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In retrospect: In No Particular Order 2017

In retrospect: In No Particular Order 2017

30 October 2017

During Dutch Design Week 2017 (21 until 29 October), Stimuleringsfonds Creatieve Industrie presented for the fourth time an exhibition about Talent Development. In the Van Abbemuseum's Studio the fund received over 5,000 designprofessionals and other interested parties, reflecting on the design practices of designers, architects and artists who received the Talent Development grant last year.
Under the title ‘In No Particular Order’, nine installations made a collective portrait that offers reflection in practical, poetic and critical ways on the multiform contemporary working practices of a young generation of designers. For this edition the fund invited one of the participants of the Talent Development Programme as curator: Jules van den Langenberg. In studio exchanges and various meetings, he and the 32 designers and makers who received a Talent Development grant reflect on the themes: Attitude, Inspiration, Habitat, Representation, Money, Fortune, Language, Discourse and Market.
Photo: Lonneke van der Palen

All of the 32 participating designers provided input with conceptual as well as physical contributions such as sketches, prototypes and sources of inspiration. Van den Langenberg then invited nine progressive thinkers and makers from the creative industry to produce an installation based on these collections.

Jules van den Langenberg: ‘Instead of showing completed projects or finished products by designers, in the cellar of the Van Abbe Museum we are showing another side of design practice. The exhibition explores the milieu of professional, personal and socio-cultural factors that young creative professionals experience today.’

participant designers and makers
Alissa + Nienke (Alissa van Asseldonk en Nienke Bongers), Amy Suo Wu, Isabelle Andriessen, Paula Arntzen, Atelier Frank Verkade, Marjan van Aubel, Christiaan Bakker, Mariska de Groot, Max Dovey, Ting Gong, Sophie Hardeman, Chrissie Houtkooper, Ruiter Janssen, Elisa van Joolen, Jules van den Langenberg, Yaolan Luo, Mark Minkjan, Simone C. Niquille, Kirstie van Noort, Simone Post, Roomforthoughts (Jennifer Kanary Nikolov(a)), Benjamin Sporken, Amir Avraham, Studio Iwan Pol, Studio RAP (Wessel van Beerendonk, Léon Spikker en Lucas ter Hall), Studio Truly Truly (Joel Booy en Kate Booy), PWR Studio, SulSolSal (Johannes Bernard en Guido Giglio), Thomas Trum, Janna Ullrich, Dieter Vandoren en Giuditta Vendrame.

Photo: Hanneke Wetzer

The presentation shows by an anthropological approach beautifully what creative talents have in common and in which their individual choices differ from each other." - Joanna van der Zanden, independent curator and cultural advisor

living archive
The result of the joint work process, In No Particular Order 2017, showed what artistic and professional growth means, as experienced by the 32 designers and makers who received the Talent Development grant last year. As a 'living archive', the exhibition grew during the week: Studio Li Edelkoort - specialized in trend forecasting - studied in the Van Abbemuseum the portfolio's of 32 designers, analyzed their visual language and developed a moodboard for the future. Designer Jurgen Bey, director of the Sandberg Institute, organized discussions during the Dutch Design Week with the participants about the role of the designer. And all participants signed a contract for the collective Bitcoin pension fund created by artists Lernert & Sander on the occasion of the event, with the purpose of making a discussion about real fees for designers.

Photo: Hanneke Wetzer

‘In No Particular Order turns upside-down the popular notion of talent as an innate, unevenly divided capacity. Instead, it foregrounds the way that talent is fostered and fomented through structural and social conditions, as well as revealing the financial mechanisms that determine the way in which what we call “talent” is supported on its path to fruition.’ - Tamar Shafrir, design researcher at Het Nieuwe Instituut

in conversation with
The fund received more than 5,000 professionals from the design field in the Studio of the Van Abbemuseum, including designers, policy makers, (international) museum curators, design journalists, teachers and programmers. A total of 230 students from various academies in the Netherlands were given a tour. Each morning a discussion took place between participants, experts and other invited guests on the themes of the exhibition. (Check out the programme here)

in the media
Glamcult wrote an article about In No Particular Order and interviewed participants Amy Suo Wu and Ting Gong about their work practice. Frameweb spoke to Simone Post, Marjan van Aubel, Studio Truly Truly and Paula Arntzen from the Talent Development program, in the context of the exhibition. Read the article here. VPRO made an item at the DDW in which former member of the Advisory Committee Afaina de Jong meets with participants Janna Ullrich and Ruiter Janssen.

