{"id":238,"date":"2020-02-11T16:09:00","date_gmt":"2020-02-11T16:09:00","guid":{"rendered":"https:\/\/steenbergen-stichting.eu\/?post_type=awards&#038;p=238"},"modified":"2023-09-30T11:42:39","modified_gmt":"2023-09-30T11:42:39","slug":"2020","status":"publish","type":"awards","link":"https:\/\/steenbergen-stichting.eu\/en\/awards\/2020\/","title":{"rendered":"2020"},"content":{"rendered":"<section class=\"slideshow\" data-bg-class=\"bg-st-white\" data-scroll data-scroll-repeat>\n<div class=\"md:my-7 w-full grid grid-cols-1 grid-rows-1 place-items-center slideshow-track relative\">\n    <button class=\"absolute top-0 left-0 h-[90%] sm:h-[95%] opacity-0 focus:outline-none w-1\/3 z-10 navigator !rounded-none\" id=\"prev\"><\/button>\n    <button class=\"absolute top-0 right-0 h-[90%] sm:h-[95%] opacity-0 focus:outline-none w-1\/3 z-10 navigator !rounded-none\" id=\"next\"><\/button>\n                    <img decoding=\"async\" data-source=\"slide-1\" src=\"https:\/\/steenbergen-stichting.eu\/wp-content\/uploads\/2020\/02\/ststipendium_2020_uitreiking-01.jpg\" alt=\"\" class=\"slide opacity-100 w-full h-full object-cover aspect-video row-span-full col-span-full transition duration-500 ease-in-out z-0 opacity-100\">\n        <div class=\"w-full flex justify-end slideshow-bottom mt-4 relative z-20\">\n            <button onclick=\"slider('slide-1')\" class=\"opacity-100 dot w-5 h-5 relative rounded-full bg-black\" data-target=\"slide-1\"><\/button>\n        \n        <script>\n function slider(i){\n    document.querySelectorAll('.dot').forEach((e)=>{\n        if(e.getAttribute('data-target')==i){\n            e.classList.remove('opacity-50')\n            e.classList.add('opacity-100')\n        }else{\n            e.classList.remove('opacity-100')\n            e.classList.add('opacity-50')\n        }\n    })\n    document.querySelectorAll('.slide').forEach((e)=>{\n        if(e.getAttribute('data-source')==i){\n            e.classList.remove('opacity-0')\n            e.classList.add('opacity-100')\n        }else{\n            e.classList.remove('opacity-100')\n            e.classList.add('opacity-0')\n        }\n    })\n    \n}\n    <\/script>\n    <\/div>\n<\/div>\n<\/section>\n\n\n\n\n\n<section class=\"w-full flex flex-wrap relative two-columns-content bg-st-white\" data-bg-class=\"bg-st-white\" data-scroll data-scroll-repeat=\"true\" data-scroll-speed=\".1\">\n    <div class=\"w-full md:w-1\/2 mb-8\">\n                <h4 class=\"!mt-5\">INTRODUCTION<\/h4>\n                <p><strong>An unusual year<\/strong><br \/>\nThis year, the world is turned upside down \u2014 so it's not surprising that the judging process for the Steenbergen Stipendium looked different from all previous years. For a long time, the jury wasn't even sure if they could see the final exam works. But slowly, invitations from the educational institutions started to come in, and with a few months of delay, they were able to get to work. \"It's admirable how most academies and their students managed to still organize impressive presentations, collaborating with local initiatives: HKU with Fotodok in Utrecht, St. Joost with old factory halls in Breda, and Rietveld with Foam in Amsterdam,\" says Merel Bem.<\/p>\n    <\/div>\n    <div class=\"w-full md:w-1\/2 flex justify-end relative flex-wrap mb-8\">\n        <div class=\"w-full md:w-3\/4\">\n        <p><strong>WINNER 2020<\/strong><br \/>\nPippilota Yerna<br \/>\nNathan van Ewijk \u2013 <strong>honorable mention<\/strong><\/p>\n<p><strong>NOMINEES 2020<\/strong><br \/>\nPippilota Yerna <a href=\"https:\/\/steenbergen-stichting.eu\/en\/academies\/#kabk\">(KABK)<\/a><br \/>\nNathan van Ewijk <a href=\"https:\/\/steenbergen-stichting.eu\/en\/academies\/#hku\">(HKU)<\/a><br \/>\nBebe Blanco Agterberg <a href=\"https:\/\/steenbergen-stichting.eu\/en\/academies\/#kabk\">(KABK)<\/a><br \/>\nSuzanne Schols <a href=\"https:\/\/steenbergen-stichting.eu\/en\/academies\/#kabk\">(KABK)<\/a><br \/>\nAshleigh Wilson <a href=\"https:\/\/steenbergen-stichting.eu\/en\/academies\/#kabk\">(KABK)<\/a><\/p>\n<p><strong>JURY 2020<\/strong><br \/>\nMerel Bem<br \/>\nTeun van der Heijden<br \/>\nAlexandre Furtado Melville<br \/>\nDownload the <a href=\"https:\/\/steenbergen-stichting.eu\/wp-content\/uploads\/2023\/08\/2020-Juryrapport.pdf\" target=\"_blank\" rel=\"noopener\">Jury Report<\/a>.