LB2 Graduation 2022 and V2 + TENT
LB2 Graduates 2022 and V2_ + TENT
About the collaboration between LB2 graduates of 2021, V2_ and TENT. Overview of event and proposed planning: .
Student assistants
Space for the names and contact details of two students who will be the liaison between LB2 and V2_/TENT.
Adèle Grégoire
adele.gregoire@insas.be
0032 498691797
Alumni proposals
- Please add your name, email address and phone number plus a short project description, bio and no more than three images (see previous year's page for examples).
Add your personal details here.
Project description
Add your project description here.
Bio
Add the short biographical note here.
Images
Luca Tichelman
Lucatichelman@gmail.com
+31638104317
Project description
Two short videos entitled THIS IS US and LOOK A LIKE / LUC A LIKE. These will be accompanied by three miniature sculptures named; SMALL THINKS MATTER. These projects are in relation to topics such as how we as humans seek to connect with one another and therefore ourselves - The endless surge for how we are and what role our family members play in defining that.
In THIS IS US we see a group of three people in three different scenes. Every scene shows how the group wants to be identified as a whole. “I belong therefore I am “. THIS IS US has a non-linear dramaturgy and can be seen as a collage of moments.
LOOK A LIKE / LUC A LIKE is a digital triptych; on each screen we see Luca being dressed up in a different costume doing small gestures. This work is an image-based resurge into the different characters one person can embody. “By imitating many others I may find a self “
Link to video: https://vimeo.com/688296642 Password:123L!
SMALL THINGS MATTER Is a series of three miniature moving sculptures. Every sculpture refers to something my mother ever did or said that had an impact on me. This work is in production and finishes on 4 June, therefore I have no material I can show before but to have an idea I'm sending a link of a previous work that is in line with this new one; https://lucatichelman.nl/fashionclash-campange-beeld
needs:
- white space
-3 white pillars measurements 33x33x103
-1 flat big tv screen measurement arounf 60 inch 4K/60hertz qualty
-3 headphones connected to the screen
-3 small hooks to hang the headphones on just under the screen
Bio Luca Tichelman, film-maker and performer, graduated in 2017 from the Toneelacademie Maastricht (Institute for Performative Arts Maastricht). She aims to create a magical, absurdist world that appeals to the imagination by using minimal resources and seeks to maintain a sense of humor in serious subjects. Luca is currently enrolled in the master’s degree program ‘Lens-Based Media’ at the Piet Zwart Institute in Rotterdam, the Netherlands.
http://www.lucatichelman.nl/ https://www.instagram.com/luca_tichelman/
Images
Adèle Grégoire
adele.gregoire@insas.be
0032 498691797
Project description
"Of all places, the best nights were found in the garden of old ladies" is a story where many encounters occur.
This time, a community of nomadic ensenia foetidia worms, also called red worms, stumble upon a couple of old ladies and a drawing.
I'll expose you to the moments they shared together through an audio visual installation made of drawings, sound surrounded by found, reclaimed, recycled, or composted material.
Images and technical specs:
the nuclear plant in Tihange, Belgium - Marie-Rose Dotremont
2019, Watercolor on paper
Marie-Rose's drawing meets worms - collaborative drawing by Adèle Grégoire and the worms
2022, graphite, earth and cutaneous mucus on paper
worms rescue - collaborative drawing by Adèle Grégoire and Marie-Rose
2022, graphite on paper
potential installation view
needs:
-8 drawings, with hand made frames
-8 channel sound (with something like that by example: http://www.waveplayer-systems.com/)
-8 long mini-jack cables
-8 headphones
-8 headphones holder made of found material
-daylight or punctual light
Bio
Adèle Grégoire
After studying drawing in la Cambre and cinematography in L'INSAS in Belgium,
I've been searching for ways to combine these two practices in the Lens-based media department of the Piet Zwart Instituut in Rotterdam.
At the moment, my practice explores speculative narratives depicting the possible encounters of different kinds of earthly beings and things through writing, drawing, and sound.
I like to say that I'm an observer constantly seeking to learn and unlearn through looking at my surroundings.
I try to work with love and attention fostering collaborative processes, in order to capture briefly the anxieties crossing my path, traversing me and the nearby.
In my work I want to acknowledge these anxieties setting them in a context, then let them continue their journey through matter and time.
Kamali van Bochove
kamalivanbochove@gmail.com +31 6 83 65 89 75
project description
on a small island, in a big island (2022)
“The power to weave a story out of the dust, to narrate a story that the fragments support though others might fabricate a different narrative out of the same chaotic heap of fragments. The archive then is also a place of dreams,” says Steedman (2002) .
My grandfather’s archive of (moving) images is a place of dreams. In this chaotic heap of fragments I have found a possibility for places, people and parts of ourselves to not just meet and part – again and again – but to stay together.
A short film that explores a family history of coming and going, seen through glimpses and intimate details my grandfather has captured, composed and poetically revisited by me.
An attempt to hold us at once. Where we are is not a place.
bio
Kamali van Bochove, 1995 (Curacao)
Born in Curacao to a Dutch mother and Surinamese father. In 1999 I moved to Rotterdam where I still live to this day. In 2018 I obtained my bachelor degree in photography at the Willem de Kooning Academy.
Within my artistic practice I am interested in the interrelationship between photography and film. I often combine both photography and film in my projects, visually exploring what happens when the two meet. I try to bend the boundaries of these two media as I am curious to where they shift. (When does a photo become film-like and when does a film become photo-like?)
Thematically I am concerned with investigating my own identity in relation to that of my family. I have a family history of diaspora. I’d say that distance plays an important role regarding my identity. I’m interested in what role images play within the apprehension of this distance and how images can bring us (my family and me) closer together.
With my work, I investigate the role, value and use of images within family structures and contexts; and also how this changes over time. I often play with the question of when an image is amateurish and what happens when these images are shown or presented in a different context. I try to explore in a poetic way what it means to film, show, use and view 'amateur' images (from the family archive).
images
