Related
Exhibition
December 2021

Material Context: Master Fine Art 2020/2021 Graduation Exhibition

Piet Zwart Institute

Guillem S. Arquer, untitled (a forest after rain), 2021. Household organic waste, mowed grass, compostable bags, 100 copies of the artist's MFA thesis Happy worms in luxury optimal environments (2021), aged compost from community orchards and its communities of bacteria, fungi nematodes, protozoa, arthropods, and earthworms, dimensions variable. Photo: Studio Wolphi.

Guillem S. Arquer, untitled (a forest after rain), 2021. Household organic waste, mowed grass, compostable bags, 100 copies of the artist's MFA thesis Happy worms in luxury optimal environments (2021), aged compost from community orchards and its communities of bacteria, fungi nematodes, protozoa, arthropods, and earthworms, dimensions variable. Photo: Studio Wolphi.

Guillem S. Arquer, untitled (a forest after rain), 2021. Household organic waste, mowed grass, compostable bags, 100 copies of the artist's MFA thesis Happy worms in luxury optimal environments (2021), aged compost from community orchards and its communities of bacteria, fungi nematodes, protozoa, arthropods, and earthworms, dimensions variable. Photo: Studio Wolphi.

Guillem S. Arquer, untitled (a forest after rain), 2021. Household organic waste, mowed grass, compostable bags, 100 copies of the artist's MFA thesis Happy worms in luxury optimal environments (2021), aged compost from community orchards and its communities of bacteria, fungi nematodes, protozoa, arthropods, and earthworms, dimensions variable. Photo: Studio Wolphi.

Guillem S. Arquer, untitled (a forest after rain), 2021. Household organic waste, mowed grass, compostable bags, 100 copies of the artist's MFA thesis Happy worms in luxury optimal environments (2021), aged compost from community orchards and its communities of bacteria, fungi nematodes, protozoa, arthropods, and earthworms, dimensions variable. Photo: Studio Wolphi.

Emma Astner Jansson, Potent situations - waiting for something to dry, 2021. Sound installation. Photo: Studio Wolphi.

Emma Astner Jansson, Potent situations - waiting for something to dry, 2021. Sound installation. Photo: Studio Wolphi.

Emma Astner Jansson, Potent situations - waiting for something to dry, 2021. Sound installation. Photo: Studio Wolphi.

Emma Astner Jansson, Freedom for the pike is death for the minnows: The rewriting of Antigone, 2021. Video installation. Photo: Studio Wolphi.

Emma Astner Jansson, Freedom for the pike is death for the minnows: The rewriting of Antigone, 2021. Video installation. Photo: Studio Wolphi.

Linus Bonduelle, Riddle of the Sphinx, 2021. Wood, found metal objects, steel, nails, and string, 80 × 50 × 250 cm. Photo: Guillem S. Arquer.

Linus Bonduelle, Sticks and bells may make me dwell but chimes will never herd me, 2021. Wood, steel, nails, bottle caps, string, Styrofoam, plum, olive, and lychee pits, dimensions variable. Photo: Studio Wolphi.

Linus Bonduelle, Sticks and bells may make me dwell but chimes will never herd me, 2021. Wood, steel, nails, bottle caps, string, styrofoam, plum, olive, and lychee pits, dimensions variable. Photo: Studio Wolphi.

Linus Bonduelle, Ser y Estar, 2021. Found metal objects, steel and copper bells, wooden clappers, leather straps, buttons, paper, concrete, and string, 200 × 50 × 180 cm. Photo: Studio Wolphi.

Linus Bonduelle, Sorry, in a hurry, 2021. Found metal tripod and wood, 60 × 40 × 120 cm. Photo: Studio Wolphi.

Dagmar Bosma, SCRAP METAL DREAM BOY, 2021. Installation with gleaned metal, rust-dyed fabric, and lubricants, dimensions variable. Photo: Studio Wolphi.

Dagmar Bosma, SCRAP METAL DREAM BOY, 2021. Installation with gleaned metal, rust-dyed fabric, and lubricants, dimensions variable. Photo: Studio Wolphi.

Dagmar Bosma, SCRAP METAL DREAM BOY, 2021. Installation with gleaned metal, rust-dyed fabric, and lubricants, dimensions variable. Photo: Studio Wolphi.

