Matthijs van Boxsel
Lex van den Broek
Renske Maria van Dam>
Rob van Gerwen
Johan van Kreij
Hilt De Vos
The immaterial and intangible character of light, colour and movement forms the starting point of Nicky Assmann’s [NL] spatial installations, in which she tries to heightens the perception. With a background in Film and ArtScience, she combines artistic, scientific and cinematographic knowledge in experiments with physical processes aimed at sensorial interference. In using distorted mirroring reflections she intends to challenge preconceived notions of our surroundings, opening space for parallel realities.
Her work takes shape in the form of kinetic light installations, video-installations and live audio visual performances and is embedded in a context of visual music, expanded cinema, and the concept of synaesthesia. Set against the backdrop of our visual culture, where the perception of reality increasingly occurs in the virtual domain, she returns to the physical foundations of seeing in which the embodied experience and the notion of affect are central.
Assmann was nominated for the 2017 & 2015 Prix de Rome and her work Solace gained an Honorary Mention in the 2011 StartPoint Prize. She has exhibited her work in a solo show at TENT Rotterdam and in group exhibitions at the Saatchi Gallery [London], National Taiwan Museum of Fine Arts, Art Rotterdam Week, Quartier 21 [Vienna], V2_Institute for the Unstable Media [Rotterdam], Exit Festival [Paris] and the Biennial of Carrara.
Assmann holds a Bachelor of Arts in Media & Culture [Major Film Science] from the University of Amsterdam and a Master in ArtScience from the Interfaculty of the Royal Conservatoire & the Royal Academy of Art in The Hague. She is part of the Macular art collective, which focuses on art, technology, science, and perception.
Merel Boers (1980) is historian and journalist. She loves a varied diet, so she writes on various topics like arguments between scientists and the recipes of Italian futurists. You will meet her regularly in NRC Handelsblad, nrc.next and De Groene Amsterdammer.
Matthijs van Boxsel
Literary historian Matthijs van Boxsel (b. 1957) has been studying the topic of stupidity since 1980. In 1999 he published De encyclopedie van de domheid (The Encyclopedia of Stupidity), which was nominated for the prestigious Generale Bank Prize for Literature. In 2001 the sequel Morosofie (Morosophy) appeared, studying the 100 most stupid Dutch theories of the 20th century. This was followed in 2006 by a volume on stupidity as an art of living: Deskundologie of Domheid als levenskunst. Van Boxsel is now working on De topografie van de domheid (The Topography of Stupidity), in which he gathers all the cities and regions that are proverbially known for stupidity. De encyclopedie van de domheid has already been translated into more than 10 languages.
Andrea Božić is a choreographer and artist from Croatia, living and working in Amsterdam. Her educational background includes dance, literature, English, film, theatre and media art. In Croatia, she studied modern dance and earned a degree in Comparative Literature and English Language at the University of Zagreb. In the Netherlands, she graduated from the School For New Dance Development and the Amsterdam Masters of Choreography (2004), both at the Theaterschool Amsterdam.
Her work is interdisciplinary and takes form of live performance, installation and collaborations with the weather and night sky. The work reorganizes perception combining conceptual with sensorial and physical, creates paradoxical situations and asks questions about the effects of attention and imagination, perception of presence, the politics of viewing, presentation of reality and distribution of authorship. All individual projects are part of larger constellations, both within Andrea’s own work and her collaborations with others.
Her work has been presented at numerous festivals and venues internationally. It was produced by the Frascati from 2003-2012. From 2009-2012, Andrea was artist-in-residence at the International Choreographic Arts Centre Amsterdam (ICK).
She has collaborated with visual artist Julia Willms and sound artist Robert Pravda since 2005 with whom she founded in-disciplinary platform Tilt in 2009, to inspire and support artistic practice and thinking beyond disciplines. Tilt produces the work in collaboration with other partners since 2013.
