Apprentice Master project
Art talent never stops
The Apprentice Master project supports and motivates newly graduated artists at the start of their professional career. The selected talents, the apprentices, no longer have the guidance of the art academy to fall back on. During this project, they will be supported by renowned artists, the masters, in exploring their professional possibilities.
In their last year, Kunstpodium T works together with the affiliated art academies from the Netherlands, Belgium, Nordrhein-Westfalia and Nottingham to select promising young art talents. They are paired up with an experienced artist who has already proven himself or herself in the art world. Together with this master, the apprentices go into dialogue about their vision on art and all the aspects of being a professional artist. The result of this trajectory is a group exhibition on one of our five affiliated art locations across the Netherlands. In 2018-2019, around 40 apprentices are connected to 10 masters.
At the end of the season, an independent expert jury from Brabant will nominate the best candidates for the coveted Jan Naaijkens Prize. Four apprentices will exhibit their work for a second time during the summer; at the opening of this exhibition one of them will be announced at the winner.
The apprentices get the possibility to experiment, to learn and to try new things. New media can be explored, like creating installations, video and digital art. This can be created solo or in collaboration with other apprentices. With this project, Kunstpodium T offers them a place for research and experiment, where new paths can be explored, where new connections can be made and where new ideas can be materialised.
The Apprentice Master project started in 2007 as the ‘Leerling Meester’ program, initially only including the art academy from Tilburg and later other Dutch academies, before going international. In 2019/2020 the project is in its twelfth season. Over the previous eleven years, an organic network has originated consisting of apprentices, masters and partners. A network that creates the exchange of knowledge and stimulates cross-pollination of artistic inspiration, opinions and experiences. The young talents will find themselves in an inspiring international environment that will form the fundament of their professional career.
The season Apprentice Master 2020/2021 will start with the Introduction Week in September 2020. Keep an eye on our website and social media for updates. In November we will announce the planning of the exhibitions!
Yearmaster – Anya Janssen
Every year, Kunstpodium T invites a year master that, like a curator, selects the list with masters for that season of the Apprentice Master project. This season, visual artist Anya Janssen is the year master. Managing director Klaartje Esch and Anya have selected this year’s masters and paired them up with the apprentices. The groups are formed based on portfolios and presentations, keeping work ethic, working method and subject matter in mind. The groups challenge each other, question each others work in a constructing way and show the diversity of the visual arts.
‘When you see Anya Janssen’s paintings, you involuntarily think of cinema: Her elusive, ambiguous images often resemble scenes from a film that seems vaguely familiar to us, but of which we have forgotten the plot. She makes an unstable reality tangible in which everything undergoes a constant metamorphosis. Janssen’s art is not about telling a definite story or capturing a fleeting moment, but rather touching upon the unknowable world that lurks behind what is visually perceptible. Underneath the virtuously painted surface of her paintings, she makes an unstable reality tangible which everything undergoes a continuous metamorphosis. A world that withdraws from the symbolic order of language, and in which living and lifeless, good and evil, blossom and decay, present and future are no opposites, but manifestations of the very same thing. A reality that stays concealed to us, but we can catch a glimpse of by the esthetic persuasiveness of her work.’