Stroom Invest Week 2022
7 juni t/m 10 juni 2022
Stroom Den Haag, Hogewal 1-9, Den Haag
De Stroom
Invest Week is een inspirerend programma voor jonge talentvolle Haagse kunstenaars en bezoekende kunstprofessionals, gekoppeld aan de PRO Invest subsidie.
Deze subsidie levert een constructieve bijdrage aan de professionele ontwikkeling van de kunstenaars.
Het doel van de Stroom Invest Week is:
(a) getalenteerde kunstenaars hoogwaardige reflectie en opbouwende kritiek op hun werk te bieden
(b) bijdragen aan het versterken en verbreden van hun netwerken en contacten
(c) bezoekende professionele kunstenaars en curatoren te laten kennismaken met het internationale Haagse kunstenveld en het artistieke klimaat via informele bezoeken aan diverse kunstinstellingen.
(a) getalenteerde kunstenaars hoogwaardige reflectie en opbouwende kritiek op hun werk te bieden
(b) bijdragen aan het versterken en verbreden van hun netwerken en contacten
(c) bezoekende professionele kunstenaars en curatoren te laten kennismaken met het internationale Haagse kunstenveld en het artistieke klimaat via informele bezoeken aan diverse kunstinstellingen.
Interviews op Jegens & Tevens
Met de kunstenaars die deelnemen aan de Stroom Invest Week 2022 verschijnen in de komende tijd interviews op Jegens en Tevens. Klik op de onderstaande titels in de lijsten Deelnemende Kunstenaars om de interviews te lezen.
Met de kunstenaars die deelnemen aan de Stroom Invest Week 2022 verschijnen in de komende tijd interviews op Jegens en Tevens. Klik op de onderstaande titels in de lijsten Deelnemende Kunstenaars om de interviews te lezen.
DEELNEMENDE KUNSTENAARS
Aan de Invest Week 2022 doen kunstenaars mee die in 2021 een PRO Invest subsidie ontvingen. In alfabetische volgorde:
Jan Dirk Adams
>> Profiel op Haagsekunstenaars.nl
Jegens & Tevens, 19 April 2022
>> Stroom Invest interview / artist Jan Dirk Adams
Leonie Brandner
>> Profiel op Haagsekunstenaars.nl
Jegens & Tevens, 19 April 2022
>> Stroom Invest interview / artist Jan Dirk Adams
Leonie Brandner
>> Profiel op Haagsekunstenaars.nl
Jegens & Tevens, 12 May 2022
>> Stroom Invest interviews / artist Leonie Brandner
Biba Cole
>> Profiel op Haagsekunstenaars.nl
Jegens & Tevens, 12 May 2022
>> Stroom Invest interviews / artist Leonie Brandner
Biba Cole
>> Profiel op Haagsekunstenaars.nl
Jegens & Tevens, 25 April 2022
>> Stroom Invest interviews / artist Philipp Groubnov
Thijs Jaeger
>> Profiel op Haagsekunstenaars.nl
Jegens & Tevens, 24 May 2022
>> Stroom Invest interviews / artist Thijs Jaeger
Laura Jatkowski
>> Profiel op Haagsekunstenaars.nl
>> Stroom Invest interviews / artist Philipp Groubnov
Thijs Jaeger
>> Profiel op Haagsekunstenaars.nl
Jegens & Tevens, 24 May 2022
>> Stroom Invest interviews / artist Thijs Jaeger
Laura Jatkowski
>> Profiel op Haagsekunstenaars.nl
Alejandra López
>> Profiel op Haagsekunstenaars.nl
Jegens & Tevens, 20 May 2022
>> Stroom Invest interviews / artist Alejandra López
Jiajia Qi
>> Profiel op Haagsekunstenaars.nl
Jegens & Tevens, 4 May 2022
>> Stroom Invest interviews / artist Jiajia Qi
>> Profiel op Haagsekunstenaars.nl
Jegens & Tevens, 4 May 2022
>> Stroom Invest interviews / artist Jiajia Qi
Alexander Webber
>> Profiel op Haagsekunstenaars.nl
Jegens & Tevens, 9 May 2022
>> Stroom Invest interviews / artist Alexander Webber
UITGENODIGDE CURATOREN & KUNSTENAARS
In alfabetische volgorde.
