Timetable

There will be lots happening at the opening event, make sure you check the full schedule.

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SPHERES ArtScience Preview Festival

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The graduating class of the ArtScience Interfaculty will present a preview of their final artworks in a multi-day exhibition tracing a route through the city center of the Hague. This year’s exhibition is a full-on cultural happening, including an opening concert, symposium, and featuring the work of the largest graduating class to ever come out of the ArtScience Interfaculty: twenty-three international and local artists (bachelor and master students).

The event will begin with an opening concert the evening of May 16 at the Korzo Theater. The concert, entitled “Beeld en Geluid”, will celebrate the creative culture of the ArtScience Interfaculty through an eclectic program of live cinema and performances by alumni. After the concert there will be drinks and DJs, and beforehand the audience will have the opportunity to get a sneak peek at the artworks on exhibit at Korzo.

The full exhibition will open the following day (May 17-18), taking place at three satellite locations clustered around a central information point at the Grote Markt. Saturday morning, May 18th, will feature a symposium entitled “Hybrid Forms” at Korzo Theater with talks and discussions on the core topics of this year’s theme. Speakers include post-conceptual neuroaesthetician Warren Neidich and Joe Davis, the inimitable “mad scientist” of MIT.

The four locations of interest include: GEMAK (central building of the Vrije Academie), HOOP (catacombs beneath the old city hall), Korzo Theater, and public interventions at the main information point on the Grote Markt square.

Join us at the House of Music (Hoefkade 322) in Den Haag, from 21h onwards.

Panagiotis Tomaras, Greece (1985): is a multimedia artist working with 3D video projection mapping, photography, film and spatialized sound. His work investigates the visual and audible mediums, through the development of light and sound environments.

His later light installation Trans deals with our visual perception of space. Is focusing more on spatial recognition and the ways we understand our surroundings. By the usage of light, sound, and form, a spatial disorientation is being achieved; a spatial uncertainty of the spectator. Taking advantage of our visional limitations and simple physical color perceptual properties, Trans brings the visitor to experience a paradoxical spatial displacement.

Trans refers to an overwhelmed experience, to a psychological and physical opposite side, an experience that is beyond our limits of control.

Panagiotis Tomaras has commissioned for theater visuals, commercial teasers, motion graphics and has participated and awarded in several festivals and competitions. Since 2012 he has been curating the Athens Video Art Festival and has been giving workshops in video mapping techniques.

Visit the artist’s website here: www.panagiotistomaras.com

About Mik Maes

How ArtScience will help me to fulfill my lifelong goal of becoming a
forester is not yet clear to me. But who knows, my skills in artistic
research might come in handy while out in the woods. In the meantime,
until I’ve gathered the means to start building my own log cabin
(mounted deer antlers included of course), I like to work with video,
do background research for concepts and struggle to make my colleagues
and teachers stop listening to noise pieces for a minute to get some
real music in their system. The cabin should have chickens, a log pile
and a porch so I can sip bourbon while watching the sun go down. I
have a background in social installations with artist collective
Teletekst is Dood. I like art, but people tend to make too much a big
deal out of it. I’d make lovely stews in a big battered pan on the
campfire. I’d also grow a beard. My last work was a documentary about
the cleaning staff of the KABK.

About Mik Maes’ work

My work is usually awkward. I’d say funny, but that’s not for me to
decide. Juxtaposition is fun, so is parody. But I feel the best form
of humor is subtle. Almost unnoticeable. Coming from daily life. Or
unintentional. There is more humor in art than people might like. My
graduation work won’t have any humor in it. It will be an extremely
serious work about internet urban legends that will make you want to
start sleeping with the lights on. It will also be very interesting,
groundbreaking, cutting edge and extremely relevant. Galleries will
pay me huge amounts of money to exhibit it, which I will then spend on
having Scooter make Eurodance remixes of all of Steve Reich’s works
and perform them live at the academy. This performance will be my
magnum opus, and will be the greatest work of art ever created.

I approach my work in the spirit of the researcher, the viewer becomes a user and the engagement between the user and my work becomes an experiment. My experiments are not empirical because I am not interested in the data they generate, the outcome is the experience itself.

