Dr. Paula Albuquerque is an Amsterdam-based artist and researcher, currently teaching at the University of Amsterdam and the Gerrit Rietveld Academie. Her work bridges the fields of media theory, experimental filmmaking, philosophy and research. Informed by intersectional decolonial practices, and focusing on both analogue and digital visual technology, Albuquerque examines surveillance and its effect on our constructions of imagery. Albuquerque researches a range of image-capture modalities from the webcam to cinema to public surveillance in order to better understand our shifting relationships to filmed autobiography.

Albuquerque has exhibited her works at Nieuw Dakota, Amsterdam, the Netherlands Media Art Institute, Museum Boijmans van Beuningen, Berardo Collection Museum, Venice Biennale, São Paulo Art Museum, Beijing Today Art Museum, Calouste Gulbenkian Foundation, the Rotterdam International Film Festival, and the Stedelijk Museum Bureau Amsterdam. Her work has been published in the Necsus Journal, and in the forthcoming book Experimental Glitch, Bloomsbury. Paula Albuquerque holds a Bachelor of Arts in Visual Arts from the Gerrit Rietveld Academie, a Masters from the Sandberg Institute, and a PhD in Artistic Research from the University of Amsterdam.

Mustapha Azeroual (France, 1979) is an artist living and working between Marrakech (Morocco) and Tours (France). Coming from a background in science, Azeroual’s work is formulated from observation and experimentation to analyze the materiality of light and color, as well as motivation and support network in image making and recording. Through a careful balance between investigation of materiality and historical technique he approaches contemporary issues within photography, questioning the limits of the medium itself.

Mustapha Azeroual is a permanent resident of the Capsule, Centre de Création Photographique du Bourget. Azeroual's works have been included in collections including the Centre National des Arts Plastiques (France), the French Museum of Photography (France), the AM Art collection (France), and the Gardur Biennial of Contemporary Art.

Ralf Baecker (born 1977 in Düseseldorf, Germany) works at the intersection of art, science and technology, creating elaborate installations and machines that explore the mechanisms driving new media and technologies today. Virtual and actual collide in poetic form, revealing the symbiosis of the two in our everyday lives and sees Baecker takes on the role of a technological archaeologist, positing broader, more universal questions about a world that is increasingly experienced through technology.

Baecker has been awarded numerous prizes for his work including the Grand Prize of the Japan Media Art Festival in 2017, an honorary mention at the Priz Ars Electronica in 2012 and 2014 and second prize at the VIA 14.0 Art & Artificial Life Award in Madrid. His work has been presented at, amongst others, the International Triennial of New Media Art 2014 in Beijing, Martin-Gropius-Bau in Berlin, Centre de Cultura Contemporània de Barcelona, Malmö Konsthall in Malmö and the InterCommunication Center in Tokyo.

Aldo Bakker (born 1971 in Amersfoort) designs objects that embody a timeless perfection and reveal a profound love for and understanding of both materials and craftsmanship. As a designer, Bakker takes form, rather than function, as his starting point. Having been active in the field of design for over 20 years, he now also teaches at Design Academy Eindhoven. Well received around the world, his work can be found in the collections of the Victoria and Albert Museum in London, the Neue Sammlung in Munich, the Stedelijk Museum in Amsterdam, the Centraal Museum in Utrecht, Museum Boijmans van Beuningen in Rotterdam, the Zuiderzee Museum in Enkhuizen, and the Stedelijk Museum ’s-Hertogenbosch, as well as in numerous private collections. He has also won several prizes, including the Dutch Design Award in 2009 and the Wallpaper* Design Award in 2011.

Gijs Bakker (born 1942 in Amersfoort) is a world-renowned Dutch jewelry designer whose work is characterised by its subtle humour, irony and undecorated nature. Bakker has been creating jewelry for over half a century, often fusing industrial materials with reductive interventions to create pieces that act as a vessel to think about questions at the intersection of art and design. In 1993, Bakker co-founded Droog Design, a Dutch collective of designers, products and information that also facilitated the start of an influential design movement. Together with co-founder and design historian Renny Famakers, the two were selectors and art directors of all products within Droog Design until 2009.

Bakker was trained in jewelryand industrial design at the Gerrit Rietveld Academie in Amsterdam, the Netherlands and the Konstfackskolan in Stockholm, Sweden. He has worked for numerous companies, including Polaroid, Artifort, Royal VKB, ENO Studio and recently as creative director for HAN Gallery Taiwan. Bakker has taught at various schools, including the ArtEZ Institute of the Arts in Arnhem, Delft University of Technology and the Design Academy Eindhoven. His iconic work has been exhibited worldwide, amongst others, at Musee d'Art Moderne de la Ville Paris, Stedelijk Museum in Amsterdam and The Museum of Arts and Design in New York. Bakker has also received multiple awards for his groundbreaking designs and in 2018 he received the royal distinction of Ridder in de Orde van de Nederlandse Leeuw.

Maria Barnas (born 1973 in the Netherlands) is an artist, poet and writer whose practice stems from curiosity; Barnas is intrigued by everything that is not concrete in the context of communication. Freely moving between her chosen mediums, she is intrigued by the way that language affects reality and if something so intangible can really convey something so solid. In her work ‘The Poet’ she created a dry-ice machine that read the poem ‘The Planet O’ (inspired by the essay/pamphlet "Captive Words, Preface to a Situationist Dictionary",1966, by Mustapha Khayati) which called for the formation of a new language whilst highlighting the idea that every critique of the current world has been made in the language of that exact world.

Maria Barnas studied at the Gerrit Rietveld Academy, Amsterdam and was resident at the Rijksakademie, Amsterdam amongst several other residencies in Rome, Brasil and Paris. In 2015, Barnas won the Elisabeth van Thuringen Project prize and in 2008 she was awarded the Cees Buddingh’ Prize for her first collection of poetry Twee Zonnen (2003). Her solo exhibitions include the Nationaal Glasmuseum Leerdam (2017-18), Annet Gelink Gallery, Amsterdam (2016) and De Hallen Haarlem (2017). She also has had several group exhibitions such as Cobra Museum (2017), De Appel Arts Centre (2016), Van Gogh Museum (2015), Bonnefantenmuseum, Maastricht (2014), Meinblau, Berlin (2014), Castrum Peregrini, Amsterdam (2013) and Witte de With, Rotterdam (2013).

Christiaan Bastiaans (born 1951 in Amsterdam ) is a Dutch artist who investigates the extremes of the human condition through his metaphorical, multimedia artworks. Bastiaans's work is chiefly concerned with exploring themes surrounding displacement, mortality, human survival instincts, vulnerability and protection. He does so by traveling to war zones and areas of conflict where he then takes photographs and collects voice recordings from people whose lives have been altered by social and political crises. Bastiaans then weaves these collections of confrontational imagery and audio into haunting artworks that find expression in a variety of mediums including film, photography, sculpture, works on paper and textile.

Bastiaans studied at the Gerrit Rietveld Academy in Amsterdam, the Pratt Graphic Center in New York, and the Municipal University of Art in Kyoto. His work has been exhibited at the Paris Biennale, the New Museum in New York, the Venice Biennale, Museum De Pont in Tilburg, the Kröller-Müller Museum, Nieuw Dakota and Stedelijk Museum Amsterdam.

Sema Bekirovic (Netherlands, 1977) is an interdisciplinary visual artist whose work plays with the perceived differences between natural and cultural phenomena. Through video, photography and installation work, Bekirovic examines human interaction through the subject of natural sciences and the cultural frameworks of power and hierarchy. Her work questions the performativity of reality and encourages the subject’s agency to co-author the work. Engaging in collaborations with scientists, researchers, animals and chemical reactions, her works create micro-universes to explore improvisation and human perception.

Sema Bekirovic studied at the Rietveld Academie and the Rijksakademie in Amsterdam. Her work has been exhibited at De Appel (Amsterdam), Stedelijk Museum (Amsterdam), Hayward Gallery Project Space (London), Dutch Culture Institute (Shanghai) and in Times Square (NYC).

Kristina Benjocki is an Amsterdam-based artist working through film, installation, audio, and textile as a way to explore the political mechanisms of forgetting and remembering. Her work questions how art can articulate and reclaim forgotten narratives, offer new stories, and create space for different histories to take shape. Central to her practice is the notion of the archive, which she understands as a grammar according to which new histories are written. Benjocki’s work examines the conditions in which fragments of time are gathered, recorded, documented, represented, shared, omitted, repressed, or overlooked and what consequences this has on the knowledge and the production of identity and community. Her work investigates how narratives are constructed and how that construction implicates the way we understand the past, see the present and imagine the future.

Benjocki studied at the University of Arts in Belgrade, Gerrit Rietveld Academie, Amsterdam, and the Royal Academy of Art, The Hague. She has also been an artist-in-residence at the Jan van Eyck Academie, Maastricht. Her work has most notably been presented at the Museum of Contemporary Art, Belgrade, IKOB - Museum of Contemporary Art, Eupen, Stedelijk Museum, Amsterdam, Massachusetts Institute of Technology, Ambika P3, London, Kunsthal Rotterdam, Museum of Modern and Contemporary Art, Rijeka, Regionaal Historisch Centrum Limburg, Maastricht, Izolyatsia in Kyiv, and the American University, Beirut, amongst others.

David Benqué is a graphic and interaction designer and researcher, aiming to playfully question the roles science and technology play in society. Furthermore, Benqué experiments with trying to predict the future using data whilst simultaneously re-tracing man’s history of trying to do so. Like the almanac in old times that brought farmers a bundle of wisdom they relied on all through the year, Benqué researches the dogmatic and all-explaining qualities of ultra-rational prediction through algorithms.

David Benqué graduated from Graphic & Typographic design at the Royal Academy of Arts, The Hague in 2006, and from Design Interactions at the Royal College of Art, London in 2010 and his works have been exhibited at the likes of London Design Festival; Fiber Festival in Amsterdam; The Royal Academy of Arts in London and Institut Francais in Tokyo.

Frank Bloem (Netherlands, 1978) is an artist who works within the creation and spatial dissemination of scent. Coming from a background in visual art, Bloem shifted in 2014 to concentrate his practice onto the field of olfactory-based works. Bloem is the founder of ‘The Snifferoo’, a perfume laboratory and site for education and experimentation within scent. Recent projects include ‘For the Embassy of the North Sea: collection of 40 scents from and around the North Sea’ as well as a commission from Artis, Amsterdam to create a scent installation based on three elephants in different life phases.

Bloem studied Philosophy at University of Amsterdam and Visual Arts at the Gerrit Rietveld Academie. Bloem is an instructor at Academie Artemis in Amsterdam and operates his perfume label under the name, ‘The Wandering Dutch’.

Gwenneth Boelens (born 1980, Soest, the Netherlands) is an artist whose work is preoccupied with ideas of perception, memory, and time; translating photographic processes into three-dimensional space whilst fixing traces of physical movement to create after-images. Originally trained in photography, her earlier work used the antiquated wet plate collodion process, during which chemicals are distributed onto large glass plates and exposed to light. The resulting glass pieces capture the traces of her handling the plates during the process which are then displayed as sculptural installations in a spatial context. More recently, Boelens has turned to making large-scale photograms; using various objects and textiles that are folded repeatedly over the duration of the exposure to create performative and radiant fields of color.

Gwenneth Boelens lives and works in Amsterdam. She studied at the KABK Royal Academy of Arts in The Hague and the Rijksakademie voor Beeldende Kunsten in Amsterdam. Her work has been exhibited at MIT List Visual Arts Center, Cambridge; Christine König Galerie, Vienna; KW Institute for Contemporary Art, Berlin; Ludwig Forum, Aachen; Museum Boijmans van Beuningen, Rotterdam; Australian Centre for Contemporary Art (ACCA), Melbourne; La Casa Encendida, Madrid; De Vleeshal, Middelburg and Sprengel Museum, Hannover.

Peter Bogers’ (Netherlands, 1956) work engages the interplay of sound and image to create installation works dealing with questions around the understanding and perception of sound. Working with the themes of music, speech and sound Bogers questions the boundaries of these fields and their limits and access to communication. Through his constant interaction with sound, Bogers also examines the visual, spatial and conceptual understanding of the human body and its place within the moving image and experiential installation. Bogers was one of the first artists in the Netherlands to integrate moving image into his work. He began working with video in the 1980’s as a methodology to accompany and assist his performance work and has since developed a keen approach to the medium that functions as a tool to illuminate the otherwise imperceptible.

Peter Bogers studied at the sculpture department at St. Joost Academy, Breda. He has exhibited widely and had solo exhibitions both in The Netherlands (at the Netherlands Media Art Institute and the Central Museum Utrecht, among other places) and internationally (including solo shows in Bremen, Marseille, Osnabrück, Pittsburgh and Stuttgart).

