THE PERFORMATIVE POWER OF MATERNAL METAMORPHOSIS IN CONTEMPORARY ART
(2025)
author(s): Yvonne Grul
published in: Royal Academy of Art, The Hague
Thesis of the Royal Academy of Art, The Hague, 2022
BA Fine Arts
In this thesis, I explore the phenomenon of maternal metamorphosis in the context of performance art. It looks at the lived experiences of mothers against the light of the radical changes they face, altering their form and way of being. This can be under the influence of natural or external events, such as death and the passing of generations or having to deal with the maternal consequences of political forces. It also considers portraying a mother as something or someone else through performance and play with literal and figurative meaning. Maternal metamorphosis can be portrayed in terms of metaphor, like ‘the mother as intangible heritage’ as an image for the metamorphosed deceased mother. Expressing maternal alterations metaphorically by performance can lead to growth and change, and contribute to the broadening of maternal representations and experiences within visual art.
THE BENEFIT OF INCONVENIENCE- Revealing public space by walking and mapping
(2025)
author(s): Shuk Wun Li
published in: Royal Academy of Art, The Hague
Thesis of the Royal Academy of Art, The Hague, 2023
MA Interior Architecture
From the moment we wake up in the morning, we are triggered by the loud alarm, travel to work on crowded trains, and make thousands of decisions every day. Inconveniences can arise in every situation, and while most people accept them, very few try to fix them. The COVID-19 pandemic is undoubtedly the biggest inconvenience experienced by everyone on the globe simultaneously. People's way of life has been affected by it, and the world has been shut down for more than two years since December 2019. Despite the destructive effects of the virus, it has given everyone a chance to pause and reflect on their lives. The topic of my thesis is based on the idea that I benefit from the inconveniences of daily life. After moving to the Netherlands, I realized that it takes me more time to complete daily tasks than it used to, and my life has become less hectic. So, I started reading articles on the benefits of inconvenience. Kawakami writes that “the benefit of inconvenience cannot be derived from mere nostalgia for 'the good old days or by thinking positively about the inconvenience.” He also thinks that convenience does not necessarily satisfy people and enrich human life. Yet, we have become so dependent on convenience that we no longer pay attention to its consequences. While the purpose of this paper is mainly to identify the benefits of intentionally experiencing inconvenience in our built environment, a discussion of convenience will also be included to compare the different levels of inconvenience. Are there any inconveniences associated with 'too much convenience'? What are the ways in which inconvenience is purposefully incorporated into the everyday environment? This paper will investigate these questions and provide suggestions for implementing beneficial inconveniences in the built environment.
Stranger Danger
(2025)
author(s): Mariela Popova
published in: Royal Academy of Art, The Hague
Thesis of the Royal Academy of Art, The Hague, 2022
BA Interactive Media Design
Standing on the Stage of Convention : Critical attitudes in visual art seen through metafiction
(2025)
author(s): Iver Uhre Dahl
published in: Royal Academy of Art, The Hague
Thesis of the Royal Academy of Art, The Hague, 2022
BA Fine Arts
In this thesis insight from the discourse on metafiction, a mode of writing which breaks and exposes the conventional frames of literary fiction, is used to analyse works of visual art that show a similar criticism towards the conventions of their medium.
Sprouting-through: guarding the ambiguous nature of more-than-human experience
(2025)
author(s): Ieva Maslinskaitė
published in: Royal Academy of Art, The Hague
Thesis of the Royal Academy of Art, The Hague, 2023
BA Photography
The high ecological demands in the age of mass extinction present a precarious position: wanting to change the state of the environment but feeling hopeless in being able to do so. Ecological thinking and paralyzing feelings of environmental doom are carving a gap between themselves. Through this research, I want to plant a seed in that gap.
The research is focused on exploring how artistic practice can reshape the understanding of what it means to be ecological and the other way around. Whether it is human and non-human relations or the nature and culture dichotomy, in my artistic practice I am most intrigued by breaking binary thinking and blurring boundaries. I love frameworks and fixed things just because I can break them, bend them out of their form, from still to alive, from permanent to temporary, from fixed to fluid. I wonder how this mutability of art practice can reshape our understanding and approach toward the environment. If art is closely related to subjective experience, how can ecology be as well? How can the spreading of different perspectives help reshape our understanding of ecology? How can artistic practice contribute to the unlearning of monoculture, allowing space for ambiguity and fabulations for the current/future ecological practices?
The method for this research is encapsulated in a seed. This seed is no different than a thought. The process of a seed is a fascinating one: the growth from a seed always transcends its body, mutates through the course, transforms but never ends. By comparing this research to a seed, I want to watch a thought grow and transform: from a seed to a sprout, to a fruit, and back into the soil.
Shape-shifting as the growth from a seed does, the research text switches between styles of writing. When roots need to sink in and hold the body down standing against treacherous weather, text ranges between essayistic and semi-academic: to ground in theory, contextualize in a field and analyze with examples. Other times I cultivate a more experimental, descriptive, and personal way of writing, which flowers wild and acts as if it’s a contaminating weed: to bring subjective experience and ambiguity into the sunlight. These styles do cross-pollinate.
The soil of this research is also nourished by dialogues with its study subjects (whether it is an artwork, project, person, or place) acknowledging the importance of being present, engaging in conversation, and activating senses when trying to understand the environment.
Through my research, I will be addressing monocultural thinking and its consequences for the environment on a global scale as well as feelings and their expressions stemming from living on a damaged planet, such as eco-grief, doom-thinking, and guilt-tripping. Following through with the seed’s process of growth and transformation I wonder how mutable is the medium of photography in an ecological sense and whether ecological art can reject the Anthropocene at all. Through visual fragments of boundary-crossing unconventional art practices, I hope to enter dark wet spaces where a fallen fruit starts decaying, where ambiguity, subjectivity, and porosity are the root systems caving the path to a better understanding of the environment, acting through uncertainty and curiosity.
Spirit and the Machine, the Curious Case of Spider's Transformation into a Digital Ghost*
(2025)
author(s): Jeroen Zwaap
published in: Royal Academy of Art, The Hague
*Thesis is written in Dutch!
"Spirit and the Machine, the Curious Case of Spider's Transformation into a Digital Ghost" is a research paper that explores themes of technology, voyeurism, and identity through the experiences of the characters
Spider and Nachtdonker.
Using a fictional story as its medium, the paper follows the journey of the voyeur Spider, who becomes trapped in their own desires and seeks the help of retired psychoanalyst Nachtdonker. Through a dialogue of monologues between the two, the paper explores the
impact of technology on human consciousness and relations, the system of networked cameras as an extension of the Self, the power dynamics of voyeurism between observer / observed, and the desire to look without being seen in the 'face of ubiquitous surveillance and control.
The paper's experimental structure employs fragmented timelines and various text types to convey Spider's and Nachtdonker's experiences and perspectives. The nonlinear stream of consciousness and poetic language invites readers to engage with the text on multiple levels,
allowing a more nuanced exploration of the themes.
Through its approach, "Spirit and Machine" challenges blurs the boundaries between fiction and nonfiction. It offers a fresh perspective on the complex interconnectedness between desire, intimacy, technology, power dynamics between observer / observed,
surveillance, and voyeurism.
This adds a layer of depth and complexity to the exploration of the themes, highlighting the psychological and emotional aspects of technology use that are often overlooked in discussions of surveillance
and voyeurism.
