We would like to invite Rietveld and Sandberg students and staff to the second edition of Material Assemblies, a series of sessions that will expand the Material Library. This workshop will follow material traces of the academy’s digital networks combined with a guided tour through server rooms and even a visit to the antenna mast on the top of the Rietveld building.
💿 Material Assemblies 002: Virtual Estate
💿 22 April
💿 10:00 - 15:00
💿 Room 323, 3rd floor BC building
💿 Rietveld/Sandberg students and staff
💿 You can register through our website (max 12 people) > link in bio
This workshop will look at the material infrastructures that underlie the virtual presence and digital affordances of the academy. We will trace the instruments, servers, cabling, receivers and emitters that form a connected tissue of hardware, and the software that routes and mediates the data flowing through it. IT staff and facilities team members, who maintain this infrastructure, will grant us access to the buildings’ often‑overlooked zones: the inlets and outlets, processing units, and storage modules that support the networked organism of the Gerrit Rietveld Academie.
The Material Library is an initiative that foregrounds the interconnected material processes underlying the life of the Gerrit Rietveld Academie as a place of education, a building with diverse facilities, and a socio-material community. It seeks to bring the academy’s complex material domain into a visible and graspable realm through a digital, visual database, while also creating publics around and with the materials of the academy. The library expands through intensive workshops called Material Assemblies.
💿 The digital, visual database of the Material Library will be launched this spring. We’ll share more details about that soon!
We warmly invite you to join us for the launch of the publication 𝙃𝙤𝙬 𝙈𝙖𝙩𝙚𝙧𝙞𝙖𝙡 𝘾𝙤𝙢𝙚𝙨 𝙩𝙤 𝙈𝙖𝙩𝙩𝙚𝙧 - 𝙒𝙤𝙧𝙠𝙨𝙝𝙤𝙥𝙨 𝙖𝙨 𝙨𝙞𝙩𝙚𝙨 𝙤𝙛 𝙘𝙤𝙡𝙡𝙚𝙘𝙩𝙞𝙫𝙚 𝙧𝙚𝙨𝙞𝙨𝙩𝙖𝙣𝙘𝙚 𝙖𝙣𝙙 𝙧𝙚𝙞𝙢𝙖𝙜𝙞𝙣𝙖𝙩𝙞𝙤𝙣
🔸 Friday the 13th of March
🔸 18:30 - 20.00
🔸 @san.serriffe
🔸 guests: @always_under_construction_hrm & @clementineedwards
🔸 introduction: @grooooten & @markredele
Join us for an exploration of the many ways artists, researchers, and educators are reimagining how we learn with and through materials. We’ll discuss diverse perspectives that nurture alternative, collective, and reciprocal approaches to learning, approaches grounded in curiosity, collaboration, and shared experience.
Anja Groten and Márk Redele will speak about the collaborative research that led to the publication, as well as its resonances within existing and new material-driven research initiatives.
Invited speakers, Clem Edwards (Material Kinship Reader) and Harriet Rose Morley (Waste Not, Want Not: An Incomplete Manual for Artists, Technicians and Workshops, Hard Wear, Soft Wear) discuss the intersection of materiality, art making and education with labor and collectivity, summoning the conditions under which entrenched hierarchies between "thinking" and "making" may be challenged and reimagined.
After the presentations, the speakers will go into conversation about workshops and labs as sites of fruitful contestation – as places that can resist progress-oriented neoliberal trends and the economization of education.
🔸 More information through the link in our bio.
🔸 graphic design @j_________________________h
𝐼𝐼𝐼𝒳
aluminium, clay residue
I showed a new work, an aluminium piece cast in clay, together with some older photographs and a text at 'Open house open mouth' last week. Alongside @isitcoldinchurch_lxiv , @double_espresso_please , @4eeeva , @nikolalamburov , @kittymariave , @elise.ehry , @monicamays_ , @holamarianolla , @stijn.pommee , @awakaten , @aaromurphy and @dubbldanieljvo .
The cast is based on a wooden beam that was used in the roof construction of the house of my great aunt, recently demolished. It is an unprocessed piece of wood marked with a carved code: 𝐼𝐼𝐼𝒳, indicating its position in the structure and its transformation from wood to timber.
The piece is shown in conjunction with a short text and two photographs. The text expands an earlier submission to @the_documents.org_ . It brings together three houses, their inhabitants(my great aunt, Heidegger and Thomas Mann) and their immediate natural environments as an attempt to explore the ambiguous interconnectedness of violence and nature.
The two photographs were taken in artificial landscapes, shaped by German colonial forest engineering in Todtnau, Germany and Nida, Lithuania, the respective past residencies of Heidegger and Thomas Mann.
Link to the original text(not the version shown): /n-4712-346-e-1810-400/
Thanks for Aaro and Duncan for organizing and hosting the show. 🌸💮
‘How long will it take for the fog to settle? / How long will it take for the fog to lift?’
As shown at the result of a three-month residency at @nidaartcolony on the Curonian Spit in Lithuania.
