Graduation Catalogue 2017 - Royal Academy of Art, The Hague (KABK)

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GRADUATION CATALOGUE

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Foreword It is with great pride that I present this final graduation catalogue, that features the work of the Class of 2017. It offers an overview of the work of 193 students in ArtScience, Fine Arts, Graphic Design, Interactive/Media/ Design, Interior Architecture & Furniture Design, Photography and Textile & Fashion, the Postgraduate Course Industrial Design and the Master’s studies in Artistic Research, ArtScience, Interior Architecture (INSIDE) and Type and Media.

The Graduation Festival campaign was designed by our Russian alumna in Graphic Design, Elizaveta Pritychenko. She took inspiration from the transformation a student undergoes from the start in the propaedeutic year until the moment of graduation. The focus is on the transformation itself, the head as an ever­changing reservoir for ideas, thoughts, impressions and knowledge. With a permeable skin that builds up, layer by layer, in a process that cannot be predicted but is of infinite beauty.

This layeredness also represents how man relates to the modern-day image and media culture, in which we sometimes seem to live in a sort of hyper-reality, in which fact and fiction, the physical and the virtual, online and offline, games and reality, flow into each other. These are recurring topics in many of the graduation projects.

A new feature in this catalogue are the texts by the department heads, who reflect on the work of the graduating students in their department.

They talk about the work, but between the lines you can see their motivation, the pride and the passion for preparing a new generation of artists and designers – and launching independent, critical thinkers into the world. The department heads represent the entire team of teaching staff at the academy, a team of which I am exceptionally proud.

Foreword

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We have demanded a great deal of the students during their studies at the KABK, and I am confident that they have made the most of all the opportunities offered to them. Their studies were coloured by various elements, such as internships, field trips, the studium generale, the workshops, parties, guest lecturers and each other! They took part in the Salone del Mobile in 2014 and 2016, the Dutch Design Week, UNSEEN, Designkwartier, and visited many, many festivals and art & design fairs. There were field trips to the Balkans, Bratislava, Berlin, Arles, London, Venice, Athens, Glasgow and a host of other fascinating places.

The students’ professional practice skills were developed through collaborations with the Ministry of Education, Culture and Science, the Ministry of Finance, the Council for Health and Society, the Keep an Eye Foundation, Museum Meermanno, Gemeentemuseum Den Haag and Stroom. Students and staff alike are also seeking increasing cooperation with our partner the Royal Conservatoire The Hague, making the University of the Arts The Hague a contemporary breeding ground of multidisciplinary talent, ready to take its place on the international stage.

We are keen to express our thanks to our main sponsors, who have helped to give the students the best possible start in their professional careers. The Keep an Eye Foundation has -again- pledged a generous donation to facilitate the annual Fashion Show. The Stichting tot Steun contributed to the costs of renewing Peter Struyken’s art work at the façade of the academy building, and sponsored the academy awards. Other awards for the graduating students were supplied by Stroom, the Jan Roëde Foundation, the Schuitema Foundation and Heden / GMW Advocaten. We thank the municipality of The Hague for their generous contribution to the Fashion Show as well as the Graduation Festival.

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Finally, I would like to thank all graduates for contributing to the positive, warm and open atmosphere for which the academy is known.

It was a great pleasure to work with you and you need to know that you are always welcome at the academy. We have every faith that you will make a remarkable contribution to your field and society, and we will follow your development with pride and pleasure.

I wish all graduates of 2017 the very best!

Marieke Schoenmakers Director

Foreword

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Content BACHELORS ArtScience

10

Andreas Sahl Andersen Victoria Douka-Doukopoulou Stefano Murgia Gisella Ripoll De la Cruz Philip Vermeulen Beng Yuenyong

12 13 14 15 16 17

Fine Arts

18

Dilara Ardic 20 Edo Belgers 21 22 Lydia Buijs Florentijn de Boer 23 Afra Eisma 24 Afraz Entessari 25 Lola G 26 Gerolamore 27 Vasiliki Giakoumi 28 Julien Guettab 29 Louise Harley 30 Ai Hashimoto 31 Marina Heuvelman 32 33 Joseph Huot 34 Thijs Jaeger Laura Jatkowski 35 Reynir Thor Jonsson 36 Yulia Kharlamova 37 38 Werner Konings 39 Carla Lafourniere 40 Eden Latham Youlim Lee 41 42 Luis Maly Nina Markkula 43 Marius Mathisrud 44 Jim Mooijekind 45 Mattia Papp 46 Olena Pateli 47 Slavena Petkova 48 49 Judith Pool Lois Richard 50

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Kristel Rigaud Pris Roos Emilie Ruitinga Sébastien Smeur Lorena Solís Bravo Gitte Svendsen Christian Thomsen Kolbrún Lilja Torfadóttir Iris van der Graaf Robin van der Heijden Henriette von Muenchhausen Freerk Wilbers Willem Wilke

51 52 53 54 55 56 57 58 59 60 61 62 63

Graphic Design

64

Fay Asselbergs Remco Blom Noa Defesche Jamie de Rooij Ayse Duran Alice Fialová Kateryna Gaidamaka Charlotte Gramberg Amaya Hagelaar Ellen Heijne Márton Kabai Ninthe Kiemeneij Carmel Klein Haewon Lim Carlijn Moerenhout Gregor Nebe Manus Nijhoff Yacinth Pos Jordy Ringeling Pascal Schilp Antonia Schwaiger Magda Skibinska Jaap Smit Caroline The Sean Valies Lisa van den Heuvel Wies van der Wal Geeke van Bruggen Janne van Hooff

66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94

Jordy van Look Yara Veloso Bohye Woo

95 96 97

Interactive / Maedia / Design

98

Alina Androsowa Lara Arnoldus Mees Arntz Raya Hadzhidimieva Donna Kok Luka Kueter Lotte Meeuwissen Ignas Pavliukevicius Luke Pierson Julia Sterre Schmitz

100 101 102 103 104 105 106 107 108 109

Interior Architecture and 110 Furniture Design Nanneke Boomgaard Yuri Choi Noortje de Brouwer Tommy de Moor Iris Erkelens Anna Groet Yangwook Kang Zsofia Kollar Jungmin Lee Bianca Meilof Rick Mouwen Jasmijn Muskens Marta Sigríður Róbertsdóttir Allegra Santis Nienke Sikkema Milou Simons Anna Sitnikova Fabienne van Steensel Lieke Vernooy Ymke Vertelman Irene Wing Sum Wu

112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132

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Photography

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Larissa Ambachtsheer Eline Benjaminsen Angeniet Berkers Maarten Broekhuizen Annelies Bruins Jesse Budel Jasmijn Bul Marina Caneve Sonja de Bruin Marlous Dirks Tanja Eftal Jaimy Gail Katarína Gališinová Emma Hopstaken George Knegtel Nine Kootstra Audrius Kriaučiūnas Liv Liberg Laura Luca Martijn Mendel Annija Muižule Richtje Nijhof Medina Rešić Annemiek Schout Tommy Smits Lise Straatsma Mirjam Suiker Gilleam Trapenberg Indrė Urbonaitė Lisa van Casand Isabelle van Hemert Tessa van Rijn Lotte van Uittert Wiosna van Bon Thomas Vandenhecke

136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170

Textile & Fashion

172

Roos Boshart Rachael Cheong Veronika Konvičková Thalonja Slui

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174 175 176 177

MASTERS ArtScience Sabina Ahn Natalie Fyfe Sophie Jurrjens Liva Kalnina Nanda Milbreta Cathleen Owens Jan Kees van Kampen Alexander Zaklynsky

180 182 183 184 185 186 187 188 189

Artistic Research

190

Bergur Thomas Anderson Eros Chien Sabin Garea Quinsy Gario Mirka Hodasova Sepideh Jahanpanah Vera Mennens Ingrid Verweijen

192 193 194 195 196 197 198 199

Interior Architecture (INSIDE) Isadora Davide Minjung Kang Klodiana Millona Makiko Morinaga Arvand Pourabbasi Mila Tešić

Type and Media Daniel Coull Sven Fuchs Pablo Gamez Borna Aaron Grčević Ro Hernández Thom Janssen

Eino Korkala Mariela Monsalve Eunyou Noh Martin Pysny Lipi Raval Magdalena Wisniewska

216 217 218 219 220 221

POSTGRADUATE COURSE Industrial Design

222

Bas Froon

224

Awards

228

Workshops

230

Teaching staff

231

Colophon

240

200 202 203 204 205 206 207

208 210 211 212 213 214 215

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BACHELORS

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ArtScience Loudly banging tennis balls in polyrhythmic structures in contrast to subtly moving strings of fabric in the air. Philosophical ponderings about the invisible image opposed to concentrated, improvised music on self-built instruments. The sound of splashing water, or the pure sound of sine waves through basic mathematical shapes, next to the enlarged absurdity of our economic systems. This year’s ArtScience Bachelor graduates all create their own mesmerising and often immersive worlds.

They show how they transform their individual fascinations into experiences that capture the audience and make them wonder about the world we live in.

The ArtScience Interfaculty is a collaboration between the Royal Academy of Art and the Royal Conservatoire, since the conception of its Bachelor’s programme in 1989 as the Image & Sound Interfaculty (with a Master’s programme since 1999). Our students are curiosity-driven researchers who focus on phenomena in nature and science, society and all artistic disciplines, in order to develop new types of art, new types of experiences and new types of artists for the twenty-first century.

We are proud of these new ArtScientists who are ready to face the future.

Taconis Stolk Head of the Bachelor & Master ArtScience Interfaculty

ArtScience

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Bachelors Andreas Sahl Andersen

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Victoria Douka-Doukopoulou

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Stefano Murgia

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Gisella Ripoll De la Cruz

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Philip Vermeulen

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Beng Yuenyong

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ArtScience

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Andreas Sahl Andersen

Project Everything at the same time

Thesis About aboutness

andreassahlandersen@gmail.com +45(0)65963446 Denmark

A stage is carefully devised with an assembly of invented instruments, simple enough to be operated by a single performer. By submitting to the physicality (or character) of the instrument and the metaphysical relationships of materials, I am conveying into a romantic and indeterminate, improvised sound composition. I aim to invoke a fragile and concentrated poetry which challenges the urge to rationally understand and derive ‘meaning’.

I want to make ‘sense’, in the sense, to make my audience ‘sense’ and not phenomenologically deduce a definite ‘sense’.

Establishing an understanding of a black hole through the alternating relationships between its surround­ ing events in (in)finite space time.

The changing relationship among distances between these temporary circumstances can be estimated, but its ‘aboutness’ remains a momentary abstract construction. In simpler words, what I am searching for can not be defined but only estimated through its surroundings, thus the ‘nature’ of ‘it’ only habituates an undefinable space between other uncertainties, which in some cases again, can only be estimated through their respective ‘aboutness’.

ArtScience

Andreas Sahl Andersen

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Victoria DoukaDoukopoulou doukavictoria@gmail.com www.dkdkpl.com +31(0)617941132 Greece

Project A catalog of all things invisible I sat down and built myself a loom.

I sit on it day and night and I weave the invisible.

I make carpets and blankets and tapestries.

And then I write you letters with instructions on how to see them.

I am writing you now, to make plans for you to come and see my tapestries. * ‘A catalog of all things invisible’ complies stories of the invisible, the unthinkable and the inappreciable. The installation of the threefold catalog indexes scores for a performative lecture, a documentary and an archive that can never been actualised as their building material is the invisible itself.

The catalog is mainly words — technical words, English words motivated by the sensitivity of practicing the art of noticing, of looking for traces and ways.

ArtScience

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Victoria Douka-Doukopoulou

Thesis So let’s say, you walk down a path and you run into a snag, a dead tree, an unexpected drawback — a soarvi ‘So let’s say, you walk down a path and you run into a snag, a dead tree, an unexpected drawback — a soarvi’ begins already in conversation, yet it doesn’t matter what we were discussing before diving in, before running into the soarvi, the big or peculiar dead tree that will remain a point of references in our walk.

It is a non-linear exploration of ways to express thoughts like walks, ways to tell a story about time that involve getting to know all the participants — human and non human.

A triple story; that of the landscape, of Sámi and of the West. In the slow pace of walking it works through time scales, from the pattern of forest developments to SI seconds, offering a peek into otherness.

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Stefano Murgia

Project 14419.88 cm3

Thesis Voice

stefanomurgia1992@gmail.com www.stefanomurgia.nl +31(0)624705263 The Netherlands

Three bodies, all with the same volume, but each speaking its own language. How and why do they communicate and how do they form their own characters?

A research of language. How to talk with objects, sounds and numbers.

And how, but also why, we share stories through these languages.

I built three musical instruments based on basic geometric shapes with a volume of 14419.88 cm3 and with a difference of just %0.28.

Together they form an instrument which shows how form changes its acoustic character by using its own resonance. My research has resulted in an installation & live performance which shares a world of different voices.

ArtScience

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Stefano Murgia

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Gisella Ripoll De la Cruz

Project Perpetual Deconstruction

Thesis Perpetual Decomposition

g_ripoll@hotmail.com www.gisellaripolld.weebly.com +31(0)628201124 Colombia

After the deconstruction of a material – acrylic yarn –, a new structure was created.

The new connections – string by string – begin a new process of deconstruction by reacting to currents of heat, delicately falling apart, as it dances within them.

The world as we know it is created by a series of accumulated instances that create an illusion of staticness and perpetuity.

This illusion – as handy as it may be for the sake of our very basic functionings – works. However, now and again one encounters what I would like to call: the glitches of life; moments of our reality where things jump around, change drastically, confuse us and startle us.

ArtScience

Gisella Ripoll De la Cruz

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Philip Vermeulen

Project PHYSICAL RHYTHM MACHINE

Thesis Brewing The Sublime

philip.vermeulen@interfaculty.nl www.philipvermeulen.com +31(0)650688630 The Netherlands

The installation is an immersive visceral acoustic instrument. Two heavy duty shooters are shooting balls up to 150 km/h. 14 meters through the air. Smashing on two sound boxes. The ball hits back 14 meters through the air inside the resonating catchers back in the system. ∞

This cookbook investigates different ingredients used by chefs around the world throughout history to brew and play with the phenomena: The Sublime. Ingredients such as: Fight Flight Response, Over and Under Stimulating Ecstatic Truth Bewilderment, Attraction to Volcanoes Tsunamis and OD’s, Hard Forms, power and electricity, and Hallucinations, Terror and speech.

From the god part towards the biological response, from theatre play to digital signals. A must-have for every kitchen.

Internship Studio Zoro Feigl

The Physical Rhythm Machine or PRM shoots different compositions.

Funky rhythm compositions by Vermeulen and algorithmic non metric ‘rhythms’ by the machine itself. PRM shoots the compositions in bitter violence which are made visible while resonating the space and the bodies of the audience.

ArtScience

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Philip Vermeulen

Served by Chefs such as: Pseudo Longinus, Burke, Kant, David Nye, Kurt Hentschläger and the author himself describing recipes that brew and play with the sublime. Combined by layers like lasagna and with anecdotes from the author.

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Beng Yuenyong

Project Flush

Thesis Flush

bengyuenyong@gmail.com www.bengyuenyong.com +31(0)619530844 The Netherlands

In this hydraulic installation, the force of water is being used to resonate a piece of steel creating different patterns in image and sound.

The universe is in a constant state of flux. When we encounter things that reminds us of this truth, we experience a feeling that is often described in literature as a ‘supreme melancholy’, or some type of spiritual experience. Artists through­ out human history have tried to capture this spiritual feeling in poetry, the visual arts and music.

Due to changing ideologies, social structures and advancements in science, this ´feeling´ has been interpreted differently through time. Is it still possible to evoke these emotions in the twenty-first century? A time that seems to be more materialistic and devoid from the spiritual than ever before.

ArtScience

Beng Yuenyong

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Fine Arts Into the future…

The star of this year´s 57. Venice Biennial 2017, Anne Imhof, has graduated from higher art education in 2012. In only five years her career moved from being an art student to represent her country, Germany, at the biennial. On top of that the international jury awarded her with the highest distinction, the Golden Lion. This is a steep development in a very short time.

Should we, at the BA Fine Arts, take a close look at her work and adjust our teaching in the direction of such performative installations?

Maybe this would lead graduates to similar success? That would be a wrong conclusion.

If our teaching only reflects on what is currently en vogue and fashionable, we would continuously dangle after what is regarded successful.

Instead we need to aim for what will get attention in five to ten years, in the future. We should not just follow the art forms and attitudes which are selected to be presented now.

We need to look ahead. We need to support students to shape an unknown future, their future.

In the BA Fine Arts programme of the KABK we emphasise the critical awareness of artists as individuals and as contributors to the field and our societies. Encapsulation, art as therapy, closing off from external influences, art as bohemian attitude, art as a string of short-lived ideas, art as self-fulfilment, art as a set of purely manual techniques: these are unfortunate tendencies which can be observed among students at many art schools today. In the public perception the role of art is seen as a profitable endeavour born from crazy ideas.

News about high prices and huge profit margins have distorted the image of the art market and with this the view on the life of the majority of artists. When the image of art and artists has such a self-indulging tone, it becomes difficult to argue for public necessity and responsibility.

Fine Arts

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We will need to design art education in order to counteract. How can we emphasise “independence” as a skill, which draws individual conclusions from knowledge and experience?

How can we embed “experience” into our curriculum as an open mind for the societies and cultures around us? How can we explain, that “independence” is a requirement to thoroughly observe the world, to reflect upon it and to propose change? How can we create enthusiasm for the arts as an “intellectual” endeavour, born out of the closest possible link between making and thinking? How can we clarify how art contributes to all our lives: as knowledge, as critical injection, as remembrance and interrogator of values in past and future and at the same time as pleasure and joy? How can we enable students to imagine and build the future: their own and that of our world? How can we build the confidence that artists have a lot to say and that their contribution should be rewarded rather than subsidised?

All this has guided our teaching in the past years and will guide us in the future. Now a group of young artists leaves KABK with a Bachelor of Art. We have tried our best to get them ready for their next move. Some might start their life as artists right away, others might move on to obtain a master, maybe later even a PhD. And maybe we will meet some of them at an international biennial as influential artists in five to ten years. But we hope that all of them take their role as artists seriously and make the best out of it: for themselves, for the arts and for the future of our world.

Klaus Jung Head of the Bachelor Fine Arts

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Bachelors Dilara Ardic

20

Nina Markkula

43

Edo Belgers

21

Marius Mathisrud

44

Lydia Buijs

22

Jim Mooijekind

45

Florentijn de Boer

23

Mattia Papp

46

Afra Eisma

24

Olena Pateli

47

Afraz Entessari

25

Slavena Petkova

48

Lola G

26

Judith Pool

49

Gerolamore

27

Lois Richard

50

Vasiliki Giakoumi

28

Kristel Rigaud

51

Julien Guettab

29

Pris Roos

52

Louise Harley

30

Emilie Ruitinga

53

Ai Hashimoto

31

Sébastien Smeur

54

Marina Heuvelman

32

Lorena Solís Bravo

55

Joseph Huot

33

Gitte Svendsen

56

Thijs Jaeger

34

Christian Thomsen

57

Laura Jatkowski

35

Kolbrún Lilja Torfadóttir

58

Reynir Thor Jonsson

36

Iris van der Graaf

59

Yulia Kharlamova

37

Robin van der Heijden

60

Werner Konings

38

Henriette von Muenchhausen 61

Carla Lafourniere

39

Freerk Wilbers

62

Eden Latham

40

Willem Wilke

63

Youlim Lee

41

Luis Maly

42

Fine Arts

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Dilara Ardic

Project A mark to inhabitants

Thesis Landscape inside me

dilaraardic@hotmail.com www.dilaraardic.nl +31(0)646881546 The Netherlands

Cold air rested upon me, raised its head, and gazed over the wide river.

Unless something was left behind, it was the moment for thoughts to forget. Restlessly we lost our identities to each other, nothing but our bodies and the chest as my shell.

In my thesis I describe the contradicting meaning towards the creation of landscapes. The personal self-indulgence creates an authentic experience towards a place, of that broader landscape. Yet selfdiscovery is the internalization of that place, and eventually such places are the creation of a landscape as a whole. You can obtain an authentic experience of landscape as a subject within art, as well for the landscape surrounding the art.

The significance of the landscape is dependent on a reflection upon a personal place inside the landscape.

Fine Arts

Dilara Ardic

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Edo Belgers

Project Untitled

Thesis Perception

edobelgers@hotmail.com www.edobelgers.wordpress.com The Netherlands

The project was a moment when I was building on this installation, whereby the process was a nice part. It concludes readymade items that seemed necessary for my interest in the way of constructing as composing different issues into an installation.

This relates to the fall of Babel as it relates to mankind’s need to go to heaven and further.

In the thesis is lack of empathy an issue because it undermines social behavior of mankind as its idea to achieve wealth. Sense of time and space questions the impact of perception on behavior.

Fine Arts

Edo Belgers

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Lydia Buijs

Project Wind-Instruments

lydia_buijs@hotmail.com www.lydiabuijs.com +31(0)682067099 The Netherlands

In my work I search for a form of essence of something I cannot entirely define. My drive for this quest, and the making of my work, originates from the strong feeling that we humans – that I – have become estranged from the animal that I am, i.e. home sapiens.

I attempt to express this feeling through my installations, which are often made from earthly materials such as wood and clay. An important element within my work is performance, which brings in a new dimension; i.e. time. During this (performance) time, my installation is a living and moving work in which the objects are used as they were meant to be used.

Fine Arts

Lydia Buijs

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Florentijn de Boer

Project To bite one’s own tail

Thesis The Activated Perception

florentijn_deboer@hotmail.com www.florentijndeboer.nl +31(0)649231842 The Netherlands

A cat chases its own tail. For however long it lasts, the cat is caught up in the moment.

Only when it catches up to the tail does it realize what it was chasing, and the illusion shatters.

Can the viewing of an abstract image lead to an increased ability for critical reflection in its audience?

And can this increased awareness allow one to consciously reflect on their place in society? These questions are explored in ‘The Activated Perception’.

Fine Arts

Florentijn de Boer

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Afra Eisma

Project SUN KISS ATTITUDE

aframarciel@gmail.com www.afraeisma.com +31(0)613860639 The Netherlands

Fictive presences – odd characters and personalities – with sun kissing attitudes. The nagging sound of a hammer in your head – allergic to your own sweat. Don’t drop your birthmarks on the floor. Here I present to you, my overwhelming hodgepodge of colourful sculptures and images, portraying my fears as well as my fantasies. Ranging from humour to tragedy, to be as playful as gloomy.

Fine Arts

Afra Eisma

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Thesis THE ARTIST STUDIO AS AN EVENT: From the physical to the virtual In my thesis I seek for the possibility to consider the artist studio as an event. I am aware of the fact that the word event can refer to a broad range of things like a strike, a benefit concert, a destructive climate catastrophe and even an intense experience while looking at art. In my thesis I will refer to event as the act of creating – the unstable stage in which the work is not yet determined: I see the event as the moment a certain exchange happens between the work and the space it is being created in.

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Afraz Entessari

Project Transhumanism

afraz.entessari@gmail.com www.afrazentessari.nl +31(0)616873387 Iran

My works are a visionary exploration through a series of concepts and experiences, though some are seemingly of mundane and routine nature, while actually they stand on the edge of science and philosophy.

By digging into them, they have the potential to destruct conventions of thought and the understanding of reality. By this exploration, I suggest and open ways to examine the comprehension of alternative modes of perceiving information, being and prehension of consciousness.

Expanding definitions and boundaries of language, and therefore our understanding. This subject includes the main body of my work and research. Inspired by human’s first attempts to record and communicate knowledge, I explore through human evolution.

Fine Arts

Afraz Entessari

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Thesis Psychedelics and modes of subjective experience In this thesis I discuss psychedelic phenomenology and consider the philosophical point of view on such experiences. These naturally occurring substances ,which have had role in human rituals since ancient times, and their effect on modern culture.

They have opened up doors to our future. Considering the role of these substances in our culture, art and philosophy, and trying to integrate them into our language system, can play an important role in unfolding new paths to comprehension of our existence and modes of perception.

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Lola G

Project I almost forgot I don’t care

Thesis In between spaces

the-lola@hotmail.com www.lola-gee.com +31(0)617343674 Argentina

A public space that extends beyond the physical realm, into the virtual.

Does the space for existential surrender lie in between them?

Is rebellion possible through defeat?

Can we delight in the mundanity of every-day chaos and take refuge amongst a sea of trash?

Appropriation, ready-made, DIY and humour: weapons of protest for a stray poet.

‘IN BETWEEN SPACES’ is a thesis booklet on the importance of creating platforms in between institutionalized and public spaces: environments for protest and dialogue. The thesis takes my artwork ‘THE BOOTH’ as a starting point to discuss the role of the artist and encourages the audience to take an active role in these spaces of friction.

Fine Arts

Lola G

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Gerolamore lucagerryconte@gmail.com www.gerolamore.hotglue.me +31(0)683165984 Italia

Project The Genesis of A Romantic Painter That Eventually Fell in Love With A Tree; In Zeven Scènes A temporary theatre that demonstrates the ‘Mystery of a practice’.

A Romantic attitude.

Gerolamore takes back the Sturm Und Drang from the pocket to reveal a life, useful for re-creating a feeling.

Beyond the brush there is a practice that is Painting, that is Theatre, that is Life.

The Romantic Painter is Engagement.

The Work is the process of A trace of what the ‘outside’ once gave.

Gerolamore got something, A Tree.

– It is about Love – Gerolamore wants to give it back.

Fine Arts

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Thesis A Day With Half A Moon / Dialogical assumptions How does the formalization of content dictate its connotation for the reader?

According to the intertextuality within poetic and prose and thoughts.

Are dialogical assumptions valuable for a constructive research?

Taking into account the power of a poetic process restrained within a dialogue.

May we reconsider our own words, thoughts and presumptions?

The main problematization is the perception of colour.

“If I want to paint a landscape it’s because I Love the landscape and because I want to be the landscape!

Therefore the best place for the landscape is the landscape.” G.L.C.

It is a pursuit for the dialogue, an engagement of the other speaker, to feel in contact.

Gerolamore

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From colours to rules, to philosophy, to language, to methods of learning, to history, to fiction, to art, to life.

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Vasiliki Giakoumi

Project The 7 C’s

Thesis The Fistulated Cow

vasiliki.giakoumi@gmail.com www.vasilikigiakoumi.nl +31(0)646922643 Greece/The Netherlands

To find the centre of the world, Zeus released two bulls from the edges of the universe, heading in opposite directions. Wherever the beasts would meet, would be the ‘Omphalos’ – the navel of the world. But as they gained more momentum, the bulls collided into a new formation; the double headed bull, with one head facing to the front and one to the back, condemned to walk circles around itself just above the Omphalos, in a state of inert indecisiveness.

“Start by entering your fingertips.

If you’re not sure how to carry your hand, it’s recommended you form a kind of point, by touching the tips of your fingers with your thumb.”

Internship Stroom Den Haag

Fine Arts

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The 7 C’s entwines myth, fantasy & reality, stemming from a fascination with bovine symbols. A particular interest is the recurring association with affluence & economic robustness. The golden calf, the NY charging bull. How are these narratives reiterated in times of faltering economies?

The practice of fistulation allows us to have direct access into the rumen of a cow (a compartment of a bovine’s stomach) through a permanent round opening on the animal’s side. What does this surgical modification, akin to a design intervention on a living body imply?

And how does it connect to the existing iconography that links bovines to ideas of fertility, prosperity and abundance? Is there a place for cows in contemporary art discourse or has interest in their symbolic value faded over time? If so, what could a new icon -the fistulated cow- signify?

Vasiliki Giakoumi

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Julien Guettab

Project Today, duality is one

Thesis Art as a religion

julienguettab@gmail.com www.julianjulianjulianjulian.com +33(0)619828026 France

The box is an object separating two worlds. On the outside it shows an exoteric message seen by anyone.

On the inside, the box keeps its esoteric secret.

Why did I pee in Richard Serra’s sculpture ?

I am the Moon and the sun, You touch me but I am still bleeding It makes me feel positive and negative Today duality is one. I am standing outside and inside.

Fine Arts

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Julien Guettab

In 2013, I wasn’t really aware or educated to understand minimal art. When I found this incredible big sculpture by Richard Serra, I thought it was a good spot to pee in it. It smelled like pee and iron inside. People used this space as a toilet. Lying on the ground were used condoms, needles and garbage.

Extract from Art as a religion page 6.

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Louise Harley

Project A Landscape

Thesis

mlharleyart@gmail.com www.louiseharley.eu +31(0)639275588 United Kingdom

Landscape is the world outside and I am looking for ways to show this that use the gap between the 2D and the 3D, between the visual and the proprioceptive.

Significance, Landscape and Other Poems, stories and a consideration of why we draw, what we draw and how we experience landscape.

Because we are always situated within the world. It is never an external thing. Even when it is.

I’m an adventurer and the landscape for me is a physical, sensual thing, perceivable through its objects and through its natural layers of growth.

This current work is the latest in a series of landscapes that arise out of explorations of local coastal woodland.

It is a landscape embodied through natural forms which from repeated visits I know by heart. The process of creating this work involved painting the memory of the physical forms and hanging them in such a way that allows the viewer to simultaneously view them and perceive their space.

Fine Arts

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Louise Harley

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Ai Hashimoto

Project A sanctuary of Kinoko

Thesis Pink Tsunami

hashimotoai@gmail.com www.hashimotoai.com +31(0)611268778 Japan

After the Pink Tsunami disaster, everything disappeared and was covered with pink sand. All living creatures seemed to be extinct.

One day Kinoko came from the sky.

It was carrying a yellow bag full of the essence of life. Kinoko was alone. It took the bag and put the bottom head into the ground. It sat down in a casual pose for a while.

Small balls started to bubble on the surface of the yellow bag and covered everything rapidly. All of a sudden the balls all burst together and were absorbed into the pink desert. Then new life began like bamboo shoots after rain. This seemed to be new life which did not exist in the previous world. Everything was completely covered with new life.

It was the beginning of a new era for better or worse.

I represent a new mythology called Pink Tsunami, which describes how the world came to total destruction.

Typically, symbols have the form of words, sounds, and ideas. This story, shown only with visual images, represents a number of different meanings and ideas. In this way the story brings personal images and stories to the reader based on their experience and environment, giving them more room to read in a different way.

Mythology was traditionally transferred by the oral tradition on a small scale. During this process, the story was modified, arranged, simplified and details were added.

I have tried to reproduce the same process of mythology all on my own by drawing images in different styles and materials over and over again.

Fine Arts

Ai Hashimoto

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Marina Heuvelman

Project Synthesis and analysis

Thesis Absurd art

marinaheuvelman@gmail.com www.marinaheuvelman.com +31(0)631158897 Japan

The pharmaceutical laboratory is a place for synthesis and analysis, a progression towards a cure.

This work is a laboratory that became free. Free from any obligation.

An experiment itself to experience and imagine. The scientific tools made for precise measurements have evolved into something more undefined. They are parts of a process, as their predecessors.

The goal is yet to be discovered, each piece evolving independently as they find their own identity.

1. Absurd, ridiculous, preposterous all mean inconsistent with reason or common sense. Absurd means utterly opposed to truth or reason: Being so attracted to strange absurd things in life and art, I went on a quest to discover what defines the absurd and all the benefits that come along with them!

Fine Arts

Marina Heuvelman

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Joseph Huot

Project This world

Thesis Black Humor and Monstrosity

huot.joseph@gmail.com www.joseph-huot.com +31(0)687618015 France

‘This world’ is a phantasmagorical place I depict. My works are windows and portals between our world and this one.

My thesis is about black humour and monstrosity in art, how it had been depicted, for which purpose and what it brings us. I chose that particular subject, because I am sensitive to black humour. I think it often helps to look at something from a different perspective. It was also a way for me to connect with many artists that I have looked to for inspiration through time (Bosch, Dali, Goya, Miyazaki, …)

The scenes that I capture from this parallel world are not always clear, but they are often helpful to me to understand the real world or to be more self-conscious about my feelings, my desires and my surroundings.

I want you, at first sight, to be attracted by it, you’ll ask yourself what do you like about it, you’re going to want to know about it and then, I hope, learn about yourself.

I am aiming for beauty, that everybody can enjoy regardless of their backgrounds.

Here, I feel that sometimes people drop their armour, they let themselves be more vulnerable for a moment, contemplating this alternative world.

