Lisa van Casand

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	<title>Lisa van Casand</title>
	<link>https://lisavancasand.nl</link>
	<description>Lisa van Casand</description>
	<pubDate>Tue, 08 Dec 2020 20:22:21 +0000</pubDate>
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		<pubDate>Fri, 06 Nov 2020 09:56:49 +0000</pubDate>

		<dc:creator>Lisa van Casand</dc:creator>

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		<pubDate>Tue, 24 Nov 2020 21:39:11 +0000</pubDate>

		<dc:creator>Lisa van Casand</dc:creator>

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Written by Katerina Stathopoulou for Life Framer&#38;nbsp;
09 / 2017About Fluorescent Signals
From Life Framer edition IV – an OPEN CAL winner, judged by Katerina Statholoulu, curator at MoMa, New York


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; I was immediately pulled towards Lisa’s image. It’s beautifully structured, and the vivid reds and oranges of the leaf tips are foreign and striking. It’s a tactile, physical image and my first thought was that the fiery colors were heat prints left from human touch – a comment on our heavy-handed relationship with nature. I feel like it plays with the long and familiar tradition of still life photography (and painting) of plants and flowers, but with a bold and contemporary spin.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; From reading the statement, I understand that it’s the result of stressing the plant with external elements (drought, hot water, chlorine…) and then capturing the infrared energy released, normally imperceptible to the human eye. It’s a considered way of depicting that fragility – how our actions as humans can damage our environment in ways that are often invisible. Warning signs hidden and so easy to overlook. There’s a subtle irony at play too – how that damage manifests itself in something so beautiful.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
It’s an experimental image, borne of investigation and process, and that’s to be admired.
Written by Sophie Wright For British Journal of Photography
06 / 2017About The Mushroom Club
From June 2017 BJP, issue #7860 – Ones to Watch - Lisa van Casand, The Talent Issue &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; 
For The Mushroom Club, Lisa van Casand focused on a Cold War-era former Nato HQ on the Dutch-Belgian border, from which all official documentation had been destroyed.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; For Lisa van Casand, photography provides carte blanche to investigate places and people she would otherwise not have access. Her projects often revolve around waarheidsvinding, a peculiarly Dutch term best – if imprecisely – translated as ‘truth-finding’, an interest she attributes to her upbringing.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; “I grew up with people around me that had quite a variety of strong beliefs,” says the 26-year-old from Eindhoven. “Which is not necessarily a bad thing in itself but it did confuse me at a young age – how people could believe so strongly in opposite things?”
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Though interested in the idea of photography as evidence and document, it was the fallacy of the tools we use to order reality, and the limitations of seeing, that she often reflects on in her research-led projects. “I am drawn to things that are shrouded in mystery. The bigger the impossibility of reaching the object of investigation, the better,”says the final-year student at the Royal Academy of Art in The Hague.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Clarity and knowledge are not the desired outcomes of her research: it’s the ambiguity of the journey that counts. The subjective act of producing and interpreting information is a red thread through all of her work, which often takes enigmatic historical events or scientific ideas as its starting point.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; For The Mushroom Club, van Casand focused her attention on a Cold War-era former Nato headquarters inside a hill on the Dutch-Belgian border. All official documentation and evidence&#38;nbsp;of the underground network of tunnels had been destroyed, so she set herself the task of patching together an impression of the base by interpreting the fragments of information available.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Van Casand chose not to photograph the site as it exists now, conscious that the end point would be to merely linger on what is no longer there. Instead she treated the material she gathered as “building blocks” for an imagined contemporary document that found its form across several different elements. From a 3D-reconstruction of the mountain’s golf course, to a book bringing together conflicting accounts from former employees into a seemingly cohesive narrative, her rendering of the former Nato HQ embraces the inaccuracies of documentation and the subjective vision underlying these processes.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; In leaving the information inconclusive, van Casand relies on the viewer to piece together some of the puzzle. “I am searching for ways to give the viewer a more active role in viewing the work, by ensuring that the work is not complete without them,” she explains. “In this way, the final image is the mental image in the mind of the viewer.”
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; For her next project she plans to push the role of the viewer even further, exploring our individual responses to colour by seeing if it’s possible to create a work “that everyone will see differently”.