Marie Ilse Bourlanges (1983, Paris) is an artist based in Amsterdam, whose artistic practice combines tangible, performative and written matter, within collaborative and individual trajectories. With a particular attention to transience and materiality, Bourlanges explores the borders between the personal and the public, and how intimacy can resonate collectively. Through an eco-feminist lens, her work aims at reconsidering and shifting power dynamics, between humans and across species. Marie Ilse Bourlanges graduated from the Gerrit Rietveld Academie in Amsterdam and was artist in residence at Atelier Holsboer in Paris, 3bisF Contemporary Art Centre (FR) and the European Ceramic Work Centre (NL). She was awarded the Proven Talent Grant from the Mondriaan Funds, the artistic research fellowship of the Gerrit Rietveld Academie and have exhibited internationally with institutions such as 3bisF Contemporary Art Centre (FR) with Manifesta biennial #13, Arti & Amicitiae (NL), Kunsthalle Lottozero, (IT) and Korean Ceramic Biennale.

Buro Belén is an Amsterdam based design studio founded by Dutch designers Brecht Duijf and Lenneke Langenhuijsen. Committed to realising designs for the future, they employ an intuitive, emotional and physical approach in their work. Through a meticulous research based working method, they re-evaluate conventional techniques and create products that reveal unexpected possibilities of both traditional and high-tech materials. Duijf and Langenhuijsen met while studying at the Design Academy Eindhoven, where they both graduated cum laude. They went on to work successfully as independent designers for several brands and were awarded numerous prizes for their projects. Both currently teach at the Design Academy Eindhoven. Since establishing Buro Belen together in 2013, Duijf and Langenhuijsen have received commissions from world renowned design brands and organisations and have collaborated with institutes like Manmade Fiber institute Innsbrück University, Senbis Polymer Innovations, Atelier Luma, Resarch Institute for Material Culture and Textilelab. Their work has been exhibited at the TextileMuseum, Boijmans van Beuningen, van Abbemuseum, Schloss Hollenegg and Palazzo Clerici and can also be found in numerous permanent collections, including that of the Stedelijk Museum Amsterdam.

Performativity is the hub of Ruta Butkute’s (born 1984, Kaunas, Lithuania) work, every object that she appropriates or creates assuming a role within each installation. Critically, these objects are liberated from their former functions and identities; furniture, tools and machines are no longer bound by such classifications and whilst they still carry marks of their industrial origins, they are no longer merely utilitarian servants to the human world. Autonomous and animated, they adopt new places in Burtkute’s pieces that encourage viewers and Burtkute herself to redefine their relationships with them; how they are carried, placed, left and how perhaps when they become still, how they prompt the next phase of movement.

Ruta Butkute currently works and lives in Amsterdam, the Netherlands. She graduated from the Gerrit Rietveld Academy Amsterdam in 2010, attended the Rijksakademie between 2014 - 2015 and has held artist residencies at Lower Manhattan Cultural Council in New York, at Arita in Japan, P.A.R.T.S Works Space in Brussels and at CBK ZuidOost BijlmAir, in Amsterdam. Butkute has exhibited at various galleries, art institutions and project spaces in the Netherlands and abroad, including Gemeentemuseum in The Hague, De Nederlandsche Bank in Amsterdam, Kunstvereniging Diepenheim and Bradwolff Projects in Amsterdam.

Lard Buurman (born 1969 in Zeist, The Netherlands), studied Photography at the Royal Academy of Art in The Hague, where he graduated in 1997. His work is chiefly concerned with cities, how they work and the encounters between the people who live in them. Buurman documents the varied experiences of living in different cities around the world by constructing images at the interface between architectural, documentary and staged photography. Starting by taking numerous shots from a stationary viewpoint, Buurman then digitally compiles the multiple images into a single scene. The resulting images perceptively represent experiences, as opposed to being a representation of a single moment in time. While working on his series ‘Peoples Republic of China’, Buurman developed his interest in the city as a multi-layered space, a site of permanent change and incessant encounter. These themes led him to an interest in African cities and their penchant for fluidity and improvisation. Six years of travel and work culminated in ‘Africa Junctions’, which was exhibited at Looiersgracht 60 in 2014.

Buurman has received numerous awards for his work and has exhibited at a variety of institutions including the International Architecture Biennale ‘Making City’, Rotterdam, Amsterdam Centrum voor Fotografie, Amsterdam, GEM/FotoMuseum, The Hague, Lagos Photo, Biennial Picha Recontres Lubumbashi, Congo and Louisiana Museum, Denmark.

Daya Cahen (born 1969 in Amsterdam) makes photographs, videos and installations that focus on political influence and the systematic manipulation of humans through the media. Having two parents that survived WWII as Jewish children, Cahen was brought up with the idea of how temperamental the world can be. This innate characteristic of humans and the world catalysed thoughts of societal transformations through indoctrination, radicalisation and the fear of otherness, all of which underpins Cahen’s work today. 


Cahen studied photography at the Gerrit Rietveld Academy (2002-2006) and her works have been exhibited, amongst others, at the Nederlands Fotomuseum in Rotterdam, Museum of Modern Art in Moscow, MK Galerie in Berlin, National Museum of Fine Arts in Taiwan and Kunstmuseum Bonn in Bonn. In 2013, Cahen was part of ‘Chambres des Canaux: The Tolerant Home’; a citywide exhibition celebrating 400 years of tolerance in Amsterdam in which Looiersgracht 60 hosted a show of thought-provoking pieces from five artists who have a connection with the city. She has also participated in various international film festivals and film screenings including in De Appel arts centre in Amsterdam, Wiels Contemporary Art Centre in Brussels and Platform Garanti in Istanbul.

As a Mexican sound artist and composer currently residing in Vienna, Angelica Castello’s practice operates at the intersections between music, performance, and visual arts. She is part of laschulas collective, an assemblage of sound and visual artists, musicians, and curators based between Vienna and Amsterdam. Comprised of members Angélica Castelló, Natalia Domínguez Rangel, Lorena Moreno Vera and Lucía Simón Medina, laschulas collective combines research with sound as their primary medium to activate environmental awareness, collaboration, and knowledge exchange. Their immersive works seek to uncover the complex entanglements between nature, technology, and the human condition.

Outside of laschulas collective, Castello works as a solo artist, with several releases on labels such as Interstellar, Mirokton recordings, Monotype, Mosz, chamafu, nocords, Orlando, einklang_, Mandorla, Thalamas, upside down, and more. From ethereal installations to radio performances and compositions, Castello’s interests span across fragility, dreams, the subconscious, and the oneiric.

Roger Cremers studied at the Academie voor Beeldende Kunsten in Maastricht and the Rijksakademie voor Beeldende Kunsten in Amsterdam. Cremers works with historical images, such as archival imagery, magazines, and more recently the representation of images in social media, which emphasize a collective striving towards progress. This process leads his research into a distinct juxtaposition of historical reference and narratives, which interweave both past and present. Cremers’ work has been exhibited at AKINCI, Amsterdam, Batabgianni Gallery, Athens, HEDAH, Maastricht, Institut Neerlandais, Paris, Centre d’Art Contemporain, Bignan, among others.

Roger Cremers and Doina Kraal have been actively collaborating since 2022. Cremers works with historical images, such as archival imagery, magazines, and social media, which emphasize a collective striving towards progress. This process leads his research into a distinct juxtaposition of historical reference and narratives, which interweave both past and present. Kraal works through installation and performance, and investigates how intimate and multisensory encounters imprint between object and viewer. In 2018 Onomatopee published 'Touche-à-Tout', a comprehensive collection of writings, images and documentation around Kraal’s research. The two artists have collaborated around research and installations examining the (un)knowable elements of the cosmos and how storytelling, materaility and the transhistorical imagination are embedded into our lives.

Interdisciplinary artist, Mischa Daams (born 1986 in the Netherlands), constructs experimental environments, performances and films that reveal complex and chaotic behavioural patterns through motion, moving image, light and sound. In ‘Origin: Sustained’, Daams facilitates abstract happenings through a feedback loop between an LCD screen and a video camera in which, through a continuous and live process of copying and translating, some information is lost, resulting in a hallucinatory visual landscape occurring in front of the viewer. Whilst Daam’s practice is concerned with the formation and control of these patterns, he is also intrigued in the unpredictable slippage that comes from the fusions he creates, and how such events can then relate to broader conversations surrounding biology, technology, social systems and the modern day.

Daams currently lives and works in The Hague. His studies include a BA in Multimedia Design and an MA in ArtScience from the Royal Academy of Arts and the Royal Conservatory of the Hague. His work has been shown internationally at the likes of Ars Electronica in Austria, Berlin Atonal in Germany, Art Center Nabi in Korea, Lab30 in Germany and FIBER Festival in the Netherlands.

The practice of Brussels-based artist duo Carolin Gieszner and Théo Demans (aka touche-touche, est. 2018) seems to be born out of a desire to merge fantasy with reality as a way of enriching the relationship we have with the world around us. Lying at the crux of their work, which stretches from dream-like sculptural installations to large-scale scenographic experiences, is the notion of ‘embodied encounters’ – that is, the crafting and hosting of spaces or sites that allow for connection; healing; transformation. In their works for The Spell of the Sensuous, Gieszner and Demans produced two multimedia installations. The first, ‘Oilbath’, is a sculpture meticulously crafted out of a block of mattress foam – a bittersweet ode to our oil-driven society and the intricate intimacies we have with our artificial surroundings. Their second piece, ‘Fountains 01 and 02,’ consists of two hanging sound sculptures which play a series of field recordings by artist Chris Paxton. The soundscape, designed to capture our planet in constant flux, creates an immersive resonating environment in which to experience myriad feelings, such as discomfort or hope. In doing so, it opens up new possibilities for re-imagining a future of life on Earth.

Together, the works of Carolin Gieszner and Théo Demans have been exhibited at the 59th Biennale di Venezia, Haus der Kunst Munich, the 7th Athens Biennale, National Theatre Mannheim, WIELS, Salone del Mobile, Design Museum Ghent, MKG Hamburg, K11 Art Foundation, Stedelijk Museum, and many more.

Amie Dicke (born 1978, Rotterdam) is a Dutch artist who first became known for her cut out works. Collected images and objects incrementally find their way into her studio from a wide variety of sources. She then selects elements to be sandpapered away, blotched, spattered, covered with makeup or surgically incised. Through this process of collection, selection and removal, Dicke allows unexpected aspects of the image to come into focus. She is an artist who works as an (ap)pointer, referrer, indicator, a cursor and exposes that which would usually be overlooked. Constantly evolving in her artistic practice, it is Dicke’s signature way of selecting materials, looking, engaging with and editing them that make her artworks both unique and recognisable.

Dicke completed her degree at the Willem de Kooning Academy of Fine Arts, Rotterdam. Her work has been exhibited nationally and internationally, in museums and galleries such as the GEM Museum of contemporary art, The Hague, Schirn Kunsthallen, Frankfurt, Tate Modern, London, FLAG Art Foundation, New York, Art Centre Silkeborg Bad in Denmark, and the Museum Boijmans van Beuningen, Rotterdam.

Veronica Ditting (born 1979, Buenos Aires, Argentina) is a graphic designer working from her studio in London. Ditting’s practice has a main focus on printed matter. She has collaborated with several artists in designing books, and is also the art director of the magazine The Gentlewoman. Ditting’s expertise has been brought to numerous brands and cultural institutions such as the White Cube and Stedelijk Museum. She is responsible for conceptualising and developing Looiersgracht 60’s house style. Inspired by the history of archiving, the house style appropriates elements such as punched holes. The work also employs image treatments that draw inspiration from the building’s history. For example, the cyan blue that is used refers to the images that are still pasted on the wall as remnants of the paper factory that was housed in the building; as colour images fade over time, cyan blue is the last remaining hue.

Ditting graduated from the prestigious Gerrit Rietveld Academy in Amsterdam in 2005. Her work has been very well received and awarded with the Best Dutch Book Designs and D&AD (British Design & Art Direction), and nominated for the Dutch Design Awards, Aica Awards and others. Next to running her illustrious studio she gives lectures at art and design schools such as Gerrit Rietveld Academy, écal (Ecole cantonale d’art de Lausanne), Willem de Kooning Academy and Bauhaus Universität Weimar.

Fusing together architecture, acoustics, technology and nature, Natalia Domínguez Rangel’s work investigates the affective potential of sound in the context of the body and art (spaces). She is part of laschulas collective, an assemblage of sound and visual artists, musicians, and curators based between Vienna and Amsterdam. Comprised of members Angélica Castelló, Natalia Domínguez Rangel, Lorena Moreno Vera and Lucía Simón Medina, laschulas collective combines research with sound as their primary medium to activate environmental awareness, collaboration, and knowledge exchange. Their immersive works seek to uncover the complex entanglements between nature, technology, and the human condition.

