cinematic aesthetics, abstraction and often the spatial experience itself – in order to create an immersive experience.

46°

8'

36"

N

All that ever was, 2017, film still

108 109 Master Photography Matija Pekić

All that ever was, 2017, film still

All that ever was, 2017, film still

E 43" 49' 46°

All that ever was, 2017, film still

8'

36"

N

16°

All that ever was, 2017, film still

Matija Pekić

All that ever was, 2017, film still

I don't know where I'm going, but I sure am going.

Master Photography All that ever was, 2017, film still

110 111

Lavinia Xausa

11°

39'

40"

E

*1992 Marostica, Italy

lavinia.x@live.it www.laviniaxausa.com

43" 45°

44'

Settlers, Missionaries, Secularists and Rappers. The Gospel has been preached and the Claim has already risen. As antique spokesmen of a sacred message, rappers have become the witnessing voices of the City of Rotterdam. A bunch of Spoken Word artists, whose family are native from the former Dutch colonies, have intervened on my project with their poems and claims. What would you teach if you were the ones just landed in Rotterdam? What would it be your message to spread on these Nordic lands? Few lines to establish their thoughts and a sharp rhythm to provoke the audience. The spectator is subjected to a mystical experience: towards the ‘Word of the Worlds’.

N

The Word of the Worlds

Lavinia Xausa

Master Photography

112 113

Artist Statement In my research, I'm interested in combining my knowledge in Contemporary Art and Media Semiotic with a motley practice based on the concepts of Trans-media storytelling and Convergent culture.

Through the use of texts, videos, essays, pictures and found footage, I aim to achieve the perfect perspective on my thoughts, stories, and considerations.

Currently engaged with the definition of convergence, I aim to involve the urban community into my projects, reconsidering the role of the artist within the urban society.

In my work and research, I try to create the most efficient conditions in order to understand reality crossing through a different semiotic framework.

Using imaginary of our collective memory and relating them to nowadays social issues, I aim to involve the audience in reconsidering these issues from a different point of view.

40" 39' 11° N 43" 44'

All these questions develop along the path of my position as an artist within the community where I live. Crossing these topics indeed, I aim to find out my position as an artist and human being in the space where I settle during a specific period time.

45°

Why are people not well integrated into the place where they live? Why don't locals accept the strangers? How can we identify with our urban environment? How do we use the space?

E

Lately, I've been addressing my interests within the relationship between humans and places. Topics such as settlement, integration, migration and identity are current in my work.

Lavinia Xausa

Master Photography

114 115

45°

44'

43"

N

11°

39'

40"

E

Master Photography

Undertaking the pioneering experience of an ill-equipped tourist in the greatest harbor of Europe.

Lavinia Xausa

116 117

Elena Capra

mail@elenacapra.com www.elenacapra.com

59" 44°

41'

In ‘The theory of the novel’ (1920), Georg Lukács coined the term ‘trascendental homelessness’ and described it as ‘the urge to be at home everywhere.’ Today, thanks to digital technology, this dream has become reality. The home has become the place for the transmission and reception of information and took over former public spaces. By painting the walls of a three dimensional space, I try to imagine a digital home. How do we physically perceive a room within the color spectrum of the screen?

N

8°

13'

2"

E

*1984 Asti, Italy

118 119 Master Fine Art Elena Capra

Do I actually still need a home?, 2017, wall painting, ca. 600 x 160 x 160 cm varied, Whatspace, Tilburg

Do I actually still need a home? (detail), 2017, wall painting, ca. 300 x 400 x 200 cm varied, exp12, Berlin

Artist Statement Cities, offices, houses and furniture are standardized to improve and maximize their functionality and efficiency. What do these standard units mean to us as individuals and how do we relate to them?

What happens if statistical outcomes and mathematical information does not correspond to our needs and desires?

Based on my background as a documentary photographer and archivist, I started thinking about rules and mechanisms to store and classify information, e.g. color codification, document reproduction, etc.

Does our interpretation of codes regarding systems and languages match our personal experience?

Eventually we decided white, 2017, paper and wood, 500 x 60 x 75 cm, Electron, Breda

44°

41'

59"

N

8°

13'

2"

By shifting the ordinary focus through an erroneous system, often dictated by machines and technology, I want to evoke an awareness of our perception of everyday life, which influences the way we are storing information and, consequentially, our future understanding of history.

