Lucy McRae’s art is driven by her interest in the future, technology, and humanism. Trained in classical ballet and interior design, she merges scientific breakthroughs relating to health and the human body with fictional spatial narratives. Her films and diverse installations place the human body in complex, futuristic scenarios that blur the boundaries between the natural and the artificial. McRae’s diverse works in sculpture, film, photography and installation have been exhibited throughout the world, including at the London Science Museum, Centre Pompidou in Paris, and the Venice Biennale, with artworks developed in collaboration with leading institutions including NASA, MIT, and Ars Electronica.
Bregtje van der Haak
Bregtje van der Haak is a documentary filmmaker and journalist with a special interest in technological culture. Her documentary projects include the feature-length film Ubiquity (2018), Offline is the New Luxury (2017), Satellite Queens (2007 and 2017), Access to Africa (2015), Digital Amnesia (2014), Aftermath of a Crisis (2011).
As a creative director, Van der Haak has developed collaborative transmedia projects including the White Spots app (2016, with Richard Vijgen), Aftermath Project (2010), and Urban Century (2009). She was a curator for Manifesta 12 in Palermo (Italy, 2018), and jurist for the Venice Biennale. She has been a Visiting Associate Professor at the School of Creative Media, City University, Hong Kong, and a returning visiting scholar at USC Annenberg School of Communication and Journalism in Los Angeles, the Sandberg Institute in Amsterdam, and Werkplaats Typografie in Arnhem. Van der Haak regularly contributes to the future affairs series Tegenlicht, produced by VPRO Television.
Danilo Correale is an artist and researcher analysing aspects of human life, including labour, leisure, and sleep, under the lenses of time and body. Recent solo shows include Diranno Che Li ho Uccisi Io at Careof (Italy, 2018), At Work’s End at Art in General (USA, 2017), Tales of Exhaustion at La Loge (Belgium, 2016), and The Missing hour. Rhythms and Algorithms at Raucci/Santamaria Gallery (Italy, 2015).
His numerous group exhibitions include the Istanbul Design Biennial (Turkey, 2018), BEMIS, (USA), Riga International Biennial of Contemporary Art (Latvia), BAK, Utrecht; Vienna Biennale (Austria, 2017), 16th Rome Quadriennale at Palazzo delle Esposizioni, Pigs at Artium Museum (Spain, 2016), and Ennesima, Milan Triennale (Italy, 2015).
Correale is the founder of the Decelerationist Reader. He published They Will Say I Killed Them, NERO publications (Rome) and Reverie. On The Liberation From Work, New York (2018), The Game – A three sided football match, FeC, (Fabriano, 2014) and No More Sleep No More, Archive Books Berlin (2015).
Design Academy Eindhoven
MA Social Design, 1st Year
The Master department of Social Design at Design Academy Eindhoven is a laboratory exploring new roles, contexts and approaches in design for an evolutionary society. The course concentrates on the dynamic interactions between people and embedded systems, in their broadest sense, recognising their full complexity and ever-changing contexts. Contributors: Alice Bardou, Charly Blödel, Bianca Carague, Roberta Di Cosmo, Coline Declef, Charlelie Flamant, Giulio Fuzzi, Jan-Micha Gamer, Anna Klara Iversen, Anna Jakob, Liana Kuyumcuyan, Coltrane Mcdowell, Matilde Patuelli, Marta Rioz Piza, Victoria Plasteig, Elsa Rambaut, Sam Shamsher, Alina Natalia Słup, Adi Ticho.
Leanne Wijnsma’s work uses instinct as design, exploring the relationship between freedom and technology through smell-design and subterranean explorations. The immersive nature of her work lends itself to an investigation into human awareness and the impact of new technologies on individual and collective behaviour. Wijnsma creates experiences for our senses, trusting that instinct evokes an inherent truth and freedom of mind through action. Leanne Wijnsma has an MA in Visual Strategies from the Sandberg Institute Amsterdam, and now teaches Communication & Multimedia Design at the University of Applied Sciences in Utrecht. Her work has been exhibited at the Science Museum (UK), Transmediale (Germany), Biennale Interieur (Belgium) and Beijng Design Week (China). She received an e-culture grant from the Dutch Cultural Media Fund to research and develop The Smell of Data in collaboration with film-maker Froukje Tan.
