#1 Open Courses: Art & Medicine Open Courses: Open Courses: Art & Medicine Index

4 Introduction

6 #1 Art in a Medical Context with Jeu van Sint Fiet Column #1 by Pieternel Fleskens

12 #2 Spatial Score with Nina Glockner & Sandrine van Noort Column #2 “

18 #3 Reflections on Self-Experimentation with Ana Maria Gómez López & Eddy Houwaart Column #3 “

24 #4 Dissecting Touch with Eva Spierenburg & Anna Harris Column #4 “

30 #4.1 To stroke (while keeping a distance) Audio contribution by Rosanne van Wijk Column #4.1 “

34 #5 Imagining the Mind with Mangano & van Rooy & Albert Groot Column #5 “

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3 Introduction Research & Education

In 2020, the Academie’s Research & Education The Research & Education department further extends the department organized a series of Open Courses: Art & Jan van Eyck’s bond with knowledge institutions, uniting art, Medicine. Based on their shared curiosity and interest in the science and education. By taking on assigned projects, and human and human body, art and medicine once held a very by putting urgent topics on its own agenda, the department strong bond. However, a variety of societal and technological investigates ways in which artistic, scientific and academic developments caused the two worlds to become mutually research are mutually beneficial to one another, despite opposed for many years, with the medical world representing their often contrasting profiles. Research & Education objectivity and the artistic world symbolizing subjectivity. In organizes masterclasses, workshops and conferences, the past years we have seen these two domains developing consequently stimulating intersectoral dialogues. The efforts a new fascination for one another. The Open Courses series of this department not only catalyze the search for new forms explored what happens when these two domains enter into of knowledge and knowledge sharing, but also contribute to conversation. By stimulating dialogue between the arts and curriculum development of primary and secondary grades, the medical sciences, the organizers and the audience colleges and universities. investigated the possible advantages of this increased connectivity.

The Jan van Eyck Academie proudly looks back on a diverse and inspiring series in which many perspectives came to the fore. Each Open Course was centered on a meeting between an artist and a person from the medical field. As moderator, artist Rosanne van Wijk drew connections with previous Open Courses. The corona crisis forced part of the programme to take place online, but the curiosity and open mentality of the speakers and audience created beautiful conversations that brought us new insights. In this publication we reflect upon the Open Courses and thank all speakers and others involved for their successful efforts in the creation of this remarkable programme.

4 5 #1 Art in a Medical Context #1 We are organizing a tour to Mediville, the medical workspace of general practitioner Jeu van Sint Fiet to explore how artworks may contribute to the healing process of patients. Jeu van Sint Fiet is a general practitioner whose entire Art in a office has been designed by artist Joep van Lieshout. Van Sint Fiet is an art collector, and part of his collection is on view at his office. He feels that the art works contribute to the healing process of his patients as well as improve his Medical communication with them. Context

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Tekst

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Everything about the first Open Course feels surreal: the The doctor feels comfortable in his art-filled practice. “And colours of the doctor’s office, the Carnaval clowns on the front if I feel good, my patients will notice that.” Jeu van Sint Fiet desk, the appetizers prepared by the doctor’s wife. We kick is even convinced that his conversations with patients have off the Open Courses series with two tours of Jeu van Sint changed since the arrival of the art. Patients often react to a Fiet’s general practice. Both groups are instantly booked full. work of art, ask about the shape of the table or closet, and Curious people, who have already heard much about this intently examine a photograph or painting. That will start peculiar office. They feast their eyes as if in a Wunderkammer, the conversation, before moving on to the patient’s ailments. a cabinet of curiosities, while they obediently follow the The art works also lend a personal touch to the practice. doctor. There is much to be seen. Near the entrance, the Not only because the prominent presence of the doctor’s hallway hosts the large work Ceremony by Keetje Mans. taste determines the atmosphere, but also because he and The painting shows an empty bed surrounded by dozens of his family are often models in the art works. There is a large candles. Serene, yet confronting at the same time. The work picture of the doctor in his practice, dressed up in cheerful was commissioned by general physician Jeu van Sint Fiet. Carnaval costume but with a look of defeat in his eyes. He When visitors turn the corner, they seem to step into one blankly gazes into the space before him. The photograph total piece of art. Bold colours and shapes, and small objects was taken by Etienne C.L. van Sloun, just when general that offer subtle critiques on the machinery of medicine. practicioner Jeu van Sint Fiet received news, during Carnaval A large pill jar, for example, reminds us of the amount of drinks, that one of his patients had passed away. The medication that gets thrown out. photograph draws you in. Its story shows the doctor’s empathy. The picture shows the person behind the Jeu van Sint Fiet’s personal and wide-ranging tastes become profession. Is that the essence when we talk about art in a evident to everyone. Many works are part of his private medical context? Is it about adding a personal touch to a collection. But his practice is more than a workplace with typically neutral environment? Is it about a sense of trust? some paintings on the wall: the entire space and all furniture Or is it about art itself and the way art can stimulate were shaped by artist Joep van Lieshout, on the doctor’s awareness? The tour evokes many questions – too many request. Are grey, white and blue the colours you would to answer during this Open Course session. That is why we associate with a doctor’s office? At Jeu van Sint Fiet’s, the will continue the conversation in the next Open Course: dominant colour is orange. Spatial Score.

