2015 ON 2016 AIR ON AIR ON AIR ON AIR ON AIR ON AIR

Artist in residence programME Amsterdam University of the arts Photo: Anne Douqué Photo: Joost Bataille ON

Photo: Thomas Lenden AIR

Photo: Jan van Breda Photo: Thomas Lenden

ON p. 40–46 p. 48–54 p. 30–38 p. 16–28 p. 8–14

AIR Dick Helmut Schut Henk macher Der Theater- Lester Gabriel McFadden Claron

ON AIR

Growing the arts in the cultural landscape

By Marijke Hoogenboom

The positioning of arts education and the place of artists within it are recur- ring topics in our publications about the Artist in Residence programme at the Amsterdam University of the Arts. Time and again we have attempted to show the importance of the influence of the professional field at large. We organise all sorts of direct exchanges between departments and profes- sional artists’ expertise, methods and imaginations. The AIR programme is the university’s preferred instrument for initiating interactions with profes- sional practice through unique projects and research programmes that go off the beaten track.

In this issue of ON AIR we are once again presenting a wide range of AIRs hosted by the Conservatorium van Amsterdam, the Academy of Architecture, the Reinwardt Academy, de Theaterschool and the Education in Arts masters programme. In October 2015 the Flemish Belgian cultural journal rekto:verso compiled a number of inspiring reflections on the cur- rent state of art education in the Benelux. As well as professional expertise and ideals for the future, this edition examined the quantitative focus of the market. Many contributors suggest that art academies as a whole are undergoing a deep crisis, and wonder how we should respond to ongoing transitions in society and what we should be passing on to the artists of tomorrow. The magazine’s chief editor Wouter Hillaert concludes that, ‘Arts education should not be a fenced-off field, but an allotment serving the entire cultural landscape, perhaps even society as a whole. To put it another way: to focus on the art school is to see the world. Should the school make that world, by training its youthful imaginations? Or is it playing catch up in the world?’(1)

Back in in the early years of the AIR programme, The Amsterdam University of the Arts invited the director of the Van Abbemuseum Charles Escher to visit us and reflect on the nature of art schools and the fundamental ques- tion: ‘Why do we exist?’ His answer was as simple as it was confronting. He assigned arts education a key position in the chain, one on which our pro- duction is all but totally dependent: ‘The art academy is, in a sense, where it all begins; and it should be where it all begins as well. We, as museums, galleries or institutions that develop art in public space, are completely dependent on the academy, because if the academies fail, then we have to find something radically different to do.’ (2) Esche warns, however, that this does not imply that the art school should be indifferent to its surroundings, or that it should hide behind traditional educational models devised long ago. Quite the opposite, in fact. He points out what a dilemma and impossible task it is to train artists, because ultimately they will choose their own path. So he urges the educational system to engage with a far more complex task. It must, he believes, take a

2 Esche, Charles, ‘How to Grow Possibility: The Potential Roles of Academies’. Lecture at 1 Hillaert, Wouter, ‘School maken’ in: rekto:ver- the presentation of the first AIR pulication in so, 68, October-November 2015, 2007. www.ahk.nl/lectoraten/kunstpraktijk/ www.rektoverso.be/dossier/school-maken publicaties/how-to-grow-possibility/

Students working on a glass painting in the Academy of Architecture courtyard as part of 5 Gabriel Lester’s form study classes on matte painting. Photo: Thomas Lenden 3 rain for the AIR programme atthe Amsterdam University ofthe Arts. of ‘growing up’ontheother; we couldhardly wishfor amore suitableter The re-evaluation ofoutspoken artists ontheonehand, andtheadvocacy tion ofexistingassumptions.’(3) intelligence. Itbeginswithareassessment, withafundamentalre-examina- sense ofreality, butunderstandthatbeingcritical isnottheonlyform of courage, determination andgenerosity. Adulthood emerges from apainful more knowledge andexpertise, thequalitiesyou needto achieve thisare as acomponentofboththeeducationsector andthearts: ‘Rather thanyet cites Niemanprimarily to advocate thedevelopment ofjudgement faculties as beingthemostimportant conditionfor adulthood. Van Lindt, however, Enlightenment philosophy, Niemanpointsto theabilityto thinkfor oneself Grow up, sheexhorts, andleave thisinfantilisation behindyou. Drawing on we are submitting inarather childish way to theconsumptioneconomy. adulthood. Niemanbelieves thatlife isslipping away from usandthat Up? thatfrom asocietalperspective there islittle drive to transition into of philosopherSusanNeiman, whopointsoutinherbookWhy Grow Union theartistic director ofDasArts Barbara van Lindtdrew onthework In herState oftheUnionspeech atthe2015 Flemishtheatre Festival world oflimitlessgrowth andwaste. on board theirpersonalresponsibility ashumans, citizens andartists ina perhaps even to realise thatitismore necessarythanever before to take to take responsibility for theirown actionswithinthosepossibilities–and opened upto newfuture-oriented possibilities, they are beingchallenged are anything butundemanding. At thesametime asthestudents are being departments andfaculties may have playful andexceptional aspects, they Although theseshort-term interventions initiated by AIRs across the who dare to thinkbigandto break boundaries. Theatermacher project to bring aboutencounters withauthenticdirectors surroundings; andSteven van Watermeulen andhisstudents usedtheDer tion; HelmutDick introduce strategies for developing receptivity to one’s sociation andflexibility; HenkSchut prompted students to escapeconven- genre oraudience; Gabriel Lester was explicitinhisembracing offree as- challenged young musiciansto step outsidethelimitationsinparticular motifs run through allthe AIR projects documented here: Claron McFadden will ultimately spawn artistic self-willandindependence. These same I interpret thisasapleafor beinghuman, andfor aflexibilityofmindthat world inorder to defineyour own question.’ when addressing your own questionsto theworld andlistening to the certain attitude ofmind: aparticular ambitionandaparticular confidence than aspecificcraft ordiscipline: ‘If anything needsto betaughtitisa holistic approach thatfocuses onimparting amentality, anattitude, rather def_01.pdf d8d76ba71c61a/files/State_of_the_Union_ https://gallery.mailchimp.com/fadb12aeae5f- Theaterfestiva, Brussels 3september 2015, Van Lindt, Barbara, State oftheUnion, Het ON

6 AIR - Conservatorium van Amsterdam Claron ON AIR McFadden

Photo: Thomas Lenden AIR ON ON AIR

Music Live Interview with Claron McFadden

By Maria Hagen

For soprano Claron McFadden, learning is all about finding new ways of listening to music and thinking about music. ‘I give the students innova- tive triggers and encourage them to open up their thinking as broadly as possible.’ She was the 2015 Artist in Residence at the Conservatorium van Amsterdam, where she coached students from a variety of programmes to

Photo: Thomas Photo: Lenden broaden their perspectives on music practice.