Melvin Moti has produced several films as well as artist books, objects and drawings, which have been featured in international exhibitions such as the Yokohama Triennale (Japan, 2014), and the Venice Biennale (Italy, 2013). Solo exhibitions include Art Sonje (South Korea, 2017), Mori Art Museum (Japan, 2014), EMPAC (USA, 2014), Pavilion (UK, 2013), Kunsthalle Lissabon (Portugal, 2012), Wiels (Belgium, 2010), The Museum of Modern Art (Germany, 2008), and Stedelijk Museum (the Netherlands, 2007).
Ramon Amaro is a lecturer in the Department of Visual Cultures at Goldsmiths, University of London and a researcher in machine learning, the philosophy of mathematics, black ontologies, and philosophies of being. Amaro completed his PhD in Philosophy at Goldsmiths and holds an MA in Sociological Research from the University of Essex and a BSE in Mechanical Engineering from the University of Michigan, Ann Arbor. Ramon Amaro is a former research fellow at Het Nieuwe Instituut, and visiting lecturer at the Royal Academy of Art (KABK) in the Netherlands.
Richard Vijgen is a designer and artist whose studio for contemporary information culture investigates new strategies to find big stories in big data. He makes interactive data visualisations and installations ranging in scale from the microscopic to the architectural. Though formally rooted in the digital domain, he produces work that connects the digital realm with social and physical spaces. He teaches Information Design and Information Spaces at the ArtEZ School of Art and Design in the Netherlands, and has exhibited internationally at Ars Electronica, ZKM, Vitra Design Museum, Los Angeles County Museum of Art, STRP Biennale, and Manifesta 12.
The Academy for Urban Astronauts
The Academy for Urban Astronauts investigates how earthlings can learn to live as space travellers – with a view of the stars and an insight into the vulnerability of our own planet. The academy is inspired by the overview effect that astronauts experience when they see the Earth from space. For astronauts, the view of our vulnerable living planet in the immense black emptiness of space creates a strong sense of responsibility. The academy publishes and organises night walks and workshops, launching its own podcast in 2018. The Academy for Urban Astronauts is a multidisciplinary project by writer and theatre-maker Marjolijn van Heemstra, and futurology studio Monnik.
Aldo van Eyck
Aldo van Eyck (1918-1999) trained as an architect in Zurich, and after returning to the Netherlands in 1946, worked for the Public Works Department in Amsterdam. He established his fame as an architect with the design of an Amsterdam orphanage (1955-60), the Pastor Van Ars Church in Loosduinen (1963-69) and the PREVI residential complex in Lima, Peru (1969-72). During his collaboration with Theo Bosch, the architects focused on the urban renewal of the Nieuwmarkt neighbourhood in Amsterdam. With his wife Hannie van Roojen, he realised the ESTEC building of the European Space Agency in Noordwijk (1984-89), as well as other projects.
Since its foundation in the early 1950s, Van Eyck became well-known for his involvement in Team 10, as an active member and spokesperson. At the last CIAM congress (1959) he presented his Otterlo Circles, a diagram depicting his design vision of what he termed 'syncretisme' (syncretism), combining seemingly opposed traditions such as informal, classical and modern architecture. He described his ideas and concepts in the unpublished manuscript The Child, the City and the Artist (1962), and several of his articles appeared in the Forum magazine of which he was also an editor (1959-63). He taught at the Academy of Architecture in Amsterdam, at Delft University of Technology, and, together with Piet Blom and Herman Hertzberger, developed Dutch structuralism.
Marjolijn Dijkman is an artist and co-founder of Enough Room for Space. Her works can be seen as a form of science-fiction, partly based on facts and research, but often brought into the realm of fiction, abstraction and speculation. Recent solo exhibitions include HIAP (Finland, 2019), OSL Contemporary (Norway, 2019), NOME (Germany, 2018), and The Munch Museum (Norway, 2018). International exhibitions include Contour Biennale 9 (Belgium, 2019), 4th Screen City Biennale (Norway, 2019), 1st Fiskars Biennale (Finland, 2019).
