NRC 2012

It is a place where vagrants, homeless, sick - men and women - lie gasping for breath on polystyrene foam, aluminum grids, hard plastic, paper and mirror water. In the post-apoci-Egyptian world that the l3rit artist filmed after Dan Walwin, everything is art-crafted and inviolable at the time, as if Jeff Wall had entered into a partnership with Tarkovsky.
Walwin lets wind jerkily tug at paper, plastic and styrofoam - but the noise stops abruptly, as if it were worth the throat. He lets the camera slide,

straw and occasionally stiffen at objects and people — their dirty voices, their smoky blooms, their contorted faces and chests pumping so strangely, as if the film was being played in reverse.
Walwin (1986) is one of the 56 artists who will be writing the days of his studio to the public this weekend on the RuksakadernicOPEN, and it is obvious to see in the Briton film a reference to the situation of the austerity-plagued high. tech training institute for visual artists.
No one could have escaped her notice, the Rijksakademie has agitated so hard this past year with its impending dissolution. This dissolution has been thwarted now that in 2013 there will be a merger with its small sister Dc Ateliers. Sarnen will be the institutions ten studios

offer less per year.
At this edition of the open days - the spectacle that almost attracts the full-fledged igc professional art world, collectors and enthusiasts - the tocgcnomen public-friendliness stands out. The routing in the labyrinthine building has been improved, the flats are clearer, there are edging pipes by artists and the presence of private money is palpable. Sponsors and private foundations have taken care of workshops, and the Rabobank - recently the main sponsor of the Rijksaka-demieOPEN - is a real 'Raba-room'.
In the past year, 2,200 artists from the Netherlands and abroad have welcomed the Rijks. Dealt of these have been accepted, of which approximately the hdft comes from the Netherlands. That monster waste race always arouses great expectations, that

Unfortunately, a number of artists do not live up to that. Maybe the pressure on the government to high or the guidance is not always sharp. The work of some artists hardly transcends that of regular graduation work, others elaborate on what has already been done more, much more impressively.
Fortunately, crook workshops are where you love your words and that makes the tour through the building a real interesting scavenger hunt. The aforementioned Dan Walwin - also on display in Amsterdam's P //// AKT from this weekend - is such a discovery. The Congolese Pa-thy Tshindcle Kapinga. likewise. He rewrites the (neo-) colonial history of his homeland with a serically almost eloquently painted 'kings' past and present.
There are also two-year-olds who have taken a leap forward.

At the last edition, the committed Mexican artist Antonio Vega Macotela surpassed his clodl by wanting to see everything especially in the superlative, this year he depicts her phenomal output in five extremely effective, ephemeral studies. that is so prominently present in a society based on robbery capital.
The Dutchman Roderick Hict¬brink - last year present with a cat magnificent
video in which a tree tagging slowly destroys a curly decorated house - this year does not shy away from thcatralc with a continuous performance about group pressure and plague behavior. And the Frenchman Jean Hubert shows how intensely a relatic relationship between two people can be. Hubert hired two top talent, had them read the text of the farewell and filmdc read it. Indeed, great art can be that simple.

>Shallows