인스타그램 스토리 뷰어

UPDATE: 📢📢
De Stadswacht will be the only location of the preview show Unheld Horses! Spread the word! 🔊🔊🎤

IMPORTANT NOTICE: Our show is only accessible via stair case on the second floor of the Stadswacht.

𝓐𝓻𝓽𝓢𝓬𝓲𝓮𝓷𝓬𝓮 invites you to 🎠 𝓤𝓝𝓗𝓔𝓛𝓓 𝓗𝓞𝓡𝓢𝓔𝓢 🎠 our pre-graduation show opening on Friday 17th of April at 18:00, at @destadswacht (UPDATE 📢 The Stadswacht will now the only location of the preview show and not Paradise!!)

⭐️ with works by ⭐️
Eliise Järve (@l6hestunud )
Conor Croasdell (@conor_croasdell )
Domenika Georgiou (@dddem0nika )
Esmée Witsel (@therealesmaniac
Fru Tamer (@frutamer )
Edern Janneau (@edern.janneau )
Raphael Diederen (@raphaeldiederen
Wouter van den Elzen (@wautor )
Lila Maria de Coninck (@whothehellislila )
Ringailė Demšytė (@ringailedemsyte )
Ruben Dijkstal (@ruben.dijkstal_ )
Toke Nielsen (@ensjaeletlegeme )
Lewis Beal (@lewisbealofficial )
Ilja Kolosovs (@ilja.kolosovs )

❣️17–19 April 2026
Opening: Friday 17th, 18:00–22:00
Sat–Sun: 13:00–20:00

🎸 Saturday 18th of April 2026
Supporting concerts featuring @tigerbloomband, @nils_bousseau and others to come.

📍 De Stadswacht (@destadswacht )

Free entrance

It’s a wrap!! Thankyou all for galloping around our show and wish the Unheld Horses good luck on their last sprint to the exams tomorrow! NEXT STOP: Graduation show!! See you 2-7 juli on the KABK!

Many thanks to the @destadswacht @cultuurfonds @gemeentedenhaag and all the supporters for making it possible ⭐️

Kisses,
The graduates

⭐️ MEET THE GRADUATES ⭐️

ael died @ostrex

⭐️ MEET THE GRADUATES ⭐️

ael died @ostrex

⭐️ MEET THE GRADUATES ⭐️

ael died @ostrex

⭐️ PERFORMING TIMETABLE ⭐️

Performances by

❣️ Lila Maria de Coninck @whothehellislila

Learning Language (with Love)

This performance is a reinterpretation of a language learning class, inspired by a pseudoscientific language learning method that carries the name ‘Suggestopedia’.
By attempting to simulate the sensorial experience of a language from the learner’s perspective (with unconvential uses of voice, words and handwriting), the work wants to alienate English from its ‘fluent’ speakers, seeking potential fertile grounds for language revival and alternative world building in the stages of learning that manifest in between the binary distinction of ‘not knowing’ and ‘knowing’ a language.

❣️ Fruzsina Tamer @frutamer

How am I being

I approach art as a slow, introspective process rooted in the body—an archaeology of the pre-rational and the fluidity of sensation. My work engages the poetic and the surreal as tissues of embodied experience.

This interactive performance explores the dynamic connections between sensitivity and imagination. Sound, light and movement are all active agents creating shared spaces—shaping each other, while being shaped. Can we feel the qualities of how the seemingly separate outside world and the self are interrelated?

⭐️ PERFORMING TIMETABLE ⭐️

Performances by

❣️ Lila Maria de Coninck @whothehellislila

Learning Language (with Love)

This performance is a reinterpretation of a language learning class, inspired by a pseudoscientific language learning method that carries the name ‘Suggestopedia’.
By attempting to simulate the sensorial experience of a language from the learner’s perspective (with unconvential uses of voice, words and handwriting), the work wants to alienate English from its ‘fluent’ speakers, seeking potential fertile grounds for language revival and alternative world building in the stages of learning that manifest in between the binary distinction of ‘not knowing’ and ‘knowing’ a language.

❣️ Fruzsina Tamer @frutamer

How am I being

I approach art as a slow, introspective process rooted in the body—an archaeology of the pre-rational and the fluidity of sensation. My work engages the poetic and the surreal as tissues of embodied experience.