Photo: Hanneke Wetzer

Nine installations

In the following nine installations In No Particular Order presented a collective statement about contemporary design practice of a young generation of designers:

The Language of Talent

What is the socio-cultural context of the work produced by today’s talent? The Talent Development Grant recipients have all uploaded their existing portfolios of work to a private online forum developed by Marsdiep. For the duration of the exhibition, the material will be studied and integrated into a visual moodboard by an onsite trend forecasting team from Studio Edelkoort, generating a future-driven vision of the designers’ work.

Photo: Hanneke Wetzer
The Inspiration of Talent

How does talent motivate itself? Based on books, quotes and extracts that influenced each of the Talent Development Grant recipients’ practice, an analysis of the nature of inspiration has been penned by design curator Brendan Cormier. Titled ‘A Text on Inspiration Inspired by 32 Texts’, the essay deliberately misappropriates random fragments from each text. Do take a copy to fan your thoughts at home.

Photo: Lonneke van der Palen
The Representation of Talent

Can you tell if someone is talented by what they wear? Clothes communicate all manner of social and cultural codes. Each of the Talent Development Grant recipients contributed an item of clothing to be appropriated by fashion designer Duran Lantink. Using his anthropological approach to fashion, Lantink has produced three collective portraits of how today’s talent represents itself.

Photo: Hanneke Wetzer
The Fortune of Talent

Where am I going? If you are looking for answers, you won’t find them here. The answer is in a fortune cookie at the museum café. The ideas and desires of the Talent Development Grant recipients have been rewritten as aspirational messages by designer Yuri Veerman. Himself an alumnus of the programme, Veerman interviewed each of the recipients.

Photo: Hanneke Wetzer
The Money of Talent

Does talent translate into wealth and economic security? Creativity is predicted to take on renewed value in the era of machine learning, even if currently many of the Talent Development Grant recipients are still navigating precarious financial conditions. Opening a discussion on new futures and currencies, a collective Bitcoin retirement fund for the recipients has been drawn up by a lawyer on behalf of artists Lernert&Sander.

Photo: Hanneke Wetzer
The Attitude of Talent

Does talent have a specific role and responsibility to society? Proposing a scenario in which the Talent Development Grant recipients would have to start a new society, each was asked to pack a single suitcase of things to bring. Director of the Sandberg Instituut, designer Jurgen Bey will be onsite every day to open a few of the suitcases and build a visual dictionary.

Photo: Hanneke Wetzer
The Habitat of Talent

Does talent expand and contract according to the space it works in? The Talent Development Grant recipients were asked to submit descriptions and floor plans of their ideal workspace. Previous recipient of the grant, architect Anne Dessing, in collaboration with Loui Meeuwissen, displays an analysis of these contributions on a curtain. Recalling a construction drawing, the curtain’s folds connect drawings to form new hybrid spaces.

Photo: Hanneke Wetzer
The Market of Talent

Can we quantify talent? The likely commercial success of each of the Talent Development Grant recipients has been assessed on the objective criteria of practicality for client, accessibility, size of market, medium, and artist profile. Prototypes from each recipient are arranged based on the ranking assigned by Herbert van Litsenburg of The Fine Art Group, an art investment consultancy.

Photo: Lonneke van der Palen
The Discourse of Talent

How does talent reflect on its work and context? Design researcher and artistic director of Het Nieuwe Instituut, Tamar Shafrir and Guus Beumer, moderate daily discussions that take place on chairs from the Talent Development Grant recipients’ studios. Artist Simon Becks has developed a scratch-sensitive floor to record the evolution of the site of discussion over the course of the exhibition. At the end of each daily conversation, participants will construct an installation of the chairs that will be recorded by photographer Lonneke van der Palen. Daily a discussion program took place from 11.00-12.30.