Together with Nicole Beutler and Marijke Hoogenboom, Andrea is co-initator and curator of We Live Here: AnAcademy, an artistic exchange platform that takes place in Amsterdam annualy since 2011. She is one of the co-founders of BAU – space for performing arts Amsterdam.
Andrea has collaborated with many artists, most notably with Ivana Muller, presented frequently at conferences and symposia, published texts about her work and given workshops and co-organised artistic labs internationally. From 2012-2015, Andrea was mentor at the Amsterdam Master of Choreography and since 2012 she is tutor at DasArts – Master of Theatre.
Lex van den Broek
Lex van den Broek finished his studies Electronic Engineering and Information Technology at the Hogeschool Rotterdam in 1993. After a couple of years designing sound amplifiers for active speaker systems, he started working as the head of the Electronics Workshop at the Royal Conservatoire in 1997. He gives courses to students of Sonology, The Art of Sound and ArtScience departments. He also guides students in realising their own projects involving electronics. In its long history, the Electronics Workshop at the KC has collaborated on many impressive interfaces and installations and is a center for developing musical interfaces and computer installations. Lex has been developing various interfaces and controllers that are available for students to assemble, such as the IpSonLab, Microlab and MTVlab.
Renske Maria van Dam
Since 2013 Renske Maria works as independent architect and artistic-researcher. In February 2017 she started her doctoral research at KU Leuven.
Always motivated to think and do Renske Maria initially started her studies in Fine Art and Philosophy, but finished her BSc and MSc in Architecture at the Technical University Delft. During her architecture studies she also followed courses in urban anthropology and worked for architectuurstudio Herman Hertzberger, Amsterdam and Atelier Li Xiaodong, Beijing.
From 2009 to 2011 she was part of Vision included; a co-initiated, pro-active design practice and discussion platform. From 2013 to 2016 she was part of ALEPH; a co-initiated artistic-research laboratory for the exploration of progressive heuristics focusing on philosophy as creative practice in its own right. If you feel inspired please feel free to contact us about possible collaborations.
The installations of Zoro Feigl (1983) seem to be alive. His materials dance and twist. Placed together in a space, the separate works become one: large and ponderous in places, nervous or gracious elsewhere. Feigl’s forms are constantly changing, sometimes slowly, sometimes quickly. The exhibition space becomes an enlarged microscope: single-cell creatures, primitive organisms are twisting, groaning and convulsing. Without beginning or end the objects seem to be locked into themselves. As a viewer you become entangled in their movements: they embrace and amaze, but sometimes also frighten you. Zoro Feigl lives and works in Amsterdam.
Rob van Gerwen
Roel Heremans (BE) studied Radio at the RITS in Brussels and ArtScience in The Hague. In his work he seeks for hybrid artistic forms in between performance, sound art, conceptual art, imagination, radio and literature. He is currently focused on a series of works titled Room # & Duet #.
Heremans started his work as an artistic reflection on a severe accident he was in and of which he does not remember anything.
Only by bringing together the declarations of the witnesses he could imagine what had precisely happened.
From this experience it seemed that our brain can be a nest in which reality, fantasy, observations, memories, information, truth or lie live together and sometimes even intermingle.
Milica Ilić, born in 1985 is a is a pianist from Serbia, specialised in opera and chamber music. Her repertoire covers a wide range of musical styles and she performs in various types of chamber ensembles. She is full time employed as an repetiteur and vocal coach on the department of Solo Singing at the Faculty of Music in Belgrade, Serbia.
Next to her employments as a pianist, Milica works as a composer and librettist. Her latest works include Higher, for two pianos, baritone, actor, singer and choir of shouters, The Chamber Thriller Opera in Episodes (a)Mantis Religiosa performed both in Belgium and Serbia, Lego project series I for voice and piano as well as other song cycles. Exploring new possibilities and combinations in the classical musical repertoire, and connecting different styles, genres and forms in her creative work are the main characteristics of Milica’s artistic practice.
