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Noëlle Ingeveldt - Talent Platform
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TALENT PLATFORM

Discover emerging creative talents who are active in the fields of design, architecture and digital culture, supported by Creative Industries Fund NL. The Talent Platform is showcasing what artistic and professional growth entails and serves as a fount of information for other creatives and for commissioners.

GRANT PROGRAMME FOR TALENT DEVELOPMENT

Talent development is one of Creative Industries Fund NL's spearheads. The Fund awards 12-month grants to up-and-coming creative talents every year, providing the opportunity to enrich artistic and professional aspects of their practice to optimum effect. Participants must have graduated within the last four years and must be active in one of the diverse disciplines of the creative industries, from fashion design to graphic design, from architecture to digital culture. The Fund's online Talent Platform portrays all the individual practices of designers who have received a grant since 2013.

2021

In 35 1-minute film portraits, you get to know talented designers, makers, artists and architects, who received a talent development grant in 2020/2021, in a personal and intimate way. Concept: Koehorst in 't Veld and Roel van Tour (design Koehorst in 't Veld with Sjors Rigters, video Roel van Tour, interview Maarten Westerveen, soundtrack Volodymyr Antoniv). During the Dutch Design Week 2021, the film portraits were shown in an installation designed by Koehorst in 't Veld in the Klokgebouw, Eindhoven.

Publication Talent Platform 2021

TALENT PLATFORM 2021
TALENT PLATFORM 2021
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ESSAYS

Over the past seven years, the Creative Industries Fund NL has supported over 250 young designers with the Talent Development grant. In three long reads by Jeroen Junte, we look for the shared mentality of this design generation.

2020

'Talent Tours' provides via short video portraits insight into the thinking and practice of 39 emerging design talents, each of whom is concerned with topical social themes. What are their motives, their doubts and ambitions, and what values do they put first in their work? From 18 to 25 October 2020, the Creative Industries Fund NL presented the video portraits and daily livestreams with new talent during the Dutch Design Week.

Publication Talent Platform 2020

TALENT PLATFORM 2020
TALENT PLATFORM 2020
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2019

Twenty-five minute-long film portraits introduce you in a personal and intimate way to the talented designers, makers, artists and architects who received a year-long stipendum over 2019/2020. The concept and production are the work of Studio Moniker. The film portraits are part of a programme together with performances by the talents in the MU artspace during Dutch Design Week 2019.

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TALENT PLATFORM 2019
TALENT PLATFORM 2019
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2018

Twenty-four minute-long film portraits introduce you in a personal and intimate way to the talented designers, makers, artists and architects who received a year-long stipend over 2017/2018. The concept and production are the work of Studio Moniker. The film portraits are part of an installation in the Veem Building during Dutch Design Week 2018.

TALENT PLATFORM 2018
TALENT PLATFORM 2018
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ESSAY: Diamons Investment & the New Oil

by Rosa te Velde
Around 1960, Dutch television broadcast its first talent show, a concept imported from America. ‘Nieuwe Oogst’ (New Harvest) was initially made in the summer months on a small budget. It turned out that talent shows were a cheap way of making entertaining television: participants seized the opportunity to become famous by showcasing their tricks, jokes, creating entertainment and spectacle — in return for coffee and travelling expenses....

2017

The fourth edition of In No Particular Order during the Dutch Design Week 2017 presented a collective statement about the pluriformity of contemporary design practice. Nine installations addressed the themes of Position, Inspiration, Working Environment, Representation, Money, Happiness, Language, Discourse and Market. The presentation in the Van Abbe Museum was curated by Jules van den Langenberg, who was himself a participant in the Programme for Talent Development in 2017.

TALENT PLATFORM 2017
TALENT PLATFORM 2017
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2016

In the third edition of In No Particular Order in 2016, curator Agata Jaworska offered insight into what it means to run a design practice. How do designers create the circumstances in which they work? What can we learn from their methodologies and routines? The designers reflected on these questions in audio recordings and with sketches. Together they give a personal impression of the development of their artistic practices.

In No Particular Order 2016

TALENT PLATFORM 2016
TALENT PLATFORM 2016
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2015

The second edition of the In No Particular Order presentation was staged in the Veem Building during Dutch Design Week 2015. Curator Agata Jaworska focused on the processes, points of departure and visions behind the materialization of work, using a database of images from the personal archives of the designers. What is it that drives the modern-day designer? What are their sources of inspiration, motivations and ambitions?

In No Particular Order 2015

TALENT PLATFORM 2015
TALENT PLATFORM 2015
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2014

What makes someone a talent? How is talent shaped? These were the pivotal questions for the first In No Particular Order exhibition in the Schellens Factory during Dutch Design Week 2014. Besides presenting the work of individual talents, curator Agata Jaworska revealed trends and shared similarities as well.

In No Particular Order 2014

TALENT PLATFORM 2014
TALENT PLATFORM 2014
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essays
essays

Longread Talent #1
Me and my practice
How design talents (have to) reinvent themselves

Over the past seven years, the Creative Industries Fund NL has supported over 250 young designers with the Talent Development grant. In three longreads, we look for the shared mentality of this design generation, which has been shaped by the great challenges of our time. In doing so, they examine how they deal with themes such as technology, climate, privacy, inclusiveness and health. In this first longread: the in-depth reflection on the field and place of their own practice in it. The entrenched principles of fashion, design and architecture are questioned and enriched with new tools, techniques, materials and platforms.

The Dirty Design Manifesto by Marjanne van Helvert is a fiery argument against the fact that the production of many design objects causes so much pollution. It also takes a stand against tempting design products, without individuality or intrinsic value, fuelling consumption. The manifesto focuses not only on manufacturers and consumers but also on designers who pay scant attention to sustainability, inequality and other pressing social issues. In short, it is a j’accuse against design’s darker aspects.

Marjanne van Helvert, The Responsible Object: A History of Design Ideology for the Future
Marjanne van Helvert, The Responsible Object: A History of Design Ideology for the Future

As well as being a critic, Van Helvert is also a textile designer and developed Dirty Clothes, a unisex collection of used clothing. In 2016, to further advance her critical vision, she received a talent development grant from the Creative Industries Fund NL. They award this €25,000 subsidy annually to about 30 young designers. Van Helvert used the support to write The Responsible Object: A History of Design Ideology for the Future, in which she thoroughly examines various design philosophies, testing them for durability and applicability now and in the near future. Unsurprisingly, the book was convincing in design alone, executed in a clean grid and a powerful black, white and orange palette. In addition, Van Helvert’s writing demonstrates she is an astute thinker and conscientious researcher.

Sabine Marcelis, a library of materials
Sabine Marcelis, a library of materials

HEALING WAR WOUNDS

Van Helvert’s approach is indicative of a design generation who no longer cast their critical eye solely on their individual practice but on the entire sector. This trend is clearly evident when we look at the various cohorts of Talent Development Scheme grant recipients over the years. Together, these design cohorts provide a current snapshot of the creative industry.

Since the Talent Development Scheme’s launch in 2014, some 250 young designers have drawn on this opportunity to professionalise. In the first few years, the participants mainly focused on an in-depth reflection of their own practice – with great success, in fact. For example, product designer Sabine Marcelis (2016 cohort) used her development year to collaborate with manufacturing professionals, resulting in a library of new, pure materials for various projects. It brought her world fame. Fashion designer Barbara Langedijk and jewellery designer Noon Passama (2015 cohort) experimented on Silver Fur, a joint project with a high-tech, fur-like textile. It resulted in an innovative collection that organically merged clothing and jewellery. Or architect Arna Mačkić (2014 cohort), who examined architecture’s role in healing war wounds in her native Bosnia. In 2019, Mačkić won the Young Maaskant Prize, the highly prestigious award for young architects. All these talented practitioners broadened their particular fascinations and strengthened their design skills to develop a unique profile. This remains the basis of the Talent Development Scheme – the name says it all.

Gradually, alongside the recipients expanding their professional boundaries, they increasingly began to explore the precise boundaries of their professional field. The youngest cohort also demonstrates that research is not just a means to arrive at a design. Research has become design, and this is as true in fashion as it is in product design, graphic design, architecture, and gaming, interactive and other digital design. Why should an architect always design a building, an urban district or landscape? This is the starting point of Carlijn Kingma’s utopian landscapes (2018 cohort). Her architecture only exists on paper and is made of nothing but jet-black ink. The meticulously detailed pen drawings are often more than a metre high and wide and consist of buildings that are part fantasy and partly historical. These maps depict abstract and complex social concepts architecture has grappled with for centuries – utopia, capitalism and even fear and hope. Kingma infuses her field with philosophical reflections and historical awareness. By eschewing the term architect and instead calling herself a ‘cartographer of worlds of thought’, she positions herself beyond architecture. Like Marjanne van Helvert, she is simultaneously a participant and observer of her profession.

Carlijn Kingma, A Histoty of the Utopian Tradition
Carlijn Kingma, A Histoty of the Utopian Tradition

TECH-FOOD AS A CONVERSATION PIECE

The textile designer who makes a book and the architect who does not want to build exemplifies a generation that is researching and redefining its profession. What are the options for a fashion designer who wants to break away from the industry’s dominance? What does it mean to be a product designer in a world collapsing under the weight of overconsumption? How do you deal with privacy issues or addictive clickbait when designing an app, website or game? Although this fundamental self-examination is based on personal dilemmas, sometimes even frustrations, it nourishes the whole professional community.

This research can be both hyper-realistic and hypothetical. Food designer Chloé Rutzerveld (2016 cohort) combines design, science, technology, gastronomy and culture to realise projects about the food of the future. Edible Growth is a design for ready-to-eat dishes using a 3D printer. They are made up of layers containing seeds and spores in an edible substrate. Once printed, they become an entirely edible mini garden within a few days using natural yeast and ripening processes. Rather than an emphatically concrete product, Rutzerveld has developed a paper concept to bring discussions on social and technological issues surrounding food to a broad audience. The resulting mediagenic images of fake dishes and intriguing project texts have resulted in Rutzerveld figuring on the international circuit for lectures and exhibitions. Her prototype has become the product.

This probing attitude has become the unifying factor among the young designers who received a talent development grant. The goal can be a specific result, such as creating a materials library or a fashion collection independent of seasons and gender. The entire design field is also being researched, including a manifesto about dirty design. Another outcome is exploring the designer’s role as a producer, as Jesse Howard (2015 cohort) does with his everyday devices that allow the user to play an active role in both the design and production process. Utilising an open-source knowledge platform, Howard explores innovative ways to use digital fabrication tools, such as 3D printers, computerised laser cutters, and milling machines. He designs simple household appliances, such as a kettle or vacuum cleaner, that consumers can fabricate using bolts, copper pipes and other standard materials from the hardware store. Specific parts, such as the protective cover, can be made with a 3D printer. They share the required techniques on the knowledge platform. If the device is defective, the producing consumer – or prosumer – can also repair it. These DIY products are made from local materials and offer a sustainable and transparent alternative to mass production.

Juliette Lizotte
Juliette Lizotte

PERFORMER, DJ, CHOREOGRAPHER – AND DESIGNER

During the past seven years of the Talent Development Scheme, design’s boundaries have been interrogated and expanded through new idioms, such as social design, food design, conceptual design, and speculative design. Architects act as quartermasters and cartographers. Fashion disrupts with anthropological installations. Today it is as much an inquisitive mentality as a skillset that distinguishes design talent. Sometimes the individual’s approach is such that graphic design, architecture or fashion no longer appropriately describe their practice.

Juliette Lizotte (2020 cohort) wants to employ videos and LARP (live action role-playing, a role-playing game in which players assume a fantasy role) to stimulate the discussion about climate change. Under the name Jujulove, she DJs, collaborates with dancers and theatre makers, and, with a fashion designer, makes recycled plastic costumes for the dancers in her videos. In her self-appointed role as a witch, she promotes ecofeminism, in which women represent a creative and healing force on nature. Through a multisensory experience of image, sound and performance, she mainly aims her work at young people and target groups not traditionally considered by the cultural sector. However, her fantasy world actually runs parallel to the traditional design world. Jujulove is not a designer but creates a groundbreaking holistic design using diverse disciplines such as film and storytelling.

Designers are no longer central to their own design practice. There is an explicit pursuit of interdisciplinary collaboration and interaction. Though French-Caribbean programmer/designer Alvin Arthur (2020 cohort) trained as a designer, he has developed into a versatile performer, teacher, researcher and connector. His toolkit is his body, which he uses to visualise how the writing of computer programs works. He calls his mixture of choreography, performance and design body.coding. Through a specially developed lesson programme, full of group dance and movement, he teaches primary school children about the extent to which their living environment is digitally programmed, from their school buildings and places where they live to the design and production of their smartphones. Above all, he shows that programming and design are not necessarily sedentary activities that you do behind a desk. Designing is thinking, moving, combining and collaborating.

The latter is especially true. Sometimes two different disciplines work together to great effect, such as jewellery designer Noon Passama and fashion designer Baraba Langendijk. Increasingly, however, designers are combining their knowledge and skills in close-knit collectives. Knetterijs (2019 cohort) is a group of eight graphic designers who operate as one studio. Each member has their expertise and role, from analogue printing techniques, such as risoprint and screen printing, to digital illustration techniques or running the Knetterijs webshop. They used their development year for the joint production of three ‘magazines’ in which new techniques such as graphic audio tracks and an interactive e-zine were explored. They replace individual ego with ‘we go’.

Saïd Kinos, HIDEOUT, Uruma hotel in Okinawa, Japan. Photo Masafumi Kashi
Saïd Kinos, HIDEOUT, Uruma hotel in Okinawa, Japan. Photo Masafumi Kashi

STORYTELLING AND STREET ART

This transformation of the design disciplines is now at the heart of the Talent Development Scheme. Since 2019, scout nights have offered creative talent that has not trained on the usual courses – such as those at the Design Academy Eindhoven or TU Delft – an opportunity to pitch their work to a selection committee. Professionals in art direction, storytelling or city making are given the opportunity to consolidate their practice. Street artist Saïd Kinos (2020 cohort) already had success with his colourful, graphic murals featuring design techniques like collage and typography. Thanks to a talent development grant, he can now transcend the street art category and expand his practice into being an artist whose canvas extends beyond that of the city. He has mastered digital techniques, such as augmented reality, animation and projection mapping (projecting moving images onto buildings).

A PRACTICE OF EVOLUTION

The advancement of an individual or collective practice thus coincides with the development of the entire discipline. The fixed principles of traditional design disciplines, such as fashion, design and architecture, are explored and enriched through new tools, techniques, materials and platforms. By now, everything is mixed up: street, museum and website; cartography and aerosol; witchcraft and 3D printers. These talented designers respond to social developments and leave their mark on them, thereby shaping tomorrow's society, which is the ultimate proof of the necessity of talent development.

Text: Jeroen Junte

Longread Talent #2
Me and the world
Post-crisis design generation seeks (and finds) its place in vulnerable future

Over the past seven years, the Stimulation Creative Industries Fund NL has supported over 250 young designers with the Talent Development grant. In three longreads, we look for the shared mentality of this design generation, which has been shaped by the great challenges of our time. In doing so, they examine how they deal with themes such as technology, climate, privacy, inclusiveness and health. In this second longread: design talent is nourished by a sense of urgency. ‘If we do not turn the tide, who will?’

15 September 2008. 12 December 2015. 17 March 2018. These may seem like random dates, but these moments have left their mark on the contemporary design field. On 15 September 2008, the Lehman Brothers investment bank in New York went bankrupt. The ensuing severe financial crisis exposed the disarray of the global economic system. On 12 December 2015, 55 countries (now 197) concluded a far-reaching Climate Agreement recognising climate change as an indisputable fact. The industrial depletion of existing raw materials and energy supplies is now ‘officially’ unsustainable. And on 17 March 2018, The New York Times reported on large-scale political manipulation by the data company Cambridge Analytica. Fake news and privacy violations shattered the twentieth century’s democratic ideal.

These events – and more, for that matter – highlight the world’s continuing crisis conditions. The more than 250 designers the Talent Development Scheme of the Creative Industries Fund NL has supported since 2014 were trained during, and thus shaped by, these crises. They belong to the last design generation with a clear memory of 9/11 – a generation motivated by a sense of urgency. They understand that if we don’t turn the tide, then who will? They are also devoid of arrogance and well aware of the limitations of their expertise and the disciplines in which they work. Whether product design, fashion, digital design or architecture, they do not harbour the illusion that they have that one all-encompassing solution.

Irene Stracuzzi, The legal status of ice
Irene Stracuzzi, The legal status of ice

MAPPING THE MONEY FLOWS

However, communication is a potent weapon, as graphic designer Femke Herregraven (2015 cohort) understands. She delved into and visualised the financial constructions behind the neoliberal world economy. Herregraven focused on offshore structures and the disconnect between capital and physical locations. Through a serious game, she playfully introduced you to international tax structures in faraway places. Her Taxodus draws from an extensive database that processes various international tax treaties and data from companies and countries. Becoming rich has never been so fun and easy. She also investigated the colonial history of Mauritius and this Indian Ocean island’s new role as a tax haven. Herregraven’s meticulous research and surprising designs reveal hidden value systems and clarify their material and geographical consequences. To reform unbridled capitalism, one must first know its pitfalls.

Knowledge is also power. Thus these designers are trying to determine their place in an increasingly vulnerable world. Vulnerable in a very literal sense because climate change is perceived as the most dangerous threat. As graphic designer Irene Stracuzzi (2019 cohort) demonstrates, geopolitical forces also determine the playing field here. Her installation The Legal Status of Ice details how the five Arctic countries – Russia, Canada, Denmark, Norway and the US – are laying claim to the North Pole. After all, immense oil and gas fields may lie beneath the melting icecaps. But shouldn’t the disappearing ice, which has shrunk by half since the late 1970s, be the issue? Stracuzzi has mapped this contemporary imperialism in a giant 3D model of the North Pole, onto which she maps the overlapping claims and other data. The legal status of ice concerns not only the North Pole but also the uranium mines in Angola and the new space race in search of lunar minerals. It is about a system of exploitation and colonialism. The influential curator Paola Antonelli selected Stracuzzi’s work for the Broken Nature exhibition at the 2019 Triennale di Milano. No one can now claim we didn’t know.

Marco Federico Cagnoni
Marco Federico Cagnoni

LIVING LAMPS

The realisation that the complexity of the climate crisis is too great to confront alone is profound. Designers eagerly collaborate with other disciplines. For example, Marco Federico Cagnoni (2020 cohort) is researching latex-producing edible plants with Utrecht University. Corn and potatoes, among other plant varieties, are still grown as raw materials for bioplastics, but the production process discards the nutrients. Cagnoni is studying food crops whose residual material is also processed into fully-fledged bioplastics.

Designers seek a symbiosis with nature from an awareness that we can no longer exploit Earth with impunity. The roadmap is diverse, and nature is protected, imitated, repaired or improved. Let us not forget, we are in the Anthropocene: the era in which human activity influences all life on Earth. But if humankind can destroy nature, then humanity can also recreate it. Biodesigner Teresa van Dongen (2016 cohort) collaborated with microbiologists from TU Delft and Ghent University to develop the Ambio lamp based on luminescent bacteria. The lamp features a long, liquid-filled tube in which marine bacteria live. When the tube moves, it activates the bacteria to give off light. The better the bacteria are cared for, the more and longer they give light. As well as being a sustainable alternative, her Ambio lamp also functions as a powerful means of communication. So working together with nature is possible; we have simply forgotten how to do it.

Teresa van Dongen, Ambio
Teresa van Dongen, Ambio

This situation explains why designers are looking for ways to restore our relationship with nature. Architect Anna Fink (2020 cohort) proposed a country house consisting of rooms scattered in woods, meadows and a village. Residents must maintain their Landscape as House by felling, planting, mowing, building and repairing. The essence of this fragmented ‘house’ is a daily rhythm of movement from room to room and an awareness of the environment, time and space. Routines and rituals are rooted in the weather’s changes. Seasons become a domestic experience. Fink drew on the age-old, semi-nomadic lifestyle of her ancestors in the valley of the Bregenzerwald in the northern Alps. Here, the hyperlocal offers a solution for global issues.

Sissel Marie Tonn i.c.w. Jonathan Reus, Sensory Cartographies
Sissel Marie Tonn i.c.w. Jonathan Reus, Sensory Cartographies

RAW SATELLITE DATA

However, some designers rely on technology to experience nature. Indeed, why should we long for something that no longer exists? The Anthropocene has already begun. Sissel Marie Ton (2020 cohort) uses scientific data such as seismographic measurements. She combines this complex and abstract data with empathic conversations with Groningen residents about their earthquake experiences, which are common to this region because of gas field drilling. This layered information about both the human and geographical aspects of seismic activity was – literally – woven into a wearable vest in collaboration with two fashion designers. Together with sound artist Jonathan Reus (2018 cohort), she also realised an interactive composition of sonic vibrations to translate the intense experience of an earthquake to a broad audience. Ton’s installations connect natural processes with technology to make humankind’s impact on Earth visible and tangible. It is worth remembering that the earthquakes in Groningen were set in motion by humans.