Photo: Lonneke van der Palen

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Selection Open Calls Internationalization: Turkey, Russia, Egypt and Morocco #1

4 May 2018

Last December, the Fund issued four different open calls where Dutch designers and cultural organizations were invited to submit a project plan for a project, intervention or process that deploys design for sustainable and inclusive urbanization in Turkey, Morocco, Egypt or Russia. An interdisciplinary committee with expertise in the countries concerned made a selection from 56 proposals.
The 16 selected projects offer opportunities that include improving living conditions and social cohesion, working together with different target groups, utilizing technology for social innovation and exploring new meanings of cultural heritage. This selection provides an initial impulse for setting up and reinforcing collaborations between makers in the four countries and the Netherlands. Where knowledge is developed and shared for the challenges associated with urbanization.

The number of submissions for this first series of open calls was high and almost evenly distributed over the four countries, with Russia standing out with 20 applications. There were also 13 applications for Morocco, 12 for Egypt and 11 for Turkey. Per country, 4 projects were selected for the first phase, with the option for submitting a follow-up application for the second phase.

The following stood out in the submissions per country:

The submissions for Turkey related to both large and small cities, instead of a mono-focus on Istanbul. This distribution of projects over the country makes the proposals interesting and sometimes surprising. A total of 11 applications is a modest harvest of entries, considering the long-standing relationships between the Netherlands and Turkey in the cultural sphere, and the challenges associated with urbanization in Turkey. One possible explanation is that the aim is to achieve collaborations with the local authorities and that is particularly challenging. The composition of the teams and expertise turned out to match only in varying degrees the themes and objectives of the projects, on both the Dutch and Turkish sides. The balance in reciprocity, the relevance of the issue and the approach was good in the selected projects. How collaboration and reciprocity are to be safeguarded and organized in the subsequent course of the projects requires further development for the second phase. The partnerships were the deciding factor for the selection of projects in Turkey.

selected projects Turkey:
Lüleburgaz Bisiklette Biniyor, cycling for a better city
Artgineering/ Novusens/ Sustainable Solutions
Toroslar Interactive CityLab
Ekim Tan, Play the City
PALANGA, Turkish and Dutch Farming Practices Learn from each other
IND International
Izmir Metabolic Cycling Network (IMCN)

Izmir Metabolic Cycling Network (MCN), FABRICations and WRI Turkey

Geographically, the applications were very widespread, from Moscow to Siberia and even Svobodny, towards the borders with China and Japan. This is an interesting and positive yield. The level and quality of the applications varied significantly in the 20 submissions for the open call Russia. Several applications focused on ‘mono-towns’. This is the phenomenon of mono-functional cities that in their development – composition of services, economy and inhabitants – specifically focus on a particular industry. In terms of themes, these applications were similar to each other. The differences in approach and method therefore weighed more heavily. Many applications were focused on improving or developing the public space – a development that has recently been utilized in Russian cities. Only a few applications had a distinctive approach to this. One of the reasons for this could be that the same Russian partner, an important player in the development of public space, was often included in the project teams. On the whole, it was noticeable that 2 to 3 Russian partners were frequently mentioned in the applications. A few projects had an extremely good approach with regard to accessing local partners, particularly users, which is one of the greatest challenges in Russia in the area of spatial issues. In general, something that stood out in the budgets was that the hourly rates in Russia are lower in comparison with the rates in the Netherlands. This is a realistic representation and, according to the advisers, it is all the more important to be clear about how the reciprocity has been organized in the collaborative relationship. The approach chosen was decisive when selecting the projects in Russia.

selected projects Russia:
Prototyping Future Energy with HSE
Yin Aiwen
LL Tomsk One - Living Laboratory
LEVS Architecten
The 'Samarsky Yard' - Housing Heritage in the Post-Socialist City
Schiemann Weyers
New Urban Media Centre in Yekaterinburg
SVESMI Holding