As a firm believer of the transformative connections that emerge out of critical listening (which she refers to as ‘acoustic ecologies’), the composer and audio-visual artist works with sculptures, installations, and performances, lending her refined background in musical composition as a means to contemplate the imperceptible. Her works have been exhibited in a diverse range of contexts across Europe and Latin America, varying from festivals and galleries to museums and public interventions. Currently, Domínguez Rangel teaches Sound Studies at the Art Design & Technology department of ArtEZ in Arnhem and Sound in Sculpture at the Universität für Musik und Darstellende kunst (mdw) in Vienna.

Charlotte Dumas’ (born 1977 in Vlaardingen) photographs touch upon the way in which humans use, co-exist with and relate to specific animals. Inspired by the traditional elements found in 17th century Dutch painting, Dumas makes subtle and harmonious use of the compositions, light and poses of Old Master portraits to then create intimate photographs of primarily horses and dogs, positing the thought that the disappearance of animals in today’s increasingly human dominated landscape critically affects how we experience life, and how this worrying shift profoundly influences our ability to be empathetic towards each other. In the context of proliferated physical and mental distance from animals, Dumas’ photographs offer a much-needed surface of contemplation for us to consider and re-connect with those inhabitants of Earth that are unassumingly so important to human kind.

Dumas attended the Rietveld Academie of Amsterdam from 1996-2000 and later studied as a resident at the Rijksakademie van Beeldende Kunsten in Amsterdam from 2001-2002. Her work has been exhibited at The Photographer’s Gallery in London, Julie Saul Gallery in New York, Huis Marseille for Museum for Photography in Amsterdam and Gallery 916 in Tokyo and de Pont in Tilburg amid others. In 2013, Dumas was part of ‘Chambres des Canaux: The Tolerant Home’; a citywide exhibition celebrating 400 years of tolerance in Amsterdam in which Looiersgracht 60 hosted a show of thought-provoking pieces from five artists who have a connection with the city.

Dyvik Kahlen Architects is a London-based office established by Christopher Dyvik and Max Kahlen in 2010. The office works across England, Germany, Holland and Norway, often on projects for cultural institutions. They developed a furniture piece to house Looiersgracht 60’s archive. Fashioned out of steel, the archival system consists of four movable pieces that can be grouped together or used independently, containing all of the information on Looiersgracht 60’s previous exhibitions. The archive is an important physical addition to the space and is accessible to the public.

Christopher Dyvik (born 1980, Norway) graduated from the Architectural Association in London and has worked in London and Oslo. Max Kahlen studied at the Stuttgart Academy of Art & Design in Germany and the Architectural Association. Both teach at the AA. The office has recently completed the exhibition design for 'Magnificant Obsessions' at the Barbican Art Gallery, a book shop in the Fridericianum Museum Foyer in Kassel, a conversion of the National Archive Versailles and a refurbishment of the Walther König Bookshop at Whitechapel Art Gallery.

Carolyn F. Strauss is a curator, writer, and cultural practitioner based in Amsterdam, whose research practice operates at the intersection of contemporary art, architecture, and emerging technologies. As director of Slow Research Lab, she has developed exhibitions, performances, workshops, publications, and immersive study experiences in collaboration with academic, institutional, nonprofit, and enterprise partners.

Strauss is the editor of Slow Technology Reader: A Tool for Shaping Divergent Futures (Valiz, 2025); Slow Spatial Reader: Chronicles of Radical Affection (Valiz, 2021) and co-editor of Slow Reader: A Resource for Design Thinking and Practice (Valiz, 2016). Since 2020, she has been the creator and host of the podcast AI Murmurings, which speculates on intersections of contemporary art and artificial intelligence.

Established in 2010, Forensic Architecture (FA) is a multidisciplinary research agency (based at Goldsmiths, University of London) that undertakes advanced architectural and media research on behalf of international prosecutors, human rights organisations and political and environmental justice groups. Today, contemporary conflicts increasingly take place in urban environments; facilitated by an ever-growing network of digital surveillance they become dense media environments that are able record war crimes and human rights violations before making them available almost instantly. Through navigable three-dimensional models, animations and interactive cartographies , amongst others, Forensic Architecture presents its information in a convincing, precise, and accessible manner – qualities which are crucial for the pursuit of accountability.

Forensic Architecture have undertaken collaborative investigations with partners such as Amnesty International, Human Rights Watch, Centro para la Acción Legal en Derechos Humanos, B’tselem, Al Mezan and Migeurop. They have exhibited work at the likes of the Whitney Biennial, New York; Centre for Contemporary Nature, Warsaw; Broken Nature Milan Triennale, Milan and Vitra Design Museum, Weil am Rhein.

Mio Fujimaki (born 1987, Tokyo, Japan) connects to and understands the world through her work; navigating by way of discovery, awareness, learning and physical experience. Motivated by a pursuit for deeper or alternative understanding, Fujimaki researches the manufacturing processes of ubiquitous products such as glass, water, oil and wax amongst countless others. Other objects, more akin to the natural world, such as flowers and the sun are equally stratified for Fujimaki to then observe the properties and behaviors of each. Through this methodology of intensive surveys, elusive, unsuspecting and magical qualities that are usually hidden in the everyday are divulged to the audience, who are invited to share in her quest for discovery and unyielding enthusiasm for the unknown.

Mio Fujimaki studied at both the Sandberg Instituut (Fujimaki presented work at Looiersgracht 60 for the first time during the Sandberg Graduation Show in 2017) and the Gerrit Rietveld Academy. Her works have been shown nationally and internationally at 'Stralen&Reflecteren', Galerie Weltraum, Germany; 'VOID', Grauzone Festival, the Netherlands; 'Does This Count as Protein?', Looiersgracht 60, the Netherlands and Textile Graduation Exhibition, BankArt, Japan amongst others.

Monique Grimord is an interactive designer and artist based in Amsterdam whose practice uses inventions as story-telling devices that design fictions as a method of cultural commentary. In her work ‘TerraEconomics’, Grimord created a device that acts as a fictional alternative to how stock markets are currently determined. Instead of subscribing to the ideas of supply and demand, the health of the earth and resource extraction would become central to fluctuations in the market where traditional economic structures would now be connected to the language of the bio market.

Spiros Hadjidjanos (Greece, 1978) is an artist who lives and works in Berlin. His interdisciplinary practice is informed by his critical reflection on technological and material processes, historical reference, and the dialectic relationship behind material and personal biography. His work often materializes through a cyclical conversation between two-dimensional and three-dimensional forms, analyzing the properties of light and shadow in relationship to space and material.

Hadjidjanos studied at the Berlin University of the Arts. His work was featured in numerous exhibitions at key galleries and museums, including KW Institute for Contemporary Art, Berlin, Musée d'Art Moderne de la Ville de Paris, Palais de Tokyo, Paris, Städel Museum, Frankfurt, Foam, Amsterdam (2018) and ZKM Center for Art and Media, Karlsruhe. Spiros Hadjidjanos has been featured in articles for the Art-agenda, and Frieze Magazine.

Max Hampshire (born 1993 in England) is a researcher living and working in Amsterdam, working to unravel the emergent politics of cryptographic platforms and how autonomous technologies inform the structure of contemporary capitalism. In the project Terra0, realised with artists Paul Seidler and Paul Kolling, the three artists set up a prototype of a self-owning augmented forest in which, through processes related to crypto governance, smart contracts and economics, an area of land situated to the east of Berlin could effectively sell licenses to log its own trees. In doing so, the forest was able to accumulate capital.

Hampshire holds an MA in Philosophy from the University of Amsterdam and is currently working at the Institute of Network Cultures. He is also one of two initiators of Noiserr, a nomadic audio-visual research group centred around noise. His publications can be found on the Institute of Network Cultures’ MoneyLab blog and in the forthcoming MoneyLab Reader.

Terike Haapoja (Finland, 1974) is a visual artist based in New York. Her practice is research-based and interdisciplinary in nature. Working through large scale installation, video, writings and collaborative projects Haapoja investigates political relationships surrounding the mechanics of othering and exclusion. The core of Haapoja’s practice is based on understanding artistic production as an ethical and collaborative engagement. Haapoja is a part of a long-term collaboration with author Laura Gustafsson, under the name Gustafsson&Haapoja.

Haapoja represented Finland in the 55th Venice Biennale with a solo show in the Nordic Pavilion. Haapoja’s and Gustafsson&Haapoja's work has been exhibited widely in solo and group shows internationally, including the Taipei Biennale, the Momentum Biennale, the Museum of Modern Art in China, Chronus Art Center Shanghai, ISCP New York, House of Electronic Arts Basel and ZKM, Germany.

Jason Hendrik Hansma (born 1988, Pakistan) works across a multitude of mediums including film, sculpture, performance, installation text and photography, raising questions that explore the complexities of time, history, memory, nature and our attempts to grasp these phenomena. From decommissioned lab components used to study quantum entanglement to glass-blown pieces that investigate the abstract materiality of the human body, Hansma distils complex ecologies into rudimentary forms to reveal new understandings.

Hansma completed a Master of Fine Art at the Piet Zwart Institute and was a participant at the Jan van Eyck. Exhibitions, performances, readings and screenings have been included in Ludwig Forum für Internationale Kunst, Rupert, Contemporary Art Centre Vilnius, Centre Georges Pompidou, Parc Saint-Léger Centre d'art Contemporain, Hordaland Kunstsenter, Centre International d'art et du paysage de l’île de Vassivière, Center For Contemporary Art Futura, Jan van Eyck and De Appel among others.

Hiryczuk / Van Oevelen is a collaboration between artists and researchers Elodie Hiryczuk (France, 1977) and Sjoerd van Oevelen (Netherlands, 1974). Hiryczuk / Van Oevelen are interested in the workings of perception in humankind's relationship to nature and the landscape. The differences and similarities between Western and Eastern traditions of painting and photography deeply shape their work and thinking. In addition to making art, they write and publish essays online and in magazines such as Philosophy of Photography (UK) and EXTRA – Fotografie in context (BE/NL).

Both studied at the Gerrit Rietveld Academy (Amsterdam), the Sandberg Institute (Amsterdam) and the AA Architectural Association (London), respectively. They are currently head Moving Image (BA) at ArtEZ AKI Academy of Art and Design (Enschede) and PhD candidates at LUCAS Center for the Arts in Society at Leiden University. Hiryczuk and Van Oevelen are co-founders of Radical Reversibility.

Véronique Hours is a French Canadian architect living in Paris. In 2008 she co-founded the A.P.ARTs association with Fabien Mauduit,. This is an association that promotes interdisciplinary creation between architecture, landscape and art. Since 2013 she has conducted field trips in Japan on the theme of housing.

In 2016 and in collaboration with Looiersgracht 60, Hours co-curated ‘Japan, Archipelago of the house’ with architects Manuel Tardis and Fabien Mauduit and photographer Jérémie Souteyrat. Together with Fabien Mauduit she realised the exhibition design.

Saskia Noor Van Imhoff (born 1982, Canada) approaches her work in a way comparable to that of an archaeologist (conservation, research, classification, discovery) – peeling back layers of everyday objects to reveal deeper meanings and fragments of knowledge that then contribute to new narratives. Preconceived ideas of hierarchy are left behind where objects alongside documents related to scholarly museums are juxtaposed in new ways.

Saskia Noor van Imhoff lives and works in Amsterdam. She studied at the Gerrit Rietveld Academie (2004-2008) and was a resident at De Ateliers in Amsterdam (2011-2012) and Kunstlerhaus Bethanien Berlin (2013). In 2013, she was also nominated for the Volkskrant Fine Arts Prize, for which she made a special presentation at the Stedelijk Museum Schiedam. Her work has been shown at, amongst others, 'Affinities #1', Galerie Fons Welters, Amsterdam; Gabriele Senn Galerie, Vienna, Austria; '#+14.00', Galerie Fons Welters, Amsterdam; 'Language Leaps', Plan B, Berlin (DE); 'R&D Department of Black Mountain College Show', W139, Amsterdam and 'As Everything Moves', Node, Center for Curatorial Studies, Berlin (DE).

JODI is an internationally recognised artist duo that are widely regarded as leading pioneers in the field of net art. Collaborating since the early 1990s, Joan Heemskerk (born 1968 in the Netherlands) and Dirk Paesmans (born 1965 in Belgium) create video and new media works that embrace, play, deconstruct and distort the technologies that are becoming increasingly dominant in our daily lives. JODI uses well-known software, video games and online platforms such as Google Maps and Twitter as their starting point before creating malfunctions and glitches that shift our understanding of them whilst asking us to reflect upon our relationships to the digital age and those who control it.

