Collecting Otherwise engages with, and through, an intersectional, continuously growing Working Group that questions the archival gaze using a work-in-progress method. The group consists of a multi-disciplinary and international team. Members’ perspectives on the archive, and through it also the collection of Het Nieuwe Instituut, range from the artistic to the academic.The Working Group comes together on a bi-weekly basis, contributing collectively to the bi-weekly and monthly gathering.
Setareh Noorani is an architect, researcher, zinester, and part of experimental music collective Zenevloed. In her projects and creative involvements, she uses various media to explore ways of unfolding and embodying, questioning processes of trauma and time, always in the grey space between academic and artistic research. This involves investigating, disrupting, and unfolding archives through spatial investigations and cathartic self-publishing practices.
Her current research at Het Nieuwe Instituut focuses on qualitative, paradigm-shifting notions of decoloniality, feminisms, queer ecologies, agencies (non-institutional, non-authorship), and implications of the collective, more-than-human body in architecture, its heritage and its multivocal futures, as part of the new project Collecting Otherwise and the cross-institutional Critical Visitor. Noorani holds a MSc in Architecture (cum laude) at TU Delft.
Dr Marina Otero Verzier
Dr Marina Otero Verzier is an architect and previous director of research at Het Nieuwe Instituut in Rotterdam. She lead research initiatives such as Automated Landscapes and Architecture of Appropriation. Recently, she curated the exhibitions Spirits in the Material World by Heman Chong (2019), Steve Bannon: A Propaganda Retrospective by Jonas Staal (2018), and co-curated Malware: Symptoms of Viral Infection (2019), and I See That I See What You Don’t See at La Triennale Di Milano (2019).
In 2018, she was the curator of Work, Body, Leisure, the Dutch Pavilion at the 16th Venice Architecture Biennale (2018). Previously, she was Chief Curator of the 2016 Oslo Architecture Triennale together with the After Belonging Agency, and the director of Global Network Programming at Studio-X- Columbia University GSAPP (New York). She is a co-editor of Unmanned: Architecture and Security Series (2016), After Belonging: The Objects, Spaces, and Territories of the Ways We Stay In Transit (2016), Work, Body, Leisure (2018), Architecture of Appropriation (2019), and More-than-Human (2020). She studied at TU Delft, Columbia GSAPP, and ETSA Madrid, where she completed her PhD. Her thesis Evanescent Institutions examined the emergence of a new paradigms for cultural institutions. She teaches architecture at RCA in London. In September 2020, she became head of the social design master’s at Design Academy Eindhoven.
Since 2019, Delany Boutkan has been in a long-term collaboration with the research department at Het Nieuwe Instituut in Rotterdam. Her writings are published by cultural platforms including MacGuffin magazine, Onomatopee Projects, PS Sandberg / Sandberg Instituut, and Kunstlicht journal. She has developed public programmes and exhibitions at Van Abbemuseum (2018) and Het Nieuwe Instituut (2019 / 2020). She has facilitated conversations and workshops in several art and design academies including Design Academy Eindhoven, Graphic Design Arnhem (ArtEZ), Istituto Europeo di Design (IED) Madrid, Jan van Eyck Academy and Willem de Kooning Academy. Delany obtained her master’s in design curating and writing at Design Academy Eindhoven (2018).
Dr. Hetty Berens
Dr Hetty Berens is an architectural historian. She obtained her PhD with Dr Auke van der Woud at the VU University in Amsterdam. As a senior curator at Het Nieuwe Instituut, she is responsible for acquisitions, research in the collection and for Sonneveld House, the museum house next to Het Nieuwe Instituut. She also creates exhibitions, such as Histories, Leisure Parks, Hein de Haan and Architecture and interior: The Desire for Style. She publishes and lectures, and recently wrote a new audio tour for Sonneveld House: The Healthy House. She is a board member of the Research School Art History (OSK) and of Iconic Houses.
Carolina Pinto is a multidisciplinary designer and researcher, working with new media, storytelling, and making public as ways to expand visibility and criticality, within today's digital cultures. In her practice she embraces notions of care and collective knowledge production as ways to build feminism as an ever-present lens and method when researching and designing. In 2019, she developed a project space, The Future is Tentacular: Making Kin and Other Gestures, that aimed to map and practice tentacular thinking in workshops, reading sessions and other collective actions. Currently enrolled in the MA New media and Digital Culture at the University of Amsterdam, Carolina has been working at the Institute’s Research and Development team since September 2020.
