Nicola Arthen

Nicola-Arthen DOBBY 2019

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, 2019, Laser-cut wood, AC engine, microprocessor, algorithm, relay, powder-coated steel, stainless steel bolts, rubber 240 x 240 x 57 cm

The practice of Nicola Arthen (b. 1990, Germany) is an investigation into the mutual relations between object’s and human’s capacities, a negotiation between site and experience. By isolating things from their peripheral state and turning them into protagonists, he discovers their abilities to enchant human experience. His work takes the form of installations, sculptures and videos often contributing to a moderated environment they co-create, such as in the form of bespoke temperature devices or a scripted navigation system voice in a car ride. His work has been described as sensual and sincere, informed and economic in its organisation of space. Addressing the technological innovations aiding automation of machines and architecture, his work often uses recent production processes to other ends.

Arthen studied Fine Art at Gerrit Rietveld Academie, Amsterdam, Goldsmiths University and Kunstakademie Düsseldorf. His work has since been shown in artist spaces, galleries and museums internationally, among others at NEST in The Hague, Kunstfort Vijfhuizen (Solo), PAOS in Guadalajara (Solo), Mexico, Lovaas Projects in Munich, the National Gallery in Prague and Bröhan Museum in Berlin.

Armando Cairo


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Stilleven met Pinokkio, olieverf op doek, 90 x100 cm

Armando Cairo was born in Amsterdam the 21st of March in 1953. He studied painting and portrait painting and graduated at the Rietveld Academy of Arts in 1976.

At age twenty-four he started playing the tenor saxophone. He took lessons, for two years from be-bop alto player, Ron Rem. Armando moved on to the workshops of Nedly Elstak (Trumpetplayer, Composer and Arranger). After the beginners-workshop he attended Nedly’s Composer- and Arrangingclasses.

In 1982 he won the Meervaart Jazz Concours and the VPRO Aanmoedigings award with the Armando Cairo Quintet.

He played in several Dutch Jazzgroups: amongst others, Fra Fra Sound, the Frank Grasso Big band, Rockin’ the Reeds, Fonk, Quartet Tritonus and still with the Billy Brooks Big Band. Armando toured with the Dutch Connection (direction by Butch Morris) and the South African Joe Malinga Septet.

Peter van Drumpt


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The core of the work lies with the landscape, especially the Dutch landscape, dissected into elementary forms and structures. It is the representation of the spatial experience that the landscape evokes: the dynamics, the tight structure, but also the stillness and the incidence of light. Not only visual observations but also the subjective experience of the landscape, the seasons play a role in this. This is reflected in the interplay of lines, the color areas and the spatial structure of the work. Sometimes dynamism and restlessness predominate, sometimes more meditative observations.

Marije Gertenbach


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Marije Gertenbach, De vingers aan mijn hand , 200 x 170 cm, Acrylverf op jute, 2020

A filled crack in the asphalt, a strikingly placed rain pipe against a church or a wall painted in 3 different colors white. The meaning, function and use of a space changes over time. I like to view these changes. What is left of the frescoes removed from the wall when they hang in a museum? Cut loose from where they were made? What do we see when we look at the space where the image comes from? Is there a wound? Or is there something that fills the image?

Remy Jungerman

The measurment of presence

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Visiting Deities, 2018 - 2019, painted wood, meranti table legs (58), cotton textile, kaolin (pimba), dry river clay, nails, yarn, mirror and river water samples (Cottica SR, Hudson US, Amstel NL, 975 x 340 x 260 cm (389 x 134 x 102 inch) Photography: Aatjan Renders

Suriname-born Dutch artist Remy Jungerman (1959) lives and works in Amsterdam. He attended the Academy for Higher Arts and Cultural Studies in Paramaribo, Suriname, before moving to Amsterdam where he studied at the Gerrit Rietveld Academy. 