JODI’s works have been featured extensively in writing about electronic and media art and has been exhibited at venues including Documenta X in Kassel, Germany; ZKM, Center for Art and Media, Karlsruhe, Germany; Bonner Kunstverein and Artothek, Bonn in Germany; InterCommunication Center in Tokyo; Centre Pompidou in Paris; Center for Contemporary Arts in Glasgow; Guggenheim Museum in New York; Eyebeam in New York and Museum of the Moving Image in New York. In 1999, JODI received a Webby Award in the net art category, and in 2014, they received Rhizome’s inaugural Prix Net Art.

Amsterdam based artist, David Jablonowski (born 1982, Bochum, Germany) uses sculptures, videos and installations to investigate the condition and evolution of communication technologies. In a time where language can be reproduced without restriction through the virtual world, Jablonowski is constantly intrigued by the countless layers of communication; how they are constructed, disseminated, replicated and altered. Jablonowski then often connects these ideas (that are intrinsically related to modernity) to the communication methods of the past, where echoes of bygone language and signs seem to be inescapable, even today. In 'Prediction Towers' (2014), stacked cuboids of plexiglass, glass and LED panels that reference corporate displays are occupied by a myriad of algorithmically determined texts and objects. Opaque technologies provide transparent results. Juxtaposed next to these shiny displays sit a book-binding press; archaic nostalgia hovers where past and present are melded together to signify towards a possible future.

David Jablonowskireceived his BA at the Gerrit Rietveld Academy, followed by a two-year residency at De Ateliers, Amsterdam and a residency at ISCP in New York. His works are included in a wide range of public and private collections such as the Stedelijk Museum, Amsterdam, Gemeentemuseum The Hague, Museum Glaskasten Marl and the collection of the Federal Republic of Germany, Bonn. He has had large solo-exhibitions at, among others, Kunsthalle Baden-Baden; Kunsthalle Lingen, the BALTIC Centre for Contemporary Arts; Gemeentemuseum, The Hague and Dallas Contemporary, Texas. He has participated in numerous group exhibitions, including Kunsthalle Basel; Museum Boijmans van Beuningen; Taxispalais, Kunsthalle Tirol and ZKM, Zentrum für Kunst und Medientechnologie.

The work of Steffani Jemison (born 1981, USA) is rooted in research, combining time-based media and discursive platforms to examine time, history and progress. Such ideas are constantly entwined in her practice, probing the limits of our current definitions and positing new meanings to these terms in the context of African-American culture. For instance in the artist’s recent work ‘Same Time’ (consisting of a looped sound piece and abstract prints), she reveals alternative literacies of Black Americans used in the 1970s to communicate and preserve knowledge outside of established white power structures.

Steffani Jemsion holds an MFA from the School of the Art Institute of Chicago (2009) and a BA in Comparative Literature from Columbia University (2003). Jemison's work has been exhibited nationally and internationally. Her work has been presented at Jeu de Paume, CAPC Bordeaux, the Museum of Modern Art, the Brooklyn Museum, the Studio Museum in Harlem, LAXART, the New Museum of Contemporary Art, the Royal Danish Academy of Fine Art and was part of the Whitney Biennial 2019. Her work is in the public collections of the Whitney Museum, the Museum of Modern Art, the Brooklyn Museum, the Studio Museum in Harlem, and the Kadist Foundation.

Yoichi Kamimura (Japan, 1982) works primarily from a practice of sourcing and re-presenting field recordings, experimenting with our perception of the environment and our senses. Kamimura understands his relationship with field recordings as a practice of ‘meditative hunting’, acting as witness to the relationship of the human experience and the natural world. The material cumulation of this practice includes sound installations, paintings, video works, sound performances, and audio pieces.

Kamimura is a graduate of the Tokyo University of the Arts’ Graduate School of Fine Arts. Recent exhibitions and projects have been held at the POLA MUSEUM ANNEX Tokyo, Tokyo Arts and Space, Contemporary Art Center, Art Tower Mito, the NTT InterCommunication Center [ICC] Tokyo, Therme Vals, Switzerland, and the LagoArt Residency Program in Hamburg, Germany among others.

Daria Khozhai is an Amsterdam-based artist and architect. Her work documents the shifts of our time including climate change, the effects of the pandemic, economic collapse and political strife. Khozhai’s work aims to register these shifts and their global effects on our personal experiences. As a member of the core team of RAAAF, as well as an embedded architect at a philosophical project at the AMC (Amsterdam Medical Centre), Department of Philosophy/Brain & Cognition, Khozhai is currently conducting a self-initiated philosophical research on the topic of ‘Multidirectional Memory, Traumatic Memories’. She studied Fine Art at the Kyiv Academy of Visual Arts and Sustainable Architecture at the Politecnico di Milano.

Elena Khurtova (1982, Samara, Russia) is an interdisciplinary artist based in Amsterdam. Reflecting on the interplay of fragility and resilience of human and environmental conditions, Khurtova’s work investigates notions of care and control. She works across performative and sculptural installations, drawings and artist books, building poetic relationships with concrete and fluid materials and mapping the transience between human and nonhuman agencies. Khurtova studied at University of Architecture of Samara, Russia and the Gerrit Rietveld Academie in Amsterdam. She was artist in residence at Atelier Holsboer in Paris, 3bisF in Aix-en-Provence, France and EKWC - European Ceramic Workcentre in ‘s-Hertogenbosch. She was awarded the Established Talent Grant from the Mondriaan Funds and the artistic research fellowship of the Gerrit Rietveld Academie. Khurtova’s work has been exhibited internationally with institutions such as 3bisF Contemporary Art Centre, France with Manifesta biennial #13, Arti & Amicitiae, Amsterdam, Kunsthalle Lottozero, Italy and Korean Ceramic Biennale.

Anika Schwarzlose (Berlin, Germany, 1982) and Elena Khurtova (Samara, Russia, 1982) are an artist duo currently residing and working in Amsterdam. With both artists graduating from the Rietveld Academy, their practice is rooted in transdisciplinary ways of ‘making’ and ‘doing.’ Khurtova’s work investigates the obscure boundaries between care and control. Through an expansive practice that spans across performative and sculptural installations, drawings and artist books, Khurtova probes into the complex tensions and dynamics between human and more-than-human worlds. Schwarzlose’s work is centered on the function of archives and how ways of recontextualisation and reproduction impact hegemonic narratives.

In their site-specific, spatial installation on view in the show by Sonic Acts at Looiersgracht 60, the duo employs ‘soil-chromatography’ techniques to foreground the contentious and invisiblized histories of the present-day art and cultural centre Het HEM (formerly an ammunition factory). To achieve this, the artists weave together three archives: the contaminated Hembrugterrein soil, a series of historical objects and images depicting factory operations, and video footage from the Dutch Film and Television archive. These material artefacts, which serve as witnesses to the past, allow the past and present to confront one another in a powerful dialogue.

Khurtova/Bourlanges is an Amsterdam based artist-duo comprising Elena Khurtova (born 1982, Samara, Russia and Marie Ilse Bourlanges (1983, Paris). Actively collaborating since 2009, the works of Khurtova/Bourlanges are a sculptural investigation that conceive the work as a process. Equally fascinated by the conceptual and narrative qualities of materials, the duo often employ those materials that overcome the gap between form and content whilst still maintaining their temporality and vulnerability. Khurtova and Bourlanges met while they were studying Architectural Design at the Gerrit Rietveld Academie, Amsterdam, where they are both currently tutors. They also teach at the Royal Academy of the Arts, The Hague and curate in the fields of design and architecture. Since acquiring the archives of Jacques Bourlanges in 2014, the artists have actively implemented their artistic interference onto this gathered content, each time generating new meanings and making visible the mysterious ways in which the mind can work.

The duo’s work has been presented in several cultural institutions in the Netherlands and internationally, including: a major solo at Arti & Amicitiae,Paleis van Mieris, The Bookstore Space; in Amsterdam, Netherlands, International Biennale of Contemporary Ceramics in Vallauris, France, Art Rotterdam and many more.

Moriko Kira (born 1965 in Tokyo, Japan) is an architect whose diverse activities broach interiors, housings, utility buildings, urban design and restorations. Kira’s practice is shaped by a long-term view of the buildings she works on: architecture for the ‘future’ is formed through knowing the ‘past’ of her clients, locations and functions, then addressing them in the present. The result of this synthesis is an architecture that exists beyond time. Her design approach is unique to each project, responding to the function, activities and energy that flow in each space. In 2013, Kira repurposed the former bottling plant that now houses Looiersgracht 60.

Kira studied architecture in Delft and Tokyo and has been based in The Netherlands since 1992. She has won, and been nominated for, a host of awards and has taught at a number of leading institutions. Her other projects include work for the Governmental Building Agency of the Ministry of Housing, Spatial Planning and Environment in the Netherlands, designing the Siebold Huis in Leiden and contributing to the extension of the official residence of the Prime Minister of the Netherlands.

Gert Jan Kocken (born 1971 in Ravenstein) places history and memory in relation to the photograph. Often using a large format camera to create monumental works that render the world in immense detail, Kocken has in the past for example visited sites of disaster (such as the Mont Blanc tunnel in which a lorry caught fire, resulting in 39 fatalities, in 1999 and the site of a block of flats in Amsterdam’s Bijlmer district into which a cargo-laden jet crashed in 1992, killing more than 40 people), recording them in obsessive precision. Because such photographs are made years after the event, Kocken draws relationships between the happening and the traces of history, teasing out the tensions between a now aestheticised landscape and the collective memory of that location. These themes of collective memory, history and its relation to the now are all constants in the work of Gert Jan Kocken.

Gert Jan Kocken graduated from the Royal Academy of the Arts in The Hague in 1998 and held a residency at the Rijksakademie van Beeldende Kunsten in Amsterdam in 2011. His work has been exhibited widely in the Netherlands at institutions including the Stedelijk Museum and Kröller-Müller Museum as well as abroad in places such as Sammlung Hoffman in Berlin; Gallery Nova in Zagreb and the Aperture Gallery in New York. In 2013, Kocken was part of ‘Chambres des Canaux: The Tolerant Home’; a citywide exhibition celebrating 400 years of tolerance in Amsterdam in which Looiersgracht 60 hosted a show of thought-provoking pieces from five artists who have a connection with the city. Kocken exhibited ‘Depictions of Amsterdam 1940 - 1945’, which consisted of fifty maps of Amsterdam made and used by the Germans, the Dutch resistance and the Allied Forces, collectively depicting the atrocities carried out in the city during the occupation.

Paul Kolling (born 1993 in Germany) is a media artist and designer who works at the intersection of media art, design research and industrial design, striving to explore the interactions between (new) materials, objects, infrastructures, manufacturing processes, new technologies and their social and economic implications. In the project Terra0, realised with artists Paul Seidler and Max Hampshire, the three artists set up a prototype of a self-owning augmented forest in which, through processes related to crypto governance, smart contracts and economics, an area of land situated to the east of Berlin could effectively sell licenses to log its own trees. In doing so, the forest was able to accumulate capital.

Kolling’s projects and papers have been presented and consequently discussed at transmediale festival in Berlin; Ars Electronica in Linz, FIBER festival in Amsterdam; Aksioma in Slovenia and Drugo More in Croatia. After spending some time working as a carpenter, Kolling moved to Berlin to study Visual Communication at the University of the Arts. Since 2014, he became a student of the New Media class at the University of the Arts.

Katrin Korfmann (born 1971, Berlin, Germany) uses photographs, videos and installations to reveal new perspectives on social dynamics and behavioural movements. Often employing a bird’s-eye view that looks directly down onto everyday life in public spaces, she distinctly flattens three-dimensional space into a re-imagined plane of perception. Combining this spatial arrangement with near monochromatic backdrops, Korfmann shifts the attention to the people in the frame instead of becoming pre-occupied with their cultural location. Dislocation and redirection are fused together to create work in which the viewer is a suspended voyeur, just far enough to be rendered invisible to those below.

Katrin Korfmann studied Photography at the Gerrit Rietveld Academie and continued her research during residencies at the Rijksakademie Amsterdam, Cittadellarte, Italy and the Chinese European Art Centre in Xiamen. Since the late 1990s, her work has been exhibited internationally in spaces such as Kopeikin Gallery in Los Angeles, Aperture Foundation in New York, Akademie der Künste in Berlin, International Canakkale Biennial in Turkey, Three Shadows Art Centre in China and Photography Museum Rotterdam. In addition to her practice as a visual artist, she is a tutor at the Royal Academy of Art in The Hague. Her work is also held in numerous private and corporate collections.

