Scaffolding: The graduation exhibition of the 2020−2022 MA Fine Art
class of HKU University of the Arts Utrecht
From 8–19 June 2022, BAK, basis voor actuele kunst Utrecht hosts Scaffolding Scaffolding, the graduation exhibition of the 2020−2022 MA Fine Art class of HKU University of the Arts Utrecht. The exhibition is organized under the curatorial guidance of Rachael Rakes.
Scaffolding Scaffolding features works by the graduates: Francisco Baquerizo Racines, Katayoon Barzegar, Stefan Cammeraat, Yuliia Elyas, Lin Chun Yao, Lo Yuen Ming, Giorgia Lo Faso, Harriet Rose Morley, and Kristel Rigaud.
Using scaffolding as a framework, this exhibition comes together to think about upholding the fragments of the precarious present. Depending on its location, scaffolding can be a sign of gentrification or one of preservation; it can index corruption, the locus of financial and political power, or care and rebuilding. Could it be useful to scaffold the scaffold? To support the things already put in place, to support something that is at risk of falling down, or aiming to be built, being restored, or being allowed to be in limbo? How to inhabit the idea of support itself?Scaffolding Scaffolding
8-19 June, open Wed - Sun, 13:00 - 19:00
Official opening 8 June,19:00 - 21:00
BAK, basis voor actuele kunst, Pauwstraat 13A, 3512 TG Utrecht
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HKU Master of Fine Arts programme profile: here
Francisco Baquerizo Racines (b. 1993, Quito, Ecuador) is an artist who currently lives and works in Utrecht, Netherlands, where he is finalizing his MA Fine Arts at HKU University of the Arts Utrecht. In his practice, Baquerizo creates visual worlds that are situated in specific realities where he explores the dichotomy between the spheres of “Center” and “Periphery”. He is interested in digging up histories, and aims to bring about transformation in the roles of those that “see” and those that are being “seen”, the latter often referring to (formerly) colonized territories in the Global South. Baquerizo’s perception of these two seemingly opposing spheres thus become a commentary, and his work an invitation to join a conversation about representation, power and repair. Baquerizo obtained a BA in Visual Arts from Pontificia Universidad Católica del Ecuador, Quito, Ecuador (2017). His first solo exhibition, Observando: el tiempo, was presented in 2017 at Fondo de Cultura Económica del Ecuador, Quito. His work has been presented in group exhibitions in various art spaces across Ecuador. Baquerizo was shortlisted for Premio Brasil, Arte Emergente 2017, a prestigious prize for emerging artists in Ecuador. He was selected to participate in the Molten Capital Artistic Residency, Santiago de Chile, Chile, in 2018. His publication Escrito en Piedra (“Written in Stone”), a collaboration with Adrián Balseca, published by Terminal Ediciones (2019), is held in the library of the Museum of Contemporary Art Barcelona (MACBA), Spain, and has been presented at art book fairs around the world.
Follow on Instagram: @pancho.baquerizo.racines
Katayoon Barzegar (Tehran, Iran, 1990) holds a BA in Sculpture from Tehran University and an MA in Research from Alzahra University, Tehran. In her artistic practice, she devotes most of her time to making sculptural objects and architectural installations. Her main interest revolves around the various ways in which regimes of power affect individuals on a personal level, and how these lead to the formation of social norms and relations.
Follow on Instagram: @katayoon.barzegar
Stefan Cammeraat is an artist based in Utrecht, the Netherlands. His work starts from a feeling that his generation, unlike previous generations, no longer has the tools necessary to conceive of a future to hope for and work towards. Unable to formulate positive prospects of his own, the artist excavates history, attempting to find a sliver of hope in the many failed futures the past holds, a way to escape the traps of nihilism and hedonism, which is all that neoliberalism hands to us. Cammeraat holds a BA from HKU University of the Arts, Utrecht (2015). His work has been presented at Art Rotterdam as part of Prospects and Concepts (2018); P/////AKT Amsterdam (2016); and PARK, Tilburg (2019), both the Netherlands, amongst others. His work has been supported by a one-year stipendium for “young talent” (“Werkbijdrage Jong Talent”) from the Mondriaan Fund (2016), and by Stichting Stokroos (2017). Follow on Instagram: @stefancammeraat
Yulia Elyas Yulia Elyas's artistic practice explores the dynamics that generate social narratives. With resources ranging from museum collections to digital forms of communication, she examines how stories and storytelling render the formation or realities. Yulia further imagines how artists can intervene in these narratives, as well as the independent agencies those narratives can take. She is dedicated to the peculiar geographies and weird temporalties in the life of ideas.
