Invitation Open Studio MFA 2017

s o i d f u o t s r e n t s e a p O 17 M 20 e Art Fin

Master Fine Art programme The Master of Fine Art Programme is committed to empowering artists. With a focus on self-organisation and the exploration of alternative professional models, the students will learn to take their practice apart and put it back together again.

At the heart of the programme are the student’s independent research and studio practice, which are strongly integrated. Supported by a rigorous theoretical component and close mentoring, they will identify the questions and ideas relevant to their practice and learn how to articulate them — both in writing and through their work. Furthermore, they will be continually challenged to connect this developing critical vocabulary to others inside and outside the academy. This occurs in the form of self-organised symposia, wherein students invite artists, curators and critics to reflect with them on the themes relevant to their work.

www.akvstjoostmasters.nl

Peng Zhang

(1990, China)

www.pengzhang.com

Chinese traditional culture has gotten lost. Now more than ever, it is very important to know how to recognize and renew culture. My focus is on Chinese culture, my lineage and traditions.

We need to rethink what traditional painting means in 2017, and what our past means. I explore this by trying to build a bridge between the traditional and the contemporary, my past and the “here and now”, China and the West. As a catalyst, I’ve chosen “water” and childhood games as symbols for the production of art works. By using commercial materials and selecting games which I played long ago, I’m representing my childhood and my roots as an individual, but more so as a citizen.

Building my memory, ceramics, 2017

Cindy Bakker

(1989, The Netherlands)

www.cindybakker.nl

In my practice I explore my direct environment. I detect unintentional constructions in temporary status, often found in construction fields, abandoned buildings or streets. They have sculptural qualities as they show a state of temporary flexibility. The temporariness of things have autonomous qualities without intended and this nativity of materials I try to grasp in my work. It often results in sculptural pieces where color is of great importance, that can be experienced as object, painting, photograph or film. My aim is to establish the fundamental relationship between the viewer and the work as it originates from material experience in all its manifestations.

Remains of a wall, object, 2017

Jake Yoo

(1984, South Korea)

www.jakeyoo.com

F: I remember, anytime a teacher would be cool, in any way, later on the same kids that they were being “cool” with would use it against them.

B: (shaking her head) Mm mm.

F: You know? like, use it to like, try to.. ugh, kids.. That’s how militant kids are though! It’s like survival of the fittest!

B: Kids are the devil. Ha! F: Kids are the base form of our primitive instinct.

B: Well, they haven’t F: It’s pure eat or be eaten. And they haven’t, yet B: learned yet.

F: learned to be f-, like, to make alliances with people that last, besides, like, two-faced alliances. Kids are shitty because humans are shitty. And kids haven’t learned to be decent yet... Being decent is like, B: (smiling) Kids aren’t people. Got it.

F: something that you force yourself to do, it’s not human nature to be decent. We, like, civilization has enforced that on us.

B: I’m decent, by nature.

F: ...

B: ...

Athems for a third culture kid, detail, 2017

Ektor Ntourakos

(1991, Greece)

www.cargocollective.com/ektorntourakos

Within my practice I undertake interventions in the urban landscape in order to reconsider the definition of the public space. These are attempts to partly occupy and reclaim the streets within a variety of different communication codes of “the existing real” following a new mechanics of aesthetic perception. Through little interventions-happenings to “patiently re-stitch the social fabric “, I engage with the urban space using different methods, tactics, processes, searching for my identity as well as society’s, within the public space, at the moment of emerging the notion of public. A transformation to an ephemeral “playground’.

Filmstill, Under the Bridge, 2017,, intervention in the public space

‫)‪(1984‬‬

‫‪Susanne El-Jarbi‬‬ ‫‪www.soundcloud.com/selja/darwish‬‬

‫ث ا‬ ‫ا أب ي؟‬

‫ل‬

‫غا‬ ‫ثا‬ ‫ف اذ ص ت ه‬ ‫ا أبي‬ ‫‪.‬أ ا‬ ‫ب ي‬ ‫ي‬ ‫ا أبي‬ ‫ه ا أب ي‪.‬‬ ‫يب‬ ‫د‬ ‫ي با ص‬ ‫ي‬ ‫‪ .‬د‬ ‫يأ أ ت ي د‬ ‫د‬ ‫د ي‪.‬‬ ‫ه أ صد ب ا ب‬ ‫قل‪.‬‬ ‫ه ط د ي‬ ‫بي ا أبي‬ ‫‪.‬ه‬ ‫بي ا أب ي‪ .‬ه ط‬

