Biography Amanda Winnemuller
The twenty-eight year old Amanda, was born in Nijmegen, The Netherlands. She grew up next to the river, but moved around the country for her studies. After attending high school she continued to study traditional decorative and restorative painting. Gaining a basic understanding of painting techniques and paint itself, sparked her interest in storytelling and experimenting. Therefore she attended AKV St.Joost, school of art and design. Her research and experiments where concerned with place and the feeling of the home she left at the age of sixteen. Very soon this personal research developed into an research with a more cultural stance. Questioning the identity of the artist and thereby her own position. Experimenting with paint, printmaking techniques and photography, she graduated with a project concerning the cultural identity of the art scene and the ‘kermis’/carnival. This cultural orientated research and the questioning of her position as an artist let her to continue her studies at Radboud University. In order to develop an more a critical point of view, she applied for a master in cultural policy and the business of art (kunstbeleid en kunstbedrijf). This specific specialization within the arts and culture studies at the department of humanities allowed her to participate in a broad spectrum of courses, such as ‘creativity in context’, ‘visual culture’, ‘cultural sponsoring and funding’ (cultuur sponsoring en mecenaat), ‘museum business’ (museum bedrijf). In order to get the most out of her studies Amanda took an extra year within her master program, to follow some courses in philosophical anthropology and the philosophy of science, wile being a curator for ‘Culture on Campus’ and take part in an experimental minor.
Longing for inter/transdisciplinary research, the experimental minor ‘Create Space’ allowed her to make the first step towards this detection. Combining theory from the courses with her practical and artistic skills. Resulting in the ‘Different Skins’ project and a proposal for her master thesis. In September 2020, while writing her thesis, Amanda decided to move to Switzerland in order to gain new experiences natural and culture wise. Besides working full time in Switzerland, Amanda graduated in February of 2021 with a master thesis on bioart and posthumanist philosophy titled ‘This skin is not mine’.
Since graduating she has started a new series of drawings and paintings, continuing the ‘Different Skins’ project. She has set up contact with the artist and researcher Ionat Zurr from the Tissue Culture and Art project (Australia) who allowed her to write a proposal for an academic internship, which will consist of a paper about posthumanism and bioart, and is planned for the upcoming year. She decided to (re-start) her self-published zine, small editions of this zines with art and text inspired by academic research papers were created by her and spread around Genève.
Amanda continuously works as a volunteer, for online feminist magazine Lover, and the ‘Women on the timeline’ project.
Amanda is also head of the image editing for feminist magazine lover. Www.tijdschriftlover.NL
Her artistic practices has over the years developed from personal questions based research towards a social, cultural and scientific engaged practices. Leading up to the current point in time with her biggest desire being able to set up a fulltime transdisciplinary research practice, in which the arts do not only serve aesthetical, educative, and critical purposes but intent to connect and reflect upon scientific and philosophical tropes and debates regarding the human position and its engagement with technology. Reflecting upon possible futures and ethical debates by showing visual representations of theories.
Master cultural policy and the business of art:
The master’s specialization Cultural policy and Business of Art deals with the topical issue of funding art and culture. Whereas the position of the government has been the central theme in debate on this issue for a long time, the focus in scholarly research and society has now shifted to the private donor, the rich patron of art, and art sponsoring by private companies. Students choosing this specialisation study the way in which the government and the private sector relate to the arts and learn to critically weight the scientific theories and explanations in this field. They gain a thorough understanding of the field of culture and art able to determine their own position in the field on the basis of their expertise.
Within my master thesis I have shifted my focus from the private sector and the government towards the scientific and physical fields, which are concerned with answering questions regarding the position of the human. We see a uprising of concern when it comes to the influence technology and science have on the human body, and within posthumanist philosophy we question the overal position of the human. Within my thesis I discuss our human volubility through the lens of posthumanism, with 3 bio artworks as tools, or as I call them, operational realizations. These artworks are able to give a 3 dimensional understanding of (ethical) questions arising within bio science, and posthumanism, while positioning themself on the border of the science and art fields.