ArtEZ fact Nr. 2 2011Magazine for students, staff and alumni of ArtEZ Institute of the Arts — May 2011

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World to Win“Don’t be too modest about what your worth”

Artist in Residence: Jacob TV

Green, green grass of homeElsien Gringhuis in Doublespot

Open StageGaynelle Szoboszlai and Julian Enequist

ArtEZ finals 2011

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08 Jacob TV descends on ArtEZThe innovator with global clout is just the man we need.

10 Open StageJulian Enequist (MediaMusic) and Gaynelle Szoboszlai (Art & Crossmedia Design) set up an enterprise together.

12 “ArtEZ Press Books Must Touch You in Some Way”The first in the ArtEZ Alumni series has been brought out. A good opportunity to talk with Jan Brand and Minke Vos. And: the latest ArtEZ Press Publications at a glance.

14 New Creative Writing Course: Why Now?With Frank Tazelaar and Jasper Henderson

27 ArtEZ finals 2011All the expo’s, concerts, fashion shows and theatre- and dance performances

Plus

06 What are you doing?This time, we ask Margreet Luitwieler, Bachelor of Dance in Education lecturer and student on the Master of Education in Arts Course.

17 The art of changingDingeman Kuilman about, in his view, the task of arts education.

18 Double spot:Elsien Gringhuis

20 The Design Cycle: A Series of Opportunities

22 Amber, Fashion Muse of the 2011 Arnhem Fashion Biennale

24 X Years LaterThe Zomergasten actors collective consists of the drama school’s entire class of 2007.

24 Cartoon

26 In Short

Cover photo:

19 third-year Product Design students from ArtEZ Academy of Art & Design in Arnhem worked on a single theme that resulted in a joint collection: the 2011 Collectie Arnhem Product. Here, they interacted with nature and literally turned it into their working field. This collection represents not only nature’s powers of inventiveness and creation but also the young designers’ desire to be part of it. The 2011 Collectie Arnhem Product can be viewed until the end of May at Café Brasserie Dudok (Koningstraat 40, Arnhem). Items can be purchased at the Arnhem Coming Soon concept store, which is located at Kerkstraat 23.

“Oh, but I was one of the people who screamed!” laughs Dany Jacobs. “I’m a tremendous supporter of culture.” The ArtEZ Professor of Art, Culture and Economy was one of more than one hundred thousand people who participated at the end of last year in the “Scream for Culture”: a nationwide action against the Dutch government’s expenditure cuts in the culture sector.

Political philosopher Hans Blokland, a cultural policy specialist, also agrees that culture and cultural subsidies are important. But unlike Jacobs, he did not scream. And this was not simply because his position as professor at Berlin’s Humboldt University meant that he was abroad at the time and far from the raised voices of Holland. No, he confesses that he was disappointed in the action. “Its reach has been grossly exaggerated”, opines Blokland. He astutely refers to the much heralded television programme that concluded the action and attracted a mere 386,000 viewers. By way of comparison, that very evening more than three million viewers tuned in for America’s Next Top Model, a games show and the Netherlands’ favourite soap series.

Martijn Crama, Music & Business lecturer at ArtEZ Academy of Pop Music and artists manager at Music United:

“The real problem for the music sector is the disappearance of the sound recording medium. The entire business model of cassettes, LPs and CDs is up in the air now that everyone downloads music from the internet, either legally or illegally. Moreover, the demand for pop music is relatively low and fragmented although the supply is ridiculously high. Apart from a couple of really big names, pop musicians in this country cannot survive on music alone. But I believe in enterprise. You will require patience and must be a dab hand with new media so that you can slowly build up a loyal fanshare. Moreover, you should focus not only on the music but also on the whole experience surrounding it. You’re selling a lifestyle and not just a record: a special live experience, exclusive merchandise. Be creative. Music can be found everywhere so why should you pay for it? But experience is not available as an illegal download.”

“FOCUS ON EXPERIENCE”

Cuts mean tightening your belt a notch or two. So has culture fallen from grace? “Not at all” is the opinion of two experts. But the sector needs to be more enter-prising: “Don’t just wait for people to discover you, go out in search of your audience!”Text: Anton de Wit

World to win

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What is going on in the culture world? Are we really in hot water in these times of economic malaise and radical government cuts? Are we at the mercy of the philistines? Is that “scream for culture” the death rattle of a sector with its back up against the wall? Although one of them screamed and the other did not, Dany Jacobs and Hans Blokland both agree that it won’t be as bad as all that. Blokland: “This sector consists of people who are experts at playing to the gallery, and is therefore disproportionately noisy. The arts sector has always been extremely successful at defending its interests and more so than other sectors. In terms of the outside world, it also creates the impression that it’s constantly the victim of Machiavellian politicians despite the fact that the opposite is true.”

Jacobs is also matter-of-fact: “We’re certainly not living in a country of cultural philistines. The cultural capital in the Netherlands is greater than people often think.” This view is also supported by research: for years the trend studies of the Netherlands Institute for Social Research have indicated an entirely positive image of the support for culture in this country (see: www.scp.nl). The zest for practically all forms of art and culture – and certainly not only for “easy”, popular culture – remains strikingly consistent and is even increasing.

Yet Jacobs and Blokland also agree that our sector is clearly facing great challenges. Although the appreciation of culture may be stable, political and public support for cultural subsidies is undeniably declining. “Try getting that genie back into the bottle”, sighs Blokland. “What I particularly notice since living abroad is how vicious the cultural debate has become in the Netherlands. Cultural subsidies are presented as ‘theft’, as left-wing ‘hobbies’.”

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But that hostility doesn’t just appear out of nowhere, adds Blokland. “On the one hand, cultural relativism - which argues that Bach is neither better nor more valuable than Madonna - has made headway over the last ten to twenty years. On the other hand, the cultural sector has distanced itself increasingly emphatically from the hoi polloi. So it was obvious that the support for cultural subsidies was going to evaporate at a certain point. It was just a matter of time before someone like Wilders would say it out loud and just shrug his shoulders when accused of being a cultural philistine. In fact, this was just waiting to happen.”