Dagmar Bosma, SCRAP METAL DREAM BOY, 2021. Installation with gleaned metal, rust-dyed fabric, and lubricants, dimensions variable. Photo: Studio Wolphi.

Dagmar Bosma, SCRAP METAL DREAM BOY, 2021. Installation with gleaned metal, rust-dyed fabric, and lubricants, dimensions variable. Photo: Studio Wolphi.

Pascale de Graaf, SHUN!, 2021. Mixed media. Photo: Studio Wolphi.

Pascale de Graaf, Wig Curler, 2021. Pine and Vaseline, 100 × 25 cm. Photo: Studio Wolphi.

Pascale de Graaf, Stand Here, 2021. Vinyl, 20 × 10 cm. Photo: Studio Wolphi.

Pascale de Graaf, Ribb’d, 2021. Meranti and alpaca, 110 × 30 cm. Photo: Studio Wolphi.

Pascale de Graaf, Hat-Block, 2021. Pine, wire, and sheep’s wool, 50 × 25 cm. Photo: Studio Wolphi.

Aimilia Efthimiou, The temple of no solution, 2021. Ceramics and paint, dimensions variable. Photo: Studio Wolphi.

Aimilia Efthimiou, The temple of no solution, 2021. Ceramics and paint, dimensions variable. Photo: Studio Wolphi.

Aimilia Efthimiou, I’ll tell you later cause I don't want to jinx it, 2021. Screenprint on velvet, 600 × 130 cm. Photo: Studio Wolphi.

Aimilia Efthimiou, I’ll tell you later cause I don't want to jinx it, 2021. Screenprint on velvet, 600 × 130 cm. Photo: Studio Wolphi.

Halla Einarsdóttir, We’ve Come Back From Always Ladybird, 2020. Hot-rolled steel, 170 × 80 × 40 cm Photo: Studio Wolphi.

Halla Einarsdóttir, We’ve Come Back From Always Ladybird, 2021. Installation view. Mixed media, dimensions variable. Photo: Studio Wolphi.

Halla Einarsdóttir, We’ve Come Back From Always Hoodwink, 2021. Thermoplastic, 120 × 130 × 130 cm. Photo: Studio Wolphi.

Halla Einarsdóttir, We’ve Come Back From Always In Comes Beauty, 2021. Single-channel video with sound, 9 minutes 54 seconds. Photo: Studio Wolphi.

Halla Einarsdóttir, We’ve Come Back From Always In Comes Beauty, 2021. Framed A4 contract, 210 × 297 mm. Photo: Studio Wolphi.

Diana Al-Halabi, On Scales of Violence: How to Measure a Dictator? [Interrupted], 2021. Video installation, 12 minutes 19 seconds. Photo: by Guillem S. Arquer.

Diana Al-Halabi, The Official Apology of Hogeschool Rotterdam, 2021. Vinyl cut letters on wooden wall, 210 × 180 cm. Photo: by Guillem S. Arquer.

T-shirt donated by BDS Netherlands to Piet Zwart Institute MFA students, 2021. Photo: Studio Wolphi.

Junghun Kim, Geological meditation: Interconnective layers for another perspective, 2021. Natural objects, fruits, vegetables, plants, and acrylic on panel, dimensions variable. Photo: Studio Wolphi.

Junghun Kim, Geological meditation: Interconnective layers for another perspective, 2021. Natural objects, fruits, vegetables, plants, and acrylic on panel, dimensions variable. Photo: Studio Wolphi.

Junghun Kim, Geological meditation: Interconnective layers for another perspective, 2021. Natural objects, fruits, vegetables, plants, and acrylic on panel, dimensions variable. Photo: Studio Wolphi.

Junghun Kim, Geological meditation: Interconnective layers for another perspective, 2021. Natural objects, fruits, vegetables, plants, and acrylic on panel, dimensions variable. Photo: Studio Wolphi.

Junghun Kim, Geological meditation: Interconnective layers for another perspective, 2021. Natural objects, fruits, vegetables, plants, and acrylic on panel, dimensions variable. Photo: Studio Wolphi.

Bruno Neves, Reflecting alongside Aztec image-making, 2021. Various media, dimensions variable. Installation view. Photo: Studio Wolphi.

Bruno Neves, Reflecting alongside Aztec image-making (detail), 2021. Inkjet print on 300-gram paper, 20 × 24 × 180 cm. Photo: Studio Wolphi.

