LUVE 2022 Program
Saturday 8th October
Q&A with Rizky and Ruben
Exposition hours – block 1 (13:00 – 14:00)
Exposition hours – block 2 (14:30 – 15:30)
Exposition hours – block 3 (16:00 – 17:30)
Q&A with Mowgli and Lotte
Q&A with Malin and Loes
Sunday 9th October
Q&A with Marlissa and Mischa
Q&A with Wilke
Q&A with Eva and Iskra
Q&A with Leanne and Max
Q&A with Janna
Rizky Maulana Yanuar
Toang is an intimate portrait of a rice paddy farmer (Edi Sutaryadi) and his family in Indramayu, Indonesia, who were in a precarious situation due to the cycle of indebtment and environmental degradation that the Green Revolution brought to Indonesia.
Climate change has posed serious problems to many Indonesian as the country is proven to be very vulnerable to its impact. I am from Indonesia myself, and I have been experiencing and seeing firsthand the impact of climate change in Indonesia. Many people in Indonesia are very dependent on their natural resources and environment. The slightest disturbance in nature might create dire consequences. Food security is one of the most affected by climate change as climate change continues to interrupt agricultural practices, which could endanger national stability. Therefore, it is some sort of a moral obligation for me to create a film about climate change and its impact on the farmers in Indonesia. I realize that I have the privilege to study abroad which not many Indonesian are able to do. I have to translate this privilege into something that can be helpful for the people in Indonesia and other places as well that are most vulnerable to climate change. Through this research, I hope, I could express my field or filming experience into a compelling message for others and also provide ethnographic knowledge relating to climate change that might be useful for future research or studies in this field.
Rizky Maulana Yanuar is a Leiden University graduate with a specialization in Visual Ethnography. He used to work as a producer for VICE Asia Pacific. One of his short documentaries for VICE APAC, “Burying the Dead in a City Running Out of Space – The Gravediggers of Bandung”, received an honorable mention by the judges in the 2020 SOPA Awards for the Regional Excellence in Video Reporting category. Toang is his first take on ethnographic research and filmmaking.
Ruben van Rijn
People say water is life, so how could there be life where there is no more water? For the past two decades, the rural village of Peña Blanca (Chile) has suffered the devastating consequences of rising temperatures and growing drought. El Secano Aún Vive shows how daily life in the village has become despairingly dull and anticipates a future that remains uncertain if nothing changes. But in an environment that seems unable to support life of any form, it’s the few people that live in it who prove that the drylands are not dead yet.
With El Secano Aún Vive I hoped to find a balance between imagination and investigation, which I believe to be the best response to many problems that our planet is currently facing. One of these problems, the one that interests but also scares me the most, is portrayed in this film. Prior education has provided me with practical knowledge on environmental issues, which I have tried to incorporate in this film, but above all I simply wanted to show the horrible consequences of globally rising temperatures and growing drought in a part of the world that to us might seem too far away to care for.
I’m Ruben van Rijn, an accidental visual anthropologist who tried changing a hobby into something more meaningful. My background in environmental sciences pushes me to explore the possibilities of film for showing and changing the worsening state of our planet and the impact on its inhabitants.
Dutch youth with a migrant background, especially from ‘deprived’ neighborhoods, often tend to be labelled as problematic. This made me wonder: how do youth themselves experience these labels? In order to gain insight into the experiences of the youth, I asked them to tell me stories. Stories about how they see their neighborhood. Stories about how they think others see their neighborhood. Stories about childhood memories, positive or negative. The result of these stories is captured in an exhibition that combines audio, video and photo and represents how these youth deal with stigmas about themselves and the places they live in.
With this project I wanted to show a more nuanced image of places and people that are often represented one-sided. Also, I found it important to display the voice of the youth, as it contains much power but often remains unheard. Although anthropology is always a work in progress, and so is this project, I hope that my work inspires people to look and think beyond their initial assumptions.
My name is Fleur Roovers, 27 years old. Last year I got the opportunity to combine my anthropological background and experience in youth work with learning new creative skills in film and photography. As it turns out, it was great! In the future, I would love to keep combining these things and express people’s stories in film and photography.
Jara van den Bosch
heem is a young, green, creative space of reflection and contemplation, in the intersection of various religions and philosophies of life. as covid-19 brought activities to a halt, i discovered heem through the place, the gardens of the abbey of egmond, and the people surrounding and sustaining heem. the slow, intentional nature of analogue film motivated the choice for an analogue photobook – handbound at the abbey – to reflect my journey of getting to know heem.
inspired by people, new places and nature – especially the sun, i love to work on creative projects. besides my interest in the big questions of life, i am also fascinated for what happens beyond our words. this is where i love to tell (audio)visual stories with their colours, smells, sounds and the mundane thing of life – down to the smallest details.
Postcolonial Sentiments is an interactive website concerning the way colonial history has shaped contemporary relations between Curaçaoan and Dutch inhabitants of Curaçao. I have conducted a 10-week period of visual ethnographic research on Curaçao, focused on interviewing and photography. I have 22 recorded interviews, in which I asked people about the contemporary relation between Dutch and Curaçaoan inhabitants, and how they relate to colonial history. A selection of these interviews with corresponding portraits are presented on the website. The purpose of the project is to create understanding and to raise awareness about the legacy of Dutch colonialism on Curaçao.
My name is Hannah Bults (1996) and I am a visual anthropologist based in Amsterdam. An ongoing desire to understand human behaviour has led me from a BA in Psychology to an MA in Anthropology. The current project is the result of a strong interest in the legacy of colonial history in contemporary society, combined with a love for audio-visual media, photography in particular.
After performing fieldwork at the Hatertse and Overasseltse fens, I translated the walks and talks I had with my participants into an interactive website. Various topics come together at this place, such as climate change, knowledge backgrounds, conflict, and a variety of eccentric Dutch nature. Come join my participants and me on a shared walk and experience this interesting and, above all, beautiful area full of rare flora and fauna.
My name is Maarten and I studied anthropology and philosophy before starting the visual anthropology masters. After reading the astonishing novel The Overstory by Richard Powers, and writing about human-nature relationships from a philosophical perspective, I wanted to dive into relatable topics as a visual anthropologist. It motivated me to research nonhuman agents within a rather human-centred discipline.
The aim of this multi modal zine is to depict the ways in which nostalgia expresses itself when dealing with transnational identities. Nostalgia, as a concept is often described as a ‘loss’ or ‘remembrance’, this project tries to question this idea when intersecting with transnationalism. When ‘home’ is a multitude, nostalgia might be expressed differently. This project took place over 2,5 months spent in Marseille – France, a city with a large community originating from the North-African diaspora. The zine consists of text, analogue photos, audio pieces as well as interactive material elements. By the combination of these modes, a ‘user’ of the zine gets to experience sensorial elements of transnational nostalgia.
Sabrine (not SabrinA) – Saber, – to have ‘a lot of patience’ in Arabic. She often goes by the name of Saab. Growing up in the Netherlands with a French mother and a Moroccan father who consistently refer to ‘home’ as a place in between these three countries sparked an interest in the concept of ‘nostalgia’ in relation to transnationalism.