E

My artistic and visual research is informed by the fields of architecture and product design. I like to explore interiors, their hidden corners and layers. Trough conceptual and poetic gestures – which often involve the use of titles – I raise question on new possibilities or impossibilities of usership. Even though storytelling remains an important element in my work, my practice has developed from photographic narration towards more abstract installations, conceived mostly in situ and considering the spatial and temporal conditions in which the work takes shape.

120 121 Master Fine Art Elena Capra

Growing up (Neufert / Gastatelier LEOXIII), 2016, Vintage print, 130 x 100 cm ca.

E 2" 13' 8° N 59" 44°

41'

#Cyan, from the series ‘What color should we paint the bedroom?’, 2015, C-print, 130 x 105 cm

Master Fine Art

Switch off and on the computer / Zoom in and out into the map / Take on and off the glasses / Lose and find again the benchmarks

Elena Capra

C0 + Mn + Yn (Cyan constant, Magenta and Yellow variable), 2016, C-prints and wood, 137 x 152 cm

122 123

Valentina Ambrosi

13°

25'

2"

E

*1991 Ancona, Italy

ComfortZone: graphic design in support of people experiencing grief ComfortZone is an online platform designed to support and connect young people in grief. Its goal is to help users through the difficulties of the mourning process and to avoid the feeling of ‘being alone’ and of ‘being the only one’.

Differently, from what the term is normally referred to, a pejorative meaning, the project's vision has a positive significance. In other words, ComfortZone literally aims to provide a place of comfort for people during the times of discomfort caused by bereavement.

37'

valentinambrosi.gd@gmail.com

5"

On the platform online, users can find important information and confirmations about their mourning process; contacting, sharing and exchanging experiences with other members of the community on the forum page, try exercises to feel better, share resources and useful information with other ComfortZone's users and customise their own interface.

43°

The project is a public, self-aid tool for mourners and it finds its place between family and friends support and professional help.

N

In fact, when you lose someone you love your comfort zone gets damaged. Therefore, the website represents a virtual place where people can find support and where they can start rebuilding their own new zone of comfort.

124 125 Master Graphic Design Valentina Ambrosi

Research: 23 people, F / M, 18-30 years old, survey results sample. The project is based on the stories of other young people in grief. The main goal of the survey was to understand the key difficulties the target group face during the mourning process in order to get a grip on the design concept

Context: bedroom exhibition. According to my research, the quiet and intimacy of your own bedroom is the best place where users would interact with the platform. Where they feel the most comfortable to deal with their sorrow

43°

37'

5"

N

13°

25'

2"

E

Valentina Ambrosi

Master Graphic Design

126 127

E 2" 25' 13° 43°

37'

5"

N

Project: ComfortZone on a mobile device. ComfortZone stands for a safe bubble, where people can take shelter from their sorrow and find the tools necessary to reconstruct that zone of comfort that has been damaged. Both, working on themselves and together with other community members

Adulthood here I come.

Valentina Ambrosi

Master Graphic Design

128 129

Nikos Kostopoulos

22°

58'

31"

E

*1982 Thessaloniki, Greece

(Breaking the) Monoform in public space ‘(Breaking the) Monoform in public space’ is a work in progress between a photographer, Nikos Kostopoulos, and a data scientist and developer, Thanos Bantis. We are building an open license camera application for mobile devices. The camera, with the use of real time image recognition and computer vision techniques, can identify commercial brands in the photographic frame of the user and give them the option to replace them with whatever they intend to. Computer vision and image recognition is already used today online to categorize and auto-brand our user made images, for personalizing the advertisements that appear to us and to inform companies when their products are in use. Consequently, the user can make a statement by uploading the new image online and reducing the chance of having their personal information used for commercial advertisement purposes without their consent.

nikoskostopoulos@outlook.com www.votka-exete.com

6" 40°

36'

‘Unnamed Symphony #010’ is an audiovisual interactive installation that explores the economic and political relationship of the viewer in the public space. This power relation is imposed by the logic of capitalism and consumerism which constitute our everyday experience in the public space. These invisible rules have often been naturalized to the extent that we are not aware of the regulation. Through this project I hope that the audience can be aware of the problematic power system by making agreement and communication, as a result, creating ‘symphony’ in the public space. I believe only through these actions we can create the potential subversion of the power system in the public space.

