Dutch Pavilion - Who is we?
Het Nieuwe Instituut and the Creative Industries Fund NL jointly launched an open call in early October 2019 for a contribution to the public parallel programme at the Dutch pavilion. This programme takes place before, during and after the Venice Architecture Biennale or at other locations. Entrants were invited to respond to the theme of the Dutch pavilion, 'multispecies urbanism'. These three selected projects can be seen:

Failed Architecture with Stories on Earth. Stories on Earth is an attempt to use storytelling and design to develop a critical model that can challenge the current narrative about the relationship between humans and nature.

Bureau LADA with Shallow Waters. Shallow Waters is a speculative research project into aquatic biodiversity as a model for a 'water-related society' in which humans play a secondary role.

Studio Wild with The Forbidden Garden of Europe. The Forbidden Garden of Europe examines the extent to which spatial and social factors influence inclusive ways of living together. The garden can be visited from 29 August 2021 at Spazio Punch, Giudecca, Venice.

During the online opening programme on 20 May, the three projects were introduced through video portraits. You can watch the videos here:

what is the importance of internationalization for the design field?
Joanna van der Zanden: 'First of all, I would like to mention that all the interviewees and respondents were extremely positive about the Internationalization programme. In general, you can say that it is good to be able to question the culture that has built you, and that is achieved better by operating internationally. In order to stay sharp, the entire field – makers, researchers, producers and intermediaries – needs this international context. Dealing with and learning from cultural differences and working on a different scale and within other locales provide new insights that strengthen the field artistically and feed its innovative power. Sometimes these insights lead to a transformational change of direction in one's own practice, and sometimes to a surprising collaboration or new assignments. What most interviewees and respondents agree on is that they could not have developed their design practice as successfully without the international experience. We need international exchange to continue nurturing the artistic and innovative power of the Dutch design field. In addition, international investment of time and resources also pays off in our own country. Anyone who stands out internationally enjoys greater prestige, media attention and opportunities in the Netherlands: ranging from a purchase of work by a museum to a chair at the university.'

'Recognizing the differences opens up equality in collaboration. This is where the challenge lies.'

were any differences observed per discipline?
Joanna: 'The need for internationalization is partly felt because the Netherlands for many designers is too small a country to build up a flourishing practice. For example, the assignment market is too small for designers. Starting designers and younger brands in particular benefit greatly from the support of a presentation at a fair or festival abroad. Mediating parties are often mentioned as indispensable because their knowledge of the international or local market and their network are of great importance for successful follow-up steps. Architects, researchers and landscape architects often indicate that the experimental scale in the Netherlands is too small. There is a need for research and pilot projects that explore themes such as circular energy, sustainable water supply, self-sufficiency and housing issues, and that is not always possible in the Netherlands. The field is too small for makers within digital culture. Digital culture is an international network, people seek each other out and stimulate and develop the discipline jointly. Without presentations and collaboration abroad, you can't build a career as a maker.'

where do the challenges lie?
Joanna: 'The criticisms about the objective of internationalization stem from the observation that an overly convinced and complacent attitude about one's own qualities can get in the way of exchange and undermine local sensitivity. A deep awareness of one's own background and privileges are important for a good relationship. Although Dutch design is still highly regarded internationally and opens many doors, it would be good if people were to name what they are less good at. What makes you curious? What do you want to learn? The challenges that designers can contribute to are the same worldwide, but the contexts differ, however subtly. It is from these differences that the field can learn. Recognizing the differences opens up equality in collaboration. This is where the challenge lies. Because really getting to understand each other takes time. Support is needed for projects and programmes that span longer periods of time or are allowed to go through different phases. There is also a need for more residencies abroad. These are plentiful for visual artists but scarce for the design field.'

'Support is needed for projects and programmes that span longer periods of time or are allowed to go through different phases.'

what have been the most startling effects of COVID-19 on international collaboration according to the respondents?
The study took place partly in the middle of the pandemic. When asked whether they thought international collaboration would be permanently changed by COVID-19, 96% of respondents answered in the affirmative.
Joanna: 'In addition to the direct negative economic effects of COVID-19 due to the disappearance of festivals, fairs and presentations, the lack of physical contact was often mentioned. This is precisely what is so important for a good exchange and understanding. It is also more difficult to build relationships and networks during this period. Many contacts made during fairs and festivals arise spontaneously, by chance. That is missing now. However, positive effects of this situation were also mentioned. The process is quicker and solutions can be found more quickly with the foreign partner. Explorations in collaboration also turn out to be perfectly possible online. And with the help of more local people, building presentations can also be done remotely. In economic terms, a number of respondents have seen growth in online sales and new sales markets as a result. Furthermore, the past year has proved to be a period of innovation, for instance looking for other presentation possibilities and setting up fairs. This is quite a challenge, and for a number of respondents it will mean the end of an existing business model for now, but the questions will stimulate the development of new possibilities. How do you convey the physical well virtually? What can the constructive utilization of Virtual Reality or Augmented Reality mean for international exchange? And how do you interact with the audience from a distance?'