New technologies, such as life science and biohacking, are reshaping our understanding of the natural world. It is no coincidence that these designers are about as old as Dolly the sheep, which in 1996 was the world’s first successfully cloned mammal. In his Tiger Penis Project, Taiwanese-Dutch designer Kuang-Yi Ku (2020 cohort) extended this genetic replication to healthcare. Many traditional Asian medicines regard the tiger penis as a medicine beneficial for male fertility. As a result, the tiger, already facing extinction, is under even more threat. Ku – who previously studied dentistry – proposed using stem cells to cultivate a tiger penis in the laboratory. This immediately raised all kinds of new dilemmas. Is the tiger penis that is laboratory-grown rather than from a wild tiger still suitable as a traditional Chinese medicine? In short, what are the limits of nature by design?

Kuang-Yi Ku, Tiger Penis Project
Kuang-Yi Ku, Tiger Penis Project

This fusion of biology and technology will eventually lead to a new kind of being: the posthuman. Jewellery designer Frank Verkade (2017 cohort) developed a scenario for this engineered body with his Paradise project. However, instead of technology, Verkade gives plants and animals a prominent role in adapting the human body to modern times. The origin of jewellery is, in fact, to be found in prehistoric peoples who used animal forms and natural materials to harness the mythical forces of nature. By harking back to the ancient, Verkade connects the modern human to its environment.

HACKING TECHNOLOGY

If technology becomes such a determining factor for humankind’s future, then surely we cannot entrust the future of our technology to a small group of wealthy, middle-aged white men from Silicon Valley and the European Parliament? According to speculative designer Frank Kolkman (2018 cohort), the discussion about technology’s quotidian role must therefore be part of our daily life. OpenSurgery is a study into a do-it-yourself surgical robot. These are already being built using 3D printers and laser cutters by people in the US who cannot afford a doctor. The self-proclaimed design hacker exposes technology’s social, ethical and political implications. But what do we think of this, and is this something we even want? After all, turning back technology is almost impossible.

Frank Kolkman, Opensurgery
Frank Kolkman, Opensurgery

Such ambivalent attitudes towards technology are a common thread in the new design mentality. With the tablet at hand and a laptop at school, this design generation grew up as digital natives. Technology plays a prominent role in their lives. However, they also know the risks: robotics, big data and artificial intelligence raise novel ethical dilemmas about privacy and employment. According to data designer Julia Janssen (2018 cohort), multiple times a day, we carelessly dismiss warnings that state ‘I agree with the terms’ or ‘click here to continue’. But what do we actually permit? Who collects what data, and above all, why? And what is the value of such information flows? Janssen’s project, 0.0146 Seconds (the time it takes to click on the ‘accept all’ button), informs us of the invisible economy behind the internet. She published all 835 privacy rules of the website for British tabloid the Daily Mail in a hefty tome. At events like the Dutch Design Week, the public reads this book aloud as a public indictment.

PROSECUTION AND DEFENSE

The new digital reality in which nothing is as it appears and fake news lurks everywhere pushes designers into the role of seeking the truth. To prevent complex global issues, such as globalisation or climate change, from becoming bogged down in an abstract discussion, the design duo Cream on Chrome (Martina Huynh and Jonas Althaus, 2020 cohort) used a fictitious lawsuit, without a trace of irony, to indict everyday objects. A sneaker is arrested and prosecuted for climate change, and a face mask is put on trial for not being present in time to prevent contamination. Cream on Chrome uses this debate between prosecutor and defence to question the mutual recriminations and the search for a scapegoat. In reality, are we not the ones who are actually on trial?

Cream on Chrome, Proxies on Trial
Cream on Chrome, Proxies on Trial

DESIGNING FOR URGENCY

Designers thus assume the role of the canary in the coal mine, warning us about the consequences of 15 September 2008, 12 December 2015 and 17 March 2018. The Talent Development Scheme enables them to do this without the hindrance of a lack of time and money – and perhaps even more importantly, without the pressure of quantifiable returns. Only free experimentation allows for unexpected insights. Who would have thought that Kuang-Yi Ku’s Tiger Penis Project could have prevented a global pandemic if also applied to bats and pangolins? Or that the Daily Mail is no longer recognised by Wikipedia as a reliable news source, as Julia Jansen already indicated?

Instead of conforming to the powers that be, designers take on the opportunity to transform the world; instead of imminent irreversibility, potential improvement is nurtured. The world is explained and improved with speculative and practical, but always inventive, designs. This makes the Talent Development Scheme a valuable resource for individual designers and society as a whole.

Text: Jeroen Junte

Longread Talent #3
Me and the other
Empathetic design talent focuses on people, not themselves (or things)

In the past seven years, the Creative Industries Fund NL has supported over 250 young designers with the Talent Development grant. In three longreads, we look for the shared mentality of this design generation, which has been shaped by the great challenges of our time. They examine how they deal with themes such as technology, climate, privacy, inclusiveness and health. In this third and final longread, the focus is no longer on personal success and individual expression but on ‘the other’.

The refugee crisis dominated 2015. Although people from Africa and Central Asia have been cast adrift by war, poverty and oppression for years, that summer, hundreds of refugees on often makeshift boats and dinghies drowned in the Mediterranean. The impotence, anger, frustration, despair and sadness were aptly depicted in the photo of the drowned three-year-old Syrian toddler Alan Kurdi’s body washed ashore on the Turkish coast. Where the financial crisis of 2008 was almost invisible – indeed, even the bankers were at a loss – it was no longer possible to look away, not only in the media but also on the streets. The misery of the other has become pervasive and omnipresent.

Asylum seeker centres in the Netherlands were full to overflowing. Designer Manon van Hoeckel (2018 cohort) saw the refugees in her neighbourhood during her studies at the Design Academy Eindhoven. Realising she had never spoken to an asylum seeker, Van Hoeckel visited a squatted building that housed people who had been rejected asylum. She saw these people were neither scammers nor pitiful, but rather powerful people who want to participate in and contribute to society – precisely what this group was prohibited from doing. Out of concern and determination, Van Hoeckel devised a travelling embassy for undocumented asylum seekers and migrants in limbo: unwanted in the Netherlands and their country of origin. The refugees, or ‘ambassadors’, could invite local residents, passers-by and officials here for a conversation. The In Limbo Embassy facilitated meetings between local residents and a vulnerable group of newcomers.

EMPATHIC ENGAGEMENT

In many ways, Van Hoeckel’s attitude is typical of a generation that has benefitted from the Talent Development Scheme of the Creative Industries Fund NL for the past seven years. Design is no longer about stuff but about people. This empathic enthusiasm now permeates all design disciplines. Personal success and individual expression are no longer paramount. The designer, researcher and maker are categorically focused on the other. The 2015 refugee crisis has acted as both a particle accelerator and a broadening of the profession because such humanitarian crises require unorthodox and radical proposals and ideas.

Lena Knappers
Lena Knappers

Urban planner Lena Knappers (2019 cohort) studied the spatial living conditions of asylum seekers, labour migrants and international students. As part of her research at TU Delft, Rethinking the Absorption Capacity of Urban Space, she developed strategies to integrate migrants into the host society sustainably. Too often, housing is temporary and informal, such as ad hoc container housing in the suburbs or vacant army barracks. Knappers researched alternative and more inclusive forms of reception, focusing on the interpretation of public space. Ultimately, she has an even greater goal: an inclusive city in which all forms of inequality in public space are investigated and remedied.

The extent to which immigration has become part of the creative disciplines’ everyday reality is evident in the practice of Andrius Arutiunian (2021 cohort). After completing a master’s in Composition at the Royal Conservatory in The Hague, he focused on the tension between migration and new technologies. In his development year, he studied the impact of displacement and dissent on society and how this impact can manifest itself in soundscapes. What does the integration of newcomers to the Netherlands sound like? A common factor is the concept of gharib, which means ‘strange’ or ‘mysterious’ in Arabic, Persian and Armenian. Arutiunian does not want to create specific encounters between people or pursue new forms of living. The cultural influence of migration only serves to enrich his professional practice.

SINGLE FATHERS

Inclusivity and cultural diversity are now dominant societal issues. For example, the Black Lives Matter movement in the United States has fuelled intense debate about institutional racism. The other is no longer a stranger to our borders and is our neighbour or colleague. Despite this, society threatens to become polarised, marginalising demographic groups as a result. Designers actively engage in this discourse and apply design as an emancipating force for an all-inclusive society, open and accessible to everyone, regardless of background.

Giorgio Toppin, KABRA (XHOSA), Foto: Onitcha Toppin
Giorgio Toppin, KABRA (XHOSA), Foto: Onitcha Toppin

The emancipation of disadvantaged groups starts with exploring and understanding a shared identity. Only by understanding one’s origins, culture and traditions can one finally obtain a fully-fledged place in society. Giorgio Toppin (2020 cohort) is a proud Bijlmer-Amsterdammer and a Black man with a Surinamese background. His Xhosa fashion label mixes these worlds into new stories, translating them into men’s clothing that fits within the contemporary Western context. For the Surinamese diaspora narratives that inform his collections, he travelled to his native country to research and document local craftsmanship and traditional production techniques. He then manufactured sweaters using indigenous knotting techniques and interpreted a winter coat using hand-embroidered traditional prints from the Saramacca district. Conversely, he reimagined the Creole ‘kotomisi’, which is difficult to wear, with a comfortable and contemporary cut. Toppin’s bicultural fashion strengthened the cultural identity of Surinamese people and thereby increased the understanding and appreciation for their origin among other population groups. After all, Toppin insists his clothes must first and foremost be ‘cool to wear’.

Of course, creative disciplines have always been good at strengthening an identity. Fashion, functional objects, interiors and photographic images are simply excellent means for showing who you are and especially who you want to be. In recent years, however, identity no longer signifies a non-committal lifestyle but can also be a stigma that determines one’s social position. Identity is not always a choice, yet it has considerable influence on daily life – something to which Surinamese, Turkish, Moroccan and Antillean Dutch people, up to the fourth generation, can testify. Any designer that examines fixed identities must be acutely aware of cultural and emotional sensitivities. The designer who simply explains what is right and wrong lags behind the inclusive facts.

Marwan Magroun, The Life of Fathers, Adison & Ayani
Marwan Magroun, The Life of Fathers, Adison & Ayani

Consequently, designers increasingly work from a position of personal involvement or agency (ownership). Photographer and storyteller Marwan Magroun (2020 cohort) captured the world of single fathers with a migrant background in his documentary project The Life Of Fathers. Magroun, who grew up without a father figure for most of his childhood, sought answers to and stories of an often unnoticed but deeply felt fatherhood. He wanted to dispel the notion that fathers from a migrant background are not involved in parenting. His photographic report and accompanying film (now broadcast on NPO3) has given a group of devoted but underestimated fathers a voice and a face.

QUEERS AND EXTENDED FAMILIES

Diversity is embraced and propagated throughout society. Prevailing views on gender, sexuality and ethnicity are shifting. This also means plenty of playing and experimentation with identity and how it can be designed. As a result, designers are no longer a conduit for industry or government but adopt an activist stance. The guiding principle is social cohesion and no longer one’s ego. Renee Mes (2021 cohort) wanted to dismantle the stereotyping of the LGBTQ+ community and thereby increase acceptance. She focused specifically on how extended families are shaped within the various queer communities. This self-selected family is often built as an alternative to the rejection or shame from the families in which queers were raised. But this new lifestyle struggles with legal, medical, educational and other institutional disadvantages. Mes’s approach was that was make being seen the first step toward recognition.

For her research and film portraits, Mes, who is white cisgender, worked with the organisation Queer Trans People of Colour. Collaboration can also generate agency. Besides, whose identity is being addressed? Or, to use the terminology of Black Lives Matter, ‘nothing about us without us’. It is logical – and maybe even necessary – that inclusive design is realised according to these politically correct rules of agency and representation. Indeed, the countless cultural sensitivities demand great care.

SELECTION AND SCOUTING

The creative industries are not exempt from equal opportunities. The design disciplines are not free from stereotypes. The Mediated Bodies research project by Gabriel A. Maher (2016 cohort) meticulously maps the gender relationships in the international design magazine Frame. Eighty per cent of the people in the magazine were male – from the designers interviewed to the models in the advertisements. Moreover, women were mainly portrayed in role-confirming and sometimes even submissive positions, such as bending over or crouching down. Maher’s feminist practice seeks to ‘deconstruct’ the design discipline to identify the existing power structure and prejudices. Only after an active process of self-reflection and criticism can design fulfil its potential as a discipline that contributes to societal improvement.

However, attention to polyphony alone is insufficient. Representation should be proportional, especially in the creative disciplines. The Talent Development Scheme actively contributes to this balance with new forms of selection. Scout nights are available for designers, researchers and makers who have developed professionally in practice, without a formal design training. During these evenings, talented designers who work outside the established creative channels can pitch their work to a jury. Many designers who use these scout nights belong to minority groups for whom going to an art academy or technical university is less established.

Khalid Amakran, Hady
Khalid Amakran, Hady

The self-taught Rotterdam photographer Khalid Amakran (2021 cohort) has developed from hobbyist to professional portrait photographer. After selection during a scout night, he devoted a year to a project about the identity formation of young second and third-generation Moroccan Dutch people. Amakran’s 3ish project comprises a book and short documentary detailing this group’s struggles with loyalty issues, code-switching, institutional racism, jihadism, and Moroccan Dutch males’ politicisation. Representing emerging talents from bicultural or non-binary backgrounds is imperative for the creative industries. Only visible examples and recognisable role models can create a feeling of recognition and appreciation and guarantee the diversity necessary for the creative industries.

ARAB CALLIGRAPHY

The scout nights have selected nine talented practitioners for the 2020 and 2021 cohorts. This number will undoubtedly increase in the coming years. An added value is that these designers are growing the diversity of content in their field through their singular professional practices. Another self-taught recipient is ILLM, the alias of illustrator Qasim Arif (2021 cohort). He mixes the age-old craft of calligraphy with contemporary elements of hip-hop and street culture. Traditional Arabic calligraphy is, by definition, two-dimensional because, according to Islamic regulations, the sculpting of living beings is reserved for Allah. ILLM wants to convert this visual language into sculptures. He also draws inspiration from his own life. He grew up in a metropolis as a third-generation Moroccan Dutch citizen, which informs his mix of calligraphy with pop-cultural icons like the Nike Air Max 1, a recognisable status symbol representing the dreams, wishes and memories of many children from migrant backgrounds. ILLM merges street culture and age-old graphic craftsmanship into a completely new idiom.

DRIVERS OF INCLUSION

The Talent Development Scheme is a necessary social empowerment that naturally coincides with an activist attitude. A sincere and profound commitment to identity and inclusivity guides designers, researchers and makers. Through a capacity for empathy and sensitivity – either innately or through collaboration with the target group – they can catalyse transformative initiatives and constructive debate. This capacity unlocks the creative disciplines’ powerful potential: the realisation of a diverse society in which all sections of society are equal. After all, looking at the other ultimately means looking at us all.

Text: Jeroen Junte

Diamons Investment & the New Oil
by Rosa te Velde

Around 1960, Dutch television broadcast its first talent show, a concept imported from America. ‘Nieuwe Oogst’ (New Harvest) was initially made in the summer months on a small budget. It turned out that talent shows were a cheap way of making entertaining television: participants seized the opportunity to become famous by showcasing their tricks, jokes, creating entertainment and spectacle — in return for coffee and travelling expenses.1

Talent shows have been around since time immemorial, but the concept of talent development — the notion of the importance of financial support and investment to talent — is relatively new. Since the rise of the information society and knowledge economy in the 1970s, the notion of ‘lifelong learning’ has become ever more important. Knowledge has become an asset. Refresher courses, skill development and flexibility are no longer optional, and passion is essential. You are now responsible for your own happiness and success. You are expected to ‘own’ your personal growth process. In 1998, McKinsey & Company published ‘The War for Talent’. This study explored the importance of high performers for companies, and how to recruit, develop and motivate talented people and retain them as employees. In the past few decades, talent management has become an important element in companies’ efforts to maximise their competitiveness, nurture new leaders or bring about personal growth. Sometimes, talent management is aimed at the company as a whole, but it is more likely to focus on young, high-potential employees who either are already delivering good performances or have shown themselves to be promising.2

It was social geographer Richard Florida who made the connection between talent and creativity, in his book ‘The Rise of the Creative Class’ (2002). In this book, he drew the — irreversible — link between economic growth, urban development and creativity. A hint of eccentricity, a bohemian lifestyle and a degree of coolness are the determining factors for ‘creativity’ that provide space for value creation. His theory led to a surge in innovation platforms, sizzling creative knowledge regions and lively creative hubs and breeding grounds. The talent discourse became inextricably linked with the creative industry. The Global Creativity Index, for instance, set up by Florida (in which the Netherlands was ranked 10th in 2015), is based on the three ‘Ts’ of technology, talent and tolerance. The talent phenomenon really took off in the world of tech start-ups, with innovation managers fighting for the most talented individuals in Silicon Valley. ‘Talent is the new oil’.

The idea that talent can grow and develop under the right conditions is diametrically opposed to the older, romantic concept of a God-given, mysterious ‘genius’. The modern view sees talent as not innate (at least, not entirely so), which is why giving talent money and space to develop makes sense. Like the Growing Diamond (groeibriljant), the Dutch diamond purchase scheme in which diamonds can become ‘ever more valuable’.

What is the history of cultural policy and talent development in the Netherlands? Whereas before the Second World War the state had left culture to the private sector, after the war it pursued an active ‘policy of creating incentives and setting conditions’.3 The state kept to the principles of Thorbecke and did not judge the art itself.4 But literary historian Bram Ieven argues that a change took place in the 1970s. It was felt art needed to become more democratic, and to achieve that it needed to tie in more with the market: “[…] from a social interpretation of art (art as participation), to a market-driven interpretation of the social task of art (art as creative entrepreneurship).”5 The Visual Artists’ (Financial Assistance) Scheme (BKR) and later the Artists’ Work and Income Act (WWIK) gave artists and designers long-term financial support if they did not have enough money, provided they had a certificate from a recognised academy or could prove they had a professional practice.6

It was Ronald Plasterk’s policy document on culture, ‘The Art of Life’ (2007), that first stressed the importance of investing in talent, as so much talent was left ‘unexploited’.7 Plasterk called in particular for more opportunities to be given to ‘outstanding highly talented creatives’, mainly so that the Netherlands could remain an international player. Since then, ‘talent development’ has become a fixture in cultural policy. Halbe Zijlstra also acknowledged the importance of talent in ‘More than Quality’ (2012), but he gave a different reason: ‘As in science, it is important in culture to create space for new ideas and innovation that are not being produced by the market because the activities in question are not directly profitable.’8 This enabled the support for talent to be easily justified from Zijlstra’s notoriously utilitarian perspective with its focus on returns, even after the economic crisis. Jet Bussemaker also retained the emphasis on talent development, and talent is set to remain on the agenda in the years ahead.9

The Creative Industries Fund NL first gave grants to a group of talented creatives in 2013. As in the Mondrian Fund’s talent development programme, the policy plan for 2013–2016 opted for a single, joint selection round each year. While the emphasis was on individual projects, it was noted that a joint assessment would be more objective and professional and that this would facilitate the accompanying publicity.10

Who is considered a possible talented creative? To be eligible for a grant, you have to satisfy a number of specific requirements: you have to be registered with the Chamber of Commerce, have completed a design degree less than four years ago and be able to write a good application that persuades the nine committee members from the sector that you have talent. Based on the application, they decide how much potential, or promise, they see in your development, taking into account the timing of the grant for your career. While there are many nuances in the application process, these factors make sure the concept of ‘talent’ is clearly defined.

If you get through the tough selection process — on average ten to fifteen per cent of the applications result in a grant — you enjoy the huge luxury of being able to determine your own agenda for an entire year, of being able to act instead of react. It seems as if you have been given a safe haven, a short break from your precarious livelihood. But can it actually end up reinforcing the system of insecurity? What should be a time for seizing opportunities may also lead to self-exploitation, stress and paralysis. In practice, the creative process is very haphazard. Will the talented creatives be able to live up to their promise?

One of them went on a trip to China, another was able to do a residency in Austria, while yet another gave up their part-time job. Many have carried out research in a variety of forms, from field studies and experiments with materials to writing essays. Some built prototypes or were finally able to buy Ernst Haeckel’s ‘Kunstformen der Natur’. Others organised meetings, factory visits, encounters, interviews and even a ball.

