ongoing
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Q: Is it allowed to take my dog to school?
A: Unfortunately, dogs or other pets are not allowed, except for guide dogs or similar.
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Open Studios at the Design Department, 3rd floor BC Building
Tennis
Q: Is it possible to apply to more than one program?
A: Yes, you must indicate this on the digital application form.
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Una película sin película A film without a film
Nuet är där mina kroppar möts (Presence is where my bodies align)
Future Crystals of the Anthropocene
13:00–19:00
FA Open Studios at the Fine Arts Department
Moss doesn't grow...
51.050057 N, 2.197191 W
Untitled
Metabolic Intuition
Pet(s)
Collecting memories
Cruel Summer Camp
The Siblings
The Middle Station
Arita Porcelain Industry 有田の陶磁器産業
Sunkiss2
13:00–19:00
SIS Open Studios. 1st Floor Fedlev Building
In Medias Res
Xenoliths
Untitled
Bucolic Gang
Ghostly Voices, Noise and Static
Every Object tells many stories
Food Architecture
If you knew time as well as I do
It Had Something To Do with The Telling Of Time
Do What You Love
Neighbours of Zero
Q: What’s the duration of the study?
A: All programs are full-time two-year courses. You earn 60 ECTS points per year (European Credit Transfer System).
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13:00–19:00
Climate Grief (and other messy feelings) from the Planetary Poetics Master’s Program. Gym at Rietveld Academie & Poetics Classroom (4th floor BC Building)
Q: Are the studies collective or individual?
A: Everyone follows their own trajectory and graduates individually. Frequently there are collective projects and collaborative workshops and seminars.
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Your Future
Q: How many students are selected for the master of fine arts?
A: We accept around 12 students, per department, per year.
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Monarchy Energy
Graduation project
p.i.a. services
Peach Tree, Ambiguous
Explained
The Window
Input Party
The Apple Pie

Notes to Future Students — Director Sjaron Minailo in conversation with Public Sandberg

RE:MASTER OPERA

Lessons in Love and Violence

During the temporary programme Re:master Opera we invite new voices from all disciplines (performing arts, fine arts, film, fashion, design, architecture, etc.) to participate in an examination of the particular strategies of artistic communication that are distinctive to opera—mainly its multidisciplinary structure and the relationships between sound, image, and text within the unique space of unreality. The program is supported by the Dutch National Opera and the Opera Forward Festival. Opera is a time-based artform that is driven by a non-natural progression of time through music, and is therefore by itself a celebration of artificiality: the artificial singing technique, the artificiality of heightened aesthetics, the use of artificial lyrical/poetic language, and the artificial scale of the performance. Bertold Brecht saw in this artificiality a key tool for sociopolitical reflection: “The pleasure grows in proportion to the degree of unreality . . . The irrationality of opera lies in the fact that rational elements are employed, solid reality is aimed at, but at the same time it is all washed out by the music. A dying man is real. If at the same time he sings we are translated to the sphere of the irrational . . . The more unreal and unclear the music can make the reality . . . the more pleasurable the whole process becomes.” Reality, alternative reality, virtual reality, “metaverse,” IRL: our current existence seems infatuated by the distinction between the real and the fictional, and the historical and the virtual. Yet the communicative power of opera is found in the spaces in-between: between music, theater, and visual arts; between complicated ideas and guileless emotions; between love and violence; and between rational and irrational. The public arena which is the opera house is powered by energy that is released through the friction between past and present; between reality and imagination; and between materiality and spirituality. This liminal space is therefore at the core of the course. In this temporary programme we will deep-dive into this operatic in-betweenness and how meaning is created in the spaces between music, image, and text. We will approach opera as concept, practice, and as a recurring and shared point of reference. We will aim at finding original artistic strategies that can imbue this historic artform with fresh impulses. During the two years we will focus on both individual work—in which the participants experiment with different possibilities of applying operatic approach to their own disciplines—as well as group operatic creations, culminating in a larger scale operatic performance to be presented at the Opera Forward Festival 2024.