Education

 

Nicolaas van de Lande

2017-2018 MA Royal College of Art, Contemporary Art Practice: Critical Practice pathway, London

2010-2016 BA Fine Arts & Design (2010-2014 Fine Arts, 2014* - 2016 Ceramics), Gerrit Rietveld Academie, Amsterdam

2013 Exchange programme, Dailes Academia, Lithuania

2010-2014 BA Sociology, University of Amsterdam

 

 

Mariska Koolen

2017-2018 MA Royal College of Art, Contemporary Art Practice: Critical Practice pathway, London

2010-2016 BA Fine Arts & Design (2010-2014 Fine Arts, 2014* - 2016 Ceramics), Gerrit Rietveld Academie, Amsterdam

2012-2017 BA Philosophy, University of Amsterdam

 

 

* Start of artistic collaboration

 

 

Exhibitions

 

2017 Breehornstraat 113, self-initiated art project, show in two floor apartment, Amsterdam, supported by: Mosa, AFK, Rochdale

2017 This Art Fair - Beurs van Berlage, Amsterdam

2016 Textures of taste, Paleis van Mieris, Amsterdam

2016 Dirty Daisies, Art The Hague, Den Haag

2016 Graduation show Gerrit Rietveld Academie, Amsterdam, supported by Mosa, Wienerberger, Xella

2014 Constant Companion, Oude Kerk, Amsterdam

 

 

Fellowships

 

2017 Cultuurfondsbeurs, Prins Bernhard Cultuurfonds

2017 Hendrik Muller Fonds

 

 

 

"And do you tell me, friends, that there is no dispute over taste and tasting? But all life is dispute over taste and tasting!"

 

 

We make and present our art as being reproducible. This threatens our individual handwriting to become blurred with the reproducible patterns we derive from the decorative designed products from our common world. This creates a constant tension, a tension which is at his max when our manipulated products are applied as they are 'meant to be'. Our art practise seems to float between the ‘singular (the unique)’ and the ‘universal’. Making us struggle with the possibility of being understood as home furnishers instead of autonomous artists. This creates an adventurous conflict in our discussions on where the border should be made with allowing the applicable quality of our work, while trying to overcome the suggestive quality autonomous art can have.

 

Our working method often confronts us with new choices. Our presently taking place art project Breehornstraat 113, in a house listed for demolishing in Amsterdam Noord, exemplifies this. We utilize this house to bring our work even closer to a literal applicability of our work. However, since the house becomes an indissoluble part of the total work we have to decide which elements of the house to accept, and which not. Where lies the border? Should our tiles, for example, be cut-off around a door pillar, or stop where the door pillar begins. Should we choose lightning customary to the house, or use fluorescent lamps customary to an art project space? So the total ‘building’ aspect in this work clearly means more then only the 'applying' of our tiles, or plaster.