New Urban Media Centre in Yekaterinburg, SVESMI HOLDING BV

The submissions for Egypt varied in their approach and the issue chosen. Many projects focused on Cairo, despite the fact that Egypt is a large country. It is, after all, the city where many things are centralized, including art and culture. Cairo is certainly the perfect place to start working in Egypt and to build up relationships from there. The strongest applications were to be found on the interface between art, culture and heritage. They are small in terms of set-up and implementation, but great in potential impact and for knowledge development and sharing. There are still opportunities and scope for small-scale projects in Egypt. Large-scale, urban design projects require collaboration with the authorities at national or local level and that is extremely difficult, perhaps even unrealistic, considering the time frame of the projects. However, the committee noted that heritage as a main theme was conspicuously absent in the applications. This is however a very relevant topic in the Egyptian context, for both material and immaterial heritage. A positive aspect is that a few projects made this connection and took up a position towards approaching heritage from a designer's perspective. It was noticeable that one particular local partner appeared several times in different applications. Building up relationships between various Dutch and Egyptian parties appears to be necessary. On the Dutch side, the main applicant or other parties involved appeared to be less well-matched with the theme or approach. From the applications, it emerged that the necessary cultural sensitivity (from the Dutch perspective) of the social context was not always present. This is crucial when working together on the basis of reciprocity. Deciding factors for the selection of projects in Egypt were the relevance of the themes and the partnerships entered into for the purpose.

selected projects Egypt:
Grounded Urban Practices
Non Fiction & Cluster
Darb el Labana Lab
Bureau LADA & LALA Studio
Hope for Embaba
Connecting Deltas
Shift Works

Darb el Labana Lab, Bureau LADA and LALA Studio

Inspiring approaches to themes and collaborations – ranging from establishment to grassroots – characterized the applications focused on Morocco. There was a good geographical spread: Meknes, Casablanca, Rabat, Tanger in the north and Tiznit in the south. Remarkably enough, no projects focused on Marrakech. In terms of themes, various projects differed significantly in their degree of development. A few projects resembled ‘classic’ architectural projects that lay close to project development. In addition, the social or cultural significance and aim of the project were not always very clear. A balanced distribution of the budgets between the Dutch and Moroccan parties was not the case in all of the applications. In many projects, the requested amount for the first phase was intended in its entirety for the Dutch party, without clear insight into the contribution from the Moroccan side. Either in kind or financially. How the reciprocity is organized in the collaboration was already described in some project proposals, but attention is required for further development. In a number of applications, a Dutch team member with Moroccan roots is involved. The Moroccan diaspora is a valuable connection in building relationships and understanding between the Netherlands and Morocco, but also in creating together and sharing knowledge. Deciding factors for the selection of projects in Morocco were the approach to the collaboration and the type of projects (study + pilot).

selected projects Morocco:
Affordable Housing Casablanca
Bureau SLA
Network of Research & Architecture BV and MB Paysage
Learning from Tiznit
Slow Matter
Sara Frikech

PLAYCITY, Network of Research and Architecture BV & MB Paysage
Composition of the committee

Every open call specifically focused on one of the four countries, but they are all part of a single programme. For this reason the choice was made to put together a special committee, which includes experts per country, who are working in one of the fields of the creative industry and are able to think in an interdisciplinary way. The members of the committee are:

Committee chair: Saskia Ruijsink – senior expert Urban Policy and Planning Institute for Housing and urban development studies (IHS).
Advisor Egypt: Nat Muller – curator, writer and art critic specialized in the Arab world.
Advisor Morocco: Hicham Khalidi – curator Rotterdam Triennale 2020, Lafayette Anticipations - Fondation d'entreprise Galerie Lafayette in Paris, former guest curator Marrakech Biennale.
Advisor Russia: Eva Radionova – landscape architect bureau Novascape, curator and project leader Russian-Dutch projects, guest lecturer at the Academy of Architecture Amsterdam.
Advisor Turkey: Aslı Çiçek – architect and guest professor KU Leuven, works in Brussels and Istanbul.
Generalist advisor: Paula Zijp – project funding coordinator at Triodos Foundation, MSc Cultural Anthropology (Sociocultural Transformation).


