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MA Non Linear Narrative

@nonlinearnarrative

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MA Non Linear Narrative at @royalacademyofart.thehague NL
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At the end of September, the students of @nonlinearnarrative and @masterartisticresearch travelled together to the Ruhr region in Western Germany to visit @manifestabiennial during its closing weeks, basing ourselves in Essen. The exhibitions took place in 12 former and under-used Post-War churches across Essen, Gelsenkirchen, Duisburg, and Bochum, asking the question of what happens when the places that once brought communities together begin to disappear. Students also made visits to @spotlight_gelsenkirchen to hear about their journalistic practices in the community, as well as to @ruhrmuseum and @landschaftsparkduisburgnord to explore the region’s industrial heritage and how it’s moving beyond coal mining and steel into the present era with a greener outlook. We also explored the collections and exhibitions of the @museumkueppersmuehle and @museum_folkwang for inspiration, and managed to also squeeze in visits to Koalas at Duisburg zoo, and even the site of a former bank heist with artist Ferdinand Waas, who has been researching the event. These collaborative excursions are a valuable moment for the students of our two programmes to come together, bond, and share in knowledge and learning, hopefully building bonds for future collaborations, including our Ethics and Restorying Climate workshops next semester. Slide 1: Joint group photo in front of Folkwang Museum, Essen, including students from both master programmes. Slide 2: Manifesta location Kulturkirche Liebfrauen, Duisburg. Slide 3: On the escalator to Ruhr Museum, Essen. Slide 4: Visit to Landschaftspark Duisburg-Nord. Slide 5: In conversation with investigative journalist Tobias Hauswurz at Spotlight, Gelsenkirchen. Slide 6: Manifesta location St. Josef church, Gelsenkirchen. Slide 7: Inside the Ruhr Museum at the Zollverein UNESCO World Heritage Site. Slide 8: Field research at bank heist location with artist Ferdinand Waas Slide 9: Visit to Museum Küppersmühle, Duisburg. Slide 10: Guided tour through Folkwang Museum, Essen. #kabk #nonlinearnarrative #masterartisticresearch @royalacademyofart.thehague taken in Essen by @nonlinearnarrative
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5 days ago
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Welcome to the new academic year! 🪐✨🔭 But what is time anyway? This year, our new students kicked off their first semester with a visit to @oudesterrewachtleiden, where we had the chance to look through their historical library and telescopes. Intrigued by the different clocks hanging inside the domes, we heard about sidereal time - based on Earth's rotation relative to distant fixed stars rather than the Sun - and the fact that true non-linearity emerges where space and time collapse. We hope that this has sparked an interest in some extraterrestrial narratives in the upcoming solar year! We're also sure that all of our new students are going to be stars 🌟 and look forward to following their trajectories as we whirl together through time and space. Many thanks to tour guide Dave Kroos and coordinator of the Observatory Visitor Centre Marie Förg for accomodating us, as well as alum @ddpzzz for planning this visit, and to @thebodyoftheaudience for joining in. Photos 📸: Roel Backaert @royalacademyofart.thehague #nonlinearnarrative #kabk #observatory taken in Oude Sterrewacht Leiden by @nonlinearnarrative
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25 days ago
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The Master Non Linear Narrative will be taking a summer break for the next six weeks. A big thank you to everyone who attended this year’s graduation show. For those who couldn’t make it, we’ll leave you with a few photos from our Meet & Greet the Curator programme on 4 July 2026. Slide 1 - Top: ‘Beyond the Horizon and Below the Waterline’ by Claire Robin Santen. Bottom: Setareh Noorani, architect and curator at Nieuwe Instituut, in conversation with Tash Kimmell. Slide 2 - Top: Maarten Beckers, action coordinator at Amnesty International, talking to Marina Maschek. Bottom: ‘Say Anything You Like, the Future Is Long Enough for It All to Come True’ by Ellen Owens. Slide 3 - Top: ‘I Don’t Think We Could Go Back to Where We Were’ by Cecilia Iaconelli. Bottom: Astrid Vorstermans, publisher and founder of Valiz, speaking to Silvia Bovo. Slide 4 - Top: Tania Goryucheva, art historian and curator of Green Heart Biennale, interacting with Maria Mombers. Bottom: ‘IMG_0443.JPG’ by Luca Oosterloo. Slide 5 - Top: ‘The Shapeshifting of El Silbón’ by Fabianna Flores Sanchez. Bottom: Saskia