Jacobs backs him up. “What is perhaps surprising is the degree to which cuts are being made to culture. But the logic of these cuts has certainly been going on for the last ten years. A large number of people in the cultural sector have simply been asleep. If they’d been more awake, they would have seen this coming for years. This policy began at the time of Rick van der Ploeg, and Ronald Plasterk simply continued it. Yet both of them are Dutch labour party politicians. So, although you can pin it on the present right-wing cabinet, you shouldn’t expect that arts subsidies will suddenly increase dramatically if another government comes to power.” Both Blokland and Jacobs agree that there’s no reason to throw in the towel. Instead, it’s high time that the sector discarded its armour of self-satisfaction and rolled up its sleeves. Jacobs: “Many artists are quick to proclaim: ‘I’m such a genius so just give me the money.’ Here, drawing on the Wwik benefits system is far too frequently a given. If you believe in something, you should invest in it yourself.” Blokland: “Art and culture have the potential to bring people into contact with alternative ways of looking at life so that they can divest themselves of the cultural horizons that they were brought up with. Hence, artists have an important social task. Yet they do need to prove that occasionally and not just to their fellow artists. Don’t just wait for people to discover you, go out in search of your audience!”“Is that ‘scream

for culture’ the death rattle of a sector with its back up against the wall?”

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Filip Jonker, artist and ArtEZ alumnus, sailed a homemade cardboard tug from Enschede to London:

“A subsidy is important for a project of this size but it’s never enough. That’s why I started looking for companies in the shipping business that were willing to get involved. This proved to be relatively easy. The art of this is firstly to ensure that a company likes your idea. I wasn’t saying: Just give me the money or the materials. No, what I asked was: How would you approach this? In this way, I made them a participant in the process, which is far more valuable than a reduction of a thousand euros on the materials. I then showed them how this project could benefit them and presented them with prospects such as media attention and presence at shipping fairs. The expected exposure is your most important commodity. That’s because these companies will simply add it all up: what will it cost us and what will we get in return? I find that a clear and honest way of working. And much less laborious than drawing up subsidy requests.”

“EXPOSURE IS YOUR COMMODITY”

Rob Schoutsen, attended the Master of Architecture Course at ArtEZ and is now a self-employed architect at Frobenius, a two-man business:

“Architecture is a serving profession. Someone else has a dream or a wish and, as the architect, you have to make the best you possibly can of that. And you must always keep in mind that you also benefit society as much as you can. It’s difficult to maintain that professional integrity at a point when everyone is worried about money. But I don’t think that it’s impossible. First of all, it’s important to keep contributing your ideas throughout the entire process and not just during the design phase. My partner is an urban planner and is already involved in the projects at an early stage. That’s a real advantage: you don’t just barge into the project halfway through but are able to exert influence right from the beginning. With each project, we ensure that all the parties are brought together. In this way, you can create your own work and remain involved throughout the process. What’s more, you can achieve the maximum quality with the minimum of resources.

“IT’S IMPORTANT THAT YOU KEEP CONTRIBUTING YOUR IDEAS”

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Taboo

But if public taste becomes the guiding principle, will that not lead to superficiality and mediocrity? Jacobs doesn’t think so. There will still be room for even the less popular art forms. “It’s a question of finding the right eco-system. The big creatures need a lot of food while the little creatures don’t need a lot of food. A large theatre programmes for a large audience. A small theatre has lots of room for experimental productions. If it were to opt for popular programming, it would soon become the victim of its own success. I’m not suggesting that everything will automatically find its own solution. But it’s too easy to say: ‘We’re difficult therefore we need a subsidy’.” Do they feel that this sector lacks business insight? Jacobs: “In general, yes. Talking about money was taboo for a long time. It was dirtier than talking about sex. I’ve even had instances where artists got mad at me for asking them what they earned: ‘That’s not what it’s about, is it?’ No, but you do need to look to the future, also in economic terms. I’m fully aware that the value of the arts cannot be easily translated into a purely economic value. But you shouldn’t be too difficult about this. As I always say to the

students here at ArtEZ: Don’t be too modest about what you’re worth. Dare to demand money for what you’re doing. My professorship is all about ensuring that the people in this sector gain a greater sense of the market. “Actually, this applies not just to the market but also to the whole of society. If you make sure to get around a bit, and you maintain contact with this person or that person, my experience is that you will certainly earn your money. For a long time, the problem with arts education is that it was based on the theory that talent could only develop in isolation, in a kind of cocoon. I don’t believe that. In my opinion, you can only become adult and mature through contact with your environment. You do something, people have a certain opinion of it and you think about that. This is much more fruitful than the solipsistic idea of producing your genius artworks in total isolation. The people who really get ahead, are part of a network. So get out of that cocoon! You certainly won’t hear me saying that supply always creates demand - to quote an old economic adage - but you will go a long way if you devote part of your creativity to economic aspects.”

Hanne Struyf, actress, studied at the ArtEZ Drama School:

“I’ve only just graduated and I’m mainly curious about what’s going to happen now. Everybody’s talking about the crisis and cuts but I have to say that I haven’t had any problems as yet. But I am aware of the uncertainty. Will there still be room to do what I can, acting on stage? Will I still have the freedom to do what I want to do? I’m currently in the comic show Is dit een grap? with Phi Nguyen, where we say that we should really opt for cabaret because people are no longer interested in poetic or philosophic theatre. Yes, that too is a joke. Despite everything I think there certainly is a future for serious theatre. These cuts can actually give it a new boost. So uncertainty creates new opportunities. I often find performances uninteresting. I hope that this can be the beginning of change: that once again we may re-invent passion, engagement and most of all experimentation.”

“UNCERTAINTY CREATES NEW OPPORTUNITIES”

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Passion, that’s the right word. I feel passion when I see how the arts affect pupils. The self-esteem that they gain from it. The way in which art influences their self-image. It’s fantastic when you make something with your hands that nobody else can, or when you move in a way that no one else does.

The arts are fundamental to children’s development. They are essential. For everyone. From primary school onwards, children should come into contact with every aspect: paintings, music, dance. Just as in Italy where every child is brought up with the arts.

The Netherlands doesn’t have that. Let’s be honest, our arts education is somewhat elitist. To this day. You don’t see many non-Western migrants at music schools. Despite the fact that the arts imbue the totality of education with a sense of balance. But it’s cognitive skills that are mainly emphasised at primary and secondary schools. Yet you also need to be able to express yourself emotionally. That’s what makes you a complete person. EQ along with IQ. Right now the former is limited to drawing and handicrafts.

On behalf of ArtEZ Interfaculty, I’m researching the potential for more effective arts education together with Anneke Meijers (a music lecturer), Nicole Martinot (who lectures in 3D design) and José Huibers (a direction and design lecturer). Each of us works on the basis of our individual discipline. We examine the level of skills and knowledge of students entering ArtEZ teacher training courses. From there, we try to raise the entry level still further through direct departure points. Naturally, this is in co-operation with the educational institutes that provide ArtEZ with its students. Here, we start with higher professional education, then secondary education and finally primary education.