Written by Ralph Wilson For Life Framer - Beyond the Visible Spectrum&#38;nbsp;

11 / 2017About&#38;nbsp;Fluorescent Signals
From Life Framer, Featured Story,&#38;nbsp;An insight into Lisa van Casand’s exploratory project ‘Fluorescent Signals’ &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Your work Fluorescent Signals is borne of a scientific approach, with each image the result of a controlled experiment carried out by you, and the results published in graphs and technical notes. Can you describe the genesis of the project, and how this approach was developed?
 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; A friend told me about the reaction of plants to a stressful environment. He told me that plants always emit a fluorescence and when put under stressful conditions, this fluorescence increases. I had never heard about the term stress in relation to plants. I immediately found it a mesmerizing idea that plants actively react to their environment, but that our eyes are just not capable of seeing it.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; During the third year of my studies at the Royal Academy of Art in The Hague I decided to see if it was possible to photograph this reaction. So, over the course of half a year, I collaborated with the plant scientist Vincent Jalink from PhenoVation. Our goal was to turn the technique that he uses into a full frame photographic one. As soon as we had the technique figured out, I bought dozens of plants, took them to my studio and started thinking of ways to put the plants in different stressful environments.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; With this experimental approach, was the aesthetical output for the six images clear in your mind from the start, or was that a result of investigation too? And how was the effect actually achieved? The visual cohesiveness of the series, and the rich palette of reds and oranges against the plant life, is quite powerful…
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; When I started this project, I had no idea what it was going to look like, or if it was even possible to photograph the reaction. Our visible spectrum is much more limited than that of a camera, so that is why I hoped there would be a possibility. I eventually photographed the plants in a light-tight room, with specific led lighting and a lens filter. This made it possible for the camera to detect the differences in intensity of the fluorescence emitted by the plant. When I saw the first image, after having put the plants bare roots into cleaning vinegar, I was really surprised by the outcome myself! The plant looked exactly the same when I switched the lights on, but on the screen of my camera it was glowing. So, if we could see beyond our limited visible spectrum, plants would appear to us as glowing organisms, directly responsive to their environment. It made me think of how my senses (and especially their limits), my sight, my hearing, my smell, lead many of my convictions on how I perceive the world around me.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; How much research was required before embarking on the experiments? And were they simple to execute or were there challenges along the way?
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; It took me quite some time (and a lot of plants) to be able to make these images. One of the hurdles was to choose the combination of the right plant with the right external stress factor. For example, spraying chlorine on a plant has a great effect; the plant immediately starts to hang. I needed an exposure time of at least 30 seconds to be able to see the fluorescence, so it took me a while to find a plant that was strong enough to stay upright, but also vulnerable enough to see the effects of the chlorine.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; With a few notable exceptions, art and science rarely mixes. Would you describe yourself as a scientist as well as an artist?
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; I would not call myself a scientist. Aside from the fact that I don’t think I deserve the title, I think my approach towards the project is more an artistic one. In my projects I do use scientific language. I use photography, do experiments, dig up information, interview, interpret findings, calculate and measure; all tools invented by humans to create an understanding of the world around us. But clarity and knowledge are not the desired outcomes of my research.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; I usually choose subjects that are enigmatic, like a scientific research that shakes fixed thinking patterns or an enigmatic historical event. The research into stressful behaviour in plants is linked to a larger field of research on ‘intelligent’ behaviour in plants. Plant scientist are debating new ways of understanding flora. Recent research has in many ways shown remarkably brainy behaviour in the absence of an actual brain. Some ask whether we should not broaden our perspective on what intelligence means. Others argue that even the words ‘stress’ and ‘intelligence’ should be used exclusively for human beings. So, this new research forces us to redefine terms in which we think and talk about plants. Such a subjective act of producing and interpreting information is recurrent in all my work.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; What I found very interesting when showing ‘Fluorescent Signals’ were the reactions of the viewer. Some called me a sadist and others, funnily enough, called me a tree hugger and said that I should not imply that plants have consciousness or feelings – even though I deliberately avoid those words.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; And finally, one of the images was selected in our ‘Open Call’, and the judge’s comments referred to the idea of the fragile relationship between man and nature – “how our actions as humans can damage our environment in ways that are often invisible” and the subtle irony in how “that damage manifests itself in something so beautiful”. Was this a theme – or message – you had in mind when creating Fluorescent Signals, or is it coincidental?
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; The fragile relationship between man and nature was on my mind. As I mentioned earlier, what I was going to see when creating these images was a mystery to me as well. Many of the visual elements were also decided by the technical process. However, the aesthetic, painterly quality and framing of the images was something that I was looking for at the same time. I find the reference to painterly still lives – in which plants have long been perceived as inanimate, static and decorative objects – an interesting contradiction to the content of the images.
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		<pubDate>Fri, 27 Nov 2020 15:16:26 +0000</pubDate>