Fine Arts

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Joseph Huot

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Thijs Jaeger

Project ALTNET.WORK

tgpjaeger@gmail.com www.thijsjaeger.com +31(0)654262661 The Netherlands

Our waters abject poison through wireless systems. Fountains, a constant stream of data seeping through cracks, grant infinite wisdom upon sacrifice. Retain yourself, throw a coin in these self-devouring beasts.

Fine Arts

Thijs Jaeger

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Thesis In search of the hidden archetypes of contemporary telecommunication Telecommunication forms a widespread grid that influences and designs our modern lives, she supervises and maintains our relationships. At loss of metacommunication, how do we decipher new archetypes of communication?

A digital sense of self-actualisation, described by new types in form of ‘the element, sender, receiver and reader’, transcend to a modern Sage. What whirls in the digital collective unconscious? We experience a growing dissonance with our platforms and algorithms.. will truth set us free?

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Laura Jatkowski

Project Untrammelled

Thesis Feeling the Seen

laurajatkowski@gmx.de www.laurajatkowski.com +31(0)640922129 Germany

A machine making toast, doing my laundry and with you I go around and come around. You invent me and I invent you. We invent one another.

Hypothetically could we consider works of art as physical mediators of temporary events, as entities which stimulates the beholders presence and consciousness by triggering cognitive and affective processes and, in doing so, drawing attention to the relation between self and object.

Your existence is triggering my curiosity, affecting my capacity and seeking my animation.

Fine Arts

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Familiar on the surface. Loosing my grip as I strip you down. Allowing me to choose.

My thesis has been a tool to deepen my understanding of the complex relationship between one’s sensing body and the lived experience.

Starting by investigating the interrelation between one’s senses, and how their interaction structures one’s perception.

Laura Jatkowski

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Reynir Thor Jonsson

Project The Reflecting Knowledge ‘93

Thesis The Power Of The Object

reynirthor9@gmail.com www.reynirthor.com +31(0)657521015 Iceland

When objects are sampled they hold the value of nothing, until the meaning or the reference of that specific object is evoked by a meeting between the spectator and it. When that moment becomes charged with past memories or internal conflicts, it takes you to an unfamiliar place that still is so familiar.

The artist works as an ethnographer, collecting visual evidence of our modern culture with a certain overview never seen before.

Sometimes a disruption develops between the memory of the past and the reality of an experience, and it is exactly at those moments where I have found the inspiration for my work.

The power of the object. Our own perception of our existence and reality influenced by hyper reality.

A common object as art?

How do we define an artwork by looking at the context over the material? We all have our own perception on taste, looking at aesthetics and value. Value and the authorship of borrowed elements from daily subjects, our perception on reality influenced by hyper reality.

Fine Arts

Reynir Thor Jonsson

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Yulia Kharlamova

Project The Song for Timeless II

Thesis The Importance of Standing Still

ykharlamova@gmail.com www.yuliakharlamova.com Russia

I went to the field and merged with the wind. I accepted all the things which can happen to me today or tomorrow. Being a part of the flow made me stronger. Burn the field, and there I become...

There are endless variations of how standing still may influence our thinking and behaviour. It can signify the protection of the dearest values or, on the contrary, giving up to the flow. It can be a declaration or a daily routine. Thinking about the role of standing still has its physiological, psychological and creative facets, and it touches on deep cultural questions of the life rhythm and timesaving.

Yulia Kharlamova

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Internship Heden

Fine Arts

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Werner Konings

Project Poise

wernerkonings@gmail.com www.wernerkonings.nl +31(0)615504284 The Netherlands

By removing the characteristic of an object, it becomes less familiar.

Now it is more disengaged from its function. Without function there is more space for a development into a transformation that goes beyond that what’s recognizable. A different position or an illogical connection enhances this estrangement.

I pursue this thought in order to reach a form of rest and standstill.

I work from the material itself, that on the one hand dictates me in how a form should develop, but on the other hand I try to determine.

Hereby it is interesting to put these concrete forms together so they take effect, without necessarily belonging together.

Internship Stroom

Fine Arts

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Werner Konings

Thesis The Scientific Method and the Visual Arts In my thesis I do an attempt to apply the scientific method on the visual arts. Within science this method operates as a qualitative benchmark that contains a judgment of value on an experiment and the knowledge that it gained. The goal hereby is to be able to separate ‘real’ sciences from pseudo-sciences. On the contrary I don’t use the scientific method in order to reach a qualitative benchmark on visual arts. I apply it so that it can give a clarifying view on the development of art-currents and the practice of visual artists.

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Carla Lafourniere carla.lafourniere@gmail.com www.cglafourniere.net +31(0)683215241 France

Fine Arts

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Project Memory Circus / Part 1 : You forgot that you wanted to forget My work is like a memory board.

I pile up images that can no longer be contained in my head. Thoughts and memories are being played over and over again, in a space, in a constant mutation that I am creating. An adaptable world that is both present and invisible, concrete and immaterial, like the story I want to tell.

Carla Lafourniere

Thesis Remember to forget In my thesis I researched the relation between memory, forgetting and identity.

Starting from this definition that explains memory as an ability to exist, who am I if I can no longer remember and records things? While studying philosophers and artists, I challenged myself to forget in order to draw a clear line between myself and what I can remember of myself, and ultimately define myself.

Facing my fears of disappearing, I ended my thesis in a short archive of my memories, enlightening the necessity of forgetting.

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Eden Latham

Project Frontierland

edenlatham@hotmail.com www.edenlatham.com +31(0)641792436 United Kingdom

Somewhere close by, pus flows Minion© yellow. A bit like the colour of the of the kitchen wallpaper after 20 years of cooking potatoes, who cleans their wall anyway?

A dog with three legs takes the remote control into his cage. The mattress stains immediately, because the bed sheets are permanent curtains. A body is slowly sinking into it, slumped and seeping into every fibre of the crumpled heap.

Flesh liquifies; mass to juice, brain to gel, life to vapour. Then, the saponified body - it doesn’t even look much worse than it did before. Next to it are crisps that are still edible.

No one cares, it only ends because of unpaid electricity bills. And that’s the end of that. The council doesn’t tell the new family.

Internship Life

Fine Arts

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Eden Latham

Thesis Spectator Of Time: Does My Garden Chair Feel Pain?

An encounter with a humble plastic chair lying lonely and broken on the side of the road gave way to my thesis. I explore the notion of what I call object experience. Relying on anthropomorphism; an innate human tendency, relics of personal taste; mattresses, sofas, ornaments and plastic chairs become regular cast members to the re-run of a uniquely everyday melodrama; homes and gardens setting the scene.

My interest is of the trace; the aspirations, anxieties, memories and even dreams that linger in objects long after we decide their functional value is extinguished. Regarding them as somewhat conscious, they’ve witnessed our lives and have been silently recording our presence. What would these objects say about us if we bothered to ask?

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Youlim Lee

Project Solid and Delicate

Thesis Uncanny

ulim.lee@gmail.com www.youlimlee.com +31(0)612380716 +821092840926 South Korea

My works grow from each other in a process of repetition with diverse mediums. They try to be together even though they are made of different materials like fabrics, ceramics, and paintings. Each time they are arranged differently in space, to make viewers experience manifold expressions of the human body and its surface, that are solid and delicate at the same time to the externals.

The inner and outer surfaces in the surroundings are marked with traces of memories, either temporarily or permanently. It is not always to be aware of the body in detail, but its presence exists longer in the works.

The definition of ‘uncanny’ is strange or mysterious, especially in an unsettling way and here, ‘canny’ means having or showing astuteness and good judgment. My idea of uncanny artworks attract viewers aesthetically but have an odor of suspicion. In my thesis, I question a duality of uncanny works and if there can conceivably be a poke in the eye regarding a context and image of uncanny artworks. I analyze this related to a controversial subject and material of the human body in the selected works.

Fine Arts

Youlim Lee

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Luis Maly

Project Thanatophobia - ESR (12)5

luismaly1@yahoo.com www.luismaly.com +31(0)619810535 Greece

My grandfather died some years ago. After the funeral, we ate fish soup at my grandmother’s house.

This is a greek tradition. Six years have passed since then, we still keep some objects of his such as his shaver, his robe and other belongings. These objects, that did not play an important role in our life, had suddenly gained a great sentimental value.

Thesis Venice Biennale 2015 VS Fifa Euro 2016 Two passions, my profession and my free time, art and sports. Why does a museum feel so different to a live football game? In my thesis I conducted a comparative analysis of the Venice Biennale 2015 and Fifa Euro 2016 using five parameters linked to leisure. So who will win, the Euro or the Biennale?

Blood tests should be carried out often because a great deal of information about a person’s health condition can be determined.

Misreading a blood value though, may cause great stress.

No one came back from death and told us how it was.

Fine Arts

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Luis Maly

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Nina Markkula

Project A Journey

nina.markkula@yahoo.com www.ninamarkkula.com +31(0)619918651 Finland

As I took the train every morning, I looked at dark thin branches of trees with bright winter light shining through. They looked like hair and I began to see hairy women everywhere. Many women in battle or in need of protection. Strange women in fur coats passed me by. Women accused of erupting like volcanoes right next to me. A tale of hairy women was born, and I traveled with them for a while. Now I know, every woman is a hairy woman, there is one in every living room.

Fine Arts

Nina Markkula

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Thesis On Atmospheres, Expression, Looking in Rooms Oh, why must curtains cover windows? I enter the atmospheres of foreign living rooms uninvited.

So many living rooms. Living rooms repeat certain universal stories.

Real life in stories is easier to process. Materials like clay, plaster, and paint, help me get close. I let what I see and feel take over.

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Marius Mathisrud

Project Garden Of Delight

Thesis The Quest Of Bob The Elephant

mariusmathisrud@gmail.com www.mariusmathisrud.no +31(0)617955512 Norway

I Am Here I Am Real To Get Me Going To Make Me Free To Keep From Spinning To Keep Me On Going

Bob is my avatar. He will guide you through my thoughts and he will guide me through this quest. I chose Bob because he is always here.

No matter what room I am in, he is there in the corner. He hides from the others, because he is afraid of being seen. But, not in this fantasy, then he is real. He is here, and he makes it all so clear. I always see him, but now, I think the others do as well. Hopefully we can talk to him, and about him, without any fear.

Everytime I Fly Without You I Fall I Guess I Need You I Make-Believe That You Are Here But I Feel So Small I Guess I Need You I See You In My Dreams Haunting Me I Guess I Need You I Want You So Bad I Want To Be Free I Want To Be

Bob embrace the difference, and tries to make it all true. Why? Why not? Again and again. Like a child before bedtime, he will never let go.

He thinks he wants the answers, but he loves the questions even more...

Keep On Going Run Run Run Run Run Run Run Run The Garden Of Delight Trilogy is a film about hope, faith, love and death. The protagonist sees his own nightmares in repeat, meets his big brother as a futuristic flying machine and stares his own fears in the eye.

All in a desperate search for freedom. Will he manage? A mesmerising sci-fi thriller.

Fine Arts

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Marius Mathisrud

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Jim Mooijekind

Project FINE ARTS

Thesis ABSURDISME

jim_mooijekind@hotmail.com www.jimmooijekind.nl +31(0)614229765 The Netherlands

His themes are being presented with a sometimes cynical smirk, that is characteristic for Jim Mooijekind.

The jokingly titled graduation project ‘FINE ARTS’ stems out of the artists outsider position within the arts. In his four years at the academy he didn’t feel connected to any of the hypes or movements that where imposed on him, or that where regarded “hip”.

By embracing this fact he created a field for himself where there is room for play and a well synchronized link between the work and the artist as a person.

The ‘FINE ARTS’ project is a selection of work that shows diversity in material and tries to bring play and freedom back into an art world that, at times, takes itself too a little too seriously.

Using the guidance of french philosopher Albert Camus his book “The Myth Of Sisyphus”, Jim Mooijekind researched the absurd elements within the work and practice of the artist he sees as his artistic family.

Jim Mooijekind

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Internship Wayne Horse

Fine Arts

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Mattia Papp

Project L’arco e la Lancia

mattiapappp@gmail.com www.cargocollective.com/ mattiapapp +31(0)649036386 Italy

Remembering where i come from.

Saints, Madonnas and crosses are the symbols of this Italian legacy.

I move through video, clay and paint in order to glorify once more the inevitable death of my God. Even though he just won’t die yet.

The beauty of my tradition won’t disappear, if anything it will just morph.

Fine Arts

Mattia Papp

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Thesis Why are we charmed by decadence and decay?

Painters and artists of present and past time around the subject “Go into piazza Santa Maria Novella, in Florence, and as you approach the intricate façade of the church you will notice that, if you want, you can steal it. Not the whole, but perhaps some fragments of stone that fall apart if touched just right, there at the height of your wrists.”

What makes the decadence of beauty, youth, power, of matter, appealing? Is this feeling of charm for decay transmittable in painting?

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Olena Pateli

Project Unforgiven.

palenchik@gmail.com www.olena-pateli.com +31(0)623246296 Ukraine

Frequent repetition of something peculiar makes it ordinary. What is exceptional for some people can be normal for others. Within my works I try to analyse and research the boarders between fear and security, pleasure and pain, guilt and innocence, imagination and reality, ordinary and odd. My way of working is very intuitive, I start with something real and physical (a photograph or an object I found) and then I develop a story. It is never a structural story, there is no end or beginning.

Every story is a new battle where I am fighting with traditions, my morals, principles and myself. No guilt is present.

Fine Arts

Olena Pateli

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Thesis Monsters under my bed.

Fear as creation.

Even in a peaceful moments I would have the desire to find a challenge, to excite my imagination, so that feeling of anxiety comes back. My research topic was mainly fears, and their influence on our actions. I tried to analyse and to question their origins. In my opinion, by communicating and facing your frights and your demons, you become more honest to yourself, therefore more free and genuine.

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Slavena Petkova

Project Spring Colors

Thesis Seduction

petkovas@pinewood-school.gr www.slavenapetkova.com +31(0)612461464 Bulgaria

‘Post truth’ is defined in the Oxford Dictionaries as “the quality of seeming or being felt to be true, even if not necessarily true.” Post truth broadens that notion of an isolated quality of concrete assertions to a general characteristic of our age.

“Spring Colors” is a video installation and visual equivalent of the notion, with a prompt reminder of the illusion of reflection, and the necessity of decoding and interpreting what we see in order to determine a sense of reality. I aim to investigate intimate power structures and the fluid nature of truth and knowledge.

Seduction is an analytical thesis regarding the four seducer prototypes that reappear in conventional narratives. Each type has a specific repertoire that comes from deep within their character and creates a seductive attraction. Sirens have an excess of sexual energy and know how to make use of it. Perfect Lovers have a creative sensibility.

Dandies like to play with their appearance, to form a fascinating and androgynous enticement and Coquettes are confident and captivating at essence.

The concepts and approaches in this thesis are formed based on the writings and history of the most prosperous seducers in time.

The sources include the seducer’s personal chronicles and biographies (by Marilyn Monroe, Cleopatra, and Casanova).

Fine Arts

Slavena Petkova

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Judith Pool

Project I’m Feeling Lucky

Thesis An Endless Paradise

judithpool@hotmail.com www.judithpool.nl +31(0)657588773 The Netherlands

When I pick subjects to work with it is not a very conscious choice.

Most of the time I just get surprised by a funny form or a suddenly beautiful object in my surroundings.

Later on I recognize a pattern that was not that obvious to me before.

The different shapes and subjects often rhyme with each other, even though they don’t have a specific connection. I like this. Nowadays we are used to TV screens and moving images, very quickly we get our gratification, but we don’t train our eye for details anymore. Often we overlook a lot of funny or pretty things because we are so used of seeing them. As a painter I like to use these things as a starting point for my work.

Often I question the reason of painting in today’s world. Perhaps the world is not able to look at a painting anymore because of photography, video and internet.

This essay is researching the relevance of the painter in a time of digital revolution. Is the painter able reposition painting in a world that cares so much about computer screens and moving images?

Fine Arts

Judith Pool

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Lois Richard

Project Galatea

Thesis The Artist As Author?

lois@loisrichard.com www.loisrichard.com +31(0)628286251 The Netherlands

Does a creation dream of its maker?

Opening its many arms into a spectrum of possibilities, a supernatural creature welcomes you to the works of Lois Richard.

What if the wallpaper had ears?

And what are those sculptures whispering about?

Who made them?

Or who left them (un)finished?

A cooperation between the writer and her thesis; examining the theme collaboration through the works of Francis AlĂżs and Sophie Calle.

Is the originator of the idea, necessarily the author of the work, even if he or she does not actually manufacture it? Or, should those who produce the work, and possibly alter it through this process, also be granted authorship?

Lois Richard

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Internship Rhode Island School of Design, USA

Fine Arts

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Kristel Rigaud

Project Wait let me refresh

kristelrigaud@hotmail.com www.kristelrigaud.com +31(0)628982196 Curaçao

Good morning.

Let’s continue!

Let’s pretend that from the moment you laid your head to rest, that I did the same.

That I patiently waited for you to return to your awakened state.

That nothing happened while you rested, even though your newsfeed disagrees.

That without your presence nothing changed.

Forward.

Forward to the next significant moment within me.

As you can see I grew tired of waiting and continued.

I questioned if you as a fixed moment could understand what I am.

I’m nothing actually, nothing but forward.

Wait let me refresh this moment.

We can’t start again, but we can pretend.

The realm that art inhabits is similar to the ones of jokes and pranks.

They are in a space where anything can be said or done. Which makes it understandable why the ones who are not a part of it sometimes see it as just a joke. That not until a works social critique is mentioned and explained, golden toilet can be appreciated. When dealing with a joke, the listener becomes the viewer and art critic at the same time.

In the sense that what is been said needs to be analysed and understood. It also demands an immediate reaction. Contrary to art, unless it’s a performance, it can usually be reacted to at a later moment.

Language and its origins, I eventually realized, were also quintessential to this topic.

Fine Arts

Kristel Rigaud

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Thesis How many artists does it take to stretch a canvas?

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Pris Roos prisrvr@gmail.com www.prisroos.com +31(0)611024429 The Netherlands Internship HFK Bremen with Prof. Kati Barath in Painting

Fine Arts

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Project Ik ben de dochter van mijn vader / I am my father’s daughter When you speak to me, you are not looking at me. But I recognize myself in you. You look down or into the distance. You close your eyes, but in the silence, you speak to me. I am observing you.

Pris Roos

Thesis Ik ben gedoemd in spiegels te kijken of jij moet naar mij kijken / I am condemned to look into mirrors unless you look at me Prejudices about appearance have a great impact. In this essay, I started to write from personal encounters with the gaze of The Other. I try to look at ways in which I, as a human being and as an artist, behave because of racism and discrimination.

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Emilie Ruitinga

Project My Girl

Thesis De Droomvlucht

emilie--@hotmail.com www.emilieruitinga.nl +31(0)641708702 The Netherlands

I experience creating as a way of exorcism. Only when the work has come alive, the mind is freed of the obsessive thoughts and images.

Combining moving image and sound, placed in an environment of theatrically performative backdrops, I revive the past. A tainted illusion; a place that quickly shifts moods, marked with a rhythm of hypnosis and disillusion. Movement is essential as it shows the process of an image. By making things, and moving them around, I watch them go through time and evolve.

Sometimes they just disappear into diffused fragments. Cause and reaction. It’s about what something changes into, more than how something is.

The attraction of the mystery is that is hidden behind a veil of illusions. What is concealed becomes an object of desire. But what is the revelation or unveiling supposed to show? A revealed actuality, the way it actually is, or a simulation or idealization of this? Realism or idealism? The magic trick of temporary reality. An extreme version of the theatre of life, and the reality of the nature of mankind. A stage where the duality of role-play is inevitable and where escapism and oblivion meet.

Emilie Ruitinga

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Fine Arts

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Somewhere over the rainbow, way up high There’s a land that I’ve heard of once in a lullaby. Somewhere over the rainbow, skies are blue And the dreams that you dare to dream, Really do come true.

If happy little bluebirds fly beyond.

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SĂŠbastien Smeur

Project True faces

Thesis The fictional portrait in painting

saasmeur@gmail.com www.sebastiensmeur.com +31(0)624384114 The Netherlands

face = identity = construction = fiction

I. An essay that analyses the painted portrait as a format and links it to the contemporary practice of painting fictional portraits. II. A research into the elements that constitute the human face in painting, from past to present.

Fine Arts

SĂŠbastien Smeur

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Lorena Solís Bravo loresolisbravo@hotmail.com www.lorenasolisbravo.hotglue.me +31(0)617265743 Perú

Project Handshake juice : freshly squeezed fingers The cast of a cast of a cast of a cast. The representation of a tool.

A broken art object. An unfinished thought.

Through sculpture I research the moments where I seem to get close to understanding the language of materials.

An attempt to make thoughts physical, to mark an empty space, to shape the formless. The failing moment where I realize that what I have created has become alien to me, even-though it came from me.

Through performance I venture to understand the sculptures’ personalities, their possibilities of becoming, perhaps, what they wish to be.

Thesis Flood: How does meaning and interpretation when looking at art influences on the viewers?

The use of speech to communicate.

A sentimental pleasure in words, in non-familiar meanings.

A mental space outside ordinary experience and the limitations of spoken language.

A stone is not necessarily seen as such, it opens a possibility to also become a sculpture, a boundary marker.

How we interpret objects is how we give meaning to our lives.

A performance lecture about the process of making and what comes along with it.

Fine Arts

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Lorena Solís Bravo

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Gitte Svendsen

Project Mind Map #4

gogs_valby@yahoo.dk www.gittesvendsen.dk +4524210545 Denmark

I work in the intersection of painting, sculpture and installation, trying to cross their borders and unite them at the same time.

Found, discarded materials/ objects trigger my work process. Combined with self-made material and objects where I intuitively - not from a narrative point of view – search for the connection between shape, texture, colour and energy.

Thesis How is it possible for the viewer to experience an installation as an expanded painting?

The answer is in a box, a thesis box.

Mind maps inspired by research, reflections on great minds, conversations with The Artist´s little Helper (my shamanic tool), photos, filters, threads of yarn, paintings and drawings all throw light on the concepts of installation, painting, colour and perception.

Open the box.

Colours of the city found in neon lights, billboards and shiny cars, bright plastic wrapper of cleaning products and building materials also spark my inspiration.

I want my work to be experienced through the senses and hope that it opens up new ways of looking and creates curiosity.

Fine Arts

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Gitte Svendsen

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Christian Thomsen fjorsk999@googlemail.com www.christianthomsen.eu +31(0)638720223 Denmark Internship 1646

Fine Arts

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Project I see it shine and it looks mighty fine

Thesis The Role of Alchemy in Contemporary Art

During my study in The Hague, I came across Hermetic Philosophy.

It is based on seven principles: The Principle of Mentalism, The Principle of Correspondence, Vibration, Polarity, Rhythm, of Cause and Effect and the Principle of Gender.

I used these principles as starting points for my work.

The interaction between reflection and the reflected. The process of transformation and the act of refinement, be that of the material, content or of oneself. The inner world is reflected onto the surface and I will meet the subconscious in its physical form in front of me. A dialogue happens, a process of individuation.

Reasoning the unknown from the known; by using the tools we know, we can approach an understanding of that which is distant to us.

I first began my study of Hermeticism when I visited the Ritman Library in Amsterdam and saw their collection of manuscripts, that had been translated in the 17th century.

At the time, The Dutch Republic had been a hub for alchemical medicines and occult knowledge. I was immediately drawn to the intricate illustrations displayed in the ancient books. In my thesis I attempt to apply the concepts from Alchemy and Theosophy in a contemporary context and how they relate to the artistic practice.

Christian Thomsen

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Kolbrún Lilja Torfadóttir

Project The Three Orders

kolbrunliljamarrow@gmail.com www.kolbrunlilja.com +31(0)618527481 Iceland

A metaphysical exploration of a room that exists in a video game where the viewer becomes the paranoid first person under the gaze of the open room where free will is questioned.

Fine Arts

Kolbrún Lilja Torfadóttir

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Thesis The horror of the self : A new interest in the uncanny An investigation of the new interest in the uncanny that connects to the invention of film as a new medium and to the mirror stage of Lacan where the individual sees himself for the first time and experiences a desire for wholeness against his primitive desire for destruction.

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Iris van der Graaf

Project Modeltekenen / Figure Drawing

Thesis De plank misslaan

post@irisvandergraaf.com www.irisvandergraaf.com +31(0)644310966 The Netherlands

“When you have one, you have one.

When you have two, you’ve got the space between, plus you’ve got difference. And difference is where everything opens up.” (Roni Horn)

The Flamish writer and philosopher Patricia de Martelaere once wrote:

My work at this graduation exposition consists of two sets of mikado.

They look identical, but after looking at them more closely, one sees that they are different. Every day a pair of siblings drops a set and reconstructs a set. One set freezes in a random configuration. The other becomes a carefully constructed copy. Or perhaps: an interpretation that results from watching closely, just like in figure drawing.

---------By transforming one object into another, some qualities get lost, while while new qualities may arise.

Or: an erroneous translation comes into existence.

Fine Arts

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Iris van der Graaf

“.. perhaps this is the essence — one of the essences — of art: one tries to accomplish something with — above all — the wrong means.”

Her observation led to my series of essays and prose. At stake is the relationship between art, reality and experience. My aim is to show that no experience can capture reality as it is and no single language can convey our experiences as they are. A space opens up between reality and our experience of it, and between our experiences and the language that describes them.

My thesis has been published in literary magazine Extaze.

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Robin van der Heijden info@robinvanderheijden.eu www.robinvanderheijden.eu The Netherlands

Project When I need to have my muscles lifted out places on a flat surface (rubbed) There are no buildings but silk and thick cotton tents, there are no families, but centres.

Ceremonial interior/exterior fetishism, web paralysis, inhabiting transcended Camps, captive of the body, repressed (dark) ASMR trauma, hands looped in rotary motion, generated content, masked data.

Fine Arts

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Robin van der Heijden

Thesis Whenever The Eye Falls An essay on embodiment, eroticism, the uncanny, abjection, transgression and the perverse in the performative documentation and production of art. Discusses the work of Danny Devos & Anne-Mie van Kerckhoven (Club Moral), John Willie (Bizarre), Cindy Sherman & Bob Berdella amongst others.

Thesis available online at: www.cruelpractice.art/

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Henriette von Muenchhausen hvonmuenchhausen@aol.com www.henriettevonmuenchhausen. com +31(0)639555455 Germany

Project Gib dem Affen Zucker

Thesis Walk my words

Around the corner in the curve, between the lines where the rosemary grows, and in your breath.

The words are getting nervous.

They want to go out for a walk.

One even starts to hiss, another makes scratching sounds. I put all of them in my mind and try not to stumble when I open the door.

‘Key key key!’ That word is small but very important. Sometimes it hides and brings me into trouble, but this time it decided to be visible and bounces helpfully up and down in front of me.

Outside, I can see my breath.

‘Atemwolke!’

The German words usually are the fastest.

After a few steps I reach the bridge. (...)

A bear and a rat are making a fire in the middle of it.

The bear approaches me.

“Have you seen my socks?”

I nod. “I made a sculpture out of them recently, wearing them as a hat.”

In meiner Muttersprache, and in tomorrow’s hills when the night goes fishing.

This body of work is moving.

I am alive and you, dear stranger, as well.

The pleasure is all mine.

Fine Arts

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Henriette von Muenchhausen

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Freerk Wilbers

Project Reason

Thesis Things I might have said

mail@fwilbers.nl www.fwilbers.nl +31(0)644381748 The Netherlands

Things are the way they are for a reason. Reason is important in today’s world. One must be reasonable. I like to say the works in this presentation are not about anything in particular. But I hope you will see this is not true. There is a large overlap between sense and nonsense. Playfulness, compulsion, technical skill, chance, repetition, counting, music, humour, time, the studio, the everyday - these are important things. My way of working is associative, intuitive, open. I start somewhere, and end up somewhere else. Which seems to me how much of life goes.

Things I might have said is an artist’s book. On occasion, I would be visited in my studio by artists Bruce Nauman and Daan van Golden. This was of course a great honour and pleasure. We would talk about my work and I learned a great deal. In this book I present some transcripts of these talks. In addition the book contains some texts and images from my archive.

These provide some insight into my work and also serve as a sort of record of my thoughts at this point in time, although the collection is not complete and I do not claim that anything is necessarily true.

Fine Arts

Freerk Wilbers

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Willem Wilke

Project Interbellum

willemwilke1@gmail.com www.willemwilke.com +31(0)642876585 The Netherlands

I was taken.

Not by men.

But by nature.

I took refuge in the abandoned wartime factories.

Thesis Hoe gebruiken kunstenaars de schoonheid en esthetiek van het functionele voor hun kunst?

A research into how artists use esthetics and the beauty of the functional for their art.

For my project I crawl into the skin of an alter-ego.

A man who doesn’t speak the language of the spoken word but the language of the functional object. He ran away from the world.

He was not only taken captive by nature, but also by his own nature.

He made tools to survive, these tools were also artworks, the man made them with such care and thoughtfulness as to show respect to the nature that was holding him.

Fine Arts

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Willem Wilke

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Graphic Design The Graphic Design department of the Royal Academy of Art educates its students to become critical thinkers and versatile practitioners, who develop outstanding concepts for visual communication. Its worldwide reputation is fueled by thorough high-level education, the investigative and conceptual approach in teaching, as well as the excellent quality in the field of typeface design and typography. Here, students are encouraged not only to find answers to the problems of tomorrow, but also to bridge the past with the future by appropriating skills which we call ‘craft 2.0’.

Students at our department learn to address the challenges posed by the rapidly evolving media landscape and the shifts in political power towards neo-liberalism.

The ideal graduate is an investigative designer who is aware of current affairs, chooses his medium wisely, and is familiar with both traditional and new media. The current generation of graduates display their extraordinary conceptual and visual abilities, extensive knowledge of the profession and the world, strong technological curiosity, and highly developed social engagement.

The Graphic Design department proudly presents its graduating students in ‘My Opinion Is Bigger Than Yours’, a showcase of the extraordinary turn in the discipline of graphic design, where links between theory and practice, entrepreneurship and ethics, technology and craft, multidisciplinarity and specialisation become apparent, and the role of the contemporary designer is being redefined.

Roosje Klap & Niels Schrader Co-heads of the Bachelor Graphic Design

Graphic Design

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Bachelors Fay Asselbergs

66

Caroline The

89

Remco Blom

67

Sean Valies

90

Noa Defesche

68

Lisa van den Heuvel

91

Jamie de Rooij

69

Wies van der Wal

92

Ayse Duran

70

Geeke van Bruggen

93

Alice Fialovรก

71

Janne van Hooff

94

Kateryna Gaidamaka

72

Jordy van Look

95

Charlotte Gramberg

73

Yara Veloso

96

Amaya Hagelaar

74

Bohye Woo

97

Ellen Heijne

75

Mรกrton Kabai

76

Ninthe Kiemeneij

77

Carmel Klein

78

Haewon Lim

79

Carlijn Moerenhout

80

Gregor Nebe

81

Manus Nijhoff

82

Yacinth Pos

83

Jordy Ringeling

84

Pascal Schilp

85

Antonia Schwaiger

86

Magda Skibinska

87

Portraits of the students Ekoc productions, Tommy Smits en Jonathan Hielkema

Jaap Smit

88

PT = Part-time

Graphic Design

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Fay Asselbergs

Project The Extended Colophon

fay.danae@gmail.com +31(0)638606714 The Netherlands

The story behind a book is so much broader than what the current colophon tells you. The Extended Colophon is about this missing information, the data that gives us an insight into the people, process, time, material and locations involved in the making of a book.

While the parameters shown are applicable to other books, the project focuses on five case studies based on genre and technique, and emphasizes the story behind the book and the importance of sharing it.

Internship Drukkerij robstolkÂŽ

Graphic Design

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Fay Asselbergs

Thesis A Symbiotic Relationship The hybrid craftsmanship within the book What does craft mean in a digital age? As a student graphic design you learn to work versatile and digital work is now as common as analog work. But what about the role of craft in graphic design?

For a number of years we students learn the craft of coding. Or can coding not be labeled as a craftsmanship? Is craft just performing analog techniques with your hands?

I wonder if that is an outdated concept. Is craft not as heterogeneous as graphic design? And what would digital craftsmanship mean for traditional craftsmanship? The main question in this thesis is therefore: What is the symbiotic relationship between analogue and digital craft within the book? The role of the contemporary book will be investigated through several case studies.

