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)

Silvia Martes

NL, 1985

  • resident
    • 2019
    • 2020
    • 2021

Artist statement

In the film The restless dread of some(thing) evil by Silvia Martes, we enter a dystopian world in which all human beings have a body part removed based on a conviction that such amputations will enable them to extend their lifespan. Most undergo removal of the tongue, so that they will no longer waste energy by speaking. At a facility that specialises in these operations appears for the first time a woman who wants to get rid of her heart. Holding the time-honoured view of the heart as the seat of emotions, she hopes to achieve a state of rational imperturbability. The philosophical mind-body problem is hereby exposed through a discussion of monism and Cartesian dualism. The lack of expression of the other actors, in combination with the clinical pastel decor, forms a pointed contrast with the largely unspoken restlessness of the protagonist. The films of Martes, who is a complete film crew unto herself, do not usually originate from a set script. Through literary research, autobiographical stories, and interactions with actresses and locations, a narrative gradually unfolds. This capricious way of working deliberately remains visible in the completed films. Through photographs, voice-overs, and rapid cuts, we are reminded that a story always contains references to other stories, most of which remain unarticulated and untold.

Uit het Open Archive met tags
  • Silvia Martes