First instalment of a two-part workshop with Linda Stupart (guest)
Liquid Obsession by Silke Xenia Juul (guest)
Φιλία by Callum Copley
Toothpaste by Asja Novak
Elegy on a Semantic Trauma by Maria Muuk (guest)
16.00
Foundations: Part I, a reading and video by Harriet Foyster (guest)
17.00
Changing Clothes, a reading by Lucier Berjoan
18.00
Wayward Sons and Royal Birds: A Performative lecture by Sekai Makoni (guest)
19.00
Het Slapende Bureau, The Second Appearance, a film by Mohamad Deeb (guest)
19.30
‘Cultural Practices ~ Property
Speculation?, a series of presentations with François Girard-Meunier and guests
20.30
Bedwritten: A One Woman Show by Silke Xenia Juul (guest)
21.00
DJ Set by PASTIMES (Callum Copley) (Red Light Radio)
A series of presentations with François Girard-Meuinier and guests.
DJ Set by Pastimes (Calum Copyley) (Red Light Radio)
Second instalment of a two-part workshop on with Linda Stupart (guest)
Het Slapende Bureau, by Mohamad Deeb
Poem by Lucie Berjoan
A of a. At a at. by Asja Novak
Foundations: Part II by Harriet Foyster
Here There Now by Lucie Fortuin
16.00
Three and a Half Corners of the House, a video by Asja Novak
17.00
Connective Tissue: The Mechanical & Intellectual Organs of Cryptoeconomics, a performative lecture by Callum Copley
18.00
In Which the World is Leaking In and We are Leaking Out, a play by Filippo Tocchi with (guests) Annamaria Merkel, César Brun and Giorgio Ferretti
19.00
Monologues, films by Ozgür Kar
19.30
Food: behind barcodes, a panel discussion hosted by Nemo Koning with (guests) Asli Hatipoglu, Pitchaya Ngamcharoen, Sun Chang and Younwon Sohn
20.30
Unwound, a performative reading by Vita Evangelista VITA EVANGELISTA
The Master’s in Critical Studies is a two-year postgraduate 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, specific themes are addressed in depth each month 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.
The exhibition will take place across multiple spaces within De School and an event programme of readings, lectures, performances and radio broadcasts will run alongside. Details coming soon.
Graduation show website: https://sandberg.nl/design/celestialservices/
13:15-14:15 PUB Radio broadcast featuring Juan Pablo Mejía & Arturo García present: The ambassadors of Love with special guest Camilla Bruges
Júlia Carvalho de Aguiar presents "This is where we jump":
Original soundtrack by Monke
Graduation website: https://sandberg.nl/design/celestialservices/
With a selfless, committed, curious, serious, humorous, and above all hazardous mentality, plus a wide diversity of tools, the Design Department finds out what matters through design. Moving between reality and fantasy, chaos and systems, data and dreams, the programme addresses the contradictions of our time. It responds through design to world issues and questions the relationship between practice and politics. Design itself is presented as a tool to organise the relationship with the outside world.
With a trust-based educational model (filled with extreme talent, positive energy and a spirit of equality), the Design department stimulates people to feel both free and passionate about engaging in the things that they love or care about, through making and collaborating. We welcome students who embrace the vulnerability, doubt and unpredictability of where design can lead them. They are investigative designers, critical optimists, generous collaborators, storytellers, eternal students, friends, lovers, fighters, or sensitive guides for our precarious future.
Global challenges are approached from a personal and human point of view, where the different perspectives within the department are articulated; identities, stories and visual strategies merge throughout the practices in personal, specific and committed manners. Forms become relations, disciplines turn into mentalities and the internet is used as a continuous common canvas for trying new things. The self-initiated projects that are developed present new disciplinary frameworks, start movements, construct collectives and invest in alternative models of living.
How do we communicate? When verbal language comes to its limits new sensibilities arise. The sea smells like an orange tree. The car tastes like a paper towel, the pigeon feels like a pomace brandy. In they swore it could talk to dogs, a group of eight individuals try to speak to and through their works in order to achieve comprehension, examination, friction or fondness towards the other. The unknown becomes a friend, a lover, a new companion. On their journey they encounter unfamiliar intimacies and asymmetrical conversations. Objects turn into subjects, materials into immaterialities, realities become fantasies. Suddenly, holes talk, the air hums, fish stinks, and the sea seeks togetherness. Small tools are devised for big problems.