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Remco Blom

Project State of flux

Thesis Parallax

remco_blom_1993@hotmail.com www.DrawAttention.nl +31(0)643523696 The Netherlands

By visualizing the state of flux in news coverage, value is added to the abstract behaviour of news.

By embodying a live feed in a virtual reality platform, we are able to be touched again, investigating connections between the reliability of a news source tracking its progress from the start. We can see the behaviour of news whether this be a change in language, becoming more radical or even dramatic.

By traveling back and forth in the media landscape we are able to filter connections giving insight in its vulnerability. How reliable is a news article? “State of flux” triggers the curiosity of the news reader by “tumbling down the rabbit hole”, actively participating within the live media content.

Typography in virtual reality is on the rise. A three-dimensional interactive representation of typography has a completely different impact on the experience of information.

3D typography could be both an improvement of typography in itself as well as a better way to communicate within virtual reality. How does 3D typography change the experience of communication? One objective is to analyse differences between the current state of typography and the potential migration to a three-dimensional atmosphere.

We can do this by identifying the components necessary for change.

The immediate objective of the thesis is to define the role of typography in a virtual environment, so that we might advance the experience of information.

Remco Blom

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Internship Roosje Klap

Graphic Design

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Noa Defesche

Project Dagblad des Oordeels

Thesis Goed op zijn Best

noadefesche@hotmail.com www.noadefesche.nl +31(0)613041999 The Netherlands

Do you always know the right thing to do? Is your opinion always right?

Then ‘Dagblad des Oordeels’ is perfect for you. Because in there, your opinion is the news. We make your opinion into a fact. On the platform you can not only send your own opinion into the world but also check the public opinion on many different subjects. From the best way to clean your bathroom to whether North Korea should be bombed, your country knows exactly what to do. Also visit our online platform where you can keep live track of the public opinion, vote on news feeds and more. With ‘Dagblad des Oordeels’ you never have to miss an opinion again.

This thesis was written in dutch

Noa Defesche

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Internship Lesley Moore

Graphic Design

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Hoe kan je je als ontwerper mengen in maatschappelijke problemen zonder ongeloofwaardig, té belerend of té nonchalant over te komen?

En op welke manier kan een ont­ werper dan wél van grote waarde zijn in maatschappelijke problemen?

Met andere woorden; wat is de waarde en wat zijn de grenzen van de rol die ontwerpers aannemen wanneer zij zich als maatschappelijk geëngageerd presenteren in zelf geïnitieerde projecten? Het doel van deze scriptie is om te onderzoeken hoe de maatschappelijk betrokken ontwerper zijn rol nog verder kan aanscherpen en daardoor nog meer van waarde kan zijn. Of zoals de titel al zegt: hoe wordt goed op zijn best?

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Jamie de Rooij

Project I want to fly in June

Thesis 
I want to fly in June

jamiederooij@gmail.com www.jamiederooij.nl +31(0)620546440 The Netherlands

Imagine you are jumping on a trampoline, at the highest point you feel completely freed from any expectations and you experience a moment of delight. Everything around you seems to fade away and the time stopped ticking. Before you know it gravity is taking you down and the clock starts ticking again.

In my project I try to beat gravity and be able to stretch that moment of being weightless a little longer.

I want to experience the air and its freedom and use this as my benefit as a graphic designer.

You are falling into the emptiness.

You are floating and for one moment you feel motionless. Everything around you seems to fall with you, though that is not so important anymore. You can’t tell what is up or down anymore, you are totally disorientated. In my thesis I make a free fall together with my reader to answer the question: How can I summon weightlessness by using design? During my fall I pass different layers within the topic weightlessness and experience new ways to look at design.

Internship Studio Remco van Bladel

I want to fly in June is a documentation of my attempts to fly and my flight itself. This is shown by graphical outcomes from my experiments.

Can I beat gravity as a graphic designer?

Graphic Design

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Jamie de Rooij

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Ayse Duran

Project Talking through motifs

firuzeaksu@hotmail.com www.adayse.com +31(0)641767088 The Netherlands

My project is about motifs that symbolize life. For centuries a poetic way of communicating existed through symbols used in Turkish carpets, the kilim. Restricted in their freedom, illiterate Anatolian women developed motifs, weaving their stories into their kilim. The meaning of this language is now lost. We only see meaningless abstract patterns and do not read the stories anymore.

How can I bring back this rich way of talking through motifs? In order to understand the old language and make new stories, different women with different backgrounds were asked to visualize their own story.

We all have a story to tell, what’s your story?

Graphic Design – PT

Ayse Duran

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Thesis Typografie als ‘visuele’ taal (Typography as ‘visual’ language) In my thesis I research the following questions: How has typography changed and expanded in the past century? Is typography only crucial within graphic design, or does it also play a big role in other disciplines?

How influential are society’s and mass media’s roles in experimenting with typographic design? What is the influence of the West on typographical renewal of the Middle East in this modern time?

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Alice Fialová alice@fialove.com www.alice.fialove.com +31(0)647992364 Czech Republic Internship Studio ZZZ, Mikuláš Macháček

Graphic Design

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Project The Realm of The Right Hemisphere Can we train our intuition as much as we train our analytical thinking?

Could we raise a new generation that makes decisions conscious of both?

Our modernity is set on accelerating tools and we strive for calculability, efficiency and profit. Processed food, gym culture, pornography, virtual relationships etc., show we adapted to the mechanistic methods not only in business, but also in our personal lives, which provokes loss of emotional connection and sensitivity towards our environment.

This project aims to trigger a switch between the rational and emotional perception and invites you to awaken your senses and imagination.

Alice Fialová

Thesis Is the posthuman still a human creation or is it rather an unfortunate consequence of our hasty progress?

My Thesis takes the invention of the World Wide Web and its influential evolution as a starting point of a research exploring what originally comprises the human gene and how we can preserve human in the advanced technology in order to not subjugate to our tools exceeding the intelligence of an individual.

Knowing our (human) nature can only make us better designers that hopefully take into account the longterm prosperity over the capitalistic priorities.

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Kateryna Gaidamaka

Project Post-Soviet

Thesis When the USSR collapsed

katerina.gaidamaka@gmail.com www.katekima.com +31(0)642853514 Ukraine

“The new East in contemporary visual culture is not a reflection of a real space but more a multi-layered myth.” Nowadays East is as another world to explore new aesthetes to toy with as nowhere else can we find such a collision of the West and the East. The Internet is full of slumming fascination on “ugly” eastern aesthetics, while for me as a Ukrainian it is part of our history and context. Why is there a certain aesthetic attached to the new East and why does it suddenly seem so attractive? I am answering these questions by visualizing the context behind so-called “post-Soviet aesthetics”, functioning as a satirical tour on identity and cultural swapping.

There are many mysteries in Soviet history and fate of people and the Soviet state. The early 90’s, one of the most controversial times in the recent history of the former Soviet republics, was an era of cultural upsurge. The new Post-Soviet aesthetic is the epitome of postmodern irony with its crazy, incoherent, startling mixture of allusions and motifs. The new collides with the old in quirky ways. In my thesis, I am exploring the lifestyle scene of the Post-Soviet individual and relate it to the current fascination for it from Western side. Who influenced who? How was the Soviet lifestyle involved in the design and what does it mean nowadays? How big is the gap between East and West and what is the result of it?

Kateryna Gaidamaka

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Internship MILCH+HONIG designkultur

Graphic Design

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Charlotte Gramberg

Project Small Matter(s)

charlotte_grebmarg@hotmail.com www.charlottegramberg.nl +31(0)681819613 The Netherlands

When thinking about nature, the image people often have in their heads is a place untouched by humans.

The city, where half of the world’s population lives in, is not considered to be very nature like.

Internship Van Lennep

However, even in cities, we all live near nature: we’ve just forgotten how to see it. I strongly believe that city nature is a field that can be more recognized. Not only its relevance but also in the joy it can provide. There is so much to discover right outside our doorstep.

In a visual manifest I will take you through The Hague, showing you not only its beauty but also its importance, diversity and persistence to thrive in an environment dominated by humans.

Graphic Design

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Charlotte Gramberg

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Amaya Hagelaar

Project Not For Consumption

Thesis Unselfish Design

amayahagelaar@hotmail.com www.amayahagelaar.com +31(0)644037733 The Netherlands

You might be familiar with the fact that a huge amount of food is unnecessarily thrown away. You might even throw away reasonably good food yourself every now and then. In the Port of Rotterdam, almost a thousand tons of fruit and vegetables are put to waste on a daily basis. Even though they are are still edible their use is prohibited for consumption.

Omotenashi is the art of selfless hospitality, a way of life that is known in Japan. The host anticipates on the guest or customer’s needs and offers a once-in-a-lifetime experience. According to the Japanese, the essence is to put your heart and your soul into their service. This concept of hospitality has been my inspiration when I started writing this thesis. In 2016 I went to Japan to experience omotenashi myself. There are however many other approaches to hospitality and it is practiced differently throughout the world.

Internship artless Inc. in Tokyo, Japan

While questioning who and what may be responsible for this I started to wonder about the possible ways of using this “waste” in various ways, from small businesses that produce biogas to art projects that turn mangos into leather. This project is both a product and a subject of its own research, as it uses discarded food as ink to tell the story of the strange system behind food wastage.

Graphic Design

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Amaya Hagelaar

I tried to find out ways where hospitality can be translated or passed on through design. How has this been done before? How can we apply hospitality into the world of design?

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Ellen Heijne

Project Stage of Truth

Thesis A Fateful Junction

ellenheyne@gmail.com www.ellenheijne.nl +31(0)641740247 The Netherlands

The installation ‘Stage of Truth’ is a symbolic setting of manipulated information powered by the one who is speaking. Authorities use speeches to influence public opinion and strengthen their position. Autocue is an ideal but rigid medium to bring across well prepared messages. We are used to politicians, in the typical setting of a press room, reading prefabricated texts from autocue and make us belief it is the truth, that it is factual. Facts are considered to be neutral and objective. Contrary, emotions are considered to be subjective, changeable. Therefore truth is fluid and meaning can be altered.

This installation explores the ongoing psychological game that is used by authorities, either for positive or negative matter.

The role of a designer in this digital age of mass media is changing. A designer can be considered to be a producer of media. He, the receiver and the context are interacting and are continuously subject to change.

A designer is by definition not a ‘neutral transmitter’ of information and he must be capable of critical introspection and take position.

Ellen Heijne

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Graphic Design – PT

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The thesis ‘A Fateful Junction’ deals with adopting a position as a designer and discusses the relation between communication and graphic design and how influence is exercised. Influence is defined from three levels: rhetoric, manipulation and propaganda. The context of design is further examined from a social, political and technological perspective.

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Mรกrton Kabai

Project The confession of the flesh

mkabai@outlook.com www.martonkabai.com +3617748096 Hungary

How to manifest the significance of the flesh in times of change? The transformation of the human condition is certain as the ecological, political and social crises suggest.

The current belief in human progress and exceptionalism has been questioned. We ought to exceed our anthropocentric view and remind ourselves that concepts, ideas are made out of flesh and bones. In my video installation, I try to confront the mind with the matter through the unconscious to embrace the disconnection between them. I attempt to remind what we have been forgetting and altering is not only the environment (outer) but our very self (inner). What we are taking for granted is eventually in a constant, ongoing change.

Internship LUST

Graphic Design

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Mรกrton Kabai

Thesis Intensive spaces of becoming have to be opened What are the consequences of the posthuman turn in graphic design?

By departing from the postman (Braidotti) theory, I attempt to enforce the necessity of a postanthropocentric turn in which investigative (graphic) design might have a significant role since it has a direct relation in social and political discourse. In search of the posthuman designer, who empowers resistance, questions the status quo, reveals uncanny truths, provokes awareness and reinvent making, I declare that (graphic) design is a possibility to reimagine fixed concepts, speculate on new becomings, and affect across disciplines. As well as the necessity to renew, the current form of design practice by finding peers from other fields of knowledge to ally with.

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Ninthe Kiemeneij

Project An Appeal to Fear

Thesis Concreet & Langdradig

negende@gmail.com +31(0)619919553 The Netherlands

The term ‘an appeal to fear’ is used in marketing and politics to manipulate a voter/consumer by playing into their fears. In populist politics language plays a big role into maintaining but also constructing fears. How does the Dutch extreme right make use of language but also of their body language in order to emphasize their message?

And how does the left wing try to persuade us? These differences and similarities in political language and choreography is my point of interest.

The research question of my thesis is: will a bigger engagement to the physical and manual world result in a better development of concepts and execution for graphic designers? We are constantly in a state of change and adaptation due to the fast speed of technological growth, which has enriched our field immensely. But, many of these new media appear to drift off further and further from the more traditional methods, such as designing printed matter. The gap is most visible between the new media and working physically. My research showed that manual craftmanship is a necessary addition to the yet existing working methods.

Ninthe Kiemeneij

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Internship Random Studio - Amsterdam

Graphic Design

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Carmel Klein

Project Reality Interplay Anime

carmelflorenceklein@gmail.com www.carmelklein.nl +31(0)645179971 The Netherlands Internship The Phoney Club

Anime is generally considered sole entertainment and not a valid form of art. In my project I deal with the general prejudice revolving the genre by taking the role of a translator in order to communicate the deeper narrative in addition to the artwork.

In a range of works that combine the unfamiliarity of the anime world with elements from our familiar environments, I want to shed light on the speculative value of anime and how it can relate to and make us reflect on our reality.

Critical design has gradually become a tool and jargon for us designers to empower our discipline.

The idea of critical design is having a statement about what defines us as the human race; politics, religion, ethics and so forth. I see this similarity in manga and anime, as they are constructed from a position of culture and sociology. Many of the narratives push on the sore spots of our principles and actions from the past, present and future.

Graphic Design

Carmel Klein

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Thesis Manga and anime: reformulating the frame of mind

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Haewon Lim

Project Unstable

haewon0713@gmail.com www.cargocollective.com/ haewonlim +31(0)634858743 South Korea

I don’t like graphic design but I like furniture. I am a graphic designer but I am not a furniture designer.

I don’t like digital but I like physical.

I don’t like to go fast but I like to take it slow. I don’t like my work to fade away but to last long.

The current status of my instability towards graphic design and furniture principles are shown in a set of furniture like objects. A chair on which you need to balance yourself, a set of pieces of a chair that you don’t know how to assemble as one, a table that does not function as it supposed to be and a bed that you have to make an effort to lean on. Each object loses its original function.

The project Unstable is an attempt to cross the boundary of graphic design on a personal level.

Graphic Design

Haewon Lim

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Thesis Chair, Poster and Many other objects How are graphic designers expanding into other design fields? How can creating furniture reinforce the work of a graphic designer?

If you wish to find some answers of the questions, then go to https://kabk.github.io/go-theses-17haewon-lim/ ;)

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Carlijn Moerenhout

Project cmd+z

carlijn.moerenhout@gmail.com www.carlijnmoerenhout.nl +31(0)653343317 The Netherlands

Graphic designers nowadays design mainly with the computer. A powerful machine that our brain sees as an extension of the body and make our hands work like magic. But the most amazing part of the computer is how we can make our mistakes disappear! Only by pressing the ‘cmd’ button and the letter ‘z’ at the same time, we can jump back in time and our bad decisions will never see the light of day. This combination undoes the last thing we changed.

Within a fraction of a second we can change the present time, and by going a step back we create a new present, and every time we do this it will add another new present. This results in a non-linear design path, in which every direction is possible.

Internship Mainstudio

Graphic Design

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Carlijn Moerenhout

Thesis How do I become a graphic superhero?

As graphic designer I have great love for cmd+z. This key combination activates the function ‘undo’ and can be seen as a digital eraser.

My last action will disappear on the screen and I can restore mistakes and wrong choices very quickly.

By pressing the keys I can travel through time. So because of the computer I can make use of a superpower. But like every traditional superhero I need to learn how to make the best use of this special power. At this moment I discovered the good and bad side of the use of cmd+z, and it is time to stay in control over the powerful key combination during my design process.

In my thesis I research the following question: What is the value of the function cmd+z within the design process of a graphic designer?

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Project Last seen at 13:05

Thesis Don’t touch with your eyes!

gregornebe@gmail.com +31(0)647353386 South Africa

Smartphones have become man’s best friend. We care for them, we make sure they are safe. We share our deepest secrets with them, we bring them along with us and they experience nearly every moment in our lives.

But like all living things smart­phones don’t live forever, and at a point in time we have to say farewell to our little friends when they die, or when they have become too old to keep up.

But before we move on to the next smartphone; What do we do with our old ones at the end of their lives with us, and what happens to the memories (data) that they have gathered? Do they deserve a respectful farewell for all they have done for us?

Like the eye the hand is playful too.

In my thesis I explore the importance of tactility in graphic design and how digital communication has become more of an experience for our eyes and ears making our other senses less important.

By looking at the past and understanding the value and expectations we have of materials and textures, we can understand how we have used these as references for the value of messages and use them to enhance communication through all mediums.

Does the virtual world have an effect on the real one, and does the real world have an effect on the virtual one?

And how can we make digital communication a better physical experience?

Graphic Design – PT

Gregor Nebe

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Gregor Nebe

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Manus Nijhoff

Project Experiences of a User

manusnijhoff@gmail.com www.manusnijhoff.nl +31(0)618975548 The Netherlands

Supposedly the internet is a public space. While it was first seen as a medium which would let information flow freely and thereby make us more free, its limits are becoming more restrictive as we move forward. Nothing in this branch comes for free.

Internship PWR Studio

My project is a scheduled set of performances, videos and rituals that explore the possibilities of rebellion from within, that ask your friends for help, that lament the way the network draws us in and where we eat the food of this world-dominating industry.

This thesis is a scripted discussion between three characters: Gonzo, Optimo and the Renegade.

They represent attitudes towards technology that were interpreted from people, active in the fields of design, technology and journalism.

They discuss problems that occur in the overlap between designer and user with applications that have emerged from the internet over the last few decades. The chapters move from a general overview of the tech industry into more specific issues towards the end of the thesis, as to inspect different scales of influence. The characters constantly question the effectivity of design by looking critically at problems within this sphere, as well as their proposed solutions. This thesis is published on my website.

Manus Nijhoff

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I deal with the contrast between the provider and the user. With Silicon Valley and startups on the one, us streaming and swiping on the other side, I question how both use their power to keep the other in check.

Graphic Design

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Thesis Control and Question: About the design, the use and abuse of the commercial internet

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Yacinth Pos yacinthpos@live.nl www.yacinthpos.com +31(0)613755757 The Netherlands Internship Tankboys

Graphic Design

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Project Cabinets of the European Civil Servants

Thesis So that is why

People are used to rely on numbers while making decisions, but often forget that numbers are not always trustworthy. I recognize that we live in a society where awareness about manipulation is growing. Nevertheless it is still very common in bureaucratic systems to use manipulated numbers as an argument.

In this project I focus on one particular example in which this occurs; the EU in collaboration with the security industry that uses premeditated numbers to substantiate the implementation of new security measures. This misuse of numbers results in a sequence of problems that are visualized in this project. By translating their data to visual media, I want to shed light on the questionable actions that occur behind closed doors.

We live in a flamboyant world full of misconduct where manipulation is daily business, but what makes these manipulative messages so persuasive? In my thesis I look for the cause of the existence of causal sophism: a non-existing cause and effect link between two topics.

What are the consequences of these premature conclusions?

My thesis deals with several factors that ensure the emergence and maintenance of causal sophism by means of various case studies.

Factors such as; the cognitive and emotional brain that affects your judgment, innumeracy, manipulative statistics, errors in software or algorithms, or your fear as adviser.

With this text I work towards an answer on the question: what is a purposeful way to counter this causal sophism?

Yacinth Pos

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Jordy Ringeling jordy.ringeling@gmail.com www.jordyringeling.com +31(0)652185711 The Netherlands Internship S†ëfan Schäfer

Project Manifest for the Anthropos: Extinction Is it possible to glorify our wrongdoings and celebrate the Anthropocene? This term refers to the geological era in which human intervention forever altered Earth’s cycles, with climate change as a result.

This project builds on the beliefs of real world movements like the Voluntary Human Extinction Movement and explores a future scenario, 163 years from now, in which this ideology achieves mainstream appeal as a solution for the decaying of our planet.

What rituals, movements and cultural shifts would arise, and what role would our media and advertising play in a world wherein our species is on their way to voluntary extinction?

Thesis Manifest for the Anthropos 70 years, it took humans to forever disrupt Earth’s natural cycles; products of millions of years of evolution.

Climate change arose and the term Anthropocene was coined to refer to our current era. The Anthropos as a geological force. The thesis builds on the notion that humans ability to forever alter our atmosphere can be seen as an achievement, and looks for ways to glorify our wrongdoings, by celebrating the Anthropocene. This shift in perspective helps position the role of the West and the celebratory habits we developed.

I conclude that the West is likely to endorse the celebration of climate change, but do not provide a specific proposal for this celebration. Instead, I give variables that help envision how it could look like.

Through ambient information the project speculates on the many voices that could be heard in this scenario.

Graphic Design

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Jordy Ringeling

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Pascal Schilp

Project uncensorme.xyz

pascalschilp@gmail.com www.pascalschilp.nl +31(0)650869873 The Netherlands

Censorship has a long history and is practiced in many societies. There have been book burnings by fascist regimes, religions censoring texts, and even social media is being monitored and censored by governments.

Uncensorme.xyz is a decentralized, censorship-free communication platform that runs on blockchain technology. The inherent immutability of the technology allows us to store messages in the massively shared and spread database that is the blockchain. Any data stored in the blockchain is permanent, and therefore free from any form of censorship.

Information wants to be free.

Uncensorme.xyz is not only here for freedom of communication, but also the preservation of information.

Internship Mind Design

Graphic Design

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Pascal Schilp

Thesis Participatory Media and Memes as Pitchforks and Torches Graphic design has always been largely dependent on technology or specific media, consider the printing press, posters, zines, photography, photoshop, and has always adapted beautifully to these new technologies and media. The designer moves himself past his official mandate, and appropriates new technologies in order to further develop the field.

However, it seems like there is a new technology and a new medium that we haven’t quite adapted to yet, and it’s largely occupying the politically activistic field; The meme and participatory media.

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Antonia Schwaiger

Project The Lost Word Dictionary

Thesis A Thesis On Neuroaesthetics

tonia.schwaiger@gmail.com +4917623995984 Germany

Through language, we can create, examine, and test concepts, those intangible figments of human thought and imagination, those playful flights of fantasy.

The English language has hit about one million words and it‘s expanding fast. But in the world of everyday usage our language is shrinking like the polar ice caps.

When we lose a language, we lose centuries of human thinking about time, seasons, sea creatures, rein­ deer, edible flowers, mathematics, landscapes, myths, music, the unknown and the everyday.

With my project ‘The lost Word Dictionary’ I want to open a door and invite a few of those forgotten, half-remembered and fun words out for a stroll and make them happy again.

Neuroaesthetics is a quite new but rapidly growing field. I want to take a look at where it comes from, where the field is now, and what lies ahead. It can be characterized as the cognitive neurosciences of aesthetic experience, drawing on long traditions of research in empirical aesthetics on the one hand and cognitive neurosciences on the other. I will provide a short introduction into the field of neurasthenics in terms of the history, the pioneers as well as science based study lab examples and the examination of contemporary art installations of Olafur Eliasson, in order to clarify the aim of the field.

Antonia Schwaiger

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Internship Bureau Borsche / Sueddeutsche Zeitung Magazine

Graphic Design

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Magda Skibinska

Project Tools to misuse

Thesis All work and no play

info@magdaskibinska.com www.magdaskibinska.com +31(0)617903818 Poland

You are invited to test what are the possibilities of interaction with a series of tools. Now, you have time to explore what can be done within the presented conditions. It is an ongoing event in which you can actively participate. You will not be aware of the time passing by. When taking part in this edition of the happening, it is possible that you will relax and experience some unusual ideas. The equipment is placed in a way that can question the recognizable way in which it operates. Not everything might be allowed and some rules may be present. The project is an ongoing process of testing the exhibited situation. The use is open for misuse.

Instead of wandering outside, we might be forced to just wander in our minds instead.

It is increasingly difficult to do nothing, as we are faced towards the rush ‘on-hold’. The most common answer to the question: “What did you do yesterday”? might be “I went to work”. In order to avoid being trapped in such a mindset, being able to take time off and play in an alternate version of reality is a necessary tool.

Improvised rules created in a freetime, ‘playground’ conditions, serve as an exercise in expanding one’s creative potential. Those self-driven constrictions offer possibilities for systematic work as a graphic designer. But, how can we explore this potential in the work environment?

Is it becoming more difficult to not do anything?

Magda Skibinska

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Internship Kok Pistolet

Graphic Design

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Jaap Smit

Project Written in Stone

Hello@JaapSmit.nl www.jaapsmit.nl +31(0)627517115 The Netherlands

A project about the contrast between company values and reality.

I want to help companies keep their own written values by using the rituals and indoctrination of religion.

Being raised as a Christian I never dared to steal anything, because I was afraid of being judged by God. Although I don’t believe in a God anymore, I do think this indoctrination is exactly what a lot of companies need. I noticed that the marketing values of several companies are in heavy contrast with what is happening in reality. They need to be reminded, on a weekly basis, what their own written values are. Chanting and singing them with each other. Do this until they remember them during a business deal and ideally break off a deal because of their own values.

An investigation in the use of the shield as logo and how the shield evolved from a weapon to its popular use in graphic design.

Starting with making pictures of all the shield logo’s I came across, I investigated the use of this symbol in the Western world. It fascinated me that such an age old weapon is still used so frequently in logo/graphic design in the 21st century. A symbol that’s nearly 1200 years old, but still as popular in use as it was decades ago. Why are we so fascinated with this shape and form and why do we keep using it as a symbol of protection? In my thesis I take you on a journey of the shield from weapon to logo and show you its popular use in Football and Company logo designs.

Jaap Smit

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Internship Studio Since Today

Graphic Design

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Thesis The Shield — From Weapon to Logo

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Caroline The

Project Spin and Share

carolijntje@icloud.com www.spinandshare.wordpress.com The Netherlands

Personal connection, bonding, cultural and generational sharing are what is lacking in today’s divided society. There is a need to have a closer bond between communities and connect in a new way by sharing stories. The backbone of my concept stems from the storytelling and symbolic values of the traditional American quilt. Instead of creating stories with kin, I connect and create stories with strangers.

I invite visitors during the Graduation Festival to sit with me. While spinning them a yarn behind my spinning wheel, I capture their thoughts and a part of their emotional state. The outcome is placed into an emotive interactive installation.

Graphic Design – PT

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Caroline The

Thesis De ontwerper als menselijk maatje, ambacht in ontwerp [The designer for human measure, crafts in design] Two writers on crafts can learn us how crafts provide a human dimension in design. William Morris of the Arts and Crafts movement, wrote the utopian fiction novel ‘News From Nowhere’ (1890) about the ideal way of living without machines and daily objects handmade. Richard Sennett’s ‘The Craftsman’ (2008) tells us what constitutes good work in today’s world. Both Morris and Sennett see makers as influencers of all aspects of our daily life and with this come responsibilities. Designing by the use of crafts lead not only to an attentive work method but also a work attitude: work for the sake of the work itself, doing it in such a way that it will benefit society. This way the designer becomes a human buddy bringing human measure into design.

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Sean Valies

Project Packing the intangible.

Thesis 
Handle with care!

valieswarren@gmail.com www.seanvalies.nl +31(0)641120258 The Netherlands

Packaging serves as a layer with multiple purposes and has always fascinated me. But in a world where everything is in a constant state of flux, product packaging has stayed more or less the same. Standing at a crossroad of how rapidly fast the technology grows as we were able to experience the last decade, packaging might eventually evolve into having more multifunctional new properties and even packing what we now think is impossible. This project is an investigation into potential future packaging and products. I use unusual shapes, materials and interaction to handle the intangible. What if you could contain and protect your current mood? My work shows the possibility of packing the intangible.

This thesis investigates potential changes that might happen to packaging in the future. We are at the point where digital experiences may evolve product packaging, which could change the way we purchase, sell, perceive, and consume. To know what happens in the future, I analyze its history, current state, what innovations are taking place at the moment of writing this thesis and what that could mean in the future. Will packaging retain its current form, despite digital evolution and the rapid improvement of technology, and if it does, what might change?�

Sean Valies

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Internship VBAT

Graphic Design

Graduation_Catalogus-Binnenwerk-Def-Cor.indd 90

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Lisa van den Heuvel

Project Graphic content

heuvel.l@hotmail.com +31(0)640995940 The Netherlands

We are confronted daily with an image stream of suffering and violence that dominates the media. It repels but it also attracts, thinning the line between sensibility and insensibility. The impact of experiencing graphic images, is in contrasts with the speed and frequency in which they appear, causing indifference.

Graphic content is a criticism to this phenomenon.

The Sublime; silence, shock, overwhelming and aesthetic are contradictions to this diverse, fast and constant stream of graphic imagery.

Trying to approach the Sublime, that is able to create cracks in our continuously rushing society. This project is a reflection upon your own insensibility.

Internship Studio Renate Boere

Graphic Design

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Lisa van den Heuvel

Thesis Het lijden dat ons bindt (The suffering that binds us) This thesis was written in Dutch Het doel van deze scriptie was uitzoeken waar mijn eigen fascinatie vandaan komt van het kijken naar andermans leed. Centraal stond de vraag; Waarom fascineert het ons om naar andermans leed te kijken?

Ik heb onderzoek gedaan naar hoe de psychologie, filosofie en de kunst hiernaar kijken. Ik ben in gesprek gegaan met sociaal psycholoog Wilco van Dijk, die al jaren onderzoek doet naar leedvermaak. Ook heb ik gesproken met kunstenaar Ronald Ophuis. Een Nederlandse schilder die het leed van andere in extreme situaties schildert.

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Wies van der Wal

Project Wander Wander Wonder

Thesis A PLEASURE TO SEE YOU AGAIN

walwies@gmail.com www.walwies.nl The Netherlands

How to achieve serendipity in a world ruled by algorithms?

They inhabit the interfaces we use on our smartphones, televisions and computers, they live on the web pages we visit: they pretty much sneak into every digital environment, and they can have very different aims and uses.

In A PLEASURE TO SEE YOU AGAIN, I discover what the role of looping images within communication can be, what makes them attractive and therefore so ubiquitous.

Internship Vruchtvlees

Graphic Design

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We use navigation tools like search engines to find our way on the internet. Most of us assume those tools are neutral, but in fact they influence the things we are able to find. In this way we get stuck in our own information bubbles, mainly seeing content regarded relevant to us. Wander Wander Wonder offers an escape: a visual expedition leading to unexpected places.

Wies van der Wal

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Geeke van Bruggen

Project The way things go

geeke.van.bruggen@gmail.com www.geekevanbruggen.nl +31(0)651581198 The Netherlands

What is the habitat of the organisation man? The man who has made himself instrumental to a collective cause. The man who becomes his function. Organisation culture is often observed as neutral. The Way Things Go is a project based on three months of embedded research at the Dutch Ministry of Health, Welfare and Sport. The resulting book is a written and visual diary showing how space, habits and language become an inescapable logic controlling its subjects.

Everything is organised... but at what expense?

Internship Collective Works

Graphic Design – PT

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Geeke van Bruggen

Thesis The designer as management consultant This essay describes a world in which rationalization has gone too far, man is subjected to the system and which is characterized by a modern form of alienation.

An alienation which is mostly manifest in bureaucratic environments where employees not only subject their labour, but also their personality, smiles and opinions to their function in the system.

This alienation has penetrated to the signs, language and culture of organizations. Designers have contributed to this culture by brushing away contradictions in an endless synthesis of utility and aesthetics. This essay challenges designers to bring employees back to the drawing board and to have them determine their own cultural environment.

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Janne van Hooff

Project Reading machines

Thesis The digital reading field

jannevanhooff@hotmail.com www.jannevanhooff.nl +31(0)627613442 The Netherlands

Most of the time, information comes in the form of a digital file. It’s not only about the lay-out of the page on someone’s screen, more importantly it’s about the navigation. How can I as a graphic designer make people focus more on reading texts from their screen? From the thesis I wrote about the digital reading field, I created a list with ideas for 21 typographical reading machines.