David Bade
David Bade (1970, Curacao). Living partly in the Netherlands and on Curacao where he is co-founder of Instituto Buena Bista (IBB). With recognition in the museum world from an early age David Bade developed from end nineties one direction in his work which was more social orientated and included aspects such as participation that resulted in large group environments. With his initiative of the ArteSwa Foundation (2004) was also formed the basis of his return to his native island of Curacao to develop a firm platform for art, education and care: the IBB, Instituto Buena Bista (2006). There in close cooperation with Tirzo Martha and a small team, he has been working since 2006 to the future of young creative talents and the improvement of the arts on the island. IBB also facilitates workshops and artist in residence studios and is situated on the compound of the local psychiatry Klinika Capriles.
The founders of IBB want to provide a platform for contemporary art that simultaneously stimulates awareness and enrichment of the indigenous cultural heritage while introducing to the island new cultural developments from around the world. The Institute's core activities consist of organising a visual arts orientation course, broader upbringing and preparation for talented Cura?aoan youngsters between the ages of 15 and 25, and assigning them to a professional overseas follow-up course in the fine or applied arts. The IBB ensures that the students receive close supervision overseas, but also motivates them to return to Curacao afterwards. After all, the Institute believes that creative talent, a new mentality and an academic background are necessary to break with the colonial past of the island and build a new society. In 2021, IBB was in the Rijksmuseum Amsterdam with a 4-month inter-active installation, on the occasion of the major historical exhibition about The Netherlands and their history with slavery. Since 2016, IBB and Kunsthal Rotterdam have started a structural collaboration under the name of AYCA, All You Can Art. The vision of IBB on art, education, social engagement and participation is translated into projects in Rotterdam and the Netherlands.
In addition to his more autonomous works (for example 4 sculptures in public space in The Hague and more than 20 works in the collection of Kunstmuseum The Hague) and projects, Bade always focuses on communication and interaction with his audience and specific target groups. This takes place on city squares, in museums, but also in the health center sector, or with groups that can unburden themselves with art. In doing so, he strives for continuity and sustainable contexts, such as on Curacao and with AYCA in Rotterdam. His lifelong project DBTHODT -David Bade tekent Heerlen onder de tafel - in collaboration with art center SCHUNCK in Heerlen is also an example of this vision.
David Bade (1970, Curacao). Living partly in the Netherlands and on Curacao where he is co-founder of Instituto Buena Bista (IBB). With recognition in the museum world from an early age David Bade developed from end nineties one direction in his work which was more social orientated and included aspects such as participation that resulted in large group environments. With his initiative of the ArteSwa Foundation (2004) was also formed the basis of his return to his native island of Curacao to develop a firm platform for art, education and care: the IBB, Instituto Buena Bista (2006). There in close cooperation with Tirzo Martha and a small team, he has been working since 2006 to the future of young creative talents and the improvement of the arts on the island. IBB also facilitates workshops and artist in residence studios and is situated on the compound of the local psychiatry Klinika Capriles.
The founders of IBB want to provide a platform for contemporary art that simultaneously stimulates awareness and enrichment of the indigenous cultural heritage while introducing to the island new cultural developments from around the world. The Institute's core activities consist of organising a visual arts orientation course, broader upbringing and preparation for talented Cura?aoan youngsters between the ages of 15 and 25, and assigning them to a professional overseas follow-up course in the fine or applied arts. The IBB ensures that the students receive close supervision overseas, but also motivates them to return to Curacao afterwards. After all, the Institute believes that creative talent, a new mentality and an academic background are necessary to break with the colonial past of the island and build a new society. In 2021, IBB was in the Rijksmuseum Amsterdam with a 4-month inter-active installation, on the occasion of the major historical exhibition about The Netherlands and their history with slavery. Since 2016, IBB and Kunsthal Rotterdam have started a structural collaboration under the name of AYCA, All You Can Art. The vision of IBB on art, education, social engagement and participation is translated into projects in Rotterdam and the Netherlands.
In addition to his more autonomous works (for example 4 sculptures in public space in The Hague and more than 20 works in the collection of Kunstmuseum The Hague) and projects, Bade always focuses on communication and interaction with his audience and specific target groups. This takes place on city squares, in museums, but also in the health center sector, or with groups that can unburden themselves with art. In doing so, he strives for continuity and sustainable contexts, such as on Curacao and with AYCA in Rotterdam. His lifelong project DBTHODT -David Bade tekent Heerlen onder de tafel - in collaboration with art center SCHUNCK in Heerlen is also an example of this vision.