The Creative Industries Fund NL is conducting a four-year programme within the policy framework of the International Culture Policy 2017-2020 (objective 2) with funding from the Ministry of Foreign Affairs, entitled ‘Sustainable and inclusive cities through design’. Central to the programme is the role and deployment of design and design thinking to question and provide solutions for rapid urbanization and the corresponding social themes. Cross-disciplinary working with relevant stakeholders in Turkey is encouraged, both within and beyond the design disciplines, where it revolves around providing opportunities for collaboration between Turkey and the Netherlands on an equal footing and strengthening the trust and understanding between the two countries.

Photo above: Grounded Urban Practices, Non Fiction and Cluster


Looking back at Thursday Night Live! They invented a new machine...

3 May 2018

Last week, Het Nieuwe Instituut and the Creative Industries Fund NL organized Thursday Night Live!. An evening about the technologies and imaginaries of automation, with the five selected projects of the Open Call for the extended program of the Dutch pavilion at the Venice Architecture Biennale 2018. The event is one in a series of three where Het Nieuwe Instituut and the Creative Industries Fund NL work together on the Architecture Biennale and WORK BODY LEISURE, the theme of the Dutch pavilion.
A seaman from a disappearing island, an animator in a space devoid of daylight, a monster eating a machine. These were just some of the figures that came along on an evening that focused on the impact of automation and robotization on work, and the spaces in which it takes place. Because, as the projects demonstrate, work will not disappear but will most likely change dramatically under the influence of these developments. After short presentations of the selected projects, the teams entered into a discussion with Marina Otero Verzier, curator of the Dutch pavilion, under the direction of Willem Schinkel, professor of social theory and external advisor of the Open Call.

The five projects were united by a search for the systems, such as logistical systems, which increasingly structure our world, and which are generally not accessible. The Institute of Patent Infringement, founded by Matthew Stewart and Jane Chew, makes the automated future that Amazon is committed to visible, and has written an open call to hack the Amazon patents where this future is portrayed. Shore Leaves, a video installation by Giuditta Vendrame and Paolo Patelli, focuses on the invisible work of the seamen who man the ships in the ports of Rotterdam and Venice, and the spaces they visit during their shore leave. The efficient logistics systems they are a part of, and the engine rooms where their work takes place, are a preview of what awaits us all, we hear in one of the fragments in their installation.
Thursday Night Live! They invented a new machine... Photo: Matthijs Immink

But, Willem Schinkel wonders, is it even possible to make the invisible logistics systems visible, or have they become too all-encompassing? And if so, is it also possible to appropriate these infrastructures? The Port and the Fall of Icarus by Northscapes explores in a speculative way a series of possible future scenarios for the Port of Rotterdam, and hopes to disrupt the system by creating a moment of alienation. Renderlands, a documentary and installation by Liam Young, goes in search of the render farms and animation studios in India that are largely responsible for the visualizations of Western companies, and asked the workers about their own dreamed-of realities, in order to translate them into a physical installation for the Biennale.

The evening was set to music by a contribution from the fifth team, consisting of Noam Toran with Remco de Jong and Florentijn Boddendijk, who have made a contemporary interpretation of early 20th-century working songs with Songs for Hardworking People, which will provide the soundtrack for the Dutch pavilion.

Willem Schinkel ranks among the sceptics: although the projects demonstrate that automation does not lead to the feared disappearance of work, a multiplication of work is in fact generated that leads to inequality and exploitation. But the projects also show that there really are leads for productive appropriation. Because, as Liam Young states, the systems that are responsible for our production are the same systems that connect people all over the world in the most exceptional ways, and in doing so, make new forms of communality possible.

selection Open Call Venice Architecture Biennale #2 and #3
Next to the selection of the extended program of the Dutch pavilion five more projects were selected in the context of the Open Call Architecture Biennale Venice 2018 #2_development budget and the Open Call Architecture Biennale Venice 2018 #3_presentation budget, who provide a physical, spatial contribution to the exploration of the FREESPACE theme during the Venice Architecture Biennale 2018. With the title FREESPACE, general curators of the 16th Venice Architecture Biennale, Yvonne Farrell and Shelley McNamara, address the relation between architecture and society.

next Thursday Night Live!
The 16th edition of the Venice Architecture Biennale will take place from 26 May to 25 November 2018. The Creative Industries Fund and Het Nieuwe Instituut will continue their series of joint events with a reflection on the various explorations of the FREESPACE theme during the Thursday Night Live! on Thursday 5 July 2018.

