Stroom Invest Week 2022

Jegens & Tevens, 26 May 2022
>> Stroom Invest interview / artist Gabriela Acha

David Bade
David Bade (1970, Curacao). Living partly in the Netherlands and on Curacao where he is co-founder of Instituto Buena Bista (IBB). With recognition in the museum world from an early age David Bade developed from end nineties one direction in his work which was more social orientated and included aspects such as participation that resulted in large group environments. With his initiative of the ArteSwa Foundation (2004) was also formed the basis of his return to his native island of Curacao to develop a firm platform for art, education and care: the IBB, Instituto Buena Bista (2006). There in close cooperation with Tirzo Martha and a small team, he has been working since 2006 to the future of young creative talents and the improvement of the arts on the island. IBB also facilitates workshops and artist in residence studios and is situated on the compound of the local psychiatry Klinika Capriles.
The founders of IBB want to provide a platform for contemporary art that simultaneously stimulates awareness and enrichment of the indigenous cultural heritage while introducing to the island new cultural developments from around the world. The Institute's core activities consist of organising a visual arts orientation course, broader upbringing and preparation for talented Cura?aoan youngsters between the ages of 15 and 25, and assigning them to a professional overseas follow-up course in the fine or applied arts. The IBB ensures that the students receive close supervision overseas, but also motivates them to return to Curacao afterwards. After all, the Institute believes that creative talent, a new mentality and an academic background are necessary to break with the colonial past of the island and build a new society. In 2021, IBB was in the Rijksmuseum Amsterdam with a 4-month inter-active installation, on the occasion of the major historical exhibition about The Netherlands and their history with slavery. Since 2016, IBB and Kunsthal Rotterdam have started a structural collaboration under the name of AYCA, All You Can Art. The vision of IBB on art, education, social engagement and participation is translated into projects in Rotterdam and the Netherlands.
In addition to his more autonomous works (for example 4 sculptures in public space in The Hague and more than 20 works in the collection of Kunstmuseum The Hague) and projects, Bade always focuses on communication and interaction with his audience and specific target groups. This takes place on city squares, in museums, but also in the health center sector, or with groups that can unburden themselves with art. In doing so, he strives for continuity and sustainable contexts, such as on Curacao and with AYCA in Rotterdam. His lifelong project DBTHODT -David Bade tekent Heerlen onder de tafel - in collaboration with art center SCHUNCK in Heerlen is also an example of this vision.

Kim Córdova
Kim Córdova is a Mexican-American artist, writer, and occasional curator. Her writing has appeared in numerous publications including Art Agenda, Art Review, deAppel, frieze, SFMOMA's Open Space, and Momus where she was the Mexico City Contributing Editor. Her texts were shortlisted for the 2017 and 2020 International Award for Criticism and she was selected for the 2020 Art Writer Workshop, a collaboration between the Andy Warhol Foundation and the International Association of Art Critics. In 2021 she was named a Zhi-Xing Eisenhower Fellow.

As an artist her work has been exhibited in numerous international group shows including at Centro de Arte los Latned Atsar (Los Angeles) Galpones (Caracas) Miami (Bogotá), Museo de Arte Zapopan (Guadalajara), the Museo ExTeresa (CDMX), CCA Wattis (San Francisco), LACE (Los Ángeles) and Spike Quarterly (Berlin). Select individual shows include Biquini Wax (CDMX), Casa Mauaad (CDMX), Soma (CDMX), and The Situation Room (Los Ángeles).

Córdova is currently a Master of Design Studies candidate at the Harvard Graduate School of Design. She is a graduate of the two year post graduate studio art program at Soma (Mexico City) and received her BA from UCSB's College of Creative Studies (Santa Barbara, CA). By day she is the director of Mexico City based glass design brand Vissio.

She was curator at Portikus in Frankfurt from 2004-2007, where she realized a large number of exhibitions accompanied by publications, among them projects with Francis Alys, John Baldessari, Judith Hopf, Paulina Olowska and Bonnie Camplin. 

Since 2014 she is also co-editor of Starship Magazine, published in Berlin. There she is responsible for the exhibitions and public programme. Those include Masculinities, Guilty Curtain, and exhibitions with Loretta Fahrenholz, Daniela Ortiz, Genoveva Filipovic, Dorothy Iannone & Juliette Blightman, Tony Conrad, Jay Chung & Q Takeki Maeda, among others.