Doina Kraal studied Fine Art at Gerrit Rietveld Academy in Amsterdam (BA) and at Central Saint Martins College of Art and Design in London (MA). From 2020 to 2022 Kraal was a PhD candidate at PhDArts, a practice-lead doctoral study programme at ACPA (Academy of Creative and Performing Arts), Leiden University. Kraal works through installation and performance, and investigates how intimate and multisensory encounters imprint between object and viewer. In 2018 Onomatopee published 'Touche-à-Tout', a comprehensive collection of writings, images and documentation around Kraal’s research. Kraal’s work and publications have been presented at Foam, Amsterdam, MAMA, Rotterdam, Stedelijk Museum, Amsterdam, Flora, Bogota, Soledad Senlle Gallery among others.

Gļeb(s) Maiboroda is a multidisciplinary visual artist based in Amsterdam, with a background in weaving, working across textiles, installation, performance, icon painting, and experimental pedagogies. Concerned with the shifting politics of identity and belonging, Gļeb(s) examines how cultural heritage is mobilised as a tool of divergence within fragmented publics, and how it might be reclaimed as a site of dialogue. Their works explore the links between traditional knowledge systems and contemporary automated technologies, examining the material and conceptual forms of intelligence that exist across temporalities.

Maiboroda studied at the Dutch Art Institute and ArtEZ University of the Arts in Arnhem. Recent exhibitions and performances include The Wrong House, Kortrijk (2025); Temporary Art Center, Eindhoven (2024); Städtische Museum Deggendorf (2024); Centrale Fies (2023); and Sonsbeek Biennale, Arnhem (2021). Their work appears in publications including Slow Technology Reader (Valiz, 2025) and Press & Fold Magazine (2022). Since 2021, Gļeb(s) has taught embodied practice and theory at the Gerrit Rietveld Academie in Amsterdam. Their practice has been supported by the Mondriaan Fund, Creative Industries Fund NL, and the Amarte Fund; in 2025, they received the Artist Start Stipendium from the Mondriaan Fund.

Based between Cologne and Graz, the practice of artist and filmmaker Lukas Marxt (Austria, 1983) centers on the relationship between humankind and nature, specifically with regards to the Anthropocene – the current geological epoch in which humans play a dominant role in shaping the Earth’s climate and environment. His artistic and research interests are owed to his educational background in geography and environmental science at the University of Graz, which were later refined through his time at the Art University in Linz, where he pursued audiovisual studies. In 2012, Marxt received his MFA at the Academy of Media Arts Cologne before attending the postgraduate programme at the academy of Fine Arts Leipzig.

For the Looiersgracht 60 show, Marxt features a series of video works that respond to a site of specific interest: the Salton Sea – a body of water in southern California which has been subjected to natural and human catastrophes throughout history. A former testing ground for nuclear and atomic weapons, further exacerbated by a range of natural disasters prompted by the destruction of the environment, creates the ideal entry-point for Marxt to explore the knotting of ecocide and genocide. The video works are accompanied by sculptures and material artefacts which he unearthed himself in the surroundings of the once oasis turned deathpit.

Marxt has been actively collaborating with Sonic Acts over the past decade, and has been selected for numerous awards and grants for his film works. He has also been featured in numerous solo and group exhibitions in institutions and venues such as Galerie Khoshbakht, Kunsthalle Graz, Torrance Art Museum, Museum Pfalzgalerie Kaiserslautern, and several more.

Fabien Mauduit is an architect living in Paris. In 2008 he co-founded the A.P.ARTs association with Véronique Hours. He realises projects of various themes and scales, and researches on subjects concerning modern and contemporary architectural production.

In 2016 and in collaboration with Looiersgracht 60, Maduit co-curated ‘Japan, Archipelago of the house’ with architects Manuel Tardis and Véronique Hours and photographer Jérémie Souteyrat. Together with Véronique Hours he realised the exhibition design.

Arnout Meijer’s (born 1988, Rotterdam, the Netherlands) work explores the physicality and philosophy of perception. Through sculpting with light, he manipulates its spatial and sensory properties whilst illuminating the aesthetics and immateriality of such a subject. What we see is a presentation based on experience rather than an actualrepresentation of the world derived from analyses of images. Optical illusions are not merely sensorial exceptions, but precisely the visual effects that shape the reality as we see it. For him these same illusionary effects dominate the world of imagery. Meijer tries to question the systems that controlour ways of seeing and this relation between reality and illusion invision and in culture is the basis of his practice.

Arnout Meijer lives and works in Amsterdam. He studied at the Technical University Delft(2006-2008) and the Design Academy Eindhoven (2008-2012) after which he started his own practice. He is represented by gallery VIVIDin Rotterdam and gallery Victor Hunt in Brussels. His self-initiated and commissioned work covers several disciplines ranging from artworks, public sculptures, texts, product design and architecture. His work have been exhibited in numerous exhibitions including at Musée des Arts Décoratifs, Moscow Biënnale, Galerie VIVID, Galerie Fons Welters, PAD Paris, TodaysArt, Art/Design Miami/Basel, Salone del Mobile Milan, Villa Noailles, Het Nieuwe Insituut Rotterdam. His work has been written about in Frame Magazine, de Volkskrant, NRC, NY Times Magazine, De Groene Amsterdammer, AD Germany, Dezeen, Wallpaper and Wired.

Nathaniel Mellors' (born 1974 in Doncaster, United Kingdom) work probes the complex relationship between language and power, materialising in humorous, fantastical and absurd forms. Mellors parodies the formats and structures through which information is usually conveyed – such as the television drama or political broadcast - setting up theatrical frameworks to test the line between meaningful content and incomprehensibility. At the core of his practice lies a fascination with the relationship between word and effect.

Mellors studied at the Royal College of Art, London and the Ruskin School, Oxford University. In 2007 to 2009 he was a resident at the Rijksakademie van Beeldende Kunsten, Amsterdam. He is a Senior Lecturer in the School of Art, Architecture & Design at Leeds Beckett University and is also an adviser at the Rijksakademie van Beeldende Kunsten, Amsterdam. In 2013, Mellors was part of ‘Chambres des Canaux: The Tolerant Home’; a citywide exhibition celebrating 400 years of tolerance in Amsterdam in which Looiersgracht 60 hosted a show of thought-provoking pieces from five artists who have a connection with the city. His works have been shown internationally at the Finnish Pavillion of the 57thVenice Biennial; The Box in Los Angeles; the Hammer Museum in Los Angeles; the Cobra Museumi in Amstelveen and Performa in New York.

William Monk's (born 1977 in Kingston upon Thames, United Kingdom) scenographic works tap into the rich tradition of painting. He creates meticulously vibrant paintings that verge on the ritualistic and hallucinatory; thoughts from information read or heard are mentally combined with that found in the virtual world before all of it is re-imagined through the medium of paint. Repetition, alongside relationships to pointillism and visionary art, see Monk’s paintings become visual mantras of reality and spiritual planes in equal measure.

Monk won the 2005 Royal Award for Painting during his two years in Amsterdam studying at the residency De Ateliers, resulting in widespread recognition in Northern Europe. Monk’s work has been exhibited in the Van Gogh Museum in Amsterdam, the Gemeentemuseum in The Hague, James Cohen Gallery in New York, amongst numerous others. In 2009 he was a recipient of the Jerwood Painting Prize which resulted in a yearlong national touring exhibition. In 2013, Monk was part of ‘Chambres des Canaux: The Tolerant Home’; a citywide exhibition celebrating 400 years of tolerance in Amsterdam in which Looiersgracht 60 hosted a show of thought-provoking pieces from five artists who have a connection with the city.

Based between Vienna and Mexico City, Lorena Moreno Vera is an independent curator whose practice revolves around creating alternative narratives through both sound and visual phenomena. With an educational background in Critical Studies (MA) from the Academy of Fine Arts in Vienna, her key interests lie at the junctures between feminist theory and philosophy of science. She is part of laschulas collective, an assemblage of sound and visual artists, musicians, and curators based between Vienna and Amsterdam. Comprised of members Angélica Castelló, Natalia Domínguez Rangel, Lorena Moreno Vera and Lucía Simón Medina, laschulas collective combines research with sound as their primary medium to activate environmental awareness, collaboration, and knowledge exchange. Their immersive works seek to uncover the complex entanglements between nature, technology, and the human condition.

Currently, Moreno Vera works as the assistant curator of the Public Art Parcours, as part of the TagenteSt. Pölten Festival in Austria. To date, she has curated numerous independent projects and collaborated with institutions and venues across the globe, including Tasmania, Mexico City, Spain, and Vienna. Together with Michel Blancsubé in 2016, she is co-editor of the book La Revuelta De Los Ángeles Salidos Del Limbo: Accionismo Vienés, Fundación Jumex Arte Contemporàneo/Turner and the Spanish edition of Der Wiener Aktionismus und die Österreicher, Ñ.

MouseEar emerged from the desire of two exceptional keyboardists, Artem Belogurov and Menno van Delft, to revitalize performance traditions of the past. The focal point of MouseEar is a reimagining of the concert-going experience of the present day. The platform aims to promote the rich and diverse repertoire for historical keyboard instruments through presenting concerts, lectures and workshops given by established and young artists from around the world. MouseEar continually engages with an array of eminent composers who in turn reflect on the process of archiving through the orchestration of exceptional sound materials.

Navid Nuur (born 1976, Iran) holds a deep interest in the properties and potentials of materials, ranging from light tubes, plywood, plaster, wire, polystyrene, paper and ice cream amongst others. Attempting to penetrate the physical essence of the material, Nuur activates objects to assign them unaccustomed meanings and associations whilst leaving traces of his process in the form of drawing, texts and installations for the viewer to experience. Whether these experiences materialise in colossal scale or on a more intimate one, Nuur’s work always speaks of endless possibilities in the everyday.

Navid Nuur lives and works in the Hague, the Netherlands. His past exhibitions include shows at major institutions such as Trafó - House of Contemporary Arts, Budapest (2014), Dundee Contemporary Arts, Dundee (2014), Bonnefanten Museum, Maastricht (2014-2013), Centre Pompidou, Paris (2013), Parasol unit, London (2013), Kunst Halle Sankt Gallen (2011), Venice Biennale (2011), Museion, Bolzano (2011) and Kunsthalle Fridericianum, Kassel (2009).

Fahrettin Orenli (born 1969, Pertek, Turkey) collects fragments from an array of media; altering, investigating and separating them before finally combining them in order to create his idiosyncratic language. His methodology draws a parallel to the fundamental rule of existence that is critical to his work; that every entity consists of a combination of elements. Through this alchemistic approach, Orenli proceeds to explore the impact of socioeconomic and political issues on creating sustainable knowledge for the future, and the ways by which cities are psychologically and physically shaped into complex beings that assimilate information.

Orenli studied at Gerrit Rietveld Academie (1998) and continued his studies at the Rijksakademie Van Beeldende Kunsten (2001). He has held residences in places such as MMCA Residency Changdong in Seoul (2017); Platform Garanti (SALT) in Istanbul (2006-07) and the ISCP New York. In Amsterdam, Orenli was awarded Royal Painting Prize (2000) and the ABN AMRO Art Prize (2004). His major solo exhibitions include '3D Sunset', Fulfill Art Space Taipei (2018), 'Money without Nationality', Pi Artworks, London (2018), Art Sonje Center, Seoul (2017) and 'High Heels', DEPO, Istanbul (2016).

Jens Pfeifer’s (born 1963 in the Netherlands) oeuvre comprises of drawings, glass and resin sculptures, metal reliefs and photographs, amongst others, that depict the dwindling yet omnipresent relationships we have with the natural environment and the creatures that inhabit it. As modernity constructs a world driven by seamless technology and virtual spaces, the misconception that people and their cultures exist outside of nature is increasingly easy to adopt. Pfeifer’s work recognises the opposite; that humans hold, and always will, an intrinsic dependence to the world surrounding us and that our place is amongst innumerable interrelating chains of connections. His practice catalyses conversations about how we connect to our local and regional rooting, and how in turn we can translate these ideas to act in a new global playing field.

Jens Pfeifer is an artist and educator based in Amsterdam. He is the curator of the upcoming exhibition 'State of Transparency', held at Looiersgracht 60. Pfeifer’s work is exhibited internationally and is represented in a number of private and public collections. Jens Pfeifer was educated in London and Amsterdam, where he is currently holding the position of Head of Department at the Gerrit Rietveld Academie’s Large Glass Department. In 2014, he co-initiated the temporary master programme Material Utopias for the Sandberg Institute, where he still teaches as a senior lecturer. He is strongly involved in the organisation of a European platform for glass art since. His teaching experience covers academies and workshops worldwide, including the Czech Republic, Germany, Denmark, Great Brittan, China and Turkey.

