Articles by Students

.Desecrating Roark’s Office

By Roel Griffioen (originally published in: Kunstlicht, vol. 33, 2012, no. 2/3, pp. 67-73)

Howard Roark, Ayn Rand’s protagonist in The Fountainhead, is self-determined and non-conformist. His office protects him from the ‘vulgar’ outside world. Drawing upon theories advanced in both art history and literary criticism, Roel Griffioen argues it is time to abandon this outmoded model of the author-architect. Read the full article here.

Verborgen in de mist

By Jane Boddy (originally published in: Kunstlicht, vol. 33, 2012, no. 2/3, pp. 31-38)

Toen Caspar David Friedrich furore maakte met zijn schilderijen Mönch am Meer en Abtei im Eichwald laaide de discussie onder kunstminnenden en critici hoog op. De dichter Theodor Körner componeerde Friedrichs ‘Todtenlandschaft’, een gedicht dat jaren na het debat gepubliceerd werd, maar vanuit literaire hoek een tegengeluid bood aan de con- servatieve classicistische critici van Friedrich. Read the full article (in Dutch) here.

 

The Modus Operandi of the Model ..

By Stefaan Vervoort (originally published in: OASE. Journal for Architecture, no. 84, 2011, pp. 75-81)

“Stefaan Vervoort uses work by the contemporary artists Rita McBride, Thomas Schütte and Julien Opie to investigate the modus operandi of the model when it is unfettered by ‘the conundrums of representation haunting it in the architectural regime’. What are the meanings and underlying concepts of models when they can be considered in their own right? What quality do models possess if they do not serve to represent a building?” (OASE 84, Editorial) (read more)

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.Shell-Shocked Again and Again ..

By Daniël van der Poel (originally published in: Kunstlicht, vol. 32, 2011, no. 3, pp. 68-79)

Farocki’s Immersion (2009) is a two-channel video of a psychologists’ workshop centered on Virtual Iraq, a therapeutic computer simulation aimed at veterans suffering from PTSD. Using the concepts of immediacy and hypermediacy, Van der Poel analyzes the intertwining of scenes set in the real world and in a virtual reality. He finds however, that Immersion defies interpretation from this object-oriented perspective and instead, requires the roles of various subjects to be taken into account. (read more)

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.Imaging Purity  ..

By Roel Griffioen (originally published in: Kunstlicht, vol. 32, 2011, no. 3, pp. 12-23)

In the inter-war period, image production – and more specifically photography – became a vital tool in the dissemination and promotion of modern architecture. Roel Griffioen shows how Le Corbusier rhetorically deployed imagery in his key publication Vers une architecture (1923), in order to establish the ideal of a ‘pure’ architecture. What effect did this have on the ontological relationship between the image and the object? (read more)

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.The Perspective of Modern Rome ..

By Martijn van Beek (originally published in: Kunstlicht, vol. 32, 2011, no. 1/2, pp. 108-116)

When it comes to perspective in the seventeenth century city views of Rome by printmaker Giovanni Battista Falda, there’s more than meets the eye. Martijn van Beek states that, in contrast to the general view, the urban vistas should not be seen as literal projections of the city but are constituted by several, social, political and cultural, layers. (read more)

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.Het Glazen Huis.

By Roel Griffioen (originally published in: Kunstlicht, jg. 32, 2011, nr. 1/2, pp. 64-75)

In de woningbouw in de jaren vijftig werd op meerdere manieren naar een hoge graad van transparantie gestreefd: op stedenbouwkundig niveau in de open verkaveling, op het niveau van woning door de toepassing van grote vensters en balkons en het saneren van het interieur. Roel Griffioen laat zien dat deze veranderingen grote implicaties hadden voor de verhouding tussen privaat en publiek, binnen en buiten, de woning en de wereld. Daardoor belichaamde de transparantie tegelijk een utopie en een dystopie. (read more)

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.Spuitbus op beton

By Jesse van Winden (originally published in: Kunstlicht, vol. 31, 2010, no. 3/4, pp. 112-129)

Kunst op straat veronderstelt een zekere relatie met de straat. Vaak is er een relatie van onverschilligheid tussen werk en omgeving, maar er zijn straatkunstenaars die expliciet ingaan op de locale omstandigheden, ze gedragen zich sitespecifiek. Door een aantal hedendaagse voorbeelden van plaatsgebonden straatkunst te analyseren laat Jesse van Winden zien dat er verschillende relaties met de context worden aangegaan en dat er een continuüm van sitespecificiteit bestaat. (read more)

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.The Grounds of Autonomy.

By Joana Ozorio de Almeida Meroz (originally published in: The Autonomy Project Newspaper #2: Frameworks, 2011, pp. 65-67)

The stakes of the Autonomy Project Summer School held at the Van Abbemuseum in June 2010 were high: the hoped-for outcome was no less than a blueprint for future research into autonomy. This proved an unreachable goal due to an intuitive suspicion that producing a blueprint on autonomy meant only a certain curtailing of our own autonomy, but also our possible implication in inhibiting the autonomy of those that would “use” our blueprint. What set of beliefs form the foundation of the presupposition that autonomy must be the stuff of spontaneous combustion and is antithetical to any sort of external influence? My purpose here, then, is to examine the principles, in other words, the grounds on which our present “intuitive suspicion” about autonomy is established, so as to ultimately consider whether there are other, more fertile grounds for supporting autonomy today. (read more)

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