General

Parliaments of the European Union

Nico Bick, Ingrid Oosterheerd

Artist contribution – June 12, 2018

As a conceptual documentary photographer, Nico Bick’s photographic works, often produced as series, invite concentrated investigation. In this work, by focusing on the plenary chamber of parliaments in the European Union, he draws attention to parliamentary history of democracy and its functioning within the EU.

After the (banking) crisis in 2008, it became increasingly clear that unity within the European Union is fragile. As soon as the economy began to deteriorate, the EU and the fiercely fought-for European unity began to crack in many places and even national sentiment reappeared – one reason for Bick to deepen his understanding of one of the most important conditions for EU membership, democracy. His series of three or four photographs captures the plenary chamber of all parliaments in the EU – the twenty-eight member states and the European Parliament in Brussels and Strasbourg. The simplicity of this description stands in stark contrast to the great effort that went into making the series, which took Bick almost six years to complete. He photographed his first parliament in the summer of 2010 and his last parliament in fall 2015. Organizing access to parliaments and travel was a long and complicated process. For example, some parliaments were not easily persuaded to grant him access. In some cases, the access application took more than a year and a half to complete. The photography itself also required great effort, finding the right position for his analogue technical camera and to define the frameworks for his triptych and tetraptychs was meticulous and time-consuming […]

Topologies of Touch

COOP Summit 2018

June 01, 2018; 15:00 – 18:00 Circuits & Currents, Athens

For the public presentation of its 2018–2019 trajectory, Open! Coop Academy Topologies of Touch study group, part of DAI Roaming Academy, will be based in Athens. After a year of study and intensive gatherings in Arnhem, Cologne, Heemskerk, Oldebroek, Thessaloniki, Athens, Epen and Barcelona, we will share our inquiries with the public.

Open! Academy

Topologies of Touch

Lexicon

Open! COOP Academy 2017–2018

Artist contribution – May 30, 2018

This experimental lexicon is by the participants of Open! Coop Academy’s study group Topologies of Touch. The study group – part of DAI Roaming Academy 2017–2018 – focused on touch and feel, the tactile and haptic, from philosophical and political standpoints and within cultural, artistic and social practices.

Our exploration of the body and touch in relation to politics, saw us turn to Erin Manning’s Politics of Touch: Sense, Movement, Sovereignty (2006) provoking a series of questions: How can we trace the ways in which touch informs and reforms the body in concepts such as violence, gender, race, sexuality, democracy and identity? How do sensing bodies run up against existing political structures? Can we resist paralyzing body-politics and cultivate ‘gestures’ of resistance?

Another substantive point of focus was hapticality in terms of ‘the capacity to feel through others’, proposed by Stefano Harney and Fred Moten in The Undercommons: Fugitive Planning & Black Study (2013). As they write, it is ‘a way of feeling through others, a feel for feeling others feeling you. This is modernity’s insurgent feel, its inherited caress, its skin talk, tongue touch, breath speech, hand laugh. This is the feel that no individual can stand, and no state abide. This is the feel we might call hapticality’.1

The image-text lexicon ‘Topologies of Touch’ includes entries that arise from the participants’ divergent individual practices, experiences and engagements in relation to the study […]

General

Material Relations

Interview with Julia-Bryan Wilson

Steyn Bergs

Interview – May 29, 2018

Julia Bryan-Wilson, an art historian interested in issues of labour and work and feminist and queer theory, contributed to the fourth and final day of the Studium Generale Rietveld Academie conference-festival Hold Me Now: Touch and Feel in an Unreal World (21–24 March 2018). Responding to the call by Jack Halberstam, curator of the day’s programme, to become ‘philosophers of the feel’, Bryan-Wilson reflected on a work by artist Rebecca Belmore to examine what accountabilities materials demand or suggest, and to question if and how an artist’s engagement with these materials can create alternative histories. In this interview with Steyn Bergs, Bryan-Wilson explains and elaborates on some of the issues brought together in her talk, titled ‘Material Relations’.

Steyn Bergs: To contextualize your talk ‘Material Relations’, which centres on Rebecca Belmore’s work Biinjiya'iing Onji (From Inside) produced for documenta 14 last year, let’s consider your work as an art historian. Besides being profoundly affected by feminist and queer theory and politics, your research into art and labour is attentive to art as a kind of labour and relationship to other fields since the 1960s. Artistic labour figures as the ‘other’ with respect to productive labour under capitalism, a potential antidote to its deadening effects, a safe haven, a sort of refuge for authentic experience or prototype for non-alienated and non-alienating activity. Your first book Art Workers: Radical Practice in the Vietnam War Era (2009) explores this terrain through 1960s and 1970s figures such as Carl Andre, Lucy Lippard and Hans Haacke. You detail their push to debunk this perception as an ideology that (economically and otherwise) served the then elite of the art world. They did so through explicitly identifying themselves as productive labourers, and emphasizing how their work was subsumed by or imbricated in capitalist production.

