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Longread Talent #2: Me and the world: Post-crisis design generation seeks (and finds) its place in vulnerable future
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Longread Talent #2: Me and the world: Post-crisis design generation seeks (and finds) its place in vulnerable future

30 September 2021

Over the past seven years, the Stimulation Fund Creative Industry has supported over 250 young designers with the Talent Development grant. In three longreads, we look for the shared mentality of this design generation, which has been shaped by the great challenges of our time. In doing so, they examine how they deal with themes such as technology, climate, privacy, inclusiveness and health. In this second longread: design talent is nourished by a sense of urgency. 'If we do not turn the tide, who will?'
15 September 2008. 12 December 2015. 17 March 2018. These may seem like random dates, but these moments have left their mark on the contemporary design field. On 15 September 2008, the Lehman Brothers investment bank in New York went bankrupt. The ensuing severe financial crisis exposed the disarray of the global economic system. On 12 December 2015, 55 countries (now 197) concluded a far-reaching Climate Agreement recognising climate change as an indisputable fact. The industrial depletion of existing raw materials and energy supplies is now 'officially' unsustainable. And on 17 March 2018, 'The New York Times' reported on large-scale political manipulation by the data company Cambridge Analytica. Fake news and privacy violations shattered the twentieth century's democratic ideal.

These events – and more, for that matter – highlight the world's continuing crisis conditions. The more than 250 designers the Talent Development Scheme of the Creative Industries Fund NL has supported since 2014 were trained during, and thus shaped by, these crises. They belong to the last design generation with a clear memory of 9/11 – a generation motivated by a sense of urgency. They understand that if we don't turn the tide, then who will? They are also devoid of arrogance and well aware of the limitations of their expertise and the disciplines in which they work. Whether product design, fashion, digital design or architecture, they do not harbour the illusion that they have that one all-encompassing solution.
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Irene Stracuzzi, The Legal Status of Ice

mapping the money flows
However, communication is a potent weapon, as graphic designer Femke Herregraven (2015 cohort) understands. She delved into and visualised the financial constructions behind the neoliberal world economy. Herregraven focused on offshore structures and the disconnect between capital and physical locations. Through a serious game, she playfully introduced you to international tax structures in faraway places. Her 'Taxodus' draws from an extensive database that processes various international tax treaties and data from companies and countries. Becoming rich has never been so fun and easy. She also investigated the colonial history of Mauritius and this Indian Ocean island's new role as a tax haven. Herregraven's meticulous research and surprising designs reveal hidden value systems and clarify their material and geographical consequences. To reform unbridled capitalism, one must first know its pitfalls.

Knowledge is also power. Thus these designers are trying to determine their place in an increasingly vulnerable world. Vulnerable in a very literal sense because climate change is perceived as the most dangerous threat. As graphic designer Irene Stracuzzi (2019 cohort) demonstrates, geopolitical forces also determine the playing field here. Her installation 'The Legal Status of Ice' details how the five Arctic countries – Russia, Canada, Denmark, Norway and the US – are laying claim to the North Pole. After all, immense oil and gas fields may lie beneath the melting icecaps. But shouldn't the disappearing ice, which has shrunk by half since the late 1970s, be the issue? Stracuzzi has mapped this contemporary imperialism in a giant 3D model of the North Pole, onto which she maps the overlapping claims and other data. The legal status of ice concerns not only the North Pole but also the uranium mines in Angola and the new space race in search of lunar minerals. It is about a system of exploitation and colonialism. The influential curator Paola Antonelli selected Stracuzzi's work for the 'Broken Nature' exhibition at the 2019 Triennale di Milano. No one can now claim we didn't know.

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Marco Federico Cagnoni

living lamps
The realisation that the complexity of the climate crisis is too great to confront alone is profound. Designers eagerly collaborate with other disciplines. For example, Marco Federico Cagnoni (2020 cohort) is researching latex-producing edible plants with Utrecht University. Corn and potatoes, among other plant varieties, are still grown as raw materials for bioplastics, but the production process discards the nutrients. Cagnoni is studying food crops whose residual material is also processed into fully-fledged bioplastics.