Kim Córdova
Kim Córdova is a Mexican-American artist, writer, and occasional curator. Her writing has appeared in numerous publications including Art Agenda, Art Review, deAppel, frieze, SFMOMA's Open Space, and Momus where she was the Mexico City Contributing Editor. Her texts were shortlisted for the 2017 and 2020 International Award for Criticism and she was selected for the 2020 Art Writer Workshop, a collaboration between the Andy Warhol Foundation and the International Association of Art Critics. In 2021 she was named a Zhi-Xing Eisenhower Fellow.
As an artist her work has been exhibited in numerous international group shows including at Centro de Arte los Latned Atsar (Los Angeles) Galpones (Caracas) Miami (Bogotá), Museo de Arte Zapopan (Guadalajara), the Museo ExTeresa (CDMX), CCA Wattis (San Francisco), LACE (Los Ángeles) and Spike Quarterly (Berlin). Select individual shows include Biquini Wax (CDMX), Casa Mauaad (CDMX), Soma (CDMX), and The Situation Room (Los Ángeles).
Córdova is currently a Master of Design Studies candidate at the Harvard Graduate School of Design. She is a graduate of the two year post graduate studio art program at Soma (Mexico City) and received her BA from UCSB's College of Creative Studies (Santa Barbara, CA). By day she is the director of Mexico City based glass design brand Vissio.
Nikola Dietrich
Nikola Dietrich is an art historian and curator, and since July 2018 appointed director of Kölnischer Kunstverein, Cologne. She was head curator at the Museum of Contemporary Art in Basel from 2008-2013, where she curated survey exhibitions of Henrik Olesen, Hilary Llyod, Rodney Graham, Monica Bonvicini / Tom Burr, Tim Rollins & K.O.S., Robert Gober, as well as the exhibition "Tell it to my heart. Collected by Julie Ault", among many others.
She also co-inititated the exhibition space Elaine, the Museum für Gegenwartskunst's adjacent ‘project room' which was running from 2011 to 2013, together with Hannah Weinberger, Tenzing Barshee and Scott Weaver.
Nikola Dietrich is an art historian and curator, and since July 2018 appointed director of Kölnischer Kunstverein, Cologne. She was head curator at the Museum of Contemporary Art in Basel from 2008-2013, where she curated survey exhibitions of Henrik Olesen, Hilary Llyod, Rodney Graham, Monica Bonvicini / Tom Burr, Tim Rollins & K.O.S., Robert Gober, as well as the exhibition "Tell it to my heart. Collected by Julie Ault", among many others.
She also co-inititated the exhibition space Elaine, the Museum für Gegenwartskunst's adjacent ‘project room' which was running from 2011 to 2013, together with Hannah Weinberger, Tenzing Barshee and Scott Weaver.
She was curator at Portikus in Frankfurt from 2004-2007, where she realized a large number of exhibitions accompanied by publications, among them projects with Francis Alys, John Baldessari, Judith Hopf, Paulina Olowska and Bonnie Camplin.
Since 2014 she is also co-editor of Starship Magazine, published in Berlin. There she is responsible for the exhibitions and public programme. Those include Masculinities, Guilty Curtain, and exhibitions with Loretta Fahrenholz, Daniela Ortiz, Genoveva Filipovic, Dorothy Iannone & Juliette Blightman, Tony Conrad, Jay Chung & Q Takeki Maeda, among others.
Kris Dittel
Kris Dittel is a Rotterdam-based curator, editor and occasional writer. Informed by her background in economics and social sciences, her curatorial practice pays attention to the social, political and economic context of her work. Her long-term research projects materialise in a multitude of ways, as exhibitions, performances, publications, talks, public events, and other. Most recent research interests include Forms of Kinship (Temporary Gallery CCA, Cologne 2022); The Voice as Material (Post-Opera at TENT, V2_, Operadagen Rotterdam, 2019); and the question of value (The Trouble with Value at Bunkier Sztuki, Krakow and Onomatopee, Eindhoven, 2016-19). With Eloise Sweetman Kris co-hosts I Hope This Message Finds You Well, a podcast about curating. Kris has edited several publications, most recently The Material Kinship Reader co-edited with Clementine Edwards (Onomatopee, 2021), The Trouble with Value: Art and Its Modes of Valuation (Onomatopee, 2020), Marjolijn Dijkman: Radiant Matter (Onomatopee, 2018), The Economy is Spinning (Onomatopee, 2017), and Antonis Pittas: Road to Victory (co-edited with Clare Butcher, Mousse Publishing and Hordaland Kunstsenter, 2017). At present Kris is thesis supervisor at Piet Zwart Institute, Master Interior Architecture: Research + Design (MIARD). In 2022 she's Mediankunst fellow NRW, hosted by Temporary Gallery in Cologne.