Sandberg Instituut's Dirty Art Department will finally glide back down gracefully in Amsterdam and fold up their weary wings. In ISO, we will meet and regale tales of our nomadic journey through Greece.
LINE UP TBA
In March we left Amsterdam by plane to Bari, and travelling in descending orders of technology by boat from Bari to Patras, by bus from Patras to Delphi, and finally on foot from Delphi to Athens. Upon arrival in Athens, we set up camp in " any place and no place " and did a series of planned and unplanned situations, lectures and actions, which served as clues to the construction of the new world. We lived and worked in a hospital and a basement, and some of us have graduated in an old hotel.
Facebook event: https://www.facebook.com/events/625299884501019/
Website: www.dirtyartdepartment.com
Facebook: www.facebook.com/dirtyartdepartment
The Dirty Art Department presents itself as an open space for thought, creation and action. It sees itself as a dynamic paradox, flowing between the pure and the applied, the existential and the deterministic, 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 between other people and ourselves.
Although the Dirty Art Department arrives from a shared background of design and applied art, it seeks to reject the division between the pure and the applied. Since ‘God is dead’ and ‘the spectacle’ are omnipresent, it sees the creation of alternative and new realities as the way to reconsider our existential 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, distinct from 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.
Currently the Dirty Art Department focuses on activism, spiritual enlightenment, education, and dealing with the actual reality as a pre cursa to the ‘revolution’ and as an inquiry on how to live with it. Following the department’s nomination for the Milan Design Prize and its close relationship with the Macao Organisation in Milan (IT), the department will collaborate with both Macao and the Athens School of Fine Arts to co-produce The Wandering School Part 2: Revolution or Bust! which will be presented in both Athens and Milan in 2018. Additionally, this year sees the establishment of the Dirty Art Foundation and the creation and building of the autonomous project space AutomagiA in the NDSM-werf in North Amsterdam, which will be run by current and past students of the department.
The final challenge is to create new context; that is, the transformation of reality. The Dirty Art Department promotes a strong theoretical and philosophical agenda and is open, in practice, 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’.
During the Sunday Tour—a mix between an open discussion and a tour of sorts—the notion of the graduates’ collectivity is explored by collectively talking about, interpreting and evaluating each other’s work together with visitors. Open to the public, no signup required.
Sandberg Instituut’s Fine Arts department retains a focus on autonomy and making, while addressing the social and economic roles of art production. Core to the programme are the regular conversations with our main tutors, while guest tutors are invited for seminars and tutorials throughout the year. Studio time thus alternates with common activities such as workshops, seminars, one-off events such as an annual group exhibition and excursions abroad. An intense winter thesis writing/reflection period takes place in the Arctic Circle, while all students partake in the spring excursion.
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 such as The Stolen Studio are in place to promote small-scale tryouts and experimentation in presentation.
Throughout the two years, the Sandberg Instituut functions as a base, while encouraging participants to develop and test their practice both within and beyond the school. The programme unfolds across three open modules over the course of two years, structurally redefining conventional notions of artistic labour.
Language
The Language module concerns actual language as well as ‘language as description’ and the languages of what is seen, heard and written. The programme is divided between developing artistic practice and broadening (through specific tasks) ways of seeing and working. Language takes a holistic approach to the making of art, expanding and exploring our notions of what artistic practice can include
Image
The Image module centers on the notion of representation, time and context in various visual and audio-visual practices. Although the programme does not disregard technical or formal considerations, nor public presentation, the emphasis lies in developing individual production strategies: strategies for processing and materializing thought, intuition and knowledge; and strategies commonly developed through production experience and through considering the strategies of others.
Play/Object
The Play/Object module focuses on contemporary constructions of ‘performativity’ and object-based productions within a cross-disciplinary, public context. It concentrates on the creation and practice of production, with particular attention paid to how objects interact with time, space and value.
Students
The Fine Arts Department is looking for eager, active and ambitious students who are willing to participate in group tutorials, workshops and other forms of education. We are looking for authentic makers and thinkers who are open to fundamental reflection on their work. A sound background in art or possession of equivalent expertise in affiliated fields is required. Candidate 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.