Is there a common denominator among the talented creatives who were selected? As in previous years, this year the group was selected specifically to ensure balance and diversity — encompassing a sound artist, a filmmaker, a design thinker, a researcher, a cartographer, a storyteller, a former architect and a gender activist-cum-fashion designer. Given the diversity of such a group, a joint presentation may feel forced. But presenting them to the outside world as a group enhances the visibility of these talented people, and this is important, because how else can the investment be vindicated?

These are the questions that the Creative Industries Fund NL has been debating ever since the first cohort: how to present this group without the presentation turning into a vulgar, unsubtle spectacle or propagating a romantic notion of talent, and at the same time, how to show the outside world what is being done with public money. And what would benefit the talented individuals themselves? In the past few years, various approaches have been tested as ways of reflecting on the previous year, from various curated exhibitions with publications and presentations to podcasts, texts, websites, workshops and debates.

The Creative Industries Fund NL operates as a buffer between neoliberal policy and the reality of creativity. The fund provides a haven for not-yet-knowing, exploration, making, experimentation and failure, without setting too many requirements. It is a balancing exercise: how do you tone down the harsh language of policy and keep at bay those who focus only on returns on investment, while still measuring and showing the need for this funding, and thereby safeguarding it?

Following input from the talented creatives themselves, a different approach has been chosen this year: there will be no exhibition. Most do not see the Dutch Design Week as the right place for them; only one or two are interested in presenting a ‘finished’ design or project at all, and they do not necessarily wish to do so during the Dutch Design Week. What is more, many of the talented individuals have used the grant for research and creating opportunities. Therefore, instead of a joint exhibition, the decision has been made to organise a gathering and to publish profile texts and video portraits on ‘Platform Talent’, an online database. This will put less emphasis on the work of the previous year and more on the visibility of the maker and the process they are going through, marking a shift away from concrete or applied results and towards their personal working methods. Will this form of publicity satisfy the general public’s appetite and curiosity and will it meet politicians’ desire for results? Has it perhaps become more important to announce that there is talent and not what that talent is? Or is this a way of avoiding quantification and relieving the pressure?

Perhaps what unites the talented creatives most is the fact that, although they have been recognised as ‘high performers’, they are all still searching for sustainable ways of working creatively within a precarious, competitive ecosystem that is all about seizing opportunities, remaining optimistic and being permanently available. So far, there is little room for failure or vulnerability, or to discuss the capriciousness of the creative process. The quest for talent is still a show, a hunt, a competition or battle.

1 https://anderetijden.nl/aflevering/171/Talentenjacht
2 Elizabeth G. Chambers et al. ‘The War for Talent’ in: The McKinsey Quarterly 3, 1998 pp. 44–57. This study was published in book form in 2001.
3 Roel Pots, ‘De tijdloze Thorbecke: over niet-oordelen en voorwaarden scheppen in het Nederlandse cultuurbeleid’ in: Boekmancahier 13:50, 2001, pp. 462-473, p. 466.
4 Thorbecke was a mid-nineteenth-century Dutch statesman.
5 Bram Ieven, ‘Destructive Construction: Democratization as a
Vanishing Mediator in Current Dutch Art Policy’ in: Kunstlicht, 2016 37:1, p. 11.
6 The Visual Artists’ (Financial Assistance) Scheme was in force from 1956 to 1986 and the Artists’ Work and Income Act from 2005 to 2012.
7 Ronald Plasterk, ‘Hoofdlijnen Cultuurbeleid Kunst van Leven’, 2007, p. 5. The Dutch politician Ronald Plasterk was Minister of Education, Culture and Science from 2007 to 2010.
8 Halbe Zijlstra, ‘Meer dan Kwaliteit: Een Nieuwe visie op cultuurbeleid’, 2012, p. 9. The Dutch politician Halbe Zijlstra was State Secretary of Education, Culture and Science from 2010 to 2012.
9 Jet Bussemaker is a Dutch politician who was Minister of Education, Culture and Science from 2012 to 2017.
10 Creative Industries Fund NL, policy plan for 2013/2016.


Text: Rosa te Velde

Afsaneh Ghafarian Rabe’I

Afsaneh Ghafarian Rabe’I

Afsaneh Ghafarian Rabe'I is a self-taught audiovisual maker and was selected during the Scout Night in Amsterdam. In the development plan, the maker describes the ambition to tell the story of the second generation of Iranian-Dutch people from a personal perspective. To this end, she is going to make a series of portraits of Iranian-Dutch people and their peers in Iran. The images from the series will be compiled into a book. In addition to the book, the maker will develop a podcast and organize a theme evening in Pakhuis de Zwijger. In the three-part project, themes like current affairs, emancipation, representation, migration and the Iranian diaspora will play an important role. During the year, Ghafarian Rabe'I will experiment with mixed-media art and photography. She will do this under the guidance of Aàdesokan, a Nigerian photographer and artist specializing in mixed-media work. Furthermore, Ghafarian Rabe'I will investigate distribution strategies with the help of Romaisa Baddar, author of the book 'Middle East Archive'. Marketer and PR-strategist Yev Kravt will help the maker with marketing support. For her substantive understanding, Ghafarian Rabe'I will visit the Center for Iranian Diaspora Studies in San Francisco. To realize the podcast and theme evening, Ghafarian Rabe'I will work with journalist and podcast maker Mina Etemad. Khazar Lotfi will help with editing and writing the texts for the publication. Lastly, Ghafarian Rabe'I has the ambition to launch the book internationally and to make a PR tour of large cities where the Iranian community is most represented.
Alex Walker

Alex Walker

Graphic designer Alex Walker graduated from the Sandberg Institute in 2019. With a focus on experimental and DIY modes of production, he works collaboratively with other artists and cultural institutions on publishing projects. During the development year, Walker will formalize a three-part project titled 'Mumbling Matter', comprised of an online resource, a series of publications and an exhibition programme. The online resource focuses on the materiality and pro­cesses behind print-production, ­structured as an open-source library of tools, and a journal to document experiments and works-in-process. The publication series will be designed and produced through collaborations with fellow artists who share a common interest in DIY culture, collectivity and skill-sharing. Towards the end of the development year, Walker will organise an exhibition to showcase the works produced as well as the tools and processes used.
Anna Wonders

Anna Wonders

Anna Wonders is trained as a goldsmith and was selected during the Scout Night in Zwolle. She finds inspiration in nature and likes to combine rough details with fine shapes. Wonders wants to make her own company sustainable and to contribute to a healthy working culture within the gold mining industry, where currently many people are subject to poor working conditions. That is why she is a licensee of Fairmined, an insurance label that certifies gold and silver from artisanal and small-scale mining organizations that develop ethical practices. During the development year, Wonders wants to film in a Fairmined mine in Colombia, so that she can show the story of these workers in the Netherlands. She also plans to purchase casting equipment so she can experiment with vacuum and sling casting. Wonders will also make a trip to Iceland, where she will receive guidance from jewellery retailer PRAKT in Reykjavík. The result will be a jewellery collection of fair-mined gold and silver, inspired by nature. The creation process will be recorded, with the aim of inspiring other goldsmiths to work with this material as well. For the presentation of the collection she is looking at SIERAAD International Jewellery Art Fair in Amsterdam and an exhibition together with other Fairmined goldsmiths in Zwolle.
Anni Nöps

Anni Nöps

Sound artist and electronic musician Anni Nöps (Wetware) completed her bachelor ArtScience at the KABK in 2021. The core of her work is aimed at sensing, perception and creating subtle, sensitive experiences that work on a subliminal, introspective level. She works across various mediums revolving around sound: sound installations, video, virtual reality, fixed media sound works, experimental and conceptual compositions. For the upcoming year, Nöps plans to develop her practice as a sound artist in four ways: 1. by producing several sound installations exploring the concept of materiality of the sound; 2. by creating new compositions alongside a release and live set for performing; 3. by collaborating with contemporary ballet choreographer-dancer Louis Stiens; and 4. by curating music events at the intersection of academic composition and new electronic listening music. In addition, Nöps aims to develop her sound related skills, by participating in residencies and seeking guidance from several electronic and spatial sound composers as her mentors. Possible locations to present her sound works and performances are festivals such as FIBER, Klankvorm and Sonic Acts.
Benjamin Earl

Benjamin Earl

Benjamin Earl graduated from the Royal Academy of Art with a master's degree in Non-Linear Narrative in 2019. As a designer, Earl is interested in how digital technology connects physical space with social relationships. In the development plan, the designer asks himself the question: How can digital technology promote intimacy with our social and material environment? In the coming year, Earl will work on developing skills in coding, writing, graphic design and sound design. The development plan consists of three phases. Phase 1 focusses on technical and theoretical research. During this phase, Earl will design a home-made server, participate in various courses and enrol at the School for Poetic Computation in New York. In addition, Earl will apply for supervision from Professor Matthew Fuller. In phase 2, Earl will examine various methodologies. The designer will experiment with interactive, audiovisual interfaces and explore the ideas of decentralization through conversations with fellow designers working on similar themes. Lastly, in phase 3, Earl will work on various forms of presentation, including education, a public presentation and a digital presentation. For this, he will reach out to V2 and MU Hybrid Art House.
Colin Wegman

Colin Wegman

Music producer and sound designer Colin Wegman was selected during the Scout Night in Utrecht. The Curaçao-born maker grew up in Leusden and, under the name audt98, makes music with sound design as its starting point. In the development plan, the maker asks himself to what extent he is connected to his island of origin. Wegman works with analogue drum computers, synthesizers and sequencers, and is primarily guided by intuition. In the development year, Wegman will investigate his geographical, cultural and musical roots on Curaçao through sound design. For this purpose, Wegman will travel to Curaçao to record samples of local sounds and traditional Curaçao instruments. With the samples, Wegman will make an ode to Curaçao, a piece of music in which the island is represented both conceptually and musically. The sound designer will collaborate with Dutch-Curaçao DJ Suze Ijó, who will support him on his journey. Furthermore, Wegman will improve his technical skills in music and sound design by apprenticing with Dave Mech. The live sets will be presented in different clubs during the development year. Lastly, Wegman will work together with a lighting designer.
Constanza Castagnet

Constanza Castagnet

Constanza Castagnet (CCNet) is a sound designer who researches our relationship to new technologies such as AI, the presence of constantly-recording devices, and voice data. The research translates into immersive installations in which experimentation with voice functions as a bridge to alternative forms of listening. With the development grant, CCNet aims to develop its practice in the field of machine-learning voice models, both as a creative tool for alternative collaborations between humans and machines, and as an issue on the challenges posed by this technology. In the first phase of the plan, Castagnet will receive mentoring in extended vocal technique from Lucrecia Dalt and Stine Janvin Motland. In parallel, she will research the content in collaboration with Arif Kornweitz and Eleni Ikonadiou. In the second phase, in which a neural network will be worked on. In this phase, Castagnet will receive support from Hackers & Designers, Studio LOOS and Never Before Heard Sounds on the technical aspects of the project and from Marijn Cinjee on the spatial installation, and will receive feedback on her work from Holly Herndon, Debit and Upsammy. In the third phase, the presentation will be shaped by three formats: a multi-channel immersive sound installation 'Artificial Hockets', a workshop and an online platform. The installation will be presented at Qo2 in Brussels, platform Aux)) in Amsterdam and Centro de Arte Sonoro in Buenos Aires. The online platform will be created in collaboration with creative coder Toni Brell.
Deborah Mora

Deborah Mora

Deborah Mora (Orah) holds a bachelor's degree in Design Art and Technology from ArtEZ. In her practice, she focuses on performative and interactive spaces. For the upcoming year, she wishes to employ her visual-making practice to contribute to the creation of more immersive, communicative and performative spaces, and thereby engage and connect the audience more. Mora will focus on the research, design and production of one main project: the Bond II, which investigates meditation practices entangled with multimedia spaces. In addition, she aims to lay the groundwork for an efficient methodology that will achieve both the advancement of her technical skillset and theoretical and applied research, and the tightening of her collaborative engagement. Mora will seek guidance from several artists to help professionalize her practice, including Alice Bucknell, Kevin Bray and the artist collective Keiken. She also plans to attend workshops in video art direction and screenwriting, and to make study trips to learn new ways of producing and researching. Mora will present her work in the form of an exhibition and performance at FIBER Festival.
Dérive

Dérive

Under the name Dérive, Hedwig van der Linden and Kevin Westerveld work on a research-driven design practice, operating between architecture, public space and urban strategies. In the development year, they want to develop Dérive into a full-time practice that can engage a wide range of actors in the (re)development of an area. They will do this through three main tracks: a transversal track, a thematic track and a strengthening track. In the transversal track, the practice's method will be developed. In the thematic track, this method will be applied via three projects: 'Garden Room - encounters in the garden city', 'RTM x BXL' and 'From Allotment Complex to City Garden Park'. The strengthening track consists of a number of activities that will run in parallel with the development year. Dérive will be supported during this year by various collaborations and coaches, including Jan Rothuizen, with whom they will work on visualization techniques to capture the atmosphere of an environment, and Michelle Provoost, who will explore with them how Dérive's working method can be translated into the 21st century. In addition to more conventional forms of architectural presentation, Dérive also wants to reach a wider audience by means of a performance in collaboration with Verhalenhuis Belvédère and the Rotterdams Wijktheater.
Elif Satanaya Özbay

Elif Satanaya Özbay

Elif Satanaya Özbay, with her visual and video-based research and design practice, engages with social groups and focusses in the project 'How to Trace a Forgotten Diasporic Identity?' on the question: what to do when you don't find yourself reflected in the archives and the content you want to investigate is too hard to find? How do you build on something that was once destroyed and how can we collectively restore it? During the development year, Ozbay wants to develop in the areas of collecting, recording and connecting the oral history of a diasporic identity before it is lost; and then connect this to the present through experimental ideation methods. In creative development, the emphasis will be on working with audio expressions, where her previous work was predominantly visual. In the research phase, Ozbay will mainly make recordings with different Circassian communities. In the development phase, the maker will investigate how to present her work in different contexts for diverse audiences. During the year Ozbay will make studio visits to various communities, including Rana Hamadeh, Beri Shalmashi, Yazan Khalili, Meriem Bennani, Slavs and Tatars and Jason Bahbak Mohaghegh. As a final presentation, Ozbay will develop an interactive online storytelling platform. For this she will engage the help of Charlotte Rohde and Vera van de Seyp. The recordings on the platform will be presented on A.WAKE World, NEVERNEVERLAND, Radio Diaspora on Echobox.
Elizaveta Federmesser

Elizaveta Federmesser

Elizaveta Federmesser, works at the intersection of digital culture and (fashion) material research. Her development plan focusses on mastering AI and machine learning technologies, using material archives as databases for AI and showing how these databases can be used for future designs. During the research phase, Koroleva will take courses in Data Analytics and Python on Coursera and a course in Modern Curatorial Practices at Zurich University of Arts. The research process will be expressed in a digital publication, for which she will take courses in storytelling and creative writing. In the second phase, the project 'The Prototype' will be worked on, making use of the archives of the Depot Boijmans van Beuningen or the Design Museum Den Bosch. For the digital models produced, Federmess wants to present them at EBB Global and Dissrup. Three of the models will also be physically produced at Pi Modelling.
Estelle Barriol

Estelle Barriol

Estelle Barriol is an architect who, under the name Studio ACTE, rethinks the relationship between architect, material, drawing, model, construction and building to achieve low-tech, resilient, and sustainable architecture. Barriol's goal within the development year is to use an experimental research method to develop 1:1 prototypes that are natural alternatives to the CO2-intensive standard practices of the Dutch construction industry. The year will be divided into two projects: Learning and Building. In Learning, engineers, suppliers and craftsmen will be involved as experts and excursions will be made to Limburg and Japan. During Building, the acquired knowledge will be applied in practice and a catalogue of circular building details will be developed. The results will be presented in an exhibition to both the architectural profession and a wider relevant audience.
Florian Regtien

Florian Regtien

Multidisciplinary maker Florian Regtien was selected during the Scout Night in Amsterdam. Regtien is a self-taught maker and will use the coming year to master various disciplines and crafts. The maker is concerned about the state of the earth and wants to use his practice to create more awareness of craftmanship, as a counter-reaction to mass production. During the development year, Regtien will follow programmes in shoemaking, leather working, metal working, furniture upholstery, furniture and wood restoration, jewellery making, object photography and a course in painting techniques. The maker will engage two mentors, namely Jos van den Hoogen and Phil Merry. Guidance will be provided to Regtien by creative strategist Manon Schaap. For the final presentation, Regtien intends to organize a multidisciplinary exhibition in which works from the various programmes will be presented.
Florian van Zandwijk

Florian van Zandwijk

Florian van Zandwijk, a graduate of ArtEZ, focusses in his practice on the functioning and medium-specific characteristics that define our media technology. During the development year, Van Zandwijk will be working on two projects: 'The Arena' and 'The Camcorder', from Television to Internet. With 'The Arena', he researches the football stadium as a metaphor for society. For this purpose, he will visit archives and conduct field research at Argus Productions, Feyenoord football stadium De Kuip and CORNER Football + Society, among others. Van Zandwijk wants to present the results as a performative lecture and a livestream. The second project will research the camcorder as a democratizing transitional medium. For this research, Marga van Mechelen, Susan Aasman, the Sound and Vision archive will be contacted and a study trip to Japan will be made to visit the factory of the Sony VX1000. In addition to livestreams and video essays, he will also examine whether a physical installation can be built as a form of presentation. For various technical aspects such as software, sound design, hardware, and installations, Van Zandwijk will collaborate with partners such as: Luuk Schipperheyn, Ibo Ibelings, Marianne Noordzij, Oscar van Leest, Jelle Reith, Sjoerd Mole, Eva van Boxtel and Thomas van de Bliek. Salim Bayri and Johan Grimonprez will be approached for practical support throughout the entire process.
Gijs Schalkx

Gijs Schalkx

Designer Gijs Schalkx graduated in 2021 from ArtEZ with a bachelor's degree in Product Design. In his practice, the power of doing things yourself is central. With his method 'Provisational Design', in which he uses only what is locally available, he wants to challenge the system of consumption. During the development year, Schalkx will be conducting experiments around generating, storing, transporting and using energy. The aim is to provide sufficient energy for himself and various aspects of his practice. He will seek guidance from artist Joost Conijn and tech journalist Kris de Decker, among others. He also plans to immerse himself in the relationship between man and technology by taking a philosophy course. He is considering the Dutch Design Week for the presentation of his work, in the form of a physical installation, a book and a website.
Hattie Wade

Hattie Wade

Hattie Wade graduated from the master Non Linear Narrative at the KABK in 2021. She is a researcher, designer and visual journalist who is interested in how past institutional violences are reproduced through legal frameworks, heritage protection and the form the dissemination of this information takes. She critically researches, dismantles, and rebuilds to make tangible that which is not, taking the form of digital, video, and spatial work. In the upcoming year, Wade will work towards developing a methodology that can replace how Europe currently relates to its sites of heritage; exposing the frameworks of toxic nationalism, and offering a counter narrative - a counter heritage - in its place. She will use the grant to hone this methodological practice and improve her skills in research, video-editing, scriptwriting, 3D fabrication and information design. The site of heritage she has in mind as a case study is The Rooswijk, a shipwreck belonging to the VOC (Dutch East India Company). Wade will first conduct theoretical, historical and community research, which includes guidance from Dr. Grietje Baars and a series of conversations with researchers and activists. During the development phase, she will create iterative outputs stemming from the research as a form of reflection, experimenting with different tools such as 3D rendering and fabrication. Wade will present the resulting spatial information design and videos in the form of an exhibition. In addition, she will create a guided tour, organize a discussion, and share a research film through online platforms.
Igrien Yin Liu

Igrien Yin Liu

Igrien Yin Liu (刘寅) is a self-taught multidisciplinary maker and was selected during the Scout Night in Amsterdam. Liu grew up with both Chinese and Dutch cultures. In the coming development year, the maker will examine her Chinese-Dutch identity by conducting various studies to create three visual portrait series of up to eight images. This will be combined with a written story in the form of a poem. The maker divides the development year into three overarching themes: 'Silent Metamorphosis', 'Surreal Dreams' and 'Chinese Aesthetics'. The three series, entitled 'The space in between', 'The world within' and 'A realm beyond', bring together subjects such as social status, hopeful dreams, beauty and mythology. In the first series, Liu will elaborate on the sense of otherness as a non-Western diaspora. For the development of this series, the maker will experiment with digital painting and will further develop her current skills in Adobe programmes. In the second series, Liu will delve into the world of stereotypes and beauty ideals. To gain inspiration, the maker will be taking courses in Chinese Painting at the Sunny Art Centre in London and in modern photography at the SOAS University of London. For the last series, Liu will immerse herself in Chinese mythology and philosophy. During the development year, Liu will engage with various Chinese individuals, including writer Pete Wu, media maker Chee-han Kartosen Wong, photographer Zhang Jing Na, artist Oscar Yi Hou, photographer Leslie Zhag and artist Liu Zheng. With them she will discuss the Chinese identity and perspectives.
Iris Lam

