Cocky Eek studied Fashion Design at the Utrecht School of the Arts and graduated in 1993 with a final collection ‘Fashion is so ugly you have to change it every half year’. She did her Master degree European Fashion and Textiles Design in 1994 (FR/IT). After her studies she realized several experimental ‘wearable’ collections presented amongst Le Salon des Jeunes Stylistes in Hyeres (FR). Meanwhile she worked as a guest teacher (HKU, Rietveld Academy and Konstfack -Stockholm).
From 1999 – 2002 she collaborated with designer Maria Blaisse, investigating form and material in relation to the moving body, resulting in the Kuma Guna series (nominated by the Dutch Design Award). Together they gave a number of master-classes (MA European Fashion & Textile Design, the International Summer Academy of Fine Arts in Salzburg, and the Curtin University of Technology in Perth).
Since 2001, Cocky Eek has been an active member of FoAM [Brussels]. In close collaboration with scientists, and media-designers she did the spatial designs for responsive environments as Tgarden, TxOom and TRG (presentations include V2 and Ars Electronica 2001). Since the millennium her work has been mainly revolving around lightweight spatial compositions and her favorite media have become wind and air. This resulted in floating or flying experiments or large, voluminous forms. Her Human-Kite performances with Patrick de Koning were shown along various coastal lines, such as the Oerol Festival (NL) and the International Kite Festival in Weifang in China. She is co-founder of FoAM [Amsterdam 2005] whose main focus is the topic of human-plant inter-relations. One of their sprouts Boskoi, a project on urban foraging received an honorary mention Prix Ars Electronica 2011, was presented at ISEA and implemented in many local community’s. In 2012 she created Sphaerae, an inflatable multi-dome pavilion for immersive and synaesthetic experiences (presented at Ars Elctronica, TodaysArt festival 2013). With Schweigman& she develloped two contemporary theater pieces; Frame (presented in Shanghai 2012) and Blaas (Oerol, Torino, Boulevard, Utrecht 2013).
Arthur Elsenaar is an artist, electrical engineer and facial hacker. Since 1993, Elsenaar has investigated the computer-controlled human face as a site for artistic expression. He holds a Ph.D. in Art and Design from Nottingham Trent University in the UK for his thesis entitled “Facial Hacking: The Twisted Logic of Electro-Facial Choreography.” Elsenaar’s work has been shown at many internationally renowned conferences, festivals and institutes such as Ars Electronica, ISEA, DEAF, SIGGRAPH and MIT Media Lab. In 2008, the Stedelijk Museum in Amsterdam acquired the algorithmic facial choreography work “Face Shift” for their permanent collection. He has been a core member of the Institute of Artificial Art in Amsterdam whose work received several awards; a Prix Ars Electronica honorary mention (1997), the Leonardo Award for Excellence (2003) for a paper on the history of electric performance art. For his most recent work, Elsenaar received the Technarte Best Speaker Award (2012) in Bilbao, Spain.
Kasper van der Horst
Kasper van der Horst studied photography at the School of Photography in The Hague. During his studies he developed an interest in video, computer animation and computer graphics and started his own studio, Sparks.
In 1988 he was invited to teach video at CAM, and a year later to become a teacher at the Interfaculty Image & Sound, where he first taught analogue video and, since 1993, digital imagery. During his classes at the Interfaculty students started to develop moving digital graphics, resulting in some of the earliest VJs and visual musicians who created visuals and moving images that accompanied DJ acts, shown during the Sonic Acts Festival in 1994. During the collective research projects he often works with a small group of students on special visual effects that relate in delicate ways to the general theme of the project. In 1998 his research on dynamic video projections resulted in an astounding contribution to the closing night of the Holland Festival in Paradiso. For the ArtScience curriculum he developed many introductory courses on the subjects: Freestyle Video, Image & Sound (with Robert Pravda) and MetaMedia (with Taco Stolk). Next to these courses van der Horst organised many video workshops and collaborated on almost all of the large-scale projects at the Interfaculty. The resarch project “Structet : Building Music” in 2006 was one of the most successful performances in the Todaysart festival that year and it is the only project in the festival ́s history that was invited again, in 2011.
Since 2010 van der Horst has been directing multi screen installations for Rockheim, the museum for Norwegian pop music in Trondheim. He also designed 3d avatars for the interactive part of the museum. His work engagements range from established art institutes to broadcast and commercial media production. He directs and produces audiovisual projects. As a multidisciplinary art and technology advisor Kasper works with students, art-collectives and media-companies.