Designers seek a symbiosis with nature from an awareness that we can no longer exploit Earth with impunity. The roadmap is diverse, and nature is protected, imitated, repaired or improved. Let us not forget, we are in the Anthropocene: the era in which human activity influences all life on Earth. But if humankind can destroy nature, then humanity can also recreate it. Biodesigner Teresa van Dongen (2016 cohort) collaborated with microbiologists from TU Delft and Ghent University to develop the 'Ambio' lamp based on luminescent bacteria. The lamp features a long, liquid-filled tube in which marine bacteria live. When the tube moves, it activates the bacteria to give off light. The better the bacteria are cared for, the more and longer they give light. As well as being a sustainable alternative, her Ambio lamp also functions as a powerful means of communication. So working together with nature is possible; we have simply forgotten how to do it.

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Teresa van Dongen, Ambio

This situation explains why designers are looking for ways to restore our relationship with nature. Architect Anna Fink (2020 cohort) proposed a country house consisting of rooms scattered in woods, meadows and a village. Residents must maintain their 'Landscape as House' by felling, planting, mowing, building and repairing. The essence of this fragmented 'house' is a daily rhythm of movement from room to room and an awareness of the environment, time and space. Routines and rituals are rooted in the weather's changes. Seasons become a domestic experience. Fink drew on the age-old, semi-nomadic lifestyle of her ancestors in the valley of the Bregenzerwald in the northern Alps. Here, the hyperlocal offers a solution for global issues.

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Sissel Marie Tonn i.c.w. Jonathan Reus, Sensory Cartographies

raw satellite dat
However, some designers rely on technology to experience nature. Indeed, why should we long for something that no longer exists? The Anthropocene has already begun. Sissel Marie Tonn (2020 cohort) uses scientific data such as seismographic measurements. She combines this complex and abstract data with empathic conversations with Groningen residents about their earthquake experiences, which are common to this region because of gas field drilling. This layered information about both the human and geographical aspects of seismic activity was – literally – woven into a wearable vest in collaboration with two fashion designers. Together with sound artist Jonathan Reus (2018 cohort), she also realised an interactive composition of sonic vibrations to translate the intense experience of an earthquake to a broad audience. Tonn's installations connect natural processes with technology to make humankind's impact on Earth visible and tangible. It is worth remembering that the earthquakes in Groningen were set in motion by humans.

New technologies, such as life science and biohacking, are reshaping our understanding of the natural world. It is no coincidence that these designers are about as old as Dolly the sheep, which in 1996 was the world's first successfully cloned mammal. In his 'Tiger Penis Project', Taiwanese-Dutch designer Kuang-Yi Ku (2020 cohort) extended this genetic replication to healthcare. Many traditional Asian medicines regard the tiger penis as a medicine beneficial for male fertility. As a result, the tiger, already facing extinction, is under even more threat. Ku – who previously studied dentistry – proposed using stem cells to cultivate a tiger penis in the laboratory. This immediately raised all kinds of new dilemmas. Is the tiger penis that is laboratory-grown rather than from a wild tiger still suitable as a traditional Chinese medicine? In short, what are the limits of nature by design?

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Kuang-Yi Ku, Tiger Penis Project

This fusion of biology and technology will eventually lead to a new kind of being: the posthuman. Jewellery designer Frank Verkade (2017 cohort) developed a scenario for this engineered body with his 'Paradise' project. However, instead of technology, Verkade gives plants and animals a prominent role in adapting the human body to modern times. The origin of jewellery is, in fact, to be found in prehistoric peoples who used animal forms and natural materials to harness the mythical forces of nature. By harking back to the ancient, Verkade connects the modern human to its environment.

hacking technology
If technology becomes such a determining factor for humankind's future, then surely we cannot entrust the future of our technology to a small group of wealthy, middle-aged white men from Silicon Valley and the European Parliament? According to speculative designer Frank Kolkman (2018 cohort), the discussion about technology's quotidian role must therefore be part of our daily life. 'OpenSurgery' is a study into a do-it-yourself surgical robot. These are already being built using 3D printers and laser cutters by people in the US who cannot afford a doctor. The self-proclaimed design hacker exposes technology's social, ethical and political implications. But what do we think of this, and is this something we even want? After all, turning back technology is almost impossible.

