In 2022 the exhibition AT FIRST I WAS AFRAID, I WAS PETRIFIED KEPT THINKING I COULD NEVER LIVE WITHOUT YOU BY MY SIDE BUT THEN I SPENT SO MANY NIGHTS THINKING HOW YOU DID ME WRONG AND I GREW STRONG AND I LEARNED HOW TO GET ALONG took place in at PARK, in Tilburg. More Info
In parallel to this exhibition, a publication (children’s book) titled Nuummi (alarm alarm, van zwezerik tot blindedarm) was created by Caradt researcher Rob Leijdekkers, in collaboration with Hedwig Houben, Brenda Tempelaar, Hans Leijdekkers.
A body has a side that is visible and a side that is less visible. Both inside and outside the body all kinds of processes are constantly taking place that affect its overall functioning. The immune system as an analogy to the art world.
Nuummi (alarm alarm, van zwezerik tot blindedarm) was published in 2023 by The Long Tail of Art in collaboration with Centre of Applied Research for Art, Design and Technology, Avans University of Applied Sciences.
Check out more info on Nuummi (alarm alarm, van zwezerik tot blindedarm)
Author(s)
Rob Leijdekkers
Contributors
Hedwig Houben, Brenda Tempelaar, Hans Leijdekkers
Details
ISBN: 9789082811124, 44 pages, cover silk-screened, print run: 150
‘As a result of my current research, I ask the students the questions “what is your work” and “what works for you.’
Rob Leijdekkers is a researcher at the Cultural and Creative Industries research group and a tutor at the Art & Research programme at St. Joost School of Art & Design.
The research group Cultural and Creative Industries investigates the role of artists and designers as creative innovators and drivers of social and economic change. Affiliated researchers analyse the cultural and creative industries from a critical point of view and examine the conditions under which timely forms of aesthetic expression and social connectedness can actually take place within the precarious reality of this field. What economic models are required by artists and designers to create a meaningful practice within the aesthetic, social, and economic intentions of the cultural and creative industries? What skills sets are required for those artists and designers who don’t just want to follow movements, but actually shape novel social and economic models of the future?
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