Márton Kabai (HU), graphic designer based in The Hague, NL. He started his graphic design study in the Hungarian Academy of Fine Arts (HU), but he graduated from the Royal Academy of Arts, The Hague, NL. His works can be located around the subjects of posthuman, anthropocene, speciesism and crisis. He believes in a research driven, post disciplinary, slow and personal design practice. He works in various media where he tries to materialise hidden concepts, demystify ideologies, beliefs, unveil biases, fixations that has mistaken as truths, legal or unbreakable. He works for commissions and initiate own projects.
Johan van Kreij
Johan van Kreij is a musician whose artistic output focuses primarily on improvisation and composition using electronics. He studied music at the Institute of Sonology from 1994 at the Royal Conservatory in The Hague, graduating in 1998. Frequently he performs his music, both as a soloist and with other musicians.
Starting in 1998 van Kreij has participated in a long running and intensive collaboration with choreographer Ted Stoffer. This resulted in music composed to a great number of dance choreographies that were performed throughout Europe and the United States. And for more than a decade he has been active within the field of music theatre trough cooperations with Dick Raaijmakers and Paul Koek.
Another important aspect of his work is the development and realization of his own instruments. This development covers the fields of hardware—sensors and other electronics—used for gestural input, and software employing a wide range of sound synthesis models. In the role of developer, he has participated in many projects in the field of music, visual arts and architecture. Since 2001 he has been a permanent member of the teaching staff at Sonology.
Jonas Lund is a Swedish that creates paintings, sculpture, photography, websites and performances that critically reflects on contemporary networked systems and power structures of control. He earned an MA at Piet Zwart Institute, Rotterdam (2013) and a BFA at Gerrit Rietveld Academy, Amsterdam (2009). He has had solo exhibitions at Whitechapel Art Gallery, London (2016), Steve Turner, Los Angeles (2016, 2015, 2014), Växjö Konsthall Sweden (2016), Boetzelaer|Nispen, Amsterdam (2014), Showroom MAMA, Rotterdam (2013), New Museum, New York (2012), and has had work included in numerous group exhibitions including at Carrol/Fletcher, London, ZKM, Karlsruhe, Van Abbemuseum, Eindhoven, Witte De With, Rotterdam, De Hallen, Haarlem and the Moving Museum, Istanbul. His work has been written about in Artforum, Kunstforum, Metropolis M, Artslant, Rhizome, Huffington Post, Furtherfield, Wired and more.
Katinka Marac studied theatre design at the Utrecht School for the Arts. Since 1997 she has worked both as a scenographer and lighting designer for contemporary dance performances and installations in the experimental circuit. Among others she has collaborated with Golden Palace, Sara Wookey, Lidy Six, Martin Nachbar, Sanja Mitrovic, Seon-Ja Seo, Daniel AlmgrenRecen en Roser Lopez Espinosa.
Katinka writes regularly on lighting design and scenography in Zichtlijnen, the Dutch technical journal for stage technology. She also advises students at the School for New Dance Development and at the master Choreography at the AHK Amsterdam. Katinka’s preference for experimental works is based on the significant role played by space and spatial experiences, and as co-maker in multi-disciplinary productions in which space and light exist as partners. Her lighting designs possess a particularly physical quality and encourage and generate movement. In addition to her work as a designer, she has made short video films, so-called audio- visual choreographies, which bring together her fascinations for the body, movement, space and rhythm.
Always consider opposing views! Manus Nijhoff (NL) is a graphic designer. He tries to break down universal subjects to specifics and to specify the universal. A recent graduate of the Royal Academy of Arts, the Hague he now works between the Hague and Berlin. His bachelor thesis ‘Control and Question’ is a scripted discussion between three insiders. They discuss the commercial internet as we’re familiar with it.
Maurizio Martinucci (aka TeZ) is an Italian interdisciplinary artist and independent researcher, living and working in Amsterdam, who has collaborated with, amongst others, Adi Newton, Scanner, Kim Cascone, Saverio Evangelista, Taylor Deupree, Sonia Cillari, Chris Salter, Honor Harger, Luca Spagnoletti and Domenico Sciajno.