Iris Lam

Iris Lam graduated from the KABK with a bachelor's degree in Design in 2018. She tells stories using written text, illustrations, animations, audio and video. The coming year, Lam wants to further develop as a writer of children's books and as an illustrator. To this end, she is setting up two projects: a children's book about fear, entitled 'De Bond voor Bangeriken' (The League of Big Babies), and a pilot for an animated documentary about climate anxiety. With these projects, she wants to make fear and climate anxiety more understandable and to invite an open conversation among children and adults, with the intended side effect of them overcoming their fears and taking action. Lam will be working together with book designer Eva van Bemmelen and publisher Volt children's books. For the documentary, VPRO Jeugd is being considered. Furthermore, Lam plans to participate in several courses that will allow her to learn interview techniques as well as animation and stop-motion techniques.
Ivo Brouwer

Ivo Brouwer

Ivo Brouwer holds a master's degree in Type and Media from the KABK. He positions himself as a graphic designer specialized in experimental type design. In his practice, he explores and does research to broaden and further push boundaries of current type design. For the upcoming year, he wishes to dive deeper into the experimental part of type design and explore the possibilities that more recent type technology enables to collectively come to new solutions. His research project 'Type & Technology Laboratory' will be focused on alternative possibilities of visual expressing language with type. His activities will include creating an online environment, taking courses in interactive design and modeling for 3D printing, updating several typefaces, and organizing multiple workshops. In order to discover possibilities and gain new perspectives, Brouwer will be guided by David Jonathan Ross as coach and collaborate with sound-artist Sefano Murgia, 3D designer Rutger Paulusse and typographer Indra Kupferschmid, amongst others. The research will be presented online, through workshops and in the form of an interactive installation at events such as TypeLab and Dutch Design Week.
Javier Rodriguez

Javier Rodriguez

Illustrator and designer Javier Rodriguez obtained his master's degree at the Sandberg Institute in 2019. The designer is inspired by two sub-genres within science fiction, Cyberpunk and Solarpunk. In the development plan, Rodriguez describes the ambition to build a sustainable practice through five components. These include engaging in research, writing, storytelling, creating functional objects, analyzing previous work, developing new methodologies, exploring audiences and working on online and offline visibility. Rodriguez will participate in a monthly online sci-fi reading club and will experiment with different printing techniques. Under the guidance of writer Max Urai, researcher Angela YT Chan, Arif Kornweitz and critic Julie Philips, the designer aims to take his research and writing skills to the next level. To develop new products, Rodriguez will immerse himself in 3D scanning, CNC engraving machines and laser cutters with the help of designer Kevin Bray, ceramist Octave Rimbert-Riviere and the Fablab Amsterdam. The material products such as text, images and objects will come together on Rodriguez's website. The designer will create an experimental graphic novel and will present it at Sans Serriffe. Lastly, Rodriguez will organize an exhibition in iso Amsterdam.
Kalkidan Hoex

Kalkidan Hoex

Jewellery designer and artist Kalkidan Hoex graduated from Maastricht Institute of Arts. Under the name theNewtribe, Hoex questions the form, context and representation of contemporary jewellery. She does this from her perspective as someone who lives between different cultures, adopted from Ethiopia and raised in the Netherlands. In the coming year, the designer will focus on her design research IAM MOTHERLAND, a multidisciplinary project that combines jewellery, video and photography. The research is representative of a heterotopic world, in which the audience is challenged to think about concepts such as identity, creolization, hybridity and representation. The maker wants to explore these terms that are related to 'wokism'. Hoex poses the questions: when is there a movement of awakening that brings about recognition, and when does this movement lead to the categorizing, the stereotyping or the enforcement of a symbolic order that keeps 'us' separate from 'them'. Her goal is to create a 'Third World', a surrealistic place where worlds fade away and where Hoex's jewellery can exist in a (still) unknown cultural language. To deepen her practice, the designer will speak with a mix of mentors, including filmmaker Giel van Geloven, director Anthony Nana Kofi Nti, jewellery designer Castro James Smith and designer Ted Noten. She will present her work at various venues, including NYC Jewelery Week. In addition to a new jewellery collection, Hoex will be developing three short trailers: interviewing several people with mixed identities in which her jewellery serves as the starting point of the conversation; doing research on material and technique, such as embossing; and exploring braiding techniques from the heavy culture by collaborating with local afro shops.
Lindsey van de Wetering

Lindsey van de Wetering

Lindsey van de Wetering graduated in 2020 from the Academy of Architecture in Amsterdam with a master's degree in architecture. In the development plan, the architect expresses the ambition to elaborate on her graduation project 'Poku Oso'. In the 'Poku Oso' project, music as a means of connection is the central theme. Following on from the graduation project, Van de Wetering will work with the board of the National Parks Foundation (Stinapa) on a management plan to protect and conserve the Cultural Garden [Cultuurtuin] in Suriname. The project consists of three phases. In the first phase, the Cultural Garden will be researched by experimenting with test models, among other things. In the second phase, Van de Wetering will delve deeper into the 'threshold zone', the intermediate area between indoor and outdoor spaces. In the third phase, the architect will make test models, prepared and produced in both Suriname and the Netherlands. Van de Wetering will talk to various experts, including Ruwan Aluvihare, Delano Hoogvliets, Djaientie Hindori, Tessa Leuwsha and Marcel Balsemhof. She will also take courses in essay writing and woodworking and a workshop in model making. The process and results of the research will be collected in a book and various media such as film, photography, collages, drawings and paintings.
Line Arngaard

Line Arngaard

Designer Line Arngaard graduated from the Gerrit Rietveld Academie with a bachelor's degree in Graphic Design in 2018. In the project 'Clothes in Crises', Arngaard investigates how different forms of patchwork can represent times of crisis from a graphic perspective. The development plan consists of three chapters: in the first chapter, Arngaard will research the 'Feestrok' (Skirt of Celebration). The designer will explore patchwork as a means of expression through both contemporary and historical examples from craft, fashion and graphic design. By taking a course on 'Decolonizing Fashion History' at Central Saint Martins in London, the maker aims to gain skills that will help her reflect critically. In the second chapter, Arngaard will experiment with developing various exercises to use the meaning and form of patchwork as a medium within fashion and graphic design.
Maarten Brijker

Maarten Brijker

Maarten Brijker is going to develop a VST audio plug-in, under the name Yonder, in the development year and thereby combine his skills and knowledge in the field of programming and music. The goal is to eventually set-up a long-term research project on the sensuality and tangibility of sound. In the first phase, Brijker will start making Max/MSP patches, and in the second phase he will translate these into C++. Yonder will follow a series of workshops at IRCAM in Paris and receive guidance from Gideon Kiers. He will also make a study trip to various plug-in studios in Berlin, including: Peter Kirn, Sugar Bytes, Meeblip, Bitwig u-he and Renoise. Thomas Arn is brought in for technical support in C++. In the area of graphic design, Yonder will work together with Rik Laging. Everything will come together in a plug-in music album, for which he will collaborate with sound artists, composers and vocalists. Brijker is in contact with Sonic Acts to arrange for the presentation of the plug-in and the album in a lecture and workshop.
Malik Saïb-Mezghiche

Malik Saïb-Mezghiche

Designer Malik Saïb-Mezghiche (dojo) graduated from the Royal Academy of Art, The Hague. His multidisciplinary practice includes illustration, animation, graphic design, video production and event organization. In his work, Saïb-Mezghiche focusses on radical anti-colonial theory around visual narratives and indigenous storytelling. The coming year, the maker wants to lay the foundation for a long-term animation project, exploring the impact of (racial) violence on the mental health of minority groups and colonialism. During the development year, Saïb-Mezghiche will take several workshops to improve his technical and storytelling skills, such as drawing style, sound composition and scriptwriting. The maker plans to work with a creative team that understands the diversity, layering and intersectionality of the mental struggles that minorities face. Possible collaboration partners and advisors in this are writer and director Andra Gunter, animator Andy Cung, writer Laura Nsafou and Orisun Studio founders Nike Ayinla and Nas Hosen. Saïb-Mezghiche will also seek interaction with his audience and community through conversations, screenings, workshops and YouTube. To this end, he intends to set up collaborations with organizations such as Salwa, Metro 54, the HipHopHuis, (A)wake or The Niteshop.
Manal Aziz

Manal Aziz

Audiovisual maker Manal Aziz was selected during the Scout Night in Amsterdam. The maker is mainly guided by intuition in their work. Aziz has a background as a psychologist, writer and interviewer, and their interest in identity issues is the link between all of these roles. In the coming year, Aziz will work on structuring their practice while focussing on their method. Aziz's work relates to key themes, including gender and cultural identity, otherness, autonomy, intimacy and mental health. The maker intends to improve their mastery of digital audiovisual programs. Furthermore, the maker will work on written pieces, photography and audiovisual media, and bring them together in a hybrid mixed media magazine with the aim of sharing stories in an inclusive way. The maker will also experiment with physical formats of photography. During the year, Aziz will explore which form of presentation is most suitable. To this end, the maker will work together with organizations and communities from both Morocco and the Netherlands.
Maren Bang

Maren Bang

Maren Bang graduated with a master's degree from the Design Academy Eindhoven in 2021. Bang is interested in concepts such as controllability, calculation and anticipation. The coming year, the designer will focus on further developing her practice through research, skills development, producing a lecture and conducting a fake open call. Bang will do this by 'splitting' herself into three categories: Mono-Maren, Multi-Maren and Meta-Maren. For her research, Bang will visit exhibitions and lectures, read literature and talk to various professionals, including Dr Peter Sonderen and Dr Adeola Enigbokan. She will also participate in the De Structura research programme. Bang expresses the ambition to increase various skills, including making 3D models at Audrey Large and taking woodworking classes in Hjerleid, Dorve (Norway). In addition, she will explore weaving techniques through the Crafts Council NL and The New Order of Fashion. Bang will develop her performance skills under the guidance of Studio Legrand Jäger and increase her knowledge in film with Alexandre Humbert. Bang will seek guidance in writing skills from Oli Stratford. A fake open call forms the framework in which Bang will work. She will carry this out in collaboration with curator Amanda Pinatih and Lucas Maassen. The results of the open call will be presented in an exhibition. Lastly, Bang plans to organize a workshop in collaboration with ArtEZ to share the knowledge and experiences she has gained.
Margherita Soldati

Margherita Soldati

Designer Margherita Soldati holds a bachelor's degree in Art and Design from the Gerrit Rietveld Academie. She has a strong curiosity for tactile perception at the intersection of art and sensory wellbeing. Stemming from a personal experience, Soldati wants to focus her attention on the similarities between burnout and material degradation, creating emphasis on the act of reparation. Her idea is to create textile portraits of people who suffered from burnout that narrate their healing process. The development plan consists of four phases: 1. preparatory research, which will include consultations with designer Kornelia Dimitrova and the TextielMuseum in Tilburg; 2. on site material research, conducted at textile factories in Prato, Italy and through a residency at Lottozero Laboraties; 3. conversations with participants about experiences with burnout, for which she will receive training by a psychiatrist; and 4. creating textile portraits by using new techniques learned in Prato. The process and work will be presented through a short video documentary and as an exhibition in Italy and at Waag and Dutch Design Week.
Mario Gonsalves

Mario Gonsalves

Photographer and filmmaker Mario Gonsalves graduated from the Utrecht School of the Arts in 2019 with a bachelor's degree in Design. In his practice, he relates to themes such as poverty, migration, masculinity and identity. As a maker from the Caribbean diaspora, Gonsalves faces many external influences that make him think a lot about his identity. Gonsalves states that this is partly due to Dutch colonialism and post-colonialism, of which Aruba is still experiencing negative consequences. The coming year, Gonsalves will focus on the question 'How can I tell stories that inspire and bring hope from design as opposed to just documentation?' and will build a new perspective in relation to Caribbean themes. To develop himself, the maker will participate in an online course in 3D design rendering and a three-week programme in DLAB (UK). Furthermore, Gonsalves will brainstorm with Antoine Bowers (FIER Architecten) and Wouter Pocornie (26H & The Black Archives) about architecture, gentrification and presentation. In collaboration with curator Inez van der Scheer, Gonsalves intends to present his work during the Dutch Design Week in a combined installation of screens, VR and 3D models.
Martijn Holtslag

Martijn Holtslag

Self-taught maker Martijn Holtslag was selected during the Scout Night in Zwolle. Under the name Ongewoon Onbegrensd (Unconventionally Unlimited), he works on miniature dioramas to tell stories. In the development year, he wants to study his artistic vision more closely. For this purpose, he will talk to Mieke Conijn of Kunstenlab Deventer. Furthermore, he will develop his craftsmanship in the field of mechanics as an apprentice to Rob Hillenbrink and Electric Circus. To incorporate videography in his work, he will involve 3D visualizer Lars van Dorenvanck. Lastly, Holtslag plans to increase his knowledge of video presentations in collaboration with videographer Niek Koot and editor Terry Kerbusch. In addition to online, his work will also be presented in his own studio and at the Kunstenlab during the IJssel Biennale.
Matilde Patuelli

Matilde Patuelli

Matilde Patuelli, a graduate of the Design Academy Eindhoven, uses storytelling to explore the perception of reality, social constructs and human relationships. In the coming year, Patuelli will be diving into psychology and psychiatry through the methodology of LARP (Live Action Role Play), on the basis of three processes: 1. acquiring knowledge; 2. applying the knowledge in practice by design; and 3. discussions with participants. First, Patuelli will participate in two conferences on LARP as a working methodology. Then, she will make a study trip to Slovenia, where she will participate in trainings and take courses at Uppsala University on Transformative Play. She will also set up a collaboration with MinD in Italy, attend a workshop by Mala Kline and talk to The Beautiful Distress, a foundation that organizes a residency in New York in which Patuelli will be participating. To guide her in her development year, Patuelli will approach Elektra Diakolambrianou, David Bassuk and Nina Essendrop. The designer will apply the knowledge she has gained in a psychiatric and educational context. Her work will be presented as a lecture and a LARP workshop at Knuktpunk 2023.
Moreno Schweikle

Moreno Schweikle

Studio Moreno Schweikle's work is situated at the intersection of sculpture, furniture and installation with one central aim: the portrayal of the field of tension between nature, culture and technology. Schweikle proposes three phases in the development year: 1. a research period to gain a deeper understanding of historical and material knowledge; 2. a residency in Brazil and cross-disciplinary mentorship to better position his research skills; and 3. an immersive exhibition to convey his artistic vision. To broaden his knowledge in the field of additive and circular production methods, Schweikle will be going on a study trip to the FormNext fair in Frankfurt. For his new work 'Sometimes the water is the bridge', the designer seeks collaborations with anthropologist and ethnobotanist Wolf Dieter Storl and philosopher Clemens Driessen. For the development of his practice, he gets advice from curator Mercedes Gómez Gonzáles. As presentation locations, he is looking at locations such as P/////AKT in Amsterdam, PS101 in Cologne and Triphase in Brussels.
Myrthe Krepel

Myrthe Krepel

Myrthe Krepel graduated from TU Delft with a master's degree in Design for Interaction in 2018. As a social designer, she creates experiences and interventions around social challenges. With her work, she creates in-between spaces that enable people to reflect on their own actions and thinking. In the coming year, she wants to further develop the performative character of her work and approach and elaborate social issues in a physical way. In doing so, she focusses on the theme of the balance of power between government and citizen. Her development plan consists of three phases. In the first phase, Krepel will gain (embodied) knowledge about the body and will learn to work with the body as a research tool and material. In addition, Krepel plans to take a course in which she will learn to use the body in production processes and will attend a workshop in the field of performance in the public space. In the second phase, she will apply what she has learned in the context of the theme of power relations by making performative interventions in the public space. With the help of a videographer, Krepel will make a short film of this research and these interventions. In the third phase, Krepel will focus on presenting her research and interventions to the public, the field of social design and the government. She seeks guidance from actor, theatre maker and teacher Thomas Spijkerman, and artist and social designer Tabo Goudswaard, among others.
Noëlle Ingeveldt

Noëlle Ingeveldt

From a fascination for the neatly raked Dutch cultural landscape, Noëlle Ingeveldt (Berkveldt) conducted research into artificial nature during the master in Interior Architecture: Research + Design at the Piet Zwart Institute. With her background in spatial design, she approaches the Dutch landscape as an interior and focusses on the friction between man, animal and landscape design. Her digital works allow visitors to experience a subject from a different, non-human perspective. In her development plan, Ingeveldt focusses on a study of the possible future presence of large carnivores in the Netherlands. What would the Netherlands look like if bears, lynxes or golden jackals were to roam our cultural landscape? With a speculative design, Ingeveldt wants to create support for the arrival of these animals and prepare the Netherlands for them. In the coming year, she will conduct intensive desk and field research in Romania, Serbia and Spain, through interviews with biologists, ecologists and environmental philosophers. The results of the research will be presented as a non-linear story in the form of a multimedia, immersive installation and publication. During the development process, Ingeveldt will involve interaction and media designer Olivier Otten as a coach, and she is planning to deepen her technical knowledge in the field of non-linear storytelling, Artificial Intelligence and Virtual Reality.
Nohaila Gamah

Nohaila Gamah

Self-taught director and screenwriter Nohaila Gamah characterizes her practice as shaping human
experiences through audiovisual techniques. She believes in making recognizable and authentic films that originate in safe spaces and in which equal representation is central. Themes Gamah addresses are biculturalism and gender identity, spirituality and intergenerational transmission. In the coming year, the creator will develop her own voice and style, with the goal of offering a new representation, so that normative images we know about being a woman/man/human being are
broken. To this end, Gamah will research Afro-surrealism. Alongside this, she is delving further into her own cultural history and what it means to be Moroccan Amazigh to be. These investigations form the basis for two Film projects.
Nóra Békés

Nóra Békés

Designer Nóra Békés graduated from the Royal Academy of Art in The Hague (KABK) in Graphic Design. In the coming year, she will be working on a typographical study of cultural-historical narratives within the project 'Library of Narrative Types'. The research is threefold: 1. a morphological study of Roman majuscule lettering; 2. a modernist modular lettering experiment; and 3. the illustration of organic growth in a typeface. For this, Békés will visit archives and receive mentoring and technical support from David Bennewith, Ramiro Espinoza, Françoise Berserik and Vera van de Seyp, among others. She will also attend the ATypl Tech Talks and the ATypl conference. Her work will be shared via a website in combination with an exhibition and launch event at San Seriffe, Page Not Found or W139.
Paul Coenen

Paul Coenen

Paul Coenen graduated from the Design Academy Eindhoven with a bachelor's degree in Design in 2019. As a designer, Coenen considers it his job to design products that have a long lifespan, are not susceptible to trends and are ultimately easy to recycle. In his practice, he focusses on the 'limitations' of the industry and searches for new possibilities by experimenting with materials. The coming year, Coenen plans to study hydroforming, a technique for shaping sheet metal and profiles using liquid and pressure. In collaboration with Expansor specialists, he will investigate the possibilities of applying this technique to the furniture industry and thereby pushing the boundaries of product design. Coenen also wants to concentrate on the business side of his design practice. For this, he is looking for help from a business coach and several experienced designers who can advise him on branding, business operations and strategic marketing.
Paul Kuijpers

Paul Kuijpers

Drag queen and trend-watcher Paul Kuijpers was selected during the Scout Night in Utrecht. Kuijpers grew up in a small village and experienced a lot of homophobia, which made him ask himself how you can be both safe and true to your own identity. Creating drag persona Cindy van der Loan, Kuijpers makes more room for himself and his development. In the development plan, Kuijpers describes the many facets of drag and is inspired by Hollywood glamour. In the coming year, Kuijpers will further develop himself as a drag queen with an eye for sustainability. The maker wants to make outfits himself and wishes to further develop his sewing techniques for this purpose. He will also further develop his design skills by designing both physically and digitally. This will be achieved by means of feedback sessions and online courses in digital fashion design under the guidance of designer Isabell Schulz. With a ten-day wig course at the Haarwerk Vakschool, Kuijpers aims to make better-quality wigs. To improve his performances, Kuijpers will take lessons from choreographer Shahin Damka. Furthermore, Kuijpers will participate in a residency at New Order of Fashion and will follow the 'Design, Science and Value in a Sustainable Clothing Industry' course at Wageningen University and Research. Kuijpers will present the development and results of the project at the New Order of Fashion exhibition during the Dutch Design Week.
Pernilla Philip