Bruno Neves, Reflecting alongside Aztec image-making (detail), 2021. Oil on canvas, 120 × 150 cm. Photo: Studio Wolphi.

Bruno Neves, Reflecting alongside Aztec image-making (detail), 2021. Laser print, 17 × 22 cm. Photo: Studio Wolphi.

Steven Maybury, Three Photography Plants, 2021. Installation; Tree, 2021. Silicon wafer, steel, and lemon juice; Shrub, 2021. Resistors, steel, and rust; Creeper, 2021. Silicon wafer, copper with patina, and fertilizer; Wall work, 2021. Silicon carbide on paper, 200 × 150 cm. Photo: Studio Wolphi.

Steven Maybury, Three Photography Plants, 2021. Installation; Creeper, 2021. Silicon wafer, copper with patina, and fertilizer. Photo: Studio Wolphi. 

Steven Maybury, Three Photography Plants, 2021. Installation; Shrub, 2021. Resistors, steel, and rust. Photo: Studio Wolphi.

Steven Maybury, Three Photography Plants, 2021. Installation; Creeper, 2021. Silicon wafer, copper with patina, and fertilizer. Photo: Studio Wolphi. 

Steven Maybury, Three Photography Plants, 2021. Installation; Tree, 2021. Silicon wafer, steel, and lemon juice. Photo: Studio Wolphi.

Christian Aagaard Ovesen, The shades of red, purple and yellow were just as dull as the colours on earth, 2021. Concrete tiles, plastic chair, plastic bottles, iron, papier-mâché, plaster gauze, concrete, chicken wire, steel wire, acrylic paint, glue, paper, LED diodes, moss, leaves, twigs, dried flowers, seeds, sprouts, mandarin, and various found trash pieces, 5 × 6 m. Photo: Studio Wolphi.

Christian Aagaard Ovesen, The shades of red, purple and yellow were just as dull as the colours on earth (detail), 2021. Photo: Studio Wolphi.

Christian Aagaard Ovesen, The shades of red, purple and yellow were just as dull as the colours on earth (detail), 2021. Photo: Studio Wolphi.

Christian Aagaard Ovesen, Light therapy program, 2021. Wood, concrete, plastic bottle, LED light, papier-mâché, plaster gauze, chicken wire, steel wire, acrylic paint, glue, seeds, sprouts, and various found trash pieces, 100 × 70 × 15 cm. Photo: Studio Wolphi.

Christian Aagaard Ovesen, The shades of red, purple and yellow were just as dull as the colours on earth (detail), 2021. Photo: Studio Wolphi.

Ayo, Odero and the weeping totem, 2021. Hand-dyed textile, latex impregnated wood, HD video on two monitors, and 2D framed work. Installation view. Photo: Studio Wolphi.

Ayo, Odero and the weeping totem, 2021. Charcoal and gouache on paper, 150 × 120 cm. Photo: Studio Wolphi.

Ayo, Odero and the weeping totem, 2021. Charcoal and gouache on paper, 150 × 120 cm. Photo: Studio Wolphi.

Ayo, Odero and the weeping totem, 2021. Soap (sodium hydroxide, dye, distilled water), wood, and latex, dimensions variable. Photo: Studio Wolphi.

Annabelle Binnerts, Hopefully Gloomy, 2020. Cotton and wool, 82 × 106 cm. Photo: Studio Wolphi.

Annabelle Binnerts, Gardener’s Monologue (Stuck in a Sentence), 2021. Hand-painted mural, dimensions variable. Photo: Studio Wolphi.

Annabelle Binnerts, Every Evening, 2020. Series of five framed archival inkjet prints, each 50 × 40 cm. Photo: Studio Wolphi.

Annabelle Binnerts, Botanical Album Quilt, 2021. Cotton and wool, 185 × 185 cm. Photo: Studio Wolphi.

Antonia Brown, Surrogate, 2021. Beeswax and caput mortum pigment, 90 × 40 × 28 cm. Photo: Lukas Meßner.

Antonia Brown, Sag (with the Book of Repulsive Women), 2021. Beeswax, photographic print, cured kelp, canvas, and silk organza, 40 × 65 × 15 cm. Photo: Lukas Meßner.

Antonia Brown, FKZ (basin of tears), 2021. Dyed silk, leather cord, steel, and shell, 90 × 50 × 120 cm. Photo: Lukas Meßner.