Text: Sereh Mandias
Photo above: Matthijs Immink


Looking back at Milan Design Week 2018

2 May 2018

In April, Minister of Education, Culture and Science (OCW) Ingrid van Engelshoven paid a two-day visit to the Milan Design Week 2018. Together with the Dutch consulate, the Fund organized a guided tour to give the minister an impression of the scope and international position of the Dutch design field. Various designers welcomed the minister to their presentations and told about their work. The fair week, which centres on the Salone del Mobile, is the place to be for product and furniture designers to present themselves and meet various professionals from the international design world.
The delegation visited the presentations supported by the Fund via the Open Call Salone del Mobile Milan 2018. In addition, a number of larger, mainly Dutch presentations were seen. The Salone Satellite and Galeria Rossana Orlandi - well-known springboards to an international audience for young designers - and the new location by curator Anne van der Zwaag entitled Bar Anne, were also included in the programme.
Dutch Invertuals - Mutant Matter

Digitalization was a recurring theme in several presentations. The jewellery designs in the presentation 'Device People' by chp...? jewellery explore the increasing use of smartphones and other devices and the impact this has on our lives. Lidewij Edelkoort and Kiki van Eijk, commissioned by Google, are working on a series of products under the name 'Softwear' where a more sensory experience of hardware plays a central role.

Tijs Gilde Studio combines the theme of digitalization with material research and showed a number of designs at Satellite that originated from studies with stones and pigments. 'Counter digital' reacts to a world that is digitalizing more and more. His response to this situation is contra-digital objects arising from material experiments that surprise and stimulate the senses.

Lidewij Edelkoort and Kiki van Eijk - Softwear

We find the use and reuse of material with Dutch Invertuals, who are showing new adaptations of residual material from the Anthropocene in 'Mutant Matter'. Théophile Blandet has made a cabinet with polluting plastic that the EU will forbid in the future: a product that will be seen as very 'valuable' in the future. Shahar Livne has developed Lithoplast, a mixture of plastics washed ashore, which she processes to produce altar-like bowls and objects.

Shahar Livne - Metamorphism: Yulem

At Ventura Future, the exhibition Health & Happiness focused entirely on the future of our health and medical care. In the exhibition, designers Johan Viladrich, Nienke Helder, Gerjanne van Gink, Tamara Hoogeweegen, Alissa Rees, Rebekka Evita Strenk and Aurore Brard present projects and designs varying from practical applications for patients to more reflective studies into wellbeing.

Alissa Rees - IV-Walk (a portable IV-Pole)
craft and craftsmanship

Craft and craftsmanship were given attention at the Crafts Council Nederland and Masterly. The Dutch in Milano. The Crafts Council Nederland organized a workshop in their presentation space for Emma Wessels, Gino Anthonisse and Christa van der Meer and Italian designers Sara Ricciardi, Astrid Luglio and Agustina Bottoni. They were given a lesson in the technique of macramé from an Italian master.

Crafts Council Nederland - HOW&WOW - cooperazione!
experiment & research

Experiment and research were highlighted by Dutch Invertuals, Better Known As, BELéN and the KABK. At the performative presentation Ready, Set, Go! by collective Better Known As, visitors could not only view the work, but also experience the process of creating the image.

Download the brochure here with more information about the 11 presentations in Milan that were supported by the Fund, with a short introduction by art and design theorist Louise Schouwenberg.

Better Known As - Ready, Set, Go!

Download the brochure about the 11 presentations in Milan here.