Pernilla Philip

Social designer and Crip designer Pernilla Manjula Philip graduated from the Sandberg Institute in Design in 2021. Her design practice stems from the experiences of living with a chronic illness. With her designs, Philip wants to facilitate and promote the conversation around chronic illness and justice for people with disabilities. In the coming year, Philip will focus on the gap that arises when healthcare institutions fail to meet, or only partially meet, the needs of people who are dependent on medical treatment. Her project plan has three phases. In the first phase, Philip will develop two workshops, experimenting with different hacking and DIY techniques in relation to medical tools and techniques. At the same time, discussions will take place around the legal and historical aspects of these open-source hacking experiments. Also broader issues around speculative care, security and agency in relation to treatment methods will be addressed in the workshops. Within this phase, Philip will work together with experts such as medical technician Kate Cameron (AMC Amsterdam) and Open Insulin (USA). In the second phase, the designer will explore ways in which she can reinforce and shape the knowledge and questions that emerge during the workshops. For this she will talk to mentor and artist Jesse Darling and will visit the Wellcome Collection (London). In phase 3, Philip will work on a web publication that will be widely accessible through the additions of audio descriptors, image descriptions and closed captioning. Again, Philip will involve various experts, including Casper de Jong. With this approach, Philip aims to shift the focus of her practice from creating end products to a practice that relies on co-learning, co-creation and knowledge sharing.
Pim Boreel

Pim Boreel

Audiovisual designer Pim Boreel graduated from the Utrecht School of the Arts in 2019 with a bachelor's degree in Creative Media and Game Technologies. With a fascination for sonic storytelling and audio curation, Boreel will spend the coming year developing his research- and music-driven practice. Boreel argues that designers play a crucial role in depicting sensory hidden worlds and refers to sound as an indispensable element in making the viewer more aware of his surroundings. The designer is surprised at the ignorance surrounding deep-sea mining and the extraction of minerals for commercial purposes without consideration for the ecological consequences. From these perspectives, Boreel will work on the research project 'AquaPocalyps' about underwater sounds. With Robertina Šebjanič as a mentor, Boreel aims to get a better idea of the sonic nature of aquatic ecosystems. AquaPocalypse will generate three results. The first result will be a live performance on the impact of deep-sea mining on marine life and the ocean floor in collaboration with Post Neon. The second result will be a hybrid fiction 'Who is going to Hell for the Metals of Hades?' in collaboration with Annemiek Höcker. For this, Boreel will also seek coaching from DJ and producer Joeri Woudstra. The third result will be an exhibition at murmur, a media art and sound space in Amsterdam, curated by curator and producer Femke Dekker.
Siddharth Pathak

Siddharth Pathak

Self-taught maker Siddharth Pathak focusses his work on the study of behaviour and perception. This is expressed in an interdisciplinary practice that combines paint, moving images, found materials/objects, sculpture, performance, new media technology and sound in installations. Since 2021, the maker has focussed on designing audiovisual environments that draw his audience into introspective encounters with 'the self'. Questions that are central in his search: In a world overloaded with sensory stimuli and information, what is the nature of our relationship with sound? And: What is the role of sound in our engagement and exchange with material environments? In the coming year, Pathak wants to experiment with fragile materials such as glass and ceramics and investigate their sonic qualities.
Sophia Holst

Sophia Holst

Architect Sophia Holst obtained her master's degree at KU Leuven in Brussels in 2018. In the coming year, she will focus on developing a critical practice in which she can work both on commission and of her own accord. She will do this through the project 'Housing Pain, Healing Strategies', a proposal for alternative renovation strategies, without displacing local communities, but with sensitivity for the existing social and architectural context. The research will lead to a manual comprising three parts: a journalistic article on Amsterdam Nieuw-West and the Tweebosbuurt neighbourhood in Rotterdam, a series of references based on study trips and several design proposals. In addition, Holst will be working on her communication skills, improving her website and seeking advice from Veerle Alkemade and others to further professionalize her practice.
Steef Offerhaus

Steef Offerhaus

Illustrator and maker Steef Offerhaus was selected during the Scout Night in Rotterdam. In the development plan, Offerhaus describes the ambition to design a clothing collection as an ode to ravers, skaters and everyone who falls outside the norm. Under the name Paradice, which freely translates to 'a paradise for everyone', Offerhaus combines fashion, graphic design and events. The maker states that Paradice should stand for individual responsibility, creativity, autonomy and living up to your own ideals. In the coming year Offerhaus will research rave culture, under the supervision of Marieke Holtes. He will do this by conducting interviews, following theoretical research and documenting information. For the collection, Offerhaus will experiment with various textile techniques and designs under the supervision of Anna van Jaarsveld. Offerhaus will also visit the Groningen production company Kleerlijk and will learn more about digital programmes for sketches, mood boards and sewing patterns under the supervision of Jesse Nikolaj. The research and the collection will come together in a rave, to be organized by Offerhaus in collaboration with Steven Morais. The looks will be captured by photographer Lois Cohen and styled with the help of Marleen Ettema. Offerhaus aims to reach a large audience and therefore seeks advice from digital marketing consultant Melle Wehman.
Stephanie Idongesit Ete

Stephanie Idongesit Ete

Architect and researcher Stephanie Idongesit Ete graduated in 2021 from the Academy of Architecture in Amsterdam. During her development year, Ete plans to explore four West African coastal cities (Lagos, Accra, Dakar and Abidjan) with the aim of learning about the cultural character of these places and mapping, observing and recording different architectural typologies. Ete wants to use these city trips to strengthen her network of contemporary African architects and craftsmen. She will collaborate with several mentors, including landscape architect and urban planner Remco Rolvink, architect Joseph Conteh (Sierra Leone) and architect Kabage Karanja (Kenya). She will also take workshops with makers such as Mobolaji Ogunrosoye (MOE+ Art and Architecture, Lagos) and Namata Serumaga-Musisi (The Griot Introspect, Accra) and seek contact with the team of African Architecture Matters (Amsterdam). The whole will come together in the production of an 'Anthology of Collages', a compilation of artistically-translated observations that can be used for future research or building projects in the cities visited. The progress of her research can be followed on the online platform 'The Architectects Project' by Juliet Sakyi-Ansah.
Sunjoo Lee

Sunjoo Lee

Sunjoo Lee designs tools and media in which the biosphere and the techno sphere come together. The hybrid world thus created, in which human tools are used by more-than-human entities, is a condition she calls 'Inviting Invasions'. In the development year, Lee has the desire to develop a deeper understanding of the tools she uses in relation to the aesthetics that result from them. She also wants to break away from the Dutch context and gain insights abroad about how other cultures view the relationships between the biosphere, technology and industry. During the year, three research questions will be worked on: computation, creative production and fieldwork. In doing so, Lee will be supported in practice development by Jip and Ko de Beer, Jap Smits, Dr W. Bouten, Dr R. Fuller, and will take courses in web automation, JavaScript, AI and bird-watching. The 'Terra Invasion' project tracks shorebirds in the Wadden Sea in the Netherlands and the Yellow Sea in East Asia. For this project, coaching will be sought from Arne Hendriks, Mark IJzerman and Sema Bekirovic. The findings and 'acts' will be collected and published online. The 'Tree-001' project follows a tree through a live stream in collaboration with Seokyung Kim and Timm Donke. The project will be presented in a launch event for the website.
Taya Reshetnik

Taya Reshetnik

Taya Reshetnik is a graphic designer, researcher and visual storyteller. As studio2992, she tells stories about human experiences in the urban environment, focussing particularly on public space. The projects materialize as digital assemblages of found and self-produced text, audio, and (video) images. During the development year, Reshetnik's project '87 Days' will aim to bring a new perspective to the question of how public space could function. In the first phase, research will be done into the story of Yvonne Paul, who spent no less than 87 days at Schiphol in 1967. This research will be documented in a publication, which will subsequently be developed into a video installation. Reshetnik's wish is to present her work in the public space in addition to the gallery context; the Demo Festival is considered an option for this. Studio2992 will also collaborate with Sophie Czich and Emmelie Koster to organize a pop-up exhibition, for which an open call will be issued.
The Nightmare Disorder

The Nightmare Disorder

Benji Nijenhuis and Nemo Cheminée together form the duo The Nightmare Disorder (TND) and graduated from ArtEZ with a bachelor's degree in Fashion Design in 2020. The duo is inspired by themes such as nostalgia, fantasy and exclusion. The otherness and queer perspective of the fashion designers play an important role. In the development year, TND will professionalize in both the artistic and the business sense, and explore opportunities in the film industry as costume designers. The development plan consists of an exploratory trip to London, one-on-one guidance from costume designer Angela Mombers, and conceptual deepening under the guidance of cultural analyst Joy Bomer. During the exploratory trip, TND aims to gain more insight into leading costumiers and their working methods. Possible options are Jenny Beavan, Michele Clapton and Jany Temime. Angela Mombers will guide the duo in putting together the costumes that require a lot of technical and artisanal skills, given TND's focus on using 16th and 17th century references, techniques and customs. With Joy Bomer's guidance, TND will search for new artistic leads. Lastly, the different parts of the development plan will culminate in a live event in which film and design will come together.
Tim van Hooft

Tim van Hooft

Tim van Hooft, who graduated from the Willem de Kooning Academy, works with game engine software and CGI on speculative storytelling and worldbuilding around the theme of the Anthropocene. During the development year, he wants to better position himself as a researcher in the field of worldbuilding under the name of Timaeus as a potential place for depicting alternative ecological and technological transformations. In order to incorporate multiple perspectives into his practice, Timaeus will seek guidance from FIBER and Modem. The research period will result in a research paper, the conclusions of which will be put into practice in the form of two installations. To develop his technical skills, Van Hooft wants to take courses on Unreal Engine and Narrative & Storytelling. During the development year, he will also make several study visits, including to Jakob Kudsk Steensen's studio Erratic Animism.
Timothy Scholte

Timothy Scholte

Fashion designer Timothy Scholte graduated in 2018 with a bachelor's degree in Textile and Fashion Design from the Royal Academy of Arts. The fashion designer has a strong interest in how society views sex. In the development plan, Scholte describes the ambition to critically examine how subjects such as sex, the body, unrealistic ideals of beauty, the effects of digital filters and pornography are experienced by society. During the development year, the designer will work on a research project and will create a collection of eight outfits and three wearable sculptures. For his research, Scholte will visit the fetish festival Folsom Fair in Berlin and will dive into the ballroom scene under the guidance of Amber Vineyard to gain a better understanding of the sexualised categories. Furthermore, Scholte will professionalize himself in leather processing techniques, will take courses in 3D printing and will seek out collaborations with grime artists. Scholte plans to publish the research in a book and present the pieces during Dutch Design Week 2023, FASHIONCLASH and during the fifth Utopia Ball in the Kunsthal.
Tymon Hogenelst

Tymon Hogenelst

Tymon Hogenelst is part of Studio Wild, a design practice that focusses on architecture and landscape projects in the Italian countryside. His interest lies in how site-specific narratives, following a non-nostalgic and critical attitude, can enrich the architectural landscape. With his plan 'Situated Architecture', Hogenelst wants to delve into the material culture of Liguria and translate this into an architectural intervention. He will further investigate the research questions from his graduation project 'The Situated House' at TU Delft in order to better understand the subject of tacit knowledge. This knowledge will then be put into practice in the project 'The Gate'. In support of this, Hogenelst plans to take a number of courses, including: a language course in Italian, a writing course and courses in bronze casting, welding and charcoal making. He also plans to complete the Professional Traineeship, with Enzo Valerio as his mentor, to obtain his architect's degree. The culmination of this development year will take the form of a presentation of architectural models, drawings, photographs and a small publication.
Adam Centko

Adam Centko

Adam Centko graduated from the KABK in 2020. In the coming year, Centko will be exploring the hidden resources and costs of digital communications with the project 'Invisible Infrastructures'. In order to strengthen his methodology, he is following several workshops in the fields of virtual production, Unreal Engine, fiction and screenwriting and documentary film. He also has a number of studio visits and mentors in mind, including artists and designers Constant Dullaart, Amalia Ulman, Hito Steyerl, Kévin Bray, Liam Young and Team Rolfes. During the development year, Centko is organizing three study trips: within video-game worlds, to physical locations of 'invisible' infrastructure and a residency 'off the grid'. The 'Invisible Infrastructures' project will result in a 30-minute documentary, which the applicant will submit to various local and international film festivals. Finally, with a second project, Centko is creating a digital metaverse that serves as an archive, a habitat for digital entities and a place for collaboration with other makers.
Alexander Beeloo

Alexander Beeloo

Alexander Beeloo graduated from the Academy of Architecture Amsterdam in 2019. The project 'Een dialoog met het Hollandse Landschap' is a continuation of his graduation work. It is design research into local material use and the beauty of the landscape as an alternative to the current way of building. During the development year, he wants to work in three steps: 1. a study of the Nieuwkoopse Plassen, an area characterized by reed beds, as a production landscape, 2. material studies into using reed and peat from the landscape as building material and 3. designing a folly to emphasize the experience of the landscape. These sub-investigations are supported by experts from various organizations such as Natuurmonumenten, Studio Marco Vermeulen, IVN Nieuwkoop Landschapsbeheer, Moerasbeheer and Bioblocks. For the development of his design practice, Beeloo seeks guidance from architect Machiel Spaan, landscape architect Anouk Vogel, and designer Elmo Vermeijs. The project will eventually come together in a small publication and a series of scale models that will be on display at Galerie Hoeve in Rijlaarsdam, the Rechthuis in Nieuwkoop and, in consultation with Natuurmonumenten, in the landscape of the Nieuwkoopse Plassen.
Ameneh Solati

Ameneh Solati

Ameneh Solati obtained her Master's degree in Architecture from the Royal College of Art. She sees that refugees are forced to simplify their histories, social customs and family structures, so that cultural practices fit 'neatly' within the existing structures of the built environment. From this observation, she wonders how refugees deal with this pressure to conform. In addition to this issue, Solati will focus in the coming year on developing an interdisciplinary spatial design practice, where research, text and design come together. She is building an open-source archive that includes a lexicon, stories, artefacts, images, maps, recordings, documents and more. Solati interweaves narratives with informative essays in which she describes different kinds of environments – private, public, the productive and the spiritual – and will be experimenting with moving image as a means of representation. The media (such as digital video, animated drawings, 3D models, collages and sound) will be merged into an essay film. In addition, Solati is calling on various professionals for mentoring, participating in animation and editing courses, and receiving guidance in writing from author Priya Basil.
Anastasia Eggers

Anastasia Eggers

Anastasia Eggers graduated from the Design Academy Eindhoven in 2017. Eggers believes that it is urgent to speak about countries' identities and relationships using the medium of food – especially now, when European borders and the fragility of national food systems have become more evident through the COVID-19 restrictions and divisions are taking place within Europe with effects that are not yet clear. In the development year, she plans to deepen her research into the complexity of food and geopolitics. She is doing this by taking Dutch agriculture and food culture as a starting point to explore international trade relations, identity and the relationship between local and global. Eggers is working on two projects: 'Brexit Herring' about the North Sea as negotiating table in the context of Brexit, and 'Migrating Seasons' on migrant seasonal labour and the fragility of the food system. The first project follows three lines: 1. conversations with experts about Brexit policy and maritime law; 2. research into the Dutch herring tradition in collaboration with craftspeople; and 3. an ethnographic study into the crews on fishing boats. In the second project, she is carrying out ethnographic research by participating in the harvest. Resulting from this, she is designing a contemporary farmers' almanac, with new narratives about speculative rural festivities. Eggers is being guided by a trade strategist, graphic designer Benjamin Sporken and Dr Clemens Driessen from Wageningen University. Eggers plans to present 'Brexit Herring' during Dutch Design Week and at symposia. The outcome of 'Migrating Seasons' will be presented at Z33 in Hasselt.
Angeliki Diakrousi

Angeliki Diakrousi

Designer and artist Angeliki-Marina Diakrousi graduated from the Piet Zwart Institute in Rotterdam. In her practice, she relates to the invisible political and social impact of technology and examines how this manifests itself in the public domain, both urban and online. She sees technology not as neutral, but as a tool that reproduces bias and social injustice. In her design practice, she relates to a techno-feminist perspective, low-tech, hacking and open-source practices, political audio and radio art, critical architectural theory and experimental publishing. During the development year, Diakrousi will be collaborating on two projects, 'Hunting Mosquitoes' and 'WordMord', and aims to further develop her technical, programming and writing skills by attending relevant workshops. The applicant will be guided by curator and researcher Linnea Semmerling and another yet–to-be-selected artist. She is presenting her work and organizing work sessions at the Center for Art and Urbanistics ZK/U in Berlin, TENT and Varia in Rotterdam, Sonic Acts, TU Delft and the University of Thessaly, among others.
Anne Nieuwenhuijs

Anne Nieuwenhuijs

Anne Nieuwenhuijs graduated from the Academy of Architecture Amsterdam in 2018. With her studio Deltascapes, she designs spatial solutions based on the smallest particle in silt: clay. 'Vloeibaar Land' is a sequel to her graduation project. Nieuwenhuijs's aim with the project is to develop landscape scenarios and objects that influence the forces shaping the landscape at the boundary between water and land, stimulate biodiversity and create hospitable living conditions for many species. In this way, she aims to contribute to climate adaptation. To become a specialist in landscape productions, the designer is following three lines of learning during the development year: collecting raw materials to make products that interfere with natural dynamics, researching the properties of clay and designing a visual language and company mission for Deltascapes. For this purpose, she is taking courses in ceramics and soil chromatography, doing work placements with experts from various disciplines and entering into a collaboration with a creative communication agency. 'Vloeibaar Land' results in a number of clay objects that are presented in an exhibition.
Ant Eye

Ant Eye

Product designers Hanneke Klaver and Tosca Schift, both graduates from the Product Design department at ArtEZ in Arnhem, together form the collective Ant Eye. Their work moves on the cutting edge of product design, performance and film and is characterized by absurdity, transformation, protest and imagination. The applicants want to free objects from their applied and serving function. During the development year, the collective will start an artistic research project with the working title 'I Object'. This title refers to Ant Eye's vision: the objects are in revolt. Klaver and Schift want to learn to better interpret and convey the voice of the object by professionalizing themselves in film and storytelling and the making of costumes and performances. They want to gain more knowledge and experience in the theatre world and the film industry and within these disciplines expand their network and find collaboration partners. As a mentor, they have found design theorist Rana Ghavami willing to coach them. They have also approached filmmaker Douwe Dijkstra and Joris Suk, designer at Maison the Faux, as coaches. Ant Eye plans to present the results of this research during Dutch Design Week 2022 and the International Short Film Festival in Nijmegen.
Axel Coumans

Axel Coumans

Social designer Axel Coumans (Atelier Coumans) gained his Bachelor's degree at the Design Academy Eindhoven. In his practice, he approaches ecological issues from different social contexts and a non-human perspective. In the coming year, Coumans will develop his ability to listen, which he considers one of the most important skills of a social designer. In the various projects and activities that he develops for this purpose, trees play a central role, including trees in the city. First of all, he is going to Ireland, where he wants to learn from Celtic farmers, after which he will go to the primeval forests of Poland to listen to lumberjacks and foresters. Subsequently, during Dutch Design Week, he will create a space in Eindhoven where the public sector will enter into dialogue with the public. The subject is the living environment, which will be discussed based on the plane tree growing in his work area. In addition, Coumans is carrying out projects with Zone2Source and BioArt Laboratories and is being advised by Arita Baaijens (explorer) and Darko Lagunas (socio-environmental researcher). He is also following a master class in Socratic dialogue with Sandra Aerts and Ine Rietstap, and a training course in Urban forestry with Tom van Duuren.
Baratto&Mouravas

Baratto&Mouravas

Nicola Baratto and Yiannis Mouravas both graduated from the Sandberg Institute and now work together in the practice Archaeodreaming. During their development year, with the project 'Seabed', they aim to research a specific cultural artefact that they consider essential to understanding our times: the bed. The intention is to generate utopian forms of imagination by connecting the socio-cultural discourse on sleep, dreams and deep-sea exploration. Baratto and Mouravas will be guided by the mentors Studio Ossidiana, Tjeerd Veenhoven (HuisVeendam) and Ernst van der Hoeven (MacGuffin). In addition, there will be collaborations with the Greek bed manufacturer COCO-MAT, the Donders Institute, and musician Marijn Degenaar (Circular Ruins). The project results in an immersive scenographic installation that will be presented at various locations in Italy and the Netherlands; the applicants are approaching the Oerol festival and the Zuiderzeemuseum, among others.
Basse Stittgen