I’m idealistic but I have a concrete goal. If you look at the students, at their experience, you will see that everything’s all over the place. From dance to film to music to theatre. And tomorrow something completely different. Every teacher should be familiar with this world. That’s the first thing we want to achieve.

This means that, for instance, a dance teacher will then know far more about the other disciplines and can take part in a discussion about them. This is the beginning of a development that will ultimately transform arts education. For good. I’m not really interested in what I personally get out of it. For me, it’s the kids that matter.”

This research will be completed in 18 months’ time. The result along with other aspects will be available at: http://www.artez.nl/kunsteducatie

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Margreet Luitwieler, Bachelor of Dance in Education lecturer. She is currently on the Master of Education in Arts Course. Text: Ruud Linssen

Bring the Arts to Our Children!

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Jacob ter Veldhuis used to count down the days until each new performance of his work: listening to musicians playing what he’d came up with. But that’s no longer the case. The number of performances of his compositions currently amounts to approximately three. Three each day, that is. Throughout the world. Ter Veldhuis, also known as Jacob TV, now has the luxury of choosing what he likes. The most recent choice, collaborating with that institute of the arts, has gone down particu-larly well. “ArtEZ is buzzing with my music and it’s delightful to experience that”, he says. Jacob ter Veldhuis will be ArtEZ’s composer in residence for a year. This entails a plethora of activities around his work: rehearsals, con-ferences, lectures, workshops, concerts and dance performances.

Jacob ter Veldhuis is spending a year at ArtEZ as its composer in residence. This innovator with global clout is just the man we need. For ArtEZ School of Music is constantly focusing on the future of musicians and the role of its education. Ter Veld-huis embodies this new musi-cian perfectly.Text: Ruud Linssen

Jacob TV Descends On ArtEZ

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“Composing is a kind of vocation. I’m not so pretentious that I think I can teach the creative process”

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Of course, Ter Veldhuis is also holding classes for the composition students. As he says him-self: “I coach the students. I purposely don’t use the word ‘teach’. Composing is a kind of vocation. I’m not so pretentious that I think I can teach the creative process. I can teach people technique but not creativity.”

This is the first time that ArtEZ has collabo-rated with a composer on such a large scale. The timing is no coincidence. Classical music has reached a crossroads or may have already passed it. Boundaries are blurred. External in-fluences are taken on board. And that’s exactly what Ter Veldhuis also lets happen. Whatever classical may or may not be is for him an open question. “I frequently work with media and television. That’s where I find my inspiration. When I began, music genres such as rock, jazz and classical were completely separate worlds. Nowadays all that’s changing completely. And you see these and other changes everywhere.”

These shifts in music have also set music colleges adrift. Juul Diteweg, Director of the ArtEZ School of Music, has known this for a long time: “Should we keep on doing things the way we’ve always done them? What’s the point of our education? These are today’s issues.”

Lively discussions

By way of understatement, Ter Veldhuis hints that ArtEZ School of Music is certainly not lagging behind: “I find it a very congenial in-stitute. I detect a curiosity about new music. The school’s directors consider it important to familiarise the students with contemporary music.” On the other hand, as Juul Diteweg says, “Jacob ter Veldhuis represents musical breadth, the integration of old and new, of im-age and sound. These are all the things that we at ArtEZ are looking for. What are the con-sequences of this for the practice of music? In short, it means that his arrival is heaven-sent. He’s ideal for stirring up debate.”

Back to that class of composition students. Here, Jacob ter Veldhuis launches lively group discussions that last for three hours. About the notes on paper, the possibilities and im-possibilities of a trombone, the students’ com-position sketches or a musical problem that he’s recently wrestled with. And last but not least, there are the tips of a man who is familiar with the profession and successfully uses it to his own advantage: “There’s always a need for new music for instruments such as the accor-dion or saxophone. You should remember that if you want to get your music performed”.

Bob van Luijt is a bass guitarist and a recent graduate. Nonetheless, he’s attending Jacob ter Veldhuis’s composition classes at ArtEZ: “With modern classical music it’s often a case of the more atonal the better. Jacob ter Veldhuis has turned that around completely. For instance, a string quartet piece is so simple. But not simple in the sense of easy, rather that it’s so clear. Music is an abstract art form but he shapes it in an enjoyable way. To the point. Besides, I have a romantic vision of music. Beautiful, I often find that cliché beautiful. And that’s something I notice about this composer. I’m learning a lot here.

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Music producer Julian Enequist and photographer Gaynelle Szoboszlai are the happy owners of a fruitful collaboration. The only disad-vantage is that they can really go on about it. Consequence: someone else - from the “short but sweet” school of thought - was brought in to summarise this wonder.

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G: It all began with the AKI’s Digital Film Lab, where people from my course were hooked up with people from the School of Music.

J: I took part because I thought it would be re-ally great to choose a film and say, “that’s what I want to make mu-sic for”. I opted for the prissy girl in high heels, I found her funny. Es-pecially the story; there was plenty of emotion there.

J: We were then encour-aged to ask for some-thing in return. So I came up with Stefany June, my band. For-tunately Aneta, the director, took it really seriously. It wasn’t com-pletely coincidental that she suggested you again, and that’s how our collaboration devel-oped.

G: You can really ben-efit from each other’s projects. Things that you would have never done otherwise but that you learn a lot from.

Open Stage

The ArtEZ fact editorial team are reserving an immaculate white page in this paper for students, which they can fill in however they like. For this issue, it’s the turn of Julian Enequist (third-year Mediamusic) and Gaynelle Szoboszlai (fourth-year Art & Cross Media Design). Together they’ve set up an enterprise called “bølq”.

Text: Jantsje Mol

We’re Really Good at Switching Between Nattering and Working Seriously

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G: We also use each oth-er’s networks. This means that we can score assignments from both sides or collect ex-tras.

J: We can offer the client a total concept and we have all the resources. It makes a real difference in times of crisis if one of our great little films imbues a company with a certain reliability.

G: We really began just for fun and also for the experience. After a number of positive reactions, we thought that we could also earn money with this.

J: We alternate between commercial and artistic projects. You can learn a lot from both and we’re not embarrassed about that. Sometimes you just have to be cheeky and pitch some-thing although you don’t have any clients.

G: There’s nothing wrong with that. Because it’s something that we like doing anyway.