About Claron The eternal quest for dance and video, for example. They now the project McFadden new cross-connections play a crucial role in music practice. And the relationship between technology The distinguished American soprano Claron McFadden studied at the Claron McFadden was still very young and music is a very exciting one, too. If Claron McFadden was the Artist in Eastman School of Music in New York, when she became interested in the you get plenty of experience as a young Residence at the Conservatorium van and debuted on the opera stage at the cross connections between genres. ‘At musician working in a multidisciplinary Amsterdam for the entire 2014-2015 Holland Festival in 1985. It was the start secondary school I performed in musi- setting – like, for example, if you get academic year. The Conservatorium gave of an impressive career, during which cals, played oboe in a youth orchestra used to moving on stage – I think that McFadden carte blanche, and over the she worked as a solo artist with the and trombone in a jazz band. And later means you’ll better equipped for the course of the year she offered students a likes of William Christie and Michel van on when was at the Conservatory I was future. variety of forms of training and educa- der Aa, and with orchestras including always on the lookout for new colours, tion. Her coaching sessions, for exam- the Residentie Orkest and The Budapest for new innovations. I arranged and I ple, were open to ensembles and indi- Festival Orchestra. McFadden is an composed. When making new connec- Off balance vidual students from all Conservatorium in-demand opera singer. She received a tions I didn’t set any limits between mu- study programmes. Her innovative and Grammy nomination for her rendition sic theatre and jazz and ancient music. Claron McFadden made sure not to interdisciplinary work practice was, of Birtwistle’s The Woman and the Hare I’m always searching for the beauty, the limit her residency to working solely in and of itself, an inspiration to the with the Nash Ensemble, and she won essence of the sound. It’s the purity of with vocal students. One of the other students. She taught them to look with the 2006 Amsterdam Art Award. Her the approach that keeps the music vital.’ groups she worked with was the Ebonit an open mind and take a broad perspec- music theatre production Lilith had Saxophone Quartet. ‘At the start, I tive, stimulating crossovers between a its world premiere at the 2012 Holland put the students a bit off balance by variety of disciplines. Festival. McFadden is the co-founder Stay confronting them with the sounds and of Splendor, a self-run venue set up broadminded timbres of the singing voice. I wanted by top musicians and their audience. to do something with them that was It functions as a meeting place, club, Students need to stay as broadminded different from what they’d learned be- workspace and musical lab. as possible, believes McFadden. ‘Why fore. So we began working with a piece exclude Monteverdi from your reper- by Monteverdi. Of course people think, toire, just because you’re a saxophonist? “What? Monteverdi? On a saxophone?” Keep on searching for your authentic But it’s really no odder than playing Bach sound. Create your own niche. I think on the piano. I once performed Bach’s it’s so important for young musicians Aus Liebe will mein Heiland sterben with to do that. Make sure you get out there two saxophonists and a pan flautist. It and work together with other artists. brought the audience to tears. You get If you limit yourself to one specialism, a completely different tonal quality. As you’ll soon find yourself left by the long as you do it with respect, the music wayside in modern art practice. Take comes to life in a new way.’

8 9 Photo: Thomas Lenden think, “Mission accomplished.”’think, “Mission music. That’s thesort ofmomentwhen I stood theaddedvalue ofmy approach to students, becausethey suddenlyunder sound. Itwas areal eye-opener for the which gave itanew, almostmythical poser. Iperformed iton anaquaphone, a filmmaker, alibrettist andajazzcom- improvisation thatImadetogether with Lilith, across between jazz, classicaland students to seemy musictheatrepiece them ontheirlife journey. Itook the And it’s allstuff they cantake alongwith approaches, working withamicrophone. counters withotherartists, tryingnew really opento newinputsuch asen- thinking to bechallenged, andthey’re the students’ mind-set. They want their it’s thefuture. What Itryto doisshape students becauseI’m convinced that way ofworking andthinkingacross to of my broad approach. Iwant to get my ‘Students cometo meprecisely because A richtoolkit ON -

10 AIR specialist excellence.’ reason that thathasto beatthecostof and broadening horizons, andthere’s no text. It’s allabout givinganewimpetus my approach to music inamodern con- job as Artist inResidenceisto bring in counter othergenres anddisciplines. My Conservatorium you’re boundto en- for professional musicpractice. At the music, you’ll bemuch better prepared studies how you want to present your the field. Ifyou learn aspart ofyour you can further perfect your skillsin but ifyou canlay agood foundation, you need to master your instrument, tise from interdisciplinarity. Ofcourse I’m concerned, you separate can’t exper forming newjointventures. ‘As far as gramme for trying outnewthingsand making timeandspaceonthepro - Claron McFadden isagreat advocate of disciplines Getting atasteofother - on dramatically. As anartist whatIwant opera, performance practice hasmoved formances, butinsomeareas, such as ences thatprefer traditional concert per we see atSplendor. There are stillaudi- greater needfor that. That’s something nowadays, andyoung audienceshave a tives. Concerts are more interactive always onthelookout for newperspec- differently. The students are eager, younger generation experiences things says McFadden. ‘You canfeel thatthe and theiraudience.’ ‘Time moves fast,’ artists can meetandinspire oneanother unbounded experimentation where of Amsterdam’s Splendor, ‘A placefor Claron McFadden isanactive member of the Arts. of University, and former headofcommunications at Amsterdam University Maria Hagen isheadofcommunicationsandmarketing at Amsterdam existence A reflectionofour ON - 11 AIR my students. and whatItryto doisget thatacross to trigger themind, theheart andthesoul, – ourcollective consciousness. Art can you want to findtheemotionswe share human existence. It’s where you go if ty; it’s afinger onthepulseofsocialand reflection ofwhat’s happeninginsocie- to doisaffect theaudience. Iseeart asa Claron McFadden coaching Conservatorium van Amsterdam students. Photos: Thomas Lenden sounds and timbres of the ON

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AIR voice singing Simone Müllerexplainsthat, ‘Listening res –ancient music, newmusic, jazz. to listening to allsorts ofothergen- the importance ofbeingreceptive and tant thingshegot across to themwas learn from each other. The mostimpor to take placeandallowing themto making itpossiblefor areal exchange quartet asartists ofequal standing, McFadden treated themembersof managed to squeeze in rehearsals. and despite herbusyschedule they McFadden’s enthusiasmwas infectious, her enthusiasm,’ they exclaim. has to enter aroom andshefillsitwith tion for theartist. ‘Claron McFadden just McFadden, andthey are fullofadmira- the opportunity to work with Claron Academy. Itwas there thatthey got at theNetherlands String Quartet as thefirst-ever saxophone quartet currently pursuingtheirmasters studies Conservatorium van Amsterdam andare (Poland). They got together atthe (Germany) andPaulina Marta Kulesza Nauta (Netherlands), Johannes Pfeuffer up ofSimoneMüller(Germany), Dineke young andpassionate ensemblemade The EbonitSaxophone Quartet isa each other Learning from Ebonit ON -

13 AIR closely related to baroque music.’ Contemporary music, for instance, is helps you develop abroader vision. to compositionsfrom different eras it’s notjustthere to spicethings up. artistic necessity, believes Pfeuffer, andif only really has addedvalue ifthere’s an projected ataconcert, for example, it crossovers, oryou mightseevideo admiringly. Although there are other one person,’ says Johannes Pfeuffer, music, visuals–andallofthatfrom just many elements. There was opera, new show before thatbrought together so ‘It was really inspiring. I’d never seena to seeClaron McFadden’s Lilith, and, explains Dineke Nauta. The quartet went thing aboutmarketing, for example,’ on stage. Italsohelpsifyou learn some- to beaware ofhow you present yourself ship. ‘If you want to survive it’s crucial and above thosefor excellent musician- current generation ofmusiciansover that more demandsare madeonthe All four membersofthequartet agree Quartet an artisticnecessity Interdisciplinarity:

Photo: Carlos Rosas music andinterpret it.’ music andfindingaway to listen to the helping handinunderstandingcomplex something like thiscanprovide a Paulina Marta Kulesza, ‘But adding like themusicperformance,’ explains it was over, itwas gone forever, just give each sounditsown colour. ‘When projected during theconcert to literally music. The painter’s compositionwas colour compositionto EbonitQuartet’s the group to create adynamicwater Norman Perryman appeared live with another discipline. InNightfall, painter their own thatinvolved acrossover with quartet started working onaproject of Inspired by Claron McFadden, the for eachtone A colour - ON

14 AIR and Amstelkerk, both in Amsterdam.and Amstelkerk,both scheduled for February 2016 atRoest and touring programme. Concerts are Classical Talent coaching Award Tour& 2015 andparticipated intheDutch Chamber MusicCompetition Almere They won the2015 Almere International is plannedfor release inFebruary 2016. currently working onanewCD, which the Netherlands andGermany, andare performance calendar. They play live in Academy, EbonitQuartet have apacked at theNetherlands String Quartet Besides theirmasterclasses andstudies Gabriel Academy of Architecture & Film Thea ON AIR Lester tre

Photo: Joost Bataille AIR ON ON AIR

A flexible mind

Gabriel Lester interviewed by Nik Berkouwer

Artist in Residence Gabriel Lester has been working since October 2014 with students at the Netherlands Film Academy and the Scenography Department, carrying out research and design projects on the subject of architecture and light. This collaborative approach involving several Amsterdam University of the Arts programmes is characteristic of Lester’s artistic practice. The domain in which he operates is broad and multifac- eted, conceptually speaking. ‘I try to get students to be flexible in their

Photo: Thomas Photo: Lenden thinking,’ he explains.

