events :


unsettling weaving with Richard John Jones

Time: from 10:00 to 17:00

For more information please email:


    The workshop "Difference Engines", comprised of three sessions, will use performance (and its documentation), printed textile and composition to create a collective work. The "Difference Engine" is the name of the first computer, a calculating machine engineered by Charles Babbage and programmed by Ada Lovelace. Its development was directly connected to innovations in mechanical weaving. By weaving together fabric as a material, and its production as a metaphor, workshop participants are invited to work with and share experiences that touch on opacity, bodily autonomy, gaining or losing control, inter-dependence on machines, community through technology, representation and marginalisation.

Richard John Jones: I work primarily with textiles and performance and where these intersect, for example when a textile work becomes a costume, or the body becomes a sculptural form. I like how both of these are in a dance of revealing and obscuring at the same time. In general, my work is concerned with the interaction between visual forms of representation/abstraction and political forms of recognition and margin-alisation. I am interested in how technological developments, particularly in manufacturing, affect the body and how bodies, in turn, become part of a machine. I am a graduate of Central Saint Martins, London and the Sandberg Instituut, Amsterdam and until 2012 was a Co-Director of Auto Italia South East, London. My work has been shown at the Irish Museum of Modern Art (IMMA), Dublin, The Museum of Modern Art, Medellin (MAMM), EYE Film Museum, Amsterdam, Fondation Galeries Lafayette, Paris and the Gwangju Biennial in collaboration with AA Bronson. I was recently a recipient of the IMMA Freud Project Residency, Dublin. Image: National Idiom, 2018. Courtesy of the Artist.


unsettling fabulations
with Studium Generale

Time: from 13:30 to 15:30

    “ Études” is a set of basic exercises borrowed from the practices of embodiment that emphasize the interconnection between the body and its surrounding. Surrendering to the pneumatic, optical and sonic sens-ations of the space, we will focus on the experience and precognitive knowledge that emerges within the body. Rather than relating to the space in units of measurements and as an essentially quantitative, these basic exercises might allow us to experience the space as purely qualitative and shaped by bodily experience.  

Nikola Knežević is a multidisciplinary artist and researcher formerly trained as an architect and working at intersection of architecture and embodied practices, closely and regularly collaborating with choreographers. Investigating the politics of space, he focuses on the body, the fundamental site of feeling, thinking, perceiving the world, and taking action. His research explores both how the environment (physical, social, political, and cultural) choreo-graphs and acts upon bodies from the outside, while simultaneously con-sidering how the immaterial spaces of memories, dreams and the uncon-scious (in)form the bodies from the inside. His practice includes indep-endent research and artistic work and applied practice in scenography for contemporary dance and performance.

Nikola Knežević was a guest of unsettling Rietveld Sandberg in the context of the Rietveld Studium Generale program 'Take a Walk on the Wild Side - Fabulating Alternative Imaginaries in Art and Life' here.

25.01.19 (Rietveld)

07.02.19 (Sandberg)

unsettling open-days

Time: from 10:00


    Drop by and visit the unsettling team during the academy Open Days! We'll be showcasing the new unsettling bibliography – a gathering of resources, books, films, sounds and texts recommended by advisors, guests and members of the unsettling reading group – which will be accessible for students and staff as tools for learning and teaching. Browse, chat, read, and share your experiences with potential future students and colleagues! 


unsettling teachers with Ayesha Ghanchi

For more information on the workshop tools please email:


    This four-part course “Critical Practices: Art and Dialogue” for teachers comprises a series of activities and discussions about critical pedagogy and its relevance to art teaching. Critical pedagogy is a teaching philosophy which integrates the subject of learning with the students’ lived realities. The aim of critical pedagogy is to develop a critical consciousness, in other words- to help students develop an understanding of how they create knowledge, and how this knowledge relates to a wider social and global context. We will examine how a critical consciousness can improve the art making process and dialogues within the studios. These workshops will also give teachers a toolkit to embark upon critical art investigations with their students. We will consider: how to encourage open and empathetic discussions; create contingent and reflexive learning; how learning is continuous and incomplete; how our position affects our interactions, and the flexible role of the teacher. Together, we will explore dialogic and collaborative teaching approaches from Paulo Freire, John Dewey, bell hooks and Joe L. Kincheloe. These workshops will use methods drawn from these pedagogues in our learning journey. Thus, this will also serve as an example of what critical pedagogy is and how it can be used to get the best out of students who are about to embark upon their arts practice.

Ayesha Ghanchi is an Artist-Educator and academic with a specialist focus on critical pedagogy in arts practice. In 2016 she completed her PhD in collaboration with her thesis titled “A critical analysis of artists engagements at Tate from 1967-2015”. In this body of research, she examined the socio-cultural contexts of pedagogies used at Tate in London, and how they have been influenced by radical and critical philosophies stemming from the 1968 moment. Prior to the PhD, Ayesha worked within the cultural and community sectors as an educator in diverse roles, such as being an assistant curator in the British Museum and Tate Modern, working freelance in council run youth centres, or working with Palestinian refugees in Beirut. Her work mostly focuses on social justice and increasing engagements with arts and culture. More recently she has collaborated with BAK and the Side Room to teach and explore critical pedagogy.


unsettling Voices 
with Cleaver Cunningham
and Tracian Meikle

Join us for the last unsettling event of the semester - an informal conversation around the work of Jamaican artist Cleaver Cunningham, moderated by Tracian Meikle. There will be coffee, tea and snacks.

Cleaver Cunningham paints memorial murals largely using airbrush. The portraits often include images of status objects owned or desired by the subjects of the murals. See more of Cleaver here:

Tracian Meikle (1985) is the co-founder and organizer of the Amsterdam Black Women Collective, a collective committed to creating a nurturing and safe space for black women seeking community. She is also completing a PhD at the University of Amsterdam where she looks at the socio-political work of street art in Kingston, Jamaica.

If you want to see Cleaver Cunningham at work - he is currently making a mural in collaboration with Street Art Museum Amsterdam and will be working on Tuesday 11 December from 9-14.00 (address: Street Art Museum Amsterdam, Immanuel Kanthof 1, 1064 VR, Amsterdam). For more information see:
unsettling Consultant
Judith Leysner

unsettling Graphic Design
Manon Bachelier
For any in-person questions, suggestions, conversations, please visit the unsettling station!
On Thursdays from 10.00AM to 17.00PM at the Rietveld Bibliotheek, FedLev building!

☎. + 31 20 588 2406

unsettling visiting address: 
Fred. Roeskestraat 96
NL – 1076 ED Amsterdam