		<dc:creator>Lisa van Casand</dc:creator>

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		<description>Info&#38;nbsp;&#38;nbsp;

Coming up: Prospects 2021 - Mondriaan Fonds Toont Talent.&#38;nbsp;


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		<title>Commissions</title>
				
		<link>https://lisavancasand.nl/Commissions</link>

		<pubDate>Tue, 08 Dec 2020 20:22:21 +0000</pubDate>

		<dc:creator>Lisa van Casand</dc:creator>

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		<description>Slender West Lake Park
	FOREIGN AFFAIRS OFFICE&#38;nbsp;
	The artists exhibiting in Yanghzou Culture Centre were asked to make a series in the painterly surroundings of Slender West Lake
park.

					
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Plasticsoup
	DE CORRESPONDENT
	Microscopic
images of synthetic microfibres.
The images reflect on how tiny
pieces of plastic are increasingly polluting the oceans ecology.


&#60;img width="3508" height="2480" width_o="3508" height_o="2480" data-src="https://freight.cargo.site/t/original/i/0c4b155ef6453b9276f5675df30629f2b8d7f72ac4f6f761a5c7c01183f8c27c/DC_articles_3.jpg" data-mid="91475173" border="0"  src="https://freight.cargo.site/w/1000/i/0c4b155ef6453b9276f5675df30629f2b8d7f72ac4f6f761a5c7c01183f8c27c/DC_articles_3.jpg" /&#62;


	A001
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	A002
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A005
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	A003
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A006
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Guesthouse
	Frits 040
	A friendly
guesthouse in the character of
Eindhoven.

					
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Plant Studies
	LEIDEN UNIVERSITY / NATURALIS 
	

	A001
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	A002
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	A003
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	B001
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	B002
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	B003
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	C001
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	A002
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Leesclub aan de Kade
	DE CORRESPONDENT
	Bookclub scenes in which
the details, styling and objects
subtly refers to the content of the books.