Antonia Brown, H. Africanus 1679 / fertility cure, 2021. Steel, dyed silk, organza, wax, pigment, and Agapanthus. 30 × 12 × 10 cm. Photo: Lukas Meßner.

Antonia Brown, Silken ladder, 2021. Silk, silk organza, and steel, 98 × 50 × 10 cm. Photo: Lukas Meßner.

Jake Caleb, Garlic Behaviour, 2021. Installation, dimensions variable. Photo: Studio Wolphi.

Jake Caleb, Garlic Behaviour, 2021. Installation, dimensions variable. Photo: Studio Wolphi.

Jake Caleb, Garlic Behaviour, 2021. Installation, dimensions variable. Photo: Studio Wolphi.

Jake Caleb, Garlic Behaviour, 2021. Installation, dimensions variable. Photo: Studio Wolphi.

Jake Caleb, Garlic Behaviour, 2021. Installation, dimensions variable. Photo: Studio Wolphi.

Petter Dahlström Persson, Masterkey, 2021. Oak, 130 × 100 × 30 cm. Photo: Studio Wolphi.

Petter Dahlström Persson, Key to the forest, 2021. Plywood, found handrails, drawings in handmade frames, hammered metal keyhole, piece of wood, 300 × 120 × 10 cm. Photo: Studio Wolphi.

Petter Dahlström Persson, Key to the forest, 2021. Plywood, found handrails, drawings in handmade frames, hammered metal keyhole, piece of wood, 300 × 120 × 10 cm. Photo: Studio Wolphi.

Petter Dahlström Persson, Key to the forest, 2021. Plywood, found handrails, drawings in handmade frames, hammered metal keyhole, piece of wood, 300 × 120 × 10 cm. Photo: Studio Wolphi.

Petter Dahlström Persson, Mushroom picker, 2021. Dry point print, acrylic paint on paper, handmade oak frame, acrylic glass, 20 × 30 cm. Photo: Studio Wolphi.

Olga Hohmann, I am your roadkill, 2021, Performance, 30 minutes. Photo: Studio Wolphi.

Olga Hohmann, I am your roadkill, 2021. Publication, graphic design by Linus Bonduelle. Photo: Olga Hohmann

Olga Hohmann, I am your roadkill, 2021. Performance, 30 minutes, Photo: Marta Hryniuk.

Peter Horneland. Photo: Studio Wolphi.

Peter Horneland. Photo: Studio Wolphi.

Jamie Kane, Plough, 2021. Installation view, dimensions variable. Photo: Studio Wolphi.

Jamie Kane, Plough, 2021. Oxidized Steel, dyed canvas, embroidery, and light fitting. 170 × 25 × 25 cm. Photo: Studio Wolphi.

Jamie Kane, Plough, 2021. Bleached, pigmented, and bonded paper, steel, and felt, 180 × 90 × 70 cm. Photo: Studio Wolphi.

Jamie Kane, Plough, 2021. Bleached, pigmented, and bonded paper, steel, and felt, 150 × 90 × 25 cm. Photo: Studio Wolphi.

Jamie Kane, Plough, 2021. Mixed media, dimensions variable. Photo: Studio Wolphi.

Lucia Bayon Mendoza, I, Stubborness, 2021. Denim cloth and interlining. Photo: Studio Wolphi.

Lucia Bayon Mendoza, I, Stubborness, 2021. Denim cloth and interlining. Photo: Studio Wolphi.

Lucia Bayon Mendoza, I, Stubborness, 2021. Denim cloth and interlining. Photo: Studio Wolphi.

Lucia Bayon Mendoza, I, Stubborness II, 2021. Forged steel, cotton, interlining, and denim cloth. Photo: Studio Wolphi.

Lucia Bayon Mendoza, I, Stubborness I, 2021. Paper pulp, wood glue, pumice powder, forged steel, and denim cloth. Photo: Studio Wolphi.

Lukas Meßner, current clog #3, 2021. PVC-drainpipes, pipe clamps, steel, wooden picks, and hardware, 300 × 120 × 20 cm. 

Lukas Meßner, current clog #3, 2021. PVC-drainpipes, pipe clamps, steel, wooden picks, and hardware, 300 × 120 × 20 cm. 

Lukas Meßner, Merkantile Hobbys, 2021. Galvanized steel, pine, stain, inkjet prints, varnish,  and hardware, 68 × 95 × 13 cm.