About Gabriel What was the aim of the seminars you What are your thoughts about innova- the project Lester organised on the subject of light? tions in education, their consequences for arts education, and the future of the In a joint programme with the Gabriel Lester is an artist and film di- ‘I wanted to get students to think about subject as a whole? Theaterschool’s Scenography rector. A graduate of the Rijksacademie light in a three-phase process, and to Department and the Film masters, van Beeldende Kunsten in Amsterdam, continually review it from a variety of ‘There’s no simple answer to that the Academy of Architecture invi­ he has since lived and worked in several perspectives – scientific, philosophi- question. What I can say is that students ted in Gabriel Lester to develop new countries and is currently teaching at cal, historical and artistic. In the first are increasingly thinking, learning and educational projects as part of the the Rietveld Academy. Lester makes seminar [Dawn] we literally switched on working in a non-linear way. The result is International Year of Light. Lester films, spatial installations and video the light. We looked at the functioning that education has become a process of organised three symposiums, enti- installations. He complements his solo of the eye, and historical and philo- simultaneity. By that I mean that study, tled Dawn, Day and Dusk, and which practice through the interdisciplinary sophical aspects of light. The second research and practice are becoming far guest speakers from home and abroad collaborative venture PolyLester. Lester seminar [Day] explored the effects and more intertwined. When it comes to explored every aspect of light. At is represented by Galerie Fons Welters in use of daylight. And the third one [Dusk] the future of the field, you can extrap- the Light workshop, Lester, Thomas Amsterdam. looked at similar aspects of artificial olate what I just said and assume that Dieben, Uri Rapaport, Bart Visser and light. So all together we examined a people might increasingly be educated Gert Anninga oversaw fifteen research cross-section of what light is and how it as generalists more than as specialists. projects conducted by the participating can be understood.’ In order to avoid that (if that’s what’s students. The results of these projects wanted) I think it’s important that the were presented at an exhibition at de How did you find working with stu- specialisation should prevail. This has al- Theaterschool. Lester concluded his dents from different faculties at the ready been standard procedure for many residency with a series of form study Amsterdam University of the Arts? years in music studies – people study- classes on matte painting, the glass ing music and instruments in general, painting technique used in film set ‘It’s clear that the student’s interests but specialising in one instrument. The design. – their background and the culture in upshot for professional arts education which they’ve been taught – have a big might for example be greater autonomy influence on how they work and think. It in the development and selection of struck me how much of a positive effect study materials by students themselves. this cross-pollination had on the group, At the same time, you also need to be and I’m keen on there being more and thinking about specialised and tailored more frequent projects of this kind coaching, which would enable students between the faculties at the Amsterdam to enter into a dialogue with their own University of the Arts.’ developing aims and ideas so they can assess them and modify them. These are just a few thoughts. As I said, it’s all

16 17 AIR ON ON AIR much more complex than that. As a tu- have been exhibited in a museum. One tor, I’ve noticed that students are draw- was a model revolving in the space drops ing on an ever wider range of influences with a transparent fabric that generated and sources and that they would benefit changing sculptural and architectural from focused conversations as part of a forms. Another project consisted of bespoke teaching process.’ drops of water dripped into a tray of crude oil. When drops hit the layer of oil What do you mean when you talk about they broke up, creating lightness under student’s ‘elasticity’? the surface of the oil. It was a really beautiful dance between light and dark. ‘What I mean is trying to get students to The third successful project was a study think in a flexible way. The pressure to of dust and light, a video documenta- perform or working in unknown territory tion with a really compelling, subdued

can often make them more rigid in their mood. Thomas Photos: Lenden thought processes. Students can benefit from doing exercises that make the Could you sum up the goals and out- mind more flexible. We can more easily comes of your residency – and what get to the substance of an idea or form resources did you have available to you? by doing free-association exercises or imagining the different ways something ‘One goal was to equip students with could appear.’ other tools and ideas, and I think we were successful in that. Another was to What were the high points of the exhibi- get to work with students from various tion you organised as AIR? faculties, and for sure that was really a success. Within reason, I got access to ‘There were three groups of students all the resources I could have wished for, – from the Academy of Architecture, including extra teaching staff to work the Netherlands Film Academy and de with the student groups. And there Theaterschool – and they were assigned was always enough space to work – to one or two senior lecturers. I was although it wasn’t always easy finding struck by how each group produced and organising the space to exhibit. one standout project that was mature And I’m really delighted with what the and complete. Any or all of them could students produced.’ The Dark Water project explored the boundary of light and dark. the boundary of light and dark. explored project Water The Dark Working with students on a tall scaffolding next to the old chestnut tree in the historic Academy of Architecture courtyard Gabriel Lester hung up a glass plate in a large frame. He is used it as part of his form study classes and oil on matte painting, a glass painting technique used for film backdrops. The technique involves blocking out certain areas of the background and adding in another image to create an entirely different cityscape, for example. Nik Berkouwer is communications advisor for the Academy of Architecture. transparent

Distorting the projection creates a shifting display of light in display a shifting creates the projection Distorting space. three-dimensional fabric

18 19 AIR ON ON AIR

A short film that takes us from the tiny specks of 20dust to infinite space. Photo: Thomas Lenden 21 AIR ON ON AIR

Seminar 1: Dawn

Friday 6 February 2015

with:

Marieke Baan Netherlands Research School for Astronomy

Peter Hanselaer Light & Lighting Laboratory

Toine Schoutens FluxPlus Healthy Lighting

Aaron Schuster Philosopher

Seminar 2: Day

Friday 13 March 2015

with:

Milo Grootjen Astronomer

Marco Pasi Philosopher

Richard Out Lighting designer

Ernst van de Wetering Art historian

Seminar 3 Dusk

Friday 22 May 2015

with:

Henk van der Geest Lighting designer

Giny Vos Artist

Guido van Gennep Director of Photography

Juliette Nielsen & Sjoerd van Beers Lighting designers

22 23 ON AIR

Disrupting the academy

Artists in Residence at the Academy of Architecture

Maria Hagen in conversation with Aart Oxenaar

The former director of the Academy of Architecture Aart Oxenaar was a key figure in setting up the Artist in Residence (AIR) programme back in 2004, working closely with the Conservatorium van Amsterdam and the Netherlands Film Academy. Together, they drew up the framework and mission for the cross-faculty Art Practice and Development research group. Oxenaar saw this interdisciplinary, practice-oriented research group as the ideal home for a programme such as AIR. ‘The fundamental idea was to bring our students into contact with other disciplines,’ he explains, ‘But as well as getting Academy of Architecture students interacting with different disciplines, I wanted them to be exposed to “the other”, to be surprised and unsettled. And over the course of the residencies in the last ten years we’ve fulfilled those aims.’

