The Sign of the Stars (Draft)

THE SIGN OF THE STARS SANDBERG INSTITUUT Graduation 2021

SANDBERG INSTITUUT Exhibitions & Events Main Departments

Temporary Programmes

ARIES AQUARIUS CANCER CAPRICORN GEMINI LEO LIBRA SAGITTARIUS PISCES SCORPIO TAURUS VIRGO

Graduation 2021

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

Approaching Language Resolution

8–10 October Hembrugterrein/Het Hem Zaandam (NL)

sandberg.nl/graduation2021

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SANDBERG INSTITUUT Graduation 2021

SANDBERG INSTITUUT Exhibitions & Events Main Departments

Temporary Programmes

ARIES AQUARIUS CANCER CAPRICORN GEMINI LEO LIBRA SAGITTARIUS PISCES SCORPIO TAURUS VIRGO

Graduation 2021 Critical Studies Design Dirty Art Department Fine Arts Studio for Immediate Spaces

Approaching Language Resolution

8–10 October Hembrugterrein/Het Hem Zaandam (NL) sandberg.nl/graduation2021

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THE SIGN OF THE STARS

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DRAFT COPY DRAFT COPY DRAFT

THIS PUBLICATION IS A DRAFT AND WILL BE UPDATED WITH THE FINAL GRADUATION WORKS IN NOVEMBER 2021.

VISIT HTTPS://SANDBERG.NL/GRADUATION2021/DRAFT/PUBLICATION TO DOWNLOAD.

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SANDBERG INSTITUUT GRADUATION 2021

INTRODUCTION

INTRO

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SANDBERG INSTITUUT GRADUATION 2021

INTRODUCTION

THE SIGN OF THE STARS The Stars Draft Publication is the book ThankSign you of for the asking me to talk about astrology, andfifth I start by based the draft works and of works-in-progress of Sandberg saying on that whether it is part my worldview is not an interInstituut’s graduating PS (Public Sandberg) esting subject.

What isstudents. more exciting is seeing how thegathers zodiac these worksits from the school’s soon-to-beAs graduframespreliminary our lives inside systems of interpretation. artates, and contextualizes them astopart of a culture two-part ists, we often aim our attention critique by process: studying firstly a draft publication and a subsequent publication their its mechanisms of control and behavior. Tarot cards areof reimafinal By sharing theirallgraduation draft ginedworks. and reclarified withand newpublishing decks printed the time, and we works, the students able the Sandberg Instituut can likewise challengeare some ofto thekeep aspects of astrology for an community upgrade. and professional audience informed of their growing practices. Previous titles include: The Title of the Work (2017), The Nameisofmy theSun Author The Place of Birth Capricorn Sign, (2018), and I relate to many of the(2019), things and Subject the E-Mail (2020).

said The of us, that weofwork hard, push ourselves to hone our skills, and consistently improve our practice and, ultimately, our craft.

The in is which the participants publication Our years symbol the goat; one of thefeatured stars in in thethis constellation, have studied and produced havenymph been Amalthea marred bywho a global Capricornus, is dedicated towork the goat nurpandemic, politicalthe upheaval, and accelerated tured and suckled infant Zeus until he roseecological to power devasto rule tation.

The same regimes of oppression that have of led“onward,” us to this over Mount Olympus.

Capricorn is a philosophy point – ones that continuously once challenged the legitimacy of unconvenmeaning to move forward, never stopping, never tional approaches to being-in-the-world such as magic, allowing others to come between us and our goals, and thisthe is occult, and astrology – are now being increasingly challenged incredibly helpful for artists. and their hegemony on our social organizing has been brought into scrutiny.

Yearsfurther ago, Black Mountain College poet Jonathan Williams showed me a letter from the poet Robert Creeley, who signed The Sign ofof the aims to reflect on thisto year’s graduation the bottom theStars letter, Onward.

I remarked Jonathan about works through this that is resistant tome agreed-upon liking this choice of lens salutation, and he told that he anddefiniCreetions and assumptions.

Perhaps by turning away from the categoley had a conversation about it once. He was looking for the rizations normswhat thatwe were instilled by industrial production, best way and of saying must do, which is to be on a contincentralized bureaucracy, and the fixedthe hierarchies that betrayed uous path forward.

It was beautiful, more I thought about our and ouratworld, weofcan find aencouraging way out of the this communities placement, directly the end a letter, his airless writernot andstop! cultural theorist Mark Fisher called reader,space sayingthat we must the “collapse of ritual and symbolic elaboration.”

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SANDBERG INSTITUUT GRADUATION 2021

INTRODUCTION

The Sign the Starsme is to part ofabout an ongoing series Thank youof for asking talk astrology, andofI publicastart by tions PS whether (Public Sandberg) developed in collaboration with sayingby that it is part of my worldview is not an intergraphic designers OurisPolite esting subject.

What more Society. exciting is seeing how the zodiac frames our lives inside its systems of interpretation. As artContact ps@sandberg.nl if you to arecritique interested in contributing ists, we often aim our attention culture by studying an editorial to next year’s publication. its mechanisms of control and behavior. Tarot cards are reimagined and reclarified with new decks printed all the time, and we can likewise challenge some of the aspects of astrology for an upgrade.

Capricorn is my Sun Sign, and I relate to many of the things said of us, that we work hard, push ourselves to hone our skills, and consistently improve our practice and, ultimately, our craft.

Our symbol is the goat; one of the stars in the constellation, Capricornus, is dedicated to the goat nymph Amalthea who nurtured and suckled the infant Zeus until he rose to power to rule over Mount Olympus. Capricorn is a philosophy of “onward,” meaning to move continuously forward, never stopping, never allowing others to come between us and our goals, and this is incredibly helpful for artists.

Years ago, Black Mountain College poet Jonathan Williams showed me a letter from the poet Robert Creeley, who signed the bottom of the letter, Onward. I remarked to Jonathan about liking this choice of salutation, and he told me that he and Creeley had a conversation about it once. He was looking for the best way of saying what we must do, which is to be on a continuous path forward. It was beautiful, the more I thought about this placement, directly at the end of a letter, encouraging his reader, saying we must not stop!

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THE SIGN OF THE STARS

AL PRIMROSE United Kingdom 1993

ARIES Main Department Critical Studies

https://sandberg.nl/graduation2021/draft/al-primrose

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UN TI TLED

DIEGO VIRGEN Guadalajara, Mexico 1989

ARIES Main Department Studio for Immediate Spaces

BE YOND COM IN FORT DUS TRI AL

This work examines the traditional misconceptions of Interior Architecture. While “comfort” has been a constant in architectural praxis, it has also been a common denominator within the agro-industries and our everyday practices as consumers and individuals. Beyond Industrial Comfort synthesizes these realities through marshmallow, a highly industrialised food that caters to our most absurd and unnecessary, yet sweet and fluffy pleasures.

https://sandberg.nl/graduation2021/draft/diego-virgen

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MARIA PARIS Bogota, Colombia 1992

A MEA SURE OF DIS TANCE https://sandberg.nl/graduation2021/draft/maria-paris

ARIES Temporary Programme Approaching Language A Measure of Distance is a composition of a space that reflects on what is untranslatable, what falls in-between.

Reflecting on the emotional and political charge of language, the installation evokes acts of displacement as areas of meaning. By allowing space for slip-ups and inevitable misunderstandings, elements and space become translated surfaces.

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MYLOU OORD Amstelveen, The Netherlands 1987

UN TI TLED WORK IN PRO GRESS https://sandberg.nl/graduation2021/draft/mylou-oord

ARIES Temporary Programme Resolution This work draws from the experience as founding member of the Queer Choir Amsterdam, together with Shreya de Souza & Sarah Naqvi. The film, which is far from being a documentary about the choir, explores the personal experiment of active resistance while creating an imaginary universe, free of societal binaries and limitations.

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NEGISTE JOHNSON Lagos, Nigeria 1988

ARIES Main Department Dirty Art Department

SHUF FER SHMIL ING ING AND Shuffering and Shmiling is a project which brings forward questions into the social, financial, and mental precarity faced by undocumented migrants in limen.

https://sandberg.nl/graduation2021/draft/negiste-yesside-johnson

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SABRINA SCHLOSSER Augsburg, Germany 1988

ARIES Main Department Studio for Immediate Spaces

https://sandberg.nl/graduation2021/draft/sabrina-schlosser

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UN TI TLED

ANNA BIERLER Munich, Germany 1989

STONE TELL ING

https://sandberg.nl/graduation2021/draft/anna-bierler

TAURUS Main Department Design For a long time, stone has served as a symbol for nature stilled into mere resource, to be mined and put to use. Stone is supposed to exist quietly in the background of the greenscreen landscape, as dead matter. Stone Telling is a coming together for conversation, reading, writing and performances, exploring what stones hold and how stuff supposedly lingering in the background can help us understand the world around us. Thinking with Ursula Le Guin’s Carrier Bag Theory of Fiction and the notion of the bag as “a thing that holds another thing,” we’ll be wondering how we can ground ourselves on unsolid grounds. How do we build in collaboration with stones, how do stones relate to words and what can we learn from the geologic?