https://krisdittel.com
Kris Dittel is a Rotterdam-based curator, editor and occasional writer. Informed by her background in economics and social sciences, her curatorial practice pays attention to the social, political and economic context of her work. Her long-term research projects materialise in a multitude of ways, as exhibitions, performances, publications, talks, public events, and other. Most recent research interests include Forms of Kinship (Temporary Gallery CCA, Cologne 2022); The Voice as Material (Post-Opera at TENT, V2_, Operadagen Rotterdam, 2019); and the question of value (The Trouble with Value at Bunkier Sztuki, Krakow and Onomatopee, Eindhoven, 2016-19). With Eloise Sweetman Kris co-hosts I Hope This Message Finds You Well, a podcast about curating. Kris has edited several publications, most recently The Material Kinship Reader co-edited with Clementine Edwards (Onomatopee, 2021), The Trouble with Value: Art and Its Modes of Valuation (Onomatopee, 2020), Marjolijn Dijkman: Radiant Matter (Onomatopee, 2018), The Economy is Spinning (Onomatopee, 2017), and Antonis Pittas: Road to Victory (co-edited with Clare Butcher, Mousse Publishing and Hordaland Kunstsenter, 2017). At present Kris is thesis supervisor at Piet Zwart Institute, Master Interior Architecture: Research + Design (MIARD). In 2022 she's Mediankunst fellow NRW, hosted by Temporary Gallery in Cologne.
https://krisdittel.com
Guus van Engelshoven
Guus van Engelshoven (Maastricht, 1988) werkt sinds juni 2022 bij Museum Hedendaagse Kunst De Domijnen als conservator om - samen met een team van enthousiaste, deskundige collega's - bijzondere tentoonstellingen te realiseren. Tot 2022 was hij tevens werkzaam als Regiomakelaar Limburg bij het Mondriaan Fonds, het nationale fonds voor beeldende kunst en erfgoed, en als Projectleider verbonden aan het Bonnefanten in Maastricht. Daarnaast werkt hij als schrijver, redacteur en curator en schrijft hij teksten voor kunstenaars, musea, verzamelaars en overheidsinstellingen. In het verleden was hij onder meer werkzaam bij Marres in Maastricht en De Appel in Amsterdam. Tussen 2013 en 2018 was hij adviseur beeldende kunst en vormgeving van de Gemeente Maastricht. Hij schrijft regelmatig over hedendaagse kunst in het kunstblad Metropolis M en is de trotse bestuursvoorzitter van het opera- en muziektheatergezelschap Het Geluid Maastricht en de band YIN YIN.
Guus van Engelshoven (Maastricht, 1988) werkt sinds juni 2022 bij Museum Hedendaagse Kunst De Domijnen als conservator om - samen met een team van enthousiaste, deskundige collega's - bijzondere tentoonstellingen te realiseren. Tot 2022 was hij tevens werkzaam als Regiomakelaar Limburg bij het Mondriaan Fonds, het nationale fonds voor beeldende kunst en erfgoed, en als Projectleider verbonden aan het Bonnefanten in Maastricht. Daarnaast werkt hij als schrijver, redacteur en curator en schrijft hij teksten voor kunstenaars, musea, verzamelaars en overheidsinstellingen. In het verleden was hij onder meer werkzaam bij Marres in Maastricht en De Appel in Amsterdam. Tussen 2013 en 2018 was hij adviseur beeldende kunst en vormgeving van de Gemeente Maastricht. Hij schrijft regelmatig over hedendaagse kunst in het kunstblad Metropolis M en is de trotse bestuursvoorzitter van het opera- en muziektheatergezelschap Het Geluid Maastricht en de band YIN YIN.
Manus Groenen
Manus Groenen (1986) is an art educator, critic, writer and occasional curator. He teaches contemporary art theory at the Fontys Hogeschool voor de Kunsten in Tilburg, where he is also the propaedeutic coordinator. Past teaching posts have been at AKV St.Joost Breda/Den Bosch, ArtEZ University of the Arts Arnhem and the Universiteit Utrecht. He was in charge of the public program and education at De Lustwarande in Tilburg and at the second Triennial van Beetsterzwaag organized by Kunsthuis SYB.