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Frank Kolkman, Opensurgery

Such ambivalent attitudes towards technology are a common thread in the new design mentality. With the tablet at hand and a laptop at school, this design generation grew up as digital natives. Technology plays a prominent role in their lives. However, they also know the risks: robotics, big data and artificial intelligence raise novel ethical dilemmas about privacy and employment. According to data designer Julia Janssen (2018 cohort), multiple times a day, we carelessly dismiss warnings that state 'I agree with the terms' or 'click here to continue'. But what do we actually permit? Who collects what data, and above all, why? And what is the value of such information flows? Janssen's project, '0.0146 Seconds' (the time it takes to click on the 'accept all' button), informs us of the invisible economy behind the internet. She published all 835 privacy rules of the website for British tabloid the 'Daily Mail' in a hefty tome. At events like the Dutch Design Week, the public reads this book aloud as a public indictment.

prosecution and defense
The new digital reality in which nothing is as it appears and fake news lurks everywhere pushes designers into the role of seeking the truth. To prevent complex global issues, such as globalisation or climate change, from becoming bogged down in an abstract discussion, the design duo Cream on Chrome (Martina Huynh and Jonas Althaus, 2020 cohort) used a fictitious lawsuit, without a trace of irony, to indict everyday objects. A sneaker is arrested and prosecuted for climate change, and a face mask is put on trial for not being present in time to prevent contamination. Cream on Chrome uses this debate between prosecutor and defence to question the mutual recriminations and the search for a scapegoat. In reality, are we not the ones who are actually on trial?

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Cream on Chrome, Proxies on Trial

designing for urgency
Designers thus assume the role of the canary in the coal mine, warning us about the consequences of 15 September 2008, 12 December 2015 and 17 March 2018. The Talent Development Scheme enables them to do this without the hindrance of a lack of time and money – and perhaps even more importantly, without the pressure of quantifiable returns. Only free experimentation allows for unexpected insights. Who would have thought that Kuang-Yi Ku's Tiger Penis Project could have prevented a global pandemic if also applied to bats and pangolins? Or that the Daily Mail is no longer recognised by Wikipedia as a reliable news source, as Julia Jansen already indicated?

Instead of conforming to the powers that be, designers take on the opportunity to transform the world; instead of imminent irreversibility, potential improvement is nurtured. The world is explained and improved with speculative and practical, but always inventive, designs. This makes the Talent Development Scheme a valuable resource for individual designers and society as a whole.

Text: Jeroen Junte

During Dutch Design Week, the 2021 intake for the Talent Development Scheme will be presented in the Klokgebouw under the name Stimuleringsfonds Creatieve Industrie presents talent.

Image above: Sophia Bulgakova, 'Inevitably Blue' (left) and Inez Naomi Correa Alves, 'Versatile Forever', Photo: Imke Panhuizen (right) both 2021 cohort

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35 experienced agencies selected in Open Call Building Talent

14 October 2021

In the second Open Call Building Talent, 35 experienced design agencies were selected. In the second part of the open call, which is now current, they will be paired with talented, starting makers or designers to work together for three months on a topical design task. If you are interested, please check here what requirements you need to meet to secure a collaboration place.
In response to the second Open Call Building Talent for experienced design agencies, the Fund received 49 diverse proposals from across the creative industry. The applications were submitted for advice to an independent selection committee consisting of Tanja Koning (independent curator and programmer), Joost Emmerik (urban designer, landscape architect), Ward Janssen (curator of digital and visual culture), Lotte van Laatum (independent product designer), Iris Ruisch (managing director M-ODE), Marcel Schouwenaar (The Incredible Machine), Michael Snitker (product designer and creative technologist) and Esther Verra (talent development TETEM).