The study asked about choices related to sustainability and internationalization – what were the responses?
Joanna: 'More than 90% of the respondents are open to making sustainable choices, or are already doing so. People want to fly less and travel by train more, including outside Europe, and when they are abroad, they want to stay there longer or combine several trips. We're moving to 'digital first', 'travel light' and 'stay longer'.'

We spoke to Belle Phromchanya and Darunee Terdtoontaveedej. Both of them exchanged Asia for Europe in connection with their studies, and are not unique in this. However, the experience was not an unqualified success. Confronted with stereotypical expectations and prejudices, they experienced little room for exchange on subjects that really concerned them. Darunee: 'In those days, most of the mentors in the department were white and cis male. It was assumed that as an Asian, you are a connoisseur and representative of Japanese design, which is highly regarded here. Or people thought you would identify with the work of Ai Wei Wei, although this is now quite outdated, to give a few of the many examples. Belle adds: 'For example, people also assume that I know a lot about Indonesia because I come from Thailand. Chances are, however, that the average Dutch person knows much more about this country.' Darunee: 'Europeans are diverse, and naturally Asians are just as diverse.'

In this first round, which is open until 21 June 2021, design agencies can submit an initial research proposal. There is scope to support approximately 30 agencies. In August a repeat of the call is planned in which a further 70 cooperation processes are made possible. The application is relatively easy and quick to prepare.

Subsequently, in the second round in July, design talents can respond to the selected research proposals and a match will be made between agency and designer. The Fund then provides a subsidy to both the studio and the designer.

The objective of the call is to strengthen the connection of starting designers with the professional field during COVID-19 and to support the work field during this crisis by creating extra room for in-depth research and experimentation.

Open Call Building Talent 2021 for experienced design agencies
• Total budget available for round 1 and round 2 is € 375,000, which will allow for the selection of approximately 30 proposals.
• Amount available per collaborative programme: € 12,500 (€ 6,250 for the design agency and € 6,250 for the starting designer)
• Submit up to 21 June 2021
• Duration of collaborative programme 3 months (starting half September 2021)
• Available to experienced design agencies from across the creative industries

background
As a result of the coronavirus crisis, it is more difficult for design agencies to make time, space and resources available for self-initiated research and experimentation. In addition, it is difficult for many starting designers to find a connection with the professional field. By creating space for collaboration, the Fund wants to support starting designers and established agencies in this area. The purpose of the grant scheme is therefore twofold: firstly, the Fund aims to contribute to strengthening the knowledge, experience, network and entrepreneurship of starting designers. Secondly, the call offers an opportunity for experienced agencies to deploy extra design power for in-depth research and experimentation. There is a greater need for this, particularly now.

who is this open call for?
In this first round, the Fund is calling on design agencies from across the creative industry to submit a proposal. For instance, studios, architectural firms, collectives, game developers, fashion labels or other forms of professional design practices.

After completion of the first selection of design agencies in June, the second round will follow with a closing date of 24 August, for which starting designers and makers can apply, in response to one of the selected agencies and their specific research proposal.

submission
Design agencies can submit a proposal until 21 June at the latest.

Read more about the open call and how to apply here.

The Immerse\Interact Grant Programme focuses on the crossover between film, design and digital culture, where new ground has arisen in which digital pioneers, interaction designers and graphic designers work together with directors, scenarists and producers. It results in innovative media productions where digital storytelling and interactive or immersive media play a central role.

During the first round in 2021, the following nine projects are receiving a contribution:

Development

De Rietfluit

Jules van Hulst

Synchronic Cinema

Aram Lee, Quenton Miller, Luca Napoli

Eigengrau

Zalán Szakács

Soulpaint

Niki Smit (Monobanda) en Sarah Ticho

Jet of Blood

Justin Zijlstra en Lisanne van Aert