17 February: Researchlabs 2018 | Gerrit Rietveld Academie- Tactics and Tactilities

By Kleoniki Stanich – kleo.st@gmail.com
Duration: 3’50”
Title: Tactilis

This film introduces three strangers; a woman around 40, a truck driver in his 50s and an older lady of around 75 years old, who co-exist in the same space. An immobile ferryboat. The characters are lonely passengers unconsciously seeking the feeling of belonging. Through what seems to be a moment of accidental physical contact, a new language starts to form between them. The film replaces words with gestures and it navigates around the structure of a relationship. The minimum amount of contact that takes place, becomes an alphabet. All the fragments of their encounter get mentally amplified by each one of them and end up forming a game.



By Jaakko Myyri – jmyyri@gmail.com
Duration: 3’09”
Title: Best make of 9 months for a gig

The character in this psycho-commercial wants to live free and speculate gender by addressing a letter for his people. The talk is monologuesque, which is constructed out of gala charm and regenerated TV clichés and vogue, the surroundings are filled with disposable body-attachments, yet he is inventive. Afterwards he is immediate abducted by his cyber consciousness retinue, with something that looks like a three headed alien, to blazon for more fare gender representations. The character traits and multi-dimensional-broadcast-editing form together a collage like effect, where the digital and reality blend towards each other, forming a hyper-platform with free one-to-one body relationship.

Best make of 9 months for a gig

By Mathieu Mulder – mathieumulder@hotmail.com
Duration: 2’37’’
Title: Ultracorsa

In an abandoned parking lot, a hooligan is struck by his inner consciousness. A mysterious young girl tries to guide him after this violent event.



By Martina Anna Gudmundson – martinagudmundson@gmail.com
Duration: 2’30’’
Title: Humankind things derive from humankind things – a concert

The vinyl floor is our playground. The camera stays fixed, staging a fragment of the floor. In this frame things may be seen and heard, but what we hear and see may as well come from outside of it.

I am a child. Objects and things may be unfamiliar to me, but exploring seems deeply inherited in me.

This is a concert. Can we look at what we hear and listen to what we see?

Humankind things derive from humankind things - a concert

By Ebba Stoppelenburg – ebba.stoppelenburg@gmail.com
Duration: 4’59”
Title: Mokum Meermin

Mokum Meermin is an abstract story about a woman from the water. We rarely get to see her, maybe she likes her privacy. The narrated voice tells us something but not much about the main character. What we know is that she lived under bridges and has left a destructive life behind her. The film explores intuitive editing and the transcendence of meditative sound scape. The film was filmed in the last days of summer.

Mokum Meermaid

By Kenneth Aidoo – kennethaidoo@hotmail.com
Duration: 2’
Title: Forced

We are born freely to shape our lives in the manner we want too, without the thought of
harming that of an other. The way of nature is free and in that way does it create life. So is
it with man as well.

Free will is the expression of the soul. The same will that will not be contained even when
it is being claimed.

In “Forced” we see the fight of the upholding of a will that is not one’s own. The question
arises for why do we so hardly desire to do that which is in conflict of who we are. That
same desire which causes the loss of life.



By Marie Sizorn – marielassize@gmail.com
Duration: 6’
Title: To be seen

This project started from an observation on the rising of tactile devices in the daily life. Technology became an essential part of our life. The development of haptic devices increases direct interactions leading to new gestures, where hands have a central role, involving the body and the skin. The distance between the user and the device gets closer, there is nothing in between anymore. This transition is mainly visible on the new generation, children learn very fast how to use tactile devices through sensitive, visual and playful interface. The aim of this project is to show the omnipresence of screens and visuals along with the speed of consuming them in a choreographic dance in between the body and a glass ball. 

Contact juggling is a way to manipulate object like translucent balls in contact with the body, this juggling technic involves to roll one or several objects without releasing them into the air. The sphere, translucent object, reflects the world upside down and distort it. Used as a lens it shows the world in an unusual way, as an object it can takes the shape of a planet, a microcosm, a light or a mirrored and reversed vision of the body and landscape.
To be seen

By Qianfu Ye – yeqianfu@gmail.com
Duration: 3’28’’
Titlle: Fall in to

While washing my feet, I see some reflections, images that come out of the floating water. Is it some random image, similar to my floating ideas that you can’t even catch? Do I link the images to my old memories? Or do I just watch the reflection as it is? I cannot tell.I turned my living room into a dark room and looked into every frame in order to dig into the confusion. I see the dark frame with noise that cannot be heard. I translated the living water into still photos, I looked at one frame fighting with my mixed feelings. I may just pass a frame in a few seconds, or spend one and a half hours to think about this frame as I am at the same time shopping, or even sleep with one single frame. I still can’t tell.How does it connect to the topic ‘Tactics and Tactilities’? While observing the memories, what appeals to you most cannot be told, and chewing these memories, gives you something more than just the sentence ‘I am washing my feet and see the reflections.’Anyway, after I finished my tactilities of washing my feet, I went ahead with the next tactics of falling asleep.

Fall in to


Duration: 1’45’’
Title: True Life Adventures

In 1940 Walt Disney got the idea for the first ever nature documentary True Life Adventures during animal studies for his upcoming film Bambi. Instead of imitating the natural through animation, he could just use what was already there.

When the sun rises and light enters through the eyelids the body is triggered to begin its wake-up cycle, including the release of cortisol. By the time the light is at full brightness, sleepers wake up on their own. An alarm is not needed anymore.

True Life Adventures


Duration: 15’
Title: Zuidoost-Noordwest

In one quiet morning the neighbourhood of the Bijlmer was brought in to the centre of Amsterdam. For approximately half an hour, the two urban landscapes shared one perspective.
True Life Adventures


Installation (on top of the stairs)
Wooden cube 170cm. screws sticking out on the outside. There is a door that can
be locked from the inside. Inside is a tv, a dvd player, 41 dvd’s and a chair. Each dvd consists of the same video material but with different soundtracks.
The title is made up from two factors put together. MIDI as an idea of a tool or
program that can be plugged into a system. MIDI tools are many and unique, and this is a play on individuality playing a part in the“outcome” referring to the brain as an electronic plug-in device reacting and working with what is presented.

Duration: upon request
Title: MIDI dismissal

The box looks aggressive on the outside, but the inside of the box is made from clothes cushioned in a symmetric way that looks like an isolation chamber. Clothes is something we wear on our outside to match with our personality and tendencies in a culture at one time in our life, to later get thrown out and replaced. living is a forever ongoing chase of new ways to look and feel as you grow up and learn. In the box the viewer has to play the active part of putting on one DVD after another only for the mild surprise of the music changing for every DVD. The viewer must find it awarding to keep on going to get more from the work. It is also an exercise of matching different styles and feeling to the same “base”. Like with every work you will have to engage yourself to it, to let it work for you or take you somewhere, which is easier without the social game of relating to other peoples’ reactions. So I build a sort of mental institution of a personal space with the possibility of a rainbow of feelings.



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