In the project ‘Reading machines’, the list with 21 typographic reading machines were worked out over three different levels: a printed one, a digital one and an animated one.

By playing and reading I want to give the reader a different approach on how to read and deal with a text.

More often than not, people are reading from a screen instead of from paper. Buzzing phones, hyper­ links, an advertisement on the side and all the tabs open in the browser doesn’t make it any easier for the reader to focus on the text. On the screen it’s not only about the design of the page, the navigation is more important. In which way can the reader navigate through a large piece of text without losing focus?

I looked at information as a digital map where we zoom in and out as readers. From the research that has been done for this thesis, a list was created with possible ideas on reading from a screen. How can I as a graphic designer make people focus more on a reading text from their screen?

Janne van Hooff

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Internship Publishinglab

Graphic Design

Graduation_Catalogus-Binnenwerk-Def-Cor.indd 94

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Jordy van Look

Project The Human Paradox

Thesis The Human Paradox

jvlook@gmail.com +31(0)655718678 The Netherlands

If media wants to be successful, it needs to be relatable. This is called the Lowest Common Denominator: if the dumbest guy in the audience can relate to it, then so will the rest of them. So that guy then becomes the target audience, and the story goes a mile wide, but an inch deep.

My project focuses on the opposite.

I want to go an inch wide, but a mile deep. I want to show that I am human, just like everybody in the audience. A story about hating your own crying child, is actually about selfishness. If you dig deeper it’s about identity, or even humanity.

I can’t reach that depth by pretending to be somebody else. I can only do that by being undeniably me, by drilling down so deeply into myself that I reach the bedrock of humanity.

If media wants to be successful, it needs to be relatable. This is called the Lowest Common Denominator: if the dumbest guy in the audience can relate to it, then so will the rest of them. So that guy then becomes the target audience, and the story goes a mile wide, but an inch deep.

My project focuses on the opposite.

I want to go an inch wide, but a mile deep. I want to show that I am human, just like everybody in the audience. A story about hating your own crying child, is actually about selfishness. If you dig deeper it’s about identity, or even humanity.

I can’t reach that depth by pretending to be somebody else. I can only do that by being undeniably me, by drilling down so deeply into myself that I reach the bedrock of humanity.

Jordy van Look

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Internship Studio Rik

Graphic Design – PT

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Yara Veloso

Project Hello World

Thesis Everything Is Made

velosoyara@gmail.com www.yara.ismaybe.online +31(0)616047236 Portugal

The message is not as important as the need to leave one.

In a progressively more digital world that thrives on urging users to create content, this project focuses on this phenomenon by partially distancing itself from the digital era and using a documentary approach to explore the ways in which humans interact with and contribute to the world around them.

Why is there a connection between artist and genius? Can the creative process be used to decrease the gap between people and works of art? What are the correlations between Punk Rock and the Internet?

The answers to these questions belong to each of the three chapters of this thesis, that work as autonomous parts yet are structured having in account three main technological developments: printing, industrial and digital technology.

These developments work as a backdrop in an attempt to articulate a series of concerns that touch upon notions of authorship, myth, technology as well as society’s relationship with a culture where the visual is progressively more dominant.

Yara Veloso

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Internship Bas Koopmans

Graphic Design

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Bohye Woo

Project The Temple of the Digital Oracle

Thesis A Journey to Nothingness

bohye.woo@gmail.com www.bohyewoo.com +31(0)644203035 South Korea

In our well-developed modern world, we seek quick and convenient answers on the internet. This eventually extends to consulting the internet for answers regarding human dilemmas. However, unlike the definitive answers that are offered on the internet, answers pertaining to human dilemmas tend to be limited and generic. By relying mostly on online search engines, are we limiting the possibilities of finding answers to these questions?

Do we really have access to the sources for the answers we seek?

‘The Temple of the Digital Oracle’ is a modern digital platform that predicts answers to the question: ‘How to have a good life?’

How can ‘nothingness’ be applied as a concept in graphic design?

This research question examines the investigation of the connectivity between ‘nothingness’ or ‘minimizing designer involvement’ in graphic design. It challenges the reader to accept ‘nothingness,’ or ‘minimizing designer’s involvement’ as a new graphic design principle. Therefore ‘A Journey to Nothingness’ introduces fundamental possibilities of minimizing the involvement of the designer through the timeline of graphic design history.

Bohye Woo

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Internship Thonik

Graphic Design

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Interactive / Media / Design This year’s I/M/D graduating class is a small, tight-knit group of students that pack a hefty creative punch. In equal parts vulnerable and resilient, critical and empathic, meticulous and intuitive, this small band of Interactive/ Media/Designers prove the old adage that “big things come in small packages” to be true.

All of us at I/M/D proudly stand behind the “big things” this class decided to say and share.

Our 2017 graduates are relentless in their pursuit to re-examine systems, whether of the body, emotions, truth, institutions, or data.

Coming from diverse backgrounds and areas of expertise — about 7 nationalities are represented in these graduates — they connect through a shared concern for ethics and a true post-digital sensibility. They are a serious, hard-working group and are arguably one of the most sensitive “packages” of students that our department has had the pleasure to work with.

This class collectively received the highest marks and created some of the most surprising works our department has ever seen. No matter what you put in front of them, they’re game.

In fact, they have thrived. They have thrived at times through healthy doses of humorous interjections, at times through tears, at times through debates about the amount of green in a perceived yellow; through cardamonscented oily red wax, through abandoning a blind­folded instructor after 8 plus hours, through a semester of grappling with a mouldy corner of the ceiling. We sincerely thank them for their creative, positive, and participatory spirit.

protest; sensory-hacking; sound design; sculpture; and more. And, the topics for the theses and artistic research range from gender to home; language; muscle control; smell; humor; artificial intelligence; documentation in the era of post-truth; data hoarding; the purpose of art school itself…and more. Quite the patchwork collection. The connecting point to this myriad of work echoes that which binds our 2017 graduating class as a group: each project reflects an urgent sense of social awareness and responsibility. Their outcomes remind us that artists and designers can, and should, play a role in steering or calling attention to the direction that we all — as humans — are heading. They are each true trail-blazers working to change the way people interact with the systems, social structures and conventions currently in place.

We are extremely proud of what they have accomplished. Thank you, small I/M/D package of 2017, for being so very game. We wish you all the best moving forward to more “big things”.

Janine Huizenga Head of the Bachelor Interactive / Media / Design

Now we arrive at the outcome of four years of hard work by students traversing and thriving inside of in-between places. We arrive at the “big things” from a “small package” of I/M/ Ders. The outcomes are as diverse as their backgrounds. Among the media and methods represented are documentary film; VR; curatorial practice; illustration; animation; installation; Interactive / Media / Design

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Bachelors Alina Androsowa

100

Lara Arnoldus

101

Mees Arntz

102

Raya Hadzhidimieva

103

Donna Kok

104

Luka Kueter

105

Lotte Meeuwissen

106

Ignas Pavliukevicius

107

Luke Pierson

108

Julia Sterre Schmitz

109

Interactive / Media / Design

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Alina Androsowa

Project Inaestimabile Hermaphroditus

alinaandrosowa@hotmail.com www.alinaandrosowa.com +31(0)623923691 Russia

A visual puzzle that is dealing with gender in contemporary Western Society. The baby is used as a symbol of the threshold when a human is born intersex. There seems to be no place for something in between female and male. Considering the binary categorising system that society has, the sex of these babies is to be ‘chosen’ or ‘found’. Looking closer at the work, the audience might become aware that their view is literally and metaphorically coloured.

Partly the work shows frustration with binary thinking in the re-enactment of stereotypes and gender presumptions still present in Western society. By playing with boundaries of the two sexes the work is asking for a deeper look at the definition of gender and sex.

Though in recent years one has opened the gender discourse, the Western Society is still living on binary ideals and standards.

In history mostly men were in control of divisions of roles in society and assumptions were made about women. Luckily Feminism arose and women started gaining control of their lives and started questioning facts that were put into the world about them. In the 21st century the internet and pop culture are dominating and are shaping the contemporary youth. Therefore it can be a great tool to slowly overcome binary thinking when (pop)artists keep triggering questions about the boundaries of gender expression, roles and norms.

Alina Androsowa

100

Internship Nynke Koster

Interactive / Media / Design

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Thesis Overcoming the Binary: The Influence of an Artist

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Lara Arnoldus

Project I Might Need This Later

laraarnoldus@hotmail.com www.laraarnoldus.nl +31(0)642792834 The Netherlands

“I Might Need This Later” is a collection of works investigating the link between the infinite nature of contemporary data and new methods of collecting. The sheer volume and lack of organisation of digital files discourage most people from accessing and reliving them. The work questions and addresses the matter of ownership, value and volume, quantity and quality and the process of decision-making. It shows a need to materialise in a non-material and rather digital-based society by applying a human filter to the inhuman impersonal archive. “I Might Need This Later” is an attempt to tidy up my world and create a micro world of order in the macro world of chaos.

Internship Motel Mozaïque – Music, Art & Performance Festival

Interactive / Media / Design

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Lara Arnoldus

Thesis To Cure Or To Curate – Hoarding: The Disorder Of The Decade (2017) When following “good” collection rules, there might be a higher bar for how much is considered moderate.

Only creating more data does no longer have a competitive advantage, the value lies in curation.

“To Cure Or To Curate” questions the transforming definition of ‘the curator’ and its role both inside and outside of the museum. Curation does not belong exclusively to the arts but has become a synonym for all kinds of everyday choices. It is not only a sound business strategy but a way to make sense out of the world. It is one of the most gripping and unignorable ideas for our time, and organisations and individuals who make the most of it will position themselves to grow.

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Mees Arntz

Project AHead of MonkeyMees

Thesis Humor me, please

meesarntz@gmail.com +31(0)614955602 the Netherlands

Explaining what having ADD is like to someone that does not understand it is often hard, ADD is something that one has to experience in order to fully understand it.

It leaves both parties at a cliff of not knowing how they can help each other to walk over the gab that is the uncomfortable topic of ADD. With “AHead of MonkeyMees” I am creating a physical version of my ADD mindset to showcase what the chaos, as well as the creative impulses might look like.

It is an experience for people to go through to and witness the jungle of thoughts, as well as the explosion of ideas that flow through my ADD mind.

Comedy and Tragedy go hand in hand. However, it is also in our human nature to overcome struggles and obstacles, to move on and face the next challenge in life.

Humor is a tool to help overcome obstacles and struggles, it does not make the problem go away in its entirety, but what does? In ‘Humor me, please’ I go on a journey to find out how powerful humor can be and to what extent comedy helps with the obstacles of life.

Mees Arntz

102

Internship Multiple short internships with freelancers

Interactive / Media / Design

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Raya Hadzhidimieva

Project AnOther

raya.rumenova@yahoo.com www.rayarumenova.com +31(0)645330010 Bulgaria

In a society regulated by systems, functions, and rules what does it mean to truly be yourself? AnOther is a soundscape experience questioning the role of the individual in the monotony of our rigid everyday routines, where organic fluidity of being is trapped. The constant recurrence of the word ‘another’ raises the question of whether something is being another: one more of the same or an other, different from the one before.

By using the emotionally impactful nature of language to explore the hypnotising beauty of infinite repetition, the installation opens up a dialogue about the contemporary ways of living and pressure of social expectations.

Language is much more than the shared understanding of a tool to communicate; it is the supreme software that drives our social lives.

A real-life Matrix coded out of letters, symbols, and persuasive arguments. Arguments that stand behind political labeling, marketing, media, advertising, social behaviour, actions, gestures, etc. By the intelligent use of those codes, we continually persuade or seduce one another through the authority of emotion as a motivator. My thesis serves as an eye – opener to the seemingly invisible, but crucially influential role of language and the ancient study of Rhetoric, considered as the essential skill of leadership.

Raya Hadzhidimieva

103

Internship Cinestudio LTD - Milan, Italy

Interactive / Media / Design

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Thesis Sticks and Stones: Language as a weapon

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Donna Kok

Project Morrestein

donnadonnadonnadonna@gmail.com www.donnakok.nl +31(0)636494112 The Netherlands

Morrestein highlights the issues faced by children who grow up in homes that deviate from traditional households portrayed in the media.

Internship Het Klokhuis

I have offered a voice to Dutch children, between 6 and 9 years of age, who do not recognise the homes described in their bedtime stories or morning cartoons because they are faced with a different reality: financial difficulties, insecurity, family turmoil, unconventional structure, migration, etc.

Morrestein is a fictional neighbourhood in which, through illustration and animation, their stories are told.

Interactive / Media / Design

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Donna Kok

Thesis Drawing Houses (A Deficiency of Domestic Representations in Media for Children) My thesis examines the contrast between the representations of home in illustrated media for children, and children’s actual experiences at home.

Modern developments in the media landscape for children have lead to the simplification of imagery, increase of icon use and loss of realism.

Today representations of home are often based more on typicality, recognisability and properness than on reality, which disregards children’s actual experiences concerning family, culture and finances.

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Luka Kueter luka.f@outlook.com +31(0)653526713 The Netherlands Exchange Kunshochschule Berlin Weissensee

Interactive / Media / Design

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Project Good Artists Study, Great Artists Party

Thesis Gentrification as the end of Counterculture

A multidisciplinary installation and event aiming to materialise the immaterial value of culture and community. Focussing on the extracurricular and countercultural identity of the Royal Academy of Art, the work tries to embody values which are not necessarily part of the institution, but definitely part of its community, one which was most infamous represented and celebrated through the academy parties until their abolishment in 2013.

In a contemporary garden of Academus, Luka discovers the parallels between the very first academy of Plato and the culture as he sees it today. A monument that aims to appropriate the public space in interest of the community, something which is not a matter of course in our modern neoliberal society.

Over the past decades gentrification has been highly criticised for its unsocial effects, threatening the low- income communities in major metropolitans. But with its economically profitable effects, gentrification has become the new urban strategy for any city and town around the world. In this global trend where the local arts and alternative culture in deteriorated urban areas seems to be embraced, the capitalisation of the hip and alternative is threatening the autonomous space in which counterculture and its alternative politics in our society can truly exist.

Luka Kueter

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Lotte Meeuwissen

Project Muddle

Thesis Think With Your Tongue

info@lottemeeuwissen.nl www.lottemeeuwissen.nl +31(0)618949117 The Netherlands

What if you could physically enter a menu before tasting? When you eat, you often search for words that represent what you taste. This exploration of taste is conditioned through universal textual cues, which ultimately form your perception of flavour. Flavour is more than that. Flavour is smelling, seeing, touching, hearing and tasting - all at once. “Muddle” is an installation that presents you with a menu, which you step into. An exploration where you choose solely based on sensory impressions, enabling you to become conscious of how emotion, context, and personal association, play into the perception of flavour.

People are on constant information overload, often trusting words more than their senses. They aim to be informed about the things they perceive; people are obsessed with information on packages, and museum visitors seem to be more interested in the text on the wall label, rather than in the artwork itself.

In this way, perception has become a mental activity, an act derived from common understandings instead of a physical one, an act derived from sensing. ‘Think With Your Tongue’ forms the base of a personal design philosophy. Bearing in mind the three realms which establish perceptions, it recalls people to rely on the most fundamental form of information which exist: sensing.

Lotte Meeuwissen

106

Internship Domestic Data Streamers, Barcelona ES

Interactive / Media / Design

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Ignas Pavliukevicius

Project We are allright here

Thesis Meeting The Gaze of A.I.

ignaspav@outlook.com www.ignaspav.com +31(0)640888691 Lithuania

Technological innovation is growing up fast and this progress has led the world’s robots and artificial intelligence into more accurate representation of the human mind, emotions and physical appearance.

As the line between real and artificial is becoming blurrier than ever, could technology be considered as a metaphor for an organism? Can digital beings elicit empathy and when are we going to decide how we feel about them? By questioning emotions of a robot, could we understand the meaning of being a human being?

The rise of artificial intelligence development made machines more complex by allowing them to complete not only mechanical, but also cognitive tasks. Though the consciousness, emotional intelligence, behaviour, body expressions and cognitive levels of technology mimic humans, technology is still seen as unnatural and lifeless. Even if A.I emotions are simulated to mimic human emotions, could A.I be seen as emotionally sentient creatures?

Ignas Pavliukevicius

107

Internship Lustlab and La Triennale di Milano (with artist Julijonas Urbonas)

Interactive / Media / Design

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Could looking in to the eyes of an emotional A.I help humanity to meet oneself? Just as technology has helped people for thousands of years, could a feeling A.I help people to think and feel outside themselves, teaching people about their emotions and empathy towards other creatures?

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Luke Pierson

Project Descent

Luke.S.Pierson@gmail.com

As a new media artist, I am particularly interested in the vast, largely untapped potential that games and interactive systems have for engaging emotion. Interaction creates a level of personal investment that--through exploration and personal reflection, being shown rather than just told--has potential to deliver an expressive and emotive experience incomparable with other media. This potential is innate to the medium, but has been traditionally unexplored.

Whilst big budget video game developers constantly rehash the same masculine power fantasy for their selective target audience of gamers, I am determined to create work that frees interactive experiences from those cultural shackles. Descent represents one exploration of what this fledgling medium can achieve.

Interactive / Media / Design

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Luke Pierson

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Julia Sterre Schmitz

Project Tropical Fish in the North Sea

Thesis Try Truth

juliasterreschmitz@gmail.com www.juliasterreschmitz.nl +31(0)613686245 The Netherlands

‘TFitNS’ is an interactive documentary installation that questions the intertwinement of fiction and reality in the medium of truth; the documentary. The spatial setup and headphones with switchable audio channels gives one a hint of the power of editing. One gets transported to the lives of people from Generation Y, who flounders with ‘finding passion’, ‘success’ and the ‘paradox of choice’. Their lives seem to have a certain unbearable lightness that contains no clear narrative; all is fragmented. Present-day reality already has a parallel media existence, creating friction between real and fake. ‘TFitNS’ plays with the fictional within the real and vice versa, both in the medium itself as in its subject: the performativity of my generation.

The border between fact and fiction fades more and more. Is truth still relevant in this apparent ‘post-truth society’? What happens if one gives up on truth all together? ‘Try Truth’ explores the perception of truth from Baudrillard’s concept of “Hyperreality” to Steyerl’s “Uncertainty Principle”. It discusses how reality is presented through media with its focus on documentary film, thé medium of truth. Documentary films have the power to reveal the blurring of fiction and reality and media’s fictional nature. ‘Try Truth’ addresses techniques to come as close to the truth as possible. Represented reality in any shape always contains a fair amount of fiction.

‘Try Truth’ shows how to get around this as a documentary maker and as a viewer.

Julia Sterre Schmitz

109

Internship Storyboard Agency

Interactive / Media / Design

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Interior Architecture and Furniture Design Storytelling Each year, the resilience and stamina of the Interior Architecture and Furniture Design (IAFD) graduate students help them transforming into independent critical designers, engaging with the world around them. Like us, they are convinced of the necessity of this process in order to get ready for future professional ventures, and to be successful at these endeavors.

The experience-curve, of individually exploring the in-and-outs of the practice and executing projects independently, is steep with an especially fast pace during the last few months.

The graduation year at IAFD contains three main components. It starts off with the identification of a research question related to the disciplines and their context. The subsequent research results in a paper. This research inspires the two design assignments: an applied assignment connecting and exploiting the previously learned; and a self-defined project executed independently – guided by two selected mentors.

The final year’s structure is designed to help the students when venturing in unknown territories, to overcome backlash periods (when everything is suddenly unclear and fuzzy); to temper or ignite ambitions and to deal with all sorts of practical problems. In short, it facilitates the overview of the design practice.

The IAFD graduates purposely design their graduation exhibition from an understanding of the importance of context. This year the thematic emphasis on the qualities of their projects resulted in a ‘total’ installation that will make the visitor ‘Wonder Why’. Operating as the graduation collective strengthens their motivation to succeed. The first and second year IAFD students help the collective with the production of their work and their exhibition.

Interior Architecture and Furniture Design

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Storytelling is being used as a communication tool and a project carrier. The students combine their knowledge of architecture and design with additional information from disciplines such as medicine, music, dance, and social sciences. This amplifies the diversity of the graduation projects.

We see a slight difference between the two sub-departments (Interior) Architecture and (Furniture) Design. The Architecture graduates emphasize on speculative design. Visual language, tools and esthetics of architecture like floor plans, sections and models, collages, perspective drawings and material samples communicate critical interpretations of the organization of procedures and ceremonies of (daily) life. From a parable of a city ruled by a pharmaceutical company, a new palace for the king, a sublime water experience, to an alternative penitentiary system, a spatial symphony, and an open source building structure.

The Design graduates explore ways to enhance the performance of objects, leading to immersive, experiential design. Their aim is to make objects active partners in every day life, in some cases even humanizing them. Important elements are the willingness to show design processes, including the harvesting of resources, and the interaction with audiences i.e. users. Objects act like creatures with individual ‘voices’ and specific movements, installations that strengthen your specific mood, environments that trigger your imagination, and other senses than just the visual.

We thank the graduation mentors for their excellent guidance.

Ernie Mellegers Team leader graduation year & Herman Verkerk Head of Bachelor Interior Architecture and Furniture Design

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Bachelors Nanneke Boomgaard

112

Yuri Choi

113

Noortje de Brouwer

114

Tommy de Moor

115

Iris Erkelens

116

Anna Groet

117

Yangwook Kang

118

Zsofia Kollar

119

Jungmin Lee

120

Bianca Meilof

121

Rick Mouwen

122

Jasmijn Muskens

123

Marta Sigríður Róbertsdóttir 124 Allegra Santis

125

Nienke Sikkema

126

Milou Simons

127

Anna Sitnikova

128

Fabienne van Steensel

129

Lieke Vernooy

130

Ymke Vertelman

131

Irene Wing Sum Wu

132

Interior Architecture and Furniture Design

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Nanneke Boomgaard

Project Speaking in forms

nannekeboomgaard@gmail.com www.nannekeboomgaard.nl +31(0)625381844 The Netherlands

Discovering a new form language; a language that already existed but is rarely noticed independently. It is the language, which is found on ‘packaging materials’. These forms are considered a by-product, while visually they are in fact very diverse and interesting.

Internship Observatorium

Interior Architecture and Furniture Design

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Thesis But what did you actually do?

A research into the artistic handwriting

I pulled the various forms of this language apart, identified the strongest characters and made their strong identity visible. Combined, these characters can reinforce each other which can result in the creation of new forms with new potentials.

I investigate these forms, characters and combinations, analyse the dialogue with the spectator and imagine various applications.

Last semester I used packaging materials. I was intrigued by the rich and interesting form language of these packaging materials.

To accentuate this form language, I treated them as sculptures. I used the already existing forms and coated them, which raised the question: But what did you actually do with it?

This question made me think. In my opinion, the fact that I noticed these packaging materials and placed them in a new context was already enough. But is that true? This essay is about working with existing materials; the handwriting of the designer. It also forms a research into what is needed to identify this personal artistic handwriting.

Nanneke Boomgaard

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Yuri Choi yurivery@gmail.com Republic of Korea Internship Studio Samira Boon

Interior Architecture and Furniture Design

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Project Drawing spatiality on a linear timeline

Thesis How does the essence of architecture appear?

Music can make one feel and experience the void. Humans not only feel the narrow range of vibration in their auditory nerves but sense an associated three-dimensional volume beyond their body. My graduation project is to draw sonic space on a linear timeline. As gene designs a physical form of an organism, I used music as a genetic map for architecture. Musical intuition is translated into geometrical intuition, and rhythm is superimposed on physical equilibrium. In the space that music creates, one encounters different vistas every millisecond, with every step. The sensory experience when moving through the space, absorbing rhythm, material and dimensions in sequence, makes one (re)envision the music; the very space plays the very music.

This research explores to manifest the sequence and the consequence of the creation for a good work of architecture. The ‘Before construction’ chapter suggests various qualifications for a capacity of an architect. The ‘During construction’ chapter explains, when internal and external forces are in equilibrium, an organism-like building can exist harmoniously with its own identity in a given temporal and spatial context. The ‘After construction’ chapter deals with how the frozen matter melts into liquid vibrancy.

The chemical reaction between the physical structure and various reactants is an ongoing phenomenon.

In the meantime, experiential and phenomenological consequence proves solid matter to become an alive organism.

Yuri Choi

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Noortje de Brouwer

Project Haptopia

Thesis Een ode aan de tast

Info@noortjedebrouwer.nl www.noortjedebrouwer.nl +31(0)655844433 The Netherlands

I am searching for real things.

Genuine experiences triggered by ‘touchable’, physical objects. Things that provide a moment to unwind in our hectic everyday life.

A research into touch, that resulted in a manifest for ‘Haptopia’.

Internship Buro BELÉN

An act of rebellion against surroundings where tactility is banned, like universities, hospitals and offices with their flat, smooth walls, empty corridors and neutral temperatures.

2. Touching is communication.

The only language that is used.

I create objects that infiltrate these spaces. Objects that invite to (re) discover the sense of touch. Only by interacting with the object it will reveal its characteristics.

4. Oxytocin is the replacement for drugs.

This will be produced in great amounts.

Noortje de Brouwer

114

Interior Architecture and Furniture Design

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1. Touch is number one.

The hierarchy of the senses.

3. Touch is discovering.

Finding your way while playing.

5. Anyone looking for touch will find peace.

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Tommy de Moor

Project Beatus

Thesis Ars Moriendi, The Art of Dying

tommy.demoor@hotmail.com www.cargocollective.com/ tommydemoor +31(0)683201669 The Netherlands

Mortality is an uncomfortable truth kept out of sight. In ‘Beatus’, I take this truth and create a shrine to time and death.

‘The Ars Moriendi’ are books from the Middle Ages that consoled people on how to die well using imagery and insight. They provided comfort and taught those who were dying to not fear death. In my thesis, I create my own ‘Ars Moriendi’.

Interior Architecture and Furniture Design

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I found inspiration from the film ‘Perfume: The Story Of A Murderer’ based on the world of fragrance.

From the movie I have used the technique of enfleurage, an ancient, expensive and slow practice of capturing the scents of delicate flowers through purified animal fat. As flowers are also a symbol of impermanence, I capture their scent of decay into pomade and, with the leaves of the flowers, use them as part of the mummification process of a piglet. The piglet is immortalised in the aroma of sanctity and has become Beatus.

Tommy de Moor

On April 4, 2005, my grandmother died. I was unprepared to face death and it impacted me deeply.

In trying to understand my own mortality, I manifested my thoughts into writing and drawing. It allowed me to approach my inevitable death on my own terms and make it into something beautiful instead. Now, I feel at peace because when my time comes, I know how to die.

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Iris Erkelens

Project Phantasmagoria

Thesis (e)motion in space

i.erkelens@student.kabk.nl www.spatialmotion.nl +31(0)616325908 the Netherlands

My granddad was a born and bred Indonesian, born in Pare, East Java.

But genetically he was full-fledged Dutch, a so-called ‘Belanda’. He came to the Netherlands in 1939 to study. But, as a real Indonesian at heart, he went back in WW2 to fight for the freedom of his family, who were in a Japanese internment camp. Was this his personal motivation or was he used by the Dutch government to get the colony back? He passed away, so nobody can ask him for his story anymore.

As a remembrance, I want to capture Indonesia’s DNA within The Hague. Because memories become blurry and wear out.

Those who search for their roots search for facts, but in truth want a story. What is your (hi)story?

You can use movement in space (think about routings in architecture), architecture can be in motion itself (elements that have motion, since we live in this era of technology and robotics) or be moved in an emotional way (something that touches you, a sensation or story).

You could say that the different ways of motion and emotion are related to different states of being, which I would like to discuss in my thesis.

Narrative spaces can be intergraded in daily life by the tool of (e) motion to be able to create identity, giving eloquence to space. Using experience as a value of perceiving space. Motion and movement of the percipient as a physical action and emotion in a mental approach will help bring more character to space.

Iris Erkelens

116

Internship Studio Drift

Interior Architecture and Furniture Design

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Anna Groet annagroet@hotmail.com www.annagroet.wix.com/ interiorarchitect +31(0)614513113 The Netherlands Internship NJ Caine architects

Interior Architecture and Furniture Design

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Project Hydrophobia, force yourself to the intensity!

Thesis Age of space,the elapse of time in space

Hydrophobia explores the sublime using a personal fascination with the traces of time on architecture.

The dual phenomenona of the sublime (beauty and terror) is provoked and amplified by the combination of the deteriorated old electricity plant in The Hague and the vulnerability of the human body with the workings of water in its different poetic and powerful states.

The scale and the patina of the building reinforces the eightimplemented experiences of water that play with aspects of comfort and discomfort forcing the visitor to question its boundaries.

When a building becomes older, it is exposed to a certain image of time and its identity changes.

Experiencing an old abandoned building is self-confronting.

We sense the sublime – both terror and delight. Terror, because the experience makes us reflect on our own process of physical deterioration. Delight, because we recognise beauty in the ruins, the old buildings and in the process of deterioration as well.

We are not capable of influencing time and its effect on architecture.

So, it is a frightening beauty, a reflection of our own aging.

Anna Groet

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Yangwook Kang

Project Maru

yangwook.kang@gmail.com www.yangwookkang.wixsite. com/1477 +31(0)611745470 Republic of Korea

It is a place to recharge and to get immersed with one’s inner side.

Especially for introverted people who find difficulties to confront privacy in cities where the meaning of privacy is constantly changing.

‘Maru’ throws out a method to conquer.

It aims to find a method or a system of contemplative architecture where people feel secured and private despite of public exposure.

It researches what the privacy actually is and works within modern cities which I called ‘Interiority’.

Yangwook Kang

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Internship CC-STUDIO

Interior Architecture and Furniture Design

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Thesis Heterotopia: interiority within modern cities

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Zsofia Kollar lettertozsofia@gmail.com www.zsofiakollar.com +31(0)631684338 Hungary Internship Studio Samira Boon

Interior Architecture and Furniture Design

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Project To become a driving force in people We desire to create bonds. Not just with other humans, but also with objects. Our curiosity moves us to reveal secrets, find the hidden and wonder about intentions, functions or the process of an object.

MacGuffin is an object or device in fiction, which serves merely as a trigger for the plot. My objective is to create a series of MacGuffins that will become a driving force for people. MacGuffins can be the most ordinary objects or the most extraordinary with a mystery to discover, my exhibition is a domestic environment with strangely familiar objects. My environment shows that sometimes the truth is stranger than fiction.

Zsofia Kollar

Thesis Understanding the power of objects by researching real MacGuffins in our constructed reality We create, buy, collect, use and fantasise about objects. I believe there is power in every object, a power recognised by our subconscience. Objects are plot devices, triggering plots, moving protagonists and starting action.

In short, MacGuffins. In fiction and film, it is elementary to understand the power of the MacGuffins.

How can we define MacGuffins in our reality? My research paper tries to understand how certain objects gained power. It investigates how we pursue reality and what the elements of human obsession are thus providing the possible ingredients for a real MacGuffin.

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Jungmin Lee jungminlee@email.com www.m-in.in +31(0)624359614 South Korea Internship PYO Arquitectos, Madrid

Interior Architecture and Furniture Design

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Project The ecology of memory: Oblivious beach Scheveningen ‘The ecology of memory: Oblivious beach Scheveningen’ is an experimental project with a narrative story beyond the boundary of architecture. It begins with the imaginary background happening in 2100 on the beach of Scheveningen, the Netherlands. The building ‘Memory tank’ stands in the sand dune as if it rises from the ground overlooking the sea. It is an operated machine that helps you to release sufferings from any particular memory.

By following a ritual, as a visitor, let the memory away from you and bury it in the space with the collective memories in the multiple layers of time. The project attempts to arouse a discussion that everything is circulating within the system of nature interaction.

Jungmin Lee

Thesis A crack in the wall: Journey towards discovering the way of architecture be alive in the city.

Looking at new shapes of cities on the international scene, the clear state of the urban realm is losing ground. It has been filled with artificials, which is the result of interventions by expert planners.

In contradiction, the city man has arrived at a stage that longs for peaceful coexistence with nature.

How can we let architecture to be alive? As an answer in this turbulent era activated with multiple overlapping phenomena, the paper introduces unconventional approaches towards the relationship between architecture and nature with the performative terms ‘Crack, Hypothetical Jar and Fourfold’ from Martin Heidegger. By following the journey as a companion, the paper shifts your notions of nature and rethink the relation with it as a city man.