They selected 35 solid proposals, with relevant tasks that align well with their own expertise and are important for the design field. The selected design agencies offer starting designers and makers a place where they can gain knowledge and experience and expand their network, where they receive adequate guidance, and where there is also room for their own input and a different sound from a new generation.

selection
The following design agencies were selected:

Atelier Blik
Bakken & Baeck
Bas Kosters Studio
Bureau LADA
Buro Now
DOOR architecten
Heleen Klopper
House of Thol
Humade
Inside Outside
Isaac Monté
Johannes Verwoerd Studio
Kossmandejong
Marjan van Aubel
NEXT architects
Prinsen.Studio
RAAAF
Richard Niessen
Rubén Dario Kleimeer
Site Practice
Stichting FIBER
Stichting The Image Society
StoneCycling
Studio Anne Ligtenberg
Studio Bernhard Lenger
Studio Elisabeth Klement
STUDIO INEKEHANS
Studio Kars
Studio Marije Vogelzang
Studio RAP
Studio Simone Post
Studio SociaalCentraal (voorheen Joes + Manon)
Supertoys Supertoys
Thijs de Zeeuw – Landschapsarchitect
VANTOT
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Studio RAP

Read more about the selected design agencies and research proposals here.

follow-up procedure
The selected proposals will be included in the follow-up to this Open Call Building Talent for starting designers, who can subscribe to one of the proposals from the selected design agencies until 8 November at the latest. After selection and successful matching of the starting designers with the design agency's research proposal, both parties can begin the collaborative programme.

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Bas Kosters Studio
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Round 2: Open Call Building Talent 2021 for starting makers and designers

11 October 2021

The Fund is looking for starting makers and designers within the disciplines of architecture, design and digital culture who would like to participate in a three-month collaborative programme with experienced designers or design agencies. In this second round, there are 38 spots available at a range of design agencies and practices across the entire breadth of the creative industries. Starting makers and designers can now subscribe to proposals submitted by experienced design agencies. You can subscribe up until 8 November 2021.
By means of this open call, the Creative Industries Fund NL is offering starting makers and designers the opportunity to work with experienced agencies on topical issues and design tasks. The programme involves a three-month working period, during which the starter will work directly with an experienced professional to explore a specific subject in greater depth.

From 9 August to 13 September, experienced designers and design agencies could submit their research proposal. This concerned a design task, research question or experiment formulated by the agency. An external advisory committee has selected 38 applications from these proposals.

Up until 8 November 2021, starting makers and designers can subscribe to one of these selected proposals. Based on the motivation and the profile, an external advisory committee will make a match between an experienced design agency and the starter. The Fund will then provide a grant to both parties. Subscribing to one of the tasks is relatively easy and takes little time.

submission
Starting makers and designers can subscribe to one of the selected research proposals from the design agencies until 8 November.
Read more about the open call here.
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Longread Talent #3: Me and the other: Empathetic design talent focuses on people, not themselves (or things)

8 October 2021

In the past seven years, the Creative Industries Fund NL has supported over 250 young designers with the Talent Development grant. In three longreads, we look for the shared mentality of this design generation, which has been shaped by the great challenges of our time. They examine how they deal with themes such as technology, climate, privacy, inclusiveness and health. In this third and final longread, the focus is no longer on personal success and individual expression but on 'the other'.
The refugee crisis dominated 2015. Although people from Africa and Central Asia have been cast adrift by war, poverty and oppression for years, that summer, hundreds of refugees on often makeshift boats and dinghies drowned in the Mediterranean. The impotence, anger, frustration, despair and sadness were aptly depicted in the photo of the drowned three-year-old Syrian toddler Alan Kurdi's body washed ashore on the Turkish coast. Where the financial crisis of 2008 was almost invisible – indeed, even the bankers were at a loss – it was no longer possible to look away, not only in the media but also on the streets. The misery of the other has become pervasive and omnipresent.