This interactive performance explores the dynamic connections between sensitivity and imagination. Sound, light and movement are all active agents creating shared spaces—shaping each other, while being shaped. Can we feel the qualities of how the seemingly separate outside world and the self are interrelated?

⭐️ PERFORMING TIMETABLE ⭐️

Performances by

❣️ Lila Maria de Coninck @whothehellislila

Learning Language (with Love)

This performance is a reinterpretation of a language learning class, inspired by a pseudoscientific language learning method that carries the name ‘Suggestopedia’.
By attempting to simulate the sensorial experience of a language from the learner’s perspective (with unconvential uses of voice, words and handwriting), the work wants to alienate English from its ‘fluent’ speakers, seeking potential fertile grounds for language revival and alternative world building in the stages of learning that manifest in between the binary distinction of ‘not knowing’ and ‘knowing’ a language.

❣️ Fruzsina Tamer @frutamer

How am I being

I approach art as a slow, introspective process rooted in the body—an archaeology of the pre-rational and the fluidity of sensation. My work engages the poetic and the surreal as tissues of embodied experience.

This interactive performance explores the dynamic connections between sensitivity and imagination. Sound, light and movement are all active agents creating shared spaces—shaping each other, while being shaped. Can we feel the qualities of how the seemingly separate outside world and the self are interrelated?

⭐️ MEET THE GRADUATES ⭐️

Ilja Kolosovs @ilja.kolosovs

“Would Not Recommend”
Custom software, Google Street View, sound, 2026

A virtual bot strolls through the city and complains about it. As it wanders, it pulls negative reviews from Google Maps, stopping only to recite the angriest things strangers have said.

Ilja’s practice explores how digital mapping tools shape our experience of urban space, particularly how platforms like Google Street View construct, flatten, and operationalize spatial knowledge in ways that diverge from lived experience. He engages critically with these systems, developing custom tools to systematically sample and analyze visual data. Alongside these structured methods, he also adopts more open and intuitive approaches. One of these is the virtual dérive, a drifting, unplanned navigation through digital environments. Within this approach, he focuses on user-generated images, examining what people choose to upload and how traces of personal life surface within them. Through this process, he searches for the accidental, personal, and overlooked moments that slip past the platform’s clean cartographic surface.

⭐️ MEET THE GRADUATES ⭐️

Ilja Kolosovs @ilja.kolosovs

“Would Not Recommend”
Custom software, Google Street View, sound, 2026

A virtual bot strolls through the city and complains about it. As it wanders, it pulls negative reviews from Google Maps, stopping only to recite the angriest things strangers have said.

Ilja’s practice explores how digital mapping tools shape our experience of urban space, particularly how platforms like Google Street View construct, flatten, and operationalize spatial knowledge in ways that diverge from lived experience. He engages critically with these systems, developing custom tools to systematically sample and analyze visual data. Alongside these structured methods, he also adopts more open and intuitive approaches. One of these is the virtual dérive, a drifting, unplanned navigation through digital environments. Within this approach, he focuses on user-generated images, examining what people choose to upload and how traces of personal life surface within them. Through this process, he searches for the accidental, personal, and overlooked moments that slip past the platform’s clean cartographic surface.

⭐️ MEET THE GRADUATES ⭐️

Ilja Kolosovs @ilja.kolosovs

“Would Not Recommend”
Custom software, Google Street View, sound, 2026

A virtual bot strolls through the city and complains about it. As it wanders, it pulls negative reviews from Google Maps, stopping only to recite the angriest things strangers have said.

Ilja’s practice explores how digital mapping tools shape our experience of urban space, particularly how platforms like Google Street View construct, flatten, and operationalize spatial knowledge in ways that diverge from lived experience. He engages critically with these systems, developing custom tools to systematically sample and analyze visual data. Alongside these structured methods, he also adopts more open and intuitive approaches. One of these is the virtual dérive, a drifting, unplanned navigation through digital environments. Within this approach, he focuses on user-generated images, examining what people choose to upload and how traces of personal life surface within them. Through this process, he searches for the accidental, personal, and overlooked moments that slip past the platform’s clean cartographic surface.