van Stein, director of the International Architecture Biennale Rotterdam, in dialogue with Anna Brescianini. Slide 6 - Top: Bertan Selim, curator and founder of the VID Foundation for Photography, engaging with Marina Maschek. Bottom: ‘Land Can’t Vote’ by Tash Kimmell. Slide 7 - Top: ‘You May Also Like’ by Maria Mombers. Bottom: Anne Heyer, Assistant Professor in Modern History at Leiden University, chatting to Tash Kimmell. Slide 8 - Top: ‘After the Mountain’ by Anna Brescianini. Bottom: ‘Connecting Stitches’ by Marina Maschek. Slide 9 - Top: Probably the youngest visitor to the KABK Grad Show. Bottom: ‘Sugar and Spice’ by Silvia Bovo. Thank you also to our fantastic graduates of 2026. We are going to miss you dearly! @overdu3 @a_nn____.a @fabiannaflores @tash.kimmell @anthropologap @marina.maschek @whoislvca_ @elowens__ @fomoforever @clairesanten Have a wonderful summer, and see you again at the end of August. #nonlinearnarrative @unfolding_something @saskiavanstein @bertansel @valiz_books_projects @greenheartbiennale @amnestynl Top: ‘Beyond the Horizon and Below the Waterline’ by Claire Robin Santen. Bottom: Setareh Noorani, architect and curator at Nieuwe Instituut, in conversation with Tash Kimmell. by @nonlinearnarrative
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3 months ago
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🐕🎉 Opening Thursday 2nd July! 🎉🐕 We look forward to warmly welcoming you to the MA Non Linear Narrative graduation exhibition, "The Tales Wagging the Dog", open from tomorrow, 2nd July, until Tuesday 7th July. 💫 What happens if a small part takes control over the larger narrative? If the tale is no longer written by us? If the tail starts wagging the dog? In The Tales Wagging the Dog, the MA Non Linear Narrative students examine this power shift and ask who really runs the show. Who writes the narratives that shape our day-to-day reality? Coming together within this study programme from various backgrounds, we spent two years learning to situate our work in the contemporary societal context and found our individual voices as storytellers. Now, this graduation show brings to life an array of different ideas and concepts shaped by our studies. Rather than simply providing counter narratives, the exhibition attempts to pull back the curtain and reveal how power structures are fractured, unstable and obscured in our current social, cultural and political landscapes. Featuring works by: Cecilia Iaconelli @anthropologap 👆 Tash Kimmell @tash.kimmell 📸 Luca Oosterloo @whoislvca_ 🦋 Maria Mombers @fomoforever 📲 Marina Maschek @marina.maschek 🧶 Silvia Bovo @overdu3 🍪 Anna Brescianini @a_nn____.a 🗿 Claire Robin Santen @clairesanten 🛢 Fabianna Flores Sanchez @fabiannaflores 🦌 Don't forget to register for a free ticket via the KABK website - link in bio! You can find work by NLN in the Bleijenburg building, spaces BA.016, BA.020, BA.022, BA.102 and BA.112. Many thanks to any and all of you who have helped us on this year's journey! #kabkgraduation2026 #thetaleswaggingthedog #nonlinearnarrative #kabk #royalacademyofart #denhaag #thehague taken in Royal Academy of Art, The Hague by @nonlinearnarrative
2
4 months ago
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Our final graduation show spotlight for 2026 is on @elowens__ 📑 "Say anything you like, the future is long enough for it all to come true" Language does more than describe policy; in security contexts, it shapes how threats and responses are understood, and acted upon. As a policy tool, it enables and justifies militarisation while normalising a persistent state of alert. Within this condition, the risk is not only that we react, but that we do so within a field of imagination which has been narrowed by anticipatory logic and autonomous weaponry. As the European Union calls for rapid mobilisation across Member States under Readiness 2030, threat becomes the organising principle of safety and survival. Taking Ireland’s Triple Lock and 100 years of Neutrality as a starting point, this work examines how increased readiness within the EU frames accelerating militarisation as imperative and inevitable. Rather than echoing the language of security policy, the etched metal plates turn these terms back on themselves, revealing how political jargon supports predetermined positions. In response, between pillars, an inflated rubber sculpture pushes back, elastic and resistant, refusing to collapse under the mounting pressure of these narratives. Here, Neutrality is not presented as a closed national question, but as an imperfect site through which collective political, social and cultural possibilities may be imagined and negotiated. In this space, the work asks: within these conditions, could neutrality gain unprecedented value? And when differing approaches are dismissed as naivety or weakness, what choices remain in shaping our futures? At its core, this work refutes the political narrative that the future approaches not as an open field, but as a narrowing path. It asks on whose terms our worlds are being constructed, and how we might tread carefully with intention, wisdom, and restraint, as we wade into the future. Join us at the KABK Graduation Show, opening 2nd July until 7th July 2026, to see Ellen's project, and all others by our marvellous NLN graduands! #kabk #nonlinearnarrative #kabkgraduation2026 taken in Royal Academy of Art, The Hague by @nonlinearnarrative