G: We’re now getting bet-ter at speaking each other’s language. If I have a particular idea for a sound, then I can describe in an abstract way what I mean. ‘Has to be a bit killer here’, and then you know ex-actly what I’m saying. Actually that works re-ally well.

G: You also develop a par-ticular kind of working relationship: If I think it’s ugly then I can say it.

J: What’s more, we’re really good at switch-ing between watching films and nattering, and working seriously. Moreover, it’s not like we’re risking our friend-ship by having to say that something has to be finished on time. We’re always very hon-est with each other.

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— Let’s begin at the beginning: How was ArtEZ Press created?JAN: “I was working for the Studium Generale series of topical arts events where we had been wanting to make publications about our projects. The faculties also had a similar wish for, for instance, a book about the 50th anniver-sary of the Fashion Course at ArtEZ. Hence, the Board of Governors proposed approaching it in a professional way by setting up a publish-ing house. As of the 2007-2008 academic year, we became known as ArtEZ Press.”

— What is the objective of ArtEZ Press?JAN: “The aim of our books is to nourish the development of theory in arts education. In addition, they are often used as teaching ma-terials. And not only at ArtEZ but also by other arts courses. In addition, it’s about cherishing knowledge within your organisation: preserv-ing and conveying your knowledge. Here, you can think in terms of the book Moulage by Rixt van der Tol, which contains a great many years of teaching experience! For the design, we mostly work with either the graphic depart-ments of ArtEZ or alumni. In this instance, the publishing house serves as a kind of edu-cational company. Finally, the books are also sold to artists, policy-makers and other parties in the cultural sector. For example, the book What’s that Red Mark Doing on the Top Left-Hand Side? by Onno Zijlstra is selling really well in bookshops and is already due for a third edition. By publishing high-quality books on art, culture and education we’re also contribut-ing to the profiling of ArtEZ.”

— How do you choose the subject of a new book?MINKE: “We are regularly approached by the ArtEZ faculties and also by, for instance, arts foundations and museums. As a rule, we work with external funding. For example, we receive subsidies from foundations and funding bod-ies such as the Prins Bernard Cultuurfonds, and we also collaborate with companies. When choosing the books, we always look for the connection with ArtEZ, and the books must be recognisably ArtEZ Press. After all, we’re a niche publishing house.”

— What’s the reason behind the ArtEZ Alumni series?JAN: “ArtEZ wanted to showcase its alumni more prominently. We have some really good alumni at ArtEZ and we need to present them. Naturally, an alumni series has real potential for achieving this.”

ArtEZ Press, our own publishing house, began the year with the book Farmers by Louise te Poele, a Fine Art alumnus. This is the first in the ArtEZ Alumni series to be brought out by ArtEZ Press. A good opportunity to talk with Jan Brand and Minke Vos about ArtEZ Press and opting for this series. Text: Vanessa Sloot

“ArtEZ Press Books Must Affect You in Some Way”

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THE LATEST ARTEZ PRESS PUBLICATIONS

— ARTEZ ALUMNI SERIES: FARMERSThe photography of former Fine Art student Louise te Poele (1984) is based on her fascination with people. She is looking for those special characteristics and singu-larities that make each person an individual. For Farmers, she made portraits of the inhabitants of her native village in the Achter-hoek region.

— THE NEW MANIn this book, the phenomenon of the contemporary man - the dandy - is considered from different points of view. Here, the dandy is located in his historical per-spective. The subject of man’s representation in current fashion campaigns is also examined. The authors of the texts include José Teunissen, Jeroen Visser and Con-statin Maltzahn.

— GERMANY’S ATTICSeth de Rooij’s Germany’s Attic is based on his finals project for the Architecture Master’s at ArtEZ. De Rooij made a design for the resto-ration of the Erlwein-Speicher, a warehouse that was completely gut-ted by the fire bombing of Dresden. De Rooij won the 2006 Archiprix with this project.

— CURATORIAL COOKINGThe book Curatorial Cooking pro-vides a look behind the scenes of Platform21’s exhibition practice. Not only completed projects are considered here but also 21 new proposals by artists, designers and curators. With contributions from, for instance, Hybridspace-lab, Cynthia Hathaway, Arne Hen-driks, Ted Noten, Scott Burnham, Heleen Klopper and Yuri Suzuki.

— COLOUR IN IMAGEThrough interdisciplinary research into colour, this handbook reveals how colour relates to many aspects of society. The book is based on a European, Western perspective yet emphatically locates developments in a broadly based, international framework. In addition, the 24-hour perception of colour is visu-alised in a strip cartoon.

— THE PRESENTATIONSuzan ten Heuw and Onno Zijlstra scrutinise the extreme in society and religion. Here, the individual regards his freedom as being a burden and seeks refuge in consum-erism, group culture, fundamental-ism and virtual worlds. Both the visual arts and literature play a central role in this book.

— SPIJKERS EN SPIJKERSSince their fashion label was launched in 2000, the designs of the Spijkers sisters have main-tained a recognisable and much-loved style. Rebelling against stereotyped ideas of femininity, Spijkers en Spijkers consciously focus on the self-aware and mod-ern woman who likes to revise the rules of her sex.

Students and ArtEZ staff memberscan purchase ArtEZ Press bookswith a 20% discount at themediatheques.

— What are your criteria when choosing an alumnus for the series?MINKE: “The work of the alumnus has to be of the right quality and must comprise a special project that is important for the contempo-rary development of the arts. We had already worked with Louise te Poele. For instance, she made the invitations for the presentation of the book Moulage. She contacted us herself and her work is at a level that made it a good choice for the first book in this alumni series.”JAN: “When choosing the subjects, we always look for a high degree of universality. Convey-ing knowledge is central and must be sup-ported by first-rate design. We strive for the highest possible level. The books must touch you, affect you in some way.”

— What can we expect of the alumni series in the near future?MINKE: “The next two publications in the se-ries are Fashion Masters and Making A Small Square Laugh. Fashion Masters covers the development of the Fashion Institute Arnhem (FIA) over the last twelve-and-a-half years. Making A Small Square Laugh is about Bas Maters (1949-2006): 35 years of environmental art and architectural design.”

