Emily Huurdeman

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Netherlands (residence) °1985
affiliation: Fontys, Academy of the Arts, Tilburg (NL)
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EGAHUURDEMAN (she/her)

artist, researcher, educator 

Website: www.egahuurdeman.nl

E-mail address: info@egahuurdeman.nl

Phone number: 0031645024248

 

Profile: Research Catalogue

Profile: Academia

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research

research expositions

  • PD Essaying - EDUCATION (last edited: 2025) author(s): Emily Huurdeman, Michelle Teran, Jasper Delbecke, Falk Hubner, Robin Deacon This exposition is in progress and its share status is: visible to all.
    This space will be used for workshops
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  • SAR SIG subgroup: Artistic Essaying Research and Pedagogy Group (last edited: 2025) author(s): Haris pellapaisiotis, David Limaverde, Emily Huurdeman, Peter Thomas, Elise Nuding, Vanessa Ramos-Velasquez, Haris Pellapaisiotis, Iram Ghufran, Ana Cristina Pansera de Araujo, Lyn hagan, Denis Esakov, Jez Coram This exposition is in progress and its share status is: visible to all.
    Artistic Essaying Research and Pedagogy Group Jez Coram Emily Huurdeman Expanded, hybrid and experimental forms of essaying in practice-led research and pedagogy Central Questions for the group: 1. To what extent should we expand the essay through hybrid and experimental forms? 2. How should we produce essays in our current personal-aesthetic-political-technological conditions of crises? 3. To what extent can hybrid and experimental forms of essaying act as practice-led artistic research? 4. How can essaying as practice-led artistic research inform pedagogical approaches? The intention for this group is to bring together practitioners and theorists working and researching in the arts, or related fields, to consider and develop creative critical approaches to hybrid and experimental forms of essaying based on the above questions (as a starting point). The aim is to develop an international collective of individuals concerned with the potentiality of creative critical essaying, and how these hybrid and experimental forms of essaying may exist as practice-led artistic research and praxis. Then, how these praxes may inform pedagogical approaches. At its core the group is intended to be inclusive, accessible, interdisciplinary, cross-disciplinary, and even off-disciplinary to encourage tangential and lateral associations and pathways through individual and collaborative praxis. When / where: Five online meetings a year (Zoom or Teams), and one potential face to face meeting as part of the conference Provisional structure for meetings: 1 or 2 talks, presentations, or shows of work in progress (Individual or collaboration), based on group refinement of the research questions / areas of inquiry, followed by discussion. How: I would take up the role of organising the meetings and admin for the group. I would be looking for someone to share responsibility for the group and support facilitation. Potential contributions: As a group agree plans for collective exhibitions, conference talks and papers, articles, and special issues.
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  • SAR SIG - Co-agency core group (last edited: 2025) author(s): Emily Huurdeman, Jens Badura, Alexander Damianisch, Leonhard Grond, Anke Haarmann This exposition is in progress and its share status is: visible to all.
    Co Agency – Artistic Research as Transformative Practice This SIG will address the question of what role artistic research plays and could play in the context of contemporary, social-ecological transformation processes. This refers in particular to the potential for shifting perceptual dispositives and regimes of relevance through artistic-research modes of thought and practice, and the associated opening up and activation of actionable futures. The aim of the SIG is, on the one hand, to create a platform within SAR for the exchange of researchers interested in the topic and to network ongoing and planned projects in this field. On the other hand, it also aims at conceptual work: Here, fundamental questions are to be considered, such as the characteristics of an epistemology of transformation through artistic research processes in the context of debates about the future. But also, the question of the integration of artistic research into concrete research contexts such as transdisciplinary sustainability research should also be addressed - not least with a view to shaping suitable framework conditions and policies. The SIG will also serve as an interface to ongoing initiatives such as the New European Bauhaus, the new, creative KIC: EIT Culture & Creativity (namely the Strategic Topic Group “Just innovation”), the European creative skills alliance Cyanotypes (namely the task force “Urgent skills needs”) and the COST Action "European Forum for Advanced Practices" and strengthen the importance of artistic research in these contexts.
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  • FAA Research Space - wrap (last edited: 2025) author(s): Emily Huurdeman, David Limaverde, Jilca van Tienen, Lisanne Meijers This exposition is in progress and its share status is: visible to all.
    deze pagina is voor d eMKE leergemschap
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  • PER-FORM - the performative essay and the essayistic performance (2017) author(s): Emily Huurdeman published in: Research Catalogue
    Everyone knows what an essay is, or at least everyone think they know what an essay is. But try to define it and you’re most likely at a loss, because the essay is notoriously difficult to define. It balances between the artistic and the scientific, the experiential and the intellectual, it is labeled as an undefinable non-genre. The essay is experimental and doesn’t fit neatly in pre-defined boxes of genres, just like performance. Among other things they share a process oriented atitude and are inherently authorial. Having many characteristics in common, I wondered: can performance be essayistic? This research investigates the essay and its connection to performance theoretically, and investigates the essayistic performance artistically. I have chosen the workspace of the Research Catalogue to present my research in. This enables spatial freedom of form and content and can accomodate both the textual and artistic side of the research equally in the same space.
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  • ESSAYING ART - AN UNMETHODOLOGICAL METHOD FOR ARTISTIC RESEARCH (last edited: 2022) author(s): Emily Huurdeman This exposition is in progress and its share status is: visible to all.
    This research is about Artistic Research education. Artistic research is a relatively new academic field where science and art are integrated. But defining this institutionalized field, and the methods and evaluation criteria of its output, is highly debated. There is no one universal definition, criteria or evaluation for this in this educational field. Which isn't surprising considering that both the artistic as scientific element can consist of a vast verity and combination of fields, topics and disciplines[1]. But definitional difficulties are also inherent to the field because the scientific and artistic methodologies are subject to different criteria. Science needs to articulate its sources, as well as its relevance and its context, and it must provide clear argumentation. Furthermore, it is strictly bound to academic and ethical rules. Art is not constraint by these methods, ethics and rules. Can we integrate the scientific and artistic in a working method? The essay inherently embraces both the artistic and the scientific. It drifts in-between the subjective and the objective, the experiential and the intellectual. The essay expresses a train of thought, and critically reflects on those thoughts: it experiments and speculates. What if artists use the essay as an un-methodological research method? The artistic researcher approaches the topic of investigation essayistically; essaying art. The form of expression can encompass all possible artistic media, and all possible combinations of media like: writing; video; photography; sound; composition; performance and more. In order to put this theory to the test, I have formulated an elective course for first-year students of the research master Artistic Research at the University of Amsterdam (NL). In this experimental pilot, I investigate how an essayistic approach to artistic research could be practically used as an unmethodological method for developing individual Artistic Research form and approaches. This research describes, evaluates and critically reflects on the educational project and the theoretical debate in Artistic Research.
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  • Practicum Artium Online Exhibition (last edited: 2023) author(s): Emily Huurdeman, Liza Swaving connected to: Royal Academy of Art, The Hague This exposition is in progress and its share status is: visible to all.
    Digitale expositie Practicum Artium (proef versie) The coronavirus pandemic has suddenly closed schools, universities, museums and galleries. As we all wait for the current measures to be lifted, we are exploring new, digital ways to stay connected. This year’s Practicum Artium exhibition will take place on Research Catalogue, an online, collaborative workspace where art and academia meet. A very inspiring and relevant context for showcasing the works of 50 students? who developed their artistic skills in drawing, painting, graphic design and photography over the past 3 months. The arts can be a reflection on society and its times. It therefore does not come as a surprise that many students chose to comment and reflect on the Covid-19 pandemic in their final artistic works. The coronavirus has planted seeds of inspiration for some. For others, it’s mostly the dark energy and sadness of the pandemic that resonates in their work. Other themes are …. Viewing art online changes the experience. Some nuances might be lost in digital form, such as the daylight hitting a material surface or the scent of paint on a canvas. Other experiences will be added, such as the possibility to re-visit the exhibition space again and again and again at any moment and from any place you’d prefer. Please feel welcome to freely scroll, click, read, swipe and navigate your way through this online exhibition space, and enjoy the diverse works of these young artists!
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  • LES FHK MKE2 Onderzoek (last edited: 2025) author(s): Emily Huurdeman, carry van bokhoven This exposition is in progress and its share status is: visible to all.
    Onderzoekslessen MKE 2
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  • LES ADE O&O4 onderzoek (last edited: 2024) author(s): Emily Huurdeman This exposition is in progress and its share status is: visible to all.
    deze pagina is voor de lessen
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  • Research Catalogue for Pacesetters (last edited: 2025) author(s): Emily Huurdeman, Ega Huurdeman, Mari Sanden This exposition is in progress and its share status is: visible to all.
    introduction and workshop
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works