Michiel Pijpe (born 1981 in the Netherlands) has developed, and now uses, an idiosyncratic methodology over the last fifteen years that combines optics, light and liquid-chemical processes to create his peculiar but enticing visual configurations which often have their origins in minute volumes of liquid. The resulting works are alchemical in character, relating to archaic processes such as coagulation, extraction and separation but fusing them with the technology of today, renewing our perception of the world around us.

Pijpe graduated in 2005 from the ArtScience Interfaculty, formerly known as Image and Sound, an experimental field of study from the Royal Academy and Royal Conservatory in The Hague. Alongside his more photographic works, Pijpe has realised numerous installations and performances at places such as WORM Rotterdam, Het Veem Theater and Frascati in Amsterdam, Baltan Laboratories in Eindhoven as well as at international venues such as the Greenroom in Manchester, the Salone di Mobile in Milan and CTM in Berlin.

Matthew Plummer-Fernandez (born 1982 in London) is a British/Columbian artist that creates sculptures, software, online interventions, and installations that result in distorted or altered objects, expanding and questioning the automated systems that operate within both the digital culture and the physical world. Whilst being critical of the way in which technologies impact our relationships with everyday items, the artist also recognises a playful aspect to the possibilities of digital glitches. Plummer-Fernandez is also the creator of ‘Novice Art blogger’; an automated blog that attempts to describe abstract art, using a combination of the onine archive of the Tate and an image-classification algorithm.

Plummer-Fernandez received an MA from the Royal College of Art in 2009 and is completing a practice-based doctorate at Goldsmiths, University of London. He runs the popular blog Algopop on algorithms in everyday life. His work has been presented extensively worldwide including exhibitions at iMal in Belgium (in collaboration with JODI); Nome Gallery in Berlin; Musée d’Art Contemporain de Montréal; Ars Electronica in Austria; The Barbican in London and FACT in Liverpool, amid others.His works have been acquired by the Pompidou in Paris and commissioned by the V&A in London.

Laura Puska (born 1986, Joensuu, Finland) primarily works with video and installation to question the subjective origins and limits of identity. In a convoluted society that emphasises individualism whilst pushing conventions and prevalent norms, it is difficult to know if one’s identity is original, borrowed or constructed. Incalculable identities are available to digest at the touch of a screen, contributing to a world where the idea of identity is never fixed. Puska uses subtle gestures to represent a voice, contemplating on such dialogues whilst repetition, another common element to her work, reflects a sustained observation into a variety of possibilities.

Laura Puska studied at the Gerrit Rietveld Academie (2013 - 2016) as well at Xiamen University in China, ABKM - Maastricht Academy of Fine Arts and Design in the Netherlands and Nuutajärvi's School of Glass in Finland. Recent exhibitions include, amongst others, 'New Glass Now', Corning Museum of Glass, New York, USA (2019); 'Rolling Snowball', Amnua Art Museum of Nanjing University of Arts, China (2018); 'Interstice', Paay Gaah, Iran (2018); 'I might be closer to you than you think', curated by WE Art project, gallery Five, China (2018); 'Kunniavieras', Rauman Järjestötalo, Finland (2017); 'Live from Finland', The Finnish Institute in London, UK (2017) and Center of Contemporary Art Pispala, Finland (2017).

Quadrature is a Berlin based artist collective that uses new technologies and scientific findings as inspiration and material to produce time-based performance and installation pieces as well as classical sculptural and two-dimensional works. Most recently, their multidisciplinary approach has focused on the methods and tools used to explore the cosmos. For Quadrature the universe represents an intangible but very real place for their reflections, evoking both the most elemental emotions and the most advanced scientific theories.

Quadrature, which includes Juliane Götz, Sebastian Neitsch and formerly Jan Bernstein (until 2016), have won numerous awards and scholarships for their artistic practice, including recognition by the Prix Ars Electronica in 2015 and 2018, scholarships from the Kunstfonds Bonn, Akademie Schloss Solitude and LaBecque as well as a fellowship from PODIUM Esslingen and the Hertz-lab of the ZKM Karlsruhe (Centre of Art and Media). Upcoming exhibitions include a show with Galerie Liusa Wang at Ars Electronica Festival and recent shows include those at Musée d’art de Pully in Switzerland, Musée Hébert in France and Museum of Contemporary Art PERMM in Russia.

RAAAF [Rietveld Architecture-Art-Affordances] is an Amsterdam based art collective co-founded by Erik and Ronald Rietveld. Together with David Habets and Daria Khozhai they approach visual art through spatial experiments, philosophical research and site-specific interventions.

Ronald Rietveld (born 1972) graduated in 2004 cum laude at the Amsterdam Academy of Arts. His working period during Prix de Rome 2006 at the Rijksakademie of Visual Arts in Amsterdam was the early beginning of RAAAF. After winning the golden medal he founded the multidisciplinary studio together with his brother and Socrates Professor in Philosophy Erik Rietveld (born 1969). RAAAF has won numerous prestigious awards, including the European Prize of Architecture 2017, the Rotterdam Design Prize 2011, the Architectural Review Award 2013 and VIDI- and VICI-awards of the Netherlands Organisation for Scientific Research (NWO). RAAAF’s work has been published world-wide and exhibited at leading art- and architecture biennales such as those of São Paulo, Istanbul and Venice. In 2013 RAAAF earned the title of New Radical and Dutch Architect of the Year. The studio has been repeatedly commended for its signature experimental approach and success in working across the borders that define visual art, architecture, philosophy, and science.

Radical Reversibility is a practice and research-based arts platform interested in the interplay between image, gaze and perception. Founded in 2017 by artists Martine Stig, Elodie Hiryczuk and Sjoerd van Oevelen, and art historian Frank van der Stok, Radical Reversibility was expanded in 2020 with curator and writer Taco Hidde Bakker and image editor Isabelle van Hemert. Radical Reversibility functions as a network and a laboratory where artists, writers, curators and academics seek to contextualize their own work within new practices and engage in discourses in and beyond the arts by bringing together research projects in public events, exhibitions and publications.

Thomas Rentmeister (born 1964, Germany) uses everyday objects such as sugar, refrigerators, laundry and paper tissues as the building blocks for his sculptural and often humourous works, whilst stylistically referring to Minimalism. Many of the items he re-imagines into sculptural form are unconventional within such constructions, subverting traditional forms and material properties for his own imagination. In one particular work, 'Untitled, 2012', Styrofoam blocks are arranged in brick-like formation to fill in the windows of the exhibiting space and Nutella is used as mortar. This work is emblematic of Rentmeister, where attention to volume, mass and space alongside a serial quality inherent to the materials he uses are all very much present.

Thomas Rentmeister studied from 1987 to 1993 at the Kunstakademie Düsseldorf where he was taught by Günther Uecker and Alfonso Hüppi. In 1999, he became a lecturer at the Kunsthochschule Kassel. He taught at the Berlin University of the Arts from 2002 to 2004 and at the Kunsthochschule Berlin-Weißensee from 2005–2006. He became a lecturer at the Hochschule für Bildende Künste Braunschweig in 2007 and was promoted to professor in 2009. He has exhibited in solo shows at the Kunstmuseum, Bonn; Hamburger Bahnhof, Berlin; the Centraal Museum, Utrecht; and the Kölnischer Kunstverein, Cologne. Rentmeister’s works are in the collections of numerous museums, including the Kunstwegen, Nordhorn; MARTa, Herford; the Museum für Moderne Kunst, Frankfurt; the Museum Abteiberg, Mönchengladbach; and the Museum Boijmans van Beuningen, Rotterdam.

Through meticulously constructed glass installations, Judith Roux (born 1992, Albertville, France) creates site specific works that are in perpetual flux; activated by their environments and spectatorship, they open up new ways of perceiving and allow each viewer to co-create a personal experience through their specific reactions. Minimal gestures become agents of monumental shifts, revealing the dramatic possibilities of the material on show. And whilst the reading of Roux’s work is always changing, what does remain constant is the dependence on activation from something outside of the installation, where interaction and observation are demanded to witness the real performance of Judith Roux’s art.

Judith Roux graduated from The Large Glass Department of the Gerrit Rietveld Academie in 2018, following her studies at ENSA, Nagoya University of Arts and HEAD. Her work has been exhibited internationally in countries such as the Netherlands, United Kingdom, Sweden, Denmark, France and Japan. Selected awards include The Stichting Henk en Ria Overduin Fonds, 2018, Stanislav Libensky Award, 2nd Prize 2018 and Shortlisted for Young Glass 2017.

Sophie Rowley, a German-New Zealand artist based in Berlin, integrates a rich confluence of cultural perspectives into her work. With an MA in Textile and Material from Central Saint Martins, London, Rowley’s oeuvre is marked by her innovative use of self-developed techniques and geometric explorations. Her meticulous and prolonged engagement with materials results in intricate artworks, often transforming the canvas from mere substrate into the core of her creations.

By embracing traditionally feminine mediums rooted in domesticity, Rowley challenges entrenched biases and societal constructs that govern artistic expression along gendered lines. This approach not only disrupts existing hierarchies but also reimagines the artistic landscape, highlighting the dynamic nature of both mediums and identities.

Sophie’s work has been exhibited internationally at various institutions and venues, including Roche Court’s New Art Centre in Salisbury (UK), Kettle’s Yard in Cambridge (UK), Design Museum Ghent (BE), Make Hauser & Wirth in Bruton and London (UK), Isamu Noguchi Stone Heaven in Tokyo (JP), and more. Her work is represented in notable collections such as the V&A London, the Design Museum Gent, the Israel Museum in Jerusalem, and the Georgetown University Art Galleries in Washington.

Nicolas Sassoon (France, 1981) is an artist living and working in Vancouver, BC, Canada. Sassoon uses early computer imaging techniques to create visual installations of digital landscapes informed by existing architectural and natural references. His practice translates ideas of materiality and immateriality into digital animations, installations, prints and sculptures. Sassoon’s work navigates the relationship of the pixel to the screen, and expands on what is possible within figurative pixelation, moire pattern, projection and digital surface.

Sassoon is engaged in the on-going collaboration, SIGNALS with Rick Silva, and has exhibited internationally with exhibitions at the Whitney Museum of Art, New York, Hammer Museum of Art, Los Angeles, Eyebeam, New York, Vancouver Art Gallery, Vancouver, Victoria and Albert Museum, London, House of Electronic Arts, Basel, Chronus Art Center, Shanghai, Centre Pompidou, Paris among others.

Anika Schwarzlose (Berlin, Germany, 1982) is an artist currently residing and working in Amsterdam.

Graduating from the Rietveld Academy, her practice is rooted in transdisciplinary ways of ‘making’ and ‘doing.’ Schwarzlose’s work is centered on the function of archives and how ways of recontextualisation and reproduction impact hegemonic narratives.

Schwarzlose’s work has been exhibited at distinguished venues such as the Zollverein Essen, ARoS Museum, Cornell University Art Gallery, Ural Industrial Biennial, Fotomuseum Winterthur, and FOAM. She has been selected by Stedelijk Museum for the Proposals for the Museum Collection 2024 – Photography. Since 2018, she has taught photography and artistic research at HKU Utrecht.

Paul Seidler (born 1988 in Germany) is an artist and interaction designer currently living and working in Berlin. His work is primarily concerned with posthuman philosophy and the possibilities of non-human agency. In the project Terra0, realised with artists Paul Kolling and Max Hampshire, the three artists set up a prototype of a self-owning augmented forest in which, through processes related to crypto governance, smart contracts and economics, an area of land situated to the east of Berlin could effectively sell licenses to log its own trees. In doing so, the forest was able to accumulate capital.

Starting in 2013, Seidler studied Digital Media at the University of the Arts in Berlin whilst also working at a range of research facilities including the Design Research Lab and the Hybrid Plattform. His projects and papers have been presented at Leap Berlin, CTM Festival in Berlin, Dutch Design Week in Eindhoven and transmediale festival in Berlin.

Paul Kolling (born 1993 in Germany) is a media artist and designer who works at the intersection of media art, design research and industrial design, striving to explore the interactions between (new) materials, objects, infrastructures, manufacturing processes, new technologies and their social and economic implications. In the project Terra0, realised with artists Paul Seidler and Max Hampshire, the three artists set up a prototype of a self-owning augmented forest in which, through processes related to crypto governance, smart contracts and economics, an area of land situated to the east of Berlin could effectively sell licenses to log its own trees. In doing so, the forest was able to accumulate capital.

Kolling’s projects and papers have been presented and consequently discussed at transmediale festival in Berlin; Ars Electronica in Linz, FIBER festival in Amsterdam; Aksioma in Slovenia and Drugo More in Croatia. After spending some time working as a carpenter, Kolling moved to Berlin to study Visual Communication at the University of the Arts. Since 2014, he became a student of the New Media class at the University of the Arts.