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Developing talent

Frank Tazelaar is the director of Wintertuin and joint head of the Creative Writing specialisa-tion with Monique Warnier: “A course such as Creative Writing is sorely needed at this point in time for developing writers’ talent. There used to be a greater number of literary maga-zines where editors from publishing houses would guide writers in their development. But these magazines have virtually disappeared now along with the mid-segment. Books are either bestsellers or are rapidly remaindered. There is no longer a middle path. In the eastern Netherlands, we have an effective infrastruc-ture for writers that comprises Wintertuin as a production house, various literary festivals, a faculty of arts and letters in Nijmegen and Stories & Design in Zwolle. What is missing here is a good course for writers who are able to work with a variety of media and genres, and are therefore known as “multi-literary writers”. Hence, Wintertuin has sought co-operation with ArtEZ, which is well known for its inter-disciplinary approach and is the ideal place for educating these writers.

In co-operation with the Literair Productiehuis Wintertuin, ArtEZ is launching its full-time, four-year Creative Writing Course. A specialisation for the Bachelor of Theatre Course. It will start in September with 18 students, who have successively completed the selection process. More than one hundred people have applied and there was also a great deal of enthusiasm at the open day on 18 February. So clearly there is a need for a course for writers. But what would be its added value? And why now?Text: Vanessa Sloot

New Creative Writing Course: Why Now?

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Multi-literary writers

Jasper Henderson is a good example of a multi-literary writer. Jasper’s activities in-clude working as an editor at Dutch publishers such as De Bezige Bij, Nieuw Amsterdam and TenPages. He also publishes in newspapers and magazines that include De Groene Am-sterdammer, Het Parool, De Gids and the Po-eziekrant. He presents and moderates literary events for, for instance, CPNB and Winternac-hten, and has also organised De langste dag. Moreover, he writes brochures and business texts, and is now an advisor to the Creative Writing specialisation. Henderson: “As yet there is no course of this kind in the Nether-lands. What courses there are, focus on the technique of writing. Nonetheless, creative writing courses have been around for a long time abroad. With a course like this I expect that more talent will emerge.”

Writing and selling

“Of course, there is always the inevitable ques-tion of “can you learn to write”? I’m convinced that you will never manage without talent. But the major advantage of this kind of higher vocational course is that you’re being helped to make the most of your talent. You will also develop much faster as a writer. Moreover, you will make important contacts because the lec-turers are also writers, and will certainly tip off their publishers about any talented students. I predict that there will be students who have already been given contracts by their second or third year. Furthermore, I know from experi-ence that it’s a good idea to be able to do more than just writing. This course is broadly based. For instance, you will learn a thing or two about editing, literary journalism and also about how you can ensure that a publisher actually reads your manuscript. In other words: how you sell your product. Just like other arts, writing be-gins with an inner need, but meanwhile you’ve got a business to keep going.”

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TIP: WINTERTUIN’S DE GEEST MOET WAAIEN FESTIVAL: 26 - 29 MAY IN ARNHEM

Following a successful first edition, this festival for the spoken word is returning with such names as Connie Palmen, Nico Dijkshoorn, Rob Wijnberg, Klassiek Raggen (with Bob Fosko) and Arie Boomsma. Once again the festival is bringing together writers, poets, musicians, illustrators, filmmakers and theatre makers in unique programmes and combinations. It will be based at the Showroom exhibition space although some events will be held at other locations such as Luxor Live and the Posttheater. The programme is available at: www.wintertuin.nl/festivals/degeestmoetwaaien

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We can consider the cuts to culture as being a fact, if only because they are inextricably linked with the stability of the present government. Although arts education has not as yet come under fire, the measures of Prime Minister Rutte and his sort will inevitably lead to radical changes in our direct environment. Therefore, the question is: What’s next?

If we wish to maintain and strengthen the ex-ceptional quality of Dutch arts and culture, then we must focus on three subjects:

Encounters

The Netherlands is possibly the most creative region in Europe. At least that’s what foreign-ers are often telling us. There is almost nowhere else so small where so much top talent is trained for virtually every conceivable discipline. On the basis of that unique position, we must now concentrate more than ever on interna-tionalisation. We must invest still more energy in discovering what the world can offer us and what we can offer that big, small world that sur-rounds us. Moreover, in the ensuing encounters, we will learn a lot about ourselves that we can-not learn “at home”.

New balance

People have been talking for years about the creative industry. This soon involves the trans-formation of creativity into new industrial prod-ucts. But that is just one small part of the story. Far more important is the fact that arts and cul-tural professionals must play an active role in the development of a new balance between so-ciety, culture and the economy. Economic value is becoming increasingly dependent on abstract concepts, such as identity and meaning, and social factors that include sustainability. Un-derstanding this more thoroughly will reveal tremendous opportunities.

Learning to appreciate

The quality of the arts and culture is not only a question of supply, but also - and more espe-cially - of demand. Gastronomic culture in the Netherlands has only been able to change over the last fifty years because, step by step, we have learned to appreciate food in a different, more adventurous and refined way. That’s why first-rate arts and cultural education is essen-tial. If you do not learn about what music, the visual arts and dance can mean to you, then you will find it difficult to enjoy them. If you do not learn to nourish your own creativity through that of others, you will end up believing that you are not creative. If you do not learn to scrutinise the design and production quality of clothing and other products, you will soon be settling for ex-pensive rubbish.

At ArtEZ, there is a great deal of talent, knowl-edge and experience concerning all these sub-jects. We must now use those strengths to en-sure that arts education is modernised so that it will produce people who can take control of an occasionally wilful practice. And if that suc-ceeds, they can go far.

“The quality of thearts and culture isnot only a question ofsupply, but also - andmore especially - ofdemand.”

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The editors asked Dingeman Kuilman – the ArtEZ Board Chairman - to contribute to this issue of ArtEZ fact. So what, in his view, is the task of arts education?

The Art of Changing

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On the Spotlight page at artez.nl, ArtEZ lists all the students or lecturers who have won important prizes. Here at Double Spotlight, we highlight one of these students or lecturers. This time, double attention for former student Elsien Gringhuis.Text: Francien van Zetten

Modern and Sustainable Clothes

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Well-produced fabrics where you know where they come from: this is a basic given for fashion designer Elsien Gringhuis (1980), who gradu-ated from the Fashion Design Course at ArtEZ Arnhem in 2008. This January, she won the Green Fashion Award at the Amsterdam Fashion Week and received 25,000 euro for the sustainable production of her clothes. Dutch meadows and skies are what inspire this designer from Arnhem. One of the pieces she showed in Amsterdam was a jumpsuit of fluttering, bright green and blue silk, which she had dyed herself. According to fashion journalist and jury member Georgette Koning, Gringhuis is modern, technically profi-cient and creates a beautiful and feminine image.