  • KABK Future Fossils Report (28/08/2019) connected to: Royal Academy of Art, The Hague
    Publication: Book, Royal Academy of Art The Hague, artist(s)/author(s): Alice Twemlow, Alessandro Celli, Emilie Monty, Liselot Cobelens, Ivor Borovecki, Igor Schiller,Violet Luu Bao Tran, Emily Huurdeman
    FUTURE FOSSILS A Design Archaeology of the Here and Now Royal Academy of Art The Hague Independent Study Track, Spring 2019 Alice Twemlow The damage being done to our planet by the products, processes, and values generated by design is increasingly visible and measurable. This is particularly apparent when we look at a phenomenon like plastiglomerate, a new rock conglomerate made up of natural debris mixed in with molten plastic, found mainly on beaches in Hawaii where the plastic adrift at sea gets melted by underwater lava streams, or on beaches by the human intervention of campfires. In this KABK IST course, a group of students spent a semester combing the increasingly blurred tidelines between the natural and manmade environment, archaeology and geology, fossils and relics, physical objects and digital data. Informed by key texts, guest lectures, and field trips, the working group conducted research and speculated through design, ceramics, writing, image-making, and curatorial strategy to imagine what are the mass-produced designed entities of our Anthropocenic era that will become signals in the earth’s geological strata for future generations to read us by — the fossils of the future. We located our enquiries in the KABK and since the KABK building was completed 81 years ago, we decided to project 81 years into the future. Each student intuited the perspective of an archaeologist based in The Hague in the year 2100. Which designed, mass produced objects would they be likely to find on the site of the former KABK? How will the object have degraded in the intervening years, considering which types of soil and sand are below the KABK? What will The Hague be like in 2100? What would the archaeologist think their find was used for? What will be the values of 2100 and how will they shape the way the object is understood and interpreted? The process and the outcomes of their enquiries are presented in this booklet.

sets

research expositions (collaborated)