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Bianca Meilof

Project Expression of objects

Thesis Construeren van begrip

biancameilof@gmail.com www.biancameilof.nl +31(0)683179750 The Netherlands

The word looking relates to something we do. To look is something that we can still describe as objective. The act of seeing, however, focuses on the object we see and our perception of it, what makes seeing subjective.

Looking at an image we perceive it as whole and subsequently we see it as a collection of separate elements. We look at form, colour, material and context. This is what the physical image consists out of.

But simultaneously we recognise, associate and interpret.

Internship Martens & Visser

With my project I am researching the expression of objects and it aims at understanding the differences in perception when the nuance within the objects and its context changes.

Working with the different chapters of the essay, constructing our way of understanding by – interpretation, – curating, – seeing a process, – empathy, I look at the readability of the image.

Interior Architecture and Furniture Design

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You recognise and associate elements from an image and connect them to different and the ‘’same’’ elements. We use these elements that we know to interpret the meaning or significance of the elements and in the end the image as a whole.

What makes that we are no longer only looking at what is in front of us.

It is a project about our way of perceiving, while perceiving an image.

In my essay I explored how our perception of an image changes by the information we take/or get from the image.

Bianca Meilof

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Rick Mouwen

Project The production of a Palace

rjpmouwen@gmail.com www.rickmouwen.com +31(0)657790802 The Netherlands

Designing a palace is representing its inhabitants. It always has been like this, it only used to be easier as designers and architects used to know what to represent. This is no longer the case.

Since a consensus on how to represent the Royal Family does not exist and they themselves are ambiguous on how they want to be represented, architecture would be to slow to keep up, and too static to maintain its validity. The palace as a set for representation should be adapted to those who visit. Therefore, to design a palace you do not need an architect, but a director and production designer.

In my design for a Palace, I use a montage of cinematographic spaces and their inherited meaning to create an eclectic form of architecture which functions like a film.

Internship Space-Encounters

Interior Architecture and Furniture Design

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Rick Mouwen

Thesis By the means of Pop Culture: On the dialogue between architecture and film In my paper, I explored how Pop Culture formed our perception on how we look at architecture and interiors. It is about the way architecture and the urban landscape is represented after the architects and urban professionals are done with their work, the architecture’s afterlife. It is not only about this representation but also what we can learn from it, to adopt the ar­ chetypical representations from Pop Culture as our own.

After an analysis of numerous films, I established an encyclopedic volume that follows the rhetoric of filmmakers in their use of architecture. This allowed me to create an understanding of the meaning they give to architecture and sketch an option on how these principles could be used.

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Jasmijn Muskens

Project Komt goed

jasmijnmuskens@gmail.com www.cargocollective.com/ jasmijnmuskens +31(0)683670653 The Netherlands

‘Komt goed’ or ‘everything will be okay’ is what we always say. We always use these two words to reassure people that they should not think or stress too much about things. That is totally true for my project, everything will work out because you cannot do anything wrong.

‘Komt goed’ consists of several loose parts you can put together in different ways to make all kinds of furniture – or whatever your heart desires. You are free to add things you have lying about the house to the parts I have designed. And, if something does not fit… try the next thing. With my work I reintroduce play in our daily life and provide some stress relief.

Interior Architecture and Furniture Design

Jasmijn Muskens

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Thesis Echt, over hoe de realiteit niet bestaat.

Our brains can trick us into thinking things are different from what they really are. How can we use this to our advantage and flee from reality.

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Marta Sigríður Róbertsdóttir messagetomarta@gmail.com www.cargocollective.com/ marta_sigridur +31(0)651887068 Iceland Internship Studio David Thulstrup

Interior Architecture and Furniture Design

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Project Virtual Resistance

Thesis Inner Spaces

What would happen if we had to carry our homes with us? We would have to figure out what are the most valuable things we own, and find a way to hold them all together. But it could also be that our homes are always with us, just in a compressed, digital form. With our virtual environments expanding and actual environments reducing, our own bodies could be the next thing we let go of.

In my project I imagine a near-future scenario where subgroups have formed a resistance against this transformation. While embracing some variations of the digital self, a person’s identity also has a substantial presence. That way each part of their virtual environment is linked to a physical counterpart that travels and changes with them, creating their temporary surroundings.

Dreaming is an important part of forming our individuality. When we step into this inner world our imagination is unrestricted, and gives a relief from the limitations of the outside. By giving examples of individuals that have succeeded in communicating their own worlds to others, I wanted to focus on the importance of their unique missions. With their eccentricities, those individuals manage to confront the rest, and make us reconsider set patterns of living and behaving.

Marta Sigríður Róbertsdóttir

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Allegra Santis arcinaut@gmail.com www.allegrasantis.com USA Internship Andreas Vogler Studio

Interior Architecture and Furniture Design

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Project Hazard: Magnificent City of the Best People A political commentary in the form of a private city that lampoons championed ideals in American culture. Elements based on real, absurd and romanticized principals are realized to illustrate the surging movement of selfishness in the United States.

Tourists explore the landmark buildings of Hazard: the Hunters’ Church of Justice where hunting is holy; the Mother Goose Kindergarten & Shooting range where children learn to become sharpshooters; St. Donald’s Medical Resort that is only accessible by helicopter, and the Explorium Emporium Correctional Center where you can catch a show of inmate shock treatments.

Only the best will be selected for the honor of living in Hazard.

Allegra Santis

Thesis The Mandarin Candidate Social design has been stagnant and repetitive where the benefits to humanity have been hindered by the true motives of the designer.

Hidden incentives inevitably caused unintended consequences that have harmed more than helped those in need. Motivations must change to realize a purer, more evolved form of social design, and the way to do so is by acting selfishly.

This satirical thesis comes in two parts; an exploration of documented cases of failures in social design and why they were unsuccessful, and, a tale about the largest philanthropic architectural firm and their new CEO Dene Mason, an unpopular, vulgar and spray-tan connoisseur from the accounting department.

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Nienke Sikkema

Project Change of reality

Thesis Wisseling van werkelijkheid

sikkema.nienke@gmail.com www.nienkesikkema.nl +31(0)639200513 The Netherlands

According to some, life is comparable to a game or theatre. People constantly play roles that they adapt according to the situation they are in and the people they are with. It is essential how you play the game and what impression you make on yourself and others. Especially in the age we live in, where everything is constantly in flux and people move from link to link and click to click, a lot depends on a first impression.

Symbols and rituals play a key role in all this: they connect the real world with the fictive world of the experience, illusion and fantasy.

We have gotten so caught up in the game that we forgot we are playing and to what rules we are unconsciously submitting.

According to some, life is comparable to a game or theater. People constantly play roles that they adapt according to the situation they are in and the people they are with. It is essential how you play the game and what impression you make on yourself and others. Especially in the age we live in, where everything is constantly in flux and people move from link to link and click to click, a lot depends on a first impression.

Symbols and rituals play a key role in all this: they connect the real world with the fictive world of the experience, illusion and fantasy. We’ve all gotten so caught up in the game that we forgot we are playing and to what rules we are unconsciously submitting.

Nienke Sikkema

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Internship Lex Pott

Interior Architecture and Furniture Design

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Milou Simons

Project Reflections

Thesis Spaces initiate meetings

milou_simons@hotmail.com www.cargocollective.com/ milousimons +31(0)620214122 The Netherlands

‘Reflections’ is about giving another perspective to your surroundings. I am fascinated about the space that you can feel above you, the sky and architecture and how they meet and are in big contrast.

Internship Skets Amsterdam

The Grote Kerk in The Hague is in a square swallowed by tramlines and traffic. It is impossible to calmly walk around and enjoy the view.

The square itself is small and crowded by other buildings, making it difficult to look at the church from a distance.

Architecture is ‘always’ surrounding us, twenty-four hours a day. The spaces where we live, work and that we move through provoke unconscious decisions, effecting these activities. What is that makes you feel comfortable in a certain space?

Do you really make your own choices or is it al premeditated within the design of this space. My paper is a research into perception and experience of space.

By making an intervention with mirrors and seating objects, the full beauty of the Grote Kerk will be realized. This new perspective allows two worlds to come together in one resting moment by presenting a fresh observation of reverent architecture and heavenly sky.

Interior Architecture and Furniture Design

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Milou Simons

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Anna Sitnikova

Project Emptyful

Thesis Basic manifesto

annesitnikova@gmail.com www.annasitnikova.com +31(0)685491489 Russia

Space to hesitate - basic human space

Basic gives an overview Basic is everywhere, yet remains unseen Basic form emphasizes its content Bed is a basic body space Beauty of our body is revealed dressed basic Basic clothing is a piece of cloth Basic can take any form Open floor plan is basic A4 sheet of paper is basic Grey is basic Backdrop is basic Architecture of bare stage is basic Humour is a basic ‘human’ communication tool Body is our basic instrument Breath is the basic body technique Scroll bar is basic Helvetica is basic Readymade is the new basic

Internship Studio Samira Boon

Interior Architecture and Furniture Design

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We construct our spatial environment by reading it physically and cognitively. ‘Emptyful’ constructs space as perceived, magnifying this phenomenon and celebrating space as an event. Space redesigns itself with each encounter and cannot be fully grasped. Therefore it is hesitant. Hesitant as a concept embodies various possibilities, confronts with opportunities, yet stays neutral. It could be everything, but essentially it is nothing. It is inconspicuous and not about itself. People are central to this hesitant reality. It provides room for improvisation, nonchalance and makes oneself at ease with space - in control and appreciated. At its finest, hesitant space manifests itself as basic.

Anna Sitnikova

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Fabienne van Steensel

Project Huidhonger

fabiennevansteensel@gmail.com www.faabvansteensel.nl +31(0)683218073 The Netherlands

The relationship between physical contact and the comfortable welfare of adults is the subject of this project. When we were kids we had our cuddle toy, which gave us the right amount of attention and a safe, comforting feeling. When we grow older, we think we do not need this object anymore. However, we do not realize the real importance of physical contact. During cuddling, both with objects and persons, the brain creates the pleasurable substance Oxytocin. Oxytocin is indispensable, because it fights stress and fear. If you do not have much physical contact, ‘huidhonger’ can be experienced. This basically means the physical loneliness through lack of attention and safety.

With this in mind, we can conclude that everyone has a desire towards physical contact, no matter what your age is.

Internship Studio Carmela Bogman & Studio Marlies Visser

Interior Architecture and Furniture Design

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Fabienne van Steensel

Thesis Het onbegrijpelijke leren begrijpen The key of my work took shape during my study. I learned that people could experience a sublime moment, which can have a big emotional impact on them. Normally, our mind is in a neutral position, but we also need something that arouses passion (Burke). Pain and lust play a big role in this. In my research, I wanted to find out how people experience emotions and how they can be influenced. People first have to experience pain and fear, before they can experience lust: the sublime moment for me.

Within my work, the focus lies on the awareness of pain and fear, which eventually will lead to happy feelings.

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Lieke Vernooy

Project AlienNation

Thesis I don’t know why

liekevernooy@gmail.com +31(0)610722131 The Netherlands

This collection consists of four ‘living’ creatures. Four moving objects, all moving in their own way. Next to that there is a video where you can see these creatures becoming alive even more.

Where each creature has its own voice and its own ‘motorics’.

A quest for an understanding of my mind, my perception of the world and my perception of my body.

I divided myself into seven characters that together make me. Seven characters that all stand for a different fascination inside me. I wrote down memories, dreams and poem like stories to find out what keeps my mind busy.

Internship Jólan van der Wiel

I often envision the potential of materials brought to life.

This collection of creatures takes people into my world where everything is personified. I show people that our surroundings do not always need to be this static as they usually are.

Interior Architecture and Furniture Design

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Lieke Vernooy

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Ymke Vertelman

Project Space being

ymkevertelman@gmail.com www.cargocollective.com/ ymkevertelman +31(0)614708083 The Netherlands

Shrinking and expanding personal space.

Internship Observatorium

A traumatic experience in the public domain shifted Ymke Vertelman’s perception of space and time. This sparked her graduation project that addresses how perceptions of personal space can be transformed.

A symbolic base on the floor, suggesting personal territory, and extensions, attached vertically to the body, as articulation of space, are the elements used, while experimenting and testing in collaboration with two dancers. Doing so, she develops a new scripting language and provokes a new spatial perception.

Humans, meaning space, in stills and moving images, write the scenarios.

Interior Architecture and Furniture Design

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Ymke Vertelman

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Irene Wing Sum Wu

Project Goed Gezellig Gevangen

wwsirene@gmail.com www.iwwstyle.wixsite.com/iwws +31(0)648804088 Hong Kong

Impressed by Halden Prison in Norway I am now firmly of the belief that we need to change our prisons. A prison should be more like a school in which awarding is more effective than punishment. It will not sentence how many years the inmate should stay, but like a school, you can go to the next level if you have learned enough, and finally graduate. Which means you are ready to re-enter society. So rather the prison is a dead-end for convicts, it will challenge them to change their lives. Within four stages: ‘Secure’, ‘Connection’, ‘Co-operation’ and ‘Community’ inmates can rehabilitate mentally step by step.

Internship Studio Edward van Vliet

Interior Architecture and Furniture Design

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Irene Wing Sum Wu

Thesis Gezelligheid - the Dutch Feng Shui Gezellig(heid) is a typically cheesy Dutch word. In my paper, I am curious what it exactly means and why it has such a deep-rooted moral meaning for the Dutch. I studied the Dutch history, art- and domestic culture, which brought me to the story behind ‘gezelligheid’. Although it is just a local philosophy, I believe it can start a new revolution in contemporary architecture, just as Feng Shui did. But instead of bringing fortune, ‘gezelligheid’ brings you wellbeing.

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Interior Architecture and Furniture Design

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Photography Until just a decade ago, it was quite normal for photography students to graduate without ever having used a digital camera. Mobile phones rarely had built-in cameras and were merely used to make phone calls. In those days, it made perfect sense for a photograph to be taken using a device built for that specific purpose and loaded with light-sensitive material. It may seem like centuries, but it was actually just a decade ago.

In those good old days, the medium of photo­ graphy itself was the limitation. A negative film was nowhere near capable of mimicking what the human eye was able to achieve. If there was just a hint of twilight, all of the photos came out blurred. The maximum light sensitivity of standard negative films was 3200 ISO, which produced shots that were so grainy you usually wondered if you had actually been in the place where the photo was taken. In those days, it was the limitations of the medium that constituted the main challenge for professional photographers. The person best able to deal with those limitations could look forward to a glittering career in photography.

Recently, images emerged from a Canon security camera that is yet to be released.

This camera appears to be capable of taking colour photographs in the dark. So dark, in fact, that the human eye is incapable of actually seeing anything. The shots are of such good quality that facial recognition software can even be used to recognise the person caught on camera. The medium of photography is no longer a limitation, but a medium with unlimited possibilities: a camera can see in the dark, a photograph can move and a digital file can be printed in three dimensions.

The opportunities for the new generation of photographers are boundless. However amazing that may sound, learning to deal with these infinite opportunities is one of the greatest challenges faced by this generation of photo­ Photography

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graphers. In his essay Two Concepts of Liberty, British photographer Isaiah Berlin drew a distinction between negative and positive liberty.

In this context, negative and positive should not be seen as value judgements.

Negative liberty focuses on external influence –in this case, the limitations of photography as a medium – which transforms into unlimited opportunities in an incredibly short space of time.

Positive liberty, on the other hand, focuses on the freedom to act independently, of your own will or ambition. The stronger someone’s reason for doing something, the more autonomous and freer they are.

Negative and positive liberty are interrelated.

It is only possible to experience the new unlimited opportunities of the medium as positive if the user is capable of dealing with it, by virtue of having strong motivations – or a strong will.

The challenge of photography education lies not in simply demonstrating and teaching about the endless opportunities of the medium, but in encouraging students to develop a strong ambition and a strong will. This enables them to take full advantage of the new, unlimited opportunities in technology and the other changes within our profession.

The final-year cohort of the photography department reveals a superbly eclectic mix of photographic expression and a celebration of liberty and freedom. They nurture photographic thought, although it may not necessarily lead to a photograph. This group of photographers no longer think in terms of traditional formats.

What they all have in common is their deeprooted ambition to communicate and to share.

They make their own decisions, have developed a strong will and, through it, prove that they are ready to take their place in the professional world.

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Bachelors Larissa Ambachtsheer

136

Annemiek Schout

159

Eline Benjaminsen

137

Tommy Smits

160

Angeniet Berkers

138

Lise Straatsma

161

Maarten Broekhuizen

139

Mirjam Suiker

162

Annelies Bruins

140

Gilleam Trapenberg

163

Jesse Budel

141

Indrė Urbonaitė

164

Jasmijn Bul

142

Lisa van Casand

165

Marina Caneve

143

Isabelle van Hemert

166

Sonja de Bruin

144

Tessa van Rijn

167

Marlous Dirks

145

Lotte van Uittert

168

Tanja Eftal

146

Wiosna van Bon

169

Jaimy Gail

147

Thomas Vandenhecke

170

Katarína Gališinová

148

Emma Hopstaken

149

George Knegtel

150

Nine Kootstra

151

Audrius Kriaučiūnas

152

Liv Liberg

153

Laura Luca

154

Martijn Mendel

155

Annija Muižule

156

Richtje Nijhof

157

Medina Rešić

158

Photography

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PT = Part-time

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Larissa Ambachtsheer

Project You Choose, I Seduce

larissa.ambachtsheer@gmail.com www.larissaambachtsheer.com +31(0)614549956 The Netherlands

How can I amaze the viewer with fruits and vegetables again?

I have to confess that I have an obsession with food.

Internship @Koen Hauser

Photography

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‘You choose, I seduce’ is a project where I, as a staged photographer, experimented with what the role of colour on food is and how I can use colour as my manipulation tool to play with the food consumer. This leads to a series of still life where, first, I show my concern towards the makability of these products and, on the other hand, I constantly explored how I could alienate fruits and vegetables using color to make it more astonishing for the viewer.

In this constant play I discovered how I could seduce the viewer or use repulsion to mislead the consumer.

Larissa Ambachtsheer

Thesis MMM, FINGER LICKING, the future of food My obsession with food was always there, but after living in Finland it came back stronger than ever before. Not that I eat extremely healthy, biological or everything that I choose is fair-trade, but I try to make conscious decisions and to search for good food possibilities.

Nowadays as food is a hot topic there is plenty information to be found. There are many new movement and trends in the field of food.

This made it even more interesting to research what the food of the future might be.

My admiration goes mainly to new possibilities in the future of food & food photography. Therefore, I will focus on three questions: Is edible art a possibility for the future? What makes food so appealing and what is important in food photography?

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Eline Benjaminsen

Project Where the money is made

elinebenjaminsen@gmail.com www.elinebenjaminsen.com +31(0)642836623 Norway

Silent lines of code have replaced the sweat and shouts of human traders on the floor of the exchange.

Algorithms buy and sell in reaction to unfolding real world events, fake news and social media trends.

Supercomputers enable financial firms to trade at beyond-human speeds—approximately 200 times faster than a blink of an eye.

Algorithmic trading, also known as high-frequency trading, accounts for 70 percent of all stock market activity.

Internship Jonas Bendiksen

The project brings this invisible and obscure financial power to light by tracing lines of algorithmic capital to where some of the greatest profits are being made today. Guided by the geometric lines-of-sight between microwave transmitters and receivers, the work documents the resolutely physical landscapes of an immaterial market.

Photography

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Eline Benjaminsen

Thesis How to make weak stories stronger and strong stories weaker An investigation into invisible phenomena and how they affect power mechanisms: from the “politics of visibility” – how some people are culturally and socially more visible than others, to “hyperobjects” – such as climate change or economic infrastructure; concepts so complex they “defeat traditional ideas of what a thing is in the first place” (Morton, 2013). Can visual storytelling propose new ways of seeing?

What narratives may help represent, discover, reveal and motivate positive alternatives for future living?

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Angeniet Berkers

Project Echo

Thesis The good, the bad and the ugly

Angenietberkers@gmail.com www.angenietberkers.nl +31(0)628753837 The Netherlands

This year Canada is celebrating its 150th birthday. But this is not a day of celebration for the indigenous people the country was built on. On the 11th of April 2016, Attawapiskat, a small isolated town in the North of Canada, was in the news around the world. On that day 11, mostly young, people tried to commit suicide. This was due to a high rate of unemployment, intergenerational trauma, addiction and mental health problems.

In this thesis I try to find the answer to the following question: How do I make sure that I, as a (white) privileged engaged photographer, make nuanced work? Work that touches the viewer and inspires them to do something about the situation, makes them think or discuss about it or maybe even donate money to a good cause? I do this in 4 chapters where I explore the different meanings of engagement, research ways of telling nuanced stories by looking at ethical dilemma’s when photographing vulnerable people and the effects of the colonial age on photography nowadays. I then compare different work methods and their effect on the audience and take a look at the future and the wide array of possibilities in ways of working that lies ahead.

‘ECHO’ is a collaborative project that tries to give the youth a voice while in the same time making critical remarks about the media’s portrayal of social minorities and about the consequences of our colonial past in their everyday life.

Photography – PT

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Angeniet Berkers

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Maarten Broekhuizen maartenbroekhuizen89@gmail.com +31(0)622477942 The Netherlands Internship Roger Eberhard

Photography

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Project The Post Topographic (“A new representation”) Living in a time where we consume more images then ever before, our perception of reality is increasingly altered by images. Perfected representations of landscapes make us long for pristine and unspoiled lands, but is the view that is offered to us a truthful reflection or a false promise?

In “The Post Topographic” I create photographic images using digital scans of the earth appropriated from U.S Geological Survey data.

In an attempt to translate objective information I used ‘terrain models’ originally created to measure climate and land change.

By presenting the computergenerated images in a traditional photographic manner the work aims to make the viewer aware of the relation between image, perception and truth.

Maarten Broekhuizen

Thesis Landmarks My thesis titled ‘Landmarks’ is a research to the relation between man and nature. To understand this relation I specifically focus on the landscape genre within photography and the representation of nature throughout the years. How man relates to nature can be seen in the direct influence that we have on our environment, but also in the way we record it.

Photography can thus give us an insight into our changing attitude towards nature if we research the developments in its representations.

As context is crucial to understand how a changing world results in changing views I address the past, the presence and the future.

From there on I will make the next step in creating a relevant, new representation of the landscape.

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Annelies Bruins

Project Me and my other self

Thesis I’m blue, da ba dee da ba daa

anneliesbruins90@gmail.com www.anneliesbruins.com +31(0)614441857 The Netherlands

When she cannot remember his name, she describes her husband as ‘my other self’. Ingrid and André produce paintings constantly. André lays down the base: collecting all the necessary materials and tracing the outlines of a picture on a blank canvas. Ingrid colours the drawing, fully concentrated as this cannot take up to much time. Because the next couple of paintings are ready to be completed.

This pragmatic daytime activity was born from an unexpected event in the life of Ingrid and André.

According to André a relationship can end, but due to the life changing event that happend, he and Ingrid will never part.

How can colours contribute to the expression of emotions, concerning visual communication for patients with aphasia?

Internship Rein Janssen

How can I take this loving yet isolated process to a next level?

Photography

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Annelies Bruins

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Jesse Budel jesse@jessebudel.com www.jessebudel.com +31(0)640166013 The Netherlands Internship Arjan Benning

Photography

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Project I remember me, dancing around my grandma’s house, in one of her outfits

Thesis Who you are, how you feel, who you want to be

Two years ago, in 2015, my grandmother died. She accepted me the way I am and never judged me for my sexuality. She always told me she was the first who knew I was gay. With her death, I lost my safe haven. I remember how I danced around in my grandmother’s house, in one of her outfits. This is one of the moments in my youth when I felt completely free. When I slept over at my grandmother’s house I could do whatever I wanted, go to bed as late as I wanted, drink tea with sugar and eat whatever I wanted to eat. This project shows me, on the vulnerable age in the process of struggling with my sexual identity and the moments when I longed the most for my grandmother’s place, her creativity and her personality.

The main question of my thesis is: In what way does divergent gender identity influences the media-, fashion- and photography world? I concluded that nowadays divergent gender identity is more accepted than ever. You see it all around and because of all the moviemakers, fashion designers and photographers that make use of gender identity it is hard to miss the subject. Nevertheless a lot of people are not able to think further than male or female. For myself I concluded that my thesis made me understand why I make the photo’s I make. I concluded that I photograph for my fourteen-year-old self and that I use my photography to find perfection. The camera allows me to photograph boys that do not judge me because of who I am.

Jesse Budel

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Jasmijn Bul

Project Smooth Automatic Transmissions

studio@jasmijnbul.com www.jasmijnbul.com +31(0)616359443 The Netherlands Internship Miles Aldridge

Places can work as catalysts to remember vivid details of a gone past shimmering in the back of your mind. I use the photographs of my parents, and their friends, made on a 6-week road trip through former Joegoslavia and Greece in ’79 to explore the catalyst of memory through place; travelling in their footsteps projecting their footage on the place where they were originally taken, I am following the mutual teenage dream that the photo’s entail.

In my thesis I explore how the dark side of man is used as a motif in art. The definition used throughout the history of art has helped me to define characteristics, which has helped me to analyse the case studies. In the rest of the thesis, I am looking into the work of Alexander McQueen, Francis Bacon and Stephen Gill. I focus mainly on analysing their work and describe how the dark side of men is visible as a motif.

Photography

Jasmijn Bul

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Thesis Violence & Vulnerability in the Image

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Marina Caneve

Project Are they rocks or clouds?

info@marinacaneve.com www.marinacaneve.com +31(0)659571820 Italy

The Dolomites consist in different layers of rocks overlapping, denoting the evolution of the mountains but also their vulnerability.

Internship Raimond Wouda

In the so called Dolomites province, Belluno, 6000 landslides have been quantified; landslides that reoccur overtime in the same places.

Because of the mountains’ structure the material failure is inevitable, even though it can be controlled.

The politicians and inhabitants need to deal with it.

My work takes place in the time frame before a catastrophe might happen and investigates the phenomenon. I am connecting observation, experience and memory of previous events, in order to reconstruct something too big to be depicted.
A mountain is too big to be depicted too, its inner structure is invisible.

Photography

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Marina Caneve

Thesis Too Big to be Depicted.

Photography as Research Tool between Autonomy and a Multidisciplinary Approach Is photography autonomous and self-reflexive or should it be a sort of a support for the construction of knowledge? And then, in that context, what are the connections between photography as a medium and the world? How can art act for society and in which way can that be visualised and discussed?

The reason why I am focusing on discussing these mechanisms and the capability of the photographic medium is because I feel that artists have the responsibility to take a position in the world and to produce something significant that can function as well as a research tool.

My thesis in the end relates to my necessity to face the things that are too big to be depicted and to find a meaning for my production.

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Sonja de Bruin

Project Who’s your daddy?

Thesis The power of the portrait

sonja.debruin@gmail.com www.sonjadebruin.nl +31(0)646097235 The Netherlands

My dad is a 65-year-old man who thinks every woman over 50 is an ugly old wrinkled corpse. He has a strong opinion about how women should look and behave in order to be attractive. Attractiveness being the most important feature of women, so he believes. I myself am a 35-year-old woman heading towards becoming an ugly old wrinkled corpse. Growing up with my dad I have unconsciously internalised his expectations of women, making it difficult, if not impossible, to find my own individual truth, or to take a genuine look in the mirror.

Together with my dad I try to investigate these expectations.

Power is an abstract force that exists everywhere, in the conscious mind but more often in the subconscious. The relationships of power are determined by societal values that are hierarchically ordered.

This thesis researches the role that power has on the relationship between creator and subject and to what extent this influences the portrait. In this research, I have predominantly focused on the influence that gender has on the balance of power. As soon as a creator is aware of these power relationships, she can use her status, social standing and experience as an image-maker to play with power and influence the relationship she has with her subject.

Photography – PT

Sonja de Bruin

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Marlous Dirks

Project Liquid Identity

Thesis Dissolved Identity

marlousdirks@hotmail.com www.marlousdirks.com +31(0)641952914 The Netherlands

People who present an identity that stands out in the crowd. Who is behind this beautiful appearance?

What makes this person to whom he or she is? In short, “why does someone look the way he or she looks?” And “is the identity a person presents driven by an intrinsic motivation to “be oneself” or the desire to belong to something?”

People who present an identity that stands out in the crowd. Who is behind this appearance? What makes this person to whom he or she is? In short, “why does someone look the way he or she looks?” And “is the identity a person presents driven by an intrinsic motivation to “be oneself” or the desire to belong to something?”

Liquid identity is based on the idea that the identity of the modern society is fluid, flexible and fragmented. Modern society shows that we as individuals are on a constant basis /continuously looking for the embodiment of an own identity.

The constant personal considerations where the identity is more or less a reflection of the environment fascinates me and has become a source of inspiration for my project.

Liquid identity is based on the idea that the identity of the modern society is fluid, flexible and fragmented. Modern society shows that we as individuals are on a constant basis /continuously looking for the embodiment of an own identity.

The constant personal considerations where the identity is more or less a reflection of the environment fascinates me and has become a source of inspiration for my project.

Marlous Dirks

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Internship Barrie Hullegie

Photography

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Tanja Eftal

Project A young man on the street

Thesis The ultimate task

tanyaeftal291@hotmail.com www.tanyaeftal.com +31(0)611188100 The Netherlands

My first experience started when I was in primary school. Children from the class called me with names pointing to my origin. Even as a young girl I was confused how easy it is to use discriminatory and prejudicial comments. Being against inequality and believing in equal chances I want to point out the issue of ethnic profiling, because many young men from ethnic minorities are facing this tension on a daily base. ‘A young man on the street’ is a project, which consists on portraits where I try to uncover and break down the stereotypes placed upon these young men. It also includes personal stories of the young men who experienced the consequences of this ethnic profiling.

Constantly thinking and trying to understand situations, is some­thing what always keeps me busy.

Especially when I want my projects to be sincere as possible and to create empathy to the viewer.

But the most difficult struggle is how to be engaged to the topics, but still have this balance between the maker and the subject matter, because in the end to who’s voice are we listening? My thesis became a research to develop a method how I could deal within the maker, the subject matter, and the viewer.

But the most important thing how documentary photography nowadays can still function within society and the different ways we can use it.

Tanja Eftal

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Internship Broomberg & Chanarin

Photography

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Jaimy Gail

Project SEX SELLS

jaimygail@gmail.com www.instagram.com/jaimygaill +31(0)639269809 The Netherlands

What defines our sexual norm is personal, but several major factors like our nationality, religious values and gender play a big role in the outcome of what the individual reckons as normal. In other words the construct of a sexual norm.

The mainstreaming of sex in Western popular culture is something we are confronted with on a daily basis.

We are used to an open approach when it comes to sexual imagery, and our image culture is saturated with nakedness, and especially female nakedness. Without being provocative, I photographed classical portraits of the home situation, known for its peaceful and familiar setting, but added with the current sexual image culture of today presented by the popular mass media to distort the image.

Internship Janneke van der Hagen

Photography

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Jaimy Gail

Thesis My Orientalist View on Sexuality in Japanese Culture I had a vivid image of Japanese sexual culture as it immediately triggers an exotic visual image. After reading the book ‘Orientalism’ by Edward Said, the complete tone of my thesis changed. At first my approach was to see differences within Japanese and Western sexual cultures, but ‘Orientalism’ forced me to focus on the Western fabrication of Japanese sexual culture. I took out what I think are the most stigmatised images of Japanese sexual culture today to find out if the Western imagination of each of these examples are correct, and if not, how they are fuelled through the visual culture.

Accompanied by the historically based feeling of being neutral and superior, Western culture alters facts into their own constructed image of reality’

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Katarína Gališinová galisinova.k@gmail.com www.katarinagalisinova.com +31(0)684567881 Slovakia Internships Anaïs López (Amsterdam) BAK - basis voor actuele kunst (Utrecht) Kristof Bilsen (Antwerp)

Photography

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Project We Are Here Football Club – playing to be recognized Receiving a residence permit as a refugee in Europe has never been more challenging. Refugees whose asylum requests are rejected (while their home country is not safe enough to return to) live without the right to work and have no access to social housing or social security.

The ‘We Are Here Football Club’ is an initiative by and for people who are experiencing this in The Netherlands. Through the game of football, they have established a supportive community.

Thesis A.C.T. – contribute a verse Raising awareness is not enough; for it might be just as close to vanity as being apathetic to what is happening around us. Being critical is necessary in order to question our common co-responsibility for colonialism, the exploitation of others and stereotyping. But how to reframe what art can potentially be?