				
&#60;img width="3508" height="2480" width_o="3508" height_o="2480" data-src="https://freight.cargo.site/t/original/i/8da0ec17014a4b1bc10b4f024dee6dec97fa5cea5cf11e3c5fa390f31b3d1bcd/DC_leesclub_articles.jpg" data-mid="91474694" border="0"  src="https://freight.cargo.site/w/1000/i/8da0ec17014a4b1bc10b4f024dee6dec97fa5cea5cf11e3c5fa390f31b3d1bcd/DC_leesclub_articles.jpg" /&#62;
	A001
&#60;img width="3174" height="4756" width_o="3174" height_o="4756" data-src="https://freight.cargo.site/t/original/i/bd46c4c17a7164968643454630e00560a3b437aca17d8e88eeffb2374ac04a37/DC_Leesclub_Falter_-2-van-5.jpg" data-mid="91475882" border="0"  src="https://freight.cargo.site/w/1000/i/bd46c4c17a7164968643454630e00560a3b437aca17d8e88eeffb2374ac04a37/DC_Leesclub_Falter_-2-van-5.jpg" /&#62;A001
&#60;img width="4335" height="6496" width_o="4335" height_o="6496" data-src="https://freight.cargo.site/t/original/i/6e42992b329820df0b6f1d82ebe60ebdf8b33e80e4f30d39470729bd2a0f0d5b/DC_Leesclub_Shame_-2-van-1.jpg" data-mid="91479400" border="0"  src="https://freight.cargo.site/w/1000/i/6e42992b329820df0b6f1d82ebe60ebdf8b33e80e4f30d39470729bd2a0f0d5b/DC_Leesclub_Shame_-2-van-1.jpg" /&#62;
	A001
&#60;img width="3468" height="5203" width_o="3468" height_o="5203" data-src="https://freight.cargo.site/t/original/i/4867654de1660a11f07aede9c406af0915efed89278852c6b80e6879d9838dad/DC_Leesclub_Falter_-4-van-5.jpg" data-mid="91475880" border="0"  src="https://freight.cargo.site/w/1000/i/4867654de1660a11f07aede9c406af0915efed89278852c6b80e6879d9838dad/DC_Leesclub_Falter_-4-van-5.jpg" /&#62;A001
&#60;img width="4426" height="6640" width_o="4426" height_o="6640" data-src="https://freight.cargo.site/t/original/i/be0931efd37bdff86c40ddbecd3c5e68f67bc6376d968769c2626bad86276d44/DC_Leesclub_EndOfNight_-3-van-5.jpg" data-mid="91475883" border="0"  src="https://freight.cargo.site/w/1000/i/be0931efd37bdff86c40ddbecd3c5e68f67bc6376d968769c2626bad86276d44/DC_Leesclub_EndOfNight_-3-van-5.jpg" /&#62;
	A001
&#60;img width="1281" height="1920" width_o="1281" height_o="1920" data-src="https://freight.cargo.site/t/original/i/dae7f470810a0f415be0afa6b12eff17793bfa4bc16e290e38ac835297187600/DC_Leesclub_Shame_-4-van-5.jpg" data-mid="91475884" border="0"  src="https://freight.cargo.site/w/1000/i/dae7f470810a0f415be0afa6b12eff17793bfa4bc16e290e38ac835297187600/DC_Leesclub_Shame_-4-van-5.jpg" /&#62;
A001

&#60;img width="2892" height="4338" width_o="2892" height_o="4338" data-src="https://freight.cargo.site/t/original/i/47da4061267e492cceac9cce5f7734ef33851786607196c43cbc285367593667/DC_Leesclub_Falter_-3-van-5.jpg" data-mid="91475881" border="0"  src="https://freight.cargo.site/w/1000/i/47da4061267e492cceac9cce5f7734ef33851786607196c43cbc285367593667/DC_Leesclub_Falter_-3-van-5.jpg" /&#62;


Crokinole
	NOLLICROK
	A beautifully designed and
handmade Crokinole boardgame.&#38;nbsp;

					
&#60;img width="1600" height="1093" width_o="1600" height_o="1093" data-src="https://freight.cargo.site/t/original/i/1ecfbaaefed295d77450f4c5b2a93c8cc788173fc36cbc01127cf82d75d69b42/Nollicrok-build-1299_6.jpg" data-mid="91556474" border="0"  src="https://freight.cargo.site/w/1000/i/1ecfbaaefed295d77450f4c5b2a93c8cc788173fc36cbc01127cf82d75d69b42/Nollicrok-build-1299_6.jpg" /&#62;

	A001
&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/5b18d9a51b24f07e42ca0bc94af1e93e91c9700fe64430e80168c8b345abaebf/Nollicrok-build-1197_orange.jpg" data-mid="91556446" border="0"  src="https://freight.cargo.site/w/1000/i/5b18d9a51b24f07e42ca0bc94af1e93e91c9700fe64430e80168c8b345abaebf/Nollicrok-build-1197_orange.jpg" /&#62;
	A001
&#60;img width="1700" height="1135" width_o="1700" height_o="1135" data-src="https://freight.cargo.site/t/original/i/881b39c1a22a19f5224dd6c43356d3cba16ab2029e53339b3cacabb318a8d1de/Nollicrok-build-1197_blue.jpg" data-mid="91556447" border="0"  src="https://freight.cargo.site/w/1000/i/881b39c1a22a19f5224dd6c43356d3cba16ab2029e53339b3cacabb318a8d1de/Nollicrok-build-1197_blue.jpg" /&#62;