Asylum seeker centres in the Netherlands were full to overflowing. Designer Manon van Hoeckel (2018 cohort) saw the refugees in her neighbourhood during her studies at the Design Academy Eindhoven. Realising she had never spoken to an asylum seeker, Van Hoeckel visited a squatted building that housed people who had been rejected asylum. She saw these people were neither scammers nor pitiful, but rather powerful people who want to participate in and contribute to society – precisely what this group was prohibited from doing. Out of concern and determination, Van Hoeckel devised a travelling embassy for undocumented asylum seekers and migrants in limbo: unwanted in the Netherlands and their country of origin. The refugees, or 'ambassadors', could invite local residents, passers-by and officials here for a conversation. The In Limbo Embassy facilitated meetings between local residents and a vulnerable group of newcomers.

empathic engagement
In many ways, Van Hoeckel's attitude is typical of a generation that has benefitted from the Talent Development Scheme of the Creative Industries Fund NL for the past seven years. Design is no longer about stuff but about people. This empathic enthusiasm now permeates all design disciplines. Personal success and individual expression are no longer paramount. The designer, researcher and maker are categorically focused on the other. The 2015 refugee crisis has acted as both a particle accelerator and a broadening of the profession because such humanitarian crises require unorthodox and radical proposals and ideas.
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Urban planner Lena Knappers (2019 cohort) studied the spatial living conditions of asylum seekers, labour migrants and international students. As part of her research at TU Delft, Rethinking the Absorption Capacity of Urban Space, she developed strategies to integrate migrants into the host society sustainably. Too often, housing is temporary and informal, such as ad hoc container housing in the suburbs or vacant army barracks. Knappers researched alternative and more inclusive forms of reception, focusing on the interpretation of public space. Ultimately, she has an even greater goal: an inclusive city in which all forms of inequality in public space are investigated and remedied.

The extent to which immigration has become part of the creative disciplines' everyday reality is evident in the practice of Andrius Arutiunian (2021 cohort). After completing a master's in Composition at the Royal Conservatory in The Hague, he focused on the tension between migration and new technologies. In his development year, he studied the impact of displacement and dissent on society and how this impact can manifest itself in soundscapes. What does the integration of newcomers to the Netherlands sound like? A common factor is the concept of 'gharib', which means 'strange' or 'mysterious' in Arabic, Persian and Armenian. Arutiunian does not want to create specific encounters between people or pursue new forms of living. The cultural influence of migration only serves to enrich his professional practice.

single fathers
Inclusivity and cultural diversity are now dominant societal issues. For example, the Black Lives Matter movement in the United States has fuelled intense debate about institutional racism. The other is no longer a stranger to our borders and is our neighbour or colleague. Despite this, society threatens to become polarised, marginalising demographic groups as a result. Designers actively engage in this discourse and apply design as an emancipating force for an all-inclusive society, open and accessible to everyone, regardless of background.

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The emancipation of disadvantaged groups starts with exploring and understanding a shared identity. Only by understanding one's origins, culture and traditions can one finally obtain a fully-fledged place in society. Giorgio Toppin (2020 cohort) is a proud Bijlmer-Amsterdammer and a Black man with a Surinamese background. His Xhosa fashion label mixes these worlds into new stories, translating them into men's clothing that fits within the contemporary Western context. For the Surinamese diaspora narratives that inform his collections, he travelled to his native country to research and document local craftsmanship and traditional production techniques. He then manufactured sweaters using indigenous knotting techniques and interpreted a winter coat using hand-embroidered traditional prints from the Saramacca district. Conversely, he reimagined the Creole 'kotomisi', which is difficult to wear, with a comfortable and contemporary cut. Toppin's bicultural fashion strengthened the cultural identity of Surinamese people and thereby increased the understanding and appreciation for their origin among other population groups. After all, Toppin insists his clothes must first and foremost be 'cool to wear'.