How can I help the other while being an author? How can I call myself an artist and persevere an artistic practice when knowing that it might be just a privilege?

This project is a collaborative effort to bring the ‘We Are Here FC’ into public attention. By appropriating the image language of football culture, it gives the team members recognition as football players.

In this reflective essay I elaborate on ethically disputable contemporary art works and films (such as Renzo Martens’ or Joshua Oppenheimer’s).

At the same time, I question my role and my responsibility as an artist when aiming for social change.

Katarína Gališinová

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Emma Hopstaken

Project Aqua

emmagabrielle@live.nl +31(0)611740724 www.emmagabrielle.nl The Netherlands

Aqua is about water and its effect on our senses and physical state.

Seeing, feeling, hearing and being in water can bring you calmth. With my poetic fashion photography, I’m searching for the harmony between the calming effect water has on the human physic, but yet water like the sea can be described as the terrifying never ending unknown.

Internship Unit cma.

Photography

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Emma Hopstaken

Thesis The desire for the untouched in the created image In ‘The desire for the untouched in the created image,’ I’m researching the use of nature in the contemporary fashion photography and how it is influenced by the old sublime painters. How nature can be used to create certain atmospheres, contribute to express or feel emotions and how using nature, something described by the dictionary as the untouched, can become its contradiction by using it within the medium of photography.

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George Knegtel

Project Tracing the Black Dog

Thesis All Lights Askew In The Heavens

georgejosephine.k@gmail.com www.georgeknegtel.com +31(0)638606316 The Netherlands

Depression, the world’s leading cause of disability, has been dismantled and systemised through various methods in psychology and science. Combined, these efforts form an elaborate network of angles that show the complexity of defining an invisible illness. One that has no face nor shape and is often masked by silence.

The medium of photography has played a large role in human’s curiosity and search for knowledge and aided in defining and revealing processes of our world. The first chapter of this thesis discusses such works, where the mechanics of the camera allowed us to reveal details of the moon and sun and register the fluent movement of a running horse. Moreover, this chapter describes some of its photographic methods and their alluring minimal quality.

The second chapter examines how the scientific quality of photography still plays an active role in contemporary (documentary) works. How they adopted the visual characteristics and methods of scientific imagery, and in some cases used context and convention to reform its meaning.

George Knegtel

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Internship Philippe Chancel

Photography

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Nine Kootstra

Project Man tot de macht vrouw (Mv)

Thesis Love Yourself And Watch

ninekootstra@gmail.com www.ninekootstra.nl +31(0)645014240 The Netherlands

‘Mv’ is a photo series about men who are not afraid to show their vulnerability and the femininity within them. With this series I want to reach men and boys who are searching for a representation in mainstream media to identify themselves with. One which is not stereotype masculine, the though, not crying, strong, womanizer type.

At this point there are a few of these representations in the media.

I would love for everyone to be comfortable with expressing him or herself in the way they want to.

Without the (non) verbal judgement of others.

In my thesis ‘Love Yourself. And Watch’ I am researching femininity within man in the hip-hop culture and why this is often perceived as a problem. Because I am part of the Dutch hip-hop culture as a photographer and dancer I would like to focus on hip-hop culture. To know what hip-hop culture is about, I will talk about the history of hip-hop.

After that I will define masculinity and femininity in general. And I will focus on the role of masculinity within hip-hop specifically. This chapter I divide in four gender provisions: Sex, Sexual preferences, Gender identity and Gender expression. I also include an image analyses on the album covers of Young Thug and Kevin Gates. Both American rappers.

Nine Kootstra

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Internship Ruud Baan

Photography

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Audrius Kriaučiūnas

Project Houses of Freedom

a.kriauciunas@student.kabk.nl www.audriuskriauciunas.com +31(0)622430407 Lithuania

The peculiar design of private houses in early 90’s Lithuania is a result of ambition to build a house with your own hands. Most of these houses deny conventional thought pattern and demonstrate daring decisions. They are highly personalised to fit the taste of the owner.

The sudden rise of these houses mark an important historical event - Lithuania’s independence from Soviet Union.

Internship Jan Dirk van der Burg

Photography

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Audrius Kriaučiūnas

Thesis When Does Absurd Become Absurd?

With my thesis I dig deeper behind the definition of absurd, to understand its necessary conditions. For this reason I chose Albert Camus ‘The Myth of Sisyphus and Other Essays’ (1942). Written in the midst of World War II, when the meaning of a human life seemed to be at its lowest, this book appeared to be credible to say the least. With the newly acquired knowledge I will look into subjectively selected artists and their work with an aim to understand whether absurd in an artwork is implicit or explicit, is the absurdity a result of artistry or is it already there in the subject itself?

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Liv Liberg liv.ylva@gmail.com www.livylva.com +31(0)651367915 The Netherlands Internship Blommers & Schumm

Photography

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Project They Collect (Objects from my parents’ wardrobe)

Thesis Empty Dress (the role of the garment in art and fashion)

My parents wear clothes, like everyone else.

Most people keep their clothes in closets; my parents do to, a very big one in fact.

Most people throw their clothes away when they are worn down or old.

My parents do not.

They keep the garments they care about in a special room. For over 30 years, these clothes have been kept, sometimes worn, mostly not. In fact, my parents wear jogging suits most of the time.

This room filled with clothes is like a small museum, keeping timeless treasures behind its doors.

My parents do not shop, they collect.

21 suit jackets, 18 dresses, 27 skirts, 42 scarfs, 28 pairs of pants.

I lived with these clothes; played in them, adorned myself in them and I was inspired by them.

Now, I objectify them.

‘Empty Dress’ researches the power of the garment as an object, depicted in art and fashion throughout the 20th century until now. Every piece of clothing that we wear carries a personal story with it; it carries our experiences and keeps them hidden in its folds and creases, stains and smells. Apart from clothing being something very practical, it can be utilised to tell a story. Using clothing as an object to convey a message, while it leaves the body behind, has become a strange and mysterious appearance in art and fashion over time.

Liv Liberg

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Laura Luca laura.s.luca@gmail.com www.lauraluca.nl +31(0)612920084 The Netherlands Internship Jaap Scheeren

Photography

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Project They say plants make you happy, but mine always die

Thesis I recommend you happiness.

A society’s prescription.

When you are young and still figuring out what life is about, how are you supposed to know what makes you happy? As an adolescent born in a Western society, it seems like you are entitled to happiness. It’s not a pleasant possibility, but an obligation: the greatest achievable goal in life. This is very harmful, because when there is a set goal, the option of failing exists.

The expectations of life have become extremely high and social media magnifies the isolated feeling of failure. We know what excellence looks like and have no tolerance for the average. A new generation, that is already disappointed with life before it even started, has arisen.

If you don’t feel happy, you are a failure. Forced happiness becomes sadness in the end.

Growing up in a time in which the measurability of happiness is very important, being happy is a highly desired goal in life for the younger generation. The search for happiness in the Western world is accompanied by a lot of psychological struggles. The process of becoming an adult is never easy, but becomes more complicated within the society that is focussed on excellence.

It’s easy to manipulate the image we are showing to the outside world, so that we can fool our audience.

All online profiles are ‘cameras’ that take your privacy away. We need privacy to keep functioning well and process difficult things in life. The image we are creating becomes more important than the content.

Who we want to be is more important than who we are.

Laura Luca

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Martijn Mendel martijn@martijnmendel.com www.martijnmendel.com +31(0)627233388 The Netherlands Internship Emmanuel Giraud (Paris)

Photography

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Project The Boy Who Couldn’t Catch The Ball

Thesis The Boy Who Couldn’t Catch The Ball

Amidst the violence of 60 youngsters, I had taken a seat on the bench of the boys’ room. It was time for gym class. Me, myself, I could not even reach the pedals of my bike, let alone partake in Dodgeball or basketball, where vigorous boys play along relentlessly. In The Boy Who Couldn’t Catch The Ball, I explore my own coming of age experience of repressed youth in a small town with a mind that craved infinite opportunity and creative freedom.

Our society doesn’t acknowledge the complexity of gender, which results in stereotypes. This creates an environment where gender roles are standardized (boy - girl, and nothing else), and this is perpetuated in fashion, then reflected in real life. Women are still payed less than men, and boys still don’t cry.

This assertion what is masculine and what is feminine no longer rings true with younger generations.

Men no longer want to be vigorous, dominant breadwinners. Fashion designers and photographers are using the credibility of fashion brands to create a male or female that goes beyond stereotypical depictions.

The new image of the contemporary male should further broaden the freedom to express himself and develop his own true potentials.

Martijn Mendel

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Annija Muižule

Project The Harvest

annijamuizule@gmail.com +31(0)621165827 Latvia

What happens when the difference between reality and its representation has completely collapsed?

By assigning definitions to entities of our reality we give the world a certain order and understanding.

Moreover, capitalistic and cultural tendencies construct entities and objects to become symbols. Due to such processes, our understanding of reality inevitably shifts as well.

In my work I deconstruct the strawberry as an entity and question the contrast between its representation as a symbol we culturally relate to and its initial form. Is the strawberry still strawberry? Was it ever?

Internship Ola Lanko

Photography

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Annija Muižule

Thesis Joyful Businessmen Throwing Papers and Having Fun in the Office In a world that projects itself through imagery, photography has become an omnipresent representation of our reality. Images that surround us and our living environment are often made underneath the rule of image-making industries, such as stock photography. Companies like Getty Images have often been criticised regarding its generic image production. My thesis is a philosophical exploration that attempts to draw connections between Guy Debord’s ‘Society of the Spectacle’ (1967) and contemporary image production under stock photography companies. By doing so, I make an attempt to speculate what effect the generic image has left on our perception of the world, ourselves and others.

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Richtje Nijhof

Project Searching for Juldi

Thesis Thuis in beeld (Picturing home)

richtjenijhof@gmail.com www.richtjenijhof.nl +31(0)621191867 The Netherlands Internship AnaĂŻs LĂłpez/Docking Station

Thirteen years ago, my mother met a woman at a train station. Her name was Juldi and she had just fled from Liberia. This encounter was the beginning of a special relationship between her and our family.

She was like an older sister, though one with a completely different background.

Juldi suddenly died three years later, a few weeks after the birth of her second son. Her time here may have been short, but she has definitely had an influence on my life.

The home is a topical theme to discuss in a time of shifting boundaries between private and public space, a time of high mobility of people and goods. By making use of a framework of various theorists, I analyze several projects that deal with the theme of home. I make a distinction between the home inside the domestic space, the home outside the domestic space and more abstract perceptions of the home. How can the (feeling of) home be depicted and how does this happen in modern day photography?

Photography

Richtje Nijhof

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Medina Rešić

Project Chocolate House

Thesis Let’s Look at War

medina.resic@gmail.com www.medinaresic.com +31(0)684396079 SFR Yugoslavia Internship Savage – www.lovesavage.tv

Every family has a story, welcome to ours. I was two when my parents fled Bosnia during the Yugoslavian War. As the youngest in the family, I had the privilege of not being aware of the events around me, at least – I do not remember them.

I recall my first memories from the moment we reached safety – right in front of our apartment in Croatia.

No one ever talked about what happened, and since I do not remember anything, I tend to feel I miss an important experience.

This thesis deals with the importance of immediate engagement into the current. First off is understanding the front line through the eyes of war correspondents, those that are brave enough to give us the bloody news. Second is the information playground, the conflict that rises up once photographs leave photographer’s camera and get into the hands of news outlets in relation to the audience, but also the ones depicted in the images. In the last part, I naively search ways to stop the war.

Photography

Medina Rešić

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Annemiek Schout info@annemiekschout.com www.annemiekschout.com +31(0)657619114 The Netherlands Internship Ruud Baan

Photography

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Project I’ll Never Wash My Hand Again (A Tribute To Fan Fever)

Thesis Hollywood Dreams & Bubblegum Schemes

Fandom has always been a wonderful way to live in the moment and to learn more about my identity; I was introduced to emotions I had never experienced before. I remember being seven years old and looking up to idols as if they were superheroes.

I was enchanted by their strength and fun; they were the role models that provided entertainment and were, as strange as it sounds, essential for my personal development.

Now that the prefrontal cortex of my brain has stopped developing in my mid-twenties, I’m having trouble experiencing it the same way. I wish I could shamelessly drown myself in fandom the way I did when I was young…

My research is about the methods pop artists use to entice the (young) audience. When I was a child I loved the Spice Girls; I was unaware of marketing strategies and ‘image’.

Now that I am older and I photograph aspiring artists, as if they are Hollywood stars, I wonder: to what extent should an artist play a role to entice the audience? Is it wrong to use fictional characters (cartoons, actors, holograms) to sell records and concert tickets? When I was young I didn’t care that much; it was all about the experience. Nowadays, I do appreciate artists who stay true to their own vision without faking it. They are the role models that can inspire me for a lifetime.

Annemiek Schout

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Tommy Smits

Project The Great Backyard

Tommysmits.tommysmits@gmail. com www.tommysmits.tommysmits.nl +31(0)620318286 The Netherlands

Some say it was an image brought back to life, others that it was Atlantis dreamt up from a mine below the desert. You are in the ruins.

They were masters of framing the world, and produced a Frame for the Sun that gave it a voice to tell the story of a young framer finding the ultimate frame. These are findings from their strange lands.

Internship Thomas Mailaender

Photography

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Tommy Smits

Thesis Het Belang van Randjes (The Significance of Edges) A picture frame carries meaning and purpose that sometimes outweigh that which it contains. Can the supportive character transcend it’s function? In ‘Het Belang van Randjes’ (The Significance of Edges) Tommy Smits asks himself the question of the Frame. Resulting in a variety of subjects such as how the frame developed an opinion, the troubled relationship of Man and Nature, a bike ride across the country, the physical presence of nothing, and a man who spent his whole life building his own grave.

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Lise Straatsma info@lisestraatsma.nl www.lisestraatsma.nl +31(0)614958209 The Netherlands Internship Rob Hornstra

Project The Alpha Strategy – An index of the unpredictable The Alpha Strategy is an ongoing research on how to regain control and weapon yourself against anxiety. Living in the information age, we have access to a multitude of sources, data and visuals.

The Alpha Strategy tries to grasp the question of where the dividing line is between useful information and knowledge possibly being completely useless.

Fear is a highly useful emotion that has been preserved throughout evolution to secure our survival. People say we fear what we do not know, so gaining more knowledge should technically make us less fearful.

But the more you know, the more you realize what you don’t know.

Will anticipating the unpredictable make us feel more in control or less?

Photography

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Lise Straatsma

Thesis The Potential Of The Unknown Researching the transformation from being audience to becoming protagonist The unknown is a frightening and exciting phenomenon. In this thesis I try to connect two forms of the frightening unknown: looking at the unknown other and the unknown future of the practice of visual storytellers.

My own ideological strive for achieving an empathic connection through storytelling is the motor behind this research. With the rapid development of new media, more possibilities to tell a story emerge.

The starting point of this thesis was the question why such a limited amount of storytellers seem to be working with new media. What are we afraid of? Shouldn’t we embrace and explore these new forms of storytelling in the quest to reach an audience?

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Mirjam Suiker

Project Nudes

Thesis Identity for sale

Mirjam.Suiker@gmail.com +31(0)630388913 The Netherlands

Nude coloured clothing is a trend which has been running in and out of fashion for decades. Now, we have entered an ‘in’ period again, and this time the color has been casted into tight-fitting bodysuits.

It is a garment designed to raise the illusion of nudity in order to display youthfull, perfect female bodies in public space. The kind of bodies which the fashion industry uses to sell clothing through the idealized idea of eternal youth. This garment embodies that ideal.

But, is it really eternal youth which holds beauty? To me, a woman’s beauty is a continuously growing thing. It lies within years of experiences, emotions and thoughts which have sculptured her into a self, allowing her to simply ‘be’.

The Western fashion system is based on a constant need to consume. I want to know the origin of that need and how we are influenced on a subconscious level by clothing companies to stimulate that behaviour. Photography is an important tool within this system, because of it’s ability to communicate without words.

It’s that same quality that attracts us to wear specific garments: to communicate ones identity to a complete stranger without needing to explain. In ‘Identity for sale’ I look closely into this relationship between clothing, identity and advertising, asking: what is the role of clothing in explaining our identity and how do advertisers make use of that urge in order to pull a consumer towards a specific fashion brand?

Mirjam Suiker

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Internship Koen Hauser

Photography

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Gilleam Trapenberg

Project Big Papi

gilleamtrapenberg@gmail.com www.gilleamtrapenberg.com +31(0)648493174 Curacao

My graduation project is a visual research into the image culture of masculinity set against a sunset lit Caribbean landscape. A time of day in which borders are less defined.

The stereotypes and clichés associated with macho culture form the starting point for the work, as is the same with most of my former projects. Since the work is greatly personal I am aware that while I am looking critically at the subject matter I am also seducing and romanticising the subjects and landscapes I photograph.

Whether it being American TV shows or the visual tropes surrounding the macho culture while growing up in the Caribbean, my work has continuously been influenced by social culture. Over the past few years this has shifted to the internet, and it’s influence on the practices of contemporary photographers is noteworthy. What is the role of a contemporary photographer nowadays in the overwhelming rise of digital mass media?

Gilleam Trapenberg

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Internship Stefan Ruiz – NYC

Photography

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Thesis Transmission, Consumption and Materiality.

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Indrė Urbonaitė

Project State of Shame

Thesis Peter | Lost in Objectification

info@indreurbonaite.com www.indreurbonaite.com +31(0)658921406 Lithuania

The project ‘State of Shame’ addresses the relationship between the suspect, cloaked with the presumption of innocence, the photographer, who milks his spectacle and the mass audience, which till nowadays enjoys the aspects of public shaming. This relationship is examined through found images taken during the court session in the countries where media is still allowed to publish the image of the suspect before his guilt is proven.

The images are later altered by isolating the shapes of suspects from the contextual surrounding.

Each shape is the result of an effort to conceal one’s own identity by shrinking the body or merging with objects available at the spot.

There is great amount of discussion, which usually argues about the responsibility of the objectification.

It starts from the intentions of the artist, continues to the limitations of the medium and the sitter’s incapability to be himself in front of the camera. And at last it stops at the viewer, the one that perceives the image and what it represents based on his personal experience. To argue to what extent photographer and the viewer are responsible for the human body objectification three cases studies were chosen. The findings of individual objectification methods that artists use in their work later were applied to the theoretical framework of objectification cases introduced by the American philosopher Martha Nussbaum.

Indrė Urbonaitė

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Internship Anne Geene

Photography

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Lisa van Casand

Project The Mushroom Club

Thesis Betekenis zoekende dieren

lisavc@live.nl www.lisavancasand.nl +31(0)681755104 The Netherlands

For years, it was the best kept secret in the Netherlands - The Mushroom Club - a former NATO headquarters inside a mountain on the DutchBelgian border during the Cold War.

Internship Gert Jan Kocken/Anoek Steketee

This underground network of tunnels was stripped and officially erased on paper. What is left is an empty cave, objects taken out of their original context and the often inconsistent recollections from former employees.

‘BETEKENISZOEKENDE DIEREN’ is a subjective collection of a wide range of perspectives on the transfer of information through the linear and non-linear narrative. The subject -the narrative- is researched in the content, as well as in form of the thesis. How are different forms of narrative used to create an understanding of the world around us?

The selected information combines sources from biology, philosophy, art, psychology etc. to search for connections and differences within these various fields. As a result, the online publication is not a traditional thesis in which you are taken by the hand towards the conclusion.

Instead, the non-linear form gives no specific reading direction, no middle and no end.

This project is an attempt to dig up information in order to reconstruct an image of the headquarters.

Photography

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Lisa van Casand

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Isabelle van Hemert

Project Neither filled, nor unoccupied

Thesis Flat and impassable

isabellevanhemert@gmail.com www.isabellevanhemert.com +31(0)653387023 The Netherlands Internship Taryn Simon en Martine Stig

The surface of the photographic object is a plane of reference. This reference is a distraction from the objecthood of the photograph.

While its surface gives presence to something absent, i.e. the depicted, its own presence as a physical thing is diminished to an equal degree.

In what way and to what extend must the depicted be altered in order to see the photographic object as a thing in itself, as an object of affect?

This thesis is an attempt to understand and give words to my experience of Imi Knoebel’s Raum 19. Although this work is undeniably three-dimensional and lacks an image on its surface, it made a photographic impression on me.

In my thesis I investigate the extent to which Raum 19 can indeed be understood photographically.

Photography

Isabelle van Hemert

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Tessa van Rijn

Project Darkest Light

Thesis The Silent Activist

info@tessavanrijn.com www.tessavanrijn.com +31(0)651393675 The Netherlands

Thirty percent of humanity can no longer see the light band on the night sky. It is a sad thought that our generation is growing up without ever seeing the Milky Way (domestically).

I work with activist subjects but I do not recognize myself in the characteristics of the activist photographer. My activist position is rather based on the choice of subject and intention than in the way I speak about the topic.

How can I, as a maker, express myself about the fragile relationship between man and nature, without being an activist? As an artist, do you have a message or goal? And which method can inspire and help me to pursue and express myself?

How can beauty and activism strengthen each other? I found the answer in my kaleidoscopic working method. The tension in my work is my visual strength. As an artist I can use beauty and aesthetics to enchant the viewer. I call myself a ‘Silent Activist’.

Internships Sarah Carlier (2015) & Martine Stig (2015)

Our Western culture is the first to lose the awareness of the relationship between the universe and man. This is caused by light pollution, an effect due to growing urbanization. The Netherlands is the most “light-polluted” country in Europe.

The project ‘Darkest Light’ is a visual search for a magical experience with nature. Inside the Dark Sky Parks in Holland, a country where almost every inch of nature is artificial, I searched for the Galaxy. Looking for this magical experience with real nature, now that it’s still possible.

Photography

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Tessa van Rijn

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Lotte van Uittert lottevanuittert@gmail.com www.lottevanuittert.com +31(0)625081151 The Netherlands Internship Annegien van Doorn

Project The hidden dynamics of a family tree In this project I will explore the hidden dynamics of my family system.

I question natural behavior and events in everyday life by looking further back in history. The images influence one another and form a conjoined system of balance.

Your family forms a system you are inescapably part of. This ‘family soul’ looks for balance and does not allow for rejection of denial of people and events within the system.

Children may identify subconsciously with forgotten or rejected family members and take over their fate, guilt or vengeance. As long as they are subconscious, these extortions can carry on from generation to generation. This influences our life tremendously, especially when we are unaware of it.

Photography

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Lotte van Uittert

Thesis “I smell purple, I feel the room” As a photographer, I never had a problem with having an intimate relationship with my subject. I am able to visualise this intimate relationship into image, but ultimately the viewer can only observe.

Therefore, the spectator is much further removed from the subject than the photographer is. My goal is to decrease the gap between spectator and photographer. Eventually, the image should not only stimulate visual impact, but physical impact as well.

Nowadays, the artist plays much more on the viewer’s senses. The audience becomes engaged and experiences the project in the same way as the artist does. More senses are stimulated, which ensures the viewer’s intimacy with the project.

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Wiosna van Bon

Project Family Stranger

info@wiosnavanbon.com www.wiosnavanbon.com +31(0)655976433 The Netherlands

‘Family Stranger’ is a project about families of prisoners after they have found out that a member of their family has been convicted of a crime. The family has ethical questions to deal with and because of this their relationships with one another can come under severe strain. This is the start of a long process of re-evaluation.

Internship Jaap Scheeren and Henk Wildschut

The purpose of ‘Family Stranger’ is to create awareness about the struggles these families endure.

Photography

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Wiosna van Bon

Thesis Why do I always buy flowers for the people I’m photographing?

(Breaking) the rules of documentary photography My thesis is about finding the right balance between the form and the content in a photography project, in which the relationship between the creator and the subject plays an important role. Furthermore, I research what contemporary documentary photography can be.

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Thomas Vandenhecke

Project Complicit

Thesis Complicit A plea for activism?

thomas.vandenhecke@gmail.com www.thomasvandenhecke.com +31(0)646797326 The Netherlands

This project is about my time on the island of Hydra, my struggles and my projections. I went there to find Europe on 20 square miles of rock in the Mediterranean, but after a while I realized that I was projecting that wish. I thought I was fueled by an activist agenda, but I ended up playing the role of a poet in desperate need of material.

My starting point was my internal struggle on how to deal with sensitive and political issues within my work. In my research I did not find many good examples of photographers and other artists dealing with these issues whilst keeping an honest look at their own position.

I start my thesis with a brief history on the relationship between colonialism and photography, then compare that history to the ‘work’ of a very popular photographer; Jimmy Nelson. I compared his work with that of his predecessors, dating back many decades. From there I moved on with the Greek term for beauty, Kalos, and other historic notions of aesthetics.

Thomas Vandenhecke

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Internship Jeroen Hofman

Photography

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Photography

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Textile & Fashion It is with great pride that I introduce you to Roos Boshart, Rachael Cheong Li Zhen, Veronica Konvičková and Thalonja Slui, our graduates of the Textile & Fashion department.

After four years of studying here, the department’s strengths are clearly reflected in these talented students. The manner in which each of the students has drawn on these strengths to aid their artistic and professional development is particularly clear.

The graduates decided to portray an extremely personal story in their graduation collection.

beautiful graduation catalogue the great work of our graduate students.

Jurgi Persoons Head of the Bachelor Textile & Fashion

One can only admire this uninhibited honesty.

Such honesty demands courage, openness and a deep professional understanding. The students successfully worked out these intense and at times emotionally charged themes in a very fashionable and contemporary way.

In doing so, they have adopted an ultimate position as strong, authentic designers, ready to face all future professional challenges with a healthy dose of verve.

More than ever, I am convinced that designers who dare to repeatedly profile themselves this way are in strong demand.

The signature of the Textile & Fashion depart­ ment is unmistakeable : it translates into honesty, diversity and an uncompromising positioning in the field of design. Our students dare to deviate from the accepted norms, take an extremely authentic approach to the substantive interpretation of their concept, and are not afraid of presenting an unconventional or unpolished image. Individuality, freedom and openness all play key roles; these are essential elements that can result in innovative design. But make no mistake: our students stand with both feet firmly on the ground and set to work with whatever is playing out in their personal lives or in today’s society.

I am delighted to invite you to discover in this Textile & Fashion

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Bachelors Roos Boshart

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Rachael Cheong

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Veronika Konviฤ kovรก

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Thalonja Slui

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Textile & Fashion

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Roos Boshart roos.boshart@gmail.com www.instagram.com/roos_boshart +31(0)649870641 The Netherlands

Textile & Fashion

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Project I am a slave of your perception, you are a slave of mine

Thesis I am a slave of your perception, you are a slave of mine

The collection ‘I am a slave of your perception, you are a slave of mine’ is about the interaction between the body, the self and the other.

I take iconic and recognisable fashion pieces, which I present without any context. This way I show the pure core of the clothing in relation to the body. By taking away the air in the immediate area around the clothes, by sucking the pieces vacuum, I invite the viewer to look with care and attention, to become aware of his own perception and create his own personal opinion.

In my thesis I look carefully at the human body in a very visual, precise and analytical way. By describing selected images from inspiring artists, I dive into the details of the human body. From this close-up I slowly start moving away, taking a step back to put those images in a broader and more contemporary context, giving a new view on the body, sexuality and identity.

Roos Boshart

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Rachael Cheong rachaelcheonglz@gmail.com www.closetchildren.com +31(0)646785609 Singapore Internship A.F Vandevorst

Textile & Fashion

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Project WE KNOW WHAT YOU ARE HIDING The collection ‘WE KNOW WHAT YOU ARE HIDING’ is about the hiding of your deepest darkest secrets through the eyes of a porcelain doll. The body of a doll is seen as a surrogate body in which we project ourselves onto. She sits in your room, she knows the things you mutter in your sleep, your fears and insecurities-but she cannot and will not say anything. Even though the collection itself may come across as deceptively colourful with familiar patterns and materials used for interior space coverings- hiding, in a wider context- there is nothing you can hide from the eyes that know it all.

Rachael Cheong

Thesis The Body as a Medium for Hiding The thesis is an extension of my graduation collection where I explore the body as a medium for hiding. It is split into 3 chapters: physical hiding, psychological hiding and digital hiding. Physical hiding explores the history of hiding objects on the body with special modified garments; an act known as smuggling today. It also explores a more metaphysical aspect of physical hiding with identity and the performance of it. Psychological hiding goes more in depth with the doll (which includes automata, marionettes and artificial intelligence) and our obsession with making objects in our imagination. Lastly, digital hiding, which is a more modern phenomenon, serves to answer the question: What do we have to hide today? This chapter is about hiding when the body is not present.

I reflect on the use and implications of social media platforms as well as the Darknet for hiding.

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Veronika Konvičková

Project Silent Wonderlust

Thesis The Story of a Silent Wonderlust

nl.veronika@gmail.com www.@veronika.konvickova +31(0)626482570 Czech Republic

The relationship between silence and sound is the source of inspiration for ‘Silent Wonderlust’ in a serene and dreamy atmosphere.

My graduation collection is about beauty found and captured in silence and stillness. While doing research for the graduation collection, it is important to find calmness, reconnect with yourself and to find your inner ‘silence’.

Search for the way to escape from the constant motion of a busy life and never ending noise, with a peaceful women’s collection in the end.

The diversity of fabric shapes out of taft and other materials are transformed and the smallest embellishments are finished with paint to create a texture contrast and movement. To keep the harmony alive soft piano music is a vital factor in the presenation of my graduation project

In my thesis, I explore the beauty and power of silence with a poetic approach. By looking into essentials of calming piano music I emphasise on a slow fashion movement in contrast with a mass production in Fashion and its impact on society and the environment. I would like to inspire people to seek for more silence in their life and surroundings.

To slow down and take more time to reconnect with their inner nature.

To see more beauty in life and feel more fulfilled and complete.

Textile & Fashion

Veronika Konvičková

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Thalonja Slui

Project Out of Touch

Thesis 
In Touch

thalonja@slui.info +31(0)636403742 The Netherlands

Schizophrenia, losing reality is the driving thought behind the collection.

The collection is put together with the characters t o u c h.

The garments seem to be complete, but they are not complete. They seem to lose power missing parts, but in fact they gain it. The characters do not have to be clear for the public, the underlying message is more important. That was also the case for the French painter Jean Dubuffet, another inspiration for this collection. Also I got intrigued

by Outsider Art. In my work the message I want to tell is; you can be out of touch, but with a mental disorder you are still complete as a human being.

There are many prejudices about people with mental illness and there is still a taboo. Stigmatisation is the process in which a group of people is negatively labeled, convicted and excluded. In my thesis, I give a critical reflection about the stigmatisation around mental disorders.

With examples in the fashion industry, art and celebrities I want to give a different perspective on a mental disorder. To tell my personal involvement and have a positive view.

Textile & Fashion

Thalonja Slui

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MASTERS & POSTGRADUATE COURSE

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ArtScience The projects of our Master’s graduates show a broadness of interests and attitudes. Intimate performance around the (un)watched self contrasts a formalistic light installation that plays with perception. The fractured image of the viewer merging with his opponent competes with a sensual audio-visual journey. Algorithmic composition that brings water to a standstill relates to mathematical sculpture which repeats and yet never takes the same angle. And singing bacteria in soil oppose the cacophony of repeated obsession with the way we communicate in linguistic clichés. All works that take you in one way or another — they make you feel what you think, or think what you feel.

We are proud of these new ArtScientists who are ready to face the future.

The ArtScience Interfaculty is a collaboration between the Royal Academy of Art and the Royal Conservatoire, since the conception of its Bachelor’s programme in 1989 as the Image & Sound Interfaculty (with a Master’s programme since 1999). Our students are curiosity-driven researchers who focus on phenomena in nature and science, society and all artistic disciplines, in order to develop new types of art, new types of experiences and new types of artists for the twenty-first century.

