{"id":428,"date":"2007-07-10T17:21:29","date_gmt":"2007-07-10T17:21:29","guid":{"rendered":"https:\/\/steenbergen-stichting.eu\/?post_type=awards&p=428"},"modified":"2023-09-30T11:46:01","modified_gmt":"2023-09-30T11:46:01","slug":"2007","status":"publish","type":"awards","link":"https:\/\/steenbergen-stichting.eu\/en\/awards\/2007\/","title":{"rendered":"2007"},"content":{"rendered":"
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Introduction<\/h4>\n

This year, the jury once again visited the academies in search of talented graduates. The jury for the stipend consisted of our new jury member: Marnix Goosens, gallery owner Ron Mandos, and Miriam Bestebreurtje.
\nEvery year, the jury visits those art academies that offer a distinct photography program.
\nThese include: KABK Den Haag, St. Joost Academy Breda, AKI Enschede, Rietveld Academy Amsterdam, and HKU Utrecht. <\/p>\n <\/div>\n

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WINNAAR 2007<\/strong>
\nMark Vincent Houston
\nBergje van Berg - honorable mention<\/strong><\/p>\n

NOMINEES 2007<\/strong>
\nErwin Venema (HKU)<\/a>
\nBregje van den Berg (KABK)<\/a>
\nDerk Alberts (KABK)<\/a>
\nFolkert van Dunn\u00e9 (KABK)<\/a>
\nShinji Otani (Rietveld)<\/a>
\nMarc Vincent Houston (Rietveld)<\/a>
\nErnst Seaber (St. Joost)<\/a><\/p>\n

JURY 2007<\/strong>
\nMiriam Bestebreurtje
\nRon Mandos
\nMarnix Goossens<\/p>\n <\/div>\n <\/div>\n<\/section>\n\n\n\n\n\n

ABSTRACT FROM THE JURY REPORT<\/h3>\n\n\n\n
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ERWIN VENEMA<\/h4>\n

Erwin Venema created a series about Sportswear Fetishism, a rapidly growing subculture within the Dutch gay scene. In the past, this might have become a problematizing black-and-white reportage, but in Erwin's hands, it becomes a glossy and erotic experience.
\nHis second work is called \"Tube You: You Tube\" where You Tube has already brought a lot of success to several bands and artists. Erwin also tries his luck, delivering a charming performance using this rapidly growing medium.<\/p>\n <\/div>\n

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BREGJE VAN DEN BERG<\/h4>\n

Bregje van den Berg was one of the students for whom a separate room had to be found during the graduation exhibition. Her work stood entirely on its own. For her graduation, she incorporated autobiographical data into a documentary series to create the project \"Rob & Daughter.\" It's an exploration of the relationship between father and daughter who form a family together. Present and past, time and impermanence, amateur and professional photography converge in the project, which takes different forms: a book, film, photography, and an installation. It's precisely the completeness of the project that convinced us; the complex theme is approached carefully from various angles, allowing the stories to unfold.<\/p>\n <\/div>\n

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DERK ALBERTS<\/h4>\n

Derk Alberts' project, \"Aerotropolis,\" is a study of the urban phenomenon of the Airport City. What does the area planned for logistical and economic efficiency look like? Schiphol is one of the oldest airports in the world and has evolved into a true Aerotropolis.
\nDerk is interested in the aesthetics of the rationally built city. In the graduation exhibition, his film was also on display, although unfortunately it cannot be shown here. His research demonstrates a deep understanding of the genre he chooses, and he presents the architectural space without resorting to sensationalism or exaggerated effects.<\/p>\n <\/div>\n

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FOLKERT VAN DUNN\u00c9<\/h4>\n

Folkert van Dunn\u00e9 is the third student from KABK, and quite special as well: he is from the part-time program. In 2006, the second Gay Pride event is organized in Riga, Latvia. The Latvians express widespread homophobia. Participants are pelted with feces and eggs, and the police respond scarcely. For Folkert, this was the inspiration for his graduation project. In Latvia, gay men refer to their partners as 'Sweetie' in front of others. They dare not go further. Through these portraits, the people at the center of this issue gain a face. They deliberately stood in front of the camera as homosexuals because they want to show themselves as they are. The project demonstrates Folkert's engagement, and through his photography, he manages to bring a strong focus to his subject. While the surroundings and attire are consistent, he captures the individuality of each model.<\/p>\n <\/div>\n

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SHINJI OTANI<\/h4>\n

Shinji Otani (Rietveld):<\/strong> His home country Japan is always characterized as \"The Land of the Rising Sun.\" That's why for Shinji, it's fascinating to explore an area where there is no sunrise during the winter months, as is the case in Scandinavia. His research focuses on the period between the beginning of winter and the beginning of spring: the fragile line between light and darkness. His photographic style is intriguing. On one hand, there's his choice for black and white, something that is less common among students nowadays. But there are also his choices in composition: it feels familiar yet you can also sense a different visual language resonating through his work.<\/p>\n <\/div>\n

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MARC VINCENT HOUSTON<\/h4>\n

Marc Vincent Houston (Rietveld):<\/strong>\u00a0His research seems to focus on very subtle details. For his series of portraits, he chooses an unassuming character. Even his photography is not overtly pronounced. Yet, as a series, and even in each individual image, the photographs acquire a sense of monumentality. The images bring the viewer close to the person being portrayed, and as a whole, they come together to form a kind of monument for an otherwise unremarkable young man.
\nIn his films, Marc intentionally uses nostalgically evocative Super 8 black and white footage, which deceives the viewer. It may initially appear to be a film about memory and emotion, but it actually explores movement and identity.<\/p>\n <\/div>\n

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<\/figcaption>\n<\/figure>\n <\/div>\n <\/div>\n<\/section>\n\n\n\n\n\n
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ERNST SEABER<\/h4>\n

Ernst Seaber (St. Joost):<\/strong> Ernst's series \"De tuin van Rotterdam\" revolves around a group of African men who gather daily at a local barbershop, which also serves as a social and cultural center. The series explores their search for a sense of home, often accompanied by loneliness, financial struggles, and uncertainty. Ernst is particularly interested in the sense of community and how these men shape their African identity in the Netherlands. Through his poetic and compassionate visual language, Ernst elevates this series above conventional documentary projects, capturing the essence of movement and identity while using intentionally nostalgic Super 8 black and white footage, which misleads viewers into perceiving the film as a story about memory and emotion.<\/p>\n <\/div>\n

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