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CESAR MAJORANA Bergen op Zoom, The Netherlands 1996

THE SYN TAX OF SCENT https://sandberg.nl/graduation2021/draft/cesar-majorana

TAURUS Temporary Programme Resolution Our daily life has increasingly been scented by Unilever, Proctor and Gamble and the likes. In the meanwhile a pandemic has given millions of people anosmia – a complete lack of smell, some of them forever unable to experience their world through odour. This work wants to immortalise their lost scented memories. Stories about anosmia and sensing, told in word and smell.

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DAPHNÉ KERAUDREN Brussels, Belgium 1995

USE AT YOUR OWN RISK https://sandberg.nl/graduation2021/draft/daphne-keraudren

TAURUS Main Department Studio for Immediate Spaces Use at your own risk is my graduation show project for the Studio for Immediate Spaces. Use at your own risk is a series of five metal object/tools/sculptures that I designed and made for the public space of Amsterdam. They enable a new experience and a new perspective on the city and its use, questioning a large number of legal and urban planning issues. Each object – attached or hung from Amsterdam’s existing infrastructure – is a negotiation between the self and the other, between the public and the private, the outside and the inside, art and design.

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JAN VAHL Hannover, Germany 1989

WAL HERTZ

https://sandberg.nl/graduation2021/draft/jan-vahl

TAURUS Main Department Dirty Art Department Walhertz shows a biosemiotic mixture of cultural practices, to which a speculative future contract between the whale society and the human species has led. On the human side, a form of language has developed that is based on the format of the wave packet (soliton) from the original communication of the whales and interweaves this with relics and causal connections of the digital age. People communicate through so-called ‘crafts’, which – similar to the wave packet of whales – find an equivalent (data density) as a data volume that embodies the potential for discussion and cooperation in the question of how much time can be produced in cooperation. The encryption of this temporary zone works in a similar way to a cryptographic key exchange, in which both or more “trades” become a key pair with the same amount of data (with regard to the individual intention) and thus create the basis for a secure interaction in the midst of the constant public.

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MARGAUX KOCH GOEI Luzern, Switzerland 1993

UN TI TLED

https://sandberg.nl/graduation2021/draft/margaux-koch-goei

TAURUS Main Department Dirty Art Department From beneath the floor, a shrill vibration resounds, disrupting your rhythm and luring you forward. But you are on top. You stand above them. You lay on top of them. The weight of your body mutes and suppresses, while resisting unstable ground.

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MEGAN HADFIELD Southampton, UK 1994

EX OR CISE

https://sandberg.nl/graduation2021/draft/megan-hadfield

TAURUS Temporary Programme Approaching Language The circular removal of topsoil, dug at even depths along the parameter, completes the separation between burial mound and outer world. The grave was then cut, leaving enough space for its contents. An additional platform was gouged into the earthen sides, allowing the kneeling mourners to arrange the body and lay down gifts. The surface of this formation was then fixed with a clay membrane and hazel poles were inserted to construct a dome roof. The entire rounded structure could then be sealed with earth and marked with a timber post or probe. A series of rituals were performed and feasts organised to announce its completion and celebrate the converging of two temporalities. This is an exorcise, an invocation, the possession of a barrow built in five stages.

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ELENI PAPADIMITRIOU Thessaloniki, Greece 1977

AN NEX TO THE CON TRACT https://sandberg.nl/graduation2021/draft/eleni-papadimitriou

GEMINI Main Department Studio for Immediate Spaces A negotiation about the use of Maison Descartes as a temporary exhibition space for the graduation show of the Studio for Immediate Spaces. Contractual elements are displayed as a diagram, a text, and a USB flash drive. Each element is merged with the walls of the space and serves as legal documentation of the negotiation process, housing the contractual in the architecture of the space. Annex to the Contract explores how negotiations and agreements silently include stories of circumstance, coincidence, life-choices, rituals, scenography, attitude, and emotions. Here, the contract is extended to acknowledge affective, relational and performative elements culminating to treating a wall as more than an architectural element – as a depository, a public registry and a legal document.

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HELENA KESKKÜLA Estonia 1992

GEMINI Main Department Fine Arts

MOSS DOESN’T GROW...

Moss Doesn’t Grow ... is a performance about a not-so-mythological woman’s journey to become a stone carver. It is performed by Helena and three kids – Lumi, Mila and Alide – whom she tutors in art and music during the weekends. When the performance is not happening, visitors are invited to take a look at Helena’s series of aquatint prints of the same topic.

https://sandberg.nl/graduation2021/draft/helena-keskkuela

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JEANNE VRASTOR Cannes, France 1993

GEMINI Main Department Dirty Art Department

CAR NAL I FLU DEEP O AS RES I CENCE AND CAN

Carnal fluorescence (fridge rendering n°2) Refrigerator door, 6 min video loop, 2021 Sound, video and sculptural installation where a hybrid object recalling a fridge door with a strong corporeal identity is being displayed along with with a video.

I deep as I can (snail moves reiteration) Silicon, PVA foam, steel cable, 5 min video loop, 2021 As deep as I can (snail reiteration) is an installation where several soft modules have come together, forming lines and loops.

https://sandberg.nl/graduation2021/draft/jeanne-vrastor

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KASPAR DEJONG Maastricht, The Netherlands 1995

POD

https://sandberg.nl/graduation2021/draft/kaspar-dejong

GEMINI Main Department Fine Arts Paintings and a growing floor installation.

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MARIANA JURADO RICO Bogotá, Colombia 1991

SI PUE DO Y ES FAC IL,

https://sandberg.nl/graduation2021/draft/mariana-jurado-rico

GEMINI Main Department Dirty Art Department Si Puedo Y Es Facil, Estoy Cansada is a stockroom of negation, filled from floor to ceiling with printed matter. Through a repetitive gesture, the nuances of the word NO are deconstructed and resignified, becoming a vehicle to understand the many ways in which social beings cope with failure and disappointment.

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MATEO VEGA Lima, Peru 1994

GEMINI Temporary Programme Resolution

SKE TCH ES RING, FOR CEN TER, MALL

Work-in-progress iteration of an ongoing short film project.

A multi-vocal triptych through peripheral sites of urban infrastructure: a ring road, a data center, and a run-down mall.

In combining text, site-specific music, 16mm and 3D images, the construction of the urban past and future is explored.

A poetic materialism of decay, renewal, and failed promises.

An attempt at critical remembering and radical projecting.

https://sandberg.nl/graduation2021/draft/mateo-vega

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TAO YANG Tianmen, China 1994

ON THE NIGHT OF MARCH 4TH https://sandberg.nl/graduation2021/draft/tao-yang

GEMINI Main Department Fine Arts The shooting started last autumn when he got the first analog camera from a friend. In walking, talking, dinner, hiking, he caught a lot of moments around him, day and night, about the happening of Dutch life. As time goes on, life doesn’t seem to have much difference, no matter if trees are bare or lush with leaves, they are always so much higher than pedestrians.

Perhaps, you went to the places too where he has been, watched the same views and admired with the same words, even, a people who lived in 50 years ago already experienced once.

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TONI BRELL Kleve, Germany 1985

THE OP EN ING https://sandberg.nl/graduation2021/draft/antonia-brell

GEMINI Main Department Design The Opening and The Plottery are two iteration of a process that consists of workshops, writing, performance, print, and publishing. While The Opening is an online platform that explores narratives of transformation, The Plottery operates in space. It proposes narrative as a vessel to speculate about our past, present, and future. While a plot usually refers to the chronological sequence of events that make up a story, with unhinged storytelling, the plot doesn’t have to be consistent. Instead it dangles in the air like an unhinged door, allowing for accident and disarray.