Taconis Stolk Head of the Bachelor & Master ArtScience Interfaculty

ArtScience

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Masters Sabina Ahn

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Natalie Fyfe

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Sophie Jurrjens

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Liva Kalnina

185

Nanda Milbreta

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Cathleen Owens

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Jan Kees van Kampen

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Alexander Zaklynsky

189

ArtScience

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Sabina Ahn

Project Sonomatter

Thesis Sonomatter

info@sabinaahn.com www.sabinaahn.com +31(0)628653691 South Korea

‘Sonomatter’ is a sound installation and performance that transforms bioelectrical signal from microorganisms to sound. The work starts with building a Winogradsky Column, a small ecosystem out of mud and water — generating the electric signal with a Microbial Fuel Cell (MFC), and measuring the voltage from the microorganisms which are formed in mud. As time proceeds, the microbes will create electricity and eventually die when they lack nutrients. The designed ‘Bioelectricity-Controlled-Oscillator’ circuit consumes the (bioelectrical) energy to control the sound of the oscillator. This process illustrates a circular relationship between life and death, as life and death share the same material (mud)... (sonomatter.com)

This research focuses on trans­ forming a bioelectrical signal into sound, using a hybrid method: scientific and artistic methodology, connecting living matter to a circuit board and binary data to human perceptual experience.

With these approaches I made a system that generates a small amount of electricity to change the parameters of the oscillator.

My goal is to make a self-sustainable and reusable small ecosystem and then to transform the bioelectricity from living matter into sound.

My experiment started by making a small ecosystem out of mud and water (Winogradsky Column) and measuring the electrical signal with a Microbial Fuel Cell (MFC).... (sonomatter.com)

ArtScience

Sabina Ahn

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Natalie Fyfe

Project Choreography of the Mouth

nataliefyfe@hotmail.co.uk www.natalie-fyfe.com +447805172226 United Kingdom

‘Choreography of the Mouth’ is a performative series exploring the mouth as an organ of radical expression.

The mouth seems to move as if by its own infraction, a performative chamber fundamental to identity and social conditioning. The mouth acts as a bridge between the inner and the outer, a pivotal point in which boundaries and taboos are held in balance. Natalie Fyfe will present Nil by Mouth (2017), a performative ‘talk’ encompassing a universal language which confronts the teeth, the lips, the throat and the tongue.

ArtScience

Natalie Fyfe

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Thesis Between Borders; The Inner Voice, The Mouth and Boredom My research is a neurological and psychological exploration of borders between the self and the world around us. It questions identity; how both the internal (self) and the external (world) co-exist to push the boundaries of lived experience. The three main aspects of my research include the inner voice, the mouth and boredom.

The inner voice refers to the constant stream of unvoiced words within the psychological space of the self, known as the internal monologue. The study of the inner voice alongside the voice of mental illness is used to question perceptions, expectations, desires and memories, defining the borders within selfhood to investigate the boundaries between them.

The mouth is located as a gateway, a bridge to cross borders.

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Sophie Jurrjens

Project Artefact

sophieproject@outlook.com www.solisscenery.com +31(0)642281735 The Netherlands

Solis, alias Sophie Jurrjens, combines sound with nature-found images. Her graduation project Artefact, is a soundtrack for a seascape. Inspired by the raw power of the water, Solis expresses nature’s immeasurable force. In this audiovisual work the melancholic rhythm of the water tells stories about her past and present, and anticipates the future.

ArtScience

Sophie Jurrjens

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Thesis Muziek als omgeving voor het landschap (Music as setting for the landscape) As an artist I am interested in what occurs to the human mind when it is surrounded by nature. For me, music amplifies her endurance.

By writing this thesis I wanted to determine how I could use the natural landscape as an environment for my musical compositions. Therefore, I investigated the influence of the natural landscape and how it has been influencing different art forms in the past and present.

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Liva Kalnina

Project An Intermittent

Thesis Light in Boredom

liva.kalnina@hotmail.com +37126585222 Latvia

An exploration of the patterns, expectations and illusions that the human brain creates when it is exposed to a logical order of events and fragmented time.

Boredom has a negative connotation in the context of the art world.

But why not use boredom as a tool to create a specific type of artwork?

I am looking for ways to create autonomous light design. By exploring the approaches of the pioneers in light design, this paper investigates the possibility of light design becoming an artwork of its own, in co-existence with other audiovisual tools.

I also look at how colour and the changes of light influence human perception of time. Based on this research, I have applied the concept of time fragmentation to my work and have used specific techniques that shift the audience’s perception of time. This research leads to the question – can we use boredom as a method to create autonomous light design.

ArtScience

Liva Kalnina

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Nanda Milbreta

Project Translucent

nandasoundgirl@gmail.com www.neon-landa.com +31(0)628808561 Latvia

During my Master I researched (optical) illusions, senses and perception. My research resulted in the interactive installation Translucent.

Two visitors sit in front of each other and look at the broken and staggered mirrors that hang in between them. These mirrors reflect in two directions and show deformed images of endless repetitions of reflections. One can see not only their own fragmented reflections but also those of the person on the other side.

The mirror is a symbol that has many meanings. For a younger audience this piece is playful and funny.

Whereas grownups are challenged to contemplate about a number of psychological questions. Do we see everything the same way? Can we believe everything we see?

ArtScience

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Nanda Milbreta

Thesis Things Are Not Always What They Seem I am a sound artist, but in my master research I decided to broaden my field of interests and dive into the strange and to me yet unknown world of illusions. Throughout the research process many times I stumbled upon my own faulty assumptions. Again and again I proved myself wrong. Hence the research title “Things are not always what they seem”.

My thesis is like a diary that first guides the reader through fascinating stories about various types of optical illusions; then explains colour blindness and the phenomenon of the afterimage; and finally tells about my explorations of the sense of smell and touch. All these stories unravel the things I read about, experimented with and observed.

My personal memories connect all these themes.

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Cathleen Owens

Project Hitting a Wall

cathleenowens92@gmail.com www.cathleenowens.com +31(0)625249477 USA

Immediately after our first session together, she was able to start focusing on what she really wanted out of her position. Instead of becoming angry and defensive during conversations about job performance, she implemented the 6 crucial conversational skills. With this more action-based approach, she was able to clarify her goals and identify problems with 10x more accuracy than ever before. In the middle of a difficult discussion, she was willing to stop and ask herself, “What do I really want?” rather than gravitating towards the all too common silence or violence. As you can imagine, this not only helped strengthen her position in the boardroom, but also in the bedroom.

With plenty of guidance, she’s been able to grasp the meaning behind our mission statement - there’s much more to communication than just talking.

ArtScience

Cathleen Owens

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Thesis I Am Nothing but a Puppet...

And Other Anxieties What is the best way to manipulate the manipulator? How can one control the controller? And what then happens once one makes it to the other side? Through the same frameworks, persuasion techniques I am critiquing, I attempt to argue my point in a clear, evidence driven way.

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Jan Kees van Kampen

Project Lingua Franca

Thesis ¿Do machines list..

jk@0x56.net www.0x56.net +31(0)682959480 The Netherlands

In ‘Lingua Franca’ water and light are modulated by sound waves. The algorithms generating these signals interact with and learn from each other. Moreover, once they have found common ground, this system of communicating signals opens up for the outside world. Generated using purely deterministic means, the system seems eager to get fresh and unpredictable input from the world outside of the algorithm.

Biological input is sensed and forces the whole, which is presented as a performative installation, to behave differently.

Through the application of signals, I will explore the nature of calculation, iteration and recursion, and make software processes interact with each other, as well as with the world outside of the software runtime. Many phenomena observed in nature seem to allow for mathematical generalisation.

Through the application of signals, I want nature to influence computer processes. This can, for example, be a human’s movement or pulse.

While exploring signal behaviour in a media-agnostic way, I propose a method for interacting with the signals, and I am looking for ways to compose situations, and represent the interactions. I also ask myself how a seemingly endless domain of possible signals can be explored and classified.

ArtScience

Jan Kees van Kampen

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Alexander Zaklynsky

Project Instances of Endlessness

alexander.zaklynsky@interfaculty.nl www.AZ4D.com +31(0)646577968 United States / Iceland

Pattern paintings, Tetra-helical sculptures and a 4 channel audio installation featuring kinetic sound sculptures. Horizontal lines have left the building, Space is cleaved and split into new forms, a process of slightly changing variables and layering is imposed. This group of works stem from a studio process that is defined by the repetition and variation of its efforts. All the works employ a simple system of layering, on the 2 dimensions of the painting, the 3 dimensions of the sculpture and the 4 dimensions of sound.

Nothing is static as this layering exposes an emergent quality of aesthetics bound to both the finite and the endless.

ArtScience

Alexander Zaklynsky

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Thesis RESONANT STRUCTURES FOUND

BY WAY OF EXPLORING INFINITY In material objects, a sound or vibration produced in one object, caused by the sound or vibration produced in another, is due to the resonant frequency of both those objects.

Resonance is a quality emergent of material and bound to the structural makeup of that material, yet, it is also a word that has entered into our common lexicon to symbolize the effect of an idea and its spread among a population. Resonance is a sustenance of energy transference.

Hartmut Rosa would say that resonance can also be seen as a form of equilibrium or balance. Johannes Kepler believed that “there exists a very common geometry in the universe. From universe to smallest particle of matter, everything is under violent effect of this common geometry.�

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Artistic Research The Master Artistic Research is an intensive two-year study that attracts highly motivated artists from many parts of the world, all linked by their shared interest in an interrogative and reflective approach to making art.

We are open to a wide interpretation of what it means to be an artist, and as you see from this graduation presentation, our key ties with the Royal Conservatory attract many students for whom sound or music are important aspects of practice. Our students are encouraged to experiment, to innovate, and to collaborate.

Theorists Francesco Bernardelli, Clare Butcher, Moosje Goosen, Maria Hlavajova, Frans-Willem Korsten, Wayne Modest, Steven ten Thije, Thijs Witty, Arnisa Zeqo.

Curators Nico Feragnoli, Johan Gustavsson, Floris Kruidenberg, Clara PallĂ­ (all 1646) Laura Ahman, Kateryna Filyuk, Alessandra Troncone (all De Appel Curatorial Program), Jelle Bouwhuis, Roos Gortzak (external examiner), and Angela Jerardi.

Poet Lisa Robertson, and musicians Andrius Arutiunian, Justin Bennett, and Robert Pravda.

Our constantly developing program places each student’s personal creative trajectory, and the production that defines this, at its heart.

Over the last two years these graduating students were asked to open up their practices to the thoughts and feedback of their tutors, peer group, and department guests. This exploration has helped each of them become more critically aware artistic researchers, with both more complex practices, and a more complex understanding of the ways art can intersect with the aesthetic, social, political, and historical field.

Students also went out of the academy, in a collaboration with Glasgow School of Art at Hospitalfield Residency Centre in Scotland; and with trips to Playground performance festival at Museum M and Stuk, Leuven; to The British Art Show, to Documenta14 in Athens, and with exhibitions at 1646 gallery, and Locatie Z in The Hague.

Janice McNab Head of the Master Artistic Research

For their graduation project, the MAR asked Amsterdam based curator Annick Kleizen to work with the group in the production of both an exhibition and a publication. The publication is a supplement to their individual theses and seeks to entwine their practices, and at the same time reveal some of the intensive research that went into these final completed works.

Guests to the program over these two years have been: Artists Ruth Barker, James Beckett, Audrey Cottin, Nora Chipaumire, Koenraad de Dobbelaar, Francesca Grilli, Nicoline van Harskamp, Alex Martinis Roe, Metahaven, Benny Nemerovsky, Maria Pask, and Antonis Pittas.

Artistic Research

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Masters Bergur Thomas Anderson

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Eros Chien

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Sabin Garea

194

Quinsy Gario

195

Mirka Hodasova

196

Sepideh Jahanpanah

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Vera Mennens

198

Ingrid Verweijen

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Artistic Research

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Bergur Thomas Anderson

Project The hardest acting challenge I have ever faced

bexkex@gmail.com www.berguranderson.info +31(0)620049218 Iceland

“In order to be an actor, you have to be able to become some body else.”

Inspired by a story told by Ronald Reagan, the work traces a topology of rude wake-up scenes to find ways to see yourself just like others would see you. When I say see yourself, I mean really see yourself like others see you walking around or standing normally in a room. In a task that becomes something much more than portraying a character in a performance, an actor’s motif leads to escaping the parameters of vision and a radical re-embodiment by rehearsing the same scene, again and again.

Artistic Research

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Bergur Thomas Anderson

Thesis Where’s the rest of me?

The text collages notions of spectatorship (via Hito Steyerl/Harun Farocki/Dan Graham), repetition and interruption in moving image (via Jean-Luc Godard), escaping the empirical conditions of vision (via Brian Massumi/Ronald Reagan), shifts in attitude towards material objects (via Robert Smithson/Jane Bennett), and finally a manifesto for Withness. Withness is a method to gain alternative embodiments, perspectives and understandings by de-centralizing our selves in the relationship we have with materials.

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Eros Chien

Project To Stage Camera Obscura

Thesis To Stage Camera Obscura

chieneros0109@gmail.com +31(0)645854503 Taiwan

“With reference to the notion and practice of ‘Concept Art’, post­ dramatic theatre can be seen as an attempt to conceptualise art in the sense that it offers not a representation but an intentionally unmediated experience of the real (time, space, body): Concept Theatre. ... ... From the point of view of visual arts, Performance Art presents itself as an expansion of pictorial or object-like presentations of reality through the addition of the dimension of time.”

Hans-Thies Lehmann, Postdramatic Theatre (London: Routledge, 2006), p134

I focus more on an initial statement from Camera Lucida and the development of exercises aimed responding to that. The themes of each chapter should be considered as attempts to “visualise” and “materialise” my question, as intermediaries who brings Photography and Theatre closer. To start, I present an exercise composed towards the end of the program. It enfolds significant characteristics of my practice, and unpacks themes and questions for the main body of the writing. For the epilogue, I begin with a paper architecture project, and end with my plan for an installation work for the graduation, which at this moment can be seen as the final suggestion feeding back into the whole process of the project.

In the completely dark room there is an inverted camera obscura.

The performing body is folded within it, and the ghostly images are continuously discharged out of the well-sealed container.

Artistic Research

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Eros Chien

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Sabin Garea

Project (Working Title)

Thesis Crafting New Attitudes on CRAFT

gareasabin@gmail.com www.sabingarea.com +31(0)638451489 Romania

The installation ‘Working Title’ inscribes itself within the broader research on material practices that I have developed throughout the Master of Artistic Research.

In this piece, I use celluloid film to document spaces from multiple cities: Bacau (Romania); Tallinn (Estonia), and Athens (Greece).

These are spaces that intrigue me because of the recent histories that have shaped them. I have also built a series of traditional instruments, to create a sound work that overlaps with these moving image, but in an unsynchronized manner. All the techniques involved in making this work are part of my process. I aim to expand my artistic practice through the embodiment of various crafts and techniques.

‘Crafting New Attitudes on CRAFT’ summarizes all my master’s research. I focus on a deeper understanding of the practice I have most recently developed, a material practice involving the embodiment of various crafts and techniques, and the translation of this technical knowledge into my own artistic language. A considerable part of my thesis debates the validity of craft knowledge in an era of digital technology. I identify, by analyzing my work in relation to the oeuvre of other artists, how these techniques can continue to find their way into the visual arts. My thesis is about re-inventing a sustainable craftsman-like attitude that can be adopted in one’s practice.

Artistic Research

Sabin Garea

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Quinsy Gario www.www.nonemployees.com Netherlands Antilles

Artistic Research

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Project Four works on belonging and agency

Thesis On Agency And Belonging

In the four presented works I focus on the tension between belonging and agency in relation to resistance and power. My (Grand)mother Made Me White is a lecture-performance on identity politics, the residue of which remains as an installation.

In Bevrijdingskunst a series of slides about the Dutch Antilles and Suriname are coupled with quotes from a Surinam doctoral thesis from 1982 on liberation art. Both the slides and the thesis are part of the Black Archives at the Vereniging Ons Suriname. de les lezen is an investigation of privacy, transparency, white (institutional) fragility and black agency. And 7 Stories: Story 5 & Story 2 is a mixed media installation that reflects on the infrastructure for the making of artists.

With the artistic position statement I traced the development of my thinking on agency and belonging through my theoretical affinities and past works. By zeroing in on the concepts of everyday racism, the feminist killjoy, intersectionality, decolonial aesthesis and the politics of opacity I’ve come to better understand my own positionality within the art academic setting.

I reflect on the reception of my presence and work and how to seize the opportunity to propose other orders and ordering practices.

The statement includes pages from the newspaper the St. Maarten Daily Herald in a nod to the local origins of my first throughts on agency and my relationship to European institutions as a living remnant of European colonialism.

Quinsy Gario

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Mirka Hodasova

Project All Quiet

Thesis Object Space Memory

mirka.hod@gmail.com Slovakia

I found 20 copies of the book All Quiet on the Western Front in a Slovak library in my hometown. Over the years these copies had been used by many readers from the city.

Even by me. But the status ‘reader’ reveals no personal information about each individual who read the book. Each of them stands only as a number in the institution of a library.

These missing readers are gone, and yet still present, as expressed by apparent marks of usage in the books. The actions of each reader change the book’s appearance and shape the different qualities of each copy. These books: containers filled with stories, tiny bits of intimate lives, opinions are being changed every day, changing in turn every reader who becomes someone else, not only a number.

The role of objects in everyday life is often overlooked. We are in contact with an innumerable amount of them. This process of instability and variability affects our actions, habits, thinking, and more.

The elements that construct our surroundings play an important role according to their material quality and aesthetic appeal, each with a different meaning and importance.

They have the ability to create a bond with us, thanks to the time we spend in their presence. Our self-identification is found, mirrored back to us, in these objects and can differ as they come and go.

So then where to look for stability in a relationship and time of constant change?

Artistic Research

Mirka Hodasova

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Sepideh Jahanpanah sepidejhnpnh@gmail.com www.sepidehj.com +31(0)614274200 Iran

Artistic Research

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Project A Documentation of a Possible Artwork; Corner

Thesis Perpetual Death through the Myth of Layers

Through the manipulation of different materials, I try to extend ‘corner’ – one of the key concepts of my previous video work. My approach is to create a documentation of the possibility of an artwork. The filmed material does not follow a structure – it brings some of my social and feminine issues together with the idea of documentation as an artistic format.

The possibility of an artwork can be understood from a collection of absurd acts. An absurd act being a continual process of a never existing artwork.

Sepideh Jahanpanah

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Vera Mennens

Project The events between the events

Thesis The events between the events

vmmennens@gmail.com www.veramennens.nl +31(0)654993667 The Netherlands

This research project is in the format of a personal journey through various layers and voices of history.

Each part is intertwined or a result of a previous part, and like the present, it is a construction of events that are preserved in our past.

History is always there but certain specific subjects come forward due to circumstances. Reading something, an encounter during a walk, a photograph, a memory, or a change of perspective during a talk, like that evening when people were dancing on the square in Weimar.

I was leaning against the Goethe house dozing off from the long drive. Due to nightfall, the dancers became like ghosts, slowly moving as if they were important pieces on the checkerboard of history.

Throughout the years, humans have come up with explanations for the way time presents itself to us. On the one hand, it creates the illusion of a linear continuum, on the other, times connect, run together, or exist parallel to one another. This way of looking at time raises the question of what the ‘now’ is, and what kind of relation it has to other moments in the past, present and future.

Being on the verge of fact and fiction, together with the writings of Walter Benjamin, Susan M. Pearce, Henri Bergson and my own, I try to find a way to connect the past and present in order to maintain our relationship with history and search for new ways of giving history a voice.

Artistic Research

Vera Mennens

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Ingrid Verweijen i.verweijen@gmail.com www.verweijeningrid.com +31(0)612589467 The Netherlands

Artistic Research

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Project 1. BLACK OUT 2. The voice in the screen My graduation project is composed out of two works. One work is a performance called; ‘BLACK OUT’, that is performed in the dark while using glow in the dark attributes.

In this experimental musical, the traditional notions of theatre are reversed, by giving the stage directions as written in the script a major role, and by giving the prompter the second leading role.

The other work, ‘The voice in the screen’, is a music video installation, where slides that refer to the beginning of music video production are used to superimpose the scenes.

The theatrical single shot scenes and fragmented audio recordings are used as a tool to approach the production of sound and video making as a sketch rather then a polished product.

Ingrid Verweijen

Thesis In the theatre of disobedient art My thesis deals with the way in which theatricality and theatrical methods are used within the visual arts. It explores conventions and dissonances when it comes to the use of the female voice, annotation in songwriting, music performance and contemporary theatre. The female voice can be used as a tool for theatrical dissonance and resistance and a lack of control and imperfection in its use shows it’s integrity.

Using an amateur approach towards other disciples, creates a space of freedom for the visual artist, who is not part of the scene and therefore not as bound by its rules.

Theatricality within the visual art field has many forms and is often used while appropriating only some elements that are put in a different context.

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Interior Architecture (INSIDE) Spatial change design This year INSIDE says farewell to the fifth group of new masters of interior architecture that have been educated at the KABK. A major challenge for interior architects in this era is to explore the potentials of a wide variety of spaces that could or should be embraced by users. Abandoned spaces, infrastructural spaces, neglected spaces and re-framable spaces can reveal potentials when they are studied by the designers that are most specialized in the user perspective of space.

In that respect it is crucial for future designers to also develop new skills to reach their goals and to act beyond the drawing of architectural plans and presenting floorplans, sections and renderings. Skills like exploration, trying out on a one-to-one scale and initiating interventions and debates are part of the crucial skills of provoking spatial changes of the next generations of interior architects.

In all spatial situations in change the dynamics of design lie in understanding the context.

Only exploring fed by an advanced curiousity enables finding the potentials, the ambitions and most of all the limitations of a context from which designers can shape the future spatial use and identity. After a first year filled with encounters, assignments and confrontations, the students return to their native countries where they define an assignment with which they complete their course at INSIDE by the end of the second year. The graduation projects of the INSIDE students that are presented in this catalogue show a large variety of design challenges and approaches in very diverse countries.

Klodiana Millona researched the strong trend in her home country Albania amongst families to construct their own homes in a step-by-step way.

Interior Architecture (INSIDE)

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Through understanding the dynamics behind this situation she discovered unique qualities in the permanent state of unfinishedness this creates. Isadora Davide researched the possibilities to reclaim the street as a communal space focussing on the south Portugese city of Faro. Designing approaches to re-conquer the street on the everywhere present cars. Minjung Kang developed possibilities to re-introduce the qualities of the South-Korean courtyards that have disappeared in post war urban developments. Especially the wide spread use of smartphones open opportunities to re-connect people to space and through that to each other in an attractive and contemporary way. Makiko Morinaga developed a strategy to redesign the ‘castle park’ in the Japanese city of Kumamoto into a place for healing, learning and celebrating disasters, since it was seriously damaged in the earthquake that occurred in April 2016.

Mila Tešić explored the history and deplorable current state of the once futuristic system of pedestrian passages under busy roads in the centre of her home town Belgrade. With her design she connects the revitalization of these tunnels to future climate-change adaptation.

Finally Arvand Pourabassi researched the situation of precarious workers such as young architects as himself. Try outs on a one-on-one scale enabled him to develop personal strategies to survive in places where that is a challenge.

This year we again have been very fortunate to be able to work with fantastic tutors from offices like Superuse, MVRDV, Raumlaborberlin, and Theory teachers Louise Schouwenberg and Anne Hoogewoning that worked together in guiding the students towards a thorough research that landed in extraordinary spatial change designs.

Hans Venhuizen Head of the Master Interior Architecture

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Masters Isadora Davide

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Minjung Kang

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Klodiana Millona

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Makiko Morinaga

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Arvand Pourabbasi

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Mila Teťić

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Interior Architecture (INSIDE)

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Isadora Davide isadora_davide@hotmail.com +31(0)631598311 Portugal

Interior Architecture (INSIDE)

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Project The street as a communal space Faro, Portugal Streets are spaces of collective memory, spaces that create a mental image of a particular urban environment. They must offer more than merely provide parking space.

Recovering local streets is fundamental for a successful urban regeneration towards a more sustainable development of cities. The communal use of the street space has the potential of bringing together residents with different economic, social and cultural background.

The project will be a strategy to involve the neighbourhood in new possibilities of using the street space, aiming for a workable balance between being a meeting place and a traffic space.

Isadora Davide

Thesis The street as a communal space Suggestions to improve social interaction in a residential area of Faro The thesis is divided in four main sub-themes, starting with an overview of the urban history of Faro, diving into its origins, development and current scene of the chosen streets, followed by theoretical approaches on street planning, specifically from Jane Jacobs, an American urban visionary in the 60’s, and Jan Gehl, an influential contemporary expert on improving the quality of urban spaces considering the human scale. Afterwards I describe the most relevant insights I gained from the conversation with Filipe Cunha from the Infrastructures and Urbanism Department of Faro. And finally an overview on the social and cultural identity of the context, a residential neighbourhood in Faro.

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Minjung Kang minjung.kang803@gmail.com +31(0)638471869 South Korea

Interior Architecture (INSIDE)

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Project On the move - A sophisticated O2O service as a methodology to regain the lost values in rapid development in Seoul, South Korea

Thesis On the move - A sophisticated O2O service as a methodology to regain the lost values in rapid development in Seoul, South Korea

Rome was not built in a day, but Seoul was. Seoul has changed a lot in a very short period of time.

During these rapid physical changes, in which a small village became the second largest metropolis in the world, people had to go through many cultural changes. Koreans have developed a unique way of using public space. They have created so many indoor spaces for social gatherings. This unique use of space is about to change again through on-going developments in the O2O. In my project, I aim to develop a use of public space in such a way that is more effective while fitting the typical Korean culture. Without forcing people or maintaining current convention, but by maximising the potential of what people already use most in their daily lives.

In my thesis, I researched the historical transformations of public spaces in Seoul and track down the changes in how those spaces are currently being used. Furthermore, I analysed which influence these changes have on the interaction between Koreans. By comparing between the past and present, I examined how the development of urban space has changed people’s activities in Seoul. Subsequently I researched the development of the O2O service in South Korea, the striking point of O2O and the effect it had on people’s activities.

The thesis led to having a better insight of the current situation.

Furthermore, I hope to make a contribution to introduce Koreans an advanced way of using space aligns with Korean culture.

Minjung Kang

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Klodiana Millona klodimillona@gmail.com www.linkedin.com/in/ klodiana-millona +31(0)653507450 Albania

Interior Architecture (INSIDE)

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Project The Unfinished HouseWhat if this was great?

The project dives into the phenomenon of the incomplete houses which are left permanently under construction in Albania. Exploring the ‘unfinished’ state with the aim of recognising values that can be translated into design strategies, that advocate imaginative speculation on how to alter former conditions into an optimistic contemporary action. Albania thus provides a potential canvas to test speculations and interventions that have as a starting point the disturbing and at the same time exiting question: What if this was great? What if this is the house of the future?

Klodiana Millona

Thesis It’s not the Fault of the HouseDesigning a “third way” behaviour for Albania The thesis investigates the archipelago of unfinished buildings scattered all over Albania. A whole landscape filled with concrete skeletons, with some of them being in use, others completely vacant, and some still under construction.

The research is an effort to twist an overloaded with gloomy connotation phenomena into a positive idea.

By employing a banal optimism in practice and a dose of humour, it manifests itself as a kind of pseudo experimental methodology that questions the actual concept of the city.

Albania is just a good example.

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Makiko Morinaga

Project The Never Ending Memories

Thesis The Embalming Disaster City

guriko3399@gmail.com +819041707576 Japan

My project is dedicated to my hometown Kumamoto in Japan that was severely damaged by an earthquake last year. Right now many residents, who became victims, are trying to overcome the tragedy of this disaster. One of the symbols of recovery is the restoration of the Kumamoto Castle in the city center. However, in my opinion, it will be difficult for the people of Kumamoto and the visitors to memorise and learn about disasters from a completely restored castle. My proposal is to create a monumental theme park by re-using the ruins of the castle to share the tragedies and memories for all people. This theme park is thus not just a recreational facility but also a device to help each other deal with traumas and powerfully find consolation.

My thesis originates from the idea what I can do as a designer in a situation like my hometown Kumamoto, which suffered an earthquake.

For my research I used my own past experiences as a volunteer in other damaged cities in Japan. I also examined various monuments where memories of disasters are shared.

Based on my experiences and case studies I structured my research according to three elements: Healing, Learning and Celebrating. I explain why and how they need to be part of the reconstruction of facilities to memorise severe disasters like earthquakes. In the conclusion I focus on the design challenges they provide for the urban revitalisation of Kumamoto in a part where the historical castle is currently being restored.

Interior Architecture (INSIDE)

Makiko Morinaga

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Arvand Pourabbasi

Project The Room of an Architect

Thesis The Room of an Architect

arvand.pa@gmail.com www.worknot.info +31(0)619410292 Iran

This project is a representation and also a proposal for the changing conditions of the life and workplace relations of nomadic precarious architecture students and young architects. In order to bring up issues that are frequently going unnoticed today because of their normalcy, such as the blurring borders between life and work.

By subjecting myself while I tackle the design issues as the designer, the sketch models, experiments, would present a firsthand take on the issue. The strategies are used to create affordable live/work spaces for young practitioners by inhabiting unused spaces of existing buildings.

The living and working conditions of the precarious worker in rented room or studio in a shared building is a normalised scenario of life for this particular group. Today, however, there is a condition in which the nomadic knowledge worker and young practitioner experiences a blur of borders between places of work and life. Their tiny bedrooms are centres connecting them to the rest of the world, through both online and offline means. To work in architectural offices requires a long preparation time (of gathering skills, making portfolios, etc) mostly taking place at the private space of their homes. On the other hand, working as freelance architects to afford a separate working space of a studio is a challenge and in some cases impossible.

Interior Architecture (INSIDE)

Arvand Pourabbasi

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Mila Tešić

Project Wormholes

mila_91@msn.com +31(0)638492256 Serbia

I was not born in Belgrade, but I have found many great loves there: love for my work, love for my friends, but also a love for the city itself.

Although this love is an irrational thing it is also the impulse that drove me to think about how I can make that dear city into an even better place than it is now. There are many ways to make it such; I have chosen to try to resurrect the lost togetherness among people. Three underground passages in the city centre; three forgotten voids that appear as places out of time and space; three wormholes turn into three spaces driven by water that attempt to resurrect the forgotten awareness of one’s environment: human, built or natural among the people of Belgrade.

Interior Architecture (INSIDE)

Mila Tešić

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Thesis Wormholes- Awakening togetherness in Belgrade passages In my thesis I have dealt with the everyday life in Belgrade. I have tried to unravel the political, economic and social circumstances which led the people of Belgrade to a state of detachment of their surroundings.

Consequently, I have realised that the recent turbulent history of my country has led the city fabric to become a subject of illegal appropriation and heavy misdeeds in its urban policy.

Thus, the people of Belgrade lost a ground where they could be together.

I found it my task to try to give them this ground again and incite chance encounters and conversations among Belgradians.

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Type and Media It takes far less time to read a text than it takes to write and edit it. This asymmetry of effort also exists in the basis of those texts: we can decode the symbols on the page in a fraction of the time it took to make those symbols. As readers we need only a basic understanding of letterforms. In order to design letterforms we must learn to look at the shapes, as well as their patterns and texture, in a far more analytical way.

Students at the Type and Media master do just that. They study contrast, weight, rhythm, proportion, spacing: in short, every aspect of the process of making type. They examine primary sources and original material at museums (Meermanno, Plantijn-Moretus) and archives (Koninklijke Bibliotheek, UvA Bijzondere Collecties).

Just as importantly, they learn to tinker with the tools: physical writing implements as well as digital and even algorithmic ones. The teaching follows a practical approach, in studio-based making and learning. They are taught to reflect on how the tools they use influence the creative process and the possible outcomes. And most of all they are taught the Type and Media mantra “When in doubt, draw”.

Our students come from Mexico, Korea, Germany, The Netherlands, Slovakia, Croatia, South Africa, Argentina, Finland, India, Poland and Spain. A shared curiosity about type brought them to The Hague where they all ran head-long into the reality of a demanding year-long program. Some sparks flew, but mostly it was stone chips, fooßballs and darts.

location inform her design process. We went to a highly technical conference where makers and engineers from around the world presented ideas on math, line shaping and writing systems. A welcome distraction was offered by the Whispers project, a collaboration with the communication design students from Professor Indra Kupferschmid (8 BA students, 4 MA students) from the HBK Saar and TypeRadio.org.

Between the trips and workshops the students endured relentless feedback on their projects and assignments (spacing!) from lecturers Erik van Blokland, Paul van der Laan, Peter Verheul, Petr van Blokland Just van Rossum, Peter Biľak and Fred Smeijers. With Jan Willem Stas they visited culturally important sites and exhibitions. And there were guest designer visits from Pip Hall, Paul Barnes and Toshi Omagari. Dr. Catherine Dixon, Central Saint Martins, UAL, was our external examiner.

