Emily Huurdeman

Netherlands (residence) °1985
affiliation: Fontys, Tilburg (NL); Royal Academy of Art, The Hague (NL); Sandberg Institute Amsterdam (NL)
en

 

EMILY HUURDEMAN artist, researcher, educator 

Website: www.egahuurdeman.nl

E-mail address: info@egahuurdeman.nl

Phone number: 0031645024248

 

Profile: Research Catalogue

Profile: Academia

Profile: Linkedin

 

AFFILIATIONS:

Teacher at Master Art Education Fontys School of Fine and Performing Arts, Tilburg

Teacher Research & Discourse at Royal Academy of Art, The Hague 

Research Catalogue Portal Manager at Royal Academy of Art, The Hague 

Coordinator research Lecorate Art Theory & Practice and Design at Royal Academy of Art, The Hague 

Coordinator research consortium Making Matters, ACPA, Leiden University 

Board member Mouse Ear Concerts, Amsterdam

Co-initiator Café Chercher, art café for unfinished research 

 

EDUCATION:

MA Education in Arts at Piet Zwart Institute, Rotterdam NL (2016-2018)

Biohack Academy #4 at Waag Society (2017)

reMA Artistic Research at University of Amsterdam NL (2014-2016) 

BA Fine Art at HKU Utrecht NL (2010-2014)

research

research expositions

  • 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: 2020) author(s): Emily Huurdeman This exposition is in progress.
    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: 2020) author(s): Emily Huurdeman, Liza Swaving connected to: Royal Academy of Art, The Hague This exposition is in progress.
    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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  • FHK MKE1 ONDERZOEK (last edited: 2021) author(s): Emily Huurdeman, carry van bokhoven This exposition is in progress.
    Lessen Master Kunsteducatie Fontys
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  • FHK MKE2 Onderzoek (last edited: 2022) author(s): Emily Huurdeman, carry van bokhoven This exposition is in progress.
    Onderzoekslessen MKE 2
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  • FHK Research Fair (last edited: 2020) author(s): Emily Huurdeman This exposition is in progress.
    FHK Research Fair Emilu Huurdeman
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  • KABK Lectorate Art, Theory & Practice: Thesis Awards (last edited: 2022) author(s): Emily Huurdeman connected to: Royal Academy of Art, The Hague This exposition is in progress.
    Annually, theory teachers from various departments of the Royal Academy of Art nominate their department’s best thesis for the thesis award. An independent and annually changing jury decides on the winning thesis award. The jury consists of a chair, an artist or designer teaching at the academy and/or the previous winner of the thesis award and an external member.
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  • Research Catalogue Workshop (last edited: 2022) author(s): Emily Huurdeman, Ulla Havenga This exposition is in progress.
    Research Catalogue Workshop
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  • Blueprintgroup - Publication Artistic Research (last edited: 2022) author(s): Emily Huurdeman, Emlyn Stam, Pnina Avidar, Ellen van der Aart This exposition is in progress.
    ‘For those who wish to spin the world in the opposite direction’ Our Blueprint together, as a starting point for further policy with regards to artistic research within FHK. BA Performing Arts & Design (Dance Academy, Rock Academy, APACA, AMPA, M&M, Artcode), BA Education (Dans, ABV, Theater, Muziek), Masters (PPS, Music, COMMA, MKE, MAU)
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  • Fontys - Welcome to RC (last edited: 2022) author(s): Ulla Havenga, Emily Huurdeman This exposition is in progress.
    This page welcomes newcomers from Fontys to engage with the Research Catalogue. (For Fontys Master students & Staff only)
     open exposition comments (0)

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.

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