<\/p>\n        <\/div>\n    <\/div>\n<\/section>\n\n\n\n\n\n<section class=\"w-full flex flex-wrap relative two-columns-content bg-st-white\" data-bg-class=\"bg-st-white\" data-scroll data-scroll-repeat=\"true\" data-scroll-speed=\".1\">\n    <div class=\"w-full md:w-1\/2 mb-8\">\n                <h4 class=\"!mt-5\">Bebe Blanco Agterberg (KABK)<\/h4>\n                <p><strong>A mal tiempo, buena cara \/ In bad weather, a good face<\/strong><br \/>\nIn 1977, the left and right parties in Spain concluded the Pacto del Olvido (\u2018Pact of Forgetting\u2019). Their aim was to end the fascist era of Franco and start a new, democratic society. As a result, history was rewritten. Old crimes were obliterated. An alternative reality emerged. Bebe Blanco Agterberg reflects on that period in her project A mal tiempo, buena cara \/ In bad weather, a good face. In striking black-and-white photographs presented in an installation and in a book, she sketches a society struggling with a past that ceased to exist from one day to the next. How do you shape such a society? What memories replace the erased ones? And who decides which memories should disappear and which ones should stay? In a natural way and with attention to proportions, Agterberg combines Spanish archive photos with her own work, which alternately has both a staged and a documentary, classic in character.<\/p>\n    <\/div>\n    <div class=\"w-full md:w-1\/2 flex justify-end relative flex-wrap mb-8\">\n        <div class=\"w-full md:w-3\/4\">\n        <figure>\n<img decoding=\"async\" class=\"w-full h-auto\" src=\"https:\/\/steenbergen-stichting.eu\/wp-content\/uploads\/2023\/02\/2020_bebe-blanco-agterberg.jpg\" alt=\"Bebe Blanco Agterberg - A mal tiempo, buena cara _ In bad weather, a good face\">\n<figcaption>Bebe Blanco Agterberg &#8211; A mal tiempo, buena cara _ In bad weather, a good face<\/figcaption>\n<\/figure>\n        <\/div>\n    <\/div>\n<\/section>\n\n\n\n\n\n<section class=\"w-full flex flex-wrap relative two-columns-content bg-st-white\" data-bg-class=\"bg-st-white\" data-scroll data-scroll-repeat=\"true\" data-scroll-speed=\".1\">\n    <div class=\"w-full md:w-1\/2 mb-8\">\n                <h4 class=\"!mt-5\">Nathan van Ewijk (HKU)<\/h4>\n                <p><strong>A Room Within<\/strong><br \/>\nOf all nominated works, Nathan van Ewijk\u2019s film makes the strongest reference to quarantine and the endless staying indoors that we have experienced in 2020. At the same time, A Room Within transcends that theme \u2013 the film is part of a young oeuvre that is already still and meticulous on its own, and purposefully registers the wondrous within the everyday.\nVan Ewijk placed a video camera in front of the window of his house and the view from it: a house, a tree, the sky with clouds. It could hardly get any simpler. With an incredible focus on detail, he captured what happens when the day slowly fades into the evening, when the window is open and the wind picks up, when a fly walks on the glass, and the sounds from outside seep in \u2013 no ground-breaking events, but nothing to be missed for those who intend to pursue the life of an observer. Van Ewijk does not follow a complicated storyline; the window is the narrator.<br \/>\nIt seems as if he does not steer the viewer in any way, as if he also makes them drift on a bit, but that is an illusion. Van Ewijk does direct the spectator, albeit in a very subtle way. He lets the shot of his window and the installation around it exactly coincide, so that it feels as if you are looking directly outside from the exhibition space. The three yellowish upper windows were also captured in that hyper-realistic, almost painterly way. The whole is illuminated in such a way that the view sometimes feels reminiscent of a scene by Carel Willink: balancing on the edge of real and surrealistic.\nThe entire work of art is a trompe l'oeil \u2013 on the one hand misleading you, and on the other hand offering a kind of calming, meditative experience, where the quality of the sound also merits a mention.