Agitation: A world of an essential tool squares in arts education ‘Architect and artist Luc Deleu put up ‘Encounters and confrontations with for discussion his own perspective on other disciplines are excellent ways of the role and position of the architect. introducing new perspectives or ap- Deleu’s Belgian background undoubted- proaches into educational programmes,’ ly influenced his outlook. He puts it this says Oxenaar. ‘One unique example was way: “Belgian’s are born with a brick Krisztina de Châtel’s residency. Rarely in their hand – they want to build their have I seen such outstanding interac- own home.” Deleu looks in totally new tion between disciplines. Many of our ways at residential patterns on a global students come straight out of a techni- scale. He sees the world as being made cal foundation course, and they’re often up of lots of little squares, and every- pretty cautious. When we announced body should get one to shape it in his or the De Châtel residency, one of the her own way. It’s a refreshing approach students said with a sigh, “I hope you to architecture and urban planning.’ don’t think we’re going to dance!” But Krisztina managed to get them on her side in a trice. Soon enough they figured An explosion out that her workshop wasn’t about of visuals dancing, but about moving in the space. And what architects, landscape archi- ‘Adman Erik Kessels from KesselsKramer tects and urban planners do is make took amateurism as the subject for his and organise space, so understanding workshop. He believes that students all how you move through space is central too rarely get the opportunity to look to their craft. The workshop took the beyond their ring-fenced specialism. students out of their comfort zone But in fact it’s only when you dare to and wrong-footed them – and that got explore new territory that you start them thinking. I believe that’s essential getting inspired and encounter new for education, and for all forms of arts ideas. Working with sound material, our education.’ students were transformed into amateur photographers, painters, composers, sculptors. It was like Picasso had been unleashed in the academy; there was an

25 Photo: Thomas Photo: Lenden AIR ON ON AIR explosion of fantastic visual pieces all Academy of Architecture. ‘The artists got over the building. It was a remarkable the students to engage with new per- experience for our students, because spectives on their craft, and force them they had stepped out of their comfort to take up a new position on it. Each of zone and looked afresh at themselves the artists took their own approach, one and their work.’ that suited their own way of thinking and working. But what they all had in common was that they disrupted the Crossing academy for a while,’ explains Oxenaar. landscapes ‘We chose this approach very conscious- ly, because if you want to develop as ‘The artist Jeanne van Heeswijk held an artist you need to seriously examine site-specific workshops outside the other disciplines and get inspiration school to connect with local initiatives from them. And it’s been very valuable as a starting point for thinking about for our students. These periods always what you can contribute, as an artist. unleash all sorts of stuff, and they Reinventing the Local was a literal disrupt the academy and those who exploration of an area, with students operate in it, but they also always bring criss-crossing Deltaport – an urban land- along a whole new sense of vitality.’ scape of polders, railways and industrial ‘That’s the background to why we buildings – in search of new creative believe the AIR programme is so pathways.’ important. Every time we do it, the programme directors get into long and intensive debate about it. The heads of Light building department have their tentacles in other arts and they come up with proposals. Moving ‘Adriaan Beukers and Ed van Hinte Marijke Hoogenboom, the head of the took an unexpected line of approach to AIR programme, has major value in this architecture. Journalist Van Hinte and process. She helps us to make choices, in Beukers, a professor of aerospace engi- shape ideas, and put them into practice.’ neering, conducted experiments using the space light material. They encouraged the stu- dents to experiment with materials and So much more construction methods and to look for is possible advanced new lightweight solutions for building. They wanted the students to ‘What I do find a pity,’ says Oxenaar in learn to feel what materials can do, and conclusion, ‘is that we haven’t man- to take that potential as a starting point. aged to use the AIRs over the last years The students all tried to make the tallest to get a school-wide multidisciplinary possible constructions using the lightest collaboration off the ground. Michiel possible materials – transforming the Schwarz’s residency at the Academy of inner courtyard into a playground of Architecture and Reinwardt Academy outlandish constructions with a light was a first step, but so much more is footprint, using bamboo, inflatables, and possible. I believe very strongly that rope and boiled glue.’ this kind of highly focused intervention is the most effective way of generating a multidisciplinary collaboration. Rem Strategic disruption Koolhaas said “Good art is disruptive,” to the process and I’m convinced that programme’s such as AIR can disrupt students in a Oxenaar sees these examples as repre- creative way.’ sentative for all the residencies at the

Maria Hagen is head of communications and marketing at Amsterdam University, and former head of communications at Amsterdam University of the Arts.

In her site-specific project at Westergasfabriek in Amsterdam choreographer Krisztina de Châtel and the students went in search of connections between body, environment and architecture in the public.

26 27 AIR ON ON AIR amateurs Der Theatermacher

At the Academy of Architecture, Erik Kessels, guest lecturers and international students examine the amateur origins of their artistry. Photos: Thomas Lenden

crossing landscapes Photo: Jan van Breda van Jan Photo:

Jeanne van Heeswijk and her students took a cycle trip into their surroundings to study the function- al, recreational and alternative use of the urban landscape. Photo: Thomas Lenden

28 de theaterschool AIR ON ON AIR

About the project About the artists Photo: Jan van Breda van Jan Photo: Thomas Photo: Lenden Photo: Stephen Cummiskey Stephen Photo: de Spiegelaere Patrick Photo:

Steven Van Johan Katie Luk Watermeulen Simons Mitchell Perceval

Since the appointment of Steven Johan Simons is a Dutch theatre direc- Katie Mitchell is a British director of Flemish actor and stage director Luk Van Watermeulen as artistic director tor, opera director and artistic director. theatre, opera and film. This contro- Perceval is also the founder of Het of the Directing Department at de He is the former artistic director of ZT versial theatre maker has directed for Toneelhuis in Antwerp. He has directed Theaterschool, the AHK has been Hollandia, NTGent and the Münchner the English National Opera, Salzburger at several theatre companies, including supporting its new path by setting up Kammerspiele. Simons’ work has Festspiele and De Nederlandse Opera. Münchner Kammerspiele and NTGent, a special AIR programme called Der garnered numerous national and inter- She is also an in-demand guest direc- and he is a former artistic director of Theatermacher. This programme con- national theatre awards. He currently tor in Germany. She is renowned for Thalia Theater in Hamburg. He is cur- fronts student directors with questions heads the Ruhrtriënnale in Germany, her rigorous preparation, her metic- rently working on part one of the three- that get to the core of their personal and he has returned to NTGent to take ulous approach to the text, and her parter Liebe. Trilogie Meiner Familie, artistic passions – questions about the up the same position. From 2017 he will highly effective ability to tackle major after Emile Zola’s twenty-part cycle of impossible and the hidden, about radi- also take the helm at Theater Rotterdam, subjects such as science, war, climate Rougon-Marquart novels. Perceval’s cal, uncompromising theatre, and about the collective formed by Ro Theater, change and responsibility. Mitchell was focus is on the family as a microcosm what the artist means to society. They Rotterdamse Schouwburg, Wunderbaum the Stadsschouwburg Amsterdam’s of all the problems and phenomena meet theatre makers with an important and Productiehuis Rotterdam. ‘Brandstichter’ in 2015. She is cur- encountered in modern society. All three position in European theatre, because Johan Simons asked the directing rently directing at the Koninklijke parts will premiere at the Ruhrtriënnale. they are the ones who can select ex- students to stage three scenes from Muntschouwburg in Brussels in Luk Perceval and his dramaturge ceptional repertoire and raise relevant world theatre repertoire. Working with preparation for the world premiere of Benedikt Haubrich worked intensively issues. In the 2014-2015 academic year the celebrated Dutch actors Elsie de Dusapin’s new opera Penthesilea. with the students on directing meth- the department hosted residencies by Brauw, Pierre Bokma, Bert Luppes and British director Katie Mitchell took odology, with a particular focus on the the celebrated directors Johan Simons, Jacob Derwig, they learned to translate her own book The Director’s Craft as psychological and physical embodiment Katie Mitchell and Luk Perceval. The their personal and radical vision into the starting point for conversing with of text. They asked: What does an actor programme will continue in the 2015- actor-friendly, open and well-defined students about her methodology, a need in order to engage in a meaningful 2016 academic year with contributions directions for their scene from Vrijdag, selection of repertoire, and the impor- way with the text? from luminaries such as Paul Koek and de Oresteia and Elementaire Deeltjes tance of a creative team when sound, Simon Stone. (Atomised). light, film and other visual elements The title of the Der Theatermacher AIR are central to the work. The directing programme comes from the eponymous students held a public HALf6 meeting at work by Austrian playwright Thomas de Theaterschool on this subject. Bernhard.