In my current line of research I have become interested in the human body and how its use is influenced unconsciously. Central to my subject is the concept of Balance, in a metaphorical as well as a literal sense. The struggle for Balance in both these senses is something that defines the personal journey of many people, yet when the struggle disappears, Balance often returns. In my work I relate the psychophysical concept of Balance with a related concept from cybernetics called Dynamic Equilibrium, that defines the state of a system that is finely adjusted through feedback. For my studies I use several techniques that make my subjects more aware of their proprioceptive sense. My works stem from observations made during my research process, while at the same time they steer my research towards new directions.

Bio

Luis Rodil-Fernández has studied Computer Science and years later went back to school to study Fine Art to finally come full circle in the ArtScience Interfaculty as a master’s student. As a youngster he was active in the demoscene, programming real-time computer graphics animations and since then has used computers for the exercise of his creativity in different ways. The demoscene left a profound mark in his ethos of work as he grew up in a culture in which, what today is called a hackathon, was the most usual form of teamwork.

As a publisher and editor he started different initiatives mostly in the digital domain. In 2000 he started escena.org with a group of friends and was chief editor untill 2006. An online portal with original editorial content that was the information hub of the Spanish-speaking demoscene. In 2011 he started GUTmag, a cultural bloggazine covering different research topics as well as events in Amsterdam and London. Writing is central to his existence as it helps him sharpen his keen sense of observation and his analytic inclinations.

Since 2006 he has developed a more autonomous line of work and combines his various skills in the production of original work as well as teaching the techniques he has gained experience with along the way.

Klara Ravat (Clara Lozano, Barcelona 1986) is an artist based in both Barcelona and The Netherlands. Her focus is in photography, video-art, film and performance, with which she tries to capture human behavior, life-style and identity. Her old-fashioned contemporary style does not let her decide between the analogue and the digital.

Klara on the web

klararavat.wordpress.com
klararavat.tumblr.com

My name is Amelia M. Kaczynska and I’m a visual artist. I find moving image to be the most powerful and expressive language. I like that it combines the elements of audio with visuals to paint a more elaborate picture. Maybe non-verbal communication doesn’t provide the clearest understanding, but it gives instant insight. Body language, gestures or expression can communicate much more than just words. That’s the reason why I am interested in older art – such as the devotional paintings of the Middle Ages, the positioning of people in Renaissance art or the lifelike and silent art of Realism. I like to explore an unseen world of feelings and memories because it leads toward self knowledge. Every time I place the video camera before my eyes, I try to hunt for footage that can transform an elusive, intangible experience into a tangible one. I like the freedom of form. I don’t want to teach or moralise with my art. My artwork is meant for personal experience and transformation.

Ludmila Rodrigues (Brazil, 1979) graduated in Architecture and Urbanism at the Federal University of Rio de Janeiro (UFRJ). Before coming for an artistic re-set in the Artscience Interfaculty, she was teaching art history and computer graphics at the NGO Galpão Aplauso, where youngsters from Rio’s favelas get in contact with art and new media. Read more in this website http://tinamustao.com

About Ludmila’s Work

I believe that human beings are equipped with astounding technology. In my work I search for ways of awakening an embodied knowledge, triggering engagement and the action of people by means of play. While sharing experiences we transcend our physical perceptions of time and space.

Izolda Griner (Poland 1981) lives and works in The Hague. She has a background in musical studies and went on to study Fine Arts, receiving her Bachelor’s Degree from the KABK (den Haag) in 2006.

The objective of her masters research is to explore the possibilities of combining visual and sonic elements unified through large-scale techno-mechanical machines. These machines take into account synchronicity between sound and vision, while at a more abstract level integrate these relationships into poetic, narrative gestures. Izolda’s artworks are intended for audiences to experience in large spaces.

More about Izolda’s work on the web

www.SoundCloud.com/MeLodia-6

Charlotte ’t Hart is an artist who uses the human body as a medium. This approach results in various performances investigating the bodies of both performers and audience. Her current research deals with the effect of a table on a group of people, where the proportions of the table influence the relations between this group of people. This specific interest came from the project “Musical Chocolates,” a collaboration with pianist Karin van der Veen. Musical Chocolates required an audience to sit with the artists at a table, listening to chocolate and tasting music. At the same time, the audience was able to hear the artists eating the chocolates through their own mouths, creating a confusing but intimate situation. In her next work you are invited to sit at a table together with other guests, wait and see, listen, taste, feel…