In his work, Jungerman explores the intersection of pattern and symbol in Surinamese Maroon culture, the larger African Diaspora, and 20th Century “Modernism.” In bringing seemingly disparate visual languages into conversation, Jungerman’s work challenges the established art historical canon. As art and culture critic Greg Tate has remarked “Jungerman’s work leaps boldly and adroitly into the epistemological gap between culturally confident Maroon self-knowledge and the Dutch learning curve around all things Jungerman, Afropean and Eurocentric.”

Born and raised in Suriname, he is a descendant, on his mother side, of the Surinamese Maroons who escaped enslavement on Dutch plantations to establish self-governed communities in the Surinamese rain forest. Within their rich culture, many West-African influences are preserved including the prominent use of abstract geometrical patterns. Placing fragments of Maroon textiles, as well other materials found in the African diaspora such as the kaolin clay used in many African religious traditions or the nails featured in West African Nkisi Nkondi power sculpture, in direct contact with materials and imagery drawn from more “established” art traditions, Jungerman presents a peripheral vision that can enrich and inform our perspective on art history. 

Jungerman represent the Netherlands at the 2019 Venice Biennale with Iris Kensmil. In 2017 he was nominated for the Black Achievement Award in The Netherlands. 

In 2008 he received the Fritschy Culture Award from the Museum het Domein, Sittard, The Netherlands. 

Jungerman is co-founder and curator of the Wakaman Project, drawing Lines – connecting dots. Wakaman, which literally means, “walking man” was born out of a desire to examine the position of visual artists of Surinamese origin and to raise their profile(s) on the international stage. 

He has exhibited works at: 58 Venice Biennial, Dutch Pavilion, IT; Prospect3, New Orleans, US; Brooklyn Museum, New York, US; El Museo del Barrio, New York, US; Hudson Valley MOCA, New York, US; Jack Shainman Gallery, New York, US; New Jersey City University, New Jersey, US; Rennie Museum, Vancouver, CA; Stedelijk Museum, Amsterdam, NL; Kunstmuseum, Den Haag, NL; Centraal Museum, Utrecht, NL; Museum Arnhem, NL; Museum het Domein, Sittard, NL; Afrika Museum, Berg en Dal, NL; Zeeuws Museum, Leeuwarden, NL; Lumen Travo Gallery, Amsterdam, NL; C&H Gallery, Amsterdam, NL; Havana Biennale, CU; Museum Bamako, ML; Museum Tromso, Norway; Künstlerhaus Bethanien, Berlin, Germany; Badischer Kunstverein, Karlsruhe, Germany; Malba, Buenos Aires, AR; Cemeti Art House, Yogyakarta, ID; Gallery Krinzinger, Salzburg / Vienna, AT; Stedelijk Museum Aalst, BE; Musée Art contemporain, FR; Air de Paris, FR 

He’s now represented by Fridman Gallery, NY, US and Galerie Ron Mandos, Amsterdam, NL

His International residencies include Art Omi and International Studio & Curatorial Program (ISCP) in New York. 

His work has been featured in numerous publications and acquired by various institutions and private collectors worldwide.

Jacqueline Lamme


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Jacqueline Lamme (1964, Hilversum, NL) lives and works since 2005 at the Zomerdijkstraat 24 – 1 high.

After the Amsterdam Academy for Visual Education and the Gerrit Rietveld Academy in Amsterdam, Jacqueline Lamme has been working as a visual artist since 1989 (painting, drawing, ceramics, mixed media). Since 2000 she has been teaching drawing / painting at the ARTIS Ateliers in Amsterdam, where she also works as a coordinator. She also gives painting lessons at the studio in the Zomerdijkstraat. The starting point for her work is nature in the vicinity.


Lily Lanfermeijer


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Graduationshow, Rietveld Academie Amsterdam, Installation View

Completed her BA at the Image & Language Department of the Gerrit Rietveld Academy, after which she completed a pre-master Architecture at the Academie voor de Bouwkunst Amsterdam. In 2017 she completed a two-year master in ‘Immediate Spaces’ at the Sandberg Institute in Amsterdam. At the moment she is part of the Punt WG artistic team (2018-current).