⭐️ MEET THE GRADUATES ⭐️

Ilja Kolosovs @ilja.kolosovs

“Would Not Recommend”
Custom software, Google Street View, sound, 2026

A virtual bot strolls through the city and complains about it. As it wanders, it pulls negative reviews from Google Maps, stopping only to recite the angriest things strangers have said.

Ilja’s practice explores how digital mapping tools shape our experience of urban space, particularly how platforms like Google Street View construct, flatten, and operationalize spatial knowledge in ways that diverge from lived experience. He engages critically with these systems, developing custom tools to systematically sample and analyze visual data. Alongside these structured methods, he also adopts more open and intuitive approaches. One of these is the virtual dérive, a drifting, unplanned navigation through digital environments. Within this approach, he focuses on user-generated images, examining what people choose to upload and how traces of personal life surface within them. Through this process, he searches for the accidental, personal, and overlooked moments that slip past the platform’s clean cartographic surface.

⭐️ MEET THE GRADUATES ⭐️

Domenika Georgiou @dddem0nika

Keepsake of a Spectral Memorabilia (—HeartLocketMachine)

The project consists of a large-scale mechanical sculpture in the form of a heart locket, performing a continuous opening and closing motion. An amulet that instead of holding an image, it contains a ghostly, lingering emptiness. A formless presence that is unstable and impossible to hold.
It reflects the interiority of the bearer, holding onto what cannot be fully contained.
It evokes the ways in which memories, experiences and attachments are stored and carried, forming identity and a sense of self.
The exaggerated scale reflects the weight of accumulated traces of the past that continues to linger, making the heart locket “too heavy to carry”.
The repetitive movement suggests hesitation and a stable instability in the ongoing process of holding on and letting go of what is internal and ephemeral. As it disperses, it points to the instability of memory and the impossibility of fully preserving it, or even trusting it.

⭐️ MEET THE GRADUATES ⭐️

Domenika Georgiou @dddem0nika

Keepsake of a Spectral Memorabilia (—HeartLocketMachine)

The project consists of a large-scale mechanical sculpture in the form of a heart locket, performing a continuous opening and closing motion. An amulet that instead of holding an image, it contains a ghostly, lingering emptiness. A formless presence that is unstable and impossible to hold.
It reflects the interiority of the bearer, holding onto what cannot be fully contained.
It evokes the ways in which memories, experiences and attachments are stored and carried, forming identity and a sense of self.
The exaggerated scale reflects the weight of accumulated traces of the past that continues to linger, making the heart locket “too heavy to carry”.
The repetitive movement suggests hesitation and a stable instability in the ongoing process of holding on and letting go of what is internal and ephemeral. As it disperses, it points to the instability of memory and the impossibility of fully preserving it, or even trusting it.

⭐️ MEET THE GRADUATES ⭐️

Domenika Georgiou @dddem0nika

Keepsake of a Spectral Memorabilia (—HeartLocketMachine)

The project consists of a large-scale mechanical sculpture in the form of a heart locket, performing a continuous opening and closing motion. An amulet that instead of holding an image, it contains a ghostly, lingering emptiness. A formless presence that is unstable and impossible to hold.
It reflects the interiority of the bearer, holding onto what cannot be fully contained.
It evokes the ways in which memories, experiences and attachments are stored and carried, forming identity and a sense of self.
The exaggerated scale reflects the weight of accumulated traces of the past that continues to linger, making the heart locket “too heavy to carry”.
The repetitive movement suggests hesitation and a stable instability in the ongoing process of holding on and letting go of what is internal and ephemeral. As it disperses, it points to the instability of memory and the impossibility of fully preserving it, or even trusting it.

⭐️ MEET THE GRADUATES ⭐️

Fruzsina Tamer @frutamer

How am I being

I approach art as a slow, introspective process rooted in the body—an archaeology of the pre-rational and the fluidity of sensation. My work engages the poetic and the surreal as tissues of embodied experience.

This interactive performance explores the dynamic connections between sensitivity and imagination. Sound, light and movement are all active agents creating shared spaces—shaping each other, while being shaped. Can we feel the qualities of how the seemingly separate outside world and the self are interrelated?