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EVA BOSVELD Arnhem, The Netherlands 1995

UN TI TLED

https://sandberg.nl/graduation2021/draft/eva-bosveld

CANCER Temporary Programme Resolution Facial recognition techniques are developing faster than our laws, and companies are scrambling to get their hands on it. Facial recognition can be incredibly helpful and fun, as well as scary and dangerous, and I don’t know how to feel about it. Why does it make me feel uncomfortable? This project is a collection of found footage and technical experiments, that approach the topic of facial recognition from different perspectives.

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HANNAH ROSE WHITTLE London, UK 1990

CANCER Main Department Studio for Immediate Spaces

MAT TER WITH IN IN MAT MAT TER TER WITH

Unfolding in three chapters, this work explores our relationship with inhabiting a city that is built on and with clay.

Encompassed by original tiled architecture, handmade tiles from Amstel river clay create a host structure. They support a reader of companion texts, including excerpts from geological papers, feminist theory, literature and poetry, activated by collective reading sessions. An audio walk leading to the river enters into a space of collaborative sound through hydrophone, contact mic, field and voice recordings. Inviting the viewer to sit, breathe, read, walk, listen, with and as matter – body to body to body.

https://sandberg.nl/graduation2021/draft/hannah-rose-whittle

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JEROEN EXTERKATE Almere, The Netherlands 1994

UN TI TLED

https://sandberg.nl/graduation2021/draft/jeroen-exterkate

CANCER Temporary Programme Resolution “... either they are taking a break themselves, breathing vigorously or simulating boredom by kicking dirt around. Are these the only moments, in their short-lived game lives, where they can really be themselves? Be in control? Go home and have an off-day?” What happens to a videogame character when they are not being controlled by the player is one of many questions I raised in my thesis Escaping Life: Simulated Realities and Autonomous Animation Behaviour in Video Games. My graduation work flirts with videogame genres, mechanics and visual styles in order to explore the inbetween state of these characters.

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JOHAN DELÉTANG Antibes, France 1983

SPIN NING LINES

https://sandberg.nl/graduation2021/draft/johan-deletang

CANCER Temporary Programme Resolution Spinning Lines is a narrative film, which makes use of the cinematic as a tool to inquire into the materiality and poetry of “details.” That is, it employs cinema’s capacities for repetition and dilatation of speed (i.e. expansion of duration), in order to monumentalise moments in our everyday life.

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MARISA ESTHER TORRES RODRIGUEZ Mexico City, Mexico 1988

CANCER Main Department Design

https://sandberg.nl/graduation2021/draft/marisa-esther-torres-rodriguez

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UN TI TLED

MARVIN OGGER Prien am Chiemsee, Germany 1989

CANCER Main Department Dirty Art Department

CLOUD GÄNGER

Cloudgänger is a growing community of artists committed to actuality. Using their audio-visual archive as a point of departure to correlate individual practices and create a collaborative network. Beyond the digital platform, Cloudgänger strives to realise mutual concerts, exhibitions and places of pleasure.

https://sandberg.nl/graduation2021/draft/marvin-ogger

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SIGRÚN SVEINSDÓTTIR Reykjavík, Iceland 1993

ARIA MEANS AIR IN ITAL IAN https://sandberg.nl/graduation2021/draft/sigrun-sveinsdottir

CANCER Temporary Programme Resolution Aria Means Air in Italian (working title) reflects on human time in relation to the neoliberal self. Four characters have a dialogue with their surroundings and each other through a classical songs composed by Sigrún Gyða. They do that while running on a running field. Final filming of the work will take place in August 2021.

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ALLISON HENRIQUEZ Oranjestad, Aruba 1992

LEO Temporary Programme Resolution

https://sandberg.nl/graduation2021/draft/allison-henriquez

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UN TI TLED

ANNA-BELLA PAPP Chisineu-Cris, Romania 1988

SNOW

https://sandberg.nl/graduation2021/draft/anna-bella-papp

LEO Temporary Programme Approaching Language Snow is an attempt to recreate what is not in the photo, the ice and snow around my friend, Ana, who was the warmest spot in an otherwise frozen landscape.

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GEORGE MAZARI Berlin, Germany 1992

A REAL TRIP FROM AMS TO KBL https://sandberg.nl/graduation2021/draft/george-kaneschkah-mazari

LEO Main Department Studio for Immediate Spaces A Real Trip from AMS to KBL is a real-time simulated flight from Amsterdam to Kabul. A flight, no airline is flying. During the over six hours long journey in the sky, you will experience transition and transformation of landscape, topography and weather through the eyes of a passenger. An AI controlled pilot using Microsoft’s Flight Simulator will fly you from Occident to Orient. The simulation video game uses satellite images of the earth and photogrammetry data of cities and populates them with objects, such as trees and buildings, using Microsoft’s Azure cloud system to create a digital clone of the earth. Azure is providing their services for the US government, military and their partners exclusively. The result is a constantly generated live landscape and a flight that only exists online.

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JUN ZHANG Shanghai, China 1990

LEO Main Department Studio for Immediate Spaces

SPEC U LA TION FOR ING A GAR DRIFT DEN

On the research of the shell lime industry in the Netherlands, Speculation for a Drifting Garden explores the shell lime industry under the context of decolonizing nature and the post-Anthropocene era. It aims to reconnect humans with the planet, combining the technologies accumulated by the civilization over the past millennia with climate and environmental changes, time, and non-human species. The project proposes speculation of a biodiversity hotspot that can promote the symbiosis of various species altogether with the birth of new ones.

https://sandberg.nl/graduation2021/draft/jun-zhang

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MAJA CHIARA FABER Krakow, Poland 1992

SCR EAM ING IN A

https://sandberg.nl/graduation2021/draft/maja-chiara-faber

LEO Main Department Fine Arts Maja Chiara Faber’s work navigates explorations of esotericism, sexuality, memory, and fiction. Sound is her collaborator, theme and method at the same time. Her research is exploring queer femxle-identified narratives and deprogramming patriarchal structures by enlisting femme aesthetics to do a labor of it. Maja Chiara’s practice focuses on healing and communal bonding. Polish musician and DJ, performs under the moniker Satin de Compostela.

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MICHELLE MILDENBERG Bogotá, Colombia 1991

LEO Temporary Programme Resolution

THE DO MES TI VOL CA CA TION NOES OF

It’s 1973, Fernanda is 13 years old and has embarked on a journey across Colombia to join older friends that are hanging out in Santa Marta in the Atlantic coast, her friend Beatriz comes along. Together, they have plotted an intelligible escape from their parents. During the trip, Fernanda will leave the bubble of her neighborhood in Bogotá, transgressing the vast and plural territory in front of her and acquiring a different understanding of her body through doing so. She will encounter a series of women that are a historical testimony of the period in which her journey takes place.

https://sandberg.nl/graduation2021/draft/michelle-mildenberg

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PERNILLA MANJULA PHILIP Uppsala, Sweden 1978

THE CARE UNIT

https://sandberg.nl/graduation2021/draft/pernilla-manjula-philip

LEO Main Department Design The Care Unit, obtains and simultaneously challenges features from a traditional hospital room. It offers an alternative perspective on medical care-products and encourages questions around agency of the ill-body in relation to the medical industry. The care-unit is a test-site for exploring vulnerabilities as well as the strengths of collective forces such as DIY and open-source approaches to healing and sickness management. By proposing medical open-source hardware and software this scenographic installation aims to motivate curiosity around communal care and turns around the essential question of who has agency over our bodies.

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ROMY DAY WINKEL Amsterdam, The Netherlands 1994

RO MANCE U TO PIA https://sandberg.nl/graduation2021/draft/romy-day-winkel

LEO Temporary Programme Critical Studies As a final outcome of my research project, I have worked on a publication titled Romance Utopia. In this book I have collected some of my written and visual work, as well as curatorial work, around romance. It contains three essays, one interview with writer and artist Geraldine Snell and four visual works by artists Dagmar Bosma, Becket MWN, Mónica Mays, and Mafalda Costa. The graphic design is done by Tjobo Kho.

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TEUN F. GRONDMAN Enschede, The Netherlands 1994

LEO Temporary Programme Approaching Language

https://sandberg.nl/graduation2021/draft/teun-f-grondman

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UN TI TLED

VALENTINE LANGEARD Les Yvelines, France 1997

THEY, CAN T STOP THE SPRING https://sandberg.nl/graduation2021/draft/valentine-langeard

LEO Main Department Studio for Immediate Spaces A ZAD (Zone A Defendre) has been installed in the garden to protect this vegetal oasis threatened by architectural projects devising its desertification. The precious ecosystem is occupied by the furtives, hybrid creatures that relate in absolute symbiosis to their environment and rightfully became a symbol of environmental activism. Crystallized furtives stand as lookouts. They have been seen and as their self-defense technic is to freeze, they remain immobile as statues guarding the wild flora and fauna. A tripod was raised blocking the access of any machinery coming to destroy the garden. The eviction must not occur. A stilt-walker wanders through the occupied space. Her hybrid body, oscillating between human curves and tree branches, makes you wonder if she might also be a furtive.