‫ي‪.‬‬

‫ي ثا‬ ‫ثا‬ ‫غا‬ ‫ف اذ ص ت ه ا أب ي؟‬ ‫ي‬ ‫ات طت‬ ‫ا ت ي ابل‬ ‫ي‬ ‫طت‬ ‫‪ .‬ط‬ ‫ت أ ا ا أب ي‬ ‫ف اذ ف‬ ‫اذ أ ا؟‬ ‫ا‬ ‫ي‬ ‫أت‬ ‫ه‬ ‫ي في‬ ‫;ذ ه أ‬ ‫ي‬ ‫‪ ..‬ذ أ‬ ‫أ د دا ت ي‬ ‫‪:‬أبت هل ت‬ ‫أ ه ي ا د ؟‬ ‫ق‬ ‫با‬ ‫أتأ د‬

Ami Tsang

(1993, Hong Kong)

http://amitth216.wixsite.com/tatata Experienced the gloomy days induced by the Chinese Communist Party during the Cultural Revolution, my father lost faith in politics. Talking about the country becomes a taboo on the dining table, this has led to a missing part of me understanding my father, and my own identity. Since I recognised the devastating consequence of not openly discuss on understanding Chinese history in the post-truth era, researches on the politics in China, specifically the South China Sea has been the theme of my projects.

My projects always comprised of performative video-making and food experiences. By using my body and the food I made as political means, I want to show the Eurocentric community the conflicts between the South Asian countries and to unweave the myth of the growth of China.

My recent projects often involve an image of octopus. I took the living way of this animal as metaphor of freely live in-between the ‘lines’ designed in the sea. By ‘playing’ with octopus, I try to investigate how China uses One Belt One Road to formulate the future relationship between her and the rest of the world, while South China Sea is the most important part on constructing the maritime route. Often be viewed as light-hearted and disarming, I am indeed sincerely looking into my love-hate relationship with China and with my father.

Performative video / the politics of food

Nicola Kirkaldy

(1983, The Netherlands)

www.nicolakirkaldy.com

The origin of my work stems from my interest in natural growth, principally the process of cause and effect. For me the making process is corresponding to natural growth which describes a logical consequence to a degree that it is often overlooked. By using conventional techniques, that transmit the same qualities, I try to simulate the process of natural growth. They, on the one hand are overlooked easily and on the other create a point of recognition which raises a dialogue on how we move between these notions and what this says about our perception and construction of reality.

Filmstill, Studio Wipes, 2017

Tutors & guests Tutors Thomas Bakker (NL) Artist / initiator Club Solo, Breda Marjolijn Dijkman (NL/BE) Artist and Co-founder Enough Room for Space, Brussels Bas van den Hurk (NL) Erik van Hagoort (NL) Art & research George Korsmit (NL) Artist / Co-founder Rainbow Soulclub Guest lectureres Michel van Dartel (NL) Senior curator at V2 and research professor at Avans Max Dovey (GB) Artist Bonnie Dumanaw (NL) Freelance project manager and partner at AB Cultural Producers Yasmijn Jarram (NL) Independent curator and writer Remy Jungerman (SR) Artist Simon Kentgens (NL) Artist Navine G. Khan-Dhossos (GB) Artist Sebastian Olma (DE) Research Professor at Avans Mieke van Schaijk (NL) Gallery owner at Galerie Mieke van Schaijk Erica Scourti (GR) Artist Jack Segbars (NL) Graphic artist, critic, curator and writer Maarten Spons (NL) Artist Maarten Vanden Eynde (BE) Artist and co-founder Enough Room for Space Suzanne Wallinga (NL) Independent curator and co-founder and director of A Tale of a Tub Dan Walwin (GB) Artist

Miriam Bestebreurtje Head of Master Programmes Office Nancy Stipkovits and Lise van Zaalen ​