As a freelance art critic and writer he writes for artists, magazines like Metropolis M and Artslant and art institutions like De Pont Tilburg and IMPAKT. Currently he is working for Kunsten92 on a series of interviews about the Fair Practice Code. He was a member of the board of AIR Platform Brabant and chair of the board of Tubelight. He is also part of the culture committee which advises the city of Rotterdam on projectsubsidies.
Manus Groenen (1986) is an art educator, critic, writer and occasional curator. He teaches contemporary art theory at the Fontys Hogeschool voor de Kunsten in Tilburg, where he is also the propaedeutic coordinator. Past teaching posts have been at AKV St.Joost Breda/Den Bosch, ArtEZ University of the Arts Arnhem and the Universiteit Utrecht. He was in charge of the public program and education at De Lustwarande in Tilburg and at the second Triennial van Beetsterzwaag organized by Kunsthuis SYB.
As a freelance art critic and writer he writes for artists, magazines like Metropolis M and Artslant and art institutions like De Pont Tilburg and IMPAKT. Currently he is working for Kunsten92 on a series of interviews about the Fair Practice Code. He was a member of the board of AIR Platform Brabant and chair of the board of Tubelight. He is also part of the culture committee which advises the city of Rotterdam on projectsubsidies.
João Laia
João Laia (1981, Lisbon) is chief curator for exhibitions at Kiasma Museum of Contemporary Art, Helsinki. With Valentinas Klimašauskas, Laia co-curated the 14th Baltic Triennial (2021). Recent theme exhibitions include MASKS (2020) and 10000 Years Later Between Venus and Mars (2017-2018), City Hall Gallery, Porto; In Free Fall (2019), CaixaForum, Barcelona; Vanishing Point (2019) Cordoaria Nacional, Lisbon; Drowning in a Sea of Data (2019) and Transmissions from the Etherspace (2017), La Casa Encendida, Madrid; foreign bodies (2018), P420, Bologna; H Y P E R C O N N E C T E D (2016), MMOMA - Moscow Museum of Modern Art; Hybridize or Disappear (2015), MNAC - National Museum of Contemporary Art, Lisbon. Laia co-curated the 19th and 20th editions of the biannual Contemporary Art Festival Sesc_Videobrasil (2014-18), São Paulo. Other exhibitions, performance programmes and screenings were held at Moderna Museet (Stockholm), Kurzfilmtage International Short Film Festival Oberhausen and Delfina Foundation, South London Gallery and Whitechapel Gallery (all in London). Laia has published in platforms such as Art Monthly, frieze, Mousse, Spike or Terremoto and was part of conferences, lectures and panel discussions at ARC Bucharest, Art Basel Hong Kong, CAC - Centro de Arte Contemporáneo, Quito, Instituto Iberê Camargo, Porto Alegre, JNU - Jawaharlal Nehru University, Delhi, Kyoto Art Centre or LIMA, Amsterdam.
João Laia (1981, Lisbon) is chief curator for exhibitions at Kiasma Museum of Contemporary Art, Helsinki. With Valentinas Klimašauskas, Laia co-curated the 14th Baltic Triennial (2021). Recent theme exhibitions include MASKS (2020) and 10000 Years Later Between Venus and Mars (2017-2018), City Hall Gallery, Porto; In Free Fall (2019), CaixaForum, Barcelona; Vanishing Point (2019) Cordoaria Nacional, Lisbon; Drowning in a Sea of Data (2019) and Transmissions from the Etherspace (2017), La Casa Encendida, Madrid; foreign bodies (2018), P420, Bologna; H Y P E R C O N N E C T E D (2016), MMOMA - Moscow Museum of Modern Art; Hybridize or Disappear (2015), MNAC - National Museum of Contemporary Art, Lisbon. Laia co-curated the 19th and 20th editions of the biannual Contemporary Art Festival Sesc_Videobrasil (2014-18), São Paulo. Other exhibitions, performance programmes and screenings were held at Moderna Museet (Stockholm), Kurzfilmtage International Short Film Festival Oberhausen and Delfina Foundation, South London Gallery and Whitechapel Gallery (all in London). Laia has published in platforms such as Art Monthly, frieze, Mousse, Spike or Terremoto and was part of conferences, lectures and panel discussions at ARC Bucharest, Art Basel Hong Kong, CAC - Centro de Arte Contemporáneo, Quito, Instituto Iberê Camargo, Porto Alegre, JNU - Jawaharlal Nehru University, Delhi, Kyoto Art Centre or LIMA, Amsterdam.