Mass production

Canadian photographer Edward Burtynsky’s images of completely polluted factory sites throughout the world formed the basis of the 2006 documentary Manufactured Landscapes, which was directed by Jennifer Baichwal. This film set Elsien Gringhuis thinking. Here, she mentions the clothing industry in China with its enormous mass production, poor working conditions and large quantities of poison that are used, for instance, to cultivate cotton. “That’s not necessary”, she says emphatically. “Environmental production is sometimes really easy. People often get stuck in particular systems so that they’re no longer able to do things differently.” Silk, silk with cotton, linen and textiles made of bamboo fibre are all safely produced materials that Gringhuis frequently uses. Her aim is for 100% sustainable production. “Sometimes I want to achieve a particular look and then I do make concessions by working with artificial fabrics. Otherwise your possibilities are too restricted.”

Ethics

Sustainability in fashion concerns not only clothes but also production methods and working conditions. “These social issues were certainly discussed on the course”, says Matthijs Boelee, head of the Fashion Design Course at ArtEZ. “Students are never limited in their choice of materials. However, they must be aware of how fabrics and clothes are manufactured. That sense of ethics is something we instil in them, and an growing number of students are now opting for sustainable materials.” Elsien Gringhuis’s designs are characterised by their pure forms. Thanks to their ingenious constructions, they exude simplicity. Gringhuis works with as few pattern pieces as possible. Preferably just one or two. She made a sleeveless jacket out of a single piece of fabric. Short sleeves are folded on a body rather than attached. “While using as little as possible, I try to get as much as I can out of something. I aim for clarity in everything.” When looking for an explanation for her success, Gringhuis’s opinion is that her pure and sustainable designs fit in well with these times. “They have a kind of timelessness but are also modern.”

“While using as littleas possible, I try toget as much as I canout of something.”

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Step for step

The Design Cycle comprises a series of phases where a design is realised and then presented to the consumer. Collectie Arnhem is a good example of this. Fashion Design and Product Design students work on the Collectie Arnhem during their third year. Along with jointly devel-oping a vision and concept, they also complete the other Design Cycle steps: designing, sam-pling, segmenting, producing, styling, present-ing, showing and launching onto the market. Apart from seeing their input and creativity lead to a strong concept, students also experience how the creativity and craftsmanship of the next few links in the series are vital to the design’s realisation.

Sample studio

Since this year, ArtEZ has been participating in Arnhem Fashion Connection, a collabora-tion between AFF Monsteratelier, Rijn IJssel and Arnhem Coming Soon. This means that the production chain has been brought back to Arnhem. AFF Monsteratelier, which was set up by Pieter Jongelie, provides fashion profession-als with an opportunity to make samples and quality productions in close collaboration with highly skilled fashion makers. Pieter: “The great thing about Collectie Arnhem is that through this study track, we can bring the ArtEZ Fashion Design students into contact with the Fashion Design Support students from Rijn IJssel. This reveals the possibilities that good co-operation can generate. Although the collaboration with ArtEZ is still at an early stage, we immediately noticed that short and clear lines of communica-tion produced better final results.”

At the root of the design process is the generating of ideas and the inventing of concepts. This is the phase that you will focus on as a design student. But how do you find out whether your idea is feasible? As based on your concept, what are the steps that you must then take so as to arrive at the final product? And who or what do you need to ensure your idea’s success? Following the Design Cycle can create those opportunities.

Text: Janneke Brouwers

The Design Cycle: A Series of Opportunities

The creativity andcraftsmanship of thenext few links in theseries are vital to thedesign’s realisation.

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For Collectie Arnhem, the students are also ex-pected to learn how to approach the commercial market in both business and organisational terms. For that reason, they are personally re-sponsible for the marketing and communication of this project. Here, they are supervised by Danielle Wanders, who fulfils the role of a brand manager. She supports the students in promot-ing and launching their collection along with all the aspects that this entails. Danielle: “No mat-ter how beautiful your design, ultimately what’s important is that the consumer is interested in it. The students are taught to bear this in mind, even while designing, and to include it in the communication and marketing stages. They then literally and figuratively spotlight the collection through a fashion show and presentation.”

Guaranteed success

The agency and concept store Arnhem Coming Soon ensures that Collectie Arnhem is success-fully presented at a shop level. Shop manager Chananja Baars describes what she feels a collection needs for achieving success: “The consumer expects a special and innovative col-lection, which is also wearable. In addition, it is important that the relation between price and quality is kept in balance. Coming Soon repre-sents various young designers during this track, and we are experienced at supervising young talent.’

Further information about this subject is available at: www.artez.nl/artbusinesscentre/Cursussen/Van_idee_tot_commercieel_concept

Fashion as a capricious and fleeting phenom-enon. Something to be found everywhere in society and yet elusive. Like a dream, a mystery. “Amber, you show us beauty and help us to define who we are”, writes JOFF, artistic director of the 2011 Arnhem Fashion Biennale, in his love letter announcing the theme of this international festival’s fourth edition.

Transformer

JOFF explains that Amber is the personifica-tion of fashion. “I want to show that fashion reverberates throughout society.” The quest for Amber’s true identity takes place at three main locations: in an AkzoNobel factory, at the Museum voor Moderne Kunst Arnhem (MMKA) and in Arnhem city centre. What makes fashion more than just an item of clothing is the main exhibition’s central issue. This will be visualised by international designers such as Prada, Maison Martin Margiela, A.F. Vandevorst, Damir Doma along with ArtEZ-alumni Iris van Herpen, Selina Parr and Rosa Roozen (Noman).

Social face

Amber’s social face will be revealed in the city centre. The Suze May Sho artists’ collective - which consists of ArtEZ-alumni Rosell Heijmen, Connie Nijman and Jessica Hellbach - has designed an installation where Arnhem’s resi-dents and visitors can discover their connec-tion with fashion. There are also routes through the city such as “The Taste of Arnhem” and a walking tour of pop-up stores. The artists/researchers Joke Roobaard and Giene Steenman are organising an exhibition at the MMKA, which comprises a continuing archive on the social construction of the concept of clothing. According to Fashion Design co-ordinator Matthijs Boelee, the ArtEZ Finals Show on 9 and 10 June will encompass of a diverse group including a number of interesting designers, and will also present “designs that are applied completely, that reveal just how beautiful clothes can be.”

www.arnhemmodebiennale.com

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JOFF studied at the Rietveld Academy and the Arnhem Fashion Institute in Amsterdam, and lives in New York. He is succeeding Piet Paris (Pieter ’t Hoen) as the creative brain of the Arnhem Fashion Biennale.