Toril Johannessen is a Norwegian-based artist combining historical records with fiction and her own investigations. With a focus on how science coexists with other systems of knowledge and belief, her works often have elements of storytelling in visual or written form. Solo shows include Entrée and Trykkeriet (Norway, 2019), OSL Contemporary (Norway, 2019), and Munchmuseet on the Move at The Munch Museum (Norway, 2018). Group shows include LIAF Lofoten International Art Festival (Norway, 2019), Trondheim Art Museum (Norway, 2018), the 13th Bienniale Dakar (Senegal, 2018), and Plug In ICA (Canada, 2017).
BMB con. was founded by Justin Bennett, Wikke ‘t Hooft, and Roelf Toxopeus in 1989. Since 2006 BMB con. consists of Bennett and Toxopeus working together with a changing group of invited artists, performers and collectives. BMB con. incorporate electronic and acoustic music, film, video, and physical theatre into their performances and installations. As well as these fleeting, sometimes unique actions, they publish audio CDs, cassettes, videos and photography. As of 2019 BMB con. has operated with support from the Mondriaan Fund.
Rudy Guedj and Olivier Goethals
Originally designed to create the illusion of a complete vision of the world, the spatial model of the panorama of I See That I See What You Don’t See is deployed here as a medium. Yet, far from proposing a panoptic view, this device articulates a fragmented, incomplete representation of a contemporary landscape. A carrier and archive of research, the panorama also acts as a layered horizon encapsulating historical and current modes of seeing. Dioramas, projections, or smooth screens reveal scenarios we don’t generally get, or choose, to see. Rudy Guedj created the graphic design and visuals and Olivier Goethals was responsible for the spatial design of the exhibition.
Marina Otero Verzier
Marina Otero Verzier is an architect based in Rotterdam. She is currently Director of Research at Het Nieuwe Instituut, and curator of WORK, BODY, LEISURE, the Dutch Pavilion at the Biennale Architettura 2018. With the After Belonging Agency, Marina was Chief Curator of the Oslo Architecture Triennale 2016. From 2011-2015 she was based in New York, where she was Director of Global Network Programming at Studio-X, Columbia University. Her work, recently awarded by The Graham Foundation, Design Trust, and the FAD Thought and Criticism Award, has been published in different books and journals. Marina has co-edited Promiscuous Encounters (2014), Unmanned: Architecture and Security Series (2016), After Belonging: The Objects, Spaces, and Territories of the Ways We Stay In Transit (2016). Otero Verzier studied architecture at TU Delft and ETSA Madrid. In 2013, as a Fulbright Scholar, she graduated from the M.S. in Critical, Curatorial and Conceptual Practices in Architecture at Columbia University GSAPP. She completed her PhD at ETSAM in 2016. She currently teaches at ETSA Madrid and RCA in London.
Angela Rui, PhD, is an Italian curator and researcher based between Milan and Rotterdam, working in design theory and criticism. She co-curated the 25th Design Biennial of Ljubljana (2017), and the accompanying book, both titled Faraway, So Close. Her writings have appeared in publications and catalogues published by several institutions. She curated the 2015 edition of Operae, the independent design festival based in Turin, and the exhibition and catalog Ugo la Pietra. Disequilibrating Design (2014) for the Triennale Design Museum. She has been design editor for Abitare magazine (2011-2013), and curated the editorial project of Icon Design magazine (Mondadori, 2015-2017). As a researcher, she has been involved in Neuhaus, which will take place at Het Nieuwe Instituut in 2019. Until 2016 she taught at the School of Design (Politecnico di Milano) and at the Master of Interior Design program at NABA (Nuova Accademia di Belle Arti in Milan). She currently teaches at the Design Academy Eindhoven, Social Design Master.
Francien van Westrenen
Francien van Westrenen studied Arts and Culture at the Erasmus University Rotterdam and wrote her Master’s thesis on the subject of the future of the art museum. Since then she has worked at various Dutch cultural institutes, the past 11 years as an architecture curator for Stroom Den Haag. There she curated exhibitions such as Another Reality. After Lina Bo Bardi, Proposals for a Qualitative Society with Céline Condorelli and Revolutionary Traces with Ângela Ferreira. Together with Maaike Lauwaert she edited Facing Value. Radical perspectives from the arts (Valiz, 2017). Since March 2018 she has been head of Agency at Het Nieuwe Instituut and responsible for mediating between Dutch designers, makers and architects and (inter)national platforms, manifestations and policymaking. Thereby addressing the innovative force and the international role of the various design sectors.