8
4 months ago
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The Non Linear Narrative graduation spotlight turns today towards @clairesanten 🌊 Europe’s tallest structure is practically invisible. Standing 472 metres tall on the seabed in the middle of the North Sea, the Troll A platform is taller than any building on land in Europe. Not only the tallest, but also the largest and heaviest objects ever moved inhabit the North Sea to facilitate the extraction of fossil fuels. Have you ever seen them? I hadn’t. Beyond the Horizon and Below the Waterline refers to the perceived boundaries that mark the limits of our sight—and therefore of our knowing. The anthropogenic footprint behind these facades is not immediately visible, yet humanity’s territorial claim is ever-present. Man-made structures occupy the sea, extracting the resources that become our energy, plastics, clothing, and cosmetics. Over the course of a year, I look for this infrastructure through different dimensions and ways of looking: Above, Through, Beyond, and Below. Throughout this search it becomes apparent this infrastructure might be designed to be hidden. Claire Robin Santen is a researcher and visual storyteller, with Beyond the Horizon and Below the Waterline she investigates how something as vast and expansive as oil and gas infrastructure in the North Sea can remain unseen. #kabk #nonlinearnarrative #kabkgraduation2026 taken in Royal Academy of Art, The Hague by @nonlinearnarrative
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4 months ago
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Congratulations to our freshly-graduated class of 2026, who presented yesterday 10 compelling stories at the intersection of design, journalism, and technology. Soon we’ll say goodbye to Silvia Bovo, Anna Brescianini, Fabianna Flores Sanchez, Tash Harris, Cecilia Iaconelli, Marina Maschek, Luca Oosterloo, Ellen Owens, Maria Mombers, and Claire Robin Santen. Here’s a cheers to their next chapter! 🥂 @overdu3 @a_nn____.a @fabiannaflores @tash.kimmell @anthropologap @marina.maschek @whoislvca_ @elowens__ @fomoforever @clairesanten At the same time, we also bid farewell to our fantastic documentary film lecturer Maartje Nevejan, who will be leaving the department after six wonderful years of inspiring many cohorts of talented filmmakers. You will be deeply missed @maartjenevejan! Many thanks also to NLN alums Dario di Paolantonio and Cyan Bae for their valuable assistance with note-taking for the assessments, and our wonderul teaching team for their insights throughout this process. We would also like to express our gratitude to @alicetwemlow for joining us as an external examiner. For now, please join us for the graduation show opening on Thursday, 2 July at 17:00, on the ground floor of the Bleijenburg building of the Royal Academy of Art, The Hague. 🌈🎓🐕 @royalacademyofart.thehague #kabkgraduation2026 #nonlinearnarrative #kabk #royalacademyofart #royalacademyofartthehague taken in Royal Academy of Art The Hague - KABK Den Haag by @nonlinearnarrative
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4 months ago
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Today for our 2026 Graduation Show spotlights, we're highlighting Anna Brescianini @a_nn____.a ⬜ Carrara marble is often perceived through the filter of the sublime: snow-capped peaks that are, in reality, open wounds; perfect sculptures that conceal the violence of their detachment. Inverting this perspective, sacrifice stone approaches the Apuan Alps as a sacrifice zone, an exhausted landscape upon which extractive forces have inscribed a continuous and irreversible script. In the Carrara region, economy and history are inseparable from mining. To sustain the mechanisms of commerce, the mountains are systematically excavated, emptied, and reshaped. What emerges after centuries of extractivism is not only material exhaustion but a terrain marked by absence, gutted landscapes, battered inhabitants and memories that persist without their physical ground. Here, marble is not simply quarried stone, but a material body and a missing part, an archive that is simultaneously present and eroded. Tracing the processes of extraction, transformation, and