He uses technology as a means to explore perceptual effects and the relationship between sound, light and space. He focuses primarily on generative compositions with spatialized sound for live performances and installations. In his works he adopts custom developed software and hardware, featuring original techniques of sonification and visualization to investigate and magnify subtle vibrational phenomena. In recent years his research has extended to the ideation and creation of specific architectural structures and unconventional sound and light propagation methods to enhance immersivity and multisensory perception.
TeZ is also the brainfather of the ‘Optofonica’ platform for Synesthetic Art-Science, located in Amsterdam.
BJ Nilsen (Benny Nilsen) is a Swedish composer and sound artist based in Amsterdam. His work is primarily focused on the sound of nature and its effects on humans. His two latest solo albums released by Touch Eye Of The Microphone (2013) – a personal audio rendition based on the sound of London – and The Invisible City (2010), have explored the urban acoustic realm. He has collaborated with Chris Watson on Storm and Wind, released by Touch (2006, 2001).
His original scores and soundtracks have featured in theatre, dance, and film, including Microtopia and Test Site (2013, 2010, dir. Jesper Wachtmeister), Enter the Void (2010, dir. Gaspar Noé), and, in collaboration with Jóhann Jóhannsson, I am here (2014, dir. Anders Morgenthaler). In 2014, he co-edited the book+CD publication The Acoustic City (jovis) together with Matthew Gandy.
Dani Ploeger combines performance, video, computer programming and electronics hacking to investigate and subvert the spectacles of techno-consumer culture. Re-purposing, mis-using, and at times destroying everyday devices, his work exposes seemingly banal and taken-for-granted aspects of digital culture as objects of both physical beauty and political power.
Among others, he has worked with traditional metal workers in the old city of Cairo to encase tablet computers in plate steel, attended firearms training in Poland to shoot an iPad with an AK47, made a VR installation while embedded with frontline troops in the Donbass War, and travelled to dump sites in Nigeria to collect electronic waste originating from Europe.
Ine Poppe is writer, teacher, journalist and artist. She did art school in Utrecht, was an intern in Hamburg and studied Dutch literature in Amsterdam. Became internationally renownded for her project Mothermilk cheese, in the 80-ties. Poppe wrote the tv-script for Necrocam: death online, directed by Dana Nechustan (award for best dramascript European Broadcasting Union -EBU- 2002). She made tv-programs and wrote scenario’s for computergames. Ine Poppe directed the documentary Hippies From Hell, about the group of hackers and activists that introduced the internet in the Nederlands and Them Fucking Robots about the Canadian robot artist Norman White.
Poppe nowadays leads the Hacking department at the Willem de Kooning Academie in Rotterdam, makes documentaires and contributes to transmedial projects. Ine just finished ‘Teeth‘ a documentary about her obsession with teeth in the broadest sense of the word. She wrote for Dutch newspaper NRC Handelsblad for more than ten years and recently wrote the scenario for The Modular Body, a trans medial project with Dutch artist Floris Kaayk that was released in April 2016. This project was awarded with a ‘Gouden Kalf’ -the Dutch equivalent of an Emmy award- for the best interactive project of 2016.
Nenad Popov is a media anarchist whose interests lie in, or better, between art and plain research. The output of these processes are live cinema pieces, sound installations, film installations, weird sound making contraptions, impossible collaborations and occasional parasitism on public cultural funds.
Not just that: huge amount of written code, public and private, interfacing this with that, embodied algorithms, alleged bar fights, organizing workshops and giving classes.
He has collaborated with many artists working in similar fields, such as Daan Brinkmann, Electronic Opera, Thomas Köner and Lillevan/Rechenzentrum. Solo performances include Dis- Patch, TodaysArt, E-Pulse and Share.
His latest research topics are possibilities of collaborating with non-human entities.