⭐️ MEET THE GRADUATES ⭐️

Fruzsina Tamer @frutamer

How am I being

I approach art as a slow, introspective process rooted in the body—an archaeology of the pre-rational and the fluidity of sensation. My work engages the poetic and the surreal as tissues of embodied experience.

This interactive performance explores the dynamic connections between sensitivity and imagination. Sound, light and movement are all active agents creating shared spaces—shaping each other, while being shaped. Can we feel the qualities of how the seemingly separate outside world and the self are interrelated?

⭐️ MEET THE GRADUATES ⭐️

Esmée Witsel @therealesmaniac

Esmée dedicates her practice to telling stories, with worlds that are often grim, humorous, and feel like a memory you lived once yourself.

Her graduation work is a mixed-media installation centered around a paint factory.

Animatronic arms go round and round using servo motors. Latex arms strike an eerily likeness, as do the wax reliefs. Wooden structures are ever moving, as they are holding together the installation from falling apart.

As the surroundings blur with the animatronics, the view gradually shifts, from factory to memory.

⭐️ MEET THE GRADUATES ⭐️

Esmée Witsel @therealesmaniac

Esmée dedicates her practice to telling stories, with worlds that are often grim, humorous, and feel like a memory you lived once yourself.

Her graduation work is a mixed-media installation centered around a paint factory.

Animatronic arms go round and round using servo motors. Latex arms strike an eerily likeness, as do the wax reliefs. Wooden structures are ever moving, as they are holding together the installation from falling apart.

As the surroundings blur with the animatronics, the view gradually shifts, from factory to memory.

⭐️ MEET THE GRADUATES ⭐️

Esmée Witsel @therealesmaniac

Esmée dedicates her practice to telling stories, with worlds that are often grim, humorous, and feel like a memory you lived once yourself.

Her graduation work is a mixed-media installation centered around a paint factory.

Animatronic arms go round and round using servo motors. Latex arms strike an eerily likeness, as do the wax reliefs. Wooden structures are ever moving, as they are holding together the installation from falling apart.

As the surroundings blur with the animatronics, the view gradually shifts, from factory to memory.

⭐️ MEET THE GRADUATES ⭐️

Eliise Järve @l6hestunud

[xx / x y → x¹ x⁰ / x¹ y⁰]

is a narrative storyline installation /machine embroidered on melted plastic/ exploring a speculative AI-enhanced future through the lens of a fictional TV show called “Judged by AI”.

As I am a world builder I don’t use fantasy to escape reality but instead to troubleshoot it. Just as a nerd uses a comic book to understand the world, I built this installation to act as a thermometer for our current “Mixed Reality” (more about MR in my thesis)

`` don’t see this piece as a prophecy__ . . .
______Instead I invite everyone to view my work with criticism

Step out of your screen hypnosis and ask yourself:
if this is not the future I want
then
What is the “Mixed Reality” I am choosing to create?

_Let’s make people dream more________!

⭐️ MEET THE GRADUATES ⭐️

Eliise Järve @l6hestunud

[xx / x y → x¹ x⁰ / x¹ y⁰]

is a narrative storyline installation /machine embroidered on melted plastic/ exploring a speculative AI-enhanced future through the lens of a fictional TV show called “Judged by AI”.

As I am a world builder I don’t use fantasy to escape reality but instead to troubleshoot it. Just as a nerd uses a comic book to understand the world, I built this installation to act as a thermometer for our current “Mixed Reality” (more about MR in my thesis)

`` don’t see this piece as a prophecy__ . . .
______Instead I invite everyone to view my work with criticism

Step out of your screen hypnosis and ask yourself:
if this is not the future I want
then
What is the “Mixed Reality” I am choosing to create?

_Let’s make people dream more________!

⭐️ MEET THE GRADUATES ⭐️

Eliise Järve @l6hestunud

[xx / x y → x¹ x⁰ / x¹ y⁰]

is a narrative storyline installation /machine embroidered on melted plastic/ exploring a speculative AI-enhanced future through the lens of a fictional TV show called “Judged by AI”.

As I am a world builder I don’t use fantasy to escape reality but instead to troubleshoot it. Just as a nerd uses a comic book to understand the world, I built this installation to act as a thermometer for our current “Mixed Reality” (more about MR in my thesis)

`` don’t see this piece as a prophecy__ . . .
______Instead I invite everyone to view my work with criticism

Step out of your screen hypnosis and ask yourself:
if this is not the future I want
then
What is the “Mixed Reality” I am choosing to create?