N

Unnamed symphony #010

130 131 Master Photography Nikos Kostopoulos

(Breaking the) Monoform in public space, W.I.P. by Nikos Kostopoulos and Thanos Bantis, computer vision camera for mobile devices

(Breaking the) Monoform in public space, W.I.P. by Nikos Kostopoulos and Thanos Bantis, computer vision camera for mobile devices

Artist Statement My dissatisfaction with the status quo of modern economic and political systems has led me to explore artistic practices that encourage agency in an audience, to act or think critically about society.

With my work, I approach contemporary social problems, while dually acknowledging intertemporal discourses that permeate them. These include displacement of persons, consumerism in modern western societies and the politics of public space.

6" 36' 40°

(Breaking the) Monoform in public space, W.I.P. by Nikos Kostopoulos and Thanos Bantis, computer vision camera for mobile devices

N

22°

58'

31"

E

In the recent times, the plethora of images all around us means we only assign value to them according to their authorship. We are very used to the most shocking images, while we value the ones we make.

In addition, the distribution of the medium of film and photography to almost everyone thorough mobile devices, gives new opportunities for participation and co-creation between artist and public. Having as a starting point of making still and moving images, I explore the possibilities of creating situations where images can be made through participation and discursive methods. For example, group discussions, installation, and the development of digital platforms.

132 133 Master Photography Nikos Kostopoulos

(Breaking the) Monoform in public space, W.I.P. by Nikos Kostopoulos and Thanos Bantis, computer vision camera for mobile devices

(Breaking the) Monoform in public space, W.I.P. by Nikos Kostopoulos and Thanos Bantis, computer vision camera for mobile devices

E 31" 58' 40°

Unnamed symphony #010, 2017, audiovisual interactive installation, 4 HD video projections / 4 audio channels

36'

6"

N

22°

Unnamed symphony #010, 2017, audiovisual interactive installation, 4 HD video projections / 4 audio channels

Unnamed symphony #010, 2017, audiovisual interactive installation, 4 HD video projections / 4 audio channels

Continue my research on interactive narratives and apply them in situations where public and private space collide.

Nikos Kostopoulos

134 135 Master Photography

Unnamed symphony #010, 2017, audiovisual interactive installation, 4 HD video projections / 4 audio channels

Yanda Li

116°

24'

27"

E

*1992 Qingzhou, China

Deconstructing Formula One Sponsorship

leeyanda@hotmail.com www.postdesignamateur.tumblr.com

15" 39°

54'

At the end of the project, I try to invite people to think about what is the alternative usage? In the future, will Formula One become a political tool? Or cultural tool? Through illustrating and re-introducing the ‘impossible’ usage of this space, I am trying to give Formula One a new kind of social value. These unfamiliar scenarios may can provoke our old assumption about Formula One and push people to think about what is the role and value of this highly exposed space? Except representing money, winning, spreading corporate power, what else it can be?

N

Formula One's appearance has been dominated by corporate logos since 1960s when the sponsorship came in. Under the development of televisualization, the Internet and social media, Formula One has become an efficient vehicle to market commercial brand worldwide. The role of Formula One racing is more like a branding event which is under around 500 million global audience. As a part of our over-branded world, perhaps we can not find a way to reform it practically because Formula One is an expensive sport and sponsorship is their's main ‘power’, but what we have to do is to not fall into a trance with this logo world, learn how to identify their's branding strategy and minimise the influence from it. By learning how to colonise and expose logos in Formula One racing, I try to deconstruct this sponsorship pattern and represent it through a fictional scenario where you can choose the product and invest. By experiencing these ‘purchasable’ products, I hope people can generate certain understanding about how this sponsorship model works and this may help us to decrease the impact from this illusive logo world.