Of course, creative disciplines have always been good at strengthening an identity. Fashion, functional objects, interiors and photographic images are simply excellent means for showing who you are and especially who you want to be. In recent years, however, identity no longer signifies a non-committal lifestyle but can also be a stigma that determines one's social position. Identity is not always a choice, yet it has considerable influence on daily life – something to which Surinamese, Turkish, Moroccan and Antillean Dutch people, up to the fourth generation, can testify. Any designer that examines fixed identities must be acutely aware of cultural and emotional sensitivities. The designer who simply explains what is right and wrong lags behind the inclusive facts.

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Consequently, designers increasingly work from a position of personal involvement or agency (ownership). Photographer and storyteller Marwan Magroun (2020 cohort) captured the world of single fathers with a migrant background in his documentary project 'The Life Of Fathers'. Magroun, who grew up without a father figure for most of his childhood, sought answers to and stories of an often unnoticed but deeply felt fatherhood. He wanted to dispel the notion that fathers from a migrant background are not involved in parenting. His photographic report and accompanying film (now broadcast on NPO3) has given a group of devoted but underestimated fathers a voice and a face.

queers and extended families
Diversity is embraced and propagated throughout society. Prevailing views on gender, sexuality and ethnicity are shifting. This also means plenty of playing and experimentation with identity and how it can be designed. As a result, designers are no longer a conduit for industry or government but adopt an activist stance. The guiding principle is social cohesion and no longer one's ego. Renee Mes (2021 cohort) wanted to dismantle the stereotyping of the LGBTQ+ community and thereby increase acceptance. She focused specifically on how extended families are shaped within the various queer communities. This self-selected family is often built as an alternative to the rejection or shame from the families in which queers were raised. But this new lifestyle struggles with legal, medical, educational and other institutional disadvantages. Mes's approach was that was make being seen the first step toward recognition.

For her research and film portraits, Mes, who is white cisgender, worked with the organisation Queer Trans People of Colour. Collaboration can also generate agency. Besides, whose identity is being addressed? Or, to use the terminology of Black Lives Matter, 'nothing about us without us'. It is logical – and maybe even necessary – that inclusive design is realised according to these politically correct rules of agency and representation. Indeed, the countless cultural sensitivities demand great care.

selection and scouting
The creative industries are not exempt from equal opportunities. The design disciplines are not free from stereotypes. The 'Mediated Bodies' research project by Gabriel A. Maher (2016 cohort) meticulously maps the gender relationships in the international design magazine 'Frame'. Eighty per cent of the people in the magazine were male – from the designers interviewed to the models in the advertisements. Moreover, women were mainly portrayed in role-confirming and sometimes even submissive positions, such as bending over or crouching down. Maher's feminist practice seeks to 'deconstruct' the design discipline to identify the existing power structure and prejudices. Only after an active process of self-reflection and criticism can design fulfill its potential as a discipline that contributes to societal improvement.

However, attention to polyphony alone is insufficient. Representation should be proportional, especially in the creative disciplines. The Talent Development Scheme actively contributes to this balance with new forms of selection. Scout nights are available for designers, researchers and makers who have developed professionally in practice, without a formal design training. During these evenings, talented designers who work outside the established creative channels can pitch their work to a jury. Many designers who use these scout nights belong to minority groups for whom going to an art academy or technical university is less established.

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The self-taught Rotterdam photographer Khalid Amakran (2021 cohort) has developed from hobbyist to professional portrait photographer. After selection during a scout night, he devoted a year to a project about the identity formation of young second and third-generation Moroccan Dutch people. Amakran's '3ish' project comprises a book and short documentary detailing this group's struggles with loyalty issues, code-switching, institutional racism, jihadism, and Moroccan Dutch males' politicisation. Representing emerging talents from bicultural or non-binary backgrounds is imperative for the creative industries. Only visible examples and recognisable role models can create a feeling of recognition and appreciation and guarantee the diversity necessary for the creative industries.