Maya Rasker (b. 1965) wrote articles and essays for the daily newspaper Trouw and other publications before debuting in 2000 with the novel Met onbekende bestemming (Unknown Destination). The book won her the Gouden Ezelsoor (Golden Dog-Ear), the prize for the year’s best-selling literary debut. She has further published the novels Rekwisieten (Props, 2003) and Xenia (2005). Her work has been translated into English, German, Spanish and Hungarian.
Frank Theys is a filmmaker, writer and visual artist who lives and works in Brussels and Amsterdam. His experimental films have been shown at most major international venues and acquired for the collections of among others, the Museum of Modern Art (MOMA), New York, the Museum for Contemporary Art (SMAK) Ghent, the Museum for the Moving Image, New York and the Centre National de la Cinématographie, Paris. In 1992 he became director at Victoria Theatre in Ghent, Belgium, where he wrote and directed several award winning plays. In 1994 he received the honourable title of Cultural Ambassador of Flanders.
He started his own film production company in 1997. His recent documentary series Technocalyps, about the notion of transhumanism, was broadcasted in many countries and has generated several scientific and philosophical congresses on the subject, it has been the central work in several art exhibitions and cultural events worldwide. Frank Theys has lectured on the subject in numerous universities, art colleges and congresses in Europe, Asia and the Americas.
Frank Theys has taught at St-Lukas Film School (Brussels) and at DasArts, multidisciplinary Master’s course in the Performing Arts at the Amsterdam School for the Arts (AHK) and was a visiting teacher and lecturer at universities, film and art schools worldwide. He currently is a researcher at the KUL (Louvain, Belgium) and also teaches at the St-Lukas Art Academy in Ghent (Belgium).
Born in Tokyo, Japan, in 1974. Based in Japan and The Netherlands. Maki Ueda is an artist who incorporates the olfactory sense in art. She considers smell to be “new media”. Believing that “fewer visuals = stronger olfactory experiences”, she puts the emphasis on olfaction over the visual aspect in her work. She often uses scents to spark the imagination or to create perceptual confusion.
She has developed a unique combination of chemical and kitchen skills in order to extract the scents of daily life, including foods, ambient aromas, and bodily scents. She creates scents that capture childhood, identity, a mood, or a historical event. The results of her experiments take the form of olfactory installations and workshops.
Maki Ueda studied media art under Masaki Fujihata at The Environmental Information Department (B.A. 1997, M.A. 1999), Keio University, Japan. She received a grant from the Japanese government in 2000 and from the POLA Art Foundation in 2007. She has been based in The Netherlands since 2002. Nominated for The World Technology Awards Category: Art (NY, USA) in 2009, she occasionally teaches and gives workshops on olfactory art at ArtScience Interfaculty of The Royal Academy of Art and Royal Conservatory The Hague (NL), and at Willem de Kooning Art Academy (NL).
Caro Verbeek (1980) is an art historian specialized in art and the senses. She graduated at the University of Amsterdam on the topics of olfactory (MA) and tactile (MA) art. She writes and lectures on olfactory and tactile art accompanied and designs multi-sensory tours for museums. She is currently working on a PhD on the role of olfaction during the avant-garde, which consists both of theory and actual olfactory (re)constructions that will enable us to literally inhale history of art.
Hilt De Vos
Hilt De Vos is a professional Belgian director and actress that has worked extensively in theatre, for television and film. Hilt is also a dancer and teaches yoga and pilates.
Peter Zegveld is an inspirator, theatre maker and visual artist. He was born in 1951 in The Hague and graduated from the Royal Academy of Fine Arts in The Hague. For more than twenty years he has been creating unique forms of theatre. His performances are visual, sensual and cinematic. Zegveld uses physical principles; The behaviour of light, air, noise and gravity. His performances communicate through little text but a richness in sound idiom. These are manipulated in such a way that everyday situations change into unusual events. Due to his enormous freedom of thought and unconventional attitude, Zegveld walks through various disciplines and allows the spectator to experience and discover absurdities. In addition to his own performances for theatres, numerous festivals and autonomous visual arts, he made performances for Orkater and television series for the VPRO. Peter Zegveld is artistic director of the Caspar Rapak Foundation.