	&#60;img width="1700" height="1771" width_o="1700" height_o="1771" data-src="https://freight.cargo.site/t/original/i/a8f91315bba838cb8860aa232bb4fffdbc532d9954b4780daa730bfdd2924935/preview-Nollicrok-build-1313--2.jpg" data-mid="91556713" border="0"  src="https://freight.cargo.site/w/1000/i/a8f91315bba838cb8860aa232bb4fffdbc532d9954b4780daa730bfdd2924935/preview-Nollicrok-build-1313--2.jpg" /&#62;
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	<item>
		<title>MSA</title>
				
		<link>https://lisavancasand.nl/MSA</link>

		<pubDate>Tue, 10 Nov 2020 13:58:22 +0000</pubDate>

		<dc:creator>Lisa van Casand</dc:creator>

		<guid isPermaLink="true">https://lisavancasand.nl/MSA</guid>

		<description>Research Archive
&#60;img width="3559" height="2192" width_o="3559" height_o="2192" data-src="https://freight.cargo.site/t/original/i/61d6cb6067d057194c2e117fc42130aae752b662bad7b1c64c49b5a1e311ecfa/desktop-on-desk.jpg" data-mid="89995083" border="0"  src="https://freight.cargo.site/w/1000/i/61d6cb6067d057194c2e117fc42130aae752b662bad7b1c64c49b5a1e311ecfa/desktop-on-desk.jpg" /&#62;↪ Visit website

MSA / 2018
From&#38;nbsp;Meaning Seeking Animals &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Meaning Seeking Animals explores the possibility of a publication as a world in itself. It is a personal collection of processed knowledge that continues to grow as the artist creates new work. It is a world, an aura, a field where the artist’s internal experience of knowledge-building has been stored—long kept private and now made public.

The diverse collection of excerpts and fragments, combining sources from biology, philosophy, art, and psychology, grows and takes shape as a terrain under the thoughtful care of Lisa van Casand. The publication might be compared to more traditional formats such as a captain’s diary, notebook, or log—yet as a collection of knowledge, it more closely resembles Walter Benjamin’s vision of the dream world: "an autonomous world of dreams circling the earth at night."

Upon opening, the publication provides no specific reading direction—no middle and no end. Like a topographical map, it serves as a guide for locating positions or intersections, offering audio-walks by artist Marit Mihklepp, theorist Aleid de Jong, and geographer Jacob Knegtel.
&#60;img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/1fd4b12833553a9fd860ff295655567fbb4a44f1d821bfe2caa72599e58699f5/2880-1600px.jpg" data-mid="89995639" border="0"  src="https://freight.cargo.site/w/1000/i/1fd4b12833553a9fd860ff295655567fbb4a44f1d821bfe2caa72599e58699f5/2880-1600px.jpg" /&#62;

MSA / 2018
From Oneacre.online
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Meaning Seeking Animals was published by oneacre.online:&#38;nbsp;an experimental publishing &#38;amp; distribution project that utilises an online platform to seed unprintable text-based works by emerging artists. The project explores the possibilities of hyper-publishing in a series of four commissioned publications.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Thematically oneacre.online first four commissioned publications by all female art practitioners, place themselves in the online world of constant updates and refresh buttons that, as theorist Wendy Chun observes, “exist at the bleeding edge of obsolescence. We thus forever try to catch up, updating to remain the same”. The publications use the omnidirectional online terrain and actions that are native to it — such as refreshing, instantly available to edit, easily erasable, highlighting, copy-pasting and non linear navigation — to explore and critically evaluate visions and versions of power systems by tracing the politics of technological infrastructures. Hidden in places as traditional as archives, as often used as smart phone applications, omnipresent and inescapable as the financial market and as quiet and evasive as the transfer of information in narrative structures.↪&#38;nbsp;Visit websiteFor the production of Meaning Seeking Animals I would like to thank: Stef Kors, Titus Knegtel, Victoria Douka Doukopoulou, Lucas van der Velden &#38;amp; Sonic Acts, Aleid de Jong, Jacob Knegtel, Marit Mihklepp, Neon &#38;amp; Landa and Stedelijk Museum Amsterdam.