Coordinator Marja van der Burgh made sure it all happened.

Perhaps a minor field in terms of its practitioners, type design is rich in history, and is the cornerstone of many cultures. And somehow it has become the center of hot technological development. We have done our best to prepare our graduates for this crossroad.

Erik van Blokland Head of the Master Type and Media

There were workshops in Arabic letterforms

by Kristyan Sarkis, Cyrillic letterforms by Ilya Ruderman, and deep font technology by Frank Grießhammer, all TypeMedia alumni.

We had a popup exhibition of the sketch and sample stones by letter carving teacher Françoise Berserik. In the exhibition (and video!) she showed how materials, light and Type and Media

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Masters Daniel Coull

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Sven Fuchs

211

Pablo Gamez

212

Borna Aaron Grčević

213

Ro Hernández

214

Thom Janssen

215

Eino Korkala

216

Mariela Monsalve

217

Eunyou Noh

218

Martin Pysny

219

Lipi Raval

220

Magdalena Wisniewska

221

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Daniel Coull

Project Veld Display

dancoull@live.co.za www.danielcoull.com South Africa

‘Veld’ is a display typeface family designed for large scale use in the physical environment. Inspired by sign painted vernacular of South Africa, striking a balance between functional and quirky.

‘Veld’ aims at being a utilitarian workhorse that gets the job done without much fuss. It is a low contrast sans serif with a large x-height, initially created with a broad nib marker and some tool rotation. There is a visibly humanistic element, this motion and quality is highlighted in heavy turns and brush stroke-like flat endings.

It maximizes the surface area of each letter, especially in the black weights, to get the most out of any given medium. A modest approach to conventional forms that are not overly refined.

Type and Media

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Sven Fuchs

Project Gerald

svenofuchs@gmail.com www.svenofuchs.net +4917670114708 Germany

‘Gerald’ is a typeface system that reflects on the super-elliptic design space and dives into the heritage of German type design of the early and mid 1950s like the work of Georg Trump, Hermann Zapf and Friedrich H. E. Schneidler. ‘Gerald’ aims to be used in editorial design.

It consists of serif and sans-serif family members. The serifs with their corresponding bold and italics are aimed for mid-range reading.

The sans-serif members which are much more outspoken, are to be used in headlines.

Type and Media

Sven Fuchs

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Pablo Gamez

Project Driver

pabloesgamez@gmail.com www.pablogamez.com +34665313464 Spain

‘Driver’ is a typeface that fits the whole car. Inspired by the world of motorsports, it is a modern interpretation of the squarish styles from the sixties and the aesthetics of car races.

The smaller version is a variable font that adapts to a responsive interface. It enables the designer to link the visual parameters of the typeface to any condition like luminosity, size, background color and visual hierarchy. It is meant to be applied in the dashboard, navigation control, windshield display and any interface inside the vehicle.

The bigger version is a typeface with four extremes for headlines, intended for branding and editorial environments. It explores the possibilities of the square round shapes and the contrast between widths and weights. It also includes a set of decorated numbers.

Type and Media

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Pablo Gamez

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Borna Aaron Grčević

Project Grotto

grcevic9@gmail.com +3855539997 Croatia

‘Grotto’ is a slab serif typeface that plays with combining different visual outputs: elegant/robust, sharp/round. Its intended use is editorial design. The text style is optimised for small sizes and continuous reading. Unlike most slab serifs it has more contrast and very calligraphic italics, making the overall feel less robust. The heavy style emphasises on rigidness and sharpness, designed specifically to fill the white space as much as possible for compact headline use.

In contrast, the hairline style is airy and elegant with round shapes and rather lively italics. All the styles give a different visual output but they all share details, creating consistency throughout the whole family.

Type and Media

Borna Aaron Grčević

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Ro Hernández

Project Pigeon

ro@hernandezz.net www.hernandezz.net México

‘Pigeon’—pronounced in faux French—is a typeface made to help writers working with text: from outlining to drafting, editing, and preparing manuscripts for output.It brings the sketchiness of handwriting and the simplicity of typewriters to digital text editing. Despite its proportional design, it has a monospaced feel. It is widely spaced, airy and charmingly awkward, but with a smooth texture and no ugly black spots. Bold and italic text, as well as figures, punctuation and diacritics stand out and are quickly identifiable, helping the editing process.

A regular roman and italic as well as a bold roman covering Latin and Cyrillic scripts, provide a palette of useful tools while staying out of the way and letting writers do their thing.

Type and Media

Ro Hernández

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Thom Janssen

Project Rikhard

ohamburgefonstiv@gmail.com www.hallotype.nl +31(0)681146223 The Netherlands

A variable font project with letter shapes inspired by English letter forms from around the 1780s, mainly Richard Austin, hence the name.

With a weight axis for hierarchy in texts and an optical size axis in order to make small and larger text sizes look good.

This project is an exploration in variable fonts. The goal was to learn about it, build workflow solutions, and have fun.

This project is meant for typography on the screen. Browsers can take advantage of variable fonts, optical size can be automated and with CSS and JavaScript all the styles of the variable font can be accessed.

One font, many styles: the future.

Type and Media

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Thom Janssen

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Eino Korkala

Project Chariots of Fire

eino@einokorkala.com www.einokorkala.com +358442900687 Finland

As a graphic designer I enjoy creating strong typographic contrasts and hierarchies by mixing type with different styles from different sources. However, finding typefaces that actually go well together can be both time and money consuming. ‘Chariots of Fire’ attempts to beat this challenge by offering a collection of expressive styles within the same family. In action the type family is a dialogue between rhythm and breakdowns.

Within the family all the styles have a strong historical reference. But instead of actually looking historically convincing, I like to think that the letters are trying too hard to do just that. They almost look like they have been overcooked in their own classicism, hence the sentimental family name.

Type and Media

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Eino Korkala

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Mariela Monsalve

Project Elmira & Dalmira sans

marmonsalve@gmail.com Argentina

My project was inspired by the industrial process of weaving letters in clothing labels. I explored the steps and transformations of letters when being woven. I designed a grotesque sans serif for small text and grid based companions, each related to the different sizes normally applied in this kind of tags.

It is a family for display use, featuring in display uses the weirdness of these designs usually found in small sizes. New environments in where ‘Elmira & Dalmira’ could live together or separately, such as posters, animations, signage and covers.

Type and Media

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Mariela Monsalve

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Eunyou Noh metaphorey@gmail.com South Korea

Project Multilingual typeface design project for Latin and Hangul in optical sizes ‘Opti’ is a multilingual typeface design project for Latin and Hangul in optical sizes.

It is a serif typeface based on the tools of each script; broad nib for Latin and pointed brush for Hangul.

‘Opti’ simplifies the shapes of Latin and Hangul whilst preserving the way of writing for each script.

It is designed with the intention to achieve harmonisation; to let the two scripts appear as one.

It consists of three styles: text regular, display regular and bold.

‘Opti Text Regular’ is designed to perform best between ten to fourteen points. It has lower contrast and larger x-height than the display versions. ‘Opti Display’ versions are intended to stand out and create a mood, which entices the reader into the text. They have high contrast with more pronounced serifs and perform well when larger than forty-two points.

Type and Media

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Eunyou Noh

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Martin Pysny

Project Henk

mato.pysny@gmail.com +31(0)638450032 Slovakia

‘Henk’ has two personalities. One of them serious and the other one relaxed. On one hand ‘Henk Work’ works as a lawyer, specializing in the development of business contracts.

He is a sharp dresser and always wears a suit to work where he frequently meets with prominent clients. ‘Henk Work’ is a smart and hard-working gentleman typeface designed for the writing of the long legal texts which often contain a lot of abbreviations and numbers.

On the other hand ‘Henk’ has also a sense of humour. His joyful nature comes out the most after working hours. ‘Henk Out’ is a cheerful and likeable guy loving to spend time with his friends. He is always witty and knows how to make fun of himself. He can be noisy but also relaxed and entertaining. ‘Henk Out’ is a typeface for larger scale texts.

‘Henk’ is one guy with two faces.

A type family of six different styles sharing the same DNA.

Type and Media

Martin Pysny

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Lipi Raval

Project The Primer Project

raval.lipi@gmail.com +31(0)684619060 India

‘The Primer Project’ is an introductory visual aid for designers showing the construction of letter shapes in cursive and regular forms in new writing systems. The project aims to fill the gap between primers for children and a manual for designers looking to expand their skills to other scripts. The display styles hint towards the direction of the writing tool while also lending flavour to the two text styles which are to be used for instructions. At present the project focuses on the Latin and Cyrillic scripts and will include other writing systems, especially Indic scripts, in the future.

Type and Media

Lipi Raval

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Magdalena Wisniewska

Project Hektor

magdalena.prus.w@gmail.com Poland

This is a serious editorial typeface made for printed matter. It is made to work in books and magazines, giving a dominance to the texts and images while still retaining a distinct character. It features subtle sharpness which gives it personality and spike; allowing it to be used in posters and branding.

Its proportions are vaguely reminiscent of grotesque forms, where widths are more even and similar, but with some broad nib contrast mixed in which makes blocks of text become more dynamic. The foundations of the family are the text styles, a regular contrast serif with italic and bold for emphasis and the finishing touches are more refined display cuts which excel in bigger sizes showing off unusual, yet subtle forms.


Type and Media

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Magdalena Wisniewska

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Industrial Design The Postgraduate Course Industrial Design is a program for designers who want to use applied design to make a conscious contribution to the world of today and tomorrow. We educate designers who are keen to hone their creativity in order to work within a complex interplay of factors and find a ‘solution’ in the form of a distinctive and elegant design.

Bas successfully combines thorough research, intelligent thinking, craft and 3d printing into a coherent scenario for a circular design product.

Jacob de Baan Coordinator & Maaike Rozenburg Head of Postgraduate Course Industrial Design

The Post Graduate Course Industrial Design is proud to show Bas Froon’s graduation project ‘Local manufacturing with soft bio composites’. Within this semester’s theme ‘Design and Meaning’ he focused on robotics. The development of mechanical techniques through the Industrial Age made it possible that we are able to design machines that automatically perform tasks and can even replace humans in extreme working environments. It is expected that future robots will be able to solve real world problems. However, there are concerns about the growing presence of robots and their role in our society. They are blamed for rising unemployment as they replace workers in increasing numbers of functions.

Bas Froon’s research concentrated on alternative ways to design and manufacture products: can robots also create jobs and employment?

Can they empower those who are currently having trouble finding a job because of the specific situation they are in?

Intelligently and knowledgeably Froon developed new opportunities to bring back production of labor-intensive ‘soft’ products to local manufacturers. He developed a fascinating machine that makes it possible to locally change material qualities from velvet-soft material into a hard plastic. Using a personal 3D scan or custom computer design, each product will be tailor-made and unique. Instead of labor-intensive assembly, all parts are made out of one sheet of material, which makes it possible to re-use the materials for new products at the end of its lifetime.

Industrial Design

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Postgraduate Course Bas Froon

Industrial Design

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Bas Froon bas@basfroon.nl www.basfroon.nl +31(0)653504235 The Netherlands

Project Local manufacturing with soft biocomposites With a new manufacturing technique using biocomposites, Bas Froon shows new opportunities to bring back production of labourintensive ‘soft’ products to local manufacturers. He developed a machine that makes it possible to locally change material qualities from velvet-soft material into a hard plastic. Using a personal 3D scan or custom computer design, each product will be tailor-made and unique.

This new technique is used by Bas to develop a light and supportive baby-carrier that is based on a body scan of its user. Bas: “Instead of labour-intensive assembly, I aimed to make all parts out of one sheet of material. That also makes it possible to re-use the materials for new products at the end of its lifetime.”

Industrial Design

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Bas Froon

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Industrial Design

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Awards Jan Roëde Award

Stroom KABK Invest

Jan Roëde (1914-2007) studied at the academy in the early 1930s and spent most of his life living and working in The Hague. The Jan Roëde Foundation, responsible for managing his legacy, instituted the Jan Roëde Award to commemorate the centenary of his birth. With this annual € 2,500,- award, the Foundation aims to encourage a Royal Academy of Art graduate to further develop their artistic talent. The jury looks beyond the artistic quality of the work, also examining the extent to which the laureate works in the spirit of Jan Roëde, who believed art had the power to liberate.

Stroom KABK Invest is a unique tailor made programme which admits four Royal Academy of Art graduates every year. Selected by Stroom and KABK, these burgeoning artists receive a year of intensive coaching and dialogue in their artistic practice and development, provided that their studio/workplace is located in The Hague.

Paul Schuitema Award The Paul Schuitema Award sees the Royal Academy of Art honour the photographer, graphic and industrial designer Paul Schuitema, who taught at the academy between 1930 and 1960. The Paul Schuitema Award recognises work reminiscent of Schuitema’s spirit, vision and working method.

In their assessment, the jury focuses specifically on individuality, problem solving ability and social relevance. The winner receives € 1.000,-.

Stroom Encouragement Award Every year, the presentation of the Stroom Den Haag Encouragement Award for Royal Academy of Art graduates is eagerly awaited.

Partly due to the substantial prize money involved, but naturally also in light of the recognition and incentive this award offers in the further development of the graduate’s artistic practice. The winner receives € 2.500,-.

Awards

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Heden Start Award powered by GMW advocaten The winner of this award will benefit from a year of business coaching from gallery Heden.

Work by the winner will be purchased for the Heden collection directly following their graduation. Heden also facilitates a presentation at a Dutch art fair and an exhibition at their gallery on the Denneweg in The Hague. Next to this you will also receive legal advice when starting your own art practice.

Department Award – Bachelor and Master Each department nominates their best students. The winner receives € 500,-.

Academy Award – Bachelor and Master Each year, the heads of all courses jointly select the best graduation works. The winning works are selected from 21 nominations for the Bachelor’s Academy Award and 12 nominations for the Master’s Academy Award. In addition to the enormous honour, the winners also receive € 1.500,- each.

Thanks to: Stichting tot Steun.

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Royal Academy Thesis Award – Bachelor and Master Each department nominates their best thesis. Under supervision of Lector Janneke Wesseling a committee decides which bachelor and master graduate has written the best thesis of 2017. The winner receives € 500,-.

Thanks to: Stichting tot Steun.

Academy Shop Award The Academy Materials Award is presented by the Academy Shop. Located on academy grounds, this shop specialises in paper, drawing and art supplies. The winner of the Academy Shop Award receives a gift voucher of € 150,to spend on art supplies.

Awards

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Workshops 3D LAB

Wood workshop

Elise van Beurden Yvo van Os Rob van den Burg Hilario Nicolaas

Mascha van de Kuinder Ronald Scholtens Vincent Knopper Berend Visser

Central lending desk

Ceramics workshop

Chris Pieplenbosch Frans de Grood Kees Knijnenburg Abel Wolff

Arjen Bos Illiada Charalambous

Typesetting workshop

Computer workshop

Sanne Beeren

Chris Pieplenbosch George Vincentie Ferri Wouters

Metal workshop

Fine Arts printing

Richard van den Berg Sabin Garea Eduard Sjoukes

Thomas Ankum Widodo Poedjio

Multimedia workshop

Photography workshop

Chris Pieplenbosch Kees Knijnenburg

Frans de Grood Andrew Valkenburg Charlotte Brand

Textile & Fashion workshop

Printmaking workshop Niek Satijn Thomas Ankum Gerard Schoneveld Widodo Poedjio Constant Meeuws

Workshops

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Gino Anthonisse Beleke den Hartog Tardia Page

Library Marcel van Bommel Annemarie van den Berg Jolanda van Os

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Teaching staff ArtScience Interfaculty (BA/MA) Head of department Taconis Stolk Coordinator Marisa Manck Teachers Cocky Eek Arthur Elsenaar Kasper van der Horst Eric Kluitenberg Michiel Pijpe Robert Pravda Taconis Stolk Guest teachers Peter Adriaansz Merel Boers Andrea Božić Lex van den Broek Renske Maria van Dam Onno Dirker Cathy van Eck Zoro Feigl Bernard Foing Rob van Gerwen Mariska de Groot Michael van Hoogenhuyze Milica Ilić Christian van der Kooy Johan van Kreij Kenzo Kusuda Katinka Marac Maurizio Martinucci (TeZ) Jeroen Meijer Benny Nilsen Yvo van Os Gabriel Payuk Špela Petrič Dani Ploeger Nenad Popov Frank Theys Lucas van der Velden Caro Verbeek Frederik de Wilde Teaching staff

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Julia Willms Rutger Wolfson

Fine Arts (BA) Head of department Klaus Jung Coordinator full time course Martijn Verhoeven Coordinator part time course Onno Schilstra Co-coordinator part time course Willem Goedegebuure Assistant coordinator Cecilia Bengtsson Teachers Sculpture Maura Biava Irene Drooglever Fortuyn Bram de Jonghe Klaas Kloosterboer André Kruijsen Reinoud Oudshoorn Hans van der Pennen Els Snijder Teachers Painting and Printmaking Rachel Bacon Pieter van Evert Andrea Freckmann Willem Goedegebuure Eric Hirdes Ton van Kints Aukje Koks Frans Lampe Jeroen de Leijer Frank Lisser Annemieke Louwerens Willem Moeselaar Femmy Otten Ewoud van Rijn Elly Strik Babette Wagenvoort Donald Weber

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Teachers “autonoom“ Marijke Appelman Channa Boon Dina Danish Engelien van den Dool Marion Duursema Wim van Eck Anja de Jong Jonas Ohlsson Maria Pask David Powell Hester Scheurwater Pim Voorneman Critical Inquiry Winnie Koekelbergh Alexandra Landré Tatjana Macić Anna Moreno Onno Schilstra Martijn Verhoeven Guest teachers Eylem Aladogan Juliaan Andeweg Mischa Andriessen Jurriaan Benschop Nicole Beutler Laura Bertens Lucette ter Borg Christine Borland Stephan van den Burg Valentijn Byvanck Heske ten Cate Yair Callender CONGLOMERATE Marcel van Eeden Hadassah Emmerich Alex Farrar Toon Fibbe Rodriguez Garcia Theun Govers Kaleb de Groot Voebe de Gruyter Esther Hovers Jane Huldman Jean Katambayi Els Kort José Krijnen Teaching staff

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Steinar Kristinnson Katia Krupennikova Thomas van Linge Eelco van der Lingen Ilga Minjon Padraic E Moore Julia Mullie Joost Nieuwenburg Ruchama Noorda Andrew Norman Wilson Saskia Noor van Imhoff Raul Ortega Marijn Ottenhof Philip Peters Antonis Pittas Laure Prouvost Domeniek Ruyters Sam Samiee Janwillem Schrofer Barbara Seiler Ross Sinclair Susanne Somer Meg Stuart Jay Tan Nick Terra Steven ten Thije Ranti Tjan Suzanne van de Ven Puck Verkade Pieter Vermeulen Max de Waard Mark de Weijer Antoine de Werd Francien van Westrenen Wouter Willebrands Charlotte van Winden Mattijs de Wit Rutger Wolfson Italo Zuffi

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Graphic Design (BA) Heads of department Roosje Klap & Niels Schrader Coordinators Pauline Schep & Ingrid Grünwald Teachers Graphic Design Bart de Baets Gilles de Brock Susana Carvalho Frits Deys Gijsbert Dijker Gert Dumbar (éminence gris) Marthe Prins Niels Schrader Ewoud Traast Esther de Vries Teachers Image Kevin Bray Willem Goedegebuure Michel Hoogervorst Merel van ’t Hullenaar Katrin Korfmann Reinoud Oudshoorn Michiel Schuurman Teachers Interactive Media & Coding Lauren Alexander Bente van Bourgondiën Kees van Drongelen Jan Robert Leegte Henrik van Leeuwen Lizzie Malcolm Pascal de Man Olivier Otten Ruben Pater Vit Ruller Eric Schrijver Jochem van de Spek Dirk Vis

Donald Roos Sanne Beeren Barbara Bigosinska Britt Moricke Teachers Drawing Willem Moeselaar Jordy van den Nieuwendijk Teachers Letterstudio (elective) Frank Blokland Just van Rossum Peter Verheul Teachers Design Office (elective) Gijsbert Dijker Chantal Hendriksen Teachers PlayLab (elective) Arthur van Beek Roosje Klap Job Wouters Teachers Theory Marjan Brandsma Maarten Cornel Els Kuijpers Vanessa Lambrecht Dirk Vis Coordinator graduation exhibition Ewoud Traast Coordinator internships Gijsbert Dijker Coordinator IST Frits Deys

Teachers Typography & Letters Guido de Boer Thomas Buxó Mathias Kreutzer Adriaan Mellegers Rob van den Nieuwenhuizen

Guest teachers John Appel Olivier Arcioli Rik Bas Backer Christine Bax Merel Boers Tudor Bratu Liesbeth Bussche Sophie Cure Linda van Deursen

Teaching staff

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Dick van Dijk Marcel van der Drift Martijn de Heer Rafael Henneberke Barbara Hennequin Arnoud van den Heuvel Edwin Jacobs Adriaan de Jongh Sjoerd Knibbelaar Eike König (external advisor) Sjoerd van Oevelen Tabita Rezaire Stefan Schäfer Jakob Schlötter Rustan Soderling Alice Twemlow Koehorst in ‘t Veld David Veneman Johannes Verwoerd Jonas Vorwerk Willem van Weelen Sander vd Wiel/Anouk Siegelaar

Shayna Schapp Wim van Eck

External examiner Eike König

Teachers Studio Gijs Baks Amber Beernink Erik Blits Samira Boon Krijn Christiaansen Lars van Es Jeroen van de Gruiter Ingeborg Horst Lada Hršak Maarten Kolk Barend Koolhaas Tessa Koot Maartje Lammers Giulio Margheri Cathelijne Montens Laura van Santen Christoph Seyferth Nienke Sybrandy Thomas Vailly Ramin Visch Ellen Vos

Interactive/Media/Design (BA) Head of department Janine Huizenga Coordinator Dave Willé Teachers Anja Hertenberger Anna Arov Arthur Elsenaar Coen Brasser Dave Willé Gitta Pardoel Jan Treffers Johan Gustavsson Lena Shafir Nick van ‘t End Pawel Pokutycki Raymond Taudin Chabot Remus Ockels Renske van Dam Teaching staff

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Interior Architecture and Furniture Design (BA) Head of department Herman Verkerk Coordinators Mariska Beljon Roosmarijn Hompe Coordinator internships Willem Moeselaar Study advisor Ellen Vos IST coach Ronald van Tienhoven

Teachers Media and Materials Marie Ilse Bourlanges Coen Brasser 234

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Jan Harm ter Brugge Frank Bruggeman Corine Datema Roel van Herpt Elena Khurtova Jelle Kooper Harold Linker Bert Lonsain Willem Moeselaar Jeroen Musch Jof Neuhaus Sanne Peper Tatjana Quax Michaël Snitker Ronald van Tienhoven Teachers Knowledge Mariska Beljon Inger Groeneveld Roosmarijn Hompe Ernie Mellegers Joana Ozorio de Almeida Meroz Guest teachers Gert Anninga Oscar de Bakker Bas van Beek Frans Bevers Daphna Laurens: Daphna Isaacs & Laurens Manders Daniël van Dijck Chloë van Diepen Gert Dumbar Frank Feder Benjamin Foerster-Baldenius Mick van Gemert Marjan H. Groot Marjolein de Groot Handmade Industrials: Marlies van Putten & Rutger de Regt Dirk van den Heuvel Jan Hoek Gabriel Holysz Ine & Sanne: Ine van den Elsen & Sanne van Wersch Laura Lynn Jansen Floor Knaapen Nynke Koster Els Kuijpers Teaching staff

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Janneke van Lieshout Gabriel A. Maher MAISON the FAUX: Joris Suk & Tessa de Boer Jeroen van Mechelen Aura Luz Melis Monnik: Christiaan Fruneaux, Edwin Gardner & Vincent Schippers David Mulder van der Vegt Jan Nauta Pawel Pokutycki TAAT: Gert-Jan Stam & Breg Horemans Jacob Voorthuis Barbara Vos Lisa Vugteveen

Photography (BA) Heads of department Lotte Sprengers and Rob Hornstra Coordinators Linda van der Poel (full-time course) Raimond Wouda (part-time course) Coordinator internships Lotte Sprengers External expert Simon Bainbridge Simon Norfolk Teachers Adam Broomberg Anna Abrahams Anja de Jong Annaleen Louwes Ari Versluis Deen van Meer Donald Weber Eddo Hartmann Ewoud Traast Hans van der Meer Jan Frederik Groot Jan Rosseel Jeroen Kummer Johan Gustavsson Judith van IJken Kim Nuijen Krista van der Niet 235

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Loek van Vliet Lonneke de Groot Lotte Sprengers Ola Lanko Oliver Chanarin Pawel Pokutycki Raimond Wouda Rein Janssen Rob Hornstra Saskia Boer Sebastiaan Hanekroot Stije van der Beek Theo van Dusseldorp Thijs groot Wassink Ton van Kints Vincent van Baar

Guest teachers Alek Bruessing Anais Lopez Anastasia Taylor-Lind Andy Tan Anne Claire de Breij Anouk van Kalmthout Anuschka Blommers & Niels Schumm Arno Haijtema Asmara Pelepussy Awoiska van der Molen Barrie Hullegie Bas Vroege Bert Teunissen Bob van der Vlist Bradley McCallum Casper Sikkema Cokkie Snoei Corinne Noordenbos Cuny Janssen Daniel Mayrit Danielle van Ark David Galjaard Edmund Clark Ellen Bertrams Erik Kessels

Eva Roefs Fleurie Kloostra Frances Kleipool Guus Rijven Hans Kemna Henri Verhoef Isabella Rozendaal Jaap Scheeren Jasper Zwartjes Jeannette Zuurbier Jeroen Hofman Jim Casper Joachim Naudts Jordi Huisman Karianne Bueno Koen Hauser Koos Breukel Krijn van Noordwijk Laia Abril Lars van den Brink Lonneke van der Palen Lukas GĂśbel Marcel van der Vlught Marga Rotteveel Marieke van der Velden Marleen Sleeuwits Martijn van de Griendt Martin Roemers Martine Stig Maurice Scheltens & Liesbeth Abbenes Maurice van Es Mirjam Kooiman Munem Wasif Narda van ‘t Veer Nicolo Degiorgis Niels Stomps Olga Kortz Olya Oleinic Reinier Gerritsen Rixt Hulshoff Poll Rob Wetzer Robert Knoth Robert-Jan Verhagen Roderik Rotting Sabrina Kamstra Sander Troelstra Sanne Peper Serge Scheepers Sjoerd Knibbeler

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Teachers in Theory Ingrid Grootes Lonneke de Groot Saskia Boer Thomas Bragdon

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Sterre Sprengers Sybren Kuiper Theo Captein Wil van Iersel Willem Populier Wim van Krimpen Yara van der Velden Yasmijn Jarram Ziyah Gafic Workfield committee Jenny Smets Max Pinckers Narda van ‘t Veer Teun van der Heijden Wim van Sinderen

Textiles and Fashion (BA) Head of department Jurgi Persoons Coordinators Gerrit Uittenbogaard and Sanne Jansen Coordinator internships Gerrit Uittenbogaard

Neeltje Schoenmaker Gerrit Uittenbogaard Bob Verhelst Roy Verschuren Ellen Vos Nikkie Wester Marina Yee Textiles and Fashion Workshop Beleke den Hartog, Tardia Page & Gino Anthonisse

Artistic Research (MA) Head of department Janice McNab Coordinator Josje Hattink Teachers Babak Afrassiabi Jasper Coppes Yael Davids Vesna Madzoski Katarina Zdjelar

Teachers Els de Baan Anoek van Beek Danielle Bruggeman Hil Driessen Steef Eman Jan Jan van Essche Chris Fransen Hilde Frunt Desiree Hammen Eric Hirdes Mirjam Ingram Maarten Kolk Andrea Kristic Nico Laan Natasja Martens Jurgi Persoons Joost Post Peter de Potter Erika Reidinga Laut Rosenbaum

Guest teachers 1646 (Nico Feragnoli, Johan Gustavsson, Floris Kruidenberg, Clara PallĂ­) Andrius Arutiunian Patricia Bardi Justin Bennett Francesco Bernardelli Cunera Buijs Nora Chipaumire Koenraad Dedobbeleer Peter Fengler Roos Gortzak Nicoline van Harskamp Hamza Halloubi Annick Kleizen Wayne Modest Antonis Pittas Robert Pravda Alex Martinis Roe Lisa Robertson Ben Schot Vincent van Velsen

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Danielle van Vree Vincent Vulsma Thijs Witty Collaborations 1646 Dokumenta 14, Athens 2017 – educational team RCMC, Museum Volkenkunde, Leiden Casco, Utrecht

Interior Architecture (INSIDE) (MA) Head of department Hans Venhuizen Coordinator Lotte van den Berg Tutors Studio Makkink & Bey –– Jurgen Bey –– Chester Chuang Raumlaborberlin –– Benjamin Foerster-Baldenius Superuse Studios –– Lizanne Dirkx OMA –– Mark Veldman MVRDV –– Fokke Moerel –– Aser Gimenez-Ortega –– Mick van Gemert Anne Hoogewoning Louise Schouwenberg Hans Venhuizen Erik Jutten

REFUNC –– Denis Oudendijk –– Jan Körbes TAAT –– Breg Horemans –– Gert-Jan Stam Guest teachers Jan van Grunsven Anne-Karin ten Bosch Hagar Zur – COMAS Olga Russel – NHTV Marcel Smink Hans Jungerius Tim Devos XML Architecten Wijnand Galema Jan Rothuizen Suzanne Oxenaar Klaske Havik Antonis Pittas Alexandra Landré Benedict Esche Danielle Arets Tara Karpinski ZUS – Elma van Boxel & Kristian Koreman Jacob Voorthuis Benno Tempel Marcel Westerdiep Ad van der Zee Niek Koppelaar Bram Kap Algimantas Grigas

Type and Media (MA)

Guest tutors Lucas Verweij Mauricio Freyre Gert Dumbar Vincent de Rijk Leeke Reinders Frans Bevers OBSERVATORIUM Cloud Collective –– Gerjan Streng

Head of department Erik van Blokland Coordinator Marja van der Burgh

Teaching staff

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Senior teachers Erik van Blokland (Professor of type design) Paul van der Laan (Professor of type design) Peter Verheul (Professor of type design)

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Teachers Françoise Berserik Peter Bil’ak Frank Blokland Petr van Blokland Just van Rossum Fred Smeijers Jan Willem Stas Guest teachers Paul Barnes Frank Grießhammer Pip Hall Toshi Omagari Ilya Ruderman Kristyan Sarkis Gerard Unger External critic Catherine Dixon

Industrial Design (PGC) Head of department Maaike Roozenburg Coordinator Zara Roelse Teachers Erlynne Bakkers Alfred van Elk Maaike Roozenburg Roselien Steur Jacob de Baan Tejo Remy en Rene Veenhuis Guest teachers Tejo Remy en Rene Veenhuizen Gert Dumbar

Teaching staff

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Colophon A publication by Royal Academy of Art, The Hague – NL Prinsessegracht 4, Den Haag +31 (0)70 315 4700 www.kabk.nl Concept, design & video Elizaveta Prytichenko www.leeeeza.com Art Direction Lesley Moore Graphic Design Rieme Gleijm (special thanks to Menno de Bruijn, Lin Ven and Kylièn Bergh)

Special thanks to Roosje Klap & Niels Schrader, Co-heads of Bachelor Graphic Design Portraits Graphic Design students Ekoc productions, Tommy Smits en Jonathan Hielkema Disclaimer All project descriptions are written by students, in English or in Dutch according to their personal preference.

No part of this publication may be copied and/or distributed without the written permission of the students in question.

The Hague, July 2017

Campaign website Sepus Noordmans www.sepusnoordmans.com Video titles and final edit Danicha Leliveld www.studiokrank.com Edition Book: 1000 copies Website: www.kabk.nl/graduationfestival2017 ISBN 978-90-72600-44-8 Printed by Drukkerij Tielen Paper PlanoPlus 120 g/m2 One-side coated Sulfaatkarton 280 g/m2 Fonts Marr Sans (Commercial Type) Lithography graduation images Sebastiaan Hanekroot (Colour&Books) Colophon

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