creative industries fund nl
The pandemic has resulted in greater solidarity in the cultural sector

The pandemic has resulted in greater solidarity in the cultural sector

16 September 2021

The Creative Industries Fund NL presented its new policy plan for the 2021-2024 period 'Room for connection' just before the confirmed outbreak of the COVID-19 pandemic, which meant that part of the plan could go straight into the bin. So what has changed in the past eighteen months during the pandemic for makers and institutions in the design sector and what has the Fund been able to do to provide the necessary support? We reflect on the past eighteen months and look ahead to the future with Executive Director Syb Groeneveld.
The COVID-19 pandemic has had a huge impact on the cultural sector. How has the Fund been able to help the affected institutions and makers?

At the start of the pandemic, the funds, the Ministry of Education, Culture and Science, the Taskforce established by Kunsten '92 and the provincial and municipal authorities, immediately focused their attention on what it would for cultural institutions to lose a significant part of their ticket income. The Ministry of Education, Culture and Science subsequently introduced a financial support scheme to partially compensate all institutions supported by the cultural Basic Infrastructure (BIS) as well as those receiving long-term support from the funds for the loss of income. It is important to note that the damage to the wider cultural sector due to the pandemic is far greater than can be compensated through government support.
The Creative Industries Fund NL has implemented the government scheme for the institutions that it supports in the long term. This support has been important to ensure that a festival such as the Dutch Design Week in Eindhoven or the Pakhuis de Zwijger cultural centre in Amsterdam or the International Architecture Biennial in Rotterdam had the financial means to continue with their programmes during the pandemic.

And what support was offered to the makers?

The largest share of the support packages for the cultural and creative sector went to the institutions and this helped to ensure the survival of important parts of the cultural infrastructure. As an initial action, this proved to be a very important step and a lot of makers are indirectly supported by the financial help offered to these institutions. At the same time the minister also decided, rightly so and on the insistence of a great many different parties, to allocate funds specifically to the makers since they experienced a significant drop-off in assignments and had to look for other ways to position themselves as creative and inspiring artists.

The Creative Industries Fund NL opted for a number of support schemes to help us support makers and designers.

We saw a significant increase in the number of applications as early as April –May 2020 for our Design, Architecture and Digital Culture Grant Schemes. This was when we all worked from home and our committee meetings took place online. The committee members managed to discuss and assess the applications during these online meetings and it is quite incredible how we managed to continue with our processes and interactions without meeting face-to-face. A word of gratitude is in place for all colleagues and advisors who continued to work throughout this pandemic with so much passion and enthusiasm. We received hundreds more applications for our programmes than usual in 2020, which is why we moved fast to allocate part of the support schemes within these programmes. This enabled us to provide financial support for an additional eighty projects or so in 2020 alone.

In the summer of 2020 we decided to change the Internationalisation Programme into the Temporary Procedure for International Collaboration. We may not have been able to travel abroad but we could still initiate international collaboration projects. The temporary procedure made it relatively simple for people to submit an application to look for international collaboration opportunities. Since the summer of 2020, the Temporary Procedure for International Collaboration has resulted in more than a hundred international collaboration projects. This has made the sector both more agile as well as more resilient and means that people have already developed many new international networks as travel restrictions are being lifted. This is hugely important for the design sector.

The start of 2021 also saw the introduction of our Experiment Grant Scheme for makers who could start their project immediately after having received a positive decision following a simple application and a fast track recommendation procedure. This has resulted in surprising and innovative projects from makers who had never submitted an application to the Fund before. More than thirty experiments have already been started out of a total of a hundred applications received since February this year.

The additional support measures have also allowed us to issue two open calls for the professionalisation of the design practice. We invited design agencies and makers to 'think about the consequences of this pandemic for the way you organise your practice. This can be about collaboration or the provision of a service or it can be about anything really, but do ask for help or use the expertise of others'. This initiative has enabled us to help dozens of agencies and makers. The COVID-19 support packages allowed us to make an additional twenty grants available for 2022 in the Talent Development Grant Programme. The lockdown made it difficult for talented individuals to build their networks, to show their work and to pursue their professional development. Talent development will remain an important focus point for the Fund in the coming post-pandemic years, both within and outside of professional art education.

We started two new programmes with the help of some substantial financial support: Building Talent and the Spatial Design Vouchers. We are investing two million euros in Building Talent and approximately six million euros in Spatial Design Vouchers.

Building Talent is about creating new connections between young designers and established agencies. We had noticed for a while in the architectural sector that it seemed hard for these parties to find each other. This is why we issued a limited call where we asked agencies what type of research they would be interested in supporting in collaboration with a starting designer for a period of three months. We subsequently matched twelve agencies with twelve designers with some very surprising results. Last spring we extended the call to the entire design field, including design and digital culture. Out of the many applications received, we finally selected 31 agencies, and 148 young designers responded to their research proposals. We are currently repeating this open call. With this programme we support five things that are extremely important for this sector: the further development of the young designer's practice, a broadening from the agency's perspective and new forms of commissioning, entrepreneurial skills of young talent and new networks.