30 31 AIR ON ON AIR

More then craft alone

Steven van Watermeulen interviewed by Robbert van Heuven

The Directing Department’s motto:

‘A young man who does Flemish actor Steven Van Watermeulen was appointed head of the Theaterschool’s Directing Department at the start of last year. He’s not one to rest on his laurels though, and he likes nothing more than getting out on not fight and conquer the work floor, helping students get engaged with their course and their own artistic passions. ‘This programme can be as ultra-personal as it needs to be.’ has missed the best part Van Watermeulen put the department on a new path with Der Theater­ macher, the AIR programme in which students confront essential questions about their own artistic passions; about the impossible and the hidden; of his youth, and an old about a radical and uncompromising form of theatre; and about what the artist means to society. This year the department hosted residences by the man who does not know celebrated directors Johan Simons, Luk Perceval and Katie Mitchell.

how to listen to the Why would an actor choose to lead a Residence for the Der Theatermacher, directing programme? the first thing he asked me was, “What secret of the brooks, as can I learn from it?”’ ‘As well as being a theatre actor I’m a they tumble down from theatre maker with a background in In recent years, the Directing Depart­ both black box and traditional theatres. ment has focused mainly on repertory So, as an actor, I don’t solely focus on for the major theatre circuit. What do the peaks to the valleys, the role I’m playing; I actually work you think the programme should be alongside the director and we figure focusing on? makes no sense: he is a things out together and search for the dramaturgical motif. Besides that, I’ve ‘The text is important, but it’s only one been teaching for twenty years. Three of the parameters in which the director spiritual mummy who is years after graduating, Dora van der works. In the end it will be the young Groen, who I’d studied under, asked me people – the people we get in here nothing but a rigid relic to come back as a teacher. I later taught – who will set the tone for the pro- in Maastricht, where I was able to devel- gramme. Anyone who’s got the flame of op my own system. passion in them, that sense of urgency, of the past.’ I still completely agree with Dora that should be able to come in. Then what it’s a good idea to get young actors and it’s about is what he or she wants. We’ve (Jung 1967) directors teaching the arts. As well as got a third-year student who disagrees finding it easier to think on the same with the way theatre system is set up level as their peers, the main thing is and wants to reinvent it. My reply is: go that they learn for themselves. It com- ahead, do it! pels them to think consciously about We need to get our students inspired what they’re used to doing intuitively, by veterans and young players alike, and to learn how to express that intui- by people who know their craft and tive feeling. can help develop their identity. Aus I see myself mainly as an intermediary. Greidanus teaches them the craft – and I can initiate encounters, invite in big- more – using the 30 elements he be- name theatre makers, and link up my lieves are available to the director. They artists with others outside the school. can choose to put it all aside again, but I hope there’s something to be gained at least they’ve given time to consider- for both parties. Teaching is a two-way ing them. street. When I asked Johan Simons Sometimes students are afraid that by to come in and teach as the Artist in studying they’ll lose grip on their own

32 33 AIR ON ON AIR artistry. Young people aren’t willing an- How do you go about structuring your ymore to accept anyone meddling with ‘ultra-personal’ programme? the core or their art. I know that feeling. But making theatre is also a craft, some- ‘How you deal with someone’s artis- thing you can study. It’s really not going tic ambitions depends on the person to rob you of your soul. One of our tasks in question. You need to tailor your is to reassure them about that.’ services. What I’ve been doing is trying to get all the years to integrate. After all, The department wants to focus the you learn the best from each other. For programme more on the autonomy of first years, the programme can never be the director. Does society really want or difficult enough – you need to turn them need any more autonomous artists? inside out. Their little ideas need to be stretched out; they need to be given ‘For lots of people, the word “autono- height, breadth and depth. The more mous” brings to mind artists who just advanced students also serve as teach- do their own thing. But the autonomous ers for the younger ones, and that helps artists that spring to my mind are the them learn to verbalise their intuitive likes of Luk Perceval, who makes very ideas. That’s really important, because accessible theatre. He’s got a powerful, you need to be able to get across what authentic voice that people really want you want to do, preferably in a single to hear. We need more artists like that. well-turned sentence. That’s the only Not just in the theatre, but here, too. way to get the people you’re working For me it’s all about teaching responsi- with to nurture your ideas. You can just ble artists – to serve their artistic pas- tell the designer you want something sions. If a play’s got something powerful to be green, for example, but if you to say and it’s made with heart, it’ll pack explain why you want it green they are them in at the theatres. As far as I’m much more likely to be able to come up concerned the programme can be as with something good – maybe some- ultra-personal as it needs to be. The key thing you never even thought of before. that we hand over to them here could Directors are often worried about relin- open any number of doors. There’s got quishing control – “That’s how I want to be a space for theatre makers who it, so that’s how it’s going to be” – but want to work in established major thea- what you really need to do is put your tres. And if someone’s got the ambition ideas on the table early on, to activate to direct the opening of the Olympic the intuitive powers of the other people Games, that’s absolutely fine, too. You involved. can only do that sort of work if you’ve That’s why we recently brought in 25 also learned how to work in the tiniest actors from all over the place – from the of theatres. theatre world, performance, the com- I’ve noticed there’s anxiety among mercial sector. We interrogated them for students about the big stage of the a few days. We asked, ‘What buttons to major theatres. They feel like they’re I need to push to get you where I want in for an unpleasant surprise if their you?’ Each actor answered differently. basic dramaturgical concept isn’t any Next season we want to have a week good. You can’t just wander onto the when ten directors come in with their big stage armed only with your skill- designers, costume and lighting design- set and expect to be allowed to have ers, and grill them about their specific a go at directing – and that’s certainly work processes. the case if you’re taking text as your I inherited my fourth year students departure point. You need to know from my predecessor. Right now they’re exactly why you chose the text and working on their graduation show. In what you want to do with it. Form is the run-up to the rehearsals, we really all-defining when you’re working in the put them through a cross-examination. larger theatres. I was in the cast for Luk We wanted to know what they wanted Perceval’s Platonov and Platform by and why? There’s a sense of liberation Johan Simons, for example, and the now they’ve realised that they’ve been acting style emerged out of the form of set free from the text. They’ve liberated the play. If you haven’t got the founda- their own style, so they can choose tion right, then you’ll be spending most whichever way they want to go. of your time on the aesthetics – while in Theatre needs to be a dissenting voice. fact getting the form right can help you If you don’t want me falling asleep it’s to lift up the material.’ got to surprise me, stimulate me, make me see new colours. And if you want to do all that, you’ll need more than the craft alone.

Robbert van Heuven is a dramaturge and freelance culture and theatre journalist. This interview previously appeared in De Theatermaker. Half6 with Johan Simons and Adelheid Roosen. Photos: Thomas Lenden

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36 37 Photo: Thomas Photo: Lenden AIR ON ON AIR

Henk Schut Photo: Anne Photo: Douqué

38 master Education in Arts AIR ON ON AIR

Henk Schut When I Give I Give Myself en andere projecten

By Saskia Monshouwer

Making film, theatre and music demands a combination of multiple artistic disciplines. Take Federico Fellini and Nino Rota, for example, or Toneelgroep Amsterdam and frequent collaborator artist Maze de Boer. When it comes to music theatre, such as that made by Heiner Goebels, the composition of the group of artists involved is often even more varied. As a rule this multifaceted form of collaboration rarely comes to the fore in arts educa- tion. The Master of Education in Arts at the Amsterdam University of the Arts, however, devotes explicit attention to interdisciplinary artistic practice through modules such as Interdisciplinary Artistic Collaboration, developed and run by Henk Schut. For this AIR project he works alongside co-teacher and researcher Diane Carp who documents Schut’s method and place it in

Photo: Henk Schut Photo: theoretical context.