Basse Stittgen

Biodesigner Basse Stittgen graduated from the Social Design Master's programme at the Design Academy Eindhoven. In his practice, Stittgen researches how to use design to transform seemingly worthless matter, such as residual products from industrial processes, into artefacts with a cultural value. In doing so, he raises questions about the ethical side of production and consumption, and our moral responsibility in this. During his development year, under the heading 'Matter out of place', Stittgen is developing three projects that inform each other: For 'Recombined Wood', he investigates hoe lignin and cellulose fibres (industrial waste products) can be used to make a new type of wood. In collaboration with microENVISION and Juan Arturo Garcia he is making a series of interviews on the subject of blood, entitled 'Fluid Dialogues', with the aim of breaking down HIV-related stigmas. The third component consists of 'Moving Matter Laboratory', a mobile biodesign workshop, hosted by MAK Vienna, dieDAS Design Akademie Saaleck, STORESTORE, BurgHalle University and the Floriade Almere. In the coming year, Stittgen will involve designer Maurizio Montalti (Officina Corpuscoli) in all of this as a mentor and sparring partner.
Benjamin McMillan

Benjamin McMillan

Benjamin McMillan graduated from ArtEZ in Arnhem in 2020. In the coming year, he will work on the project 'Full Auto Foundry' and the smaller project 'Sunday Lunch'. The goal of 'Full Auto Foundry' is to develop a workshop-based practice that starts from the collaboration between designer, non-human intelligence and automated processes. For this purpose, McMillan will be holding talks and following courses with experts in typography, automation and artificial intelligence. He will be doing this with Aaron Bastani, K. Allado-McDowell, Nora N. Khan, Fredrick Brennan, Just van Rossum and Loes Bogers, amongst others. For organizing workshops, McMillan is involving the expertise of Gaile Pranckunaite and Benoît Bodhuin. Together with Dong Bin Han, he is setting up workshops, for which he has a number of locations in mind: ArtEZ, Gerrit Rietveld Academie, KABK, San Serriffe and Varia in Rotterdam. For 'Sunday Lunch', the applicant is seeking guidance from professionals in the typography field to develop alternative modes of distribution.
Boey Wang

Boey Wang

Product designer Boey Wang (Studio Boey) gained his Bachelor's degree in Man and Wellbeing from the Design Academy in Eindhoven. Under the title 'Perceptual Design', Wang questions the dominance of the visual perspective within the design world. In the coming year, he will develop a theoretical framework and principles for a new way of designing, under the title 'Haptic Aesthetics', which is based on non-visual principles. Together with designer Simon Dogger and Visio Revalidatie & Advies Eindhoven, he is carrying out interviews and organizing workshops to gain greater insight into the perspective of people with visual impairments. Wang then applies the knowledge gained to new objects that promote the sense of touch. In addition, Wang intends to introduce his methodology within design education in order to break the dominance of the visual image in the design process on a larger scale. The knowledge and theory gained will be come together in a publication and various presentations. During the year, Wang is involving several advisers, including writers Gert Staal and Dirk van Weelden and The Agency For Ambition.
Céline Hurka

Céline Hurka

Graphic designer Céline Hurka gained a Master's degree in Type and Media from the KABK in The Hague. In her practice, Hurka is involved in book design, photography, interactive design, writing and materials research. For her, typography is what connects these disciplines. She pursues an experimental and research-based approach, using new technologies to explore and question typographic conventions. During the development year, Hurka is focusing on the development of new typographic standards, using variable typeface technology. She also wants to question typographical conventions and broaden the field. In her work she is striving for an ethically driven practice. Therefore, she is aiming to extend her typefaces to support the extended European character set including minority languages such as for example Basque, Sámi, Catalan, Frisian, and Breton. The applicant will work to acquire new skills in coding, non-Latin typeface design (including Cyrillic script), and writing. Russian typographer Anya Danilova will guide her during the process. Hurka would like to go to the US (New York, Rhode Island, San Francisco) and to Moscow and St. Petersburg for her research. She will present the results on a website, in a printed publication and in an interactive, physical installation. She will show her work at institutions in the Netherlands and Moscow and give lectures and workshops at conferences and academies, such as KABK and Konstfack Stockholm.
Charlotte Rohde

Charlotte Rohde

Graphic designer and typographer Charlotte Rohde graduated from the Sandberg Institute. In her practice, she explores the meaning of 'the letter as a body' in a multidisciplinary way, by transforming typefaces in different media, such as writing and making three-dimensional objects. During the development year, Rohde wants to sharpen her methodology for making multidisciplinary works from the letter design. In addition, she wants to initiate a discussion about integrating feminist strategies into a male-dominated field. For this purpose, she will write a short story in which she introduces a new typeface as the protagonist. To give this story a spatial interpretation, she will transform the typeface into ceramic and bronze objects. The applicant will present the results in a publication and a spatial installation. She will also conduct public interviews with typeface designers and argue in favour of making typeface licensing more accessible. To guide her, Rohde has found queer Armenian-American film theorist and writer Tina Bastajian and graphic designer and typographer David Bennewith. In addition, she is conducting feedback interviews with Jungmyung Lee. In the US, she wants to visit The Letterform Archive in San Francisco and meet a number of experts in the field of typography.
Christine Kipiriri

Christine Kipiriri

Fashion designer Christine Kipiriri (Women Ofwar) was selected during the Scout Night in Amsterdam. Having fled from Bujumbura, Burundi, the maker travelled with family to Germany, to subsequently end up in the Netherlands. Kipiriri describes in the development plan how she had her first experiences with racism here. Not only the lived experience as a refugee, but also growing up with computer parts, tools and other items found by her father are her inspiration. In the coming year, the designer will further expand her fashion label 'Woman Ofwar'. She is conducting research into her cultural background, with the aim of anchoring artistic values in her practice. To do this, Kipiriri is travelling to Burundi. The maker is seeking contact with Margaux Wongart, a local jewellery designer, who will guide her in the application of traditional fashion. She will also gain experience in making clothes during the master classes at Meesteropleiding Coupeur and at the Promiday workshop in Almere, where she has laser cutters and embroidery machines at her disposal. Kipiriri will present the final collection in the form of a fashion film.
Colette Aliman

Colette Aliman

Colette Aliman graduated from the Design Academy Eindhoven in 2019. She is researching the 'Mechaphony' (the mechanical soundscape) in the development year with the 'Sonic Recalibration Lab'. This research focuses specifically on three topics: urban noise, anthropomorphization of sound quantification and the sound paradoxes of green energy. With a three-part online publication, she aims to reach scientists, sound artists, and a wider audience interested in sound. In addition, Aliman is organizing a series of 'Soundscape Mixtape' workshops to connect different institutions to the network of the 'Sonic Recalibration Lab'. In the further professionalization of the lab, Aliman is guided by Marion Beltman (business coach), amongst others.

Dasha Tsapenko

Designer Dasha Tsapenko graduated from the Master's programme in Social Design at the Design Academy Eindhoven. In her practice, Tsapenko investigates alternative production processes and designs or redesigns daily routines relating to the body and clothing. Within her holistic way of working, she borrows methods from agriculture, mycology and microbiology and nature systems. In the coming year, the designer will focus on further developing the research project 'Fur_tilize', in which she explores how to grow fur-like garments. Two plant species are central to the project: Trametes Betulina (a type of mushroom) and Cannabis Sativa (industrial hemp). During the year, Tsapenko will work with various scientists, including Professor Han Wösten (head of the microbiology department at Utrecht University), the Textiellab Tilburg or the platform 'Fashion for Good' and felting/tufting specialist Olga Mys. The result comes together in a collection of garments that will be presented during Fashion Clash Festival and DDW 2022.
David Schmidt

David Schmidt

Architect David Schmidt graduated from TU Delft. In his talent development trajectory, he aims to strengthen his practice by deploying a traditional craft approach on the one hand and by broadening his field of work to a more landscape-oriented approach on the other. The project 'De Andere Stad' (The Other City) is a design study into how a different kind of city can arise from place-based production processes within changing urban conditions. With a focus on Amsterdam-Noord, the project is structured according to three research themes: greening through reducing the amount of hard surfaces, new housing typologies, and an inclusive (sustainable and social) economy. A large scale model functions as an exchange place for new ideas. Schmidt is inviting a total of six experts: three are specialized in the research themes mentioned above, a fourth is focused on the changing role of the architect and a fifth on communication and representation. A sixth expert has yet to be determined. As a form of presentation, the large-scale model is intended not only as a summarizing end product, but also as a narrative representation of an evolving project. In public 'Site Salons', a learning network will be set up with the invited experts. In conclusion, there will be a 'Finissage De Salon' where the project will be presented by means of an exhibition of the model and an accompanying publication.
Diego Manuel Yves Grandry

Diego Manuel Yves Grandry

Designer Diego Manuel Yves Grandry studied Interactive Media Design at the Royal Academy of Art in The Hague. In his practice, he uses tools from the digital world to create new stories about 'the other'. He hopes that people will become more empathetic and understanding. Grandry has a younger sister with a neurological disorder: Rett syndrome. During the development year, Grandry plans to work on developing alternative therapy methods for people with this syndrome. For this purpose, he uses Virtual Reality technology to animate their movements. To do this, he works from the art perspective in collaboration with the medical field, including neurologist Nicolai Joost (UMC+ Utrecht) and psychiatrist Gabriel Brun (Charles Perrens Hospitale in Bordeaux). In addition, he is looking for exchanges with families of Rett-syndrome carriers in the Netherlands and France. The ultimate goal is to fill a gap where traditional medical treatments come up short, and to jointly build alternative healthcare systems. The applicant wants to follow workshops at the VR learning Lab in Leiden. He has approached artist and designer Ali Eslami to be a mentor and is in contact with artist Kévin Bray. Grandry will present the results of his research in a series of online videos. He also hopes to show his work during the IMPAKT festival.

Djatá Bart-Plange

Djatá Bart-Plange aka NDNMK Solutions completed his Bachelor's degree in English Language and Culture at Utrecht University in 2018. Much of his work stems from the frustrations he experienced within the academic world. For example, knowledge politics, whiteness and masculinity are often-recurring themes. In the coming year, he will focus on producing the first chapter in the series of audiobooks called 'FF:FF:FF:FF:FF.FF' – a mishmash of prose, fiction and non-fiction, sound collage, and game elements. Through this series, Bart-Plange wants to build a digital bridge between the Western, hegemonic knowledge system and various West-African knowledge systems. This project aims at a decolonization of the mind through, at best, the development of a kind of bilingualism or multilingualism in world views – if not: it is an insight into the malleability, contingency, and strengths and weaknesses of our Western way of understanding the world; and it seeks to provide assistance in letting go, joining the scary unknown, learning to listen to voices from outside the imperial centres of the white world, in order to build something else together with the vast wealth of knowledge from all the sciences of the world and its people.
Dylan Westerweel

Dylan Westerweel

Fashion designer Dylan Westerweel gained his Bachelor's degree in Fashion Design at ArtEZ. He characterizes his label 'Dylan Westerweel' as a celebration of queerness: a fashion brand for everyone who wants to express his/her/their beauty and strength. Primarily because queer people dare to look at the world differently, because the world looks at them differently. This includes examining social constructs, such as beauty and design. Westerweel draws inspiration from a variety of sources, including the lives of rent boys in Victorian London and the work of Armenian filmmaker Sergei Paradzhanov. In the coming year, Westerweel will focus on developing a new collection entitled 'Sergei'. The collection tells the queer life story in seven seasons. For the development of 'Sergei', the designer is conducting literature and texture research at IHLIA and couture embroidery house Maison Lesage in Paris. The knowledge gained will be made accessible through a databank and an exhibition at Szalon Amsterdam. In addition, Westerweel is organizing a photo shoot of the collection with Nella Roz, after which he will offer the images to magazines such as Dazed, Paper, Slippage and Another Man. Finally, the collection will be presented in a gallery during Amsterdam Fashion Week and Westerweel is going to collaborate with KnitwearLab, Spice PR and Iconic PR.
Ebru Aydin

Ebru Aydin

Audiovisual maker Ebru Aydin was selected during the Scout Night in Utrecht. As a Turkish-Dutch woman with a Muslim background, Aydin is committed to raising awareness on the themes of social inequality, migration & Islam, perception, discrimination & racism, identity, (super)diversity and inclusion. As a follow-up to the project 'Hijab verhalen', Aydin will be researching the social position of Muslim women in the Netherlands in the coming year. To do this, she will talk to various experts such as university lecturer in religious studies Margreet van Es, programme maker Hajar Fallah, writer Samya Hafsaoui, politician Fatima El Atik, researcher Anne Dijk and editor Berna Toprak. For her artistic development, Aydin is taking a course in storytelling and consulting photographers Cigdem Yuksel and Sebiha Oztas. She is also making a podcast, for which she is collaborating with 'Wij Blijven Hier', an online platform for Dutch Muslims. Finally, Aydin is developing an in-depth programme and exhibition in collaboration with Pakhuis de Zwijger, OBA and TivoliVredenburg.
Eduardo Leòn

Eduardo Leòn

Fashion designer Eduardo Leòn (Avoidstreet) graduated from the Gerrit Rietveld Academie in 2017. In his multidisciplinary design practice, he focuses on showing the beauty of the banal and projecting 'high-gloss luxury' onto the everyday. In the coming year, he will be working on a new collection called 'Piazalle Lotto'. The collection is named after a district in Milan, where his grandmother ran an illegal restaurant from her living room and Peruvian immigrants from different parts of society found a second home. With this as starting point, Leòn aims to facilitate the conversation about immigration, culture and community, while also addressing the absurdities of the fashion industry. The collection is brought together in a physical and digital exhibition, a publication, a public programme and a website. For this, Leòn is working together with Amsterdam Warehouse. Throughout the year, the designer is involving various experts, including strategist and digital-culture expert Emily Segal. He is also looking to collaborate in the graphics area with Claudia Martinez Garay, Arturo Kameya and Elisabeth Klement of San Serriffe, on audio with Jonathan Casto and on choreography with Juan Pablo Camara. He is also planning to follow a 3D workshop at the AMFI and make study trips to Peru and Milan.
Emilia Tapprest

Emilia Tapprest

Emilia Tapprest is a 2019 graduate of the Sandberg Institute. With 'NVISIBLE.STUDIO' she is researching the way digitization processes shape the interaction between society, ideology and power. In the development plan, Tapprest focuses on a number of collaborative projects that use film and other forms of immersive storytelling to represent alternative ways of being. In collaboration with science historian Victor Evink, Tapprest is working on the project 'Zhōuwéi Network', which explores 16 archetypal and speculative models of society. During the development year, three projects are central: 'Sonzai Media', 'Inner Futures' and 'Embodied Protocols'. Tapprest is also working on three secondary projects: 'Zhōuwéi Network Film', 'Ambitopia' and 'Birthpains'. For the professionalization of her practice, the maker is following performance and movement workshops. As mentors, she is approaching Daan Milius (dramaturge), Huib Haye van der Werf (curator), Daniel van der Velden (designer), Rob Schröder, Martin Lopatka (data scientist) and Romeo Kienzler (IBM). The presentation of the work will take hybrid forms in physical exhibitions, workshops and online platforms.
Emirhan Akin

Emirhan Akin

Due to its sensitive nature, Emirhakin has made the request to keep the project unpublished until completion.
Gianna Bottema

Gianna Bottema

Gianna Bottema is in 2019 afgestudeerd aan de Architectural Association in Londen en wil in het ontwikkeljaar een kritiek vormen op de Nederlandse woningbouwpraktijk vanuit feministisch en intersectioneel perspectief. Haar onderzoek naar ongelijke verhoudingen in de woningomgeving bevraagt paradigma's rondom gender en seksualiteit en verkent de ruimtelijke mogelijkheden voor economische, politieke en sociale gelijkheid om deze vervolgens te vertalen naar alternatieve woningplattegronden. In de eerste helft van het ontwikkeljaar doet Bottema met 'woonatlas' theoretisch en typologisch onderzoek gedaan. Dit komt onder andere tot uiting in samenwerkingen met deskundigen op het gebied van wonen en genderstudies en een studiereis naar niet-Europese projecten. In de tweede helft wordt met 'woonrevolutie' gewerkt aan experimenten met beeldtechnieken, ontwerpstudies, en speculatieve woonvoorstellen. Ter afsluiting wordt met ' woondiscussie' het werk gepresenteerd via workshops, een publicatie gericht op vakpubliek en een website voor het bredere publiek.
Ivan Čuić

Ivan Čuić

Sound designer Ivan Čuić holds a Bachelor's degree in ArtScience from the Royal Academy of Art | Royal Conservatoire. With Kantarion Sound, Čuić organizes programmes combining live/DJ performances, improvisations, self-initiated projects, silent film with live electronics, exhibitions and listening sessions. He creates site-specific set-ups to make sound more physically experienceable and strives to achieve an optimal relationship between sound, space, audience and performance. During the development year, Čuić is focusing on optimizing the physical experience of sound. He does this in the Sonic Elevation project, which consists of audio work, a sound system, acoustic panels, an inflatable mattress, fog and light. He will build a custom-made sound system for Murmur, a space for sound in Amsterdam. He has entered into a long-term collaboration with them to explore the best possible listening environment. He is working together with Flex Acoustics, which develops flexible, inflatable acoustic units, and is initiating an acoustics training course with an expert. In addition, he is requesting feedback from sound artist Sébastien Robert. He is also organizing a 24-hour listening session at the Zandmotor off the coast at The Hague. He has been invited to present Sonic Elevation at the Nxt Museum and to perform at the festival The Gray Space in the Middle.
Jarmal Martis

Jarmal Martis

Digital product designer and image-maker Jarmal Martis was selected during the Scout Night in Utrecht. In the development plan, Martis describes the impact of image formation on communities, specifically Curaçaoans, and how population groups can be reduced to stereotypes. The maker wants to focus further on this theme in the coming year. In the project 'Yuli', Martis follows a single mother from Curaçao for a longer period of time. He visits her once or twice a week and documents her life through photography. In the coming year, the maker will lay the foundation for this project through participant observation and co-creation. He is also working on a short documentary and a number of essays to give the story a more layered quality. During the project, Martis will collaborate with documentary filmmaker Isaura Sanwirjatmo and curator Mona Penn-Jousset. The maker is also requesting feedback from Richard Terborg, Marlike Marks and Francois Hendrickx. The photo series and documentation will be presented in an exhibition, and a website will also be developed.
Karin Fischnaller

Karin Fischnaller

Designer Karin Fischnaller graduated from the Information Design Master's programme at the Design Academy Eindhoven. Fischnaller aims to unravel new technologies and reveal their disruptive impact on systems, both in design and in society. She does this by developing interactive interfaces: 'digital information spaces' where content is reorganized into network-like structures. By bringing together journalistic methods, design and creative coding, she wants to offer new insights and surprising perspectives, and facilitate a public debate. During the development year, the applicant is working on the further development of her methodology for navigating complex and interconnected storylines on digital platforms. She is building a knowledge database by interviewing experts, attending master classes and collecting examples. With the collected knowledge, she subsequently wants to give workshops at the Design Academy Eindhoven, the KABK, Free University of Bolzano (IT), or the Critical Media Lab (CH). She will present the findings with online events and spatial installations at institutions such as ACED, The Hmm or On Data and Design (CH) and at MU artspace, Dutch Design Week or the GLUE festival. Rik Dijkhoff and Roosje Klap have agreed to guide her.
Kirsten Spruit

Kirsten Spruit

Graphic designer Kirsten Spruit gained a Master's degree in Information Design at the Design Academy Eindhoven. In her work, Spruit relates to the theme of 'off time', or 'doing nothing' – time that seems unproductive within a capitalist value system, but which she believes is necessary for a meaningful existence. Using various media and disciplines, she creates circumstances, environments or stimuli to make room for aimless thinking. During the development year, Spruit is sharpening her methodologies and theoretical framework with regard to 'doing nothing', work, productivity and technology and making them publicly accessible. At the same time, she is developing her skills in graphic design, writing, coding and sound, and interviewing experts via her radio station Good Times Bad Times. Erik Viskil, professor of Research and Discourse in Artistic Practice at Leiden University, will provide guidance in making an essay film. She also plans to take New York University's online course Theories of Media and Technology and a course in online publishing by Laurel Schwulst and John Provencer. To share her findings, she is developing a workshop for art academies, making a radio show and screening her essay film at LantarenVenster and Lab1.
Leyla-Nour Benouniche

