You are warmly invited to the 2026 Jewellery–Linking Bodies graduation show at Gerrit Rietveld Academie in Amsterdam, with Hannah Falcone; Dana Haire; Isabel Heatley; Anne-Sophie de Lange; June Querido; Niloofar Salehi and Hung-Fu Tsai.
Opening ceremony: 17:00, Wed, 1 July
Hours: Wed–Sat: 10:00–21:00 + Sun: 10:00–16:00
Location: Rietveld Building – 3rd floor, rooms 321, 322 + 325 Turn right at the top of the stairs, end of the hall
Gerrit Rietveld Academie
Fred.Roeskestraat 96, 1076 ED Amsterdam
IG: @rietveld_jewellery
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Across departments, the Rietveld Academy Graduation Show presents a wide range of works and approaches. There will be an extensive public programme alongside the exhibition. Further information on the Gerrit Rietveld Academie website: https://rietveldacademie.nl/en/page/36774/graduation-show-2026
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This year, a very special group of seven artists graduate from the Jewellery–Linking Bodies department. Alongside their studio works, the graduates of 2026 are memorable for their friendship. Here are seven individuals who support each other. Who collaborate. Who challenge one another across difference. And who make space for one another, whether it’s a good day or a bad one. The strength and diversity of practices that have been able to flourish is a testament to this dynamic, as is the curatorial sensitivity of the exhibition spaces themselves.
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To the graduates – thank you for teaching us the meaning of linked bodies.
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Hung-Fu Tsai’s knee-high topographical sculptural installation takes the aerial shape of a bó gǔ, a traditional Chinese shelf. Through etching, stitching and joinery, the work juxtaposes three narratives of migration – the artist’s own mobility as an international student, his grandfather’s maritime experiences and the relocation of the National Palace Museum’s collections to Taiwan.
Anne-Sophie de Lange presents three uncanny sculptures that combine materials intended to clean human bodies with objects removed from other animals. Fascinated by the idea that ‘dirt is matter out of place’ (Mary Douglas), the artist tells a story about where things belong, and questions how cleanliness influences the moral value assigned to objects and bodies in domestic settings.
Niloofar Salehi has created a reverent environment in which objects of brass, wood and textile may be worn by the visitor. In In Sounds of Nonverbal Communication – When Words Fall Short, the sound-making tools are an invitation. Here, the body speaks, carrying concepts beyond language and revealing what cannot be described but can always be felt.
Hannah Falcone’s practice finds its focus in the linked bodies of community. A Fly on the Wall began as research into Rietveld Academy’s systems of hierarchy. It unfolded into a long and gentle spanner throw at bureaucracy, finding its exhibition form as an office switch with Rietveld director Miriam Bestebreurtje for the duration of the graduation show.
To breathe is to participate to the world’s ongoing formation. So goes the thinking behind the paper, latex and pigment sculptures by Isabel Heatley. A forest of enwinded bodies in various stages of exhalation. The title stems from anthropologist Tim Ingold’s notion of the enwinded body as a body continuously formed through its relation with the air that surrounds it.
June Querido’s Neighbourhood Watch is an ode to the Jordaan in Amsterdam, a neighbourhood where windows act as transparent borders between public and private. Like the shaky, sun-worn installation itself and its delicate details, the home’s border feels fragile. As though a room had been carved out by its own shadow and its window held by beams of light.
Sugar creatures inhabit gaps and molasses sculptures skewered by steel find amorphous forms in Dana Haire’s The White Cube is Made of Sugar, which draws on Sylvia Wynter’s distinction between plot and plantation. The artist’s ever-changing sculptural installation is a sticky, drippy examination of extractivism. It considers what escapes preservation, what resists abstraction and what remains excluded from dominant histories.