Dr Michael Karabinos
D. Michael Karabinos is an archivist and historian living in Amsterdam, the Netherlands. His focus is on historical record-keeping/archival systems, particularly in (de)colonial settings in Southeast Asia. From 2016-2019 he was a Deviant Practice Research Fellow at the Van Abbemuseum in Eindhoven. Karabinos received his PhD from Leiden University and was previously a visiting fellow at Nanyang Technological University, Singapore. His work has been published in Displaced Archives (London/New York 2017), Information & Culture, Bijdragen tot de taal-, land- en volkenkunde, and Low Countries Historical Review, among others. He is co-editor of the book Colonial Legacy in Southeast Asia: The Dutch Archives (‘s-Gravenhage 2012). He currently teaches in the Media Studies department at the University of Amsterdam.
Hannah Dawn Henderson
Hannah Dawn Henderson is a writer and artist whose practice meditates upon moments when the body’s capacity to articulate its presence — not only in a linguistic or physical sense, but equally within a broader political and social framework — encounters limitations and is rendered vulnerable. These limitations can include structures that exist as much beyond the body — such as imposed codes of categorisation, mistranslations and cultural expectations — as within it, such as fatigue, amnesia, and trauma. Hannah Dawn is based in The Hague and is currently a resident artist at the Rijksakademie van Beeldende Kunsten, Amsterdam. Previous exhibitions and projects have included venues and contexts such as the International Film Festival Rotterdam, Queer Arts Festival Antwerp, Ambika P3 (London), Haus N Athens (Athens), and the Experiments in Cinema Festival (Albuquerque).
Harriet Rose Morley
Harriet Rose Morley is a multi-disciplinary artist and maker currently based in The Hague, (NL). The projects she produces aim to challenge our conceptions of the function of (public) art in placemaking by questioning the ambiguity of their functions — or lack thereof — and seeing them as sources for humorous critique. She is building a catalogue of national and international public artworks and interventions, working with furniture building, architectural installation and collaborative projects. The development of her work is often reliant on public interaction and collaboration through workshops, conversations and educational events that provide an accessible and inclusive insight into topics of urgency within art in public space such as the relationship between politics and art, care and therapy, artist labour, self-organisation, alternative education, and self-build ideals. She is currently the first year-long artist in resident at Hotel Maria Kapel (NL) and recently commissioned artist for Plymouth Art Weekender Public Art Comission (2020). Upcoming projects include showing within the postponed 2021 Glasgow International and Artist in Residence at the ZK/U Centre for Art and Urbaninstics in Berlin.
Julius Thissen is a multidisciplinary artist and artistic researcher based in Arnhem (NL) and mainly focused on investigating LGBTQIA+ topics.
Julius works with a wide range of media: performance, photography, film, sculpture and scent. The works investigate notions of community and representation, masculinity, sports and competition. With the work Thissen aims to create narratives that investigate the fine line between performing and failing. These relations are strongly linked to contemporary performance driven culture and the influence of social expectations on our behaviour. The work also relates to personal experiences as a genderqueer trans masculine individual. As emerging from these experiences, Julius strongly challenges the constraining narratives imposed on transgender and queer people.
Isola Tong is an artist and practicing architect, interested in queer and trans theories that cut across folk magic and geo-hydro-solar-bio-techno-politics. She is currently investigating the interconnection of the human and nonhuman systems and their entanglement with colonial history and the built environment. Her work spans across a variety of media, portraying a divergence from anthropocentrism towards interconnected biologies. She graduated cum laude from the University of Santo Tomas (BS Architecture). She also studied and worked in Osaka, Japan for four years. She has shown in Korea, Slovenia, Serbia, and the United Kingdom. She currently teaches architectural design, theory, and history at the De La Salle – College of Saint Benilde School of Design and the Arts in Manila.
Czar Kristoff is an artist, educator, and publisher, interested in (re)construction of space and memory, through concepts of nesting and temporary architecture, for (pedagogical) occupation, using cottage industry publishing—blueprints, xerox, and other low-fidelity printing methods—as his current media of interest. He has exhibited at Showroom MAMA Rotterdam, Jogja National Museum, C3 Artspace Melbourne, Bangkok Arts and Culture Center, MO Space Manila; Dansehallerne Copenhagen and Vargas Museum Manila. Kristoff is affiliated with Hardworking Goodlooking, a publishing and design hauz interested in decolonization, horror vacui and tropical diaspora. He runs Temporary UnReLearning (URL) Academy, a parallel school with no permanent address, interested in decentering art and cultural production in the Philippines.