Yanda Li

Master Graphic Design

c1 c

d2 c1 c2 c2

d c c3 c3

d1

h2

d

d d

h1

h

136 137

39°

54'

15"

N

116°

24'

27"

E

Yanda Li

Master Graphic Design

138 139

39°

54'

15"

N

116°

24'

27"

E

#BackToChina

Yanda Li

Master Graphic Design

140 141

Ruben Üvez

34°

50'

32"

E

*1992 Groningen, the Netherlands

rubenuvez@gmail.com www.rubenuvez.com

39" 38°

42'

My graduation project is an exploration into the experience and processing of loss. Over the years I have slowly built a huge visual archive that can be seen as an ever evolving journey connected to different stages of grief and loss and is about my own coming of age too. In the work I question themes such as transience, mortality, and acceptance, all connected to the larger concept of loss.

With the use of photography and video in an installation, I try to evoke an emotional reaction. The work isn't forming a traditional narrative but focusses on a non-linear subconscious experience, where I show the process of dealing with the loss of my father over time.

N

Nothing Gold Can Stay

Ruben Üvez

Master Photography

142 143

Artist Statement

38°

42'

39"

N

34°

50'

32"

E

In my work I explore the experience and process of loss. From this, themes such as transience and acceptance emerge. My work can be seen as a journey that progresses constantly and I do not work in separate projects. Everything I make is part of a bigger, ever evolving whole, using photography and film to reflect and express my feelings and thoughts over time. I work with non-linear narratives, where the subconscious experience of the work is important. I am not trying to represent reality but play with perception, metaphors and interpretations. This way I try to deal with my loss, the loss of my father, but also try to look at the world on a more universal human level and question our short presence here on Earth, where we are just a small part of everything that has been and will be.

Ruben Üvez

Master Photography

144 145

38°

42'

39"

N

34°

50'

32"

E

Going into an unknown future, where things will play out the way they will.

Ruben Ăœvez

Master Photography

146 147

Jeremiah Douglas Stroud

j.douglas.stroud@gmail.com www.stroudworks.com

5" 56'

‘Eulogy to The Colossals’ is a proposal to show my everything: Theory, Research, and Process; all of which revolve around the feeling of Saudade, which is a deep emotional state of nostalgic and melancholic longing for an absent something or someone that one loves. Moreover, it often carries a repressed knowledge that the object of longing might never return.

37°

Eulogy to The Colossals

N

88°

27'

43"

W

*1989 Carbondale, Illinois (USA)

Jeremiah Douglas Stroud

The Colossals

Master Fine Art

148 149

Artist Statement Creation: Question 1 - What does it mean to create?

Creation gives birth to new ideas; very much viewed as a hypothesis. You are putting forward an idea that could lead to failure or success, evocation or provocation. Creation is nothing more than a starting point for this hypothesis; a world, in compiling thoughts.

A society that lives in a perpetual war. Constantly destroying and creating, serving our needs to find answers. America reflects modern barbarism, almost by definition; like a ‘WARBAND’ American moves through the world. A WARBAND, is a good definition for me, as an American, who has constantly been moving. I haven't put down a home. I don't have many friends. I just continue to move.

I leave faint traces of my existence, as I move. I often damage those I do come in contact with, and it haunts me.

43" 27'

- Does my sense of worth derive from power and destruction?

- Do my methods evoke ‘American Traditions’; by that, I mean a reflection of what I was born into?

88°

All these things don't have an explainable conclusion because they depend on the individual, as well as a collective process of life. Much like my work, it depends on the process. It depends on existing elements from another narrative or previous project. I use pre- existing constructs that are abstract in nature but become concrete through a collective conscious. The example of America comes to mind.

America is only a concrete construct, due to a collective belief that it exists.

This leads me to the question of where does creation come from. I've explained how the ideas I use come from a collective belief of an abstract construct. However, I have explained how my process addresses where creation comes from.

W

Creation, is nothing more, than combining elements from deconstructed materials. Things come into existence without previous knowledge that it will be destroyed and used again. This is just like the biggest questions in life: Why are we here? How did we get here? Life and Death. Relationships and Love.

Things we never get admire are connections, relationships, family, life, and love. We ignore things that help humanize us. By slowing down, I hope to learn to appreciate life through a lens that isn't tarnished by politics, war, or spectacles. It seems far more important to gain appreciate for things that exist in my realm. This is all and still a way of creating and destroying but on a much more personal and introspective way.

Maybe the role of my work is to reassure myself of the fragile nature of the things I work with are both process and topics.

- Creating / Destroying - Life - Country - Relations

5" 56' 37°

- Where do my political works and my figure paintings create a concise connection?