Our other major programme, the Spatial Design Vouchers, links the power of design to the four key themes of the National Strategy on Spatial Planning and the Environment (Nationale Omgevingsvisie – NOVI). Europe faces a number of important challenges such as energy transition issues, climate adaptation, mobility and urban density or contraction. We want to deploy the power of design because it can provide new perspectives and new types of imagination. We also discovered that local authorities throughout the country are often not fully aware of the contribution that can be made by good design or do not know how to access and make use of this. For this reason, we have developed vouchers that can be used by local authorities and semi-public organisations to pay for design professionals. We have a broad network of parties working on transition issues and we are actively looking to introduce these parties to the relevant local authorities. We would like to see good examples being applied in other locations, to share knowledge in the same way the scientific community does and to find out how we can apply solutions elsewhere at less cost. We aim to achieve this through issuing various open calls. Since the start of this programme five months ago, we managed to reach hundreds of interested parties and we will continue with this initiative in the months ahead.

The Open Call Research, Act and Reflect is equally important. With this initiative we intend to reach grassroots organisations that represent different perspectives on our society and do not automatically receive any help through the BIS system or any of the institutions receiving long-term support through the Fund. However, these organisations are an important voice in the industry and, through their programmes, contribute to a culturally diverse and inclusive creative industry. We have set up a separate procedure that has enabled us to significantly invest in a number of institutions such as The Black Archives in Amsterdam and Teaching Design research in Rotterdam. We will repeat this open call this autumn. We hope that this group of institutions will ultimately become part of the infrastructure of the design field that we represent.

If immediate support and compensation was important during the early days of the pandemic, what was the Fund able to do for the creative sector once it became clear that this crisis wouldn't blow over soon?

The pandemic has continuously forced us to be adaptive in our response with regard to how best to support the sector. We are now eighteen months into this pandemic and we are currently reviewing our role for the coming years. Should we shift the emphasis in our policy plan? Based on our observations so far, we think that the three themes of talent development, professionalisation and internationalisation will become increasingly important for the further development of the design sector in the years ahead. We will be holding talks in the next couple of months to find out whether this should lead to changes in our multi-annual budget for this policy period. I very much hope that we will be given the opportunity to extend this policy period since it feels a bit strange to already start writing about the next policy period next year. We, and with that I mean the entire cultural and creative industry, have only just resumed our usual activities and we will need more time.

Whenever money is handed out, criticism soon follows. What do you think of the opportunities that were offered and how well the sector made use of these opportunities?

It is impossible to repair all the damage caused by this pandemic. At first everyone was really worried that the institutions would not survive and that we would be unable to recoup these losses. The critical report from the Boekmanstichting 'Ongelijk getroffen, ongelijk gesteund' about the impact of the pandemic on the cultural sector refers to the need at the time to prioritise support of elementary parts of the cultural infrastructure. Thanks to this support, some institutions managed to build up a reserve which will help them to emerge from this pandemic more strongly. At the same time, we hope to see solidarity in the sector, so that institutions will continue to provide self-employed makers and designers with work. Solidarity is an important principle that is linked to the Fair Practice Code. Without this solidarity, the cultural sector will permanently lose many self-employed makers and designers who may need to find work in other sectors such as construction or retail which has staff shortages and often offer better pay. This would be a real loss for our sector in terms of strengths and talent. We have to improve the way we treat people who are committed to working in our sector to avoid creating our own variant of the brain drain as currently seen in science and the care sector. For this reason, it is now more important than ever that we adhere to the Fair Practice Code in the cultural sector. This Fund is responsible for checking that the applications and current support schemes apply this code throughout the sector. This means that cultural productions are based on decent and realistic budgets. The consequence of this is that, despite an unchanged budget, fewer productions will be subsidised although we will become more resilient as a sector.

How can the creative sector emerge stronger from this pandemic and what lessons can we learn from this pandemic?

There are so many lessons to be learned, of course. Take our particular field for example: we no longer see public space the same as we did before social distancing, we have become accustomed to hybrid forms of events and public presentations, music is performed with a focus on alternative experience concepts; as an example, see the Upstream: Music x Design Grant Scheme. This means that the sector is transitioning to new forms of service and we will continue to focus on this. The six state cultural funds recently launched the innovation labs with CLICKNL, on the instruction of Minister van Engelshoven. The innovation labs will initiate a number of major research projects in the near future looking at the lessons of the last eighteen months with regard to digitisation, spatial planning and new working methods or earning models for productions. The open call has a budget of approximately 3 million euros and opens on 30 September 2021.

What does the Fund intend to focus on in the near future?

We feel a great sense of responsibility for and towards the sector. The annual budget has been increased from twenty million to more than thirty million euros in 2021. The organisation has been expanded to help us manage all applications and to support knowledge sharing. We are providing support for hundreds of additional projects and ensure that this extra money is allocated to the designers concerned. We are working hard to combine the knowledge gained from the projects that we support and to make this knowledge accessible to others.

In the long term, we will continue to focus on promoting artistic quality, experiments/research as well as encouraging professionalisation and good commissioning practices. If we can make a contribution to linking design quality to current themes, we will do what we, as a Fund, were called upon to do when we were established. We remain committed to link the talents of designers and makers to sectors within and outside of the cultural domain, both nationally and internationally. And it goes without saying that we will continue to push talented individuals to look for new perspectives. That is the best thing we can hope to do as a Fund.

Photo: Online lecture Get a Grant event Architect with architect Donna van Milligen Bielke in collaboration with Fontys

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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.

The following design agencies were selected:

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

Bas Kosters Studio

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.

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.

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.

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.


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.


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.


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


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 or

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.

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 or


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