Selected exhibitions include: Billy Town Den Haag (2019), Fotopub, Novo Mesto, Slovenia (2018), Worm Rotterdam (2016), De Fabriek Eindhoven (2016), Object Rotterdam (2014), EESAB, Lorient, France (2014), The Old Ambulance Depot Edinburgh (2014), De Witte Moor Gent (2012), De Oude Kerk Amsterdam (2012), Joods Historisch Museum (2012).

Smári Rúnar Róbertsson


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This Clock Before It Existed, 2019, Installation, Dimensions / Duration: 2,5 months

Smári Rúnar Róbertsson

Born in Vestmannaeyjabær, Iceland, 1992

Graduated BA from Gerrit Rietveld Academie, Amsterdam 2015

Graduated MA from Sandberg Instituut, Amsterdam 2017

I’m interested in how observations, thoughts and ideas can be arranged and reconfigured to tell stories and to form our understanding of ourselves, of time and of place. Things that are loaded with a built up tension, metaphorical or real, which can be tuned and played. In the works time and space are tangible materials which can be stretched, compressed and moulded into an incoherent rhythm of logic, repetition and lore. Through this I questions our reading of language and knowledge production. The work is continuous, cyclical and self-referential. Loops of contained within prophesies that endlessly repeat themselves. Within them nature and mythology play a large role and serve as the stage from which the perspective oscillates between the micro and macro. I look to find similes and corollaries between the physical and the imagined in order to reveal the fractal quality of systems that govern our surroundings, our stories and our thinking.

Jet Schepp


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Studio view Jet Schepp

Jet Schepp

Education: National Academy of Visual Arts, Amsterdam.

Prix ​​de Rome free sculpture 1969

Monumental and small plastic, portraits and tokens.

Schepp studied sculpture at the National Academy of Visual Arts in Amsterdam. Some of the professors were Paul Grégoire, with whom they married for several years. Has been, and Piet Esser. She specializes in figurative sculptures and small plastic in terracotta, bronze, wood, stone, portraits and medals. A well-known work of her ice hut statue of Anne Frank at Merwedeplein in Amsterdam.

Some works:

1972 Portrait of Juliana, Epe town hall


1981 Duik, Van Henegouwenplein Alphen a / d Rijn, purchase from sculpture route


2005 Anne Frank, Merwedeplein Amsterdam

with earlier version in Purmerend and replica of Merwedeplein in Buenos Aires (2015), which has a large Jewish community.


2012 Monument William of Orange, Charlotte de Bourbon and their six daughters, gallery Prinsenlogement, Abdijplein Middelburg. Two reliefs in collaboration with Lucie Nijland.


2015 William of Orange as a young man (follow-up assignment)

Inner garden Fondation Custodia, rue de Lille, Paris

These buildings also housed the Netherlands Institute, which provided accommodation and exhibition space for artists who wanted to work in Paris for a while.


Atelierwoning 22 hs was first taken into use by Gerrit Jan van der Veen, followed by Jan Wolkers, Paul Gregoire and Jet Schepp who is still working there.

Geer Steyn


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Geer Steyn (1945) studied at the Rijksakademie from 1968 to 1973. In 1973 he was awarded the silver prix de Rome for sculpture. He then continued his studies in Vienna under the direction of Fritz Wotruba.
Until 2011 he taught Sculpture at the Royal Academy of Visual Arts in The Hague and at the Amsterdam University of the Arts.
In 2018, he was awarded the Sandford Saltus award by the American Numismatic Society for his lifetime achievement for the medallic art.

Coralie Vogelaar

Happy book

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Coralie Vogelaar is an interdisciplinary visual artist. In her ongoing research, she explores the areas where technology and humans meet, the interaction between the two and ways in which they influence each other. Her work consists of systematically conducted studies how computers see humans and their activity, and works with deep learning, eye & emotion tracking, and image recognition software. 

For her projects she works together with (data)scientists, creative coders, actors, dancers and choreographers.

Recent exhibitions were in ZKM – Karlsruhe, Veem House for Performance, Fotomuseum Winterthur, Kunstverein Kassel, Science gallery Dublin, Impakt Festival Utrecht, UnArt Museum Shanghai, Noorderlicht Festival, Museum für Gestaltung Zürich, MU Artspace, V2 – lab for the unstable media, FOMU – Antwerp, SPRING Festival Utrecht and Kunstfort bij Vijfhuizen.