Amber is the name of the 2011 Arnhem Fashion Bien-nale, which will be held from 1 June to 3 July in Arnhem, the capital of the Dutch province of Gelderland. It will be an ode to the phenomenon of fashion.

Text: Francien van Zetten

Amber, Fashion Muse of the 2011 Arnhem Fashion Biennale

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THE YOUNG ONES

As of 20 April 2011, a work by Christiaan Schuinder is being shown at Kasteel Nijenhuis in Heino, which is part of Museum de Fundatie. Schuinder’s piece is being presented in the hall of sculptures next to the castle’s winding staircase. It is the fifth in the Young Ones series, where young Fine Art talent from Zwolle is given an opportunity to interact with not only the castle but also the art works collected by Dirk Hannema, the founder of the museum’s collection. This work will be exhibited until 7 July 2011.

FEEDING THE WERKPLAATS TYPOGRAFIE

At the New York Art Book Fair in February 2011, the Werkplaats Typografie invited visitors to contribute to the curriculum of this Master’s course. The visitors had the opportunity to enrich the school library by bringing in books they consider a must-read for every art and design student. In return, the book could be traded for one of a multitude of artifacts specially produced by the Werkplaats Typografie. During this event, the Werkplaats presented all the goods of the exchange in the project room.

GENERATIE OOST

Generatie Oost is the annual project of the Generale Oost production house and is held in co-operation with ArtEZ Drama School. This project is unique in that the Drama School’s entire third year collaborates with a choice selection of seasoned professionals that on this occasion included Steve Aernouts and Martijn de Rijk. This year, Generatie Oost also involved the experienced directors Laura van Dolron and Ria Marks. They rose to the challenge of presenting the audience with an exciting and varied evening of theatre after just two weeks of rehearsals. For the first time, the project had a more interdisciplinary character through the contributions of two musicians.

MYTHS AND HYMNS;

Under the inspiring leadership of director Daniël Cohen, Music Theatre students at ArtEZ School of Music gave six performances of Myths and Hymns at the beginning of March. This exceptional music theatre show was written by the American composer/librettist Adam Guettel. It comprises a collage of extremely diverse stories in a variety of musical styles: everything from classical to funk. The theme connecting all these stories concerns mankind’s eternal quest for something or someone that can imbue our existence with meaning.

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PERFORMANCE IS BACK TO STAY

13 Fine Art students from Arnhem attended a performance workshop that was given by Anet van der Elzen and Danielle de Vree. It focused on creating an image or poetic moment within a performance and was concluded with the students’ individual presentations at locations such as the Museum voor Moderne Kunst Arnhem. The workshop attracted a great deal interest amongst the students. For that reason, the project will be continued in 2012 as part of the regular Fine Art programme in Arnhem.

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‘Made of art students’

by Michael Thompson

In X Years Later, we are highlighting the Zomer-gasten actors collective, which consists of the drama school’s entire class of 2007. There are a total of seven actors: Mariana Aparicio Torres, Michiel Bijmans, Joost Dekker, Matteo van der Grijn, Laura Mentink, StevenStavast and Michel Visser. They have called themselves Zomergasten (Summerfolk), after the play by Maxim Gorky that they adapted for their finals performance and which was directed by Peter van den Eede.

Text: Vanessa Sloot

X Years Later

Joost: “So why did we all continue as an actors collective after graduating? Apart from the fact that we’re totally different people, we noticed that we can work together very well and that we also share the same ideas about making theatre.” Michiel: “During the year, as individuals we enjoy working with different directors, but as a collective we consciously work without a director. If you work with a director, then the performance represents the vision of a single maker: the director him or herself. When you work as a collective, the performance is imbued with the colour of not only the entire collective but also each separate member. So along with being actors, we are all makers as well.” Joost: “Normally, it’s the director who’s responsible for a performance, whereas we bear a joint responsibility. Not just for the acting but for the whole performance. In addition, we take of all the other things: the stage set, the lighting, the publicity, subsidy requests and receiving the audience.” Michiel: “We even cook for the audience and man the bar. So you end up with a situation where one moment an actor is asking you whether you’ve enjoyed your meal, and the next where he’s up on stage and you’re watching him. “ Joost: “Hence, it’s obvious that we actors are just people from the real world. We are people who’ve just cooked and served: we’re not suddenly in some different reality, in a theatre reality. But as actors we use text and theatrical resources. This is how an illusion can be created, together with the audience.”

Different every evening

Michiel: “People come for a meal, they watch the performance and then stay on afterwards for a drink and a chat. In this way, they feel involved with us and with what we’re searching for. So they’re searching with us: What was the play about? How have they influenced it this evening? How did that work? What are my thoughts about the play? About the themes? About how all that took shape this evening?” Joost: “We do work within a fixed framework: the text stays the same and there are a number of “rules”: agreements that we make with each other such as the staging. You know what you want it to be about, but the form that that takes, can vary. In that way, the performance evolves and every night is different.”

Further information about Zomergasten is available at www.zomergasten.nl

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Tetem2 Update

In the previous issue of ArtEZ fact, we announced that Marx&Steketee Ar-chitects have been com-missioned to design the conversion of the new location of ArtEZ Acad-emy of Art & Design in Enschede. At the end of January, the new building’s users’ forum was able to inspect the design plan, and the final details and additions were then made to the provisional design. Tetem2’s definitive plan is now ready, and the floor plans are currently hanging in the present building so that everyone has a chance to familiarise themselves with this new structure. The next stage is that the commission will be put out to tender from July to De-cember 2011. According to the planning, building work can commence following the realisation prepara-tions in February 2012. This will be completed by December 2012. Moving to the new building can then occur in planned phases with an extension until the spring.

In Short 25 Years of Music Therapy

The Music Therapy Course was launched 25 years ago. This is being celebrated from 17 to 19 May 2011 with the Exploring the Musical Mind anniversary confer-ence and the Neurological Music Therapy training. Since the inauguration in 1986 of the (then) five-year Music Therapy Course - which was still part of the Bachelor of Music Course - it has emphatically distin-guished itself from other related courses through its divergent viewpoint that a music therapist “is a musician who applies his musical competencies to a therapeutic setting”. Over the years, the Music Thera-py Course has undergone a radical development. While the number of students has grown steadily, the course’s content has de-veloped in close conjunc-tion with the development of the music therapist’s profession at both a na-tional and an international level. The course has also acquired a unique position in Dutch higher education.