<\/p>\n    <\/div>\n    <div class=\"w-full md:w-1\/2 flex justify-end relative flex-wrap mb-8\">\n        <div class=\"w-full md:w-3\/4\">\n        <figure>\n<img decoding=\"async\" class=\"w-full h-auto\" src=\"https:\/\/steenbergen-stichting.eu\/wp-content\/uploads\/2023\/02\/2020_nathan-van-ewijk.jpg\" alt=\"Nathan van Ewijk - A Room Within\">\n<figcaption>Nathan van Ewijk &#8211; A Room Within<\/figcaption>\n<\/figure>\n        <\/div>\n    <\/div>\n<\/section>\n\n\n\n\n\n<section class=\"w-full flex flex-wrap relative two-columns-content bg-st-white\" data-bg-class=\"bg-st-white\" data-scroll data-scroll-repeat=\"true\" data-scroll-speed=\".1\">\n    <div class=\"w-full md:w-1\/2 mb-8\">\n                <h4 class=\"!mt-5\">Suzanne Schols (KABK)<\/h4>\n                <p><strong>Polite Fictions \u2013 Behind the public face of diplomatic gifts<\/strong><br \/>\nPolite Fictions is an investigation into the transparency of international political traffic, which, as it turns out, is not transparent at all. Suzanne Schols found in the diplomatic gift \u2013 the polite, seemingly trivial, but oh so meaningful ritual gift that is exchanged when the representatives of two countries meet \u2013 the perfect symbol for that apparent publicity. When she wanted to dive into the world of diplomatic gifts, it turned out that the Dutch government and the European Commission did not want to give her permission to photograph the various objects. There are already lists, and images \u2013 sure, but everything is encapsulated with restrictions, rules, and secrecy. So, what now?<\/p>\n<p>Schols decided to tell this story in two different ways, which gradually intertwined and reinforced one another. One way was the factual one: the photographer functions as an investigative journalist who accurately shows what you encounter when you want to portray this subject. She collected every refusal, every negative answer to the question whether she could come and photograph gifts, often with important stamps and signatures. She collected every shred of information about diplomatic donations \u2013 press photos (President Trump wearing a personalised Brazil national football team T-shirt, donated by President Bolsonaro), catalogue images, and lists with detailed descriptions.<br \/>\nThe other way in which she approached her subject was the fictional one. Her staged, cinematic scenes of carefully wrapped objects \u2013 one in bubble wrap, the other in black tissue paper \u2013 are tantalising portrayals of the cautious policy on diplomatic gifts. By photographing objects in this exciting, mysterious way, Schols manages to temper the aroused curiosity of the viewer: wrapped and illuminated in this way, the \u2018gifts\u2019 are reminiscent of intriguing sculptures, and their content no longer matters.<\/p>\n    <\/div>\n    <div class=\"w-full md:w-1\/2 flex justify-end relative flex-wrap mb-8\">\n        <div class=\"w-full md:w-3\/4\">\n        <figure>\n<img decoding=\"async\" class=\"w-full h-auto\" src=\"https:\/\/steenbergen-stichting.eu\/wp-content\/uploads\/2023\/02\/2020_suzanne-schols.jpeg\" alt=\"Suzanne Schols - Polite Fictions \u2013 Behind the public face of diplomatic gifts\">\n<figcaption>Suzanne Schols &#8211; Polite Fictions \u2013 Behind the public face of diplomatic gifts<\/figcaption>\n<\/figure>\n        <\/div>\n    <\/div>\n<\/section>\n\n\n\n\n\n<section class=\"w-full flex flex-wrap relative two-columns-content bg-st-white\" data-bg-class=\"bg-st-white\" data-scroll data-scroll-repeat=\"true\" data-scroll-speed=\".1\">\n    <div class=\"w-full md:w-1\/2 mb-8\">\n                <h4 class=\"!mt-5\">Ashleigh Wilson (KABK)<\/h4>\n                <p><strong>The Road to Purgatory<\/strong><br \/>\nWilson\u2019s photographic section consists of everyday childhood photos from her personal archive, which she combined with detailed shots of the local government building, symbolically captured on old black and white film rolls that expired in 1998. Her short film is a fragmentary collage of three small, private histories that together tell a larger story about the impossibility of rigorously closing the past. The images are alternately poetic (the green, rainy Irish landscape, the river) and banally mundane, sometimes almost inferior (a woman at a gas station, filmed from the backseat; shaky, covert images of a funeral home that appear to have been made with a cell phone). The whole has a slow, photographic quality. The voice-over is enchanting. The intriguing text is Wilson\u2019s forte, perhaps even more important than her images.