She currently is doing a residency at TU Eindhoven Innovation Lab

Marit Westerhuis


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Self Examination (No. 23 - Reacting to others), (2016) Acrylic, aluminium, LCD screen, Arduino's, paper, ink, sweat.Photographer: Jan Tengbergen(NP3)

In earlier work her own body, and sometimes that of others, was the subject of Marit Westerhuis’ practice. She subjected herself to countless complex measurements using a variety of often self-built equipment. During her residency at the Rijksakademie she has started to work more broadly. She is no longer interested in merely capturing the human body, but in such matters as evolutionary theories, alchemical experiments, and the very first technological developments, such as the double-sided spear. She is particularly fascinated by the speed with which, once acceleration begins technological development exponentially follow each other. 

Westerhuis’ current work visualises a world in which human beings are no longer the dominant from of life (or indeed have self-exterminated) and in which the earth is home to other forms of life. She examines the properties of all kinds of liquids, from water to blood, but also the visual language of the stone and Bronze Ages and the ritualistic actions and reflections on nature as she discovers them in Celtic and Norse Myths. In her work, the rational thinking about progress that technology conveys is accompanied by what is usually considered its counterpart: occultism, sacrifice and the supernatural.

Nína Harra


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Smile, 2020, Medium: Tufting, wool, Dimensions / Duration: variable , (Craft Club presents Nína Harra and Masaki Komoto at Laurel Project Space)

Nína Höskuldsdóttir

Born in Reykjavík, Iceland, 1992

BA from Gerrit Rietveld Academie (2016)

MA from Högskolan för Design och Konsthantverk (2019)


Instagram: @ninaharra

Alondra Castellanos Arreola


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Performance ‘Two feet far from the back of another head’ at Arti et Amicitiae, during FLAM Festival, Amsterdam, 2017.

Alondra Castellanos Arreola is a choreographer and performer born in Mexico and based in Amsterdam. She graduated from The Mime School at The Academy of Theatre and Dance (AHK) in 2015, and she is currently doing a Master program in Visual Anthropology at Goldsmiths University of London. Her practice lies at the intersection of theatre, performance and visual arts with a particular focus on the use of space and questions regarding materiality. She is interested in how the human body moves with an object and the affective relation created between the two. In her practice, she is often responding meticulously to the characteristics of the space where the performance will take place, affecting the audience’s encounter with the work differently each time it is being presented.

Among her works there are: 2019 ‘Siblings Dance’ Frascati Theatre, Amsterdam (NL), 2018 ‘Deviation tool’ BBK, Munich (DE), 2018 ‘Moton Actuator Tour’ Lovaas Projects, Munich (DE), 2018 ‘Sobrepuesto’ PAOS GDL (MX), 2018 ‘Agua del Día’ at Quinto Piso, Mexico City (MX), 2017 ‘Methods Of Dating-You look like 40 miles of rough road anyway’ P//////AKT, Amsterdam (NL), 2017 ‘Two feet far from the back of another head’ FLAM Festival, Amsterdam (NL), 2017 ‘The Weathers They Live In’ PuntWG, Amsterdam (NL), 2015 ‘6mm. for an actual instrument’ FRASCATI, Amsterdam (NL), 2015 ‘The Wall piece’ Lindengracht 93, Amsterdam (NL), 2014 ‘Monocular Monocular’ KID AILACK, Tokyo (JP), 2014 ‘Time Out’ Nieuwmarkt, Amsterdam (NL). She has collaborated with the artists David Weber-Krebs in ‘Balthazar’ (2015-2016) and ‘The Guardians of Sleep’ (2017-2018), Yvonne Dröge Wendel in ‘Moments in the

ThinkTank’ (2018). Sander Breure & Witte van Hulzen in ‘How can we know the dancer from the dance’ (2016), Mercedes Azpilicueta in ‘Molecular Love’ (2016), among others.

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