Ola Vasiljeva
Ola Vasiljeva (1981, Latvia) is visual artist and co-director of Page Not Found —an art space in The Hague dedicated to promoting artistic publishing. Ola lives and works in The Hague. Her work has been widely exhibited internationally, including solo exhibitions at Indipendenza Roma (IT), BOZAR Centre for Contemporary Art (BE), Passerelle (FR), Vleeshal (NL), Kunstverein Münich (DE), Kunstverein Graz (AT), Supportico Lopez (DE), Pori Art Museum (FI), Kaiser Wilhelm Museum (DE), Art in General (US), kim? (LV) , De Appel (NL), and others. Ola Vasiljeva is the founding member of OAOA (The Oceans Academy Of Arts).
Vasiljeva creates immersive installations, in which she fuses literary, social and cultural references to create evocative choreographed tableaux. Her practice is informed by theatricality and often seeks to subvert the sense of place, bringing the work to the realms of fiction and stage. Vasiljeva's practice is currently concerned with the notions of decline, collapse of knowledge forms and social and cultural temporalities Ola Vasiljeva has been recently guest teaching at the Sandberg Instituut, Werkplaats Typografie, HEAD University of Art and Design (Geneva) and Nürnberg Academy (DE).
Vasiljeva creates immersive installations, in which she fuses literary, social and cultural references to create evocative choreographed tableaux. Her practice is informed by theatricality and often seeks to subvert the sense of place, bringing the work to the realms of fiction and stage. Vasiljeva's practice is currently concerned with the notions of decline, collapse of knowledge forms and social and cultural temporalities Ola Vasiljeva has been recently guest teaching at the Sandberg Instituut, Werkplaats Typografie, HEAD University of Art and Design (Geneva) and Nürnberg Academy (DE).
Pieter Vermeulen
Pieter Vermeulen (BE, 1983) is an art critic, lecturer, researcher and curator. He is currently affiliated to PXL-MAD (Media, Arts & Design faculty) in Hasselt, where he teaches contemporary art & theory and acts as artistic director of university gallery KRIEG, where he realised solo exhibitions with Julien Meert, Pilvi Takala, Wesley Meuris, Ryan Gander, Grace Ndiritu and Assaf Gruber. Additionally, he teaches courses in artistic research, art theory and self-organization at St Lucas School of Arts in Antwerp. Pieter works as a writer/editor for, among others, the Belgian contemporary art magazines HART and Rekto:Verso and numerous art catalogues.
Pieter Vermeulen (BE, 1983) is an art critic, lecturer, researcher and curator. He is currently affiliated to PXL-MAD (Media, Arts & Design faculty) in Hasselt, where he teaches contemporary art & theory and acts as artistic director of university gallery KRIEG, where he realised solo exhibitions with Julien Meert, Pilvi Takala, Wesley Meuris, Ryan Gander, Grace Ndiritu and Assaf Gruber. Additionally, he teaches courses in artistic research, art theory and self-organization at St Lucas School of Arts in Antwerp. Pieter works as a writer/editor for, among others, the Belgian contemporary art magazines HART and Rekto:Verso and numerous art catalogues.
As a curator, Pieter set up exhibition projects at MOCA Shanghai/Buda Kortrijk (2009), Bund18/World Expo (Belgian Pavilion, Shanghai, 2010), Extra City (Antwerp, 2011), BE-PART (Waregem, 2012), SAVVY Contemporary (2013), Marres House for Contemporary Culture, Maastricht, 2013), Museum of Post-Digital Cultures (2014), La Cambre (Brussels, 2015) and HISK (Brussels/Ghent, 2021). Pieter Vermeulen is an alumnus of the ICI Curatorial Intensive (New York City, 2011) and former resident at Vessel (Bari, 2011). Between 2013 and 2015, Pieter worked as a curator for De Nieuwe Opdrachtgevers (The New Patrons), providing professional mediation for public art commissions. He is the co-founder of POPPOSITIONS (off-fair in Brussels since 2012) and the BORG biennial in Antwerp (2014-2018). In 2021, he was appointed as curator at the HISK (Higher Institute for Fine Arts).
After his graduation in Philosophy and Cultural Studies, Vermeulen worked at the School of Arts (KASK/ Conservatorium) in Ghent (2008-2011), Ghent University - S:PAM (Studies in Performing Arts and Media) (2013-2017) and the Master of Research in Art & Design at St Lucas School of Arts in Antwerp (2014-2019). In those capacities, he moderated and co-/organized several international conferences and research seminars. In 2019, he was a guest tutor at the Saas-Fee Summer Institute of Art in Berlin.
