Call for Applications Rijksakademie Residency 2022 / 2023


Directorial Team

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


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)

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


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


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)


Bas Magnée (coordinator)
René Blits
Wiebe Bouwsema

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.

From the Open Archive with tags
  • Silvia Martes