circulation, this film essay follows the movement of marble through geological, economic, and political registers. These processes intertwine fragments of history, exploitation, territorial control, and myth, the fractures between them revealing how geological time is compressed into economic time. Within this system, what is perceived as beauty or progress emerges as a residue of destruction. The experimental documentary approach asks us to remain within these fractures, where images and sounds are unresolved, but persist as partial and unstable records of what will become memory tomorrow. The film highlights the imbalance inherent in extractive mentalities, revealing how landscapes are transformed without ever detaching themselves from their political dimensions. #kabkgraduation2026 #nonlinearnarrative #kabk #graduationshow taken in Royal Academy of Art The Hague - KABK Den Haag by @nonlinearnarrative
3
4 months ago
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Next up in our Graduation show series is @anthropologap 🙌 Cecilia Iaconelli (@anthropologap) is an artist and applied anthropologist whose work examines the cultural norms, roles and symbols that shape our everyday environments. She identifies the symbolic structures embedded in shared contexts—such as conferences and mundane routines—and tilts them just enough to expose their humour, tension and poetic potential. Her practice moves across performance, object theatre, stop-motion animation and sound design, exploring symbolic communication, shared imagination and the ways cultural norms, roles and symbols can be re-performed or reimagined. — I Don’t Think We Could Go Back to Where We Were is a 20-minute performance. Taking its title from a sentence overheard at the World Economic Forum in Davos, the work investigates truth not as an objective fact, but as a highly choreographed construct staged through protocols, postures, and codified languages. Within this framework, puppet, shadow and object theatre introduce a surrealist friction. Inspired by William Kentridge’s reflections on gesture and Plato’s cave of shadows, the performance treats movements as primary instruments of persuasion that communicate far more than spoken words. By isolating and re-scaling the body down to the hands, the work destabilizes the image of authority. The raised finger and the circling palm oscillate between absolute certainty and mocked vulnerability, exposing the hidden choreography behind how power is exercised. However, this carefully orchestrated control is an illusion. The choreography inevitably fractures under the weight of technical glitches and errors, which act as disruptive forces that cause mundane objects to rebel. As a result, rational protocol collapses: speech yields to an abstract vocal drone and the staging mutates into a collective catharsis, inviting the audience to cross the fourth wall to inhabit the shared uncertainty of the present. taken in Royal Academy of Art The Hague - KABK Den Haag by @nonlinearnarrative
2
4 months ago
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In today's Non Linear Narrative graduation show spotlight, we feature @marina.maschek 🧵 Marina Maschek is a researcher and textile artist, who considers her work as part of a collaborative process. In her work Connecting Stitches she explores how embroidery can become a form of storytelling and communication. Two years ago, I joined a Middle Eastern embroidery group in Rotterdam. The diverse members of our tatreez (embroidery) group might not all speak the same language, yet we form understanding and community with the help of our common embroidery. With Connecting Stitches I ask what happens if you take a closer look at the experience of this group. Can the ideas of the group be translated? Can embroidery be used as a tool for communication? For forming connections? For building community? An intercultural language? At the core of this piece hangs a map: Stitching together historical source material of embroidered textile fragments, cross-stitch motifs and audio fragments, the map tells the story of patterns moving and migrating. The embroidered patterns originate from all over the Mediterranean and Europe. As such, rather than providing a static geographical depiction, the map is an invitation to discover the shared codes of embroidery, its stories of travel and migration, of connection and communication, and to intervene. By inviting the visitors to join me in embroidering the map - whether leaving a few stitches or joining a workshop – the map captures conversations, stories and connections. It turns into a record of a collective experience and community. So, come to the graduation show, pick up a needle and thread and leave you own stitches. #kabkgraduation2026 #nonlinearnarrative #kabk #graduationshow #royalacademyofart taken in Royal Academy of Art The Hague - KABK Den Haag by @nonlinearnarrative