Riet Wijnen
Riet Wijnen (b.1988, Venray, NL. Lives in Amsterdam) is an artist whose practice involves sculpture, photograms, working through texts, woodcuts and more recently, type design. She is interested in incomplete histories of abstraction, and what and who are already there in ways we might not yet know. To do this she looks to elders, hosting practitioners from the past and present within her work who have been active in the field of art during early modernism, or in science, philosophy, education and activism. Bringing them together through fictional conversations and sculptures to reconsider histories and better understand what comes next, Wijnen centers perception, language and organizational structures. This research comes together in the cycle Sixteen Conversations on Abstraction (2015) and publications related to language and biographies of female modernists that provide sources for her practice while functioning independently, such as Saloua Raouda Choucair (2022), Homophone Dictionary (2019), Grace Crowley (2019), Abstraction Création: Art non-figuratif (reprint and translation) (2014) and Marlow Moss (2013). Wijnen has had solo exhibitions at venues including Kunstverein Milano (2022), Manifold Books, Amsterdam (2019); Lumen Travo, Amsterdam (2018); P/////AKT, Amsterdam (2016) and Dolores, Ellen de Bruijne Projects, Amsterdam (2015). She was a resident at the Rijksakademie van beeldende kunsten (2017-18) and has participated in groups shows at, among others, SculptureCenter, New York; John Hansard Gallery, Southampton; The Center for Contemporary Art & Culture at PNCA, Portland; Casco Art Institute: Working for the Commons, Utrecht and Index - The Swedish Contemporary Art Foundation, Stockholm. Wijnen teaches in the Graphic Design and TXT department of the Gerrit Rietveld Academie, Amsterdam and in 2022 is a resident at the Van Doesburghuis in Paris and Sundaymorning@ekwc in Oisterwijk, NL.
Riet Wijnen (b.1988, Venray, NL. Lives in Amsterdam) is an artist whose practice involves sculpture, photograms, working through texts, woodcuts and more recently, type design. She is interested in incomplete histories of abstraction, and what and who are already there in ways we might not yet know. To do this she looks to elders, hosting practitioners from the past and present within her work who have been active in the field of art during early modernism, or in science, philosophy, education and activism. Bringing them together through fictional conversations and sculptures to reconsider histories and better understand what comes next, Wijnen centers perception, language and organizational structures. This research comes together in the cycle Sixteen Conversations on Abstraction (2015) and publications related to language and biographies of female modernists that provide sources for her practice while functioning independently, such as Saloua Raouda Choucair (2022), Homophone Dictionary (2019), Grace Crowley (2019), Abstraction Création: Art non-figuratif (reprint and translation) (2014) and Marlow Moss (2013). Wijnen has had solo exhibitions at venues including Kunstverein Milano (2022), Manifold Books, Amsterdam (2019); Lumen Travo, Amsterdam (2018); P/////AKT, Amsterdam (2016) and Dolores, Ellen de Bruijne Projects, Amsterdam (2015). She was a resident at the Rijksakademie van beeldende kunsten (2017-18) and has participated in groups shows at, among others, SculptureCenter, New York; John Hansard Gallery, Southampton; The Center for Contemporary Art & Culture at PNCA, Portland; Casco Art Institute: Working for the Commons, Utrecht and Index - The Swedish Contemporary Art Foundation, Stockholm. Wijnen teaches in the Graphic Design and TXT department of the Gerrit Rietveld Academie, Amsterdam and in 2022 is a resident at the Van Doesburghuis in Paris and Sundaymorning@ekwc in Oisterwijk, NL.