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MANOLA BUONINCONTRI Pescia, Italy 1995

LAND OF SLEEP

https://sandberg.nl/graduation2021/draft/manola-buonincontri

VIRGO Temporary Programme Approaching Language There are places in literature writers go to, the sky for example – often considered as a virtual space to aspire to. In Land of Sleep writing becomes a spatial practise and text a space where to install a memory.

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VIOLETA PAEZ ARMANDO Cordoba, Argentina 1994

VIRGO Main Department Critical Studies

AN AB SEN RE CE MO VED TW ICE

A speculative fiction developed through sculpture and writing considering traces and queer ephemera as both a strategy for queer survival and keepers of queer stories and lives.

https://sandberg.nl/graduation2021/draft/violeta-paez-armando

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ZGJIM ELSHANI Aarau, Kosovo 1990

VIRGO Main Department Design

https://sandberg.nl/graduation2021/draft/zgjim-elshani

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UN TI TLED

BENJAMIN SCHOONENBERG Rotterdam, The Netherlands 1996

LIBRA Main Department Critical Studies

PROPO SI DIS TIONS CI FOR PLI NAR I POST TY

Propositions for Post-disciplinarity is a (spatial and textual) proposal for post-disciplinarity as a practice that centers unlearning, takes place beside(s) the institution and departs from existing disciplinary boundaries.

https://sandberg.nl/graduation2021/draft/benjamin-schoonenberg

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GHENWA ABOU FAYAD Bikfaya, Lebanon 1992

LIBRA Main Department Design

https://sandberg.nl/graduation2021/draft/ghenwa-abou-fayad

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UN TI TLED

JIHYE LEE Seoul, South Korea 1992

UN TI TLED

https://sandberg.nl/graduation2021/draft/jihye-lee

LIBRA Main Department Fine Arts Air-dry clay, acrylics: (2019–2021, Amsterdam and Düsseldorf) v. to carry; to emit; to spread f.n. toxic (max. 5 for children, 7–8 for women and 10 for men); memory; smallest unit; female; medicine; cleaning blood; vomit; activation; mis-naming; yellow Plaster, edible silver leaves, water, wire, paper: (2021, Amsterdam) v. to fold and unfold; to wrap and unwrap; to write f.n. Dear. R Wood, beeswax: (2021, Amsterdam) v. to make love easier; to scratch n. skin of dusts

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MARIAN ROSA VAN BODEGRAVEN São Paulo, Brazil 1993

LIT TLE BRAZIL IANS https://sandberg.nl/graduation2021/draft/marian-rosa-van-bodegraven

LIBRA Temporary Programme Resolution This work consists of writing erotic satires in the form of spam emails to Brazilian politicians. The emails are based on episodes in recent Brazilian politics that contain an aspect of moralizing sexuality, with a focus on posts from conservative politicians. The construction of the emails as spam comes as a form of strategical response to the fake news that flooded Brazilian social media, aiding Bolsonaro’s election. Working with spam as a counternarrative, twisting the use of sexuality as a vehicle for political ideology, I want to reply in the same coin (as we say in Brazil), deconstructing the format adopted by conservative politicians, and their views on sexuality. It is in essence, a work about sexuality and language.

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MARIEL WILLIAMS San Clemente, California, USA 1992

FOR THE GES TURE SUP PORT https://sandberg.nl/graduation2021/draft/mariel-williams

LIBRA Main Department Studio for Immediate Spaces For the Gesture Support is a proposed installation of several phones to be housed throughout the rooms surrounding the courtyard of Maison Descartes. Each phone will operate on a single landline to create an alternative chorale amplification and intimate broadcasting system.

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NOÉ COTTENCIN Rennes, France 1994

RE AL I TY AND FIC TION

https://sandberg.nl/graduation2021/draft/noe-cottencin

LIBRA Temporary Programme Resolution Three individuals with three different trajectories and apparently no connection between them are trying hard to situate themselves in their environment by producing stories.

Simultaneously, a group of skaters are turning the city into a giant playground. While the three seem to be looking for something, the group seem to have found it.

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RAPHAEL JACOBS Oedt, Germany 1994

500

https://sandberg.nl/graduation2021/draft/raphael-jacobs

LIBRA Temporary Programme Approaching Language Begegnungszone is a transmedial exploration of the drama within the quotidian, inspired by ideas of urban planning to create spaces of encounter. In Begegnungszone characters meet within the performance of their everyday life. Within materialities such as film, text, and drawing, the archived encounters are blurring the boundaries of dramatic theatre, rehearsal, short film, live-experience. The individual streams float together in a state between private revelation and rendered fiction.

62

JAE PIL EUN Wonju, South Korea 1991

FAIRY TALES, HOR ROR FILMS https://sandberg.nl/graduation2021/draft/jae-pil-eun

SCORPIO Temporary Programme Approaching Language I wrote poems and made performances based on the elements of a horror genre film. In this writing, I will bring these practices. First I will introduce a beginning form of fairy tale and then try to find similarities between horror stories. After that, subjects and camera techniques of horror films will be shown and my practices will be proposed.

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JEANINE VAN BERKEL Curaçao 1995

A SCORE FOR SI LENCE https://sandberg.nl/graduation2021/draft/jeanine-van-berkel

SCORPIO Main Department Critical Studies The performance and installation works through the concept of ghosts and haunting in combination with previous ideas about the relationship between Curacao and The Netherlands together with personal forgotten history. “Haunting lies precisely in its refusal to stop” (Quote, Eve Tuck). I can’t stop re-shaping this question of the past, because it shapes my present. In a way, I’m the ghost that is haunting myself.

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STELIOS MARKOU ILCHUK Cyprus 1993

SCORPIO Main Department Design

https://sandberg.nl/graduation2021/draft/stelios-markou-ilchuk

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UN TI TLED

ZUZA BANASINSKA Warsaw, Poland 1994

THE HOUSE THAT SHAD OWS BUILT https://sandberg.nl/graduation2021/draft/zuza-banasinska

SCORPIO Temporary Programme Resolution The chroma key screen – a point of connection between, land, machine, body and the virtual. A trick of masking out the background, has been used in cinema (as blue screen, black screen, sodium vapor) to create flatness through depth, to move from the “beyond” to the “here” that could be anywhere. The work will be a video that strives to search for ways to abolish the conceptualisation of space as backdrop through a three episode structure: staging a fictional film studio of Olga Petrova, the story of Falls Lake in Universal Studios, and Warsaw’s history in playing New York.

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CALLI UZZA LAYTON Corvallis, Oregon, USA 1995

TREE PITCH

https://sandberg.nl/graduation2021/draft/calli-uzza-layton

SAGITTARIUS Temporary Programme Approaching Language An environment created by nature and contextualized by sound, this installation depicts real and imagined journeys through space and memory. The tactile resonance of wood becomes the vessel for language.

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CONSTANZA CASTAGNET Buenos Aires, Argentina 1987

LIQUID LIPS

https://sandberg.nl/graduation2021/draft/constanza-castagnet

SAGITTARIUS Temporary Programme Approaching Language The sound of the singing voice detunes the semantic sense.

Hearing voices deconstructing words, sparks up a mix of complex and eerie textures, gently disorienting the listener’s ears. Sense can be fractioned and suspended in amorphous linguistic contexts. Words are stripped from their layers of meaning and are shadowed by echos or stutter in digital cut-ups, as a way to engage with language in a way that is not modulated by expectation.

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MATHIAS VINCENT Paris, France 1994

ALL YOU CAN FIT! https://sandberg.nl/graduation2021/draft/mathias-vincent

SAGITTARIUS Main Department Studio for Immediate Spaces There are tools that contain objects, help them finding a place, organize them: shelves, storage boxes, closets. There are moments where objects overflow: when a container carrier capsizes, when an owner dies, when we no longer know who owns an object that no one wants. There are techniques that allow us to make objects disappear: we burn them, put them in water, bury them, cast them in concrete, send them into space. When does these ontological displacements happens?

How does things balance between order and chaos? How do we keep chaos at a distance?