10 11 #2 Spatial Score #2 Jan van Eyck former participant Nina Glockner leads a performative lecture and reflects on spatial influence regarding psychological and physical states amongst medical practitioners and their patients. What roles do size, form, materiality of the interior, and other objects present play in Spatial relation to doctor-patient interactions? How important is the composition and positioning of objects within a space? How might different light and colours increase or decrease different psychological and physical states? Score Based on her experience visiting general practitionerJeu van Sint Fiet whose workspace Mediville has been developed by Atelier van Lieshout and is filled with his personal art collection, Glockner will share a visual analysis of selected spatial characteristics in relation to their functionality and guiding or manipulating power. Together with Sandrine van Noort, art conservator at LUMC, Glockner will reflect on spatial influence and the relevance of art within a medical context, and invite the audience to take part in a Q&A session. 20 February 2020 20 February

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Tekst Tekst Documentation #2 Documentation

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“It turns out to be cancer. So there it is, I have cancer.” For this Open Course, artist Nina Glockner created a A friend of mine on the phone: it is Friday morning, and she performance based on the relations between space, doctor, has just heard that she has cancer. From one moment to and patient. She positioned several persons from the the next her life revolves around fear, uncertainty, questions, audience within the space. Handed them objects which they decisions to be made, hospital visits and consultations with had to balance by working together. Or was that not the medi-cal specialists. Exactly 12 hours earlier she attended point? The tensions between individuals became palpable. an Open Course focused on the question whether space and Together they were trying to achieve a goal that was largely art can influence the interaction between patient and doctor. unknown. Who determines this balance? Who determines How pointless did that question, so central to our Open the results? What is a comfortable distance, and when do Course, now suddenly seem. Let’s be fair; who cares about things begin to feel claustrophobic? When does a connection a work of art while receiving the news that they have cancer? arise and when does it become uncomfortable? Who is in I’m almost embarrassed about our Open Course discussion. charge of these decisions? I think about the trajectory that now awaits my friend. Could art play even a minor role in all this? According to general Back to the central question of this Open Course. Can art physician Jeu van Sint Fiet, we may at least tentatively state contribute to the interaction between doctor and patient? that art can have a positive impact on the atmosphere of a May we perhaps believe that art can at least offer a slight space and on the interaction between doctor and patient. degree of consolation? That it is a tiny bit more pleasant And in the second Open Course Sandrine van Noort, art having a consultation in a light, personal space than in a dark, curator of the Leiden University Medical Center (LUMC), anonymous cubicle? That a photograph or painting in the talked about artistic projects that go beyond ‘just’ art in the waiting room may do more to ease your mood than a poster hallways of a hospital. Think, for example, of performances with the general emergency number? That listening to music about the theme of waiting. Studies have confirmed that may help? That books and films offer words and images people are more positive when they are in an environment to express your feelings with? The sound of an incoming they perceive as pleasant. And that art can contribute to the message takes me back to reality. A message from my atmosphere of a space. Such performances as at the LUMC friend, from the hospital. She was quickly referred to an can give people a sense of acknowledgement, but art can anaesthesiologist and sends me a picture of the painting also throw people off balance. It can hurt. And is everyone prominently adorning the wall over his desk: Winnie-the-Pooh. really happy to let someone else impose their artistic preferences on them?