Max Hampshire (born 1993 in England) is a researcher living and working in Amsterdam, working to unravel the emergent politics of cryptographic platforms and how autonomous technologies inform the structure of contemporary capitalism. In the project Terra0, realised with artists Paul Seidler and Paul Kolling, the three artists set up a prototype of a self-owning augmented forest in which, through processes related to crypto governance, smart contracts and economics, an area of land situated to the east of Berlin could effectively sell licenses to log its own trees. In doing so, the forest was able to accumulate capital.

Hampshire holds an MA in Philosophy from the University of Amsterdam and is currently working at the Institute of Network Cultures. He is also one of two initiators of Noiserr, a nomadic audio-visual research group centred around noise. His publications can be found on the Institute of Network Cultures’ MoneyLab blog and in the forthcoming MoneyLab Reader.

Semiconductor is a UK artist duo, comprised of Ruth Jarman and Joe Gerhardt, who for over twenty years have been making intellectually and visually engaging art that investigates the material nature of our world and how we experience it through the mediated lens of science and technology. In their recent work ‘HALO’, produced in collaboration with CERN, the pair created a large cylinder which housed a 360-degree projection of scientific data taken from experiments taking place at CERN whilst an array of 384 vertical wires are played by the same data to produce sound.

Semiconductor’s unique approach has granted them an exhaustive list of honours and grants including the Samsung Art + Prize for New Media, a Smithsonian Artist Research Fellowship, a NASA Space Sciences Fellowship, a Jerwood Open Forest commission and their works have been exhibited at the House of Electronic Arts in Basel, FACT in Liverpool, the ArtScience Museum in Singapore, the San Francisco Museum of Modern Art, Royal Academy of Arts in London, the Sundance Film Festival in Utah and at the International Film Festival Rotterdam. Their works ‘Magnetic Movie’ and ‘Brilliant Noise’ are in the permanent collection of the Hirshhorn Museum in Washington DC and the Centre Pompidou in Paris.

Miriam Sentler (b. 1994, DE) is a Netherlands-based visual artist and artistic researcher. Sentler's work emphasizes the continuous changing of environments, focusing on the cultural and environmental legacy of (fossil fuel) industries and the contemporary landscape. Sentler holds an MA in Artistic Research from University of Amsterdam and a BFA from the Academy of Fine Arts in Maastricht. In 2020, she was awarded the Mondriaan Fund Stipendium for Emerging Artists. In 2020 Sentler founded the interdisciplinary artistic research project Deep Time Agency together with artist Wouter Osterholt, as a practice in fostering a deeper sense of belonging by returning archeological finds to their (post)industrial landscapes. Sentler’s work has been shown in group and solo exhibitions at institutions such as Radius Centre for Contemporary Art and Ecology, Delft, Het Nieuwe Instituut, Rotterdam, Museum Bommel van Dam & Odapark, Venlo and CIAP Kunstverein, Genk.

Rick Silva (Brazil, 1977) is an artist living and working in Eugene, OR, United States. Silva’s videos and large-scale digital installations envision near-future ecologies altered by technology and climate change. The work traces the connection between the natural world and the effects of climate change and capitalism on natural landscapes through the manipulation of imagery through 3-D mapping and illustration technology.

Silva received an MFA from the University of Colorado and is an Associate Professor of Art at the University of Oregon. He is engaged in the on-going collaboration SIGNALS with Nicolas Sassoon and has exhibited internationally in institutions such as Centre Pompidou, Paris, Crystal Bridges Museum of American Art, Vancouver Art Gallery, and the National Institute of Fine Arts, Mexico City, among others. Silva’s projects and collaborations have been featured in festivals such as Sonar in Barcelona, Transmediale in Berlin, and Resonate in Belgrade.

The practice of visual artist and researcher Lucía Simón Medina knows no bounds: As demonstrated by her PhD research into the aesthetics of the unseen in the context of data mining and its geopolitical frameworks, Simón Medina’s work is a deep dive into the realms of music, digital phenomena, and mathematical hypotheses. While the possibilities for configuration seem endless, her ventures into these relatively unexplored terrains emerged from the limits of language, thought processes, and, geological, biological and computational temporalities. Her works materialize as installations, audiovisual compositions and diagrams, and have been exhibited at Hamburger Kunsthalle, Art Encounters Timisoara, Akademie der Künste Berlin, Museum für Konkrete Kunst Ingolstadt, Centro Parraga, La Casa Encedida de Madrid, and many more.

Simón Medina is part of laschulas collective, an assemblage of sound and visual artists, musicians, and curators based between Vienna and Amsterdam. Comprised of members Angélica Castelló, Natalia Domínguez Rangel, Lorena Moreno Vera and Lucía Simón Medina, laschulas collective combines research with sound as their primary medium to activate environmental awareness, collaboration, and knowledge exchange. Their immersive works seek to uncover the complex entanglements between nature, technology, and the human condition.

Slow Research Lab is a transdisciplinary research and curatorial platform that centers slowness within contemporary theory and creative practice, bringing together artists, ecologists, technologists, and activists whose experimental and at times speculative approaches challenge dominant systems and narratives. Encouraging expanded spatial, relational, and temporal perspectives, the platform is committed to facilitating diverse forms of dialogue and embracing the unknown as a portal to new dimensions of knowledge, a fertile ground for charting creative trajectories and expanding the boundaries of human consciousness.

Sonic Acts is an interdisciplinary arts organisation based in Amsterdam. Founded in 1994 — approximately three decades ago — Sonic Acts has served as both an explorative terrain for new developments in electronic and digital art forms, as well as a platform for international projects, research and the commissioning and co-production of new artworks, often collaborating with (inter)national organisations, cultural incubators, universities, and similar festivals. Sonic Acts gained international recognition through its biennial festival, which consists of a rich and diverse programme that engages with and responds to the constantly changing ecological, political, technological and social landscapes.

As part of the 30th edition, The Sonic Acts Biennial 2024 programme (2 February – 24 March) features a series of presentations, workshops, film screenings, club nights and more. The festival took place across several sites and temporalities throughout the city of Amsterdam, including W139, Het HEM, Muziekgebouw, Garage Noord, Eye Filmmuseum, Zone2Source, Oude Kerk, Paradiso and Stedelijk Museum. The biennial features a two-part, research-based exhibition that shares its curatorial concept between Looiersgracht 60 and W139.

French born Jérémie Souteyrat is a self-trained photographer living in Japan. Having left Paris for Tokyo in 2009, Souteyrat began working as a freelance documentary photographer, later moving into architectural photography. He felt himself drawn to the tiny streets of Tokyo – a city he describes as horizontal and very different to the high-rise buildings and packed commercial districts that Westerners tend to associate with the city. Of particular interest to Souteyrat are Toyko’s contemporary houses. Souteyrat’s first project focused on houses that were exceptional within their surroundings. His work is less about documenting the work of famous architects and more about reflecting the Japanese way of life, often opting for houses near schools, cherry blossom trees, bus stops and other places that afford interesting photo opportunities. Years of work photographing this theme have resulted in the publication: 'Tokyo no ie'.

In 2016 and in collaboration with Looiersgracht 60, Souteyrat co-curated ‘Japan, Archipelago of the house’ with architects Manuel Tardis, Véronique Hours and Fabien Mauduit. He also took many of the pictures that were on display during the show, namely the works exhibited in the section called ‘Tokyo Houses’: the thirty-six contemporary house "portraits" in their environments.

Camila Sposati is a visual artist and researcher based in Vienna. Her work investigates processes of transformation and energy, oscillating between the microscopic and the planetary, through methods that often come close to scientific research methodologies. In her work, Sposati challenges the notion of materiality and matter as bound to time, probing the relationship between object–subject.

Sposati studied Fine Arts at Goldsmiths, University of London, and is currently a PhD fellow at the Academy of Fine Arts, Vienna (2026). Her work has been presented at Kunsthalle Vienna (2021), Tabakalera, Donostia–San Sebastián (2020), Pivô Arte e Pesquisa (2019), Ecos do Atlântico Sul, Goethe-Institut (2019), BAK – basis voor actuele kunst, Utrecht (2017), Instituto Tomie Ohtake, São Paulo (2013, 2017), the 10th Mercosul Biennial, Porto Alegre (2015), CCBB Centro Cultural Banco do Brasil, Rio de Janeiro (2015), the 3rd Bahia Biennial, Salvador (2014), Eleven Rivington Gallery, New York (2013), HICA – Highland Institute for Contemporary Art, Inverness-shire (2012), Montehermoso Kulturunea, Vitoria-Gasteiz (2012), and the Musée de la Chasse et de la Nature, Paris (2012). In 2016, she published the artist book Stone Theatre with Revolver (Berlin).

States of Matter is the result of a first semester foundation course of the Digital Media program at the University of Arts in Bremen. Through a series of small experiments, students examine the aesthetic and material structures of matter, revealing their complex interactions with new and old media. Zooming in on the fractal patterns of crystals, animating strange fluids through the use of sound or observing the air currents in soap bubbles, States of Matter acts as a critical and temporary alchemical laboratory.

Martine Stig (Netherlands, 1972) lives and works in Amsterdam. Her work examines the intersection between image, gaze and technology. By investigating the photographic image, Stig explores the process of capturing an image, the product of image making and the act of looking. While both expanding on and beyond the medium of photography, Stig researches and questions its role in perception and reality. Martine Stig’s practice spans the fields of photography, video installation, publishing and experimental digital platforms.

She studied at the Royal Academy of Fine Art (The Hague) and at the University of Amsterdam for Philosophy. Her work has been shown at Stedelijk Museum Amsterdam, Aperture Foundation (NYC), Huis Marseille (Amsterdam). Her work is part of collections of Rijksmuseum (Amsterdam), the Nederlands Fotomuseum (Rotterdam), H+F collection& ABN/Amro collection. She has a teaching position at the Master Institute of Visual Cultures, Den Bosch. She co-founded Radical Reversibility and the online meeting space WeAlgo.

Nicky Assmann’s (born 1980 in Utrecht, the Netherlands) work nearly always starts with the intangible character of light, colour and motion forms, creating kinetic light installations, video installations and audio-visual performances, amongst other materialisations, that heighten, expand and question our perceptions of these traits. Assmann’s background in Film and ArtScience feeds directly into her current practice, using the strands of artistic, scientific and cinematographic knowledge to create physical and sensorial experiences for the viewer in a world that is increasingly dominated by virtual arenas.

In 2015 and 2017, Assmann was nominated for the longlist of Prix de Rome and her work ‘Solace’ gained an Honorary Mention in the 2011 Startpoint prize. She has had solo exhibitions at TENT Rotterdam and with the Macular Collective at the MOCA Yinchuan in China, Wood Street Galleries in USA and Boxes Art Museum in China. Her work has been shown in group exhibitions held at the Saatchi Gallery in London, National Taiwan Museum of Fine Arts, Exit Festival in Paris and the Biennial of Carrara in Italy, amid others. Assmann holds a BA in Film Science and an MA in ArtScience.

Joris Strijbos (born 1981 in Zaanstad, the Netherlands) uses his kinetic audio-visual installations and media performances to focus on themes of intelligence, emergent systems, artificial life and communication networks. There is a palpable dichotomy in Stijbos’ work; combining artificial, electronic and digital media with algorithms based on biological systems, the results sit somewhere between the two binaries through multi-sensory compositions for the audience to experience.

Strijbos studied ArtScience at the Royal Academy of Art in The Hague to obtain his Bachelor’s before achieving his Master’s at the Royal Conservatory of The Hague. His work has been shown widely at places such as Ars Electronica in Linz, Sonic Arts Festival in Amsterdam, TodaysArt Festival in The Hague, DEAF Biennale in Rotterdam, Atonal Festival in Berlin and the Van Gogh Museum in Amsterdam amongst others. He is also part of Macular, a collective of artists researching the interplay of light, sound and motion.

Manuel Tardits is a Professor of Architecture Design in Practice; part of the International Program in Architecture and Urban Design at Meiji University (Tokyo). As of 1995 he is a co-founder of Mikan, an architecture office based in Yokohama City.

Having received his Master’s degree from the University of Tokyo in Japan and Bachelor’s degree from the Unite Pedagogique d’ Architecture n.1. Paris, Tardits is also a registered architect in France (DPLG). In 2005, he was awarded the title, Chevalier dans L’ordre des Arts et des Lettres by the French government. He has written numerous articles and books such as “Save the Danchi”, “Memory of the House” and “Tokyo, Portraits and Fictions”. He has also participated in numerous noteworthy national and international exhibitions including ARCHILAB 2006 Nest in the city, and Tokyo 2050 // 12 Visions for the Metropolis for the UIA 2011 Tokyo Conference.

