Mariska Koolen
Born in Middelie (NL)
Email: maris.koolen@gmail.com
T + 31618189993
Lives and works in Amsterdam (NL)
Education
Aug – Sept 2020 Masterclass Ad de Jong, Naarden (NL)
2017-2019 (MA) Royal College of Art, Sculpture, London (UK)
2010-2016 (BA) Gerrit Rietveld Academie, Fine Arts & Design, Amsterdam (NL)
(2010 - 2014 Fine Arts & 2014 - 2016 Ceramics)
2012-2016 (BA) University of Amsterdam, Philosophy: Metaphysics, Amsterdam (NL)
Exhibitions
2020 TOUCH ME, group show, online
2019 Royal College of Art Degree Show, London
2019 Platform projects, 24hrs project, Tart gallery (Zurich), Athens
2019 Event: Abraham, his director Mariska and his guest - part 2, Cambridge House, London
2019 Cross My Heart, group show, Sculpture Court, Edinburgh
2019 Event: Abraham, his director Mariska and his guest - part 1, Cambridge House, London
2018 Parfum Varken, commissioned work (ceramic objects) for artist Cathalijne Smulders
Museum van Bommel van Dam / Circular Art Lab Limburg (NL)
2018 Supercult, group show, Hockney Gallery, London
2017 Ambiguity, group show, No Studio, Amsterdam
2016/ 2017 Breehornstraat 113, solo show, self-initiated project in a two floor apartment, Amsterdam
2016 This Art Fair, Beurs van Berlage, Amsterdam
2016 Textures of Taste, solo show, Paleis van Mieris, Amsterdam
2016 Dirty Daisies, group show, Art The Hague, Den Haag
2016 Graduation show Gerrit Rietveld Academie, Amsterdam
Grants, sponsorship, support
2020 Amsterdams Fonds voor de Kunst (Country Mamma) (NL)
2018 Distinction for dissertation THREE-SEATER, MA Sculpture, Royal College of Art
2018 Hendrik Muller Fonds (NL)
2017 Prins Bernhard Cultuurfonds (NL)
2017 Amsterdams Fonds voor de Kunst (Breehornstraat 113) (NL)
2017 VSB Fonds (for Breehornstraat 113) (NL)
2016/2017 Sponsorship Mosa, tile manufacturer (NL)
2016 Sponsorship Wienerberger, rooftile manufacturer (NL/EU)
2016 Sponsorship Xella, aerated concrete manufacturer (NL/EU)
Chantal Faust about the sense of play in Three - seater:
“... the work – which is predominantly presented in a script format – speaks of boundaries and limits, systems of control and domination, the void, transcendence, language and freedom. The writing is lucid, poignant, and at times deeply humorous. The analysis contained within the narrative demonstrates an extensive process of reading and research that has been undertaken in the making of this response, and a strong ability to synthesise these gleaned findings into a novel and original discussion. There is a brilliant sense of play – in all of its meanings and connotations – throughout the dissertation. Not only the documentation of play, or being played with, but also a sense of play with the reader, with the characters, and also with the author. This is shown to reveal a significant and complex study of the interactions between bodies (and things) and the implications of strands of thinking concerned with the rules and edges of play, when play becomes being, and the essence of being itself is questioned. Drawing predominantly on philosophical texts – namely Kierkegaard, Wittgenstein and Nancy – the work is also clearly inspired by absurdist literature. It is not an easy task to combine all of these references into a response that is also compelling to read, and the work should be commended for this achievement.”
Dr Chantal Faust (RCA, Senior Tutor Research), June 2018