Facebook: www.facebook.com/pages/Sandberg-Institute-Fine-Arts/288847151134435
Song performed by Elisabeth Mesnier (6 min)
Song performed by Elisabeth Mesnier (6 min)
Sound piece at the sunset
Sound piece at the sunset
Website: www.immediatespaces.nl
Facebook: www.facebook.com/immediatespaces
Instagram: www.instagram.com/immediatespaces
The Studio for Immediate Spaces (SIS) investigates space in all its forms and implications. It is an autonomous platform for reflections ranging from commentary and analysis to current spatial realities and production processes. Using the tools of the geographer, the urban planner, the architect or the designer, we create new grounds for research, blurring the boundaries between science and politics, art and architecture, interior and exterior. Through field observation, analysis or physical construction we dig into the spaces created by popular culture and contemporary society to reveal new meanings. Public or intimate, permanent or temporary, material or virtual, we are interested as much in the physical quality of space as in its social and political outcomes.
The two-year programme proposes an alternative take on the field of interior architecture, exceeding the boundaries of its traditional curriculum. The interdisciplinary environment of the SIS is a platform for debate, opening up new terrains and allowing for the development of independent practices. Here, exploration fuses with reflection; design is an instrument of research, research is an instrument of discovery. We provide the tools for inquisitorial investigation to reveal unseen contemporary territories. Design methodologies focus on urban investigations and building processes, promoting a hands-on approach and DIY culture as a means of emancipation, celebrating craftsmanship and the immediacy of space making.
The backbone of the course of the SIS is formed by five studios (Construction, Context, Content, Writing and Theory), which are led by tutors active in different fields and offer strong support to individual projects and experimentations. In addition, eight times a year, the SIS welcomes a guest who introduces their methodology and personal research through an intense week-long workshop. These Methodology Weeks focus on field research and hands-on production. These immersive experimentations confront the participants with specific ways of working, thoughts and production methods.
The SIS delivers an MA in Interior Architecture. Although we always question the very definition of this practice, we are nevertheless also strongly grounded in this field and its history. At the crossroad between multiple arts, the profession has a unique role to play. We like to question the politics underlying the traditional and future practices of this field in terms of production, consumption, and mediation to define a common ground for our reflection. By investigating preconceived notions and searching for new strategies, we aim to dismantle the syntax of today’s urban spaces and expand the definition of interior and exterior forms of architecture.
Website: www.immediatespaces.nl
Facebook: www.facebook.com/immediatespaces
Instagram: www.instagram.com/immediatespaces
A group of singers will suggest how to observe the space by singing.
Anastasia is a project of muscles to be flexed and borders to be expanded. Opposition to power-structures is optimised by engaging inner core power and strengthening the metabolic system to resist and digest the art world. Become more resilient and dialectic by creating an equilibrium between the pelvic floor and the throat chakra - and start to speak out loud. Our liver is going to detox in order to deliver - our kidneys are going to find their inner child and we will find more balance and power to go against the current time while staying current.
Classes are limited to 10 participants and are free off charge. Advance booking for either day is required via TheAnastasiaMethod@gmail.com
A group of singers will suggest how to observe the space by singing.
Anastasia is a project of muscles to be flexed and borders to be expanded. Opposition to power-structures is optimised by engaging inner core power and strengthening the metabolic system to resist and digest the art world. Become more resilient and dialectic by creating an equilibrium between the pelvic floor and the throat chakra - and start to speak out loud. Our liver is going to detox in order to deliver - our kidneys are going to find their inner child and we will find more balance and power to go against the current time while staying current.
Classes are limited to 10 participants and are free off charge. Advance booking for either day is required via TheAnastasiaMethod@gmail.com
A group of singers will suggest how to observe the space by singing.
Performances by all graduates.
Mixed-media installation and live performance, duration 20 mins.
Dividual Tensifier is a stage and a sound installation that is shaped like a transparent ticket office, the meeting point in a prison or a confession booth. On the stage, the individualities of the performers are alienated, and their faceless and characterless qualities are intensified. The sound installation presents several different single-channel audio works that represent voices of human and non-human female labourers who are often othered.
Performed by Bin Koh, Goya Choi, Sumin Lee.
Sound by LEEVISA with the contribution of Vito Willems.