16 17 12 September 2020 Reflections #3 on Self- 18 Experimentation #3 Reflections onSelf-Experimentation aesthetic andotherwise, duringaglobalpandemic. challenges thatarisewhenconsideringself-experimentation, Prof. Dr. Eddy Houwaart, AnaMaríawilldiscuss thespecific Togetherepidemiological situation. withmedicalhistorian vantage point from whichtoexamine thedeveloping and lookinto ways self-experiments canoffer adifferent Ana MaríaGómez Lópezartist willreflect onthesequestions &Medicineseries, and healthequity?of InthethirdArt part new orworsening shifts intermsof conditions physical care worldwidecommunities are collectively experiencingeither investigations withone’s own bodychangeinmeaningwhen the ongoingCovid-19 outbreak? How dofirsthand carry out embodiedresearch of intimes crisis, suchaswith subjects” of theseinvestigations. Yet whatdoesitmeanto procedures, andhypothesis onthemselves, servingas“first specialized practitioners, alsotestprototypes, artists as asitefor creation andinnovation. Alongsidethese Artists, like physicians andscientists, usetheirbodies often during aglobalpandemic. various challengesassociatedwithself-experimentation and medicalhistorianProf. Dr. Eddy Houwaart willdiscuss On Tuesday, AnaMaría Gómez López 22Septemberartist 19

Column #3

It is the first Open Course since the beginning of lockdown. Though this meeting was planned months in advance, it quickly becomes clear that the Covid-19 pandemic has changed everything. In a practical sense, of course, but since the first wave we also find ourselves searching in terms of meaningful content. How can we go on as if nothing happened? The central artist in this meeting, Ana María Gómez López, also has doubts of her own. The corona crisis has changed her perspective on her own practice. A practice that largely takes place in a medical context and that – now more than ever – can only exist in an affluent society where the medical machinery runs smoothly, without experiencing obstacles of scarcity. However, the corona crisis highlights that the system we blindly rely upon is running into its own limits. Within our wealthy and privileged life-world we are confronted with hospitals unable to cope with the need for care, doctors forced to choose whom will be given treatment or not, and a dependency on political choices and the willingness of other nations. Yet we in the are still privileged. We watch the chaos unfold in less affluent

Documentation #3 Documentation countries, as well as the shortage of medical equipment that we can simply buy in stores here. The status quo is grinding to a halt, and Ana María can no longer look at her own practice without this overshadowing awareness. She is uncertain about her artistic practice at this point, and wonders what the role of artists could or should be right now. Ana María often utilises her body as a place for experimentation and innovation in her work. But what does such an examination of one’s own body mean in times of crisis, such as the current Covid-19 pandemic?

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How does the meaning of this direct, embodied self- Ana María and Eddy seem to agree that employing one’s exploration change when the entire world is experiencing own body for experiments can bring us new insights, and shifts and deteriorations in physical care, and when inequality that this may be of great value in a changing epidemiological in health care is on the rise? situation. For me personally, this meeting mainly confirmed the value of bringing the two worlds of art and medicine We eventually decide to take this question as the central together. An artist and a researcher whose approaches and focus of our conversation: a dialogue between Ana María interests have so many similarities, whereas their methods and medical historian Prof. Dr. Eddy Houwaart. Just like and aims are entirely different. Opening ourselves up to the Ana María, physicians and scientists often employ their experiences and perspectives of others can lead to new bodies as a site of experimentation and innovation. They perspectives, and possibly even solutions. We are a long way test prototypes, procedures and hypotheses on themselves, from ending this conversation. On to the next Open Course. serving as primary objects of research. The encounter between Ana María and Eddy takes place digitally in late September. Though it is hard to convey the energy of a live event on Zoom, the situation of everyone having to call in from their own surroundings adds a personal and fragile aspect to the meeting. Ana María is on the edge of her seat, pen and notepad in hand as if she were about to begin a PhD defense. Eddy relaxed in his study, surrounded by books, assured to have an interesting anecdote in response to every word. It becomes a fascinating dialogue, driven by curiosity. A crucial characteristic for those in the fields of medicine and art. The audience also shows itself eager to learn and know more. The meeting quickly comes to revolve around sharing knowledge. The Zoom chat function is used for sharing references, and attendees continue to mail questions and suggestions in the days following the event.