As warm, humid air crosses over the cold water of the Baltic Sea, the temperature of the air cools to the dew point and the air mass becomes saturated. Coastal fog forms over the water and enters the peninsula. It engulfs the small number of its permanent inhabitants, the idle infrastructure waiting for the tourist season to begin, and the artificial landscape set to fulfil its intended purpose as a recreational forest.
Under these conditions, while on a seaside walk, I discovered a faded and abandoned artifact that might once have served as an information board for visitors from the mainland.
The exhibition features a meticulous replica of the artifact made of locally felled birch deemed unsuitable for carpentry purposes due to claimed quality issues caused by the unstable soil deposited on top of once barren sand dunes. Hollow timber segments allow for artificial fog to disperse in the structure escaping through its cracks and joints.
Conversations at the local Environmental Physics and Chemistry Laboratory in Preila and their measurements of particulate matter in the air shifted the gaze to the peninsula’s artificial source of water condensation, the local heating plant of Nida. A visit led to a series of photographs framed with chestnut wood previously cut down at the local municipality building.
The glazing of each photograph is etched with plant parts of mountain pine, a pioneer plant suited for the unstable soil, marking the beginning of German colonial fantasies in the area. The plant has recently become undesirable in the territory of the national park, and its uprooted cadaver fragments saturate the landscape.
Under the right weather conditions, the steam escaping from the chimney of the local heating plant covers the town of Nida.
Eternally thankful for the caring assembly of @gabijanaik , @wvph , @m1aana , @aiepo_issac . 🧚♂️🌸🔥
‘How long will it take for the fog to settle? / How long will it take for the fog to lift?’
As shown at the result of a three-month residency at @nidaartcolony on the Curonian Spit in Lithuania.
As warm, humid air crosses over the cold water of the Baltic Sea, the temperature of the air cools to the dew point and the air mass becomes saturated. Coastal fog forms over the water and enters the peninsula. It engulfs the small number of its permanent inhabitants, the idle infrastructure waiting for the tourist season to begin, and the artificial landscape set to fulfil its intended purpose as a recreational forest.
Under these conditions, while on a seaside walk, I discovered a faded and abandoned artifact that might once have served as an information board for visitors from the mainland.
The exhibition features a meticulous replica of the artifact made of locally felled birch deemed unsuitable for carpentry purposes due to claimed quality issues caused by the unstable soil deposited on top of once barren sand dunes. Hollow timber segments allow for artificial fog to disperse in the structure escaping through its cracks and joints.
Conversations at the local Environmental Physics and Chemistry Laboratory in Preila and their measurements of particulate matter in the air shifted the gaze to the peninsula’s artificial source of water condensation, the local heating plant of Nida. A visit led to a series of photographs framed with chestnut wood previously cut down at the local municipality building.
The glazing of each photograph is etched with plant parts of mountain pine, a pioneer plant suited for the unstable soil, marking the beginning of German colonial fantasies in the area. The plant has recently become undesirable in the territory of the national park, and its uprooted cadaver fragments saturate the landscape.
Under the right weather conditions, the steam escaping from the chimney of the local heating plant covers the town of Nida.
Eternally thankful for the caring assembly of @gabijanaik , @wvph , @m1aana , @aiepo_issac . 🧚♂️🌸🔥
"Your benevolent dreams are my ocular migraines", inkjet print in ash wood frame, glazed, screen print on glass, 60x75cm
Hillside forest in Todtnau, Baden-Württemberg, Schwarzwald, Germany. On the glass, screen printed, a 3d scan of a fir tree with a growth, recorded nearby. Two woodworm larvae are reclining in a lax posture resting in the texture of the tree. The title hints at a hallucinatory exchange reflecting on chronic pains and daydreaming of better times.
A prologual piece to a body of works that wish to interrogate the possibility of kinship, love and reconciliation as it emerges in vibrant matter, under repressive conditions. A love story that develops along the serial invocations of Cherry Dogwood's body.
As it was shown at "I gazed at your visceral ripples" @gallery.ellipsis in the company of @kleonikistanich , @azul.demonte , @paulagarciasans , @alex91.jpg and @paradise_host 🐙🪲🐛🦗✨
"Cherry's first visit at sea", silicone cast, meranti wood, 35x22cm
An affectionate gathering of woodworm larvae. The soft translucent bodies are tracing the route of the first Pacific typhoon(2004) named after the trade name of the native Southeast Asian wood sort, Meranti. Each larvae got a mouthpiece carved out of the same wood. The typhoon stayed at sea throughout its lifetime.
A prologual piece to a body of works that wish to interrogate the possibility of kinship, love and reconciliation as it emerges in vibrant matter, under repressive conditions. A love story that develops along the serial invocations of Cherry Dogwood's body.
As it was shown at "I gazed at your visceral ripples" @gallery.ellipsis in the company of @kleonikistanich , @azul.demonte , @paulagarciasans , @alex91.jpg and @paradise_host 🐙🪲🐛🦗✨
Aperture
Intervention modifying the original letter slot of the Antwerp gallery @llspaleis . Part of the show Entrouvert created by @019ghent .
Open until 22.10.2023.
Photography by @michieldecleene