Lukas Meßner, Merkantile Hobbys, 2021. Galvanized steel, pine, stain, inkjet prints, varnish,  and hardware, 68 × 95 × 13 cm.

Lukas Meßner, untitled, 2021. Pine, stain, steel, receipts, and ballpoint ink, 95 × 22 × 6 cm.

Lukas Meßner, untitled, 2021. Pine, stain, steel, receipts, and ballpoint ink, 95 × 22 × 6 cm.

Josie Perry, Retainers, 2021. CNC-carved and painted wood, originally used in a performance, 167 × 275 × 2 cm. Photo: Studio Wolphi.

Josie Perry, Retainers, 2021. CNC-carved and painted wood, originally used in a performance, 167 × 275 × 2 cm. Photo: Studio Wolphi.

Josie Perry, Retainers, 2021. CNC-carved and painted wood, originally used in a performance, 167 × 275 × 2 cm. Photo: Studio Wolphi.

Josie Perry, Retainers, 2021. CNC-carved and painted wood, originally used in a performance, 167 × 275 × 2 cm. Photo: Studio Wolphi.

Daphne Simons, Rural Retreat, 2021. Single-channel digital video, 3 minutes 35 seconds, looped. Photo: Studio Wolphi.

Daphne Simons, Rural Retreat, 2021. Single-channel digital video, 3 minutes 35 seconds, looped. Photo: Studio Wolphi.

Daphne Simons, Rural Retreat, 2021. Single-channel digital video, 3 minutes 35 seconds, looped. Photo: Studio Wolphi.

Josie Perry and Daphne Simons, Mickey Angel’s Private View, 2021. Colored pencil on paper, 29.7 × 42 cm. Photo: Studio Wolphi. 

Josie Perry and Daphne Simons, Salon at the Centre of the Earth, 2021. Colored pencil on paper, 29.7 × 42 cm. Photo: Studio Wolphi. 

Josie Perry and Daphne Simons, Mickey Angel's Private View & Salon at the Centre of the Earth, 2021. Colored pencil on paper, 29.7 × 42 cm. Photo: Studio Wolphi.

Josie Perry and Daphne Simons, Celine's Resurrection Room, 2021. Painted light box, ink on paper, 42 × 57 cm. Photo: Studio Wolphi. 

Josie Perry and Daphne Simons, Celine's Resurrection Room and Male Mail Men, 2021. Painted lightboxes, ink on paper, 42 × 57 cm. Photo: Studio Wolphi.

Josie Perry and Daphne Simons, PLASMA FREEZE: Making Friends, 2021. Two-channel video installation, dimensions variable, 28 minutes 26 seconds, looped. Photo: Studio Wolphi.

Josie Perry and Daphne Simons, PLASMA FREEZE: Making Friends, 2021. Two-channel video installation, dimensions variable, 28 minutes 26 seconds, looped. Photo: Studio Wolphi.

Berglind Erna Tryggvadóttir, Simply the Best, 2021. Installation with videos and sculptures. Photo: Studio Wolphi.

Berglind Erna Tryggvadóttir, Untitled (For Murakami), 2020. Video. Photo: Studio Wolphi.

Berglind Erna Tryggvadóttir, Lost Hands of Jesus: Extra Lost Version, 2021. Plaster hands, photograph. Photo: Studio Wolphi.

Berglind Erna Tryggvadóttir, Sentimental Sock, 2020. Sock, dome, and pedestal. Photo: Studio Wolphi.

Installation view, “Material Context.” Piet Zwart Institute Master Fine Art 2020 and 2021 Graduation Show, Het Archief, July 1–11, 2021. Photo: Studio Wolphi.

Installation view, “Material Context.” Piet Zwart Institute Master Fine Art 2020 and 2021 Graduation Show, Het Archief, July 1–11, 2021. Photo: Studio Wolphi.

Installation view, “Material Context.” Piet Zwart Institute Master Fine Art 2020 and 2021 Graduation Show, Het Archief, July 1–11, 2021. Photo: Studio Wolphi.

Installation view, “Material Context.” Piet Zwart Institute Master Fine Art 2020 and 2021 Graduation Show, Het Archief, July 1–11, 2021. Photo: Studio Wolphi.

Installation view, “Material Context.” Piet Zwart Institute Master Fine Art 2020 and 2021 Graduation Show, Het Archief, July 1–11, 2021. Photo: Studio Wolphi.