About Henk Schut is an artist with a unique vision insistent drilling and hammering. ‘What the project Schut who works primarily on music and a space, eh?’ grinned Schut as we as- multimedia productions as a concept cended the metal staircase. ‘That’s one Visual artist Henk Schut was the Artist Henk Schut is an artist, filmmaker developer, director and project leader. of the first things I want the students in Residence for the Master of Education and theatre and opera director whose We discussed his practice, one that is to experience, that sense of space – of in Arts in 2015. He has already been frequent site-specific projects often take complex, elusive, experimental and industrial proportions. It’s a completely attached to the masters for some time, place at unconventional locations. After successful. In 2014 he worked with the different feel from the inner city.’ developing interdisciplinary educa- graduating from the Academy of Fine Van Gogh Museum on two projects that We seated ourselves at a long table, tional programmes, and this versatile Art in Education he went on to study expanded on a series of visual and audi- the walls lined with metal storage racks international practitioner has been an London’s Royal Academy of Dramatic tory pieces, making the Van Gogh Mile crammed with lamps and tools. At the important source of inspiration from Art. He then lived and worked in London and designing and curating the When rear of this large space a young woman the students. During his tenure as AIR, for sixteen years, as an artist and direc- I Give I Give Myself exhibition. Both sat working, hunched over her laptop. Schut had the opportunity for an entire tor. In 1992 he received two nominations projects bear witness to the growing programme cycle to systematically for the Laurence Olivier Award and won interest of museums and other organi- Could you share something about your study and document this specific edu- the Barclays New Stages Award. In 1994 sations in exploring the social arena in background? You’ve done so many cational practice, working in collabora- he represented the Netherlands at the interdisciplinary art projects. things! tion with co-teacher Diane Carp. Henk quadrennial exhibition in Prague. From Schut produced his own visual record of 2000 to 2008 Schut was the artistic ‘I started off as a fine artist, and after the processes that took place between director of Dogtroep, where he made Sixteen years graduating I had the choice of going to himself and the students, and among several large-scale productions and in- in London the Rijksacademie in Amsterdam or the the students. stallations. He works on his installations Royal Academy of Dramatic Art [RADA] in and collaborates with multidisciplinary Following in the footsteps of the London. I went for the RADA, and it was artists at his studio in the former NDSM Education in Arts masters students a decisive choice for my career. Actually shipbuilding yard in North Amsterdam. I visited Schut at his studio and work- I had to start all over again twice: first in shop in the former shipbuilding hangar London when I was studying there and on the NDSM wharf in Amsterdam. then again later when I came back to Having chosen to meet on the north the Netherlands. But it’s almost impos- side of Amsterdam’s IJ waterway, I took sible to overstate the importance of the the opportunity to wander past the new training I got there. RADA was organised building developments in the area. On in a very different way from what I was arrival at NDSM, Henk greeted me at used to in the Netherlands. The team the entrance and we went inside, into of teaching staff was really small, all of the quiet of the building; the immense, them artists, actors and directors with cavernous structure swallowed up all their own professional practice; and then the surrounding sound – even of the you had us, the students, and we had to

40 41 AIR ON ON AIR 2.2 km

This installation entitled In Between was part of the Masks and Sculptures from Ivory exhibition at the Nieuwe Kerk in Amsterdam. Photo: Tom Lievense decide for ourselves what we wanted to structure of these acappella pieces. do. That produced to some pretty remark- Tallis in Wonderland is a wonderful able things. piece, and your influence on it is clearly I stayed in London and went on to work evident. What does interdisciplinary with the English National Opera and the collaboration mean to you? Indian writer Vikram Seth. We collab- orated on an adaptation of Hamlet in ‘What’s essential to this kind of collabo- which all the dialogues were performed ration is that the artists follow their own red thread using only the eyes – just imagine that! path. They stand together, follow their And there was really interested audi- own line, and operate autonomously. ence wanting to watch it. And then Compare it to Japanese Noh theatre, in there was the time we were looking for which the actors and musicians appear somewhere to make and perform a new to be operating independently of one production. In the end we decided on another. Usually, at the start of a piece, Plymouth, a town with large natural har- a single actor enters the stage. He bours. Ships sail from there to go whale doesn’t look at you.’ Schut stands up, watching in the Bay of Biscay – we even walks to the door and demonstrates: got to swim with dolphins. All in all it ‘The face is turned diagonally away from was a very liberating and valuable expe- the audience, and he allows silence to rience. There was space there. I stayed in fall. Then the musician starts with his London for sixteen years.’ own motif. They’re very different, but they still reinforce one another. His silence contrasts with the sound to Interdisciplinarity create a particular kind of tension. The Japanese call that tension Ma. Another Schut talks with great enthusiasm about example is the complete silence after a England. He is articulate, he commu- performance by drummers who’ve been nicates with his eyes, and he seems drumming as if their lives depended on to want to emphasise each sensory it. It’s a magical moment that kind of experience he describes, whether it’s the sucks you in.’ sensuality of swimming with the dol- So this kind of ‘essence of sound’, for phins, or the powerful silence of reciting example, is one of the things I want dialogue using only the eyes. As well my students to experience. That’s how as being abiding personal interests, the you become ware of its potential. You senses of touch, smell and hearing recur can use it as material. So, for instance, as motifs in his stage work. After watch- you can use the space itself as an ing the trailer for Tallis in Wonderland, a instrument. In Noh theatre you’ll find play Schut made in 2009 with the British something similar: they put vases under musical ensemble I Fagiolini, I couldn’t the stage that work as sound boxes shake the feeling that the central subject and that allows them to use the floor is the ear. In this piece, the performance to make music. The search for essential of a series of sixteenth and seventeenth experiences was fundamental to this century compositions is interrupted by AIR programme. We’re getting together whispering and other sounds. This has eight times and working on a variety of the miraculous effect of intensifying the topics. It’s not theoretical. It’s really all listening experience rather than distract- about artistic research. The course con- ing from the music, waking you up and nects with the artistry of the students. The Van Gogh Mile is a red thread 2.2 km in length marking the route between the Van Gogh triggering a better understanding of the It’s not about final product; it’s all about Museum and the Hermitage. Photos: Artery