_Let’s make people dream more________!

Last Hacking Worlds session this academic year is happening this Thursday and we are pleased to welcome the team from RADIUS, Center for Contemporary Art and Ecology in Delft. Director and curator Niekolaas Johannes Lekkerkerk will be joined by Andrea Koll (Head of Educations) and Daan Veerman (Head of Communication) for a conversation on their work at RADIUS - sharing insights into their collaborative practices, their vision and the ways in which art, ecology, and institutional frameworks intersect in their day-to-day operations, including the processes through which projects and collaborations take shape.

HW #8: RADIUS
16 April - 16:30 - 19:00h
PB301, KABK

RADIUS is a center for contemporary art and ecology. Collaborating with artists and other stakeholders they tell the urgent and necessary story of climate and systems change by means of art. Running a continuous programme, consisting of exhibitions, public events and educational projects. RADIUS focusses on shaping the blueprints for regenerative and sustainable more-than-human worlds, telling stories that will shape the systems of the near future by using imagination and climate action.

Niekolaas Johannes Lekkerkerk works as director and curator at RADIUS, which he founded in 2021. He previously established The Office for Curating and worked as a co-director of A Tale of A Tub, Rotterdam, artistic director at POPPOSITIONS, Brussels and curatorial fellow at TENT, Rotterdam. His work as curator and writer centers on socio-political, theoretical and philosophical discourses around climate and systemic change, environmental and ecosystems thought, social and climate justice. His publications include Worlding Ecologies: Art, Science and Activism Towards Climate Justice (Valiz, 2024), Bestiary of Corona Animals (Onomatopee, 2020) and The Standard Book of NounVerb Exhibition Grammar(Onomatopee, 2018).

Hacking Worlds is an open lecture series and professionalization course inviting artists, scientists and thinkers to exchange and share insights on ArtScience and cross-disciplinary practice(s). Curated by @james_blondich and Eric Kluitenberg.

Talks are open to all KABK and KC students and ArtScience alumni. 🐙

Last Hacking Worlds session this academic year is happening this Thursday and we are pleased to welcome the team from RADIUS, Center for Contemporary Art and Ecology in Delft. Director and curator Niekolaas Johannes Lekkerkerk will be joined by Andrea Koll (Head of Educations) and Daan Veerman (Head of Communication) for a conversation on their work at RADIUS - sharing insights into their collaborative practices, their vision and the ways in which art, ecology, and institutional frameworks intersect in their day-to-day operations, including the processes through which projects and collaborations take shape.

HW #8: RADIUS
16 April - 16:30 - 19:00h
PB301, KABK

RADIUS is a center for contemporary art and ecology. Collaborating with artists and other stakeholders they tell the urgent and necessary story of climate and systems change by means of art. Running a continuous programme, consisting of exhibitions, public events and educational projects. RADIUS focusses on shaping the blueprints for regenerative and sustainable more-than-human worlds, telling stories that will shape the systems of the near future by using imagination and climate action.

Niekolaas Johannes Lekkerkerk works as director and curator at RADIUS, which he founded in 2021. He previously established The Office for Curating and worked as a co-director of A Tale of A Tub, Rotterdam, artistic director at POPPOSITIONS, Brussels and curatorial fellow at TENT, Rotterdam. His work as curator and writer centers on socio-political, theoretical and philosophical discourses around climate and systemic change, environmental and ecosystems thought, social and climate justice. His publications include Worlding Ecologies: Art, Science and Activism Towards Climate Justice (Valiz, 2024), Bestiary of Corona Animals (Onomatopee, 2020) and The Standard Book of NounVerb Exhibition Grammar(Onomatopee, 2018).

Hacking Worlds is an open lecture series and professionalization course inviting artists, scientists and thinkers to exchange and share insights on ArtScience and cross-disciplinary practice(s). Curated by @james_blondich and Eric Kluitenberg.

Talks are open to all KABK and KC students and ArtScience alumni. 🐙

⭐️ MEET THE GRADUATES ⭐️

(warning: flashing imagery in second slide)

Wouter van den Elzen @wautor

PLATVORM (working title).