Tardits has been researching the history of Japanese houses for a number of years. In 2016 and in collaboration with Looiersgracht 60, Tardis co-curated ‘Japan, Archipelago of the house’ with Véronique Hours, Fabien Mauduit, and photographer Jérémie Souteyrat. In collaboration with them he co-wrote the exhibition catalogue ‘Archipelago of the House’.

The Future is an Amsterdam based independent printing and publishing company established by Klara van Duijkeren and Vincent Schipper. They are passionate about paper ink, books and the use of print mediums for the exchange of interesting and diverse ideas. They fill an important niche that larger publishers often overlook. By taking on experimental and sometimes outrageous projects, The Future reinvigorates the medium of print - publishing sincere ideas that really have the potential to shift perspectives.

As part of Looiersgracht 60’s ongoing programme, the Emerging Artist Commission, The Future collaborated with Kevin Veenhuizen to realize ‘A view from the Outside’. This exhibit was a response to the exhibition ‘Japan, Archipelago of the house’, using video material and physical constructions to emulate the sensation of living in a Japanese home.

Valiz is an independent international publisher based in Amsterdam, led by Astrid Vorstermans. Dedicated to contemporary developments in art, design, architecture, and urban affairs, Valiz cultivates a varied programme that encourages critical inquiry and interdisciplinary dialogue, deepening the connections between cultural practice and wider socio-economic questions. The publisher’s books serve as platforms for exchange, bringing together diverse perspectives from both within and beyond the arts.

Young, emerging architect Kevin Veenhuizen works in the field of architecture, research and urban design. His work emphasises tradition, context, history and the everyday by going back to the essentials of building - providing concrete solutions for specific (societal) issues.

Veenhuizen graduated as an architect with cum laude honours from Delft University of Technology in 2014 and since then has realized a number of commercial and residential projects in the Netherlands.

In 2016 his work was featured as part of Looiersgracht 60’s ongoing programme, the Emerging Artists Commission. Veenhuizen collaborated with The Future Printing and Publishing (Vincent Schipper and Klara van Duijkeren) to realise ‘A view from the Outside’ – a response to the exhibtion ‘Japan, Archipelago of the House’, that used video material and physical constructions emulate the sensation of living inside a Japanese home.

Barbara Visser (born 1966 in Haarlem) is a Dutch artist whose work engages with how visual information, in the form of both images and text, is received by the beholder. By engaging with contemporary visual culture through the mediums of photography, film, print, text and performance, Visser explores the composite relationship between the contemporary artist and his or her audience. She questions the way history and memory are shaped by both the individual and society, especially in light of the way in which the content of information changes in the process of multiplication by mass media. Addressing issues surrounding registration and dramatization, history and memory, original and copy is key to her process. Through Visser's work the notion of authenticity becomes fallacy – everything is a copy.

Barbara Visser studied Photography and Audiovisual Arts at the Rietveld Academy in Amsterdam (1985-1991), the Cooper Union in New York, and the Jan van Eyck Academy in Maastricht, where she graduated in 1999. Visser has exhibited extensively, both in the Netherlands and internationally and has won numerous awards for her compelling work, including the Prix Jeune Peinture Belge (1999), the Friedrich Vordemberge-Gildewart Preis (2000), the Best Book Designs of 2008 (2009), and the Dutch Cultural Media Fund Documentary Award in 2010. Visser's works can be found in several museum collections including that of the Stedelijk Museum Amsterdam, the Gemeentemuseum, The Hague and the Museum Boijmans van Beuningen in Rotterdam.

In 2014 Visser collaborated with RAAAF to create The End of Sitting, an interdisciplinary project which drew on visual art, architecture, philosophy and empirical science in order to question the role of the chair and the desk in the work landscape.

Beny Wagner (born 1985, Germany) is an artist, filmmaker and writer. Working between moving image, text, installation and lectures, he constructs non-linear narratives which investigate the ever-shifting boundaries of the human body. His research themes have included language, ecology, histories of science, media archaeology, agricultural production and the politics of waste. He is currently working on a long-term collaborative project called 'Universal Syntax' together with Sasha Litvintseva.

​Wagner has presented his work in festivals, exhibitions and conferences internationally: International Film Festival Rotterdam, Eye Film Museum, Sonic Acts, Haus der Kulturen der Welt, 5th and 6th Moscow Biennale for Young Art, Moscow International Experimental Film Festival, Impakt Festival, Berlin Atonal, Venice Biennale, Future Gallery, White Columns among many others. Wagner is a PhD student at Winchester School of Art, Southampton University and Centre for Media Research, Bath Spa University and is part of the AMT Archaeologies of Media and Technology Research Group. He is currently a senior lecturer at Gerrit Rietveld Academy, Amsterdam and graduated with honours from Bard College in 2008.

Werker Collective, or Werker, is a long-term collaborative initiative centered around publishing practices and information dissemination within the domains of labour rights, ecofeminism and the lgbtqi+ movements. Werker began in 2009 with Amsterdam-based Marc Roig Blesa and Rogier Delfos as an editorial project, releasing ten issues of a contextual publication called ‘Werker Magazine’. Werker has since developed into a wider project that takes a distinct interest in working methodologies based on counter-archiving, self-representation, self-publishing, image analysis, and collective learning processes. Werker approaches the notion of self-publishing by engaging with a variety of media such as moving image, sound, digital and printed matter, installation, and performance.

Werker was in residence at the Rijksakademie van Beelende Kunsten from 2020-2022 and has collaborated with artists, activists, researchers and organizations such as Georgy Mamedov, Jo Spence Memorial Archive, Silvia Federici, The Voice of Domestic Workers, among others and has exhibited with a number of international initiatives and organizations such as Centro de Arte Dos de Mayo, Dutch Art Institute, Manifesta 14, Museu d’Art Contemporani de Barcelona, Stedelijk Museum, Sonsbeek 20–24, Tate modern, and The Showroom, among others.

Amy Whittle (born 1990 in Woerden, the Netherlands) is a designer whose work materialises in an array of formats such as, data, prints, videos, products and installations, all of which hold some focus on the idea of interactivity. Whittle sees her own work moving between art and design, where non-artistic disciplines (technology, biology, history etc) intertwine into new artistic forms. In one work titled ‘NSFW – Fashionclash’, the software Instagram uses to detect nudity is critically questioned in light of the countless mistakes it makes. Whittle fed random images into another algorithm that supposedly detected nudity and with the errors she received (such as dandelions and cake decorations being marked as nudity) she then created a wearable piece that was presented at the Clash show during Fashionclash Festival 2017. Whilst her practice revolves around a myriad of interests, many of these stem from her family and childhood, such as her father’s engineering background gave rise to her own interest in 19thand 20thCentury machinery.

Sebastian Wolf (born 1989 in Brandenburg, Germany) is intrigued by the poetic, emotional and aesthetical value of contemporary technologies, despite their seemingly detached and binary character. Through the construction of interactive video and light installations, his work aims to create meaningful connections between machine and human, reversing the easily associated complexity found within modernity towards something both beautiful and simple. He currently lives and works in Berlin.

Michael Kugler (born 1984 in New York) is a media artist and filmmaker whose practice traverses across the margins of science and art; where they meet, their potential for various relationships and their disparities. Critically, Kugler’s work engages with ideas surrounding psychogeography, how we perceive the urban environment, its emotional and psychological ramifications and an awareness of these conversations, manifested through his art.

Mirre Yayla Séur’s (born 199, Amsterdam, the Netherlands) practice centers around a persistent issue of self, of others and how we position ourselves within the outside world. Weaving together drawings, audio pieces, videos and installations, she aims to evoke questions about the body, where it begins and where it ends, but critically always leaving such queries decidedly open. Working with a vast array of materials including glass, metal, sand and textiles, her often installation-based pieces attempt to blend together fragments that reflect and absorb the residual traces of being.

Mirre Yayla Séur graduated from The Large Glass department at Gerrit Rietveld Academie in 2018 and is the is a co-founder of AbsurdBeings, an inclusive platform that hosts exhibitions and lectures which enable the exchange of knowledge and critique through art. The collective aims to stimulate a discussion within the space of an art exhibition and activate the use of the exhibition space as a space of mutual learning. Séur has presented her work at festivals and group exhibitions throughout the Netherlands including Het Nieuwe Instituut in Rotterdam, Object Rotterdam in Rotterdam, Down The Rabbit Hole festival, Gallery Arti Amsterdam, Blaauwdruk in Amersfoort and Anningahof in Zwolle. A selection of her works is part of Greene private collectors in New York City, USA.

Murat Yildiz (Turkey, 1984) is an artist living and working in Istanbul. Yildiz’ experimental practice explores the role of community, communication, and memory in the creation of artworks through periodical publishings, drawings and site specific installations. The cornerstone of the work questions the phrase ‘Power Relations’ and instead re-interprets it as ‘Power of Relations’ as a way to find new optimism in delegation, agency, and diminishing hierarchy within the process of aesthetic production.

Murat Yildiz received an MA in Fine Art from the St. Joost Master Institute of Visual Cultures and BFA in Combined Art at Yıldız Technical University Faculty of Art and Design. Yildiz is the founder of Dream News and the co-founder of HAH Kolektif in Istanbul. His work has been exhibited at the Museum Rijswijk, Museum Jan Cunen, the 16th Istanbul Biennial, KulttuuriKauppila Art Centre, the Eye Museum among others.

Multi-disciplinary artist Samson Young (born 1979, Hong Kong) creates cross-media experiences through the fusion of sounds, images and objects to investigate themes of identity, war and literature. Young’s work reflects a sustained interest in the interplay of these ideas; how war forges identities, builds borders and creates personalities. In ‘Stanley’ (2014), Young points to the beaches of Hong Kong as underestimated battleground in WWII. Using archives at the Imperial War Museum, Young built a multidisciplinary homage, from a dinner performance to a sound composition, that meshes the area’s recreational present and its militarised past. His pieces nearly always materialise in this way - as immersive environments in which unexpected sounds (from fanfare rides, Gameboys and nursery rhymes) are re-interpreted to give weight to global issues.

Young was trained as a composer and graduated with a Ph.D. in Music Composition from Princeton University in 2013. His academic background in music has led him to incorporate elements of experimental music, sound studies and site-specific performance into his distinctive contemporary art practice. Young has had solo exhibitions at the Kunsthalle Düsseldorf, Centre for Contemporary Chinese Art in Manchester, M+ Pavilion in Hong Kong, and Hiroshima City Museum of Contemporary Art, among others. In 2017, he represented Hong Kong in a solo project at the Hong Kong Pavilion of the 57th Venice Biennale.

Luiz Zanotello (born 1986 in Jundiaí, Brazil) is an artist, designer and researcher living and working in Berlin. His work looks to conceive new imaginaries of modern technologies, exploring their narrative, material and critical possibilities. A central idea to Zanotello’s practice is that today, the digital is more material than ever and this continues into the manifestations of his work (electronic installations and imaginative techno-driven machines) where they sit at the intersection of digital and material, showing that there is no split between life and material things or the digital and the material. On the contrary, there is continuum and interactions.

Zanotello has in the past exhibited at festivals galleries and institutions such as Museum of Contemporary Art in Zagreb; ACC Galerie in Germany; Cidade das Artes in Brazil; Dubai Design Week and Museum of Applied Arts Vienna amongst others. He holds a Master of Arts in Digital Media from the University of the Arts Bremen and he is currently an Assistant Professor for New Media at the University of the Arts in Berlin.

Aimée Zito Lema (born 1982, Amsterdam) is a Dutch-Argentine visual artist who currently lives and works in Amsterdam. Focusing on the memory as an archive, she creates installations that address themes of collective memory and the ways in which history is recorded and remembered. Locating and reprinting forgotten images that reference historical erasure, Zito Lema saturates archival ephemera with meaning by reformatting them in novel, material ways. As the images and objects take on these new forms in her work—installation, video, performance, photography—the pieces simultaneously act as a commentary on the human practice of archiving and (hi)storytelling.

Zito Lema studied at the National University of the Arts in Buenos Aires and the Gerrit Rietveld Academie in Amsterdam, and she obtained a master’s degree in artistic research from the Royal Academy of Art in The Hague. In 2016 she participated in the artist-in-residency programme at the Rijksakademie in Amsterdam. Her work has been exhibited at a number of places including the Kunstmuseum Bonn (2016), the Centre Pompidou in Paris (2016) and the 11th Gwangju Biennale in South Korea (2016). In April 2017, she had a solo show at Kunsthall Trondheim in Norway. Zito Lema has also been a guest lecturer at the Gerrit Rietveld Academie (Amsterdam), the Royal Academy of Art (The Hague) and ArtEZ (Arnhem).