Installation view, “Material Context.” Piet Zwart Institute Master Fine Art 2020 and 2021 Graduation Show, Het Archief, July 1–11, 2021. Photo: Studio Wolphi.

Installation view, “Material Context.” Piet Zwart Institute Master Fine Art 2020 and 2021 Graduation Show, Het Archief, July 1–11, 2021. Photo: Studio Wolphi.

Installation view, “Material Context.” Piet Zwart Institute Master Fine Art 2020 and 2021 Graduation Show, Het Archief, July 1–11, 2021. Photo: Studio Wolphi.

Installation view, “Material Context.” Piet Zwart Institute Master Fine Art 2020 and 2021 Graduation Show, Het Archief, July 1–11, 2021. Photo: Studio Wolphi.

The Piet Zwart Institute Master Fine Art celebrates the graduates of 2020 and 2021 with an exhibition of their recent works.

Through lockdowns and uprisings over the last year, artists have had to question how to engage artistic practice and life within both turbulence and monotony. Art practices have had to renegotiate new awarenesses of health, safety, grief, and isolation. Meanwhile, movements for social justice seeking recourse to historic injustices weigh on our everyday consciousness. Notwithstanding the current emergent contexts of our time, the artists in this exhibition have been tasked with carrying the particularities of their own aesthetic and relational concerns into a field that is rapidly transforming around them. Together, the 2020 and 2021 graduates of the Piet Zwart Institute Master Fine Art represent two ends of a very long year. The conditions that have marked us all in different ways continue to influence the many and varied directions taken by these makers, doers, and organizers.

The location of this exhibition, the former Rotterdam city archives, provided an architectural framework and a space to project through layers of history. As a storehouse for data and documentation of a city through the span of several decades, the archive, now emptied of its contents, was an appropriate space for framing this collective endeavor. What materializations, documents, or remnants serve as useful indications of shared histories? How do singular images represent not only themselves but perhaps also stand in for communal narratives and even global paradigms?

This exhibition includes Piet Zwart Master Fine Art graduates of both 2020 and 2021. Their works, as singular as they may be, also stand as markers for an ongoing shared experience: not only of pandemic and social transformation but also of the smaller movements of everyday life. There is a general sociality between these works as they came into being around each other. The mutual influence of the conditions of the Piet’s shared studio spaces, collaborations, and solidarities might also inform how we engage with this exhibition through curiosity, attention and care.

“Material Context” was organized by Danny Giles (Course Director, Piet Zwart Institute Master Fine Art), Nathalie Hartjes (Director, MAMA), and Kim de Haas (Daily Manager, MAMA).

Participating Artists

Diana Al-Halabi
Guillem S. Arquer
Emma Astner
Ayo
Annabelle Binnerts
Linus Bonduelle
Dagmar Bosma
Antonia Brown
Jake Caleb
Petter Dahlstrom Persson
Pascale de Graaf
Aimilia Efthimiou
Halla Einarsdóttir
Olga Hohmann
Peter Horneland
Jamie Kane
Jonghun Kim
Bruno Machado das Neves
Steven Maybury
Lucia Mendoza
Lukas Meßner
Christian Ovesen
Josie Perry
Daphne Simons
Yanik Soland
Berglind Tryggvadóttir

The Piet Zwart Institute Master Fine Art educates artists toward the fulfillment of their own creative and professional autonomy and encourages enrolled students to see themselves as agents with the potential to shape the field of international contemporary art.

Our ambition is to provide our students with a challenging, supportive and responsive learning environment and a curriculum that offers the creative structure and committed resources they need to develop their individual and collective senses of artistic purpose and agency. We recognize the inherent diversity of perspectives, methods, practices and channels of dissemination that are available to contemporary artists today. We strive to meet our diverse students wherever they are in their artistic trajectories. We offer them critical guidance and opportunities for experimentation and growth in their research and practice, leading to personal and professional validation. We motivate our students to sustain their artistic research and practice while navigating a highly competitive, economically uncertain and deeply evaluative field. We nurture the individuated, eclectic, imaginative approaches of individual artists while familiarizing them with the strongly networked, institutionalized, linked, collaborative and collective realities that shape how art is defined and received in the wider culture. And we help them situate the contemporary relevance of their research and practice and create contexts for its exposure (display, publication, performance, etc.).

Thank you!

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