PLATVORM is an installation that explores a form of experience which attempts to withdraw itself from forms of representation and the relation between ob/subject through bodily resonance and infra-sonics. Visitors are invited to lie down on a platform which oscillates at frequencies below the threshold of hearing; vibrations that are not perceived as sound in the conventional sense, but as low-frequency movements that travel through and resonate the (human)body.
As the platform vibrates, perception gradually shifts away from external observation toward a more internal, diffuse awareness, where small variations in intensity and rhythm become noticeable over time, and where attention is drawn back into the body as a site of transmission. Experience is dependent on the bodies present, their positioning, and the duration of their engagement. Through physical contact and coupling the boundary between the work and its audience becomes increasingly porous, as participants dampen, transmit, and alter the composition that they have become part of, inviting them to a form of (in)active engagement.

⭐️ MEET THE GRADUATES ⭐️

(warning: flashing imagery in second slide)

Wouter van den Elzen @wautor

PLATVORM (working title).

PLATVORM is an installation that explores a form of experience which attempts to withdraw itself from forms of representation and the relation between ob/subject through bodily resonance and infra-sonics. Visitors are invited to lie down on a platform which oscillates at frequencies below the threshold of hearing; vibrations that are not perceived as sound in the conventional sense, but as low-frequency movements that travel through and resonate the (human)body.
As the platform vibrates, perception gradually shifts away from external observation toward a more internal, diffuse awareness, where small variations in intensity and rhythm become noticeable over time, and where attention is drawn back into the body as a site of transmission. Experience is dependent on the bodies present, their positioning, and the duration of their engagement. Through physical contact and coupling the boundary between the work and its audience becomes increasingly porous, as participants dampen, transmit, and alter the composition that they have become part of, inviting them to a form of (in)active engagement.

⭐️MEET THE GRADUATES ⭐️

Edern Janneau @edern.janneau

This project consists of 4 sound sculptures equipped with Lidars allowing real-time detection of the positions of surrounding visitors. The sculptures’ unique feature is their ability to translate visitor position data into sound. Each visitor is assigned a specific sound frequency as they approach the sculptures. By moving around them, the visitor creates sonic fluctuations based on their position in space, their speed, and their distance from the object. The entire project is designed according to rigorous calculations of proportions using the golden ratio. The layers constituting the objects, the thickness of the strata that compose them, as well as the sounds emitted by each of them, are therefore calibrated on the same proportional bases. The initial idea behind the project was to allow for a sensitive and poetic application of an object primarily used for detection and surveillance (Lidar), but also to address the relationship visitors have with the artwork when experiencing an exhibition.

Here, visitors are not simply spectators but are an integral part of the life of the artwork. Without them, each object emits only a monotonous frequency. Their movements and paths through the space animate these structures and bring them to life. This series of sculptures is therefore a way of creating an audible testimony of the presence of one or more people in a space. Each person or group of people approaching the sculptures will therefore create a unique and ephemeral sound composition, bearing witness to their presence in that space.

⭐️MEET THE GRADUATES ⭐️

Edern Janneau @edern.janneau

This project consists of 4 sound sculptures equipped with Lidars allowing real-time detection of the positions of surrounding visitors. The sculptures’ unique feature is their ability to translate visitor position data into sound. Each visitor is assigned a specific sound frequency as they approach the sculptures. By moving around them, the visitor creates sonic fluctuations based on their position in space, their speed, and their distance from the object. The entire project is designed according to rigorous calculations of proportions using the golden ratio. The layers constituting the objects, the thickness of the strata that compose them, as well as the sounds emitted by each of them, are therefore calibrated on the same proportional bases. The initial idea behind the project was to allow for a sensitive and poetic application of an object primarily used for detection and surveillance (Lidar), but also to address the relationship visitors have with the artwork when experiencing an exhibition.

Here, visitors are not simply spectators but are an integral part of the life of the artwork. Without them, each object emits only a monotonous frequency. Their movements and paths through the space animate these structures and bring them to life. This series of sculptures is therefore a way of creating an audible testimony of the presence of one or more people in a space. Each person or group of people approaching the sculptures will therefore create a unique and ephemeral sound composition, bearing witness to their presence in that space.