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VIDA KASAEI Tehran, Iran 1990

A PLAY FOR PUB LIC https://sandberg.nl/graduation2021/draft/hida-kasaei

SAGITTARIUS Temporary Programme Resolution The protagonist is a young poet, who is reflecting with her poems on the fragile psychological state of humanity in the mundanity of her domestic existence. She eventually ventures out into the urban crowd, only to seek consciousness and to be lured with the pressure of the changes, generated a sense of bewilderment. In the end she finds herself in an abandoned playground where she is able to utter words again.

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CHRISTIAN HERREN Bern, Switerland 1992

CAPRICORN Main Department Fine Arts

TO BE RE RI BUILT ALS WITH OF THE OUR MATE TIME

In 1964 Andy Warhol exhibited his Flowers series for the first time: Prints that show flowers in bright colours, which do not exist in nature. At the very same time the biology department of the University of Amsterdam bred petunias, which also take on colours that do not exist in the natural environment. Warhol and the researchers knew nothing about each other. The breeding experiments served as the basis for Christian Herrens installation that recalls the tradition of still-life paintings.

https://sandberg.nl/graduation2021/draft/christian-herren

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LILA BULLEN-SMITH Johannesburg, South Africa 1995

UN TI TLED

https://sandberg.nl/graduation2021/draft/lila-bullen-smith

CAPRICORN Temporary Programme Resolution This work is a part of an ongoing collaborative project between core members Lila Bullen-Smith, member of the student council, and Naira Nigrelli, member of BAC (Appointment Committee) and MR (Participation Council). It involves creating a commons that unites members of the academy through the creation of an open-source, local archive dedicated to gathering, archiving, and contextualising various materials related to the social-political life of the Gerrit Rietveld and Sandberg Instituut. It starts with an attempt at mapping; a research-led process of creating an institutional navigation map/blueprint for members of the academy that provides an overview of the various initiatives across both academies and decision-making structures within the school. No such document exists; what is presented is speculative, the result of trawling through emails and official documents, having conversations with many people from different parts of the school, and – going forward – your contributions.

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LUCIE SAHNER Völklingen, Germany 1986

COLL EEN WAITS FOR THE BUS https://sandberg.nl/graduation2021/draft/lucie-sahner

CAPRICORN Main Department Dirty Art Department In Colleen Waits for the Bus, Lucie Sahner merges reality with her personal fiction. In her large, neo-absurd installation, one finds various materials, unidentifiable puddles on the floor, food, human fragments (or relics) mixed with mouldy tomatoes and slowly moving objects. All this gives the impression of seeing body transformations brought about by death in a different, serious yet colourful light.

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ELOY CRUZ DEL PRADO Madrid, Spain 1992

LOOK ING FOR REAL ? https://sandberg.nl/graduation2021/draft/eloy-cruz-del-prado

AQUARIUS Main Department Dirty Art Department Through three acts, a changing manipulation of water – from contained reflection to a force defiant of control, and later, a puddle of introspection – speaks to the ever-changing nature of shame. Within a choreography of endurance, friction and the communal, social and intimate gestures are abstracted, becoming actors for the destabilisation of normative structures. I assume the stranger as a subject who can be trusted.

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MARIA VAN DER TOGT Haarlem, The Netherlands 1997

AQUARIUS Main Department Studio for Immediate Spaces

SOFT COPY IM HARD PER COPY ME ABLE DO MAINS How to allude to the ghostly infrastructure? With the corporatization of higher education, there is a need to create more projects that imagine different, less centralized modes of studying, and which take a stand for the free sharing of knowledge, unrestricted by copyrights and contracts and other economic barriers. This project aims to provide a virtual platform through which all students can share files they’ve collected over time from behind paywalls and from misty corners of the online. A becoming-with in surprising relays; Knowing people through the things they share, what they value as knowledge and what is discarded.

https://sandberg.nl/graduation2021/draft/maria-van-der-togt

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SINA EGGER Zurich, Switzerland 1990

FEELS RICH

https://sandberg.nl/graduation2021/draft/sina-egger

AQUARIUS Main Department Critical Studies From the lines in my hands an outline of things, all while trying to read what accumulates between them. Feeling overwhelmed by a sudden self-propulsion of things, searching for them in invisible spaces, tuning into the ongoing echoes of repair in the home improvement store, reading into what gets assembled in palms and pieces of poetry.

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ZANE ZEIVATE Riga, Latvia 1993

THE RE FLECT ED PRES ENCE https://sandberg.nl/graduation2021/draft/zane-zeivate

AQUARIUS Main Department Studio for Immediate Spaces I aim to understand the dialogue between human perception and the built environment, questioning the significant impact that the man-made environment can have over our senses, shaping our perception and vice versa. I tell intimate stories of my struggles, fears and hopes experienced in flirt, seduction and love. Understanding each story as a small-scale model that reveals power dynamics between me and my (male) partners, I’m trying to apply it on a larger scale – western society. By drawing out the analogies between two scales I’m criticizing male made environments that we are living in. I transform my observations and criticism into spatial installations, where through text, performance, video and sculpture I sensorially deconstruct those power dynamics that determine our everyday life.

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ALICE SLYNGSTAD Sykkylven, Norway 1990

GOOD IE BAGS

https://www.sandberg.nl/graduation2021/draft/alice-slyngstad

PISCES Main Department Fine Arts Two-channel video installation with sound and programmed light.

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CATALINA REYES Santiago, Chile 1992

CLA VEL DEL AIRE https://sandberg.nl/graduation2021/draft/catalina-reyes

PISCES Temporary Programme Resolution The film portrays the return back home to Chile after a year from living abroad. In an exploration of memories around the figure of the house, family dynamics reveal themselves throughout the film. Using archival footage from my childhood, recordings around the house and interviews with my mother and sister, the work and the process itself are an effort to put the pieces together, both in the editing and through memory recollection.

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MANON BACHELIER Paris, France 1995

PISCES Temporary Programme Approaching Language

THAT MU THE SIC ON WHICH LY I , ONE CAN T TO BE HEAR

That Music Which I can’t be the Only One to Hear is a polyphonic cut-up song. Silently released, the words, verses, breaths and rhymes make their own connections onto paper and into the space inside which they echo. Neither a score nor a recording, the installation lies more on the side of performance, calling up paper and words as active mouth and voices.

Contemplating the agency of words to sing themselves, the song also recites the wider research into the written voice that it is sampled from. Undulating around, the song (and its in-scripted logics) amplifies as you read and listen.

https://sandberg.nl/graduation2021/draft/manon-bachelier

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INDEX

INDEX

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INDEX

The Name of The Author (A – Z)

Al Primrose Alice Slyngstad Allison Henriquez Anna Bierler Anna-Bella Papp Benjamin Schoonenberg Calli Uzza Layton Catalina Reyes Cesar Majorana Christian Herren Constanza Castagnet Daphné Keraudren Diego Virgen Eleni Papadimitriou Eloy Cruz del Prado Eva Bosveld George Mazari Ghenwa Abou Fayad Hannah Rose Whittle Helena Keskküla Jae Pil Eun Jan Vahl Jeanine van Berkel Jeanne Vrastor Jeroen Exterkate Jihye Lee Johan Delétang Jun Zhang Kaspar Dejong Lila Bullen-Smith Lucie Sahner Maja Chiara Faber

16 78 43 22 44 56 67 79 23 71 68 24 17 28 74 36 45 57 37 29 66 28 64 33 38 58 39 46 34 72 73 47

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INDEX

Manola Buonincontri 53 Manon Bachelier 80 Margaux Koch Goei 26 Maria Paris 18 Maria van der Togt 75 Thank you for asking me to talk about astrology, and I start by Marian Rosa van Bodegraven 59 saying whether Marianathat Jurado Rico it is part of my worldview is not an inter32 esting subject.

What is more exciting is seeing how the zodiac Mariel Williams 60 frames our lives inside its systems of interpretation.

As artMarisa Esther Torres Rodriguez 40 ists, weOgger often aim our attention to critique culture by studying Marvin 41 its mechanisms of control and behavior. Tarot cards are reimaMateo Vega 33 gined and reclarified with new decks printed all the time, and we Mathias Vincent 69 can likewise challenge some of the aspects of astrology for an Megan Hadfield 27 upgrade.

Michelle Mildenberg 48 Mylou Oord 19 Capricorn is my Sun Sign, and I relate to many of the things Negiste Johnson 20 said us, that we work hard, push ourselves to hone our skills, Noéof Cottencin 61 and consistently improve our practice and, ultimately, our craft.