Alfred Marasigan is an artist and educator who conducts serendipitous research and transmedial practices primarily through livestreaming, heavily inspired by emotional geography, Norwegian slow TV, and magic realism. Such format, often via social media, anchors his current explorations on simultaneity, sustainability, solidarity, and sexuality. Marasigan graduated in 2019 with an MA in Contemporary Art from UiT Arctic University of Norway’s Kunstakademiet i Tromsø and is a Norwegian Council of the Arts Grantee for Newly Graduated Artists. His work has been exhibited, screened, and published by Asia Art Activism (WWW/UK/PH), Tromsø Kunstforening (NO/PH), Goldsmiths' EnclaveLab (UK/PH), Further Reading (ID), Meinblau Projektraum (DE/PH), M:ST Performative Art (WWW/CA/PH), Arctic Moving Image & Film Festival (NO), C3 Contemporary Art Space (AU) and the Cultural Center of the Philippines (PH). Currently based in Manila, he is a faculty member of Ateneo de Manila University’s Department of Fine Arts since 2013.
Clara Balaguer is a cultural worker and grey literature circulator. From 2010 to 2018, she articulated cultural programming with rural, peri-urban, and diasporic communities from the Philippines through the OCD, a residency space and social practice platform. In 2013, she co- founded Hardworking Goodlooking, a cottage industry publishing hauz interested in the material vernacular, collectivising authorship, and the value of the error. Currently, she heads the Social Practices bachelor's department at Willem de Kooning Academy and teaches on a master's level at Piet Zwart Institute (Experimental Publishing) and Sandberg Institute (Dirty Art Department). Frequently, she operates under collective or individual aliases that intimate her stewardship in a given project, the latest of which is To Be Determined: a transitional, migratory, neighbourly structure of sleeper cells (Trojan horse networks) that activate–deactivate for leaking access to cultural capital.
Federica Notari is a multi-media trans-disciplinary researcher, with an MA in African Studies and MA in Media Studies. Her research interests question how we navigate space, how it informs us, and how we belong to space. Through her methodologies, she aims to demystify the role of the researcher and question the hegemonic structures that define knowledge. Her current research particularly focuses on how family archives inform ones' belonging: seeing archives as mobile flexible bodies that can be recontextualised, remobilised and reanimated.
Robin Hartanto Honggare
Robin Hartanto Honggare is a writer and curator, and, presently, a PhD candidate at Columbia Graduate School of Architecture, Planning and Preservation. He is a visiting scholar within Het Nieuwe Instituut’s research team for 2021-2022 and curated the Indonesia Pavilion at the 14th International Architecture Exhibition in Venice (2014). His current research, rooted in his interest in the architectures of cultivation and the histories of colonial modernities in Southeast Asia, seeks to uncover how buildings and landscapes shaped, and were shaped by, commodity productions.
Joseph Douglas Steele
Joseph Steele is an artist and PhD Candidate in Critical Media Practices at the University of Colorado Boulder and an affiliate at the Vrije Universiteit Amsterdam. Based in the Netherlands, his work examines ethnographic modes of re-presentation and how artists trouble the archive and interrogate exhibition spaces. Joe holds an MDesS from Harvard (GSD 2016) and BFA from MassArt (2005, photography). He was a Fellow at MIT’s OpenDocLab (2017). Joe has participated in the Mountain School of Arts LA in 2020 and is part of the full-spectrum curatorship at IMPAKT Centre for Media Culture, 2022 (Utrecht). He has presented lecture-performance, films, installations, curatorial projects, and papers internationally. Joseph is researching at Van Abbemuseum, the Stedelijk, NMVW, and the Art & Project depot (RKD) for an upcoming exhibition and directing an essay-film for ARCHIVE POIĒSIS [dissertation chair: Prof. Reece Auguiste], focused on the practice of American artist Renée Green (*1959). Through interviews, discourse analysis, and close reading, Joe studies how Green uses hermeneutics, re-photography combined with narrativity, distance montage, and anthropologising exhibitionary space in the layered, intermedial works.