9
4 months ago
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Today's Grad Show takeover is with @overdu3 🍪 “Sugar and Spice a̵n̵d̵ ̵A̵l̵l̵ ̵T̵h̵i̵n̵g̵s̵ ̵N̵i̵c̵e̵” is a spatial installation that explores the cultural value of food in the Western world, taking the Netherlands and its culinary tradition as a case study. It uncovers the colonial and extractive histories embedded in food, tracing how their legacies still underpin our contemporary economic reality. The historical context under examination is the so-called Dutch Golden Age (17th century), during which the Low Countries became the primary trading power in spices and cane sugar, sourcing from Southeast Asia, Brazil, and Suriname. This trade in precious raw ingredients — built on the coerced labour of plantation extraction — laid the groundwork for what is believed to be the world's first multinational corporation: the Dutch East India Company (VOC) and, subsequently, the Chartered West India Company (WIC). The installation also questions how national identity informs and shapes our food system, and how it is, in turn, shaped by it. Which are the institutional spaces where this national memory is negotiated? This question is given material form through a series of printed textile surfaces — tea towels, napkins, and a tablecloth — each representing a distinct phase of the food cycle and its social role: production, consumption, and cultural transmission. Placed at the centre of the table sits a replica of the Mauritshuis palace, modelled in speculaas, a shortcrust cookie traditionally shaped with carved wooden moulds and flavored with spices originating from the eastern Indonesian archipelago of the Moluccas. This museum, standing in the very center of The Hague and right beside the dutch parliament, holds one of the most celebrated collections of Dutch Golden Age paintings: its edible likeness renders visible the proximity between dutch national heritage and the extractive economies that financed it. Then as now, what we consume and place on our plate reflects the fundamental ways in which the identity of a territory is constructed — and the forces that sustain it. All things nice leave a residue behind. #kabkgraduation2026 #nonlinearnarrative #kabk taken in Royal Academy of Art The Hague - KABK Den Haag by @nonlinearnarrative
12
4 months ago
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What happens if a small part takes control over the larger narrative? If the tale is no longer written by us? If the tail starts wagging the dog? In 'The Tales Wagging the Dog', the MA @nonlinearnarrative students examine this power shift and ask who really runs the show. Who writes the narratives that shape our day-to-day reality? Coming together within this study programme from various backgrounds, we spent two years learning to situate our work in the contemporary societal context and found our individual voices as storytellers. Now, this graduation show brings to life an array of different ideas and concepts shaped by our studies. Rather than simply providing counter narratives, the exhibition attempts to pull back the curtain and reveal how power structures are fractured, unstable and obscured in our current social, cultural and political landscapes. By blending video, algorithms and loops, @whoislvca_ and @fomoforever are examining narratives that shape our relationship with technology: how it shapes our memories, infrastructures and interactions. Working with performance, text and audio, @anthropologap, @tash.kimmell and @elowens__ are looking behind the stages of power and division. They question how we perform truth, how division is created, and how neutrality is contested. With spices, embroidery and maps, @overdu3 and @marina.maschek are interacting with cultural legacies. Making and baking become a way to question how traditions are established, how they communicate, and how they are shaped by trade, colonialism and migration. Audio, video and installation become a way for @clairesanten , @fabiannaflores and @a_nn____.a to interact with extractive landscapes.  They ask how offshore infrastructure is made invisible, how myth connects imperialism and oil production, and how marble quarrying becomes a sacrifice. In this exhibition we take back the pen and ask what happens if we start writing our own tales again. We invite you to join us from 2-7 July: Taste, listen, participate, watch, attend, feel, and smell our exhibition and decide for yourself who is wagging these tales. #nonlinearnarrative #thetaleswaggingthedog #kabkgraduation2026 #kabk taken in Royal Academy of Art The Hague - KABK Den Haag by @nonlinearnarrative
0
4 months ago
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