Stroom Invest Week: visit to Nest
foto: Stroom Den Haag
foto: Stroom Den Haag
Stroom Invest Week: visit to The Balcony
foto: Stroom Den Haag
foto: Stroom Den Haag
Stroom Invest Week: visit to West
foto: Stroom Den Haag
foto: Stroom Den Haag
Stroom Invest Week: visit to Billytown
foto: Stroom Den Haag
foto: Stroom Den Haag
Stroom Invest Week: visit to Page Not Found
foto: Stroom Den Haag
foto: Stroom Den Haag
Stroom Invest Week: visit to Parts Project
foto: Stroom Den Haag
foto: Stroom Den Haag
Stroom Invest Week: visit to Pulchri
foto: Stroom Den Haag
foto: Stroom Den Haag
Stroom Invest Week: visit to 1646
foto: Stroom Den Haag
foto: Stroom Den Haag
Stroom Invest Week: visit to Trixie
foto: Stroom Den Haag
foto: Stroom Den Haag
Stroom Invest Week: visit to Quartair
foto: Stroom Den Haag
foto: Stroom Den Haag
Stroom Invest Week studio visit: Gabriela Acha + Nikola Dietrich
foto: Myung Feyen, courtesy Stroom Den Haag
foto: Myung Feyen, courtesy Stroom Den Haag
Stroom Invest Week studio visit: Jan Dirk Adams + Guus van Engelshoven
foto: Myung Feyen, courtesy Stroom Den Haag
foto: Myung Feyen, courtesy Stroom Den Haag
Stroom Invest Week studio visit: Leonie Brandner + Riet Wijnen
foto: Myung Feyen, courtesy Stroom Den Haag
foto: Myung Feyen, courtesy Stroom Den Haag
Stroom Invest Week studio visit: Biba Cole + Manus Groenen
foto: Myung Feyen, courtesy Stroom Den Haag
foto: Myung Feyen, courtesy Stroom Den Haag
Stroom Invest Week studio visit: Philipp Groubnov + Pieter Vermeulen
foto: Myung Feyen, courtesy Stroom Den Haag
foto: Myung Feyen, courtesy Stroom Den Haag
Stroom Invest Week studio visit: Thijs Jaeger + Manus Groenen
foto: Myung Feyen, courtesy Stroom Den Haag
foto: Myung Feyen, courtesy Stroom Den Haag
Stroom Invest Week studio visit: Laura Jatkowski + Ola Vasiljeva
foto: Myung Feyen, courtesy Stroom Den Haag
foto: Myung Feyen, courtesy Stroom Den Haag
Stroom Invest Week studio visit: Shani Leseman + Guus van Engelshoven
foto: Myung Feyen, courtesy Stroom Den Haag
foto: Myung Feyen, courtesy Stroom Den Haag
Stroom Invest Week studio visit: Alejandra López + David Bade
foto: Myung Feyen, courtesy Stroom Den Haag
foto: Myung Feyen, courtesy Stroom Den Haag
Stroom Invest Week studio visit: Jiajia Qi + Nikola Dietrich
foto: Myung Feyen, courtesy Stroom Den Haag
foto: Myung Feyen, courtesy Stroom Den Haag
Stroom Invest Week studio visit: Katerina Sidorova + Kris Dittel
foto: Myung Feyen, courtesy Stroom Den Haag
foto: Myung Feyen, courtesy Stroom Den Haag
Stroom Invest Week studio visit: Alexander Webber + Kim Cordova
foto: Myung Feyen, courtesy Stroom Den Haag
foto: Myung Feyen, courtesy Stroom Den Haag
Gabriela Acha
foto: Susana Perez
foto: Susana Perez
Leonie Brandner
foto: courtesy the artist
foto: courtesy the artist
Jan Dirk Adams
foto: courtesy the artist
foto: courtesy the artist
Biba Cole
foto: courtesy the artist
foto: courtesy the artist
Philipp Groubnov
foto: courtesy the artist
foto: courtesy the artist
Thijs Jaeger
foto: courtesy the artist
foto: courtesy the artist
Laura Jatkowski
foto: courtesy the artist
foto: courtesy the artist
Shani Leseman
Alejandra López
foto: courtesy the artist
foto: courtesy the artist
Jiajia Qi
foto: courtesy the artist
foto: courtesy the artist
Katerina Sidorova
foto: courtesy the artist
foto: courtesy the artist
Alexander Webber
foto: courtesy the artist
foto: courtesy the artist
David Bade
foto: Luc Lodder
foto: Luc Lodder
Kim Cordova
foto: courtesy the artist
foto: courtesy the artist
Nikola Dietrich
foto: courtesy the curator
foto: courtesy the curator
Kris Dittel
Guus van Engelshoven
foto: courtesy the curator
foto: courtesy the curator
Manus Groenen
foto: courtesy the curator
foto: courtesy the curator
Joao Laia
foto: Pirje Mykkanen
foto: Pirje Mykkanen
Ola Vasiljeva
foto: courtesy the curator
foto: courtesy the curator
Pieter Vermeulen
foto: courtesy the curator
foto: courtesy the curator
Riet Wijnen