Recently, however, your approach has shifted. […]

Commonist Aesthetics

The Blockchain: Free-Riding for the Commons

From Potential Tragedy to Real Comedy

Louis Volont, Walter van Andel

Essay – May 14, 2018

Is the blockchain an instance of commoning in cyberspace or is it enhancing capitalism to automate labour? Louis Volont and Walter van Andel argue that the blockchain is particularly well-suited to explore ideology and counter-ideology in the realm of the commons, for the blockchain constitutes a contested kind of commons: a market common, a monetary common, a kind of common that facilitates the accumulation of exchange value for, indeed, self-interested individuals. Could common ownership of that which is automated prevent the blockchain from a relapse into corporate tragedy?

Contemporary debates on anything that is supposedly ‘new’ tend to centre around ‘normality’. Take, for instance, debates on veganism, political preference or gay marriage. People who speculate on these issues often talk in terms of ‘the normal’ and ‘the exception’. Some say that humankind has always eaten meat, and that therefore we should continue to do so ‘because it has always been that way’. Gay marriage? ‘Wrong! Let’s keep our ancient traditions intact!’. In the same vein, some say that capitalism constitutes humankind’s default situation, while commoning constitutes the exception as a new, utopian, romantic discourse, deserving at best a heritage niche for those dreamers who still ‘believe’ in a world beyond market and state. In fact, discussions on the commons stem from parties who attempt to convince other parties about what is ‘normal and realistic’ and what is ‘exceptional and utopian’. Opponents try to convince advocates by referring to a kind of universal, albeit hidden truth: ‘we’ve always exchanged goods on markets’, ‘mankind consists of self-interested individuals’. Interlocutors attempt to claim monopolies on supposed truths. Discussions on the commons, hence, evolve out of a clash of ideology and […]

Care of the Brain

Up, Sammy, Look Up

Intergenerational Knowledge and its Distractions


Malcolm Kratz

Essay – April 12, 2018

How do we step away from a culture of docility, and move to a place of imperfect neuronal liberation, where amenity is no longer part of us? Malcolm Kratz argues that we should enrage ourselves against an economic, political and mediatic system that promotes flexibility and obedience, while accepting that our brain does not obey itself, that it overproduces and needs to get the pressure off. Kratz advocates education for a culture of neuroliberation. This essay is part of the DAI Open! Coop Academy research project (Against) Neuralgia: Care of the Brain in Times of Cognitive Capitalism.

Technology has enhanced our lives in countless ways. At the same time, it is the primary source of distraction that interferes with our pursuit of goals. Interference means hindering, obstructing or derailing other processes. The impacts of this can be found on many levels: thinking, perception, decision making, communication, emotional regulation and memory (in short executive functions) – our ability to learn and engage in social situations.1

But I’d like to say more about the process of interference before pointing all fingers at modern technology, or immersive media. Interference happens naturally: think of how the mind wanders, or surrounding sights, sounds and smells that distract you from focusing on the task at hand. These distractions are involuntary, but the interruptions are voluntary: for instance, thinking about a particular task or deliberately multitasking by working on another task or trying to focus on multiple sources of information (Facebooking during a lecture, listening to music while cleaning). The more complex a system gets, the more likely it falls prey to distraction – and the human mind is incredibly complex.

The dopaminergic system triggered by foraging for food is today triggered by foraging for information in a world of proliferating technologies and ways to access them amid ever-expanding information. Through this dopaminergic process, we give in only to short-term rewards, instead of potentially more rewarding long-term accomplishments. We are triggered by inner and outer interference, without the time to critically engage and contemplate in order to develop, what Bernard Stiegler, philosopher and head of the Institut de recherche et d'innovation, and N. Katherine Hayles, literary critic and previous director of the Electronic Literature Organisation, describe as (deep) attention. Continuous attention capture on the part of our digital devices leads us into a state of hyper attention, which excels in dealing with rapidly changing environments. When entered in its pure form, perception-action cycle (our animalistic action-reaction mechanism) overtakes cognitive control (our ability to pause and make conscious decisions). Yet hyper attention also makes it possible to switch between different input sources, making us alert to our environment and flexible within it, while vulnerable to outside and inside interruption as we skip over the reality principle: our executive functions. […]