<\/p>\n<p>Wilson\u2019s photographic section consists of everyday childhood photos from her personal archive, which she combined with detailed shots of the local government building, symbolically captured on old black and white film rolls that expired in 1998. Her short film is a fragmentary collage of three small, private histories that together tell a larger story about the impossibility of rigorously closing the past. The images are alternately poetic (the green, rainy Irish landscape, the river) and banally mundane, sometimes almost inferior (a woman at a gas station, filmed from the backseat; shaky, covert images of a funeral home that appear to have been made with a cell phone). The whole has a slow, photographic quality. The voice-over is enchanting. The intriguing text is Wilson\u2019s forte, perhaps even more important than her images.<\/p>\n    <\/div>\n    <div class=\"w-full md:w-1\/2 flex justify-end relative flex-wrap mb-8\">\n        <div class=\"w-full md:w-3\/4\">\n        <figure>\n<img decoding=\"async\" class=\"w-full h-auto\" src=\"https:\/\/steenbergen-stichting.eu\/wp-content\/uploads\/2023\/02\/2020_ashleigh-wilson.jpeg\" alt=\"Ashleigh Wilson - The Road to Purgatory\">\n<figcaption>Ashleigh Wilson &#8211; The Road to Purgatory<\/figcaption>\n<\/figure>\n        <\/div>\n    <\/div>\n<\/section>\n\n\n\n\n\n<section class=\"w-full flex flex-wrap relative two-columns-content bg-st-white\" data-bg-class=\"bg-st-white\" data-scroll data-scroll-repeat=\"true\" data-scroll-speed=\".1\">\n    <div class=\"w-full md:w-1\/2 mb-8\">\n                <h4 class=\"!mt-5\">Pippilotta Yerna (KABK)<\/h4>\n                <p><strong>She is the canary in the coalmine of a dying empire<\/strong><br \/>\nNot everyone would dare to give it a go: staging the death of your very own mother. Not just once, but several times. Still, in her project She is the canary in the coalmine of a dying empire, Pippilotta Yerna manages to do just that. There lies her mother, washed up on the boulders along a river, in a strange position and with wide-open eyes on the floor of an empty room, on the hard concrete of a courtyard, with a head wound and yellow rubber gloves. Her daughter sits on top of the body and captures the gruesome scene with a telephoto lens. What\u2019s going on here?<\/p>\n<p>How do you defuse what you fear most? For Yerna, the answer is clear: with the camera. As evidenced by her multimedia installation, she has a close, symbiotic bond with her mother. The installation is pleasantly tactile and includes those macabre, absurdist images, a publication, a text message conversation, postcards, and a crazy kind of suit with a life-size picture of her mother in her underwear. The mother named her daughter Pippilotta; the now grown-up Pippilotta calls her mother \u2018Mamski\u2019. \u201cCould it be possible to die together someday,\u201d the daughter writes in her book \u2013 that\u2019s how symbiotic they are.<br \/>\nWith her camera, Yerna tries to control, and perhaps influence the inevitable \u2013 her mother\u2019s mortality. This resulted in a graduation project that sparkles with individuality and originality. Yerna\u2019s photos are simultaneously playful and serious. They show humour and guts. Additionally, mother and daughter have performed the scenes extremely professionally. Both took the wild plan to photographically construct the mother\u2019s death down to the last detail.<\/p>\n    <\/div>\n    <div class=\"w-full md:w-1\/2 flex justify-end relative flex-wrap mb-8\">\n        <div class=\"w-full md:w-3\/4\">\n        <figure>\n<img decoding=\"async\" class=\"w-full h-auto\" src=\"https:\/\/steenbergen-stichting.eu\/wp-content\/uploads\/2023\/02\/2020_pippilotta-yerna.jpg\" alt=\"Pippilotta Yerna - She is the canary in the coalmine of a dying empire\">\n<figcaption>Pippilotta Yerna &#8211; She is the canary in the coalmine of a dying empire<\/figcaption>\n<\/figure>\n        <\/div>\n    <\/div>\n<\/section>","protected":false},"featured_media":0,"template":"","class_list":["post-238","awards","type-awards","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v21.0 (Yoast SEO v23.3) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>2020 - STEENBERGEN STIPENDIUM<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/steenbergen-stichting.eu\/en\/awards\/2020\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"2020 - 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