Call for Applications Rijksakademie Residency 2022 / 2023

Team

Directorial Team

Emily Pethick (director)
Martijntje Hallmann (deputy director, head of residency)
Susan Gloudemans (director strategy & development)
Danielle Kars (secretarial services)

Residency

Annelie Musters (manager & deputy head residency
Virág Szentkirályi (residency & programme coordinator)
Sandra Felten (alumni relations & documentation)
Daphne Verweij (project coordinator residency)

Workshops / Technical advisors

José Miguel Biscaya (media lab)
Marietta Dirker (library & collection)
Stephan Kuderna (metal)
Arend Nijkamp (paint lab)
Marianne Peijnenburg (ceramics)
Kees Reedijk (electronics)
Elke Uitentuis (social practice)
Pieter Verweij (print lab)

Freelancers:
Seamus Cater (wood)
Roger Cremers (wood)
Lotte Nijhof (mould making)
Monique de Wilt (laser cutter & CNC)

Development

María Virto Marcilla (manager development)
Isabella Leitz (fellowship support & friends)
Lotte Hemme (special projects)

Communication

Vanessa Groenewegen

Finance / Administration / HR

Joost Cras (head of finance)
Niels Andree Wiltens (HR, residency & process administration)

Building / Operations

Michel de Rooij (head of operations)
Harold Verbakel (ICT)
Peter Amponsah (caretaker)
Feras Dahhan (caretaker)
Anita Autar (cleaning)

Cantina

Bas Magnée (coordinator)
René Blits
Wiebe Bouwsema

Freelancer:
Martine Albitrouw-Segijn

Supervisory Board Rijksakademie

Defne Ayas
Karl Guha
Bregtje van der Haak
Otobong Nkanga
Constantijn van Oranje-Nassau
Vinod Subramaniam (chair)

Supervisory Board Trust Fund

Job Dura
Wouter Han
Marian Scheele (chair)

Sara Culmann

RU, 1981

  • resident
    • 2019
    • 2020
    • 2021

Artist statement

Working with digital imagery, games, and animation, Sara Culmann builds playable environments that comment on contemporary society. Her work enacts the lure of contemporary life, as well as the feelings of anxiety, apathy, and frustration it generates. She is specifically interested in how society’s obsession with capitalism and the digital environment translates into a dense conglomerate of iconographic images whose meaning is often dual and contradictory. Mainstream artefacts and controversial symbolic icons enter her environments, roaming the (digital) world until they become semantic noise, empty signifiers. Culmann is interested in the contradictory duality that each asset, or vessel of meaning, contains.

For her this type of binarity is not only found in symbols and icons but also in the computer-generated patterns she finds on the internet and then texturizes for her own works. This digital creation of volume can be done in two directions; and therefore, for Culmann, the computer-generated pattern becomes an asset in which dual sets of possibilities lie dormant. This interest in meaningmaking Culmann sometimes translates into sculptural works that function as extensions of her playable media, and in which the duality of meaning finds another form of expression.

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  • Sara Culmann