Hold Me Now

Feel and Touch in Unreal World

March 21, 2018 10:30 – March 24, 2018 17:30Stedelijk Museum Amsterdam

Studium Generale Rietveld Academie presents a four-days conference-festival guest curated by Karen Archey, Mark Paterson, Rizvana Bradley and Jack Halberstam, who will each inaugurate a discursive and performative programme on how the haptic – relating to or based on touch – is thought and experienced artistically, philosophically, and politically in life, art and design, and theory. Simultaneously Rietveld Uncut presents projects by departments and individual students in relation to the theoretic framework of Studium Generale. Students from the DAI / Open! Coop Academy Topologies of Touch Group will publish comments and reviews on part of the conference at the Blog-section of Open!

How do we feel and more specifically touch in our technologically mediated dematerialized digital cultures? Do we solely stroke and swipe our screens? How are the body and its feel involved? Are we in fact cultivating different tactilities in relation to the world and others? Further, how can we trace the ways in which touch informs and reforms the body with respect to violence, gender, sexuality, democracy, and identity? If art and design have privileged sight and sound, should touch – and all the senses – be addressed and activated in order to help us stay ‘in touch’ with our bodies and the material world?

Karen Archey, Mirthe Berentsen, Jesse Darling, Joseph Grigely, Carolyn Lazard, Luke Willis Thompson, Mark Paterson, Kate Elswit, Anna Harris, Carey Jewitt, David Parisi, Stahl Stenslie, Rizvana Bradley, Hortense Spillers, Eyal Weizman, Aracelis Girmay, Erin Manning, Ligia Lewis, Wu Tsang, Lynette Yiadom-Boakye, Jack Halberstam, Karen Barad, boychild, Julia Bryan-Wilson, Mel Y. Chen, Paul B. Preciado, Jeanne Vaccaro.

Further information on the programme on the website: holdmenow.rietveldacademie.nl.

Entrance for students and staff from Gerrit Rietveld Academie and Sandberg Instituut is free. All students and staff are welcome. Interested people from outside the Rietveld are also […]

General

Terra – Terror – Territory

Re-Articulating the Territory by Putting Use Value above Exchange Value

Pascal Gielen

Essay – December 18, 2017

While Blue Marble showed us the finity of the earth, of Terra, the current culture of grabbing sees territory as private property and exchange value. This can only be adjusted if we intervene at the structural level, says Pascal Gielen. We have to re-evaluate and upgrade the use value, whether it concerns public or private territory. Artists and cultural organizations can play a crucial part in this. Not by proclaiming a political message but by acting politically or not with their work. 

Care of the Brain

The _____ Between Us Lines

Wilfred Vlad Tomescu

Artist contribution – November 2, 2017

‘The _____ Between Us Lines’ is an experimental text contribution by Wilfred Vlad Tomescu to the Open! COOP Academy research theme (Against) Neuralgia: Care of the Brain in Times of Cognitive Capitalism. The aesthetics of the text are meant to reminisce about dot matrix or thermal printing and to reference ticker tape, punch cards and the first human computers, such as Jean Bartik, a savant mathematician operating the ENIAC in 1946

Care of the Brain

Never-Ending-Nerve-Ending-Now

Mónica Lacerda

Artist contribution – October 27, 2017

In Mónica Lacerda’s contribution to the Open! COOP Academy research theme (Against) Neuralgia: Care of the Brain in Times of Cognitive Capitalism both language and writing float and drift, evoking a more spatial and sensory reading experience. With this the artist asks, can we play with words, letters, their sounds and images and disentangle ourselves from their prior meaning? Can we restructure our mind and thinking by postponing interpretation?

Download complete poem.

A
  living organism
                absorbs
  and
                                generates
                                energies

f            fuuuuu
uuuuu           u
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uuu
  u
s
 e
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its existence is an uncertainty – it comes and goes and it mutates as it

m                                    o                                v                           e                  s

[…]

Care of the Brain

The Narrowing Scope of the Recursive Image

Katja Dendulk

Essay – October 16, 2017

Our media-inscribed self-images direct not only the way in which we perceive ourselves, but on a cosmetic level, can normalize our attempts at differentiation. DAI participant Katja Dendulk unlocks this algorithmic process in her essay below as part of the Open! COOP Academy research theme (Against) Neuralgia: Care of the Brain in Times of Cognitive Capitalism. Does the scientifically proven phenomenon of our preference for novelty paradoxically swallow self-expression? How might our increasing awareness rejigger self-image under mass media? 