Leyla-Nour Benouniche

Artist Leyla-Nour Benouniche studied at the Royal Academy of Art (KABK) in The Hague. From her background as a French-Algerian queer researcher and facilitator, she focuses on the stories of queer people and women of colour, with a focus on mental health and consent. During her development year, Benouniche wants to build an online and real-life community to support young marginalized people in Europe, where tools, common experiences and magical escapism can be shared. For this, she wants to make a video series of live talk shows, framed by an overarching fictional animation story. Popular 'life lesson' programmes such as children's programmes and talk shows such as Queer Eye or Oprah serve as examples. She combines this with elements of science fiction from African and specifically North African mythologies, and visual codes from the queer and diaspora communities. For this purpose, she is conducting research into mediation, science fiction, and ethical, cultural and digital literacy. She is receiving guidance from the (A)wake Artist Residency in MONO Rotterdam. She will also seek advice from Nike Ayinla and Nas Hosen (Orisun studio), Margarita Osipian (The Hmm) and Navild Acosta and Fannie Sosa (experts on ethical and inclusive practices), among others. She plans to present the resulting workshops, talks and screenings at festivals such as the New Radicalism Festival at MONO Rotterdam, Dutch Design Week and The Hang-Out.
Lieke Jildou de Jong

Lieke Jildou de Jong

Lieke Jildou de Jong, a graduate of the Academy of Architecture, wants to develop as a landscape architect with a specialization in food cycles. With her design practice landscape.collected, she is working on the project 'Bodemlegger' during her development year. In this project, she researches how food culture shapes the landscape. For this purpose, she is conducting talks at an experimental farm with knowledge of soil vitality in relation to crops, with a cook who makes the food landscape edible and with entomologists who are charting the diet of insects and soil life. Subsequently, the design phase starts. In this phase, she is developing a design methodology that results in an installation that gives the public insight into the workings of an ecosystem. In order to strengthen her position in the field, De Jong will receive guidance from various experts and tutors, including Lada Hršak, who will coach her throughout the development year.
Luis Ferreira

Luis Ferreira

Coder Luis Ferreira (Schuur Creations) is self-taught and was selected during the Scout Night in Eindhoven. In the past two years, Ferreira has developed independently in creative coding. In the development plan, Ferreira describes his ambition to develop further in storytelling through technology. The development plan is divided into three phases, which include self-development through research and collaborations, gaining inspiration with like-minded makers and supporting others through workshops. During the year, the maker will gain knowledge from Paul Raats, Alissa+Nienke, Jing Wang, The Orchestra, Ellen de Vries and Ricky van Broekhoven, among others. He is also seeking contact with organizations that can contribute to the development of his practice, such as Creative Coding Utrecht, FIBER, Waag and We are Playgrounds. To stimulate the exchange with like-minded people, Ferreira is working on a platform for Creative Coders in Eindhoven, which now exists only as a Facebook group. To further develop himself technically and artistically, he is following a number of master classes and training courses, for example at Unity's Create with Code. Finally, the maker is translating the knowledge gained into several workshops that will be held in collaboration with Future Makers Factory and Sintlucas.
Maggie Saunders

Maggie Saunders

Designer Maggie Saunders graduated in 2019 from the Master's programme in Social Design at the Design Academy Eindhoven. In her practice, Saunders focuses on improving the working conditions of sex workers from her personal experience as a stripper. With this in mind, she developed the social-design project 'Striptopia', a performative experience that aims to create a new culture concerning sex work using technological means. During the development year, Saunders intends to further explore and develop the social, performative and spatial experience of the strip club. She does this in co-creation with sex workers and under the guidance of external experts. In addition, she wants to develop new forms of social interaction between the public and sex workers: approaching the strip club as an interactive journey through a series of choreographed events and exploring a new aesthetic and spatial layout that no longer follows the rules of the classic gentlemen's club. In this search, she wants to collaborate with Marieke Samallo (Milkshake Festival), Theo Heskes (Totally Events and Rotterdam Pride) and social-media expert Yema Lumumba. In addition, she is seeking contact with Jess Barry, researcher gender-sensitive design practices and theory, and Joel Blanco, Professor of Design for Innovation and Trend Research at ESD Madrid. The presentation will take place during Dutch Design Week 2022.
Marcel Mrejen

Marcel Mrejen

Marcel Mrejen holds a Bachelor's degree in Art & Design from the Gerrit Rietveld Academie. His practice is characterized by a multidisciplinary approach, at the intersection of art and science. He uses digital media to develop new ways of learning and increase our awareness of our dependence on ecosystems. His work takes various forms such as multimedia installations, software, AI models, moving images and publications. During the development year, in dialogue with makers and thinkers, Mrejen intends to develop a research methodology that focuses on the learning of non-human beings and multiple organic intelligences. For this purpose, he will carry out material experiments and create a new work with which he aims to reach a wider audience. In the bay of Paimpol (France), the applicant will develop a site-specific, multisensory installation, using underwater sensors and augmented reality. Mrejen's work will be part of an exhibition in France, and in addition he wants to present the digital part of the installation in Eindhoven or Rotterdam. Finally, he is sharing his research through an online knowledge platform and producing a publication.
Marko Baković

Marko Baković

Shoe designer Marko Baković gained his Master's degree in Footwear from the London College of Fashion. In his design practice, hybridity and circularity play a central role. During the development year, Baković wants to explore how practice-based knowledge can be digitized and how off-the-shelf materials can be incorporated into scalable production chains. He is addressing the questions through three elements: 1. the definition of a research lab, 2. the creation of a crafts database and 3. the production of 'Collection 01'. In the research lab, Baković will be carrying out several experiments with footwear and working on the deployment of digital tools such as VR and UX design within the design process. The designer will provide access to this knowledge in a database and collection called '01'. To develop the collection, Baković will carry out field research in Veneto (Italy) and take individual lessons from shoemaker René van den Berg. He will also collaborate with coder Michiel Heems for the technical development of the project. The collection will be presented via an interactive website with exclusive tours, and during Paris Fashion Week in collaboration with Tomorrow Ltd.
Munganyende Hélène Christelle

Munganyende Hélène Christelle

Writer and designer Munganyende Hélène Christelle is self-taught and was scouted during the Scout Night Eindhoven. In her practice, she uses typography as a political tool to raise social issues, with a special focus on the historical and gender context of design. The applicant wants to build a new design ecosystem by means of typography. During the development year, Munganyende will explore how to translate her current work as a designer into an intersectional typography practice. For this purpose, she wants to develop a vocabulary that questions the classical image of 'the typographer' and presents a new form of typography development. Black women and African cultural heritage play a leading role, with the Black Beauty Shop as a space for design. In order to educate herself further, she is putting together an autonomous curriculum at ArtEZ under the supervision of Frank Tazelaar (head of the Creative Writing department) and is attending an online summer school on typography at the Royal College of Art London. She is collaborating with Doru Loboka, Studio ZZZAP and OSCAM, amongst others. The goal is to design her own font with which she compiles a feminism ABC. She is presenting her research in film and audio and writing an Intersectional Design Manifesto. She is also screening an audiovisual documentary at the Beursschouwburg in Brussels, Van Abbemuseum and OSCAM.
Octave Rimbert-Rivière

Octave Rimbert-Rivière

Designer and ceramicist Octave Rimbert-Rivière graduated from the Sandberg Institute in 2020. In his practice, he investigates the field of tension between uniqueness, craft, mass production and new technologies. His design methodology is based on existing technology for streamlined production, which he then disrupts to achieve unique results. In the first phase of his development path, Rimbert-Rivière is experimenting with CAD software. He is supported here in the technical area by 3D artist and game designer Guillaume Roux. In the second phase, the digital models are translated to a physical form through traditional techniques such as ceramics and glass-blowing. Here, he is guided by ceramicists Marianne Peijnenburg and Anne Verdier, and glass expert Steef Hendricks. Ultimately, Rimbert-Rivière will present his work in a publication (in collaboration with graphic designer Alex J. Walker and curators Sophie Lvoff and Joel Riff), an exhibition in ISO and online (in collaboration with coder Olivier Jonvaux).
Patricia Mokosi

Patricia Mokosi

Fashion designer Patricia Mokosi (On God by Tries) was selected during the Scout Night in Amsterdam. The maker, who was born in Congo and raised in Eindhoven, currently lives in Amsterdam. Mokosi draws her inspiration from her turbulent youth, which has left her with a fascination for everything that has to do with the audiovisual, spiritual and occult. In the coming year, the fashion designer will focus on further developing her label On God by Tries. For this purpose, she will gather knowledge and work on her technical skills, and follow a master class in Textile Design. She will incorporate the results of her research into a collection of unisex clothing and accessories made from sustainable materials. The collection will be presented in a fashion show and fashion film. To strengthen her audience reach, Mokosi is working with Blanche Agency.
Renske van Vroonhoven

Renske van Vroonhoven

Olfactory designer and perfumer Renske van Vroonhoven is self-taught and was scouted during the Scout Night Eindhoven. With her interdisciplinary practice, she aims to design comprehensive experiences, focusing on the senses of touch, taste and especially smell – the so-called lower senses – to bring people into an experience in an inclusive way. Van Vroonhoven stands for openness and wants to share her knowledge and skills with other artists, designers and students. She works together with commercial as well as artistic and scientific partners. In 2018, she launched her label Attic Lab. She is involved in the open-source Scent Lab and the Memory Bar collaboration. She is also a guest lecturer at the KABK in The Hague and ArtEZ in Arnhem. During the development year, Van Vroonhoven will focus on the relationship between smell and memories. She is immersing herself (theoretically and practically) in the meaning of smell as a design medium and experimenting with new techniques. In addition, the applicant is exploring the role of smell in exhibitions and expanding her involvement in art education. She is currently participating in Tussen Kunst & Skills, a mentoring programme focusing on entrepreneurship.
Robbert Doelwijt Jr.

Robbert Doelwijt Jr.

Audiovisual maker Robbert Doelwijt Jr. was selected during the Scout Night in Amsterdam. In the development plan, Doelwijt describes his ambition to develop further as a director and writer. The maker was born in the Bijlmer (Amsterdam) and has Surinamese parents with roots in Nigeria, Sierra Leone, China and Indonesia.

This family history and having a bicultural identity form the basis for the themes in Doelwijt's practice. During the development process, Doelwijt will work on the short film 'The Underwear Boys', in which he records his feelings about his identity as a black bicultural man. He will work with experienced producers to gain knowledge about building a career as a writer/director. In addition to the short film, he will also be making a start on the documentary 'There's an app for that', which is centred around Third Culture Kids, a group of Gen Z youth with bicultural backgrounds. For the screening of the film, the maker will talk to film festivals in Rotterdam, Amsterdam and abroad.
Rosen Eveleigh

Rosen Eveleigh

Graphic designer Rosen Eveleigh studied at the Werkplaats Typografie at ArtEZ. In their practice, they explore how queer and trans people utilize graphic design to communicate and represent themselves. They focus on the Netherlands in the context of the HIV/AIDS crisis of the 1970s, 1980s and 1990s. During the development year, Eveleigh plans to take this research further by means of a 'reactivation phase'. With a series of collaborative intergenerational oral histories and workshops, they are exploring this queer and trans history from a contemporary standpoint. They hope this will provide new insights into the relationship between queerness and graphic design in the Netherlands. They are using the results of their research as the basis for a series of workshops with queer and trans youth. In addition, they will present the results of their research in a multidisciplinary project consisting of a lecture, debate and publication.
Rossel Chaslie

Rossel Chaslie

Illustrator and animator Rossel Chaslie is self-taught and was scouted during Scout Night Amsterdam. In his practice, Black History, (anti)racism and the African diaspora play a central role. With his work, he wants to empower himself, born in Suriname, and others from Africa and the African diaspora. By depicting Afro-Surinamese and Afro-Dutch stories, he wants to educate and emancipate people. To do this, he uses fiction forms such as Afro-futurism, Sci-fi and fantasy. During his development year, Chaslie wants to develop himself further as a visual artist and animator. He wants to work on a pilot for a Dutch-Surinamese animation series, a children's book and a collection of illustrations and stories about Black history. In this process, he will collaborate and exchange information and experiences with other animators, voice actors and sound designers. In the animation series, he wants to combine the history of Suriname in the 1980s and 1990s with a fictional story about the girl Manu. Among other things, he wants to do research in Suriname and work together with The Black Archives. His aim is to present his work to Afro-Surinamese and Afro-Dutch people and also reach a broad, white audience to achieve more understanding and respect for Black history and culture. For this purpose, he is organizing events in his studio, making videos of the work process and offering internships for young people.
Shaquille Veldboom

Shaquille Veldboom

Game designer Shaquille Veldboom was selected during the Scout Night Amsterdam. Veldboom followed various engineering studies, but discovered that he would rather tell stories than design real cars. He works in the video-game industry and now wants to develop his own video game, entitled 'GodSpeed'. With this game, he wants to convey his personal experiences and life lessons. In the game, main character Grio Yggdrasil, who, like the applicant, grew up in Amsterdam Zuid-Oost, follows his dream and starts his own car brand. During his development year, Veldboom wants to learn how to tell interactive stories with his 3D designs. For the presentation of 'GodSpeed', he is producing a real version of the microcar from the game. The applicant will organize demonstrations of the game on Dam Square and other busy locations inside and outside Amsterdam. In addition, he is raising awareness of his game through social media (YouTube and Instagram) and making it available on various gaming platforms, such as Epic game store, Steam, Playstation store and Microsoft store, and to some YouTube racing-game streamers.
Stefan Duran

Stefan Duran

Audiovisual maker Stefan Duran (Tastic Visuals) was selected during the Scout Night in Rotterdam. As a motion designer, Duran has the ambition to develop further in the field of animation. He wants to increase its expressiveness. The reason for his research is the commercialization of Hip Hop and the way this scene is losing its critical message and position. Duran asks himself the question: “How can I use the combination of music, dialogue and animation to convey an in-depth and socially relevant story?” In his development year, the maker plans to focus on developing 3D animation, symbolism and producing a music video and an animated musical called 'De 3e kamer'. During the development period, he will follow several courses, including 'motion design professional' at Created Academy. Duran is calling on the expertise of theatre dramaturge Maarten van Hinte and wants to collaborate with animation and illustration collective Lemon Bandit and music producer Tim Block. He intends to release the animations at Noah's Ark and 101Barz and will collaborate here with Aidem Agency. The pilot of 'De 3e Kamer' will be published on a website, along with short vlogs, sketches and a backstory.
Sterre Richard

Sterre Richard

Illustrator Sterre Richard graduated from the Willem de Kooning Academy. She is committed to achieving a better representation of how mental illness manifests itself and affects people, and what family or friends can do to help. The reason behind the project is the way people with a mental illness are represented in media and pop culture. An example of this is the common stereotype of the 'psychotic killer'. In the coming year, Richard will be working on a script, a project pitch and a comic book focusing on the above-mentioned themes. Richard is asking cartoonist and writer David Mazzuchelli to guide her during the development process. The maker is also taking a number of writing courses, including the Odysse Writing Workshop in Manchester (USA). Finally, Richard will continue to research the optimization of full-colour work in order to make conscious colour choices.
Süheyla Yalçin

Süheyla Yalçin

Audiovisual maker Süheyla Yalçin was selected during the Scout Night in Eindhoven. During the development year, Yalçin, as the daughter of parents with a migration history, is making the claiming of the forgotten Turkish history central to her research. In the project 'De Diaspora Designer', the maker questions in a satirical yet critical way who decides what design is. The project is divided into four phases. In Phase A, Yalçin conducts research in cities that can provide her with insight into the development of migration flows of Turkish workers, such as Eindhoven, Ghent (BE), Schiedam, Saarlouis (DU) and Istanbul (TR). In Phase B, Yalçin works on scriptwriting, audio editing and develops graphic design skills. The maker calls on the expertise of Mustafa Duygulu, Collectief Schik and Roisin Tapponi, among others. In Phases C and D, Yalçin works on several transmedia productions, including an audiovisual documentary. She hopes to present these on platforms such as the VPRO and HUMAN.
Tabea Nixdorff

Tabea Nixdorff

Tabea Nixdorff graduated from the Werkplaats Typografie in Arnhem and is focusing during the development year on the research project 'su-sur-rous (a chorus of expanded bodies from the margins)'. The project is a search for under-represented biographies of those who, through hybridization of their bodies with musical instruments, machines or other technologies, have developed alternative languages. In addition, Nixdorff plans to continue working with Setareh Noorani on a study of intersectional, feminist design strategies during the second feminist wave in the Netherlands. Together with Gerardo Ismael Madera, she is developing a seminar and is looking for connections with schools and cultural institutions. During the year, she will gain expertise from sound artist and poet Caroline Bergvall and takes voice training classes. The research will come together in a publication that is accompanied by a number of listening sessions and performative lectures with invited guest speakers (composers, web pioneers and researchers).
Tobie van Putten

Tobie van Putten

Fashion designer Tobie van Putten is self-taught and was scouted during the Scout Night Eindhoven. Under his label new.toob, he presents clothes in which he combines illustration and fashion. His design process starts from an illustration, which he converts into a design. He prints that design on fabric and from there he designs a garment. During the development year, he will focus on making his own textiles, in order to develop greater freedom of choice, more autonomy and sustainable fabrics. For this purpose, he wants to delve deeper into the properties of textiles, learn new weaving techniques and experiment with printing on technical fabrics. He is seeking expertise from Yumuna Forzani, who makes knitted art and her own fabrics. In the TexielLab in Tilburg, he works with 3D print designer Rutger Paulusse, and with Vince Reece Hale he is developing a collection of denims. He is learning pattern drawing from Leonore Boeke. With photographer Tom ten Seldam he is working on his website. These interdisciplinary collaborations bring him the following: his own fabric, an improved fit, more detail in the clothes through 3D print design, a new collection and professional campaigns. He will present this collection in an interactive installation.
Yuro Moniz

Yuro Moniz

Ceramicist and maker Yuro Moniz was selected during the Scout Night in Rotterdam. Moniz works with clay in a traditional way and with her vases and objects she goes back to the essence of what makes us human. In the coming year, Moniz will focus on further developing her technical skills, specifically the hand shaping of ceramics. With the project 'Transcend the Mundane', she is specializing in the form, function and story of an object. Themes such as symbolism, origin and cultural values play an important role here. By researching old decoration techniques, including gilding, Moniz is strengthening her own visual language. In honour of her 30th birthday, Moniz is making a series of 30 objects which can be seen in a solo exhibition. The ceramicist is also presenting her work at the Salone Del Mobile in Milan. For guidance during the development process, Moniz is calling on the artistic and business knowledge of designer Harvey Bouterse. In addition, the maker is visiting Atelier NL, following various workshops and carrying out archival research at The Black Archives.
Zalán Szakács

Zalán Szakács

Zalán Szakács gained a Master's degree in Fine Art and Design from the Piet Zwart Institute. In his practice, he wants to make forgotten media visible again, through archaeological research. In the coming year, Szakács will focus on the further development of his own methodology, artistic signature and positioning within the digital culture field. He is developing two projects: 'Lichtspiel' and 'Tisztás'. For Lichtspiel, the maker will explore 17th-century lenses and light reflections and their metaphorical qualities. Professor Frank Kessler will guide him in this process. He will also talk to media archaeologist Erkki Huhtamo, media teacher Eric Kluitenberg, Professor Nana Verhoeff, media producer Rudi Knoops, Sonic Acts director Lucas van der Velden, artist Joost Rekveld and researcher Javier Lloret Pardo for artistic, content-related and technical guidance. For the Tisztás project, Szakács will make a physical and mental journey back to his childhood in Transylvania. In the Carpathian Mountains, he will collect data on smells, sounds, materials and light. He is working together with olfactory artist Klara Ravat. In addition, the applicant is involving the expertise of organizer Paulien Dresscher, Fiber founder Jarl Schurlp, artist Eva Fischer, photographer Sophie de Vos and curator Viola Lukacs, among others. Both projects will result in installations that will be presented during Dutch Design Week 2022.
 Gabriel Fontana

Gabriel Fontana

To which team do you belong? Who can, and should participate? Who gets the ball? To which dressing room do you have access? In the recent work of social designer and researcher Gabriel Fontana, (team) sports are seen as a metaphor and model for society at large: 'Sports are pre-eminently a normative and often exclusive domain. There are gender-specific rules concerning behaviour and appearance. Moreover, not all bodies are able to participate in every sport.' Fontana observed how social norms are propagated, internalised and reproduced in sports education and decided to investigate and reshape this practice.

'I had people play mixed team sports in silence and saw that girls got the ball more often and felt more at ease because usually it's mainly boys who shout each other's names,' says Fontana. This raised the question of the voice's role in the production and reproduction of social norms. For the Voice and (Hear)archies project, Fontana designed a series of sports games that use the voice and listening in a new way.

Fontana, whose father was a sports teacher, works at various art academies and sees education as an extremely political context. The production and reproduction of social norms and identities take place not only during sports education but also in the interiors and design of educational institutes' physical space. His project Safer Landscapes responds to this and offers a Queering Manual, a practical set of interventions that institutions and teachers can use to disrupt the usual norm-affirming practices and achieve a more inclusive physical context.

