Category Archives: Uncategorized

Come visit us at the Den Bosch campus for Open Studios

openstudiosOpening Hours;
30 june 4pm until 8 pm
2 juli 11 am until 6 pm
3 juli 11 am until 6 pm
4 juli 5 pm until 9 pm


You are cordially invited!

At Club Solo Breda

Schermafbeelding 2016-06-21 om 08.02.28

WKNDEXPO, a new series of one-weekend exhibitions in Electron, Breda

Current MFA participant Maurice Nuiten has started a new series of short presentations at de Kopse Kant in Electron. So far he invited Piffin Duvekot, Thom Brand and Helga Jakobson to make a presentation.


Tonight, the first one in the series is opening: 60 c Baumwolle, an exhibition with site specific work. For more info, keep an eye on their website:

The Only Rule is Work

Video by Helga Jakobson, 2016

All MFA participants and core tutors Erik Hagoort, Thomas Bakker plus invited guest tutor Iede Reckman spent a good time in Glasgow last april, 2016. We did studio visits with our colleagues of the Glasgow School of Art MFA, visited Market Gallery for a meetup, Sculpture Studio’s Glasgow and much more.

An important part of the trip was the presentation and event at House for an Art Lover in Glasgow. HFAAL generously hosted us in- and outside of the exhibition space, allowing experiment and working in-and with the moment as it presented itself to us. After the event, the manifestation of Glasgow International opened. Every venue in town was packed with exhibitions, talks and events.

Our trip was aimed at exploring a new place by also giving, contributing to it in making. In the video above you can get a glimpse of how that idea turned into The Only Rule is Work. Thanks to all involved for making it a special experience; participants, tutors, Iede Reckman, Gemma Mannion (House for an Art Lover), Conor Cooke (Market Gallery), John Calcutt (Glasgow School of Art) and their MFA participants, and all others involved.


The Only Rule Is Work; Glasgow, Scotland



Master’s Exhibition Glasgow, Scotland

MFA AKV St Joost front flyerjpeg.jpg

To Whom It May Concern, Raphael Langmair solo at P/////AKT, Amsterdam

Pakt-image-1024x808MFA graduate Raphael Langmair (2012) has a solo presentation at P/////AKT, Amsterdam – opening saturday march 12, 2016  20.00 -24.00 h.

In 2016 P/////AKT is focusing on the conceptual legacy of Marcel Broodthaers’ 1964 work Le Pense-Bête and its relevance in current discourse. P/////AKT will outline six aspects of Le Pense-Bête, each of which comprises a solo exhibition, a public event, and an essay. The second aspect deals with transition, gesture and authenticity. The act of rendering his collected poems illegible by casting them in plaster is exemplary for the transitory qualities of Broodthaers’ artistic practice.

Pense-Bête II
Object: As an act

Raphael Langmair
To Whom It May Concern

Reflected upon by Elise van Mourik
Essay by Maxine Kopsa

Opening: Saturday 12 March, 20 – 24 hrs
13 March – 10 April 2016
(Thu-Sun, 14-18 hrs)

Onderbroken Stad, Antwerp BE

On march 4, 5 and 6 Helga Jakobson, Marta Masiero, Adriano LaLicata, Thom Brand and Nina Orteu (all current MFA AKV|St.Joost participants) and alumnus Maud Oonk (2015) participate with artistic interventions in Onderbroken Stad.

With the event ‘Onderbroken Stad’ the new Antwerp Research Institute for the Arts (ARIA) will be launched. ARIA is a collaborative undertaking by Universiteit Antwerpen, Sint Lucas Antwerpen, Koninklijke Academie voor Schone Kunsten Antwerpen en het Koninklijk Conservatorium Antwerpen. The event takes place in the Koninklijke Stadsfeestzaal and beyond in an empty shopping mall, in Antwerp.

For the full program, please check:



Bas van den Hurk, residency Los Angeles


MFA tutor Bas van den Hurk is currently on a two-month residency in Los Angeles, at 144 LaBrea, together with AKV|St.Joost BFA graduate, Thomas Swinkels.

Follow their working period here:


Bas van den Hurk

Thomas Swinkels

All – solo exhibition Adriano La Licata, Von Holden Studio Palermo



Adriano La Licata, VHS 2015

Current MFA participant Adriano La Licata (IT) has a solo exhibition at Von Holden Studio, Palermo – curated by Francesco De Grandi and VHS.