In this article I do a relatively free speculative mapping of some components underlying cultural production today. The implementation of algorithms in cultural production has lead to an initial aesthetic funnelling of the produced works. I begin this line of inquiry by linking the peak shift phenomenon to our reception of aesthetic novelty and its implications in the cosmetic register, following the connection scientists have made between peak shift and our understanding of what is beautiful. In turn, this leads me to a few socio-economical implications regarding the construction of our social identities within our current political landscape and cognitive-cultural economy. I make a couple of assumptions in this text: first, that cosmetics is an intersubjective semiotic game and is inherently productive; second, that the concept of cosmetics and mass media are reciprocally tied to one another. I argue that this consequently forms an increasingly reiterative loop between cosmetics and mass media whose procedures and mechanisms are increasingly being remediated through the abstraction inherent to algorithmic procedure. As such this limits us to constructing our social identities necessary to navigate the life […]

Care of the Brain

Peep Peeps = ⋆≋≬※⁑⊸

Pitchaya Ngamcharoen

Artist contribution – October 4, 2017

Pitchaya Ngamcharoen’s sound essay is part of the Open! COOP Academy research theme (Against) Neuralgia: Care of the Brain in Times of Cognitive Capitalism. Sound plays a crucial role in positioning oneself in the given surroundings. Memory is important in perceiving sound without knowing its source. ‘Peep Peeps = ⋆≋≬※⁑⊸’ offers a space for the reader to create, within her own imagination, using sounds – and at the same time, to question what is lost and gained in translation. Have you heard the sound of a rock singing? Or a conversation between fish and seaweed? Do you know what light and shadows sound like? Have you heard your own toe complain after a long day? How can we understand sounds whose sources are unknown, and reflect ourselves in these? What are we missing in what we see?

Imagine yourself floating on chronic ▤s∺✪n≣d waves, the soundscape of every subject surrounding you.

T/A/S

(Re-)Designing Affect Space

Eric Kluitenberg

Essay – September 19, 2017

This text draws together a set of characteristics that can be used as building blocks for a conceptual model of Affect Space. I have previously described Affect Space as an emerging techno-sensuous spatial order. Here I build upon these earlier investigations and the outcomes of the Technology / Affect / Space (T / A / S) public research trajectory conducted in 2016, which included public seminars in Amsterdam, Cambridge, MA and Rotterdam. The investigations continue in a series of commissioned essays on Open!, of which this text is one. These essays can help to articulate new design strategies for this quickly evolving context, where the spatial design disciplines are curiously absent from the debate. 

The so-called ‘movement(s) of the squares’1 did not precisely invent a new dynamic of mobilization of crowds and activation of public space – it rather revealed an emerging spatial order enabled by distributed electronic communication networks and the proliferation of wireless, mobile media inextremely ‘densified’ urban spaces. This emerging spatial order produced paradoxical spectacles that seemed at once strangely familiar and curiously novel, massive as well as evanescent.

Since 2011 we all (as a global predominantly online media audience) have witnessed recurrent spectacles of massive dissenting gatherings in public space. They originate in networked exchanges, then spill over into the streets and squares, effortlessly switching between geographic, cultural and sociopolitical contexts. We witnessed the action not via mainstream mass-media channels, but almost in real-time, live-streamed on social media feeds, blogs and activist sites, to our buzzing smartphones.

While revolving around a variety of heterogeneous issues / things, these gatherings remained remarkably constant in their patterns of mobilization / activation: in addition to online mobilization being followed by embodied gatherings in public space, the spaces became connective platforms in which to create synchronous and asynchronous feedback with electronic networks. This action in physical space drew even more subjects into an […]

Care of the Brain

(Against) Neuralgia: Care of the Brain in Times of Cognitive Capitalism

Open! COOP Academy Publishing Class 2016–2017

Jorinde Seijdel, Florian Göttke

Editorial – September 14, 2017

The brain is a work, and we do not know it. We are its subjects, authors and producers at once – and we do not know it.
—Catherine Malabou

(Against) Neuralgia: Care of the Brain in Times of Cognitive Capitalism is a new series of artists’ publications resulting from the 2016–2017 Open! COOP Academy Publishing Class at the Dutch Art Institute (DAI). DAI is an internationally orientated MA Art Praxis focusing on art, but explicitly granting attention to the crossings and interactions with other domains, disciplines and knowledges. As a partner of DAI, Open! conducts thematical research and publishes projects with a group of MA students using the Open! platform as the overarching discursive framework and site for experimentation and presentation. You can find links to the results of the previous year below.

