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)

Lungiswa Gqunta

ZA, 1990

  • resident
    • 2019
    • 2020
    • 2021

Artist statement

Lungiswa Gqunta is a visual artist working in performance, printmaking, sculpture and installation. She deconstructs spatial modes of exclusion and oppression by addressing the access to and ownership of land, unravelling multisensory experiences that highlight persistent social imbalances – legacies of both patriarchal dominance and colonialism. She aims to disrupt this status quo with material references to guerrilla tactics and protest: her installations consist of quotidian objects with the potential to become weapons and a means to defend in the struggle that opposes the slow violence imposed by oppression in relation to labour, racial, class, and gender inequalities.

Specifically catering to context and audience, her works provide positive references and care to people of colour, and impose discomfort, confrontation, and caution in white (cube) spaces. Hereby, Gqunta aims to reassert black narratives into the landscape, shedding light on sedimented knowledge, and thus creating a site for non-traditional forms of excavation in which discovery and erasure are simultaneously present. More so, she counters the PTSD that haunts society and poses forms of collective healing in which music and female strength play a crucial role. These matters are highly relevant in current times: addressing inequality, land ownership, labour, and the pervasive, ongoing legacies of racism.

Gqunta has attended the Gasworks Residency, London; Women on Aeroplanes workshop, Centre for Contemporary Art, Lagos, and the Nirox residency, Cradle of Humankind in 2018.
In addition to her independent practice, Gqunta is one of the founding members of iQhiya, with whom she participated in Documenta 14 and Glasgow International.

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