Arab calligraphy
The scout nights have selected nine talented practitioners for the 2020 and 2021 cohorts. This number will undoubtedly increase in the coming years. An added value is that these designers are growing the diversity of content in their field through their singular professional practices. Another self-taught recipient is ILLM, the alias of illustrator Qasim Arif (2021 cohort). He mixes the age-old craft of calligraphy with contemporary elements of hip-hop and street culture. Traditional Arabic calligraphy is, by definition, two-dimensional because, according to Islamic regulations, the sculpting of living beings is reserved for Allah. ILLM wants to convert this visual language into sculptures. He also draws inspiration from his own life. He grew up in a metropolis as a third-generation Moroccan Dutch citizen, which informs his mix of calligraphy with pop-cultural icons like the Nike Air Max 1, a recognisable status symbol representing the dreams, wishes and memories of many children from migrant backgrounds. ILLM merges street culture and age-old graphic craftsmanship into a completely new idiom.

drivers of inclusion
The Talent Development Scheme is a necessary social empowerment that naturally coincides with an activist attitude. A sincere and profound commitment to identity and inclusivity guides designers, researchers and makers. Through a capacity for empathy and sensitivity – either innately or through collaboration with the target group – they can catalyse transformative initiatives and constructive debate. This capacity unlocks the creative disciplines' powerful potential: the realisation of a diverse society in which all sections of society are equal. After all, looking at the other ultimately means looking at us all.

Text: Jeroen Junte

During Dutch Design Week, the 2021 intake for the Talent Development Scheme will be presented in the Klokgebouw under the name Stimuleringsfonds Creatieve Industrie presents talent.

Image above: Sophia Bulgakova, 'Inevitably Blue' (left) and Inez Naomi Correa Alves, 'Versatile Forever', Photo: Imke Panhuizen (right) both 2021 cohort

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18 & 20 Oct: Talents present themselves in seven Talent Talks

7 October 2021

During Dutch Design Week, the Creative Industries Fund NL is organizing Talent Talks on 18 and 20 October: seven talk shows where up-and-coming design talents together discuss current themes that play a decisive role in their work and practice.
How can you empower people through fashion? What potential does nature offer for new, sustainable materials? And what can social design achieve for a more inclusive world? These and many other topical questions occupy the minds of the designers who received a talent development grant from the Fund last year. Led by, among others, photographer and art director Meryem Slimani, architect and head of social design at the Design Academy Marina Otero Verzier, and journalist and editor-in-chief of Design Digger Jeroen Junte, these talents will engage with each other in seven talk shows.

registration talk shows
The talk shows can be attended by a limited audience in Eindhoven. Sign up here. Please note: the number of seats available is limited and a COVID entry pass is required.

The talk shows can also be watched via a live stream on stimuleringsfonds.nl or facebook.com/Stimuleringsfonds.

programme
Talk 1: Fashion makers make fashion – 18 October, 10:00 - 11:00
Bodil Ouédraogo, Marlou Breuls, Fana Richters and Inez Naomi

Talk 2: Materials and materials development – 18 October, 11.00 - 12.00
Audrey Large, Fransje Gimbrere and Seok-hyeon Yoon

Talk 3: Graphic design and typography – 18 October, 14.00 - 15.00
Qasim Arif (ILLM), Sherida Kuffour, Funs Janssen (Funzig) and
Moriz Oberberger

Talk 4: Contemporary landscapes and architecture – 18 October, 15.00 - 16.00
Thom Bindels, Jean-François Gauthier, Lesia Topolnyk and Luuc Sonke

Talk 5: Artscience and immersive installations – 20 October, 10:00 - 11:00
Sophia Bulgakova, Mirjam Debet, Stefano Murgia and Louis Braddock Clarke