This year our study group questioned the state of the mind and brain under conditions of cognitive capitalism. Mainly from the perspective of the humanities and political aesthetics, we focused on current notions of the brain in our global capitalist societies. We asked after how far the brain can be ideologically infiltrated or resist that infiltration. From the assumption that culture and brain form complex systems of influence, control and resistance, and that language, memory and imagination are more and more performed by machines and automated algorithmic procedures, we looked at some of the implications of […]

Care of the Brain

Commuters, Thy Name

Areumnari Ee

Artist contribution – September 8, 2017

Mr. Gu just started to work as an intern after graduating from university. He commutes to work every morning from Sindorim station to Seolleung station on Seoul Subway line 2. He departs from home, waits for the train on the platform and thinks about the life of a hellish city in a subway filled with people. Then he faces the full-blown capitalism of the train, the obsession with false beauty, advertisements for violent game, and the physical pressure… Is it possible for Mr. Gu to go to work safely this morning? After this perilous journey to work, will he survive his day as a precarious worker safely as well?

Care of the Brain

Next Year at Marienbad

Notes on 360-Degree Multi-Narrative Film

Maya Watanabe

Essay – September 8, 2017

In this contribution to the 2016–2017 session of Open! COOP Academy, Maya Watanabe looks at the devices on which fictional spaces depend: from architecture in theatre to the frame in film to the omnidirectional camera in virtual reality. In tracing this trajectory back to Alain Resnais’ 1961 film Last Year at Marienbad, Watanabe exposes the progressive dissolution of separation between body, location and language. She thereby shows how make-believe space is made believable, and perhaps, how it is becoming more real.

Alain Resnais released L’Année dernière à Marienbad (Last Year at Marienbad) in 1961. In the film, a man meets a woman during a social gathering at a mansion. Shot in three different palaces as if they were one place, the characters walk through the corridors in a labyrinthine remembrance of a previous encounter. It’s unclear if they actually met before or if it’s an oneiric recount of a false memory. Dialogues are repeated in different rooms, and the fragmented narrative seems to belong to a frozen time without a possible way out.

A and X – the names of the female and male protagonists – don’t have fixed identities. They have different skins and it’s difficult to determine if they are themselves, or if they have shifted to become other people.

An atmosphere of disorientation impregnates the movie. Last Year at Marienbad, with its altered spatial references and ambiguous characters, reshapes the visual and conceptual definition of place, space, language and subjectivity.

Care of the Brain

In Search of the Miraculous

Agata Cieślak

Essay – September 8, 2017

Agata Cieślak questions the position of the artist in an academic regime that has perhaps become more dependent on discourse than material reality. To do so she explores three narrative threads in the below text for Open! COOP Academy (2016–2017). With the piece adopting its title from Bas Jan Ader's famed last work, and her research into a Polish ship held hostage somewhere in Europe, Cieślak begins to grasp the difficulty of being an artist at sea facing both is potential for freedom and imprisonment.1

Imagine a young artist enrolled in a postgraduate Fine Art course. Everything discussed during class creates an atmosphere that seems hypothetical. It feels, to all intents and purposes, like a philosophy course. It is not that he is not requested to make anything exactly. He and his classmates work with theory, text, but also some materials. These things are combined as works. These works are discussed strictly in terms of the possibility of constructing meaning and shaping thought.

For him this feels like an intellectual way of making art. Sometimes, he thinks there is something missing from the process. The extreme priority given to verifying assumptions through research seems to be a way to make sure assumptions are never verified. Ideas are provided only as potential meaning. A lot is thought, but very little is thought through.

There are no artists in his family, but his parents are taking care of his art education. He went to many art galleries as a child and later as a teenager trying to imagine how fun life as an artist could be. He wondered at once how difficult his life would be and how free and fulfilling.