Follow on Instagram: @yuliia.elyas
Lo Yuen Ming (b.1990) is a Hong Kong artist currently living in Utrecht, the Netherlands. In her artistic practice, she explores the aesthetics of ambiguity, specifically in relation to politics. By living hide and seek with her political stance, her work takes on the role of witness, and carries information in the form of spatial installations. Ming is fascinated by minimal images that sit between abstraction and political expression. She analyses how politics influence the everyday lives of citizens, particularly highlighting the loss of freedom of speech. Signs of dystopia can be found everywhere in Hong Kong, a city deeply portrayed by protests, the struggle for democracy and the intransigence of power. In her work, Ming zooms in on daily routines, searching for tiny changes in people’s collective habits and emotions, following the chain of historical and cultural traces that trail behind.
Follow on Instagram: @l.y.ming
Lin Chun Yao is a visual artist from Taiwan who landed in Utrecht, the Netherlands in 2020. Formerly lens-based, at present land-based, he works with moving image and re-builds narratives to rethink how human eyes might see through the flattened image of the landscape that arose in the post-industrial era. In Chun Yao's view, the land is controlled by the people who own it, and “the landscape”, as a singular understanding of that land, has collectively been formed by modern humans during the Anthropocene. This in turn, has domesticated the way civilized humans see the landscape. With his background in photojournalism, Chun Yao investigates sites that are being developed or under construction, and questions the positivist way we see this highly constructed landscape. He restructures lens-based materials such as photographs, moving images, and historical archival materials, and tries to build a new aesthetic and imaginary landscapes by bringing to light the personal stories, histories and memories that are rooted in a specific locality. Chun Yao’s work has been shown at the National Taiwan Museum of Fine Arts, Taichung, Taiwan (2019); and in 2018, his work I’m going home (2018) was collected by the Kiyosato Museum of Photographic Arts, Hokuto, Japan.
Follow on Instagram: @chunyao_l
Giorgia Lo Faso (b. 1993, Italy) is an artist who is interested in the visual possibilities that mediums and languages can generate, especially in the discourse of painting. In her work, Lo Faso studies the ambiguous relationship between the time of the self and the time of the physical world. Her use of medium includes monochrome etchings, large-scale woodcuts, macro-oil and watercolor paintings; often incorporating photographic and video documentation, and adopting conservation techniques. Lo Faso holds a BA and an MA in Graphic and Chalcographic Techniques from the Albertina Academy of Fine Arts in Turin, Italy (2017 and 2019, resp.). She is currently based in Utrecht, the Netherlands.
Follow on Instagram: @tagliagio
Harriet Rose Morley (b. 1994, UK; she/her) is a multi-disciplinary artist, maker, and educator currently based between the Netherlands and the UK. Morley strives to provide accessible and inclusive insight into topics of urgency within her spatial practice, such as the relationship between artistic labour, self-organisation, feminist pedagogy, and self-build ideals. Currently, she is researching feminist collective working methodologies through the lens of technical craft-based education and labour within the arts. Her maxim is to be ‘always under construction’, always learning and unlearning. Morley is currently part of the Collecting Otherwise research working group at Het Nieuwe Instituut (HNI), Rotterdam, the Netherlands (2021-2022); a member of the Netherlands based, but internationally active Antidote collective (2021-ongoing), and The Building Institute, alongside Olga Micińska, Amsterdam, the Netherlands (2020-ongoing). Morley is also a curatorial adviser for the artist-run space The Balcony, The Hague, the Netherlands (since 2021). She was the first year-long resident at Hotel Maria Kapel [HMK], Hoorn, the Netherlands (2019-2021) in the framework of the artist program Solid Care (2020). Recently exhibitions include I didn’t think it would turn out this way, P/////AKT, Amsterdam (2021), and You’re Never Done, Glasgow International 2021, Glasgow, UK (2021).
Follow on Instagram: @always_under_construction_hrm
Kristel Rigaud (b. 1993) is a Curaçaoan visual artist that is currently based in The Hague, the Netherlands. She attended the Royal Academy of Art in The Hague, where she specialized in painting (BA, 2017), and obtained her MA Fine Arts at the HKU, University of the Arts Utrecht, the Netherlands (2022). She is interested in the question what language is and what it can be. Most recently, she focusses on the fakeness of literary language, which she explores by dissecting her paintings and drawings, and adopting their segments as characters in a possible fictive language. These characters often transform into performative pieces, where the viewer can experience a dialogue between the artist and her work (struggles and all), and her desire to slowly change existing expectations and norms around (the use of) language, reframing the heteronormative, ableist, racist, colonial powers that hold language in their grip today.
Follow on Instagram: @kristelrigaud