Pernilla Manjula Philip 49 Our symbol is the goat; one of the stars in the constellation, Raphael Jacobs 62 Capricornus, is dedicated to the goat nymph Amalthea who nurRomy Day Winkel 50 tured and suckled the infant Zeus until he rose to power to rule Sabrina Schlosser 21 over Mount Olympus.

Capricorn is a philosophy of “onward,” Sigrún Sveinsdóttir 42 meaning to move continuously forward, never stopping, never Sina Egger 76 allowing others Ilchuk to come between us and our goals, and this65 is Stelios Markou incredibly Tao Yang helpful for artists.

34 Teun F. Grondman 51 Years ago, Black Mountain College poet Jonathan Williams Toni Brell 35 showed me a letter from the poet Robert Creeley, who signed Valentine Langeard 52 the bottom of the letter, Onward.

I remarked to Jonathan about Vida Kasaei 70 liking this choice of salutation, and he told me that he and CreeVioleta Paez Armando 54 ley had a conversation about it once. He was looking for the Zane Zeivate 77 best way of saying what we must do, which is to be on a continZgjim Elshani 55 uous path forward.

It was beautiful, the more I thought about Zuza Banasinska 66 this placement, directly at the end of a letter, encouraging his reader, saying we must not stop!

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Introduction

Artun Alaska Arasli THE SIGN OF THE STARS Main to Departments Thank you for asking me talk about astrology, and I start by saying whether it is part of my worldview is not an interCriticalthat Studies esting Designsubject. What is more exciting is seeing how the zodiac frames our lives inside its systems of interpretation. As artDirty Art Department ists, Arts we often aim our attention to critique culture by studying Fine its mechanisms of control and behavior. Tarot cards are reimaStudio For Immediate Spaces gined and reclarified with new decks printed all the time, and we Programmes can likewise challengeTemporary some of the aspects of astrology for an upgrade.

Approaching Language Resolution Capricorn is my Sun Sign, and I relate to many of the things said of us, that we work hard, push ourselves to hone our skills, and consistently improve our practice and, ultimately, our craft.

Our symbol is the goat; one of the stars in the constellation, Capricornus, is dedicated to the goat nymph Amalthea who nurtured and suckled the infant Zeus until he rose to power to rule over Mount Olympus. Capricorn is a philosophy of “onward,” meaning to move continuously forward, never stopping, never allowing others to come between us and our goals, and this is incredibly helpful for artists.

Years ago, Black Mountain College poet Jonathan Williams showed me a letter from the poet Robert Creeley, who signed the bottom of the letter, Onward. I remarked to Jonathan about liking this choice of salutation, and he told me that he and Creeley had a conversation about it once. He was looking for the best way of saying what we must do, which is to be on a continuous path forward. It was beautiful, the more I thought about this placement, directly at the end of a letter, encouraging his reader, saying we must not stop!

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SANDBERG INSTITUUT GRADUATION 2021

ABOUT

ABOUT

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SANDBERG INSTITUUT GRADUATION 2021

ABOUT

SANDBERG INSTITUUT As the postgraduate programme of the Gerrit Rietveld Academie Amsterdam, the Sandberg Instituut offers Master Programmes in Fine Arts, Interior Architecture, and Design. The five Main Departments aim to deepen the practices of artists, designers and critics. In addition, the Temporary Programmes reflect on Thank you for asking me to talk about astrology, and I start by specific urgencies in society and the arts, and the Hosted Prosaying that whether it is part of my worldview is not an intergrammes focus on collaboration with other institutes. esting subject. What is more exciting is seeing how the zodiac frames our lives inside its systems of interpretation. As artists, we often aim our attention to critique culture by studying MAIN DEPARTMENTS its mechanisms of control and behavior. Tarot cards are reimagined and reclarified with new decks printed all the time, and we Sandberg Instituut’s Main Departments are Critical Studies, can likewise challenge some of the aspects of astrology for an Design, The Dirty Art Department, Fine Arts and Studio for upgrade.

Immediate Spaces. An average of only twenty students per programme allows each course to be flexible and open to initiCapricorn is my Sun Sign, and I relate to many of the things atives from students and third parties. The course directors, said of us, that we work hard, push ourselves to hone our skills, who are prominent artists, designers, theorists and curators and consistently improve our practice and, ultimately, our craft. with international practices, invite tutors and guests who are Our symbol is the goat; one of the stars in the constellation, able to challenge the students to critically reflect on their proCapricornus, is dedicated to the goat nymph Amalthea who nurfession, their work and their progress. tured and suckled the infant Zeus until he rose to power to rule over Mount Olympus. Capricorn is a philosophy of “onward,” The Sandberg Instituut is open to candidates from many differmeaning to move continuously forward, never stopping, never ent backgrounds. We require a valid Bachelor degree in a field allowing others to come between us and our goals, and this is relevant to the programme you are applying for, as well as proof incredibly helpful for artists. of proficiency in the English language.

Years ago, Black Mountain College poet Jonathan Williams showed me a letter from the poet Robert Creeley, who signed TEMPORARY PROGRAMMES the bottom of the letter, Onward. I remarked to Jonathan about liking this choice of salutation, and he told me that he and CreeJurgen Bey, the Sandberg Instituut director since 2010, has ley had a conversation about it once. He was looking for the sought to find ways to align the institute with the dynamics of best way of saying what we must do, which is to be on a contincontemporary society. Bey introduced two-year Temporary uous path forward. It was beautiful, the more I thought about this placement, directly at the end of a letter, encouraging his reader, saying we must not stop!

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ABOUT

Programmes that are developed according to urgent world issues. Vacant NL – the first Temporary Programme – was launched in 2011 and explored the vast potential of the thousands of vacant buildings in the Netherlands. In 2013, two additional temporary programmes were introduced: the School of Missing Studies dealt with art and the public space, whereas Material Utopias investigated the shifting boundaries between materials and techniques. Other finished Temporary Programmes include System D Academy, Cure Master, Designing Democracy, Materialisation in Art and Design, Fashion Matters, Master of Voice, Reinventing Daily Life, Radical Cut-Up, Shadow Channel, Challenging Jewellery, and The Commoners’ Society. Current Temporary Programmes are F for Fact and Disarming Design. The two new Temporary Programmes are Blacker Blackness and Ecologies of Transformation.

HOSTED PROGRAMMES The Sandberg Instituut is hosting a category of educational programmes in collaboration with partner institutes and companies since 2017. The Hosted Programmes attempt to intertwine existing agendas and their stakeholders for a collective two-year studying period. The topics are essential for the future of our learning institute and of art education in a broader, international perspective. Therefore, the Hosted Programmes are surrounded by other in-house projects such as debates, writing, conferencing, etc. The first Hosted Programme was the Master Design of Experiences (2017–2019) in collaboration with the University of the Underground. It was part of joint investigations on the implications of ‘external funding’ for art education. Topics covered, but not limited to, were for instance cultural-diversity discussions, the implications of artificial intelligence or the relation of art to public-urban space.

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SANDBERG INSTITUUT Graduation 2021

MAIN DE PART MENTS https://www.sandberg.nl/graduation2021/

SANDBERG INSTITUUT Exhibitions & Events Main Departments

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

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CRITICAL STUDIES Main Department Critical Studies is a two-year Master’s programme in research and theory. The programme offers an open, interdisciplinary environment for the development of an independent research practice, while providing a rigorous grounding in critical theory, research methods and writing techniques. We are especially interested in forms of inquiry and study that are at odds with traditional academic frameworks, including practice-led research and other intersections of research, practice and theoretical inquiry.

Participants have the possibility to pursue a self-initiated research project with great autonomy, working individually or collectively with supervisors of their choice. Research projects are presented in a series of regular colloquia, which function as spaces for collective discussion and exchange. In addition to this, participants are provided with the support and resources for the development of collaborative projects related to their research, such as publications, exhibitions, screenings or symposia.

Alongside the research trajectory, participants take part in a programme of seminars, lectures and workshops. This programme provides a thorough introduction to key concepts in critical theory and continental philosophy, explores research methodologies in relation to cultural practices and supports participants in the development of a writing practice. In addition to this general programme, each month specific themes are addressed in depth during lectures and seminars given by visiting speakers. Participants take an active part in shaping the educational programme and have the opportunity to organise workshops, seminars and excursions in parallel with it.