&#60;img width="3547" height="1182" width_o="3547" height_o="1182" data-src="https://freight.cargo.site/t/original/i/934fd1c7f960dbbef0411a7d3d14c07392e74e1a93c2f7909f29882ffb242c13/42114316_1496172683818742_5954180541891739648_o-1.jpg" data-mid="89995643" border="0"  src="https://freight.cargo.site/w/1000/i/934fd1c7f960dbbef0411a7d3d14c07392e74e1a93c2f7909f29882ffb242c13/42114316_1496172683818742_5954180541891739648_o-1.jpg" /&#62;
&#60;img width="1725" height="656" width_o="1725" height_o="656" data-src="https://freight.cargo.site/t/original/i/d820297ec18d036fdc834fbf0e9bb3de55c20bd81e3a4ab9a10965f86036051b/41311787_10156587411939659_6977963383614078976_o.jpg" data-mid="89995640" border="0"  src="https://freight.cargo.site/w/1000/i/d820297ec18d036fdc834fbf0e9bb3de55c20bd81e3a4ab9a10965f86036051b/41311787_10156587411939659_6977963383614078976_o.jpg" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>CV</title>
				
		<link>https://lisavancasand.nl/CV</link>

		<pubDate>Tue, 10 Nov 2020 15:13:27 +0000</pubDate>

		<dc:creator>Lisa van Casand</dc:creator>

		<guid isPermaLink="true">https://lisavancasand.nl/CV</guid>

		<description>Curriculum Vitae

Education &#38;amp; Experience.&#38;nbsp;
	2021-2023 Image Editor at Follow The Money

2020 Freelance Image Editor at De Correspondent


2019 - 2020 Educator at the Royal Academy of Arts (KABK), The Hague. 2nd year course Dissecting Methodologies.2019 Masterclass photography
Onderwijsraad, The Hague
	2019 KNAW Honours programme
 Arts/Science: Academy Honours Programme for Young Artists and Scientists

2018 - 2020 Workshop: How to graduate in 4 days, KABK, The Hague
2012 - 2017 Bachelor of Arts, Royal Academy of arts (KABK), The Hague


	Awards, Grants &#38;amp; Collections.

	2022 (Prize)BPS PRIZE Beelden in Leiden&#38;nbsp;
2022 (Collectie)MINISTRY OF ECONOMIC AFFAIRS AND CLIMATE Fluorescent Signals / Set in Stone
2021 (Grant)MONDRIAAN FONDS Corona-overbrugging Kunstenaar 2021. 

2020 (Grant)MONDRIAAN FONDS Stipendium for Emerging Artists 2020.&#38;nbsp;


2020 (shortlisted)
THE BARTUR PHOTO AWARD Unity in Diversity &#38;amp; Climate Change2019 (shortlisted )STEDELIJK MUSEUM Municipal Art Acquisitions 2020

2017 (Nomination)FOTOMUSEUM WINTERTHUR Plat(t)form 2018
2017 (Winner – Honorary mention)LIFE FRAMER, Life Framer edition IV – OPEN CALL, judged by Katerina Stathopoulou, curator at the Museum of Modern Art (MoMA), New York.