- Is identity the keyword?

(It is important to note: the American works and the new figure paintings don't belong in the same show.)

N

Maybe I crave power or to be in the position of power. (Figure Painting) I am in an observatory control position. I control what this model does. In my political work, I like to switch the role of power, within the art object, itself. (Through Engagement)

Jeremiah Douglas Stroud Coffee Before Crosses

Master Fine Art

150 151

37°

56'

5"

N

Sewing of The Flag

88°

27'

43"

W

#hellifidontchangemyways

Jeremiah Douglas Stroud

Master Fine Art

152 153

Tooba Shahriar

51°

18'

41"

E

*1985 Istanbul, Turkey

42'

toobashahriar@gmail.com

39"

N

I grew up in a beautiful country with rich heritage and elegant calligraphies. From books to the epigraphs on buildings, calligraphy is part of life in Iran which always fascinated me. It is a shame Persian typography is still nowhere near the diversity, grace, delicacy and presence of Persian calligraphy. The loss of the strong visual impact of Persian writing in transition to type has different reasons. Except for the difficulty and complexity of the script itself, lack of synergy among calligraphers and type designers, lack of research and studies, lack of funding and the small number of specialists are among other reasons. This project is intended for designers who want to design a Persian font based on the Nastaliq script. It will be a solid source that will hold all the necessary information for design purposes.

35°

Nastaliq – Calligraphy to typography

Tooba Shahriar

Master Graphic Design

154 155

35°

42'

39"

N

51°

18'

41"

E

Tooba Shahriar

Master Graphic Design

156 157

35°

42'

39"

N

51°

18'

41"

E

Master Graphic Design

The very first thing will be going for a long holiday to a beach and rest under the sun. After that, I'll start looking for a Ph.D. program which will fit my interest.

Tooba Shahriar

158 159

Weiran Han

112°

25'

43"

E

*1991 Luoyang, China

Reflag – National flag and participants

hanwerian16@gmail.com www.cargocollective.com / weiran

34°

38'

However, every single person should own the personal value and independent thinking. In this context, the design could supply the special scenario where people participate in and visualize their personal value as a national flag.

7"

The national flag is a concentration of several symbols, but it could transmit the uniform national value to every citizen. In this way, flag binds people as a whole steadily but also makes people same as each other.

N

Typically, national flags are comprised of simple symbols and colors but contain a lot of connotations.

There is often much in common among national flags, so even slight variations can mean a lot.

For Durkheim, religion and sacred symbols are created by humanity for the purpose of maintaining community, and they correspond to the Latin meaning of the word ‘religare’ (meaning ‘to bind together’). Understood in this way, the sacred symbol of a nation's flag becomes imbued with a meaning that comes to represent the nation's values as a whole (Chris G. Sibley, 2011).

Weiran Han

Master Graphic Design

160 161

34°

38'

7"

N

112°

25'

43"

E

Weiran Han

Master Graphic Design

162 163

34°

38'

7"

N

112°

25'

43"

E

Master Graphic Design

To be an ordinary Chinese citizen / Work, parents, wife and kid are my daily life / Keep drinking and eating till death.

Weiran Han

164 165

Lori Der Sarkissian

35°

30'

6"

E

*1991 Beirut, Lebanon

Bursting the bubble – Examining graphic design education in the Netherlands

loridersak@gmail.com www.loridersak.com

33°

53'

This shouldn't be described as problem. However, it becomes one when students are not aware of it and don't take responsibility for the main message they are trying to communicate.

38"

I have always been curious with what students work on. For some time I have been noticing a missing link in relevance in their projects. Through my observation and research in the design academies, I realized that students tend to disregard some important factors that are the main backbone of what graphic design should be, which is a vessel for visual communication. The three key elements of emphasis are: first of all, the understanding of context and mileu of work, then the relevance and purpose of the project, and finally the importance of taking the audience into consideration in the process of work. Some projects seem to be directed at only teachers and fellow designers, and not embedded in a real context with the actual audience the project is intended to communicate to. Hence, students get sunk in the ‘designing for designers’ bubble. There is very crucial missing link between the classroom and the real world outside the white walls of design academies. Reality shouldn't always be forced in the design process, but there should be a good balance in contextualizing the work in reality whilst not fully breaking the creative bubble.

