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Derive Berlin Residency & Spring School

Research Group: Cultural and Creative Industries

Dérive Berlin Residency is a two month residency awarded twice a year by Belius Foundation Berlin in collaboration with the Cultural and Creative Industries chair at Caradt. 

The name of the stipend is a reference to the famous artistic exploration strategy employed by the Situationists. La dérive stood for the strategy of drifting aimlessly through the city, subconsciously directed by its aesthetic contours as well as unexpected encounters, with the ultimate goal of making an entirely new and authentic experience. One of the key elements of la dérive was called the technique of possible rendezvous, which points to one of the crucial principles in the philosophy of Belius Foundation: Serendipity. 

Outcome 

The awardee is expected to produce at least one new piece of work before the end of the residency period. Belius Foundation facilitates and supports the preparation and production of this work. The awardee presents the work during a self-organised Dérive Finissage in Berlin reflecting the experiences and work produced during the residency. 

Spring School 

The Dérive Berlin Spring School is a spin-off of the Dérive Residency programme. The Spring School is a research internship organised by Caradt in collaboration with Belius Foundation, Berlin.  

Twelve students from St. Joost School of Art & Design and the Communication & Multimedia Design programmes at Avans University of Applied Sciences, in Breda and Den Bosch, are selected to conduct research for one week in Berlin. The programme provides students with a guided learning and research experience within Berlins cultural scene of topical, social projects at the intersection of art, design and technology. 

The students immerse themselves in the creative, urban expanse of the German capital. They develop and expand their research skills, and gain inspiration for their own creative work. 

Research collaboration

One of the goals of Dérive Berlin Spring School is interdisciplinary research collaboration between students from the different study programmes. The aim is to eventually link the project with the Berlin-Weissensee Art Academy. 

Ongoing project, started August 2016. 

Principle investigator
Sebastian Olma

Other researchers involved
Rob Leijdekkers (tutor / project coach)
Stijn Ossevoort (tutor / project coach)
Giulia Magro (resident 2019)
Ningli Zhu (resident 2018)
Eric Patel (resident 2017)
Ada Favaron (resident 2017)
Lavinia Xausa (resident 2016)
Imad Gebrayel (resident 2016)

Funding
Avans University of Applied Sciences
Belius Foundation, Berlin

Collaborators
Master Institute of Visual Cultures: students of Situated Design, Visual Arts and Post Contemporary Practice, and Ecology Futures
YAFF, Young Artists Feed Forward, Breda

Institute
Avans University of Applied Sciences

‘Our research group investigates the role artists, designers and cultural producers in general can play in developing the aesthetics and poetics of a desirable future.’

Sebastian Olma is professor Cultural and Creative Industries. He works for the Expertise Centre Art, Design and Technology, and is a tutor at the Master Institute for Visual Cultures.

Sebastian Olma arrow

‘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. 

Rob Leijdekkers arrow

Research Group: Cultural and Creative Industries

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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