Born in Middelie (NL)
Email: maris.koolen@gmail.com
T + 31618189993
Lives and works in Amsterdam (NL)
Studio: Steenhouwerssteeg 6 IV Amsterdam
Education and residencies
2022 - 2023: European Ceramic Work Centre (EKWC), Oisterwijk (NL)
2020 Masterclass Ad de Jong, Keep an Eye Foundation Naarden (NL)
2017-2019 (MA) Royal College of Art (RCA), Sculpture, London (UK)
2012-2017 (BA) University of Amsterdam (UVA), Philosophy: Metaphysics, Amsterdam (NL)
2010-2016 (BA) Gerrit Rietveld Academie (GRA), Fine Arts & Ceramics, Amsterdam (NL)
Exhibitions
2023 Aquantize, group show, ps.kot, Amsterdam (NL)
2023 Paradise Excavated, solo show, Willem Twee Kunstruimte, Den Bosch (NL)
2023 Prospects & Concepts, van Nellefabriek, Art Rotterdam (NL)
2023 Test Case XVII, group show/ open atelier, Sundaymorning@EKWC, Oisterwijk (NL)
2021 Royal Painters Price 2021, The Royal Palace, Amsterdam (NL)
2020 TOUCH ME, group show, online
2019 Royal College of Art Degree Show, London (UK)
2019 Platform projects, 24hrs project, Tart gallery (Zurich), Athens (GR)
2019 Event: Abraham, his director Mariska and his guest - part 2, Cambridge House, London (UK)
2019 Cross My Heart, group show, Sculpture Court, Edinburgh (SCO)
2019 Event: Abraham, his director Mariska and his guest - part 1, Cambridge House, London (UK)
2018 Parfum Varken, commissioned work (ceramic objects) for Cathalijne Smulders,
Museum van Bommel van Dam, Limburg (NL)
2018 Supercult, group show, Hockney Gallery, London (UK)
2017 Ambiguity, group show, No Studio, Amsterdam (NL)
2016/ 2017 Breehornstraat 113, solo show, self-initiated project in a two floor apartment, Amsterdam (NL)
2016 This Art Fair, Beurs van Berlage, Amsterdam (NL)
2016 Textures of Taste, solo show, Paleis van Mieris, Amsterdam (NL)
2016 Dirty Daisies, group show, Art The Hague, Den Haag (NL)
2016 Graduation show Gerrit Rietveld Academie, Amsterdam (NL)
Teaching
2022 - ongoing Gerrit Rietveld Academie, teacher DOGtime Expanded Painting 3rd year
Grants, support
2022 Stichting Niemeijer Fonds, projectsubsidy (NL)
2022 Prins Bernhard Cultuurfonds, projectsubsidy (NL)
2022 Stichting Stokroos, projectsubsidy (NL)
2021 Nominated Royal Painters Price 2021 (NL)
2021 Mondriaan Fonds, stipendium for emerging artists 2021-2022 (NL)
2020 Amsterdams Fonds voor de Kunst (AFK), projectsubsidy (NL)
2018 Distinction for dissertation THREE-SEATER, MA Sculpture, Royal College of Art
2018 Continuation Fund, Royal College of Art (UK)
2018 Hendrik Muller Fonds, scholarship (NL)
2017 Prins Bernhard Cultuurfonds, scholarship (NL)
2017 Amsterdams Fonds voor de Kunst (AFK), projectsubsidy (NL)
2017 VSB Fonds, projectsubsidy (NL)
2016/2017 Sponsorship Mosa, tile manufacturer (for Breehornstraat 113) (NL)
2016 Sponsorship Wienerberger, rooftile manufacturer (for Breehornstraat 113) (NL)
2016 Sponsorship Xella, aerated concrete manufacturer (for Breehornstraat 113) (NL)
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