Project and Performance: Mavi Veloso
Sound Artist: Glenn Ryszko
Special thanks to: Sanni Est, Pollux Frei, Aerea Negrot, Geo Wyeth, Sladka Jerônimo, Íka Eloah, Lucy Lazuli, Marnie Slater, Lisette Smits, Dorothé Orczyk, Snejanka Mihaylova, Paul Elliman, Amelia Groom, Caio, Rapha Daibert, Cursinho Popular Transformação and Lanchonete.org, ArtsEverywhere/Musagetes.
DJ sets by Marnie Slater and Hannah C Jones aka Foxy Moron
As a closing event of the Master of Voice graduation program, we present the symposium The Voice of the Artist, with this amazing line-up:
MPA
Jenna Sutela
Hannah Catherine Jones (aka Foxy Moron)
PRICE (Mathias Ringgenberg)
Padraig Robinson
Last Yearz Interesting Negro / Jamila Johnson-Small
The Voice of the Artist explores the voice of the artist in today’s society. Here, ‘voice’ takes on a philosophical position as well as political agency. In a classical sense, in affinity with the philosopher, the figure of the artist is the one entitled to fearlessly speak the truth. Once, it was believed that artists were the only producers of discourse, a position that today seems to have been taken over by art institutions. Furthermore, in the wider social sphere cultural production is not exclusively the field of artists as even non-art agents, as a part of an increasing conceptual turn in capitalism, claim ‘creativity’. In this complex reality, the symposium puts the figure of the artist central, to scrutinize their assumed unique voice as well as to investigate their social position and responsibility.
RSVP: dorothe@sandberg.nl
The symposium will mark a new phase in the extended research on the voice in art and society. More chapters will follow in the Autumn.
Facebook: www.facebook.com/Master-of-Voice
Master of Voice is a Temporary Programme examining the voice as a unique discipline. The focus is on the human voice, as a means to or an end in itself, within artistic practice. The participating students work with the/their voice, exploring the voice in its various social, cultural and technological appearances – from vocal speech to ‘the speech act’ to singing. The programme includes a special orientation on gender and technology.
The human voice has always been an integrated part of modern art, notably within performance art, sound art and conceptual art. However, this programme starts from the notion of the voice as a single subject. Isn’t the voice, with its capacities to embody and adapt to all disciplines, the ultimate medium?
Master of Voice examines the voice and its prominent role in our post-industrial society. Our students are from different artistic backgrounds, including fine arts, design, choreography, dance, theatre, performance, music and documentary and other film. The curriculum combines research, study, experimentation and production in order to develop new artistic forms – individual or collective – which take the human voice as its primary material.
The Master of Voice reflects an increasing interest amongst a new generation of artists and writers, often female, who use the voice – subjectively and objectively – in their work (often described as a means to define their intimate relationship with the computer). This points to a condition: that ‘orality’ – spoken or in written text as the first person – has become a big issue today, a condition which, without doubt, is informed by processes of digitization and new technologies.
Taking the human voice into consideration could lead to new paradigms of the relation between technology and what is human. The Master of Voice provides an environment for this investigation.
De Kantine (The Canteen): every day the artists organize a public lunch (together with both audience, residents and artists).
Reserve here https://www.eventbrite.nl/e/tickets-gemeenzaam-goed-46413888189
This performance will take place in Amstelveld, Amsterdam — exact location will be announced after reservation.
(Dutch Spoken)
De Kantine (The Canteen): every day the artists organize a public lunch (together with both audience, residents and artists).
Reserve here https://www.eventbrite.nl/e/tickets-gemeenzaam-goed-46413888189
This performance will take place in Amstelveld, Amsterdam — exact location will be announced after reservation.
(Dutch Spoken)
Dutch spoken
Located at the parking terrain next to the truckers cafe Bij Marjan, Australiëhavenweg 112
Tickets required, reserve here
Options:
Bring your own car:
During the Ode to the Combustion Engine you have the option to ride with your own car. You choose who and how many people you are in the car with. A ticket for 1 car is € 25, - (note: it is important that the car you bring has a working radio with AUX input, and that you bring a working smartphone).
Join a muscle car:
Fancy more power? Then book a place in a real muscle car or classic. Muscle Cars are cars made to perform: they can be extra loud. Moreover, they are manufactured in the States in the 60s and 70s and therefore look beautiful. A muscle car requires a lot of love and petrol, a place for 1 person is therefore € 35,
Reserve here https://www.eventbrite.nl/e/tickets-gemeenzaam-goed-46413888189
This performance will take place in Amstelveld, Amsterdam — exact location will be announced after reservation.