22 23 #4 Dissecting Touch #4 For Part 4 of the Open Courses: Art & Medicine, Jan van Eyck Academie welcomes visual artist Eva Spierenburg whose sculptures, drawings and video works investigate the body, touch, and materiality. For this occasion, she will delve into a Dissecting conversation with Anna Harris, an assistant professor and medical anthropologist of University whose research falls on doctors’ sensory training in the digital age.

The notion of touch becomes extra complex in these times Touch of the Covid-19 pandemic. Together with you, we would like to explore sensorial and embodied learning within artistic and medical professions, and shape the conversation by dissecting the role of touch in Spierenburg and Harris’ practices. 15 October 2020 15 October

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Tekst The relaxation of corona restrictions made it possible for the moderator and speakers to meet in the auditorium of the Jan van Eyck Academie. The audience still has to participate online. The speakers are seated on a bench on opposite sides of a pillow with two meters between them, like strangers physically expressing their lack of interest in any further acquaintance. The moderator, Rosanne van Wijk, is seated behind a desk in front of them. A direct conversation between them would be possible now, but for the sake of the Zoom audience they must all face the camera. It turns into an unnatural play for the three actors: do you talk to each other or to the camera? Do you exclude the other speakers or the audience? Both speakers on the bench inattentively stroke the pillow on which they are seated. I wonder if people tend to do that when seated on that bench, or whether our speakers are knowingly engaging with tactility as it is part of their daily practice.

In her work, artist Eva Spierenburg researches the body, touch and materiality. She creates sculptures, drawings and

Documentation #4 Documentation videos. A short video shows her making a small sculpture after her mother’s passing. Hands press into the material. It’s easy to imagine how having such a small, touchable mother figure to stroke and rock could bring comfort. Then, as you watch the artist smashing the little sculpture with a hammer, as a spectator you can almost feel the physical pain. Is that the emotional pain felt by the artist? The lack of touch? The loss of physical connectedness? Is Eva able to convey this feeling through her work, or is it merely my own interpretation?

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Anna Harris, assistant professor and medical anthropologist At the end of the Open Course I feel a sudden urge to shake at , responds to Eva’s work in this the speakers’ hands, to hug them or give them three kisses. Open Course. Her research focuses on the sensory training What did being kissed on the cheek feel like again? Some of doctors in the digital era. She knows better than anyone people only offer their cheeks but prefer to give air kisses. how difficult it is to describe touch. She confronts the audience Others tilt their heads to achieve full lips-to-cheek contact. with the complexity of the matter by inviting everyone to pick The warmth of one’s respiration, the smell of perfume or bad up a random object within their reach and to describe it. breath; a soft, fleshy cheek, or a rough and bony face. Cold, comforting, hard, apathy, sleek, soft, control. Various Someone who unexpectedly starts with the left instead of associations and comparisons appear in the Zoom chat. the right cheek. The lack of touch at the close of this Open There is no such thing as an objective vocabulary. Phrasing Course suddenly feels unnatural. In times of corona, avoiding and experience are both subjective. Anna shows materials touch has become something we must be consciously used in her online medical courses. For example, she shows aware of at all times. Disinfecting hands, touching objects a knitted womb, and even an orange that can be used during as little as possible, no physical contact. In you are gynaecology lessons. How does the human body feel? only allowed to have one ‘hug contact’; in the Netherlands How can you share this sensation online with your students, people speak of experiencing ‘skin hunger’, touch deprivation. and train their ways of touching? We are looking for similarities In these alienating times, let us not just consciously avoid and differences in Eva’s and Anna’s practices. What can touch. Let us, if your personal situation allows for it, perceive they learn from each other? Is it easier to convey under- the few contacts we do have as consciously as possible. In standing through the emotion artists put into their work than some way or another, let us try to convey this feeling – across through verbal explanations? Is it possible to transfer a feeling, the distance – to people who have had to go without this or is touch something you can only experience yourself? sensation for months already. Is it possible to use the subjective in an objective context? Anna and Eva are both concerned with the question how a feeling – or a touch – can be transferred across a distance: this is something with specific relevance to both their respective lines of work.

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A conversation between medical anthropologist Anna Harris Tekst and artist Eva Spierenburg about the topic of ‘Touch’ was originally scheduled to take place during the third Open Course: Art & Science. Due to Covid-19, the Jan van Eyck Academie was forced to postpone this meeting to 15 October. Because of the subject’s acute relevance, however, we did want to engage with the theme at that moment. Naturally, “In times of crisis and certainly in times of quarantine, the need for touch is stronger than ever.”