Critical Studies welcomes applicants from a range of backgrounds, including writers, editors, theorists, artists, curators, educators and other cultural practitioners interested in exploring points of convergence between research, practice and writing. Critical Studies explicitly welcomes applicants who want to diverge from a trajectory that they have previously embarked on, seeking an environment that offers space for further development and experimentation.

https://sandberg.nl/graduation2021/draft/graduates_critical-studies

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DESIGN Main Department The Design Department is a two-year Master’s programme that provides space for students to develop self-driven practices informed by rigorous experimentation. Due to our open structure, we are able to reflect on and react to current urgencies, discourses, and interests of the students and tutors. The practices of our students are informed by pressing issues, personal fascinations, deep collaborations, and lived experiences.

DESIGN UNDISCIPLINED The students and tutors of the Design Department work through the complexities and contradictions of our current time. Their modes of expression range from print work, digital interfaces, films and videos, network infrastructures, games, performances, writing, educational platforms, audio tours, and more. Although our students do not always develop design practices that conform to graphic design in its traditional sense, they share the necessity to communicate through their work, may it be an informative, lyrical, dialogical, discursive, or confrontational mode of expression. Considering design as a practice of ‘making things public’, we aim to analyse the politics inherent in design, through opening up, sharing and reviewing design in progress.

STUDENTS We are looking for students from a variety of backgrounds who like to embark upon self-initiated projects, engage in collaboration with fellow students, start new coalitions, design new forms for working side by side, learning and unlearning together. Students of the Design Department embrace their vulnerabilities, sincerely deal with their own dilemmas, and will put those up for discussion.

The Design Department furthermore welcomes students that are underrepresented in the field of design, art, education, and beyond. We acknowledge our responsibility for creating a space that is safe for all our students. Reflecting on our privileges, our position in systems of power, the department offers a range of sessions for students, tutors and staff, addressing systems of oppressions in self-reflexive ways.

https://sandberg.nl/graduation2021/draft/graduates_design

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

The Dirty Art Department comes from a common background of design and applied art, it seeks however to reject the Kantian division between the pure and the applied. Since ‘god is dead’ and ‘the spectacle’ is omnipresent, it sees the creation of alternative and new realities as the way to reconsider our life situation on this planet.

The Dirty Art Department is open to students from all backgrounds, including designers, artists, bankers, sceptics, optimists, economists, philosophers, sociologists, independent thinkers, poets, urban planners, farmers, anarchists and the curious. Please enjoy the trip.

The aim of the Dirty Art Department is to develop singular individual and collective practices, regardless of medium or subject, and to give an insight into how to place these practices into the existing contexts of art, design, performance, writing, pizza making, etc. The final challenge is to create a new context that is, the transformation of reality. The Dirty Art Department promotes a strong theoretical and philosophical agenda and is open to dangerous attempts and spectacular failures. It sees itself as a journey, and wherever it stops off, it remembers that ‘Any Space is the Place.’

MILESTONES In collaboration with the Macao Collective, with which DAD has been collaborating for five years, the department was nominated for the inaugural Milan Design Prize in 2016 with the project the Wandering School, a collective living and social sculpture. In 2018 the department continued its trip with the Wandering School Part 2: Revolution or Bust!, a dérive that included meeting the oracle of Delphi, Franco “Bifo” Berardi, walking through the wilderness to Athens, clashes with Titans, a peace offering to the Gods, helping to rebuild a refugee centre, regular encounters with tear gas, and just simply being there. The collective film Revolution or Bust! was presented at the third Youth Biennale of Bolzano in 2018, curated by Christian Jankowski.

https://sandberg.nl/graduation2021/draft/graduates_dirty-art-department

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FINE ARTS Main Department The Fine Arts Department retains a focus on autonomy and making, while addressing the social and economic roles of art production. During the Fine Arts Master’s, our students become more of them-selves, stronger in who they are and what position they intend to take on in society. They reflect on their own practice, and what it might mean on a grander scale, especially in relation to understand-ing one’s position in the world. The Department helps to create and test a student’s individual parameters helping them to gauge the effect their work, and challenging them to be able to critically support a piece in the context of its exhibition.

At the core of the programme are the consistent conversations held with the main tutors throughout the two-year period. Alongside these regular dialogues, guest tutors are invited for seminars and tutorials both in first and second year. Studio time thus alternates with an extensive series of workshops, seminars, and one-off events, that also steer the student to less familiar areas within their practice. In addition to these guests and activities, an annual group exhibition is held early on in the year and research excursions abroad take place twice annually. These trips are subdivided in focus and aim: for second-year students, an intense winter thesis writing & reflection period is organized abroad (in the past to the Arctic Circle, The Isle of Lewis and Delphi), while the first years partake in a shorter programmed excursion outside of The Netherlands. All students join in a department-wide spring research trip (in the past to Glasgow, Athens, Naples and Sharjah).

Several times a year, students come together with staff and tutors to discuss common interests that have emerged and can be addressed with the help of experts who, following these sessions, are invited accordingly. Student-led activities, such as group crits, film nights and Monday lunches are encouraged, while internal platforms are in place to promote small-scale try-outs and experimentation in presentation. In short, the Sandberg Instituut functions as a base for the Fine Arts students, while encouraging participants to develop and test their practice both within and beyond the school.

STUDENTS Candidates should be motivated to question their existing practice. An extreme curiosity is essential, as well as a willingness to enter into deep conversation with tutors and peers. Perhaps most crucially, students need to be able to work and think independently—and not be afraid to critically reflect on their work. Prospective students will be evaluated on their motivation, previous experience and portfolio. The admissions committee will focus on the authenticity, artistry and autonomous visual quality of the work presented.

https://sandberg.nl/graduation2021/draft/graduates_fine-arts

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STUDIO FOR IMMEDIATE SPACES Main Department Studio for Immediate Spaces is a two-year Master’s programme on space-related practices. Everything manifests in space. Migration is about space, ecology is about space, equality is about space. Space is political, economic, social, and aesthetic. Though, what exactly is space? We see space both as a theoretical entity and a real thing – continuously informing one another. To deal with space means to deal in space. To deal in space one needs to understand space as a form of discourse as well as the realm of action in the real world.

The Studio aims at exploring, investigating and shaping spatial practices that focus on the genesis and production of contemporary spatial configurations. Through extensive field investigations (excursions, studio visits, on-site workshops, location-specific method seminars), it is set up as a laboratory that tests ideas that have relevance for how we live today and how we could live tomorrow. The Studio has become a spatial agent critiquing and questioning, and possibly changing the context it works in by engaging nonacademic and non-artistic actors in the urban realm. It aims to develop practices that are informed by an uncompromised and autonomous perspective in a time when spatial experts are so direly needed to proactively and productively shape the world. We are especially opening up to urban actors, as we focus on ‘the city’ in particular. The city is not the problem, but the ultimate space to live together, as one that is socially, ecologically and economically sound.

The Studio for Immediate Spaces invites ‘undisciplinary spatialists,’ whose ambition is to design, plan, test, and eventually adapt and build spaces. We prefer the collective effort of making space to an alleged genius gesture of the individual master in order to develop an alternative spatial practice – independent, collaborative, relevant. Therefore we foster collaboration in the studio as a model for education, as it is practiced in reality.

https://sandberg.nl/graduation2021/draft/graduates_studio-for-immediate-spaces

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SANDBERG INSTITUUT Graduation 2021

TEM PO RARY PRO GRAM MES https://www.sandberg.nl/graduation2021/

SANDBERG INSTITUUT Exhibitions & Events

Temporary Programmes

Approaching Language Resolution

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APPROACHING LANGUAGE Temporary Programme Approaching Language is a two year temporary master programme for experiments and projects with language in the context of visual art. Texts are assembled, written, rewritten, read, read out, performed, printed, published or can serve as the basis for projects in for example poetry, sculpture, soundpieces, (graphic) design or film.

Approaching Language asks what forms language can take in art and literature and where these can be situated. Even though most artists see writing as a natural part of their practise, it is not clear where their texts end up. They often seem to fall in between exhibition and publication material.

What other options can be created? How to exhibit an essay?

How to install a poem?

Approaching Language investigates language as malleable matter that shapes and determines ways of thinking, ruling our everyday life, from the personal to intricate socio-political and ethical structures.

Is there a language for existing in between languages, silences, realities, bodies? Can language be physical matter, to an extent that it becomes solid or fluid matter?

A lot of questions remain on how language mechanisms influence what we see, and what we think we understand; how we can even begin with thinking we can express ourselves.