(Dutch Spoken)
De Kantine (The Canteen): every day the artists organize a public lunch (together with both audience, residents and artists).
This performance will take place on the Leidseplein: in front of the Stadsschouwburg terrace.
Located at the parking terrain next to the truckers cafe Bij Marjan, Australiëhavenweg 112
Tickets required, reserve here
Options:
Bring your own car:
During the Ode to the Combustion Engine you have the option to ride with your own car. You choose who and how many people you are in the car with. A ticket for 1 car is € 25, - (note: it is important that the car you bring has a working radio with AUX input, and that you bring a working smartphone).
Join a muscle car:
Fancy more power? Then book a place in a real muscle car or classic. Muscle Cars are cars made to perform: they can be extra loud. Moreover, they are manufactured in the States in the 60s and 70s and therefore look beautiful. A muscle car requires a lot of love and petrol, a place for 1 person is therefore € 35,
Reserve here https://www.eventbrite.nl/e/tickets-gemeenzaam-goed-46413888189
This performance will take place in Amstelveld, Amsterdam — exact location will be announced after reservation.
(Dutch Spoken)
De Kantine (The Canteen): every day the artists organize a public lunch (together with both audience, residents and artists).
Located at the parking terrain next to the truckers cafe Bij Marjan, Australiëhavenweg 112
Tickets required, reserve here
Options:
Bring your own car:
During the Ode to the Combustion Engine you have the option to ride with your own car. You choose who and how many people you are in the car with. A ticket for 1 car is € 25, - (note: it is important that the car you bring has a working radio with AUX input, and that you bring a working smartphone).
Join a muscle car:
Fancy more power? Then book a place in a real muscle car or classic. Muscle Cars are cars made to perform: they can be extra loud. Moreover, they are manufactured in the States in the 60s and 70s and therefore look beautiful. A muscle car requires a lot of love and petrol, a place for 1 person is therefore € 35,
Dutch spoken
De Kantine (The Canteen): every day the artists organize a public lunch (together with both audience, residents and artists).
Dutch spoken
De Kantine (The Canteen): every day the artists organize a public lunch (together with both audience, residents and artists).
Dutch spoken
De Kantine (The Canteen): every day the artists organize a public lunch (together with both audience, residents and artists).
Reserve here https://www.eventbrite.nl/e/tickets-gemeenzaam-goed-46413888189
This performance will take place in Amstelveld, Amsterdam — exact location will be announced after reservation.
(Dutch Spoken)
Website: www.reinventingdailylife.nl
Graduation press release: Reinventing Daily Life
Interactive art forms, such as theatre, performing arts and music, have the ability to create exceptional connections between people. In a theatre, a concert hall, or the public space, a relationship between performer and spectator ‘naturally’ comes to life. Would it be possible to integrate more of this quality into our daily life? Can we infiltrate ‘normal’ living with an artistic experience? Can we do this on a daily basis? And will art be able to improve our lives structurally, without losing its intrinsic quality and value?
The idea for Reinventing Daily Life started with the observation that the gap between common life and the performing and other arts has become bigger in the last few decades. This raises questions about the romantic idea of the artist as the autonomous and only starting point of a work, focusing on the aesthetic result and not on the capacity that is needed for creating connections with the community in which they live.
Reinventing Daily Life investigates the connections between performing arts and daily life, between people and art, between society and the artist. During this Temporary Programme we will dive into the role of the artist and integrate the process of connecting as a new part of the artistic process; taking it as a point of departure. Students are on a quest for pressing questions and issues that people are struggling with and to make a connection between the autonomous power of their work and the audience. Reinventing Daily Life functions as a laboratory where we find ways to improve the quality of life with the result of integrated fantasy and creativity. Starting from the world of music and theatre, but with a multidisciplinary group of artists, we offer alternatives for what is common and normalised in order to eventually attribute to a new status quo.
The participants, guests, tutors and head of Reinventing Daily Life work predominantly as a collective, but there will be a lot of focus on the personal creative process as well. Guest tutors from theatre, music, visual arts, philosophy and other relevant fields propose assignments that are inspired by their experiences. Each course includes many joint and solo presentations in an organised communal space, always embedded in environments outside the academic structure. In addition, there are lectures and the viewing of theatre productions, installations, performances and exhibitions through a critical lens.