Pieternel Fleskens wrote a column about the theme at the Jan van Eyck Academie, whereas artist Rosanne van Wijk discussed an art work by Eva Spierenburg that was consequently included in The Invisible Collection of Marres, House for Contemporary Culture.

In The Invisible Collection art-lovers describe their favorite works of art. Originally created by Mediamatic , the project aimed to help the visually impaired to imagine

25 March 2020 25 March works of art based on audio descriptions by art experts. In 2019, Marres developed a new version of The Invisible Collection, in which they also started to collect stories about art (broadly defined) by non-art experts.

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It is March 25th. We are in the early days of our quarantine It is March 25th and the priority is on getting the coronavirus period, still under the illusion that the world will be able to go under control. But we don’t yet understand the mental back to usual in two weeks. One by one, the faces of Floor consequences of social and physical isolation. Especially and Rosanne – my work partners for the series Open for those who are alone with their own fears and doubts. Courses: Art & Medicine – appear on my screen. We wave We haven’t thought about the physical consequences of this at each other. While we discuss the various points on our stress yet. agenda, our enthusiasm sometimes causes us to talk at the same time. It’s not very different from what happens during It is March 25th and the third session of our Open Courses: our regular face-to-face meetings. “So good that we can Art & Medicine would normally have taken place today. still talk and meet digitally! Yes, how lucky we are.” Ironically, the theme of this session would have been ‘Touch’. Medical anthropologist Anna Harris and artist Eva It is March 25th and we are happy to still be allowed to meet Spierenburg would have had a conversation about the role up with others, albeit at a distance of 1.5 meters. That’s still of touch within their respective work practices. The Open close enough to really see and talk to each other. We take Course has been postponed, but at the same time we feel endless walks with friends. Enjoy nature. Focus on the the urgency for this meeting growing. In times of crisis, and conversation we are having with each other. “It’s great, this. particularly in times of quarantine, the need for touch is So nice.” stronger than ever. Artist Rosanne van Wijk, who would have acted as moderator during the Open Course, has therefore It is March 25th and we take things one day at a time. We’re chosen to present a work by Eva Spierenburg in another way. not aware yet that in the weeks to come, we will notice more The description of the work is included in The Invisible and more often that you miss out on all nuance when you Collection of Marres, House for Contemporary Culture. can’t just rest your hand on someone’s shoulder after a We invite you to experience this work in advance through meeting. That we will begin to realise how much it means this link, awaiting a new physical meeting at Jan van Eyck when someone presses your hand with a slightly firmer grip Academie. than usual to express sympathy. We have no idea yet that we will soon begin to avoid walks with friends, because not “I now often think about how we will touch and greet one being allowed to touch when we say goodbye will become another in the future. It feels as if this will never be the same too confronting. We are not aware yet how desperate we will as before. As if we will not be able to keep reproducing the feel when we can’t give a friend a hug if she starts to cry. performance of shaking hands in a sincere and natural manner.” – Rosanne van Wijk

32 33 #5 Imagining the Mind #5 For the fifth and last Open Course: Art & Medicine edition, the focus will fall on the discipline of psychiatry. When is one considered to be truly ill? Is full recovery even possible? As psychological issues seem less tangible than other Imagining medical conditions, psychiatry can be seen as a unique division of medicine. Moreover, what happens when the arts are engaged in this topic? Can art and imagination contribute to this discipline? This event aims to explore these existential questions in relation to various existential processes that the Mind are linked to the abstract matters and integrated approaches when considering psychiatry as an objective science.

In Imagining the Mind, the artist duo Domenico Mangano & Marieke van Rooy will delve into a conversation with psychiatrist and art collector Albert Groot. Mangano & Van Rooy have conducted a project around three mental institutions and created a film trilogy ‘The Dilution Project’. One of the three films, When the Whistle Glares, will be discussed within the framework of this event. We will look into the starting point of this film and how the artists

12 November 2020 12 November experience their interaction with the medical field. Together with Groot and the artist duo, we will collectively investigate what perspective the arts hold towards the complexity of psychiatry.

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Tekst You’re on a walk. Alone. You strike up a conversation with a passer-by walking a dog. About the birds, the beauty of autumn, the desolation of the forest. “I’ve spent the past years in a psychiatric institution. This is my first weekend back at home,” the dog’s owner tells you. How do you respond to this?