N

Teaching has always been my passion since I started my bachelor studies in graphic design, and I knew that this is what I would love to do in the future. So the first question I thought of is what I am supposed to know and learn in order to teach in this field.

166 167 Master Graphic Design Lori Der Sarkissian

Forms distributed to students: KABK (The Hague), WdKA (Rotterdam), DAE (Eindhoven), 2017

E 6" 30' 35° 33°

Workshop with 3rd year graphic design bachelor students, HKU, Utrecht, 2017

53'

38"

N

Form distributed to students: DAE (Eindhoven), 2017

168 169 Master Graphic Design

Workshop with 3rd year graphic design bachelor students, HKU, Utrecht, 2017

Workshop: How to embed projects in reality?

Lori Der Sarkissian

The workshop focuses on shedding some light on students' awareness on the importance of context and audience in their work.

In this workshop, they are asked to bring one of their previous projects and then go outside the school and ask questions to an audience.

After collecting all the answers, they go through all the insights they got and try to figure out how they would change their approach or implement the project accordingly for better communicative results.

E 6" 30' 35° N 38" 53' 33°

Workshops with: 3rd year graphic design bachelors at HKU, Utrecht; 2nd years at WdKA, Rotterdam; 4th years at KABK,The Hague

170 171 Publication encompassing all research results and opinions from the studied design schools in the Netherlands

Teaching design goals.

Master Graphic Design Lori Der Sarkissian

Publication encompassing all research results and opinions from the studied design schools in the Netherlands

Imad Gebrayel

35°

30'

6"

E

*1990 Beirut, Lebanon

Mapping Identity: reversing cultural representation ‘Mapping Identity: reversing cultural representation’ portrays 3 different cities using landmarks belonging to their respective colonies creating smaller systems of identity representation in post-colonial contexts and their respective national symbols.

The project's objective is to stir a debate on design and identity representation: how are designers contributing to the political discourse of power, hegemony and appropriation through their attempts to represent a culture, a city or a certain cause? What criteria should we set to position our work in the proper context while avoiding alteration or dismissal?

imadgebrayel@gmail.com www.imadgebrayel.com

33°

53'

— * A fictional construct

38"

This counter-mapping venture is a product of an extensive research entitled ‘Identity Representation: Self-Orientalism and Hyper-Nationalism in Arab* Design’ tracing the dynamics affecting the construction of a visual culture through the lens of colonialism, compared to international examples of representation in visual culture in general and graphic design in particular.

N

Altering the mapping perspective by reversing representation is a political statement contributing to the identity discourse that should be undertaken by designers and journalists, primary audiences of this project.

Imad Gebrayel

Master Graphic Design

172 173

Artist Statement I'm a Lebanese designer and illustrator specializing in research-led design with a focus on sociology, politics and investigative field work.

33°

53'

38"

N

35°

30'

6"

E

My process is centered on fusing journalistic reporting with visual design skills to communicate key insights with a toolkit that draws from Arabic writing, bilingual design, data visualization, illustration and a variety of research techniques.

Imad Gebrayel

Master Graphic Design

174 175

33°

53'

38"

N

35°

30'

6"

E

Master Graphic Design

Exploring opportunities of building a career in Europe: is there a place for an Arab designer hoping to build a career in design research?

Imad Gebrayel

176 177

Feng Dai

119°

58'

27"

E

*1989 Changzhou, China

Looted Art in Context ‘I do not paint things, I paint only the differences between things.’

— Henri Matisse, Henri Matisse Dessins: Thème et variations (Paris, 1943) I'm not absolutely sure when I first became aware that I found hidden information of looted art fascinating. Think of the Egyptian ‘Rosetta Stone’ in the British Museum, or the Greek ‘Nike of Samothrace’ at the Louvre in Paris. They are the absence of national pride.

Looted art has been a consequence of looting during war, natural disaster and insurrection for centuries. Artifact especially represents the historical event that has become points of national pride.

And it also can bring museums the financial benefit. People aren't aware that looting of art, archaeology and other cultural property may be an opportunistic criminal act or may be a more organized case of unlawful or unethical pillage by the victor of a conflict.