See the anniversary con-ference’s programme: www.artez.nl/Conservato-rium/Muziektherapie/Symposium_Exploring_the_Musical_Mind

COLOPHON

ArtEZ fact is published twice a year by the ArtEZ Institute of the Arts. It is available for free to students, staff and alumni.

EDITORIAL OFFICE ADRESSOnderlangs 9, 6812 CE ArnhemPostbus 49, 6800 AA Arnhemt. 026 3535 758f. 026 3535 677

EDITORIALSTAFFRudi Korthuis (editor in chief), Abeke Schreur (final editor), Vanessa Sloot (editor), Edith de Vries (editorial office secretaries)

CONTRIBUTORS TO THIS EDITIONAnton de Wit, Ruud Linssen, Francien van Zetten, Janneke Brouwers, Johan Wagenaar, Niek Verschoor

EDITORIAL BOARDMichiel Braam, Ko Jacobs, Kristin de Groot, Caroline Barmentlo, Froukje Swart, Willem-Jan Rijper, Janneke Brouwers

DESIGNHans Gremmen

TRANSLATIONAnnie Wright

PRINTINGDe Raddraaier

EDITION4.000

COVER PHOTO‘Wooden rings’ from the 2011 Collectie Arnhem Product

The following edition of ArtEZ fact will be available in November 2011

Nothing in this publication may be reproduced without prior written permission from the editor. www.artez.nl

Adress changes for alumniAre you a former student and are you changing your adress? Email the change to artezfact@artez.nl (only for alumni).

ArtEZ finals2011

At ArtEZ, finals dominate the months of May, June and July. Here, you can attend concerts, theatre and dance performances, fashion shows and exhibitions in Arnhem, Enschede, Zwolle and other cities.

\ ART & DESIGNThe Art & Design finals shows can be visited in Arnhem, Enschede and Zwolle. The Typography Master’s exhibition will be held in Amsterdam. The Master of Fine Art Course is organising various activities and will exhibit work in Arnhem. The fashion shows of the Fashion Design Bachelor’s Course will take place during the Arnhem Fashion Biennale, which also includes the Collectie Arnhem. You will need to reserve tickets in advance through www.arnhemmodebiennale.com. During the Biennale, the Master of Fashion Strategy Course is co-ordinating a curated store in co-operation with Manon Schaap. In addition, the graduates of the Fashion Design Master’s will be showcasing their finals work by means of a film called Dear Mr/Mrs by Freudenthal/Verhagen. This will be presented at various locations.

\ MUSICFrom the end of May until the beginning of July, finals concerts will take place on virtually a daily basis at the ArtEZ School of Music in Arnhem, Enschede and Zwolle. The programme will be extremely diverse: from jazz and pop to dance, classical and music theatre; from instrumental to vocal, and from small to large instrumentations. Each location will have its own programme. Events will also be held at venues other than the School of Music.

\ THEATREIn terms of theatre there will also be many performances. The Drama School’s finals presentation will highlight the latest batch of acting talent with the play Sugar the L’eau, which is being directed by Carina Molier. This performance promises to be an interesting journey through nightlife. Fourth-year students from the Theatre in Education Course are also individually creating a performance with amateur actors, whom they have selected themselves.

\ DANCEDiversity, authenticity and technique: this is what the Dance students will be presenting at their Dance finals performance. They will be dancing in choreographies by Sjoerd Vreugdenhil, Jerôme Meyer, Roberto Zappalà and Joeri Dubbe. A varied programme will be held in each city. Make sure that you don’t miss the opportunity to see the students’ own work in Rotterdam and The Hague. You can also attend the Dance in Education Event. Students will be not only presenting their own dance pieces but also dancing in performances by professional choreographers. In addition, workshops will be held along with lectures and video coverage of international projects.

\ ARCHITECTURE & INTERIORStudents from the Bachelor of Interior Architecture and Associate Degree in Interior Design courses are presenting their finals work at a joint exhibition in Zwolle. Here, the interior architects’ subject is “the new bank as shop” while the interior designers are focusing on the theme of a bathhouse. Chairs, objects, illustrations and floor tiles will also be on show.

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from 31.05 Curated store by Generation #19 (master Fashion Strategy)

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Jazz & Pop/Academy of Pop Music/ MediaMusic/Music in Education/Music Therapy/Master of Music

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Education Finals Festival

DANCE21.05 Rotterdam, finals

Dance26.05 Nijmegen, finals Dance

JuneART & DESIGN

01 to 30.06 Curated store by Generation #19

(master Fashion Strategy) at the Arnhem Fashion Biennale

from 10.06 Generation 12 (Master Fashion Design)

09 and 10.06 Fashion Shows Fashion Design

MUSIC01 to 30.06 Classical Music /

Jazz & Pop/Music TheatreTHEATRE

01 to 10.06 Theatre in Education14 to 17.06 Drama School final presentation

DANCE16 and 22 to 23.06 Dance

Finals28 to 30.06 Dance in

Education event

MUSIC till 29.06 Classical Music/

Jazz & Pop/Academy of Pop Music/Mediamusic/ Music in Education/Music Therapy/Master of Music

29.06 Music finals festival

MUSIC14 to 30.06 Classical Music/

Jazz & Pop/Music in Education

THEATRE18.06 Nijmegen, Drama

School final presentation 24.06 Amsterdam, Drama

School final presentationDANCE

18.06 The Hague, finals Dance

JulyART & DESIGN

till 03.07 Curated store by Generation #19 (master Fashion Strategy) at the Arnhem Fashion Biennale

till 03.07 Generation 12 (Master Fashion Design)

06 to 9.07 Dutch Art Institute 06 to 10.07 Product

Design/Fashion Design/Interaction Design/Graphic Design/ Fine Art/Fine Art and Design in Education

MUSIC 01 to 08.07 Classical Music/

Jazz & Pop/Music Theatre

06 to 10.07 Art & Cross Media Design/Fine Art

ART & DESIGN06 to 11.07 Animation

Design/Illustration Design/Graphic Design/Fine Art/Fine Art and Design in Education

ARCHITECTURE & INTERIOR DESIGN

06 to 11.07 Interior design (Ad)/Interior Architecture (ba)

MUSIC01.07 Classical Music/ Jazz & Pop/Music in

Education/Music Theatre

ART & DESIGN08 to 10.07 Amsterdam,

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Check www.artez.nl/finals for the latest information and dates