With time, he started to realize it’s not such an easy question. He should ask himself about the meaning of art. He should find his position with respect to the […]

Care of the Brain

(Against) Neuralgia. Care of the Brain in Times of Cognitive Capitalism

Lexicon

Open! COOP Academy 2016–2017

Artist contribution – August 13, 2017

Open! COOP Academy Publishing Class 2016–2017 – a project with the Dutch Art Institute (DAI) – has been investigating the state of the mind and brain under the conditions of cognitive capitalism. We focused on current notions of the brain in our global capitalist societies and questioned in how far the brain can be ideologically infiltrated. From the assumption that culture and brain form complex systems of influence, control and resistance, and that language, memory and imagination are more and more performed by machines and automated algorithmic procedures, we looked at some of the implications of ‘cognitive automation’ for our subjectivity, identity and free will. We explored how neuro-scientific conceptions of the brain are appropriated by cognitive capitalism and charted possibilities to subvert the instrumentalization of our brains. This lexicon is one of the results of the project and a collaborative work by the Open! COOP Academy participants. 

Verena van den Berg

You see your screen, clicking on links that lead to articles – the cursor took you were you choose to go and so seemingly, did your finger. But did it? Controlling our body, objects around us and reflecting on our actions, makes us see a self independent of surroundings. This leads to identification with abstract inner processes, which we distinguish from the biological matter of our bodies. Separation of mind and body seems the only logical conclusion. But this line of reasoning is in fact only possible through activating our motor and perception systems; our body’s ability to move and sense. We conceptualise through our bodies only and our metaphors are based on physical experiences.1 This intricate interdependency of rational and physical functions made philosopher William Poteat talk of bodymind. Dancer Mary Whitehouse suggested that the body changes through working with the mind and the mind changes through working with the body. Considering their interconnected mash this could be rephrased as: engaging physically leads to new information. If our perceiving bodymind in motion, which drives our conceptualisation, is sensitised and triggered in its response-ability, we are able to perceive more accurately what is […]

Open! Academy

Declaring Reason

Imposed Arguments of Political Books

Niels Schrader, Lauren Alexander

Artist contribution – August 10, 2017

Declaring Reason is a collaboration between Museum Meermanno and the KABK – Royal Academy of Arts in the Hague that presents the works of third-year Graphic Design students who investigate the history of parliamentary democracy by means of books and manuscripts from Museum Meermanno’s collection. The exhibition juxtaposes books from the museum’s historical collection with innovative new impressions by students, and is on show for the public from 3 June until 24 September 2017. Declaring Reason was tutored by Niels Schrader and Lauren Alexander from the Royal Academy of Arts and included theory component tutoring by Maarten Cornel. Guest critics were Alice Twemlow and Olivier Arcioli.

Democracy holds a precarious position in times of post-truth politics, because when facts don’t matter and sensation rules, how can democracy possibly survive? In the 2017 elections for the House of Representatives in the Netherlands, France and Germany, the European Union is subject to unprecedented challenges that threaten its very existence. This seems reason enough for a young generation to explore concepts of governance and understand the democratic legacy of our predecessors.

For Declaring Reason each Graphic Design student group selected one book from a pre-curated collection of political books that form the backbone of this exhibition. Books reviewed include Atlas Maior (1662–1665) by Johannes Blaeu, Tractatus Theologico-Politicus (1670) by Spinoza, Encyclopédie (1751–1772) by Denis Diderot and Jean le Rond d’Alembert, Social Contract (1762) by Jean Jacques Rousseau, Aan het Volk van Nederland – To the People of the Netherlands (1781) by Joan Derk van der Capellen tot den Pol and the 1814 Dutch constitution. Each of the selected books has shaped our understanding of democracy in a particular way.

The core objective of Declaring […]

Open! Academy

Declaring Reason (Exhibition)

Imposed Arguments of Political Books

Niels Schrader, Lauren Alexander

Artist contribution – August 9, 2017

Declaring Reason is a collaboration between Museum Meermanno and the KABK – Royal Academy of Arts in the Hague that presents the works of third-year Graphic Design students who investigate the history of parliamentary democracy by means of books and manuscripts from Museum Meermanno’s collection. The exhibition juxtaposes books from the museum’s historical collection with innovative new impressions by students, and is on show for the public from 3 June until 24 September 2017. Declaring Reason was tutored by Niels Schrader and Lauren Alexander from the Royal Academy of Arts and included theory component tutoring by Maarten Cornel. Guest critics were Alice Twemlow and Olivier Arcioli.

Daniel Hernández and Dóra Kerekes

Daniel Hernández and Dóra Kerekes have created a digital platform, which compares selected words from Diderot’s Encyclopédie with definitions from Wikipedia. The main objective is to determine, by means of word frequency analysis, the various agencies and concerns of different historical periods. The comparison makes apparent that the common definition of truth is slowly but constantly changing.