42 43 AIR ON ON AIR the working process.’ Both Schut and Was your experience as part of interdis- Carp stress how important it is that ciplinary productions helpful in realising students place limits on their enquiry. these projects? ‘In the discussion classes we devote lots of time to how you formulate your ‘Production for Van Gogh Mile was a real artistic problem. Instead of, “I want to challenge. The cord needed to be taut, do something about death,” it could otherwise it wouldn’t work, so we need- better be, “We’re going to listen to the ed to find points where we could secure silence.” The realisation that silence and it. Did you know that every lamppost in death are related and that they can be Amsterdam has got its own number? connected in different ways comes natu- And that all the trees are registered? A rally out of that. This places the partici- tree surgeon came along to see if they pants– many of whom are professional were strong enough to hold the cord. educators – back in the position of being We needed to cross the Skinny Bridge students.’ [Magere Brug, near the Hermitage]. I’m busy now with the documentation for the Van Gogh Mile. There was so much The common going on in the production phase, and thread that’s really worth documenting. Maria Barnas, one of the participants in the The way Schut talks about students has When I Give I Give Myself exhibition, its roots in his own work, where he is al- told me that I could easily bring all those ways seeking to identify and escape con- stories together in a book.’ ventions. Although he initially found an Schut takes me to another table covered outlet for his visual and aural discoveries with photographs of Amsterdam houses in music theatre, he is now increasingly pasted together to form streets. This is taking his spatial experiences and sound the beginning of the visualisation and to sites originally designed for static documentation of the red line. exhibitions. A good example of this ten- dency is his 2014 installation In Between, That project culminated in the Van Gogh which was part of the Masks and exhibition that’s still running as we Sculptures from Ivory Coast exhibition speak in Amsterdam’s Nieuwe Kerk. In it Schut explores whether an artistic intervention ‘Yes, it’s called When I Give I Give Myself, (Ma) can make a positive contribution to and it’s been put together to mark the the exhibition, following his first commis- 125 years since Van Gogh died. I’d read sion from the Van Gogh Museum. all of Vincent van Gogh’s letters while making Van Gogh Mile, and I sent In 2012 the Van Gogh Museum invited specially selected extracts to 23 artists Schut to find a solution for a situation – the likes of Anish Kapoor and Arnon that arose due to renovation work Grunberg – and asked them if they could closing the museum for seven months: respond to the texts with work of their a selection from the museum’s collec- own. While I was reading the letters I tion was going to be on view at the stumbled on some similarities I wanted Hermitage, around two kilometres its to share with the artists. Iit’s wonderful home on the Museumplein, and there that these letters exist! Van Gogh was was a concern that visitors would find both an artist and an intellectual. The this confusing. Schut created a walking connection I wanted to make had to do route between the two sites with a work with space, with the making of choic- entitled Van Gogh Mile, comprising a es and the taking of risks. As an artist variety of visual and audio artworks. you’ve got to be able to reveal yourself.’ The route was marked out using a 2.2 There was too little time available to kilometre-long red thread running right discuss the exhibition in detail – that’s across the city, high in the gables of the unfortunate, because the enthusiasm houses along the way. of the museum staff and organisation ‘After I was approached by the museum I suggests that Schut has made a valuable started thinking about Van Gogh’s work. contribution to their search for new His drawing style led me to the idea forms of presenting art. The juxtaposi- of this red thread, which represents a tion of sound, music, movement, spatial- drawn line. Van Gogh wrote in one of his ity, text and image is simply a delight. As letters that the colour red has an intrin- I was about to leave, Schut played me sic value – it doesn’t stand for anything a sound experiment he is working on. else; it’s simply red. Then we started There emerged from speakers in various working out how the line could run.’ configurations the gorgeous sounds of murmuring female voices talking about the Styx; one experiment is not yet com- plete, but another has already begun.

Master of Education in Arts students working at Henk Schut’s studio at the former NDSM shipyard in Saskia Monshouwer is a writer and curator. North Amsterdam. Photos: Henk Schut

44 45 ON AIR

Helmut Dick Photo: Thomas Photo: Lenden

Academy of fine art Photo: Henk Schut Photo: AIR ON ON AIR

Helmut Dick:

The Genius Loci and Other Invisible Forces

On urbanisation and the sublime

By Saskia Monshouwer

The contemporary living environment is an bewildering mishmash of urban and natural environment, industrial and agrarian activities, houses and in- frastructure, the old and the new, the beautiful and the ugly, the useful and the useless, and the domesticated and the wild. The excitement sparked by entering this territory is captured in the title Helmut Dick chose for his 2015- 2016 Artist in Residence programme at Amsterdam’s Academy for Fine Art in Education: The Genius Loci and Other Invisible Forces.

The title invokes the ‘spirit of place’, the force, first conceived in Roman an- tiquity, that protects inhabited places. Over the centuries, these spirits have taken on an ever greater variety of forms: in 18th-century landscape archi- tecture, they were the forces of nature; while in 20th-century architecture

Photo: Saskia Monshouwer Photo: these protective qualities were ascribed to phenomenological characteri- sations. But from behind these familiar cultural-historical chaperones, Dick draws out some lesser-known and more disturbing guises, and that raises About Helmut questions. What does he mean by ‘invisible forces’? And are there powers the project Dick that affect our surroundings besides the historical and social ones?

Helmut Dick is heading The Genius Helmut Dick studied at Amsterdam’s In conversation with Helmut Dick I sought to gain a deeper understanding Loci and Other Invisible Forces AIR Rietveld Academy and the Sandberg of how he experiences his surroundings, and of the ideas and passions run- programme at the Academy of Fine Institute, and his post graduation visual ning through his method – because surely it is here, in his own work, that I Art in Education for the duration of the art focused on sculpture and perfor- will find an answer to my question. 2015-2016 academic year. From 2016 the mance. He was twice nominated for the academy will be housed in Grootlab, Prix de Rome in 2003, and he won its the former Shell Technologies laboratory Competition Project Award. Dick is an Has the art you make always been in- I nod, recollecting the short film in in North Amsterdam. In his role as AIR, active artist making multidisciplinary art spired by your living environment? which a man urinates into the water Helmut Dick will take responsibility for the public space, and he teaches and container of a small coffee maker – a for embedding this relocation in an exhibits regularly in the Netherlands ‘I’m deeply interested in the living envi- hairy cactus standing where one would ambitious on-site educational project. and internationally. Dick often conducts ronment. There’s nature beyond it, but normally expect a glass jug to be, being Together with invited artists, experts research into the qualities of specific here people are building and living their sprayed with boiling hot bodily fluid. and students Dick will explore a wide places. He is particularly drawn to the lives. There is infrastructure, architec- spectrum of opportunities for art beyond influence of the mind-set of local people ture, agriculture, manufacturing – and all the studio walls, using unconventional and artists on their conscious or uncon- these things hold meaning. As well as Biological cycles ‘materials’ and social energy in this rap- scious living environments. Dick either having a function, they express some- idly developing part of the city. The pro- visualises these qualities or incorporates thing about the cultural values held by Your interest in the living environment gramme includes practical assignments them in his work. the people who use them. They reflect seems to often revolve around biological for the new Art and Environment course, mentality – and that’s what I am really cycles. Koffiezetapparaat also presents a theoretical reflections (in collaboration interested in.’ cycle, in a sense, although I’m not sure with fellow tutor and philosopher Jappe that it’s a properly functioning cycle. Groenendijk), and activities open to the Did you make installations and interven- Where do all these references to biology, public. tions in outdoor spaces right from the food supply and reproduction come start? from?

‘When I first started at art school I mainly ‘When I was 16, I had no idea what painted, but I soon swapped my paint for I wanted to do. I didn’t want to go photography and film. Photography was to school, even though I was a good a way for me explore artistic possibilities. learner. By a roundabout way I ended I shot photos and films. Do you know up studying to become a gardener; I Koffiezetapparaat, my one-minute film completed that course before I went to from 1999? That’s one of my early works.’ the art academy.’

