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)

Aldo Esparza Ramos

NL/MX, 1986

  • resident
    • 2019
    • 2020
    • 2021

Artist statement

Aldo Ramos is a griot, a traveller-poet, a storyteller. He guards ancestral memories. His practice is directed towards social healing; as reconstitution, reparation and protection of ancestral knowledges. He doesn't see himself as an innovator, or creator but a guardian who receives and expresses an order that already exists. In his practice relationality is more important than the work itself. His practice is a service, an action of offering, a giving back to Earth that is shaped by the experience of listening. He practices sentipensar, changing the position of 'I think' to the 'We as thinking-feeling with the Earth'.

Guarding memory implies the responsibility of using his practice to amplify voices that are being silenced, to make visible the worlds being erased by the empty time of the contemporary; it is a weaving in between the separation of Earth, relational time, and us (as consumers). Creation thus becomes a platform that encourages relational ways of being with the Earth—as re-existence overcoming consumption.

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