17.12.2015 – 17.01.2016 / Opening december 17th, 19.00 h

“It remains this strange sense of a light and sweet work, so pure it can reach the innocence, but intense and sincere at the same time.”

Francesco De Grandi

Von Holden Studio opens the exhibition season with ‘ALL’, solo exhibition of the Sicilian artist Adriano La Licata (Palermo, 1989), enhanced by the curatorial support of artist Francesco De Grandi, one generation older than him and always attentive to the nursery of artists in the capital.

The exhibition, which opens Thursday, December 17, 2015 at 19:00, is composed by a clear body of work, 3 key moments of the latest research of the artist. It has been preferred to focus on a few elements as specific as fragile, along the balance of the biographical abstraction. Between documentation and ambiguity, amongst a delicate tragicomic vein and a strong meditative propensity, Adriano La Licata investigates – as he describes in his own words – ‘ that sensitive energy which arises between two or more points’.

Von Holden Studio

Adriano La Licata


Last call for application / deadline augustus 24th


MFA trip BucharestAIR, 2014

The MFA invites to a final call for applications, deadline august 24th

find the call here

Project week in pictures

Project week with Jack Segbars is over, but here’s some documentation of what went on in at Onomatopee, Eindhoven; photo’s by Adriano la Licata.

_MG_1163 _MG_1091 _MG_1067 _MG_1057 _MG_1172 _MG_1169 _MG_1168_MG_1096 _MG_1152 _MG_1148 _MG_1147 _MG_1144  _MG_1153 _MG_1052 _MG_1055

Today in Brussels: Elixir!

Elixir 2013, Enough Room for Space

Elixir 2013, Enough Room for Space

MFA tutor Marjolijn Dijkman / Enough Room for Space is organizing a public harvest, after last year’s successful first edition of Elixir.
The public orchard surrounding the FeliXart museum (located around the corner of ERforS HQ) consists of many different sorts of fruit and nut trees and other edible plants. Felix De Boeck, an early modernist Belgian painter, made his living from his orchard. As a result he was working independently as an artist without the pressure to sell his works.
The orchard is maintained by the Museum and the Province but it’s resources are scarcely used; most of it becomes fallen fruit. Elixir will harvest some of these fruits and transform this resource during public events into all sorts of products which will be used for upcoming events of Enough Room for Space.
Today: harvesting in the public orchard of Felixart Museum located around the corner of ERforS HQ from 13:00 – 23:00h. We’ll be making apple cider, pear liquor, compote & confiture, bake bread & make pizza’s in the bakehouse. Please feel free to join!  Kuikenstraat 6, Drogenbos, behind the FelixArt Museum.

Building Up An Exhibition

The 2nd years MFA students will collaborate in a self-initiated project, that will run in Amsterdam this fall.

‘Building up an exhibition’ In collaboration between artist & curator As a group of artists coming from different backgrounds and countries we are getting together to create a dialogue about questions which we have in common. Is the exhibition an autonomous instrument for showing and sharing art? Or is it rather a dependent and “prepaid” device? Or does it offer a subjective and personal reading of the artwork? Asking these questions we are trying to gather a deeper understanding of the power of displaying work and the purpose of an exhibition. We intend to create questions, doubts and possibilities to think, instead of bringing about a statement. We enter this dialogue with collective exhibitions. While each one of us is working individually on his/her art practice and research one fundamental question reoccurs to us when it comes to presenting our artwork. As a group of artists we want to investigate the meaning and function of the exhibition. In de Slang we want to share and discuss our questions and thoughts with young curators and see our work in a new perspective/setting. The building up in combination with ongoing discussions is open to the public, which can be involved at some points. Being at the beginning of our careers we are constantly trying to place ourselves in the art world. The art world, and the view on art are constantly redefined and this opens up new fields where its protagonists, artists and curators, can act or are expected to act. Not always is this a choice made by the protagonists themselves. As artists our aim is to create our own art world in which art can be autonomous. With a collaboration between artist and curator during the opening of the exhibition, we would like to create a dialogue.
Dates: November 21 – 23, Opening Friday, November 21, 5 pm de Slang, Spuistraat 199, 1012 VN Amsterdam Participants: Maud OonkDanni van Amstel, Katrein Breukers, Giulia CenciKatherina HeilTyas Leeuwerink, Maarten Spons, Mohadeseh Rahimitabar
E-mail contact:

Workshop Jack Segbars, hosted by Onomatopee, Eindhoven 08.09 – 12.09

As a kickstart of the new academic year, Jack Segbars prepared a week’s workshop exploring the notion of “Installation” as part of the artistic practice and program.