48 49 AIR ON ON AIR

The Cap – FC Hochburg / Die Muts – FC Hochburg takes the form of an enormous bobble hat on one For Slaveld zo groot als een torenflat / Lettuce field as big as a Sky Scraper Building Dick planted of the castle towers, knitted in the colours of FC Köln. The text on the adjacent wall reads ‘1.FC Köln’. 10,000 lettuces in front of a tower block in Gropiusstadt, Berlin. Photos: Lothar M. Peters, Helmut Dick Photo: Thomas Wrede

Does your experience as a gardener play Hooligan kings Although you say you’re work isn’t in reproduction in the 1980s. It’s a view a role in your work? of the castle socially engaged, you certainly seemed from behind of a young adolescent boy to reach out to the audience in De muts standing naked in a paddling pool in a ‘It’s often useful, that’s for sure. When Your work can sometimes give the im- FC hochburg / The Cap – FC Hochburg, garden, probably a suburban garden. It’s I was in Berlin in 2001 making Slaveld pression it’s very concerned with social the major project you made in 2004 at a very suggestive image. Would you say zo groot als een torenflat / Lettuce issues. Is that the case? Ringenberg Castle in Hamminkeln [a that you try to create a sense of unease? Field as Big as a Sky Scaper Building, I German village near the motorway to knew all about how to manage the soil ‘”Concerned” isn’t the right word. My Oberhausen]. ‘You use the word “subconscious”, but and how long it would take before the work is certainly not ‘socially engaged’, I’d say “mentality”. It’s all about periph- lettuces could be harvested – it was if that’s what you mean. It’s not intend- ‘The visitors to the castle were key to the eral experience, things you can’t control. about three weeks. But it would be a ed to create encounters, although in work in Ringenberg. I was enquiring into My 2007 work Eengezinswoning Rizoom misunderstanding to say that my work Berlin I took a great interest in social what moves people to visit castles, and I / The Single Family House Rhizome was is all about ecosystems and biology. For interaction in the area. The lettuces were arrived at the idea that probably every- about achieving that horror effect you example, my 2012 piece Voorangsdome handed out for free, and that prompted one wants to be king with a castle at get from a rootstock, from the idea of / Priority Dome is about neither biology interesting interactions. But my interest some point. Surely that’s one of the most something proliferating rampantly un- nor nature – it’s about traffic.’ is more remote, more abstract. important motivations underlying peo- derground, like you see in science-fiction I’m interested in urban areas, especially ple’s fascination with castles. Then an in- films, and then suddenly rising above Voorangsdome / Priority Dome is an the outskirts and peripheries. They form teresting connection came up with foot- the surface of the ground. So that’s eight-ton dome eleven metres in diame- an archetypical border. That’s where ball, where you’ll find frequent references why you see this small house rising out ter and six metres high. It’s been placed you will find the big housing projects to aristocratic titles. There’s the phrase of the ground among all those lovely on the roof of the Middelzeehuys build- and estates – there’s the Bijlmer in ‘king football’, for example, and Franz pink mansions in a German suburb. Our ing in Leeuwarden – it’s the home of the Amsterdam, the Banlieues of Paris, and Beckenbauer’s nickname, The Kaiser environment simply isn’t designed in a national water authority and the rural there’s Gropiusstadt in Berlin. There’s [which in Germany also refers to Keizer systematic way. Not everything you see area department. The construction re- a plenty going on in these neighbour- Wilhelm II]. So then I came up with the is functional, because the environment flects a thought about the Netherlands hoods. There are loads of people living idea that it would be fun to have German also reflects the mentality of its users – you can see that it’s covered with 250 in these places, and it’s interesting to football fans being the kings of the and inhabitants. If you look at it proper- ‘priority’ road signs. So as well as the look into what life is like there. How castle. That’s why on one of the towers ly, you can divine the way we think. pattern of bright yellow squares forming does the environment – the modern and there’s a woolly hat in the colours of FC But perhaps there’s more so it than that. a cheerful contrast with the modern other kinds of architecture –function? Cologne and “1.FC Köln” written on an In the past, mystical experiences were white building, the message appears What happens when you stack people adjacent wall. In fact it took a lot of effort often associated with nature. When peo- to be that in the Netherlands everyone on top of one another? What are the to get the hat knitted, and placing it on ple talked about the sublime, it would always gets – or wants – priority. underlying messages being conveyed by the castle tower was quite something in be the untamed, uncultivated nature this sort of environment. For instance, itself, but it hasn’t got much to do with of volcanoes and mountains. In our Slaveld zo groot als een torenflat / modern architecture is now facing heavy the crux of my work.’ times nature has all but disappeared, Lettuce Field as Big as a Skyscraper criticism. People don’t want concrete, and there’s almost nothing left that’s Building is a 1200 square meter field in they say. What they want is their own Mentality and mystical experiences wild and uncultivated. So I sometimes which Dick cultivated 10,000 lettuces. little house and a garden. But both phe- There’s an anarchistic note to much of wonder whether it is possible to find an The field’s shape and size mirrors the nomena say something about the way your work, and a bizarre sort of humour equivalent experience in an urban con- facade of a fourteen-storey tower block we think.’ that suggests you might be searching text. I believe that art can create situa- in Gropiusstadt, near Berlin, and gives for a social subconscious, in a simi- tions that make this mysticism tangible. the spectator an idea of the enormous lar way to the American artists Paul Through art, you can learn to see the size of this modernist edifice; one rarely McCarthy and Eric Fischl, for example. mentality that plays a role in defining stops to think about just how many What suddenly sprang to my mind the environment. He learns to recognise families dwell in this sort of building. when I was watching Koffiezetapparaat and understand people’s behaviour and Perhaps the work will feed into the was The Sleepwalker, that iconic paint- rituals.’ discussion about the shadow cast by ing from 1979 that you’d see so often such dwellings. It also contains ref- erences to the food supply for urban conglomerations. Saskia Monshouwer is a writer and curator.

50 51 AIR ON ON AIR

Dome with Programme overview AIR Helmut Dick

The Genius Loci and Other Invisible Forces comprises a number of modules connecting the Academy of Fine Arts in Education with other communities:

The new Art and Public events Environment programme Third-year Fine Arts in Education – Film screening students: co-led by Aldo Kroese Ausländer Raus by Christof Schlingensief: 21 september 2015.

Contemporary art practice sees artists Lectures: and designers responding to the local – Helmut Dick: 31 August 2015 and global environment to explore – Tilmann Meyer Faye: 7 September 2015 matters such as social structures, – Mariëlle Videler: 5 October 2015 networks, political organisations and – Wapke Feenstra: 2 November 2015 media. Working with the subject covered – Matthias Schamp: 30 November 2015 by The Genius Loci and Other Invisible – Nils van Beek (TAAK): 11 January 2016 Forces, the students make an individ- – Libia Castro and Olafur Ólafsson: ual or group work with raw material 26 February 2016 is society. This module concludes with – Metahaven: 18 April 2016 an on-site public presentation in North – Stephen Wilson: 27 May 2016 Amsterdam. – project presentation and party in 250 North Amsterdam (venue still to be The Genius Loci and Other confirmed): 10 June 2016. Invisible Forces priority optional interdisciplinary course signs with Theatre in Education students, co-led by Jappe Groenendijk

This optional course sees students exploring the theoretical underpinnings of The Genius Loci and Other Invisible Forces by reading and discussing theoretical and philosophical works by the likes of Alain de Botton, Marc Augé, George Perec, Guy Debord, Jean Baudrillard, Nicolas Bourriaud and Claire Bishop. This part of the programme concentrates on philosophical con- templations of mainly human-made landscapes, places and spaces, as well as the social phenomena reflecting them. Students will also come together to attend lectures and film screenings that form part of the AIR programme. The guest speakers will place the works viewed in a more universal context to present a range of practices that reveal immaterial (and often social) relationships, processes or events. This will introduce students to the broader potential within this more spacious understanding of art and work.

Helmut Dick’s The Priority Dome / De Voorrangskoepel takes the form of a dome placed on the roof of the Middelzeehuys in Leeuwarden. The construction is covered with 250 priority signs. Photos: Helmut Dick

52 53 AIR ON ON AIR Photo: Saskia Monshouwer Photo: explore

North Amsterdam

ON AIR Issue 7, January 2016

ON AIR reports on the Artist in Residence programme at the Amsterdam University of the Arts.

Editors Marijke Hoogenboom and Sanne Kersten

Translator Steve Green

Coordinators Sanne Kersten and Eleonora van Vloten

Graphic design Meeusontwerpt

Publisher Artist in Residence programme Amsterdam University of the Arts T +31 (0)20-5277707 E [email protected] www.air.ahk.nl

Helmut Dick explores the North Amsterdam area with students from the Academy of Fine Art in © 2016 Education. Photo: Helmut Dick Amsterdam University of the Arts

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