Fontana, who works at the intersection of sociology and design, enjoys collaborating with people from different disciplines to broaden his understanding. 'Ultimately,' he says, 'every form of design is inherent in social design.' Design produces and reproduces ideologies. 'It is important to recognise the complexity of the issues you deal with as a designer, and to recognise one's responsibility.'


Text: Merel Kamp
Andrius Arutiunian

Andrius Arutiunian

Andrius Arutiunian is a composer and sound artist who received his BA and MA from the Royal Conservatory in The Hague. His hybrid practices include multimedia installations and audiovisual live performances that investigate the cultural and social histories of different, often peripheral communities. In 2017 for example, he researched the Armenian diaspora and disco music by collecting cassette tapes and records from the 1970s and 1980s. Arutiunian then released a limited-edition record, drawing upon the sounds of these sonic artefacts. 'The project examines how people interact with vernaculars, how they express their cultural histories, and the extent to which a periphery can reveal who we are and our place in the world.'

Arutiunian's The Irresistible Power of Silent Talking is an audiovisual installation based on the automated system of the iBorderCtrl algorithm. 'This algorithm recognises the facial expressions of migrants entering the European Union. Recognising the necessity for a critical stance towards technology and the political implications of using violent forms of surveillance underpin my work.' In a poetic way, Arutiunian questions the use of technology as a political instrument in migration. 'I am currently conducting research which stems from my fascination with the word “gharib”, or “foreigner'' in English.' The word originates from Arabic and Farsi and also occurs in Armenian and Greek. It differs from the Western interpretation of a foreigner as “the other'' and is more aligned with the idea of belonging to something without being a part of it.'

Arutiunian is also involved with music events outside of the regular social or legal norms and rhythms such as night-time raves. 'The periphery is a safe haven for marginalised communities and a way to escape the focus of oppressive systems.' Arutiunian has recently spoken with curators, writers, philosophers and scientists from various disciplines to create a performance which revolves around instrument tuning and its link to alternative sonic realities. 'In the future, I hope to take this collaborative approach through conversations into my practice and develop it into publications about belonging and nocturnal sonic events.'


Text: Manique Hendricks
Asefeh Tayebani
Asefeh Tayebani
Asefeh Tayebani
Asefeh Tayebani

Asefeh Tayebani

'But you don't look autistic'. Asefeh Tayebani heard that sentence many times at the Graduation Show of the Gerrit Rietveld Academy, where she exhibited her graduation project to the press and public in 2018. Less than six months earlier she was diagnosed with autism. 'It's difficult to explain to others what that exactly means', Tayebani says. 'I noticed that what I said was often not understood or believed.' With the project Precious Burden she chose to let others feel it. Three wearable accessories let you physically experience what it's like to be hypersensitive in terms of proximity, touch, sound and eye contact. Ever felt a paralyzing shock when someone touches you? Experienced ambient noise as deafening? Or not being able to look someone straight in the eye?

Nevertheless, she kept hearing that one sentence. It became the title of her next project, which Tayebani started with the support of Creative Industries Fund NL. Soon the online platform butyoudontlookautistic.nl will be launched, specifically for women with autism. 'Almost everything you can find about this disorder is geared towards men', says Tayebani. 'Women often don't get the diagnosis until later in life, I was already thirty. And even then there is a lot of disbelief; after all, you can't see it on the outside.' In the past year she has conducted a lot of research, collected personal stories, and worked together with graphic designer Fallon Does on an autism-friendly web design that does not put off the target group. 'A lot of websites I find difficult to deal with; I tune out when there's too much going on on the screen', says Tayebani. Therefore, in this design extra attention has been paid to an orderly layout, without excessive information overload and bright colors.

Removing stigmas from illnesses and making the invisible visible; these are themes that inform much of Tayebani's work. For example, she conducted material research into healing 'wounds' in materials. After a course in clothing repair, where she learned to darn socks with a needle and thread, to lock frayed edges and repair tears, she decided to apply the same technique to metal. Leaving Traces shows copper as you have never seen it before; no smooth, tightly polished surfaces, but sheets with dents, folds, scratches and holes. The visible care with which they have been repaired with copper wire is touching. They were broken, but that is no longer relevant; during the repair process, they have only become more beautiful.


Text: Willemijn de Jonge
Audrey Large

Audrey Large

Audrey Large's work oscillates accurately between the digital and the analogue. She doesn't see the computer as a means of reproducing reality, but rather one that produces reality itself. She wants to use digital technology as a tabula rasa where new forms can spontaneously arise. 'I am a designer, but I produce sculptures. I produce files that may become objects. That's where I can make a difference; not so much in making objects, but in shifting the methodology from object design towards making sculptures.' Her design activity focuses on designing files which can be materialised in different ways: digitally as a three-dimensional drawing or tangibly as a 3D printed object.

Over the course of the past year she created work for an exhibition at the Nilufar Gallery in Milan. The show was presented in several different forms. As 'a first chapter', she made an experimental website that allows the viewer to get close to the work's origin: the file. The website shows a floating tangle of irregularly shaped objects that can be pulled apart and viewed from every angle. The objects seem impossible to 'bring to life', but Large has also 3D printed these shapes. For the willing viewer, their functions seem simple – a table or a shelf – because we simply have different expectations of design than of art. 'I use function as a 'sign', says the designer.

Large considers the digital form to be just as 'real' as the printed form. No hierarchy exists between the online presentation and the arrangement of objects in the gallery. The modes of presentation highlight different aspects of her approach and show different materialisations of the files. 'People always see the physical outcome, but that's just one possible manifestation of the file. I always like to ponder the file's potential and materiality.' She pays a lot of attention to the object's perception and its tactile qualities, both digitally and physically. The choices for the design's execution – size, material, colour – are endless. Hence the title of the online part of the exhibition: Scale to Infinity.


Text: Victoria Anastasyadis
Bodil Ouédraogo

Bodil Ouédraogo

Designer Bodil Ouédraogo is always busy with the art of 'dressing up', the rules concerning how garments should be worn and the meanings associated with them. Her interest focuses specifically on fashion related to her West African and Northwestern European heritage. She is searching for connections between the garments of these cultures and for ways to integrate them into her own work.

'In Black Culture, there is so much etiquette surrounding fashion that forces you to take up space. This affects me, showing that one should dare to be visible and take pride in that. Consciously positioning yourself, being aware of this and occupying space intrigues me, especially as someone from the African diaspora. I would like to understand all these elements and translate them into the here and the now. How can I reconnect these dots' Indeed, such connections are of great value; 'The more of those connections you find, the bigger your web becomes and the more enriching and grounded your existence, making it more valuable and intimate for me to be who I am.'

During her Talent Development year, Ouédraogo worked on two projects that she will present during different editions of Amsterdam Fashion Week. She based the first presentation on a previously made video tutorial where four models from Burkina-Faso demonstrate how to wear a grand boubou; a large, stiff, waxed fabric robe that you have to keep moving in order for it to look good. She then asked a choreographer to create a dance based on this video tutorial. The outcome literally portrays carrying the weight of the heavy grand boubou but also the weight you carry as a person of color. The original video is then projected onto the dancers' transparent outfits, designed by Ouédraogo and inspired by the grand boubou: thus, completing the circle.

The grand boubou is also the starting point for her second presentation. She has designed a capsule collection in collaboration with clothing brand Patta, where she translates the folds and wrinkles of the wax fabric into a fabric pattern. She plays with the oversized aesthetic characteristics of both the grand boubou and hip-hop fashion. The presentation is an installation – a 'living still life' – in which Ouédraogo places the models within a landscape she has created from African sculptures, influences from 1970s West African photography, and African diaspora streetwear.


Text: Victoria Anastasyadis
Cleo Tsw

Cleo Tsw

A grant from Creative Industries Fund NL allowed graphic designer Cleo Tsw the freedom to create autonomously: alongside her commissioned work, she was given space to be able to take a critical look at the world and how we shape it. 'Designers organize information, that's what design basically is. The way they do this is influenced by everything they have experienced in their lives.' The fact that she herself comes from Singapore, a British colony until 1963, also influences her work, which she calls anti-colonial – but it is much broader than that. It resists imposed frameworks and therefore prefers not to explain too much about the work. The freedom of thought of the maker, the viewer, and the reader, are invaluable to her.

The past year was all about experimentation. Researching, reading, writing, organizing and documenting in an attempt to break free from what we think we know, based on what is presented to us. She made reports in the form of printed quires: loosely folded printed sheets, which, when bundled together make a 32-page book. At the end of this research year, the first quires will be assembled into Off Course 1: a book that plays with words and images. A compilation of seemingly separate fragments challenges the reader to look critically and navigate their own path through the mountain of information we are presented with each day.

The conventions of print are abandoned or used in an alienating way. For example, the book begins not with a preface, but with an associative register, followed by a multifaceted compilation: fragments of statements, passages from books, graphic novels, collages, comics and more. Whoever wants to interpret it faces a challenging task. However, that was exactly the intention; everyone can give their own interpretation and determine their own position. 'I don't like to explain my work too much', says Tsw. 'People can do that themselves. If it were up to me, this text would only say: I made a book.'


Text: Willemijn de Jonge
Don Kwaning

Don Kwaning

While out on his walks, designer Don Kwaning is always on the lookout for beautiful plants with special colors and new exciting materials. By 'picking and fidgeting' on a piece of pitrus (a common grass-like plant), he discovered that the inside of the stem is a fascinating foamy pith. For his graduation project, he processed this pitrus into twelve different materials: from textile-like fibers that you can use to create yarns, to paper and cardboard, to foam blocks and a lightweight sheet material.

A goal for this year is to see if he can further develop any of those materials commercially. This is generally a lengthy and at times frustrating process which can take anywhere from five to ten years. One of the challenges is that the pith cannot yet be removed from the stem mechanically, only by hand. Also, when scaling up, the pitrus that he is able to buy from the Forestry Commission, which is trying to control the lushly growing plant, is not enough. Cultivation will then be required, a whole different story.

In addition to this search, this year Kwaning is also exploring how he wants to shape his practice in the future. What makes him happy is showing the potential of plant-based materials, as an artisan in materials development. But what would be the best way to do this? By developing a discovery into a semi-finished product, which others can then use? Or by turning it into a ready-made interior design? Or more autonomously and conceptually to show the power of a material in a more abstract form? And how does one put their personal stamp on such an experiment?

These are questions Kwaning tries to answer through trial and error, conversations with others and, above all, a lot of thought. 'I think that this grant has ensured that my mind is now fully committed to this struggle. I don't mean that in a negative sense because it is actually positive. The fact that I have been given this space, is incredibly valuable to me.'


Text: Victoria Anastasyadis
Fana Richters

Fana Richters

'My brand is a planet and there I can do anything I want,' says visual artist AiRich (pronounced as I-Rich, aka Fana Richters). The remark is typical of the freedom she likes to create for herself in her work. AiRich comes from an artistic family and is very much an all-rounder, which is why she prefers to be in control of everything, ranging from body paint, styling, photography, performance and video. On the basis of this versatility, she structurally addresses a single theme: recapturing and defining black identity and its future. This identity has been overlooked for a long time, partly because of the African diaspora, and it was and is stereotypically determined or conversely erased by historical and contemporary colonizers of the African continent. The work of AiRich therefore falls under the heading of Afrofuturism. She draws inspiration from West African, Caribbean and Surinamese traditions and extrapolates elements from these into images, including photographic images, of the future. 'For me, it is a matter of decolonizing imagery and, in so doing, also healing shame and self-hatred in the black community. My images feed the imagination: showing people a different image of themselves gives power.' Because if you are a black boy in Amsterdam Zuidoost, can you envision a different identity for yourself than 'the cool hip-hopper?' The answer is yes, but it would help if 'the black boy' were portrayed more often in another way.

Anyone who finds image creation important, naturally finds it extra important that her work reaches as many people as possible. 'People often think that they can't have an affinity with art, because it's always a bit elitist. I want to reduce the distance between the viewer and the work.' This is why AiRich has been working on her Walking Exhibition for the past year. By printing collages of existing work on clothing and accessories, she wants to make her work accessible to a wide audience. Whoever wears the clothes is at once both an art collector and part of an exhibition. 'My work is no longer just a rectangle on a gallery wall'. The question of the distribution and presentation of her work will continue to occupy AiRich for some time to come: 'Every different form of presentation provokes a different emotion or reaction in the viewer, and that continues to fascinate me.'


Text: Merel Kamp
Frances Rompas

Frances Rompas

Frances Rompas studied biology at the University of Utrecht and obtained her Master's in Environmental Sciences at the Vrije Universiteit Amsterdam. Her practice combines her academic background as a biologist with moving images and installations, and looks for ways to poetically and visually translate nature's power, balance and dynamics. Her presentations aim to connect the audience through watching, reflecting and experiencing together. These values are also strongly reflected in her activities as a DJ and event organiser in Utrecht.

Rompas's practice includes video portraits that document personal stories told not through words but the intervening moments of intimate glances and silences. She employs a broad visual language, meticulously focusing on composition and the subject's movement therein. Rompas has recently been making a very personal and autobiographical project about her origins. 'I carry out historical research into the landscape where my ancestors lived in Minahasa, also known as Manado, in the Indonesian province of North Sulawesi. I zoom in on the inland villages at the foot of the Soputan volcano. The focus is on Manado's landscape.' Her approach is distinctive compared to other Indonesian diaspora stories that usually emphasize historical elements such as colonial rule and war. 'I approach the project from historical accounts and descriptions of the environment. Feeling and emotion are central to this. I want to have a thorough understanding of my ancestors' landscape.'

Rompas recently presented the first outcome of her autobiographical project in the form of a public sculpture comprising eight-metre-long bamboo sticks anchored in the ground and various audio fragments. Long silk flags, hand-dyed in red, purple and emerald green, dance in the wind on the bamboo. 'Flags are usually a symbol of a country and the mark of a specific place. However, my flags represent a sense of displacement and longing to be somewhere else.' Rompas wants to travel to Indonesia to complete her project with a film tracing the history of her father and ancestors, in order to discover her own story.


Text: Manique Hendricks
Fransje Gimbrère

Fransje Gimbrère

The human body has always fascinated designer-artist Fransje Gimbrère. How it works, how it behaves and how it relates to its surroundings. She is especially intrigued by the unconscious processes; the things our senses almost imperceptibly register but however still influence our behaviour. 'I think that's a huge part of design. If you want to get something done with your design and bring about a certain experience, you have to know why you give something a certain colour, shape or materiality.'

Gimbrère has used the Talent Development year to delve deeper into these mechanisms. She studied scientific articles on environmental psychology, neuropsychology, the more controversial neuroaesthetics (biological explanations for how we experience beauty), and also biophilic design (design that seeks connection with nature).

In addition, Gimbrère wants to broaden her range of skills, materials and techniques. 'I always start by asking how a technique works. I'm fascinated by a certain look. The material isn't the priority, but I often use materials in an unusual way.' For example, she uses soft textiles for rigid structures or hard metal for drapery. Her designs are often abstract; the application can be completed by others. She also demonstrates alternative ways of how a material can be used. 'Since what I do is so conceptual, for many people it remains difficult to imagine what purpose my designs serve. I feel as if I'm on the boundary of art and design.'

Whereas she used to make her work by hand, she is now forging links with the industry and collaborates with producers in weaving, knitting and braiding. She wants to get a deeper understanding of these industrial processes so that she can better serve her clients. She also wants to think about the possibilities of these techniques and how she can apply them in a different way. The ultimate goal of this year of in-depth development for her is to translate all the acquired knowledge into a design where the scientific background coalesces with an artistic approach.


Text: Victoria Anastasyadis
Funs Janssen

Funs Janssen

To whom does the city belong? This question returns in different guises in the work of Funs Janssen, alias Funzig, the 2021 Rotterdam City Illustrator. His recent work takes on gentrification and continues from his graduation work regarding public urban space. Originally from Limburg, Funzig has lived in the south of Rotterdam for the past ten years, where the recently announced demolition of 524 affordable rental homes has reignited the debate about gentrification's social consequences. 'It's not just in Rotterdam South,' Funzig points out, 'the same thing happens in the city's northerly neighbourhoods, such as Overschie, Krooswijk and Spangen, and also in cities like Amsterdam, London and New York.' Original residents, aided by municipal and government policy, are being pushed out by investors and wealthier new residents.

Funzig decided to archive blocks and neighbourhoods earmarked for demolition or redevelopment, which he does in his own unique way. First he photographs the street and then converts the photographs into a 3D model from which he creates illustrations – his artistic interpretation. Funzigs cityscapes are always nocturnal. 'This allows the lamp posts and car headlights to illuminate things in the city you might possibly miss, making them easier to see.' The images will eventually be collected in a publication alongside recounted experiences of ex-residents and essays by commentators and researchers. Funzig works closely with researcher Hasret Emine who is active in the Amsterdam branch of the political party Bij1. 'I want to give people at least a reminder of the place they had to leave,' Funzig says. At the same time, the publication is also for new residents and policymakers, allowing them to see the effect of gentrification on a city and its residents. 'I'd love to expand this project and see what I can do in other cities where this is happening. I can also imagine that virtual reality will be a way of viewing the 3D models I've made.' To a certain extent, this would allow the city and its history to become available again to people denied access to the city.


Text: Manique Hendricks
ILLM

ILLM

Calligrapher Qasim Arif (ILLM) was selected during the Scout Night Rotterdam. In the last 10 years, Arif has mastered the craft of Arabic calligraphy. His visual style is strongly influenced by elements from Hip hop and Pop culture. Central to the work are various aspects of identity with, in particular, his background as a 'third-culture kid'. During the development year, Arif wants to discover new ways of designing through 3D. He argues that a large part of Islamic art only relates to the two-dimensional surface, because the sculpting of living beings is exclusively the domain of a god. Within these frameworks, Arif wants to push the boundaries and convert Arabic calligraphy into 3D sculptures. One of the ways he does this is based on the Nike Air Max 1. According to Arif, the cult shoe is not only a symbol of social status, but it also represents the dreams, wishes and memories of children with a migrant background. For his professional and artistic development, Arif is participating in a number of courses, including 3D modelling, 3D printing and 'Sculpturing, Moulding, Casting & Finishing'. The founder of the 3D printer, Cyrus Sasan Seyedi, is guiding Arif in 3D printing techniques and monitoring the quality of the print. In addition, the applicant will approach artist Joseph Klibansky for advice on the production of sculptures, but also on marketing through social media. Finally, Arif is applying for a traineeship with El Seed, a French-Tunisian calligrapher. The results of the project will be presented both online and offline.


Text: Willemijn de Jonge
Inez Naomi

Inez Naomi

Eleven bad-ass women on a bright pink soccer field. Cool, self-confident and proud of their bodies, dressed only in a fashionable bikini made of second-hand soccer shirts. These are the first campaign photos with which Inez Naomi Correa Alves launched her brand Versatile Forever. A year ago, in addition to her design and styling work for established retail and fashion brands, she decided to start her own fashion label from a completely different perspective: Versatile Forever stays well away from fast fashion.

'I became annoyed with practices in the fashion industry', says Correa Alves, who opts for a more social approach. 'I was also keen to combine my strengths as a stylist and designer, to see how I could grow in that role myself.' By transforming second-hand clothes into new collections, she is now raising a counterpoint. In doing so, she took a different approach: instead of working from a pre-developed design, she started at the other end; with the production process. By allowing this to be the guiding principle, creative surprises emerge. For the first release, she thought of tops, which turned into dresses on the mannequin, but ultimately the leftover pieces became the ingredients for the summer premiere. She describes the unconventional making process as 'learning by doing', in which she especially learned how important it is to just start: 'A matter of acting and trusting your own feelings.'

The starting point was a sorting company for second-hand clothing. Correa Alves left there with bags full of old soccer shirts and scarves which she used to make a series with the theme 'team spirit'. In this concept, the benchwarmers – the players who always sit on the bench or are chosen last – are the real winners. The first campaign, Not Your Soccer Wife, presents a diverse team of super babes. The price is kept deliberately accessible to a wide audience, but it is far from a standard collection: 'For retail, every jersey has to be exactly the same, but at Versatile every garment is unique, a celebration of diversity. They are one-of-a-kind pieces, but they are still a part of a series.'

The biggest challenge now is scaling up: 'We made these bikinis ourselves and it's still quite difficult as a small start-up brand to get a collection into production.' She is now engaging with several social institutions with sewing workshops. The football bikinis can still be ordered this summer through the Versatile Forever website. And the drop for when autumn approaches is ready to go; dresses made from the same scarves and shirts.


Text: Willemijn de Jonge
Irakli Sabekia

Irakli Sabek