Participants: Adriano La Licata, Marta Masiero Ramos, Dorina Kappatou, Sarah de Paiva Rodrigues, Piffin Duvekot, Nguyen Quang Vinh, Danni van Amstel, Katrein Breukers, Mohadesheh Rahimitabar, Tyas Leeuwerink, Maud Oonk.

The workshop and presentation is kindly hosted by Onomatopee, Eindhoven.

Artistic practice consists not solely as an unconnected mode of production by the artist. The manner in which art is mediated and presented, its context of production, is an integral part of its content.

The legacies of Conceptual Art, Minimal Art and Institutional Critique demonstrate that the conditions and parameters of art production are essential elements in establishing the content and mode of operation of the artwork. The conditions of the production are formal building blocks of what constitutes the artwork. Following developments in the Curatorial, Educational, Historiographical and Discursive Turns, it has become clear that the extended context and layerings of conditions have become part of artistic strategies and content.

The aim of the workshop is to explore the individual take to this topic. How is ones work situated and operational concerning the broader set-up of production? Is the broader context part of the methodology, or content of the work? How do you relate your work to the artistic practice, exibition formats and institutions? And how can one extrapolate and sharpen ones work-making use of this set-up?

The central issue, through which we will explore this, is through the notion of the ‘Installation’.
The installation is a key concept to define the context of art production including curatorial, institutional and discursive/theoretical aspects of production. The term ‘installation’ can serve as instrument to see the production of art as a constellation involving all these components.

In the installation notions of the curatorial, theoretical and of discursive qualities can come into play. How is the work structured, projected and presented concerning these qualities? Is the work self-explanatory, or do you use other strategies? Are issues of the institutional context at play?

We will research this topic through group discussion and group work and will work towards an end presentation at the end of the week. This end presentation will be cooperation between at least two participants in the group who will produce a joint presentation/collaboration/installation of their work. The workshop should be considered as a speedy exploration and exercise to the subject.

Jack Segbars (b. 1963) studied fine art at AKV/St.Joost Den Bosch. He is primarily engaged with the conditions and parameters through which the concept of art is created. To this end, Segbars has investigated the different forms and positions that shape artproduction and that are at play in the formation of the notion of art: autonomous visual art, art in public space (including the neon text, Van Alles Is Weer Waardeloos/ everything is worthless again), the role of language and theory in the art discourse and the role of the curator. The interconnections between the different positions (critic, writer, curator and visual artist) are explored as artistic investigation.

more info:

There it is. Just there. Soloshow Bas van den Hurk, Ginerva Gambino, Cologne D – opening sept. 5

invite BVDH


There It Is. Just There.

Ginerva Gambino, Arndtstr 4 50676 Cologne

Sep 6 – Oct 11 2014
Opening: Fr, Sep 5 2014, 18:00

Post-painterly abstraction.1 Painting Beside Itself. 2 Zombie Abstraction. 3 Commrades of Time. 4 Comradeship and Caring.5 Reflexivity and Agency.6

1 Term created by art critic Clement Greenberg as the title for an exhibit he curated for the Los Angeles County Museum of Art in 1964, which subsequently traveled to the Walker Art Center and the Art Gallery of Toronto.
Greenberg had perceived that there was a new movement in painting that derived from the abstract expressionism of the 1940s and 1950s but “favored openness or clarity” as opposed to the dense painterly surfaces of that painting style. As painting continued to move in different directions, initially away from abstract expressionism, powered by the spirit of innovation of the time, the term “post-painterly abstraction”, which had obtained some currency in the 1960s, was gradually supplanted by minimalism, hard-edge painting, lyrical abstraction, and color field painting.

2 In this text Joselit investigates the question of how a painting can belong to a network. The question was identified by Martin Kippenberger in the 1990s. According to Joselit this is ”the most important question to be addressed on canvas since Warhol.” See Joselit, David. “Painting Beside Itself.“ OCTOBER 130, Fall 2009. pp 125 – 134.