Marisa Manck (coordinator)
Marisa Manck studied Cultural work at the Hogeschool van Amsterdam and proceeded to work as a project-manager at the Westergasfabriek in Amsterdam where she managed in-house production for big festivals like the Drum Rhythm festival and put effort in professionalizing cultural entrepreneurship on this unique site of industrial heritage. In the following years she produced several exhibitions and events at W139. As senior project manager at the Dutch Theatre Institute and Museum, Marisa produced several exhibitions and programs. After the Theatre Institute had to close its doors due to government budget cuts, she started studying at the Master of Education department at the HvA. Besides attending classes, she continued working for several smaller projects.
Michiel Pijpe graduated with distinction in 2005 at the Interfaculty Image and Sound, and studied narrative techniques and style procedures for film at the University of Leiden (2002-2004). Afterwards, he briefly studied at the Dutch Art Institute (MA) in Enschede. Within the context of the curriculum of the former interfaculty his athletic background led to his development as a performance artist in 2001, specializing in visual art performances in various productions and coproductions. The correlation between play and technology is an ongoing experiment and is generally applied in the theatrical works of Pijpe: the results are minimalist but visually rich solo performances that can be characterized as both formal as well as expressive.
In recent years his work within performance and theatre has come to include the development of ideas for scenography and lighting setups for theatre and opera productions.
Apart from his stage work, Michiel Pijpe has been working on an ongoing project involving liquid experiments for film wich he started in 2003. After many years of experimentation and research he is now working with methods and techniques for a higher and more detailed control of chemicals, light and optics. He is continuously refining these techniques which resemble the traditional methods of 18th century painting combined with current technologies translated into innovative printing techniques.
Robert Pravda studied engineering from 1987 through 1991 at the Technical University of Novi Sad (former Yugoslavia), after which he dedicated himself to making music in experimental underground circles. His interest in the interdisciplinary arts brought him to the Interfaculty Image & Sound, where he earned his degree in 2002. In 2001 he started WEIM, a workshop for his fellow students on electro-instrumental music. When he became a teacher at the Interfaculty, this workshop was transformed into the electronica improvisation ensemble RecPlay. During his studies he concentrated on building instruments for multimedia performances and making algorithmic compositions for spatial sound and light installations. His examination project, the sound-light installation 5x5x5, was awarded with the visitor’s prize of Shell’s Young Artist Award.
Recently he has been developing new musical and light instruments, performing in many formations and contexts, and he worked as composer and sound designer for several theatre productions.
Taconis Stolk (head of department)
Taconis Stolk is a conceptualist and metamodernist. He is the initiator of WLFR, studio for conceptualism in Amsterdam. Since the mid-nineties WLFR has been developing metamedia projects and theory concerning the aesthetics of concepts and contextual technology, often at the intersection of art and science.
WLFR projects have been exhibited, performed and published in Europe, the Americas and Asia. They deploy a wide range of media and disciplines. Examples through the years are P.I.A (interactive audio performance for magnetic card readers, 1994), fZone (website generating audio compositions based on weather conditions in the world’s time zones, 1995) PARR (research project on nano-aesthetics resulting in computer generated books and animations, 2000), BuBL Space (pocket device to disable mobile phones, 2002, with Arthur Elsenaar), Gradually Zero (experimental theatre on the beauty of numbers, 2003, with Sanne van Rijn), Genetic Design (media project on art education in genetic modification, 2004), o—o—o—o (project on intention hacking the game of chess, 2010, with ConceptsAssociated), Wf–– (nanotechnology project on creating magnetic fragrances, 2011, with Radboud University Nijmegen) and WLFRGB (video series exploring ‘impossible colours’ by hacking stereoscopic technologies, 2013).
Stolk earned his Bachelor’s and Master’s degrees at the ArtScience Interfaculty. He lectures at the Interfaculty since 1998. Current other lecturing and consulting activities include MediaTechnology MSc programme of Leiden University (since 2001), STEIM Amsterdam and the Dutch Arts Council. He is a regular speaker and writer on topics related to his practice.
Marion Tränkle is an artist and designer based in Amsterdam. Her work engages systems thinking, cross-disciplinary perspectives, and experimentation. She preferences live-performance as her artistic environment and to constantly negotiate between the carefully constructed and generative processes, between risk and responsibility, and between autonomous performance and human intervention.
She studied architecture at the TU Berlin, hold degrees in Contemporary Dance from the Amsterdam School of the Arts and from the Media Technology program at Leiden University, and was awarded her PhD from the School of Arts, Brunel University London in 2012. Last year she spent focussing on software engineering.
Her stage scenarios and installations have been shown internationally including Thessaloniki Biennale at the State Museum of Contemporary Art, OK Centre for Contemporary Art in Linz, Netherlands Media Art Institute Amsterdam, University of Michigan, Bavarian State Opera Munich, State Theatre Saarbrücken, and the Artefactfestival for Art and Media.
Marion has taught at Universities and Art Institutions in the Netherlands, Canada, and her native Germany. Currently she is associated with the Department of Industrial Design at TU Eindhoven.