As part of the programme, in the final year, Approaching Language hosts the lecture series Who’s There *, investigating the role of the first person in visual art, literature and life. Invited speakers give workshops based on their insights and questions.

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RESOLUTION Temporary Programme Resolution is a two-year master programme committed to the future of the moving image. It is the sequel to finished Temporary Programme Shadow Channel (2017–2019).

In a period of two years, students will meet a multitude of artists, academics and activists, working at the intersection of film, music, art, video games and direct action. Previous tutors of Shadow Channel have been amongst others artists Rana Hamadeh and Mark Leckey, writers Maryam Monalisa Gharavi and Flavia Dzodan, designers Michael Oswell and Sam Rolfes, and musicians Gaika and Chino Amobi.

Building on its predecessor Shadow Channel, the Resolution programme takes place both at the Sandberg Instituut, and in collaboration with partner organisations around Amsterdam. This not only provides participants with an opportunity to get to know the city better while they are here, it will also help you gradually build a network of collaborators, a community of peers and an audience for your work outside of the institution.

When studying at Resolution, students work on three projects: their individual moving image work, their thesis, and a collective end-of-year presentation. The curriculum has been created to help students develop their conceptual and technical ability through practical workshops and tutorials, their critical thinking through seminars focussing on research and writing, and their sense of solidarity through collaboration and communal activities.

Resolution is for students who want to develop new forms of moving images, whether they make films, or design video games, make music, write stories or create art online. The programme does not expect students to already be professionals cinematographers, to know everything about exhibiting multiscreen installations, or have a game available on Steam or in the PlayStation Store. “What matters is not to know the world,” as Frantz Fanon quoted Karl Marx, “but to change it.”

Resolution especially welcomed applicants who are underrepresented in education, at work and on screen. In addition to new developments in moving image, our programme will focus on radical imagination, solidarity and collective joy. When we say radical, we speak with Barbara Smith, co-founder of the Combahee River Collective: we don’t mean in your face, lobbing verbal grenades—radical means having a deep understanding of structural oppression and being willing to eradicate that.

Resolution is an MA that combines fantasy with vigour, and that projects revolution in high definition. We firmly believe art is necessary to understand and change our world. But art is also necessary to catch our breath and take care of ourselves and each other, to feel free, even if it is only for the duration of a film.

Another world is possible. No darkness lasts forever.

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SANDBERG INSTITUUT Graduation 2021 Al Primrose Alice Slyngstad Allison Henriquez Anna Bierler Anna-Bella Papp Benjamin Schoonenberg Calli Uzza Layton Catalina Reyes Cesar Majorana Christian Herren Constanza Castagnet Daphné Keraudren Diego Virgen Eleni Papadimitriou Eloy Cruz del Prado Eva Bosveld George Mazari Ghenwa Abou Fayad Hannah Rose Whittle Helena Keskküla Jae Pil Eun Jan Vahl Jeanine van Berkel Jeanne Vrastor Jeroen Exterkate Jihye Lee Johan Delétang Jun Zhang Kaspar Dejong Lila Bullen-Smith Lucie Sahner Maja Chiara Faber Manola Buonincontri Manon Bachelier Margaux Koch Goei Maria Paris Maria van der Togt Marian Rosa van Bodegraven Mariana Jurado Rico Mariel Williams Marisa Esther Torres Rodriguez Marvin Ogger Mateo Vega Mathias Vincent Megan Hadfield Michelle Mildenberg Mylou Oord Negiste Johnson Noé Cottencin Pernilla Manjula Philip Raphael Jacobs Romy Day Winkel Sabrina Schlosser Sigrún Sveinsdóttir Sina Egger Stelios Markou Ilchuk Tao Yang Teun F. Grondman Toni Brell Valentine Langeard Vida Kasaei Violeta Paez Armando Zane Zeivate Zgjim Elshani Zuza Banasinska

https://www.sandberg.nl/graduation2021/

DIRECTORY

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http://www.johandeletang.com http://www.jun-zhang.com https://www.kaspardejong.com/ http://www.luciesahner.com https://linktr.ee/majachiarafaber http://www.manolabuonincontri.eu https://manonbachelier.com https://www.mariavandertogt.com http://www.marianajuradorico.com http://air.florist https://marisatorres.work http://www.45543.de http://www.mateovega.com https://www.niveauzeroatelier.space/ https://michellemildenberg.com https://mylouoord.com http://wwww.negisteyesside.tumblr.com/ http://noecottencin.justawalk.com http://www.pernillaphilip.com http://www.raphaeljacobs.com https://romydaywinkel.net https://sigrungyda.com https://www.instagram.com/mrvlsly https://www.marianajuradoquerico.com https://mateovega.com https://www.tonibrell.de https://www.valentinehhevah.com/ https://vidamir.nl

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THE SIGNS OF THE STARS

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SANDBERG INSTITUUT Graduation 2021

COLOPHON

Publisher Sandberg Instituut Director Jurgen Bey Curator Jules van den Langenberg Artun Alaska Arasli Editor Jason Page Aidan Wall Coordinator Anke Zedelius Contributors All graduates Main Departments Temporary Programmes Contributing authors Graphic Design Our Polite Society Website Katja van Stiphout Jeroen Vader Max Peeperkorn Mike Kokken © 2021 Sandberg Instituut Amsterdam (NL) Disclaimer The information in this publication is generated via www.sandberg.nl/graduation2021 and has been carefully checked and implemented. Despite these efforts towards accuracy, the presence of errors cannot be excluded. Please send any remarks or corrections to ps@sandberg.nl.

Sandberg Instituut Masters of Fine Arts, Interior Architecture and Design Gerrit Rietveld Academie Visitor Address Fred. Roeskestraat 98 1076 ED Amsterdam Contact T: +31 (0)20 588 24 00 E: info@sandberg.nl W: www.sandberg.nl ISBN 978-90-827670-4-9

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SANDBERG INSTITUUT GRADUATION 2021

THE SIGN OF THE STARS

AL PRIMROSE ALICE SLYNGSTAD ALLISON HENRIQUEZ ANNA BIERLER ANNA-BELLA PAPP BENJAMIN SCHOONENBERG CALLI UZZA LAYTON CATALINA REYES CESAR MAJORANA CHRISTIAN HERREN CONSTANZA CASTAGNET DAPHNÉ KERAUDREN DIEGO VIRGEN ELENI PAPADIMITRIOU ELOY CRUZ DEL PRADO EVA BOSVELD GEORGE MAZARI GHENWA ABOU FAYAD HANNAH ROSE WHITTLE HELENA KESKKÜLA JAE PIL EUN JAN VAHL JEANINE VAN BERKEL JEANNE VRASTOR JEROEN EXTERKATE JIHYE LEE JOHAN DELÉTANG JUN ZHANG KASPAR DEJONG LILA BULLEN-SMITH LUCIE SAHNER MAJA CHIARA FABER MANOLA BUONINCONTRI

MANON BACHELIER MARGAUX KOCH GOEI MARIA PARIS MARIA VAN DER TOGT MARIAN ROSA VAN BODEGRAVEN MARIANA JURADO RICO MARIEL WILLIAMS MARISA ESTHER TORRES RODRIGUEZ MARVIN OGGER MATEO VEGA MATHIAS VINCENT MEGAN HADFIELD MICHELLE LINDENBERG MYLOU OORD NEGISTE JOHNSON NOÉ COTTENCIN PERNILLA MANJULA PHILIP RAPHAEL JACOBS ROMY DAY WINKEL SABRINA SCHLOSSER SIGRÚN SVEINSDÓTTIR SINA EGGER STELIOS MARKOU ILCHUK TAO YANG TEUN F. GRONDMAN TONI BRELL VALENTINE LANGEARD VIDA KASAEI VIOLETA PAEZ ARMANDO ZANE ZEIVATE ZGJIM ELSHANI ZUZA BANASINSKA

The Sign of The Stars compiles the draft and final works (exhibited at Het Hembrugterrein (Het HEM/Project.

Fabriek/DOOR), Zaandam (NL), 8–10 October) of the 2021 Sandberg Instituut graduates from Master programmes Critical Studies, Design, Dirty Art Department, Fine Arts, Studio For Immediate Spaces, Resolution and Approaching Language.

The Sign of the Stars Draft Publication is the fifth book based on the draft works and works-in-progress of Sandberg Instituut’s graduating students. PS (Public Sandberg) gathers these preliminary works from the school’s soonto-be graduates, and contextualizes them as part of a two-part process: firstly a draft publication and a subsequent publication of their final works.

ISBN 978-90-827670-4-9