Psychiatry is a specific branch of medicine, dedicated to the twilight zone between objectivity and subjectivity. Can a psychiatric patient ever fully recover? And are they really ill? The final Open Course: Art & Medicine is aimed at this discipline. Artist duo Domenico Mangano & Marieke van Rooy set up a project around three psychiatric institutions, resulting in the film trilogy ‘The Dilution Project’. One of the films in this trilogy is the central focus of the Open Course.

The artists show fragments and engage in a conversation with psychiatrist and art collector Albert Groot on the perspective that the arts can provide on the complexity of psychiatry. The film shows the daily course of events in a psychiatric ward. It isn’t about the moments directly pertaining

Documentation #5 Documentation to treatment, but rather about the time surrounding that. The hours spent playing games or soccer, or staring blankly ahead while deeply immersed in thought. You wonder how these people manage to pass their days, what they talk about, how they develop, what they miss out on and what occupies their thoughts. What will be the first thing they do when the day comes that they can – or must – rejoin the outside world? The film makes you think about the captured moment. The present. Perhaps it prompts a question about what the future is like for these persons. But do you consider the past? The things that led someone here?

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According to psychiatrist Albert Groot, within this specific Over the past weeks we have seen what happens when we psychiatric context it is mostly about people having an look for similarities and expansions rather than for differences. open attitude towards one another, without prejudice. This We notice that the arts and the medical field can enhance is a challenge to anyone. Every doctor, every psychiatrist, and inspire one another, when there is a sincere interest in every human. Accepting that we must think of ‘being different’ the other perspective. Many artists want to utilize their artistic as a natural element of life, instead of seeking normalcy. practice to delve more deeply into the existential questions After all, what does normal mean? Precisely the arts are of medicine, and of life itself. They immerse themselves in equipped, he feels, to show the value of so many different this other world, absorbing everything like a sponge and lives and stories. translating it into their own work. And what does this have to offer medicine? On that note I’d like to finish by quoting For me personally, the arts and the medical field naturally Albert Groot. come together in this final Open Course. In the Open Courses series we have seen a continuous exchange between the “It takes fantasy to make the impossible possible. It is about subjective and the objective. Subjectivity is essential to imagination. Artists see things I don’t see. Art encourages psychiatry, which therefore seems able to grasp that other play. This Open Course helps me explain to others how subjective discipline – the arts – without effort. ‘Hard’, objective important art is to life, especially when you want to sciences seem to have more difficulty with this. But did we understand the other.” not conclude at an earlier point that full objectivity does not exist? Within the field of medicine, we would like to reduce the subjective to a minimum. But what if we accept that subjectivity is a constant, a given?

38 39 Documentation Colophon

5 #1 Art in a Medical Context A publication by Work space Mediville, Jeu van Sint Fiet, 2020 Jan van Eyck Academie Maastricht Photography: Rosanne van Wijk Research & Education Department

8 #2 Spatial Score Design Spatial Score, Nina Glockner, 2020 Rosanne van Wijk © Jan van Eyck Academie General text 14 #3 Reflections on Self-Experimentation Pieternel Fleskens Punctum (technical drawing) Floor Krooi Ana Maria Gómez López, 2018-2020 Rosanne van Wijk In collaboration with Matteo Casarin Editing 20 #4 Dissecting Touch Liva Laure Disappearance in slowmotion Eva Spierenburg, 2019 Columns Photography: Jan-Kees Steenman Pieternel Fleskens

24 #4.1 To stroke (while keeping a distance) Printing To stroke (while keeping a distance) Artega Eva Spierenburg, 2019 Photography: Jan-Kees Steenman Cover printed on RISO ComColor Printing & Publishing Lab 28 #5 Imagining the Mind Jan van Eyck Academie When the Whistle Glares, Mangano & van Rooy 2018, Film still Edition of 50

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Special thanks to BankGiro Loterij Fonds – the series of Open Courses were organised within the framework of the Connecting Dots project – Yu-Lan van Alphen

Floor Krooi Rosanne van Wijk

Jeu van Sint Fiet Nina Glockner Sandrine van Noort Ana María Gómez López Eddy Houwaart Eva Spierenburg Anna Harris Domenico Mangano & Marieke van Rooy Albert Groot

Maastricht University Mieke Derickx

Marres, House for Contemporary Culture

Bonnefanten

December 2020

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