Kris Dittel
Kris Dittel is a Rotterdam-based curator, editor and occasional writer. Informed by her background in economics and social sciences, her curatorial practice pays attention to the social, political and economic context of her work. Her long-term research projects materialise in a multitude of ways, as exhibitions, performances, publications, talks, public events, and other. Most recent research interests include Forms of Kinship (Temporary Gallery CCA, Cologne 2022); The Voice as Material (Post-Opera at TENT, V2_, Operadagen Rotterdam, 2019); and the question of value (The Trouble with Value at Bunkier Sztuki, Krakow and Onomatopee, Eindhoven, 2016-19). With Eloise Sweetman Kris co-hosts I Hope This Message Finds You Well, a podcast about curating. Kris has edited several publications, most recently The Material Kinship Reader co-edited with Clementine Edwards (Onomatopee, 2021), The Trouble with Value: Art and Its Modes of Valuation (Onomatopee, 2020), Marjolijn Dijkman: Radiant Matter (Onomatopee, 2018), The Economy is Spinning (Onomatopee, 2017), and Antonis Pittas: Road to Victory (co-edited with Clare Butcher, Mousse Publishing and Hordaland Kunstsenter, 2017). At present Kris is thesis supervisor at Piet Zwart Institute, Master Interior Architecture: Research + Design (MIARD). In 2022 she's Mediankunst fellow NRW, hosted by Temporary Gallery in Cologne.
https://krisdittel.com

Guus van Engelshoven
Guus van Engelshoven (Maastricht, 1988) has been working at Museum Hedendaagse Kunst De Domijnen as curator since June 2022 to realize special exhibitions together with a team of enthusiastic, expert colleagues. Until 2022, he also worked as a Regional Broker Limburg at the Mondriaan Fund, the national fund for visual arts and heritage, and as a Project Leader associated with the Bonnefanten in Maastricht. In addition, he works as a writer, editor and curator, writing texts for artists, museums, collectors and government agencies. In the past, he worked at Marres in Maastricht and De Appel in Amsterdam, among others. Between 2013 and 2018 he was an advisor on visual arts and design for the Municipality of Maastricht. He regularly writes about contemporary art in art magazine Metropolis M and is the proud chairman of the board of the opera and music theater company Het Geluid Maastricht and the band YIN YIN.

Manus Groenen
Manus Groenen (1986) is an art educator, critic, writer and occasional curator. He teaches contemporary art theory at the Fontys Hogeschool voor de Kunsten in Tilburg, where he is also the propaedeutic coordinator. Past teaching posts have been at AKV St.Joost Breda/Den Bosch, ArtEZ University of the Arts Arnhem and the Universiteit Utrecht. He was in charge of the public program and education at De Lustwarande in Tilburg and at the second Triennial van Beetsterzwaag organized by Kunsthuis SYB.
As a freelance art critic and writer he writes for artists, magazines like Metropolis M and Artslant and art institutions like De Pont Tilburg and IMPAKT. Currently he is working for Kunsten92 on a series of interviews about the Fair Practice Code. He was a member of the board of AIR Platform Brabant and chair of the board of Tubelight. He is also part of the culture committee which advises the city of Rotterdam on project subsidies.

Riet Wijnen
Riet Wijnen (b.1988, Venray, NL. Lives in Amsterdam) is an artist whose practice involves sculpture, photograms, working through texts, woodcuts and more recently, type design. She is interested in incomplete histories of abstraction, and what and who are already there in ways we might not yet know. To do this she looks to elders, hosting practitioners from the past and present within her work who have been active in the field of art during early modernism, or in science, philosophy, education and activism. Bringing them together through fictional conversations and sculptures to reconsider histories and better understand what comes next, Wijnen centers perception, language and organizational structures. This research comes together in the cycle Sixteen Conversations on Abstraction (2015) and publications related to language and biographies of female modernists that provide sources for her practice while functioning independently, such as Saloua Raouda Choucair (2022), Homophone Dictionary (2019), Grace Crowley (2019), Abstraction Création: Art non-figuratif (reprint and translation) (2014) and Marlow Moss (2013). Wijnen has had solo exhibitions at venues including Kunstverein Milano (2022), Manifold Books, Amsterdam (2019); Lumen Travo, Amsterdam (2018); P/////AKT, Amsterdam (2016) and Dolores, Ellen de Bruijne Projects, Amsterdam (2015). She was a resident at the Rijksakademie van beeldende kunsten (2017-18) and has participated in groups shows at, among others, SculptureCenter, New York; John Hansard Gallery, Southampton; The Center for Contemporary Art & Culture at PNCA, Portland; Casco Art Institute: Working for the Commons, Utrecht and Index - The Swedish Contemporary Art Foundation, Stockholm. Wijnen teaches in the Graphic Design and TXT department of the Gerrit Rietveld Academie, Amsterdam and in 2022 is a resident at the Van Doesburghuis in Paris and Sundaymorning@ekwc in Oisterwijk, NL