48'

40"

This project is an attempt to address that gap: Wanna dive into the collection? Mapping your curiosity.

umbrenana@icloud.com

31°

Who found this artifact? Why did they move it here? What's the ownership of looted art? We cannot easily judge it because we have less knowledge, which isn't previously been interpreted within museum’s collection.

N

In the past few decades, some governments have politely asked for objects that they feel have been pillaged from their countries to be returned. And recently, the demand for the return of looted art has taken a more formal, and perhaps less polite.

178 179 Master Graphic Design Feng Dai

Relation between Nefertiti Bust and its location changes

31°

48'

40"

N

119°

58'

27"

E

Feng Dai

Master Graphic Design

180 181

31°

48'

40"

N

119°

58'

27"

E

Master Graphic Design

A graphic designer, illustrator and game developer, specializing in designing and developing interaction experiences from concept to execution.

Feng Dai

182 183

Revati Anilkumar Patil

77°

12'

33"

E

*1991 New Delhi, India

Experiencing Colour ‘Experiencing Colour’ is the topic which talks about the amalgamation of two necessary components of our everyday life i.e. Colour and Emotions (important part of psyche) in the context of cultural influence. Belonging to the land of colours i.e. India, this subject was born out of the observation of lack of colours in the Netherlands and emotions being the integral part of life for everyone. The aim of the study is to scrutinise the contextual perception of colour.

revatipatil53@gmail.com www.cargocollective.com/revatipatil

50" 36'

Furthermore, ‘Experiencing Colour’ focusses on how the colours used in the political context can influence people's emotions within different cultures and how the strategic use of colours within a particular context can give rise to desired emotions.

28°

‘How can colours influence the mindset of people differently in different cultures?’

N

The perception of colour changes culturally. Hence, it became necessary to consider several countries in my project. Thus, I investigated:

Revati Anilkumar Patil

Master Graphic Design

184 185

28°

36'

50"

N

77°

12'

33"

E

Revati Anilkumar Patil

Master Graphic Design

186 187

28°

36'

50"

N

77°

12'

33"

E

A designer who is specialised in colours or a colour advisor.

Revati Anilkumar Patil

Master Graphic Design

188 189

Sheng-Wen Lo

120°

18'

24"

E

*1987 Kaohsiung, Taiwan

MELK

sengwenlo@gmail.com www.shengwenlo.com

6" 38'

Meanwhile, the project managed to encourage a TV program ‘Keuringsdienst van Waarde’ to look into Weidemelk autonomously. This provides an opportunity to examine how differently would the industry respond to media, and how media approach the topic.

22°

The most prominent graphics on this Campina carton is the image of a grazing cow, along with a ‘Weidemelk’ certificate dedicated to this image, claiming ‘cows graze in the outside at least 120 days / year, 6 hours / day.’ This is a precise claim, and I begin by asking the certifiers whether there are scientific verifications. ‘Weidevoetbal’ (footballs) were made after the two institutions responsible kicked my questions to each other; a mobile photo app was proposed to empower the consumer to help verify the claim, after a statistic model questioning the validity its audition process. In 2017, the Dutch government voted to make grazing mandatory, turning image making into image forcing. This app proposal will be made available to the Dutch government to ease the additional cost of law enforcement, hoping to benefit the animals and farmers.

N

‘MELK’ is a project about the interface between dairy industry and the consumer. It attempts to engage the intensive Dutch dairy industry as a consumer. The project begins by scrutinizing and tapping into a milk carton, which often constitutes the only surface between the consumer and the actual milk. The cartons seem to be the ‘selfies’ of the industry, portraying how it intends to be seen.

190 191 Master Photography Sheng-Wen Lo

Dairy Campus, Friesland #1, 2016, photograph, 110 x 138 cm

Artist Statement

22°

Nutrifeed – Kalvolac Unlimited (FrieslandCampina), 2016, scanned image, size variable

38'

6"

N

120°

18'

24"

E

I am interested in the relationships between people and animals. My work and process engage the underlying issues of these relationships, digest their status and attempt to raise awareness. To me, artistic discourse provides heterogeneous audiences, with whom art work may spark off rich debates.