Talk 6: Digital storytelling and representation within audiovisual design practices – 20 October, 11:00 - 12:00
Khalid Amakran, Sydney Rahimtoola, JeanPaul Paula, Wesley Mapes and Frances Rompas

Talk 7: Conceptual and social design – 20 October, 14:00 - 15:00
Gabriel Fontana, Philipp Kolmann, Johanna Seelemann and Renee Mes

Stimuleringsfonds Creatieve Industrie presents talent
In addition, visit the exhibition 'Stimuleringsfonds Creatieve Industrie presents talent' during Dutch Design Week from 16 to 24 October 2021. The 2021 crop of talents has been visualized in one-minute film portraits that can be seen in a video installation.
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16 t/m 24 Oct: Stimuleringsfonds Creatieve Industrie presents talent

7 October 2021

Every year, emerging design talents active in the fields of design, architecture and digital culture are given the opportunity to develop themselves optimally in artistic and professional terms, thanks to a grant from the Creative Industries Fund NL. The 2021 crop of talents has now been visualized in one-minute film portraits. During Dutch Design Week, these portraits can be seen in the exhibition 'Creative Industries Fund NL presents talent'.
The 2021 crop of talents is diverse and motivated by a sense of urgency. They all know how to formulate their own answers – or questions – to the time of crises that shaped them. Their investigations range from Afrofuturism and medieval paganism to research into recyclable glaze or vegetarian cheese.

Through introspection and critical reflection, they have succeeded in setting out an original and authentic course of their own. It is therefore not a homogeneous group, either, the crop of 2021. Their practice can no longer be simplified to the usual categories of fashion, product design, architecture and digital. Using inventiveness, they hop from one discipline to another. Arabic calligraphy blends with spatial design and migration issues are transformed into atonal soundscapes. Sometimes new fields of study even begin to emerge, such as immersive storytelling by means of a spatial installation, scenography, photography, data research and political activism. But these up-and-coming design talents have one thing in common: bursting with determination and empathy, they want to play an active role in necessary social changes.

Stimuleringsfonds Creatieve Industrie presents:
Lesia Topolnyk, Jean-François Gauthier, JeanPaul Paula, Wesley Mapes, Luuc Sonke, Sophia Bulgakova, Stefano Murgia, Sydney Rahimtoola, Frances Rompas, Andrius Arutiunian, Thom Bindels, Gabriel Fontana, Renee Mes, Irakli Sabekia, Asefeh Tayebani, Louis Braddock Clarke, Khalid Amakran, Cleo Tsw, Moriz Oberberger, Sherida Kuffour, Vera van de Seyp, Funs Janssen, Josse Pyl, Fransje Gimbrere, Fana Richters, Don Kwaning, Philipp Kolmann, Audrey Large, Mirjam Debet, Marlou Breuls,
Bodil Ouedraogo, Inez Naomi, ILLM, Johanna Seelemann and Seok-hyeon Yoon.

practical information exhibition
Title: Stimuleringsfonds Creatieve Industrie presents talent
Date: 16 to 24 October 2021
Time: 11:00 - 18:00
Location: Klokgebouw, Strijp S, Eindhoven (map)
Entry: The Klokgebouw can be accessed with a DDW ticket.
One of the video portraits that can be seen during Dutch Design Week. Concept: Koehorst in 't Veld and Roel van Tour | Design: Koehorst in 't Veld | Video: Roel van Tour | Interview: Maarten Westerveen

Talent Platform
Besides during Dutch Design Week, the 35 film portraits can also be seen at the Talent Platform. This online platform provides an overview of all the talents who have been supported by the Talent Development Grant Programme since 2013.

Talents present themselves in seven Talent Talks
During Dutch Design Week, the Creative Industries Fund NL is organizing Talent Talks on 18 and 20 October: seven talk shows where up-and-coming design talents together discuss current themes that play a decisive role in their work and practice. The talk shows can be attended by a limited audience in Eindhoven and simultaneously watched via a live stream on stimuleringsfonds.nl or facebook.com/Stimuleringsfonds.

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