2017 (award)HEDEN Start Award2017 (department prize)ROYAL ACADEMY OF ARTS (KABK) department prize winner of the Bachelor of Photography
2017 (Collection)Ministry of Foreign Affairs
2017(Grant)
MATTER (Nutshuis, The Hague &#38;amp; RecycleArt, Brussels)2015 (Collection)MAL Collection Loppersum

2014 (Winner)BREDAPHOTO Academy Project
 

	Selected exhibitions&#38;nbsp;

	
2024/06 (group exhibition) Het geheim van de diepe tijd, Verwey Museum, Haarlem. 
Read feature in Volkskrant here.

2022/05 (group exhibition) Lifeless Stars Drifting Above, Beelden in Leiden, Leiden
2021/09 (group exhibition) Noorderlicht Photo Festival 2021, Groningen
2021/07 (group exhibition) Prospects 2021, Art Rotterdam

2021/03 (group exhibition) Moon Gallery: The Bridge, PLNT, Leiden&#38;nbsp;

2020/11 (group exhibition) 
Meaning Seeking Animals, Virtual Art Book Fair, Tokyo, Japan


2020/09 (group exhibition) 
Close Cosmos, Leiden Observatory, Hortus Botanicus, Leiden 


2020/07 (group exhibition) 
Moon Water Gallery, Festival Dos Canais, Aveiro, Portugal


2020/06 (group exhibition)Moon Gallery Garde, zone2source, Amsterdam

2020/05 (group exhibition)Tiny Art Gallery, The Hague

2019/12 (group exhibition)Moon Gallery EMMIHS SimulationHI-SEAS, Mauna Loa, Hawaii

2019/11 (group exhibition)Mixed Memories, Yangzhou Culture Centre, Yangzhou, China&#38;nbsp;

2019/10 (group exhibition)Moon Habitat, Designblok, Prague, Polen


2019/09 (solo exhibition)UvA Science park, Amsterdam

2019/04 (group exhibition)CCHA, Festival van de Controle, HasseltCurated by Sarah van marcke en Thierry Vandenbussche2019/02 (lecture)SPUI25, Onbegrensd: Intelligent gedrag bij planten, Amsterdam
2018/12 (group exhibition)Moon Gallery, Space Expo, Noordwijk
2018/11 (group exhibition)Moon Gallery, The European Space Research and Technology Centre (ESTEC), Noordwijk 2018/09 (radio interview)Stedelijk Museum, Ja ja ja, nee nee nee, Amsterdam
2018/09 (book launch)Stedelijk Museum, Stedelijk Book Club Print! Press! Publish!, Amsterdam

2018/07 (solo exhibition)OpZicht, Stroom, The Hague
2018/06 (artist talk)Galerie Heden, Hoogtij #53/Holaa!Festivall, The Hague

2018/05 (solo exhibition)Galerie Heden, The Mushroom Club, The Hague

2018/04 (group exhibition)Salone de Mobile, My Practice My Politics, Milan Curated By Agata Jaworska and Saskia van Stein

2018/04 (group exhibition)KunstRAI, Galerie Heden, Amsterdam
 

2017/12 (group exhibition)NATO-Caves, The Mushroom Club, Maastricht

2017/12 (group exhibition)This Art Fair, Galerie Heden, Amsterdam

2017/10 (group exhibition)Fotofestival Schiedam, Blauwdruk, Schiedam

2017/10 (lecture)Recyclart, EXTRA FORT lisa van Casand/Eva Donckers/Ksenia Galiaeva/Arjan de Nooy, Brussels
2017/10 (group exhibition)Art The Hague, Galerie Heden, The Hague2017/09 (artist talk)Het Nutshuis, Hoogtij #50, The Hague2017/09 (group exhibition)Het Nutshuis, MATTER, The Hague2017/06 (group exhibition)Royal Academy of Art, Graduation Festival, The Hague2016/01 (group exhibition)Art-Deli, Nacht, Amsterdam2015/10 (group exhibition)Dutch Design Week, Limbo, Eindhoven2015/10 (group exhibition)Unseen, Art-Deli meets Unseen, Amsterdam2015/09 (group exhibition)
Temporary Art Centre, Zomerzucht, Eindhoven2014/09 (group exhibition)
BredaPhoto, Songs From the Heart, group exhibition, Breda


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