192 193 Master Photography

Campina ‘Weidemelk’ Carton, 2016, scanned image, size variable

Sheng-Wen Lo

‘Weidemelk’ Certification, 2016, scanned image, size variable

E 24" 18' 120° 22°

38'

6"

N

Weidevoetbal, 2016, acrylic on football, 21 x 21 x 21 cm, edition of 3

194 195 Master Photography Sheng-Wen Lo

Consumer Camera App Prototype for Grazing Observations, 2016, mobile application, size variable

E 24" 18' 120° N 6" 22°

38'

Keuringsdienst van Waarde: Melk, 2017, video, 25'26" (copyright: Keuringsdienst van Waarde)

196 197

Dairy Campus, Friesland #3, 2016, photograph & scanned image, 110 x 138 cm

I hope I will be in some place where I can continue my work with animals.

Master Photography Sheng-Wen Lo

Dairy Campus, Friesland #2, 2016, photograph, 110 x 138 cm

Martijn van Mierlo

12"

martijnvmierlo@gmail.com www.martijnvanmierlo.com

55'

When I saw my images I felt disappointed, none represented what I had seen. That deep peremptory blue, a distant blue I was unable to capture. The semi-fictional search for this distant blue explores in a metaphorical way the gap between reality and representation. A poetic and romantic approach to incubate, a more than ever, relevant debate.

51°

In Search for the Sublime Blue

S

4°

28'

48"

W

*1987 Rotterdam, the Netherlands

Martijn van Mierlo

Master Photography

198 199

Artist Statement I am a dreamer, a thinker, a romanticist.

Through thinking, exploring and experimenting, I tempt to raise questions and new thoughts.

I make use of still and moving images, writings and drawings to visualize my thoughts and ideas.

My work derive from my fascination for the influences of lens-based media on our daily lives and its representative role.

Due to imagery we all, for instance do know what sunset at sea is like, even if one has never seen it with own eyes.

The world of lens-based media is still expanding, I find it fascinating how this has influences our way of living at looking at the world.

51°

55'

12"

S

4°

28'

48"

W

I make use of romantic themes and approach to bring my ideas across and using esthetics to inspire and lure the audience into that thinking process.

Martijn van Mierlo

Master Photography

200 201

51°

55'

12"

S

4°

28'

48"

W

The blue of distance, of where I am not, of where I can not be, of where I will go to.

Martijn van Mierlo

Master Photography

202 203

204 205

Faculty Master Progamme Fine Art

Master Progamme Graphic Design

Master Progamme Photography

Core tutors: Thomas Bakker Marjolijn Dijkman Erik Hagoort Bas vd Hurk George Korsmit

Core tutors: Petr van Blokland Simon Davies Noortje van Eekelen Matthias Noordzij Annemarie Quispel

Guest lectureres: Bonnie Dumanaw Yasmijn Jarram Remy Jungerman Simon Kentgens Navine G. Khan-Dhossos Noor Mertens Mieke van Schaijk Maarten Spons Suzanne Wallinga Dan Walwin

Guest lectureres: Lauren Alexander Marijke Cobbenhagen Alfons Hooikaas Ruben Pater The Rodina Irina Shapiro Studio Dumbar Yuri Veerman

Core tutors: Martine Stig Michiel van Opstal Marga Rotteveel Noud Heerkens Mariska van den Berg Frank van der Stok Philippe Moroux​

Research Professors: Michel van Dartel Sebastian Olma Head of Master Programmes: Miriam Bestebreurtje Office of Master Programmes: Nancy Stipkovits Lise van Zaalen

Guest lectureres: Tessa Boerman Sarah Carlier Sjoerd Knibbeler Josefien van Kooten Ineke Smits Robert Jan Verhagen Anna Witte

Colophon Editor Miriam Bestebreurtje Texts Miriam Bestebreurtje Marcello J. Biffi Ada Favaron Daniel Quisek and the students Text editing Marcello J. Biffi Lise van Zaalen Design Marcello J. Biffi Ada Favaron Daniel Quisek Photography Jason Edwards Cover image Ruben Ăœvez Printing Unicum by Gianotten Binding Stronkhorst Bookbinders Edition of 500 copies Š AKV|St.Joost and the students All rights reserved.

ISBN 978-90-71015-48-9

Master Photography Master Fine Art

Master Graphic Design

51° 34' 44" 4° 48' 41" 51° 41' 20" 5° 17' 18" 51° 41' 53" 5° 17' 38"

N E N E N E