3 Here he analyses the state of abstract painting in the current market, and the increased popularity of what he deems ‘diluted’ abstract works ( abstract-paintings-look-the-same.html?mid=nymag_press#), Cf.: Rhonda
Lieberman: and Walter Robinson (

4 In his analysis of the nature of the contemporary condition, Groys posits that after the fall of communism – the last modern project – we no longer belong to this historical narrative, we no longer believe in this idea of an infinite future. We lose our time without being able to accumulate or invest it. We are in a period of infinite delay, of boredom, where the past and the future are constantly rewritten. This loss of an infinite historical perspective generates an excess of time. Groys argues that truly ‘contemporary’ art, reflects this contemporary condition, thematizing the excess of time and working as a collaborator of time, a comrade of time. Groys, Boris. “Commrades of Time.” Going Piblic. Berlin/New York, 2010.

The title secondly refers to an exhibition series organised by Bas van den Hurk (

5 A notion of Jan Verwoert in ‘Exhaustion and Exuberance’, a text published in: Verwoert, Jan. Tell Me What You Want, What You Really Really Want, Rotterdam/Zurich, 2010.

6 Graw, Isabelle. ”The Value of Painting: Notes on Unspecificity, Indexicality, and Highly Valuable Quasi-Persons.“ Thinking Through painting. Reflexivity and Agency beyond the Canvas. Frankfurt, 2012.

The Artist As Producer II, Alpineum Produzentengalerie, Luzern CH

JamieSchneider_office IIentrance_leftMaartenSpons_closeright wall_overviewback_overviewLorelinde Verhees_left_BasvdHurk_rightright_overview

The Artist As Producer II, Alpineum Produzentengalerie, Luzern CH

A project curated by Whatspace, participating artists include tutor Bas van den Hurk, MFA student Maarten Spons and graduate Lorelinde Verhees.

Starting point of this exhibition series ‘The Artist as Producer’ is a text by Okwui Enwezor from 2004 titled, ‘The Artist as Producer in Times of Crisis. In this essay Enwezor responds to an early text by Walter Benjamin, which has a almost similar title, ‘The Author as Producer’. Benjamin asks in this essay the question: ‘to what degree does political awareness in a work of art becomes a tool for the deracination of the autonomy of the work and that of the author?’ In other words: what is the relation between a political awareness and the autonomy of a work of art and its producer? 

Enwezor rephrases the question in a contemporary context. He puts forward that the artist as an individual with an authentic voice is a product of the capitalistic West. In times of crisis, such an individual does not accomplish anything according to him. Only if artists work together they can find an answer to dominant movements like neo-liberalism. Enwezor sees ‘new critical, artistic formations that foreground and privilege the mode of collective and collaborative production’.

How does Enwezor understand these new forms of collective production? He sees two ways. One is within collectives with permanent collaborations. The others are: ‘a flexible, non-permanent  course of affiliation, privileging collaboration on project basis than on a permanent alliance’. This second type of collaborations is what Enwezor supports: a non-permanent collaboration based on projects. This type of collaborations fits the radical network based society of today much better, he says. 

Whatspace thinks an analysis like this is still current. How can we and how will we make such an analysis productive? Both the text by Benjamin as well as the text by Enwezor take a very strong stand. With this exhibition Whatspace wants to test and question how formal approaches by artist today can relate to these stands. Can works that appear often light and playful also reveal relations to comradery, to sexuality, feminity, towards a political awareness even? All the artist in the show negotiate their medium and practice and that what it can imply under current circumstances. The formal approaches and ways of production open doors to how these artist relate to our time and the place of their practice in it.


Final Call — last round of admissions — august 19 — Final Call

Considering an MFA in the Netherlands? We still have space for participants of the Master Fine Arts programme 2014 – 2016 at AKV St.Joost. The last round of admissions is august 19. Please contact us for more information at



!!! Call for application !!!

The Master Fine Art at AKV|StJoost has a few places left in it’s program 2012-2014.

If you want to apply contact

Application day will be on august 20th.



I just spoke with a Japanese friend of mine in Kyoto, he seemed pretty relaxed about the whole thing. This French guy is not:

Some Images:

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Grapes of Wrath.

humans since 1982