studiokimmo

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	<title>studiokimmo</title>
	<link>https://studiokimmo.nl</link>
	<description>studiokimmo</description>
	<pubDate>Wed, 21 Oct 2026 07:42:58 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://studiokimmo.nl/Home</link>

		<pubDate>Fri, 25 Nov 2022 09:55:41 +0000</pubDate>

		<dc:creator>studiokimmo</dc:creator>

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STUDIO KIMMO
	
	Films &#38;amp; Projects byMirka Duijn &#38;amp; Nina Spiering

	
Shangri-La, Paradise under Construction
World Premiere at IDFA 2022
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		<title>About Us</title>
				
		<link>https://studiokimmo.nl/About-Us-1</link>

		<pubDate>Fri, 25 Nov 2022 09:55:41 +0000</pubDate>

		<dc:creator>studiokimmo</dc:creator>

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		<description>About Us

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	PHOTO BY PIM TOP&#38;nbsp; &#38;nbsp; 
	︎ PIMTOP.COM
Studio Kimmo

Studio Kimmo, with its bases in Rotterdam, the Netherlands, and Gothenburg, Sweden, embodies the creative partnership of filmmakers Mirka Duijn and Nina Spiering. Selected awards:International Digital EMMY® Award, 2015Peabody Award, 2019
 Prix Europe, 2014

Mirka Duijn and Nina Spiering have a history of creating documentary, fiction, and experimental film projects, as well as journalistic productions such as The Industry and Last Hijack Interactive. Their projects always start with in-depth research, delving deeply into their chosen subjects. &#38;nbsp;They have a particular interest in the mediation of place and identity.

The duo often works with archives and archival material, renegotiating historical narratives. Their feature documentary Shangri-La, Paradise Under Construction premiered at IDFA 2022 and competed for Best Dutch Film, while three more recent short films, made in the context of the research project Paradise Pt II (2024), were exhibited at Röda Sten Konsthall as part of a solo exhibition.

	
The history of Studio Kimmo&#38;nbsp;

Mirka began her career in 2003 at VPRO Digital, where she explored experimental interactive and transmedia storytelling across web and TV projects. By 2008, she shifted her focus entirely to writing and directing for film and media. Her earlier work often revolved around the evolving relationship between technology and storytelling, leading to interactive and immersive projects such as Last Hijack Interactive (Digital EMMY Award, 2014) and The Industry (Peabody Award, 2019).


Nina graduated from the University of the Arts in Utrecht in 2007 with a background in spatial design and video for theatre. She worked with leading Dutch theatre companies like Orkater and Oostpool before transitioning to film. Her early training in 3D space continues to shape her approach as both a director and production designer.


Their collaboration began in 2004, focusing on fiction and documentary filmmaking while also working in interactive documentary, expanded cinema, and immersive storytelling for film, television, and museum contexts. Their projects seek to challenge conventional narratives, experimenting with form and perspective to engage audiences in new ways of seeing and understanding the world.

Until recently Mirka Duijn was a Senior Lecturer in Film at HDK-Valand in Göteborg, where she taught in the MFA Film program. Nina Spiering is a lecturer in film at the University of the Arts in Utrecht.&#38;nbsp;The Stories we TellWe, humans, tell stories to understand the world. Storytelling is a way of structuring a chaos consisting of events, feelings, memories&#38;nbsp; into an understandable, agreeable whole, consciously or unconsciously incorporating certain impressions, while leaving out others. The question is: How does one get from a set of experiences to a narrative? How does one shape the process from the first encounter, through the organisation of one's impressions, to a final story that does justice to the experienced reality? This question is at the core of all of our projects, not only for ourselves as makers, but in general in society: What narratives do people create to cope with reality?&#38;nbsp;
“When you are in the middle of a story it isn't a story at all, but only a confusion; a dark roaring, a blindness, a wreckage of shattered glass and splintered wood; like a house in a whirlwind, or else a boat crushed by the icebergs or swept over the rapids, and all aboard powerless to stop it. It's only afterwards that it becomes anything like a story at all. When you are telling it, to yourself or to someone else.”
― Margaret Atwood, Alias grace (1996)


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		<title>Footer</title>
				
		<link>https://studiokimmo.nl/Footer-1</link>

		<pubDate>Sat, 23 Oct 2021 19:54:40 +0000</pubDate>

		<dc:creator>studiokimmo</dc:creator>

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	Cargo Collective, Inc. Los Angeles, Calif.
	Twitter, Instagram, Image Credits
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		<title>Nature of Seeing</title>
				
		<link>https://studiokimmo.nl/Nature-of-Seeing</link>

		<pubDate>Wed, 21 Oct 2026 07:42:58 +0000</pubDate>

		<dc:creator>studiokimmo</dc:creator>

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		<description>Nature of SeeingExhibition (Start of project due 2027)


How have images shaped the ways we learn to see, understand and value plants and the natural world?