Photo's: Ilco Kemmere & Stimuleringsfonds Creatieve Industrie


Digital Culture grants awarded in first round 2018: Blockchain is emerging

1 May 2018

The grants awarded in the first round of Digital Culture 2018 are now known. In total, 18 projects are receiving support. These projects include two proposals that focus on Blockchain technology. What do the submitters of these project proposals think of this technology? Is it a hype or is Blockchain going to change the creative industry for ever?
In the Fund's six year's existence, the grant programme for Digital Culture (formerly E-culture) has seen a diverse range of trends come along. Applications relating to Gamification, Virtual Reality, the Internet of Things, Google Glass, Big Data – sometimes a subject or technology seems to linger in the air. In order to keep the committee and the Fund staff up-to-date with new developments, the Fund organizes expert meetings with some regularity. In early 2018, we had discussions with experts, both for and against, about the usefulness or otherwise, the opportunities and the meaning of Blockchain technology for the creative industry. There is no simple answer to these questions, but one thing all the advisers agree on is that new media and new technologies like Blockchain bring new social design challenges.

Blockchain technology – a technology where controlled ‘transactions’ can be carried out between two or more parties without the intervention of an intermediary – covers a wide range of applications. This is perfectly illustrated by the two projects which employ a totally different approach:

prenuptial agreement
Designer Aiwen Yin explores the social potential of Blockchain in her project ‘Poiexixx’. Marriage represents the ultimate example here. Instead of defining relationships in laws and frameworks dictated by the state, Blockchain offers each individual the space to exercise control over every aspect of the union. Speculative or not, the possibility of this application raises fundamental questions – including within the committee – about the way we live and the disruptive function technology can have.
new business models for creative makers

Less philosophical, but all the more practical for that is the research carried out by Max Peeperkorn into new business models for makers in the creative industry. Peeperkorn observes that makers in the creative sector often still work for very low rates, or even for nothing. In collaboration with Jennifer Kanary Nikolov(a) he aims to bring about a change in this situation – utilizing Blockchain technology – by fixing the value of a creative contribution for a longer period of time. For example, makers who provide creative input to the development of a new product or studio receive a payment from the commissioning client in the intended system in the form of a royalty or dividend in a blockchain. This way, the client can pay the maker for the service provided at a later date, if the product or end result is successful.

Here you can see a complete overview (in Dutch) of all grants awarded in the first round of Digital Culture 2018.

The next deadlines of the Grant Programme for Digital Culture is 9 May and 8 August 2018.

Photo above: Coded Matter(s), FIBER


Selection Open Call Venice Architecture Biennale #2 and #3

22 April 2018

Next to the selection of the parallelprogram of the Dutch pavilion five more projects were selected in the context of the Open Call Architecture Biennale Venice 2018 #2_development budget and the Open Call Architecture Biennale Venice 2018 #3_presentation budget, who provide a physical, spatial contribution to the exploration of the FREESPACE theme during the Architecture Biennale Venice 2018. With the title FREESPACE, general curators of the 16th Venice Architecture Biennale, Yvonne Farrell and Shelley McNamara, address the relation between architecture and society.
selection Open Call Architecture Biennale Venice 2018 #2_development budget
Case Design (Anne Geenen & Samuel Barclay) and Crimson Architectural Historian were invited to the 16th International Architecture Exhibition - La Biennale di Venezia curated by Yvonne Farrell and Shelley McNamara, to present an exhibition related to their work and in response to the theme FREESPACE. On request of the curators the content of the exhibition cannot be revealed before the preview of this edition of the Biennale on the 24th and 25th of May.

selection Open Call Architecture Biennale Venice #3_presentation budget:
Cosmogonia Mundi
Architecture in the Netherlands – Yearbook
nai010 uitgevers with Lara Schrijver, Kirsten Hannema, Robert-Jan de Kort, Reinier de Graaf
Free Market
Jeffrey Bolhuis (AP+E) with Jo Anne Butler (Superfolk), Miriam Delaney (DIT), Tara Kennedy (Culturstruction), Orla Murphy (Custom) & Laurence Lord (AP+E)

next Thursday Night Live!
The 16th edition of the Venice Architecture Biennale will take place from 26 May to 25 November 2018. The Creative Industries Fund and Het Nieuwe Instituut will continue their series of joint events with a reflection on the various explorations of the FREESPACE theme during the Thursday Night Live! on Thursday 5 July 2018.

Photo above: Anne Geenen, Case Design

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In April, Minister of Education, Culture and Science (OCW) Ingrid van Engelshoven paid a two-day visit to the Milan Design Week 2018. Together with the Dutch consulate, the Fund organized a guided tou... more >