The Nature of Seeing is an exhibition at Floras Rike, the gallery of Gothenburg Botanical Garden. It brings eight historical school charts, borrowed from Göteborgs stadsmuseum, into dialogue with new works by two Sweden-based artists.

&#60;img width="769" height="850" width_o="769" height_o="850" data-src="https://freight.cargo.site/t/original/i/17c1ced68b5c19bf4de2e64d48b02a656c743c267e6cb7ff08725b9eb5d78a70/Screenshot-2026-10-21-at-10.21.54.png" data-mid="253551916" border="0"  src="https://freight.cargo.site/w/769/i/17c1ced68b5c19bf4de2e64d48b02a656c743c267e6cb7ff08725b9eb5d78a70/Screenshot-2026-10-21-at-10.21.54.png" /&#62;
Once widely used to teach children about plants and the natural world, these illustrated charts have largely disappeared from classrooms. Revisiting them today offers an opportunity to examine not only the scientific knowledge they conveyed, but also the historical perspectives embedded in their images. What was made visible, classified and considered important? What was overlooked? And how do we relate to these ways of seeing today?

The charts were produced within particular scientific, cultural and historical contexts. Their illustrations reflect not only developments in natural history and education, but also broader traditions of collecting, categorising and representing the natural world, including those shaped by colonial histories. Looking at them today raises questions about how knowledge is communicated through images, whose knowledge is represented, and how ideas about nature change over time.

Combining contemporary art with education, the exhibition explores the relationship between plants, people and the ways botanical knowledge has been produced and passed on. Working across photography and installation work, the invited artists bring different artistic approaches&#38;nbsp; into dialogue with the&#38;nbsp; historical charts , opening up questions about&#38;nbsp; ethnobotany, colonial histories and the visual conventions through which plants and their relationships with people have been represented.

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The exhibition invites visitors to reflect on how images shape our understanding of the natural world, and how looking differently might change what we notice, know and value.

The exhibition will be developed in collaboration with Göteborgs stadsmuseum and Göteborgs botaniska trädgård. 

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		<title>Paradise Pt II</title>
				
		<link>https://studiokimmo.nl/Paradise-Pt-II</link>

		<pubDate>Thu, 19 Oct 2023 09:33:53 +0000</pubDate>

		<dc:creator>studiokimmo</dc:creator>

		<guid isPermaLink="true">https://studiokimmo.nl/Paradise-Pt-II</guid>

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	Paradise Pt. II&#38;nbsp;
	

Paradise Pt II: Reimagining Nature Through Documentary Landscapes
Nina Spiering, Mirka Duijn
Paradise Pt II is a research project with multiple outcomes, including film installations, short films, a feature documentary, and a pedagogical strand. A number of works developed within the project were presented in the solo exhibition Paradise Pt. II / The Death of Venus at Röda Sten Konsthall, Gothenburg (winter - spring 2026).

Paradise Pt II explores how hegemonic Eurocentric romantic and idyllic representations of nature have shaped the ways in which we, as image-makers, perceive and relate to our natural surroundings. This project investigates how such imagery, rooted in modernity and reinforced through visual culture, continues to influence our environmental consciousness by presenting nature as something separate from humanity, an object of beauty and a resource for consumption. As environmental challenges become increasingly pressing, re-examining these visual traditions takes on increased significance. 
As documentary makers, we aim to critically engage with these visual traditions to challenge their inherited meanings and reframe them in ways that inspire alternative narratives. Through a series of concrete case studies, Paradise Pt II explores the genealogy of romantic clichés and their impact, with the goal of subverting their allure and fostering more responsible, reciprocal relationships with the natural world.


A key idea in this research is the garden - and the notion of paradise - as a contested space. It is shaped by exclusion and control, but it also holds space for utopian dreams and alternative ways of imagining the world. This way of thinking connects to Michel Foucault’s concept of heterotopia, which describes the garden as a place that mirrors, reshapes, and questions wider cultural and natural landscapes. Within this analogy, the documentary filmmaker becomes a gardener, curating and assembling imagery of nature to nurture new perspectives on natural environments.Work that is part of Paradise Pt.II:
We Looked and Called it Nature - Five-screen video installation (22 minutes)This work explores how ideas of beauty shape ways of looking at nature. Filmed in the botanical garden in Gothenburg over the summer of 2024, the work moves between the perspectives of gardeners, children, scientists, and the artists, as the makers attempt to shed a romantic lens on the landscape, and repeatedly encounter its persistence. Rather than rejecting beauty, the installation becomes an exploration of how beauty might be reconsidered and used differently once its innocence can no longer be assumed.&#38;nbsp;

&#60;img width="6410" height="4273" width_o="6410" height_o="4273" data-src="https://freight.cargo.site/t/original/i/c48e82c932f1a0da21e86cc680302b3933c30f89abf02916eea11bc2643f27c5/Paradise-Pt-II---The-Death-of-Venus_Roda-Sten-Konsthall_foto-andrejlamut_GP-PRESS-34.jpg" data-mid="244675321" border="0"  src="https://freight.cargo.site/w/1000/i/c48e82c932f1a0da21e86cc680302b3933c30f89abf02916eea11bc2643f27c5/Paradise-Pt-II---The-Death-of-Venus_Roda-Sten-Konsthall_foto-andrejlamut_GP-PRESS-34.jpg" /&#62;
Photo taken at Röda Sten Konsthall by Andrej Lamut. 
It’s alive, ALIVE! - 16-screen video installation 
It’s alive, ALIVE! is a looped installation for which Nina Spiering brought together fragments of idealised nature drawn from recent visual culture. Inspired by Frankenstein, the work assembles a hybrid, slightly uncanny landscape from glossy decorative mirrors, advertising imagery, Instagram vistas, and the artists’ own footage. By blurring documentation and fabrication, the installation reflects on how images of “the natural” begin to live lives of their own - circulating, mutating, and shaping our relationship to nature beyond the control of their makers.&#38;nbsp;

&#60;img width="6452" height="4301" width_o="6452" height_o="4301" data-src="https://freight.cargo.site/t/original/i/0c91382637bc4f6b65622700c2e245f0f4eb125cae7ed0a241a98cc7dd1abbba/Paradise-Pt-II---The-Death-of-Venus_Roda-Sten-Konsthall_foto-andrejlamut_GP-PRESS-26.jpg" data-mid="244675337" border="0"  src="https://freight.cargo.site/w/1000/i/0c91382637bc4f6b65622700c2e245f0f4eb125cae7ed0a241a98cc7dd1abbba/Paradise-Pt-II---The-Death-of-Venus_Roda-Sten-Konsthall_foto-andrejlamut_GP-PRESS-26.jpg" /&#62;Photo taken at Röda Sten Konsthall by Andrej Lamut. 
Paradise Pt II / How to Grow an Image - Short film (14 minutes)How to Grow an Image is an archival essay film that traces how idealised images of nature have been historically produced and sustained. Working with archival material and contemporary footage filmed in Sweden over the summer of 2024, the film follows specific plant species through histories of cultivation, classification, and display, showing how images of ‘nature' are shaped by intertwined relations of care, control, and power. Developed as part of Paradise Pt II, the work tests how familiar visual tropes might be reworked to invite more critical and attentive ways of looking. 
&#60;img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/1b16c165ffd7c209254653ccd4a674aba673c28eb3721c21fcfa687abc3cb1a8/2026-02-03_DuijnSpiering_ParadisePtII_HowtoGrow_Img_040.jpg" data-mid="251739050" border="0"  src="https://freight.cargo.site/w/1000/i/1b16c165ffd7c209254653ccd4a674aba673c28eb3721c21fcfa687abc3cb1a8/2026-02-03_DuijnSpiering_ParadisePtII_HowtoGrow_Img_040.jpg" /&#62;
Still from How to Grow an Image
Rehearsal for Paradise - Feature documentary, expected development 2027 - 2028&#38;nbsp;
Dir. Nina Spiering.&#38;nbsp;

Rehearsal for Paradise is a documentary in development that explores how romantic images of nature - especially gardens - have shaped the way we see, desire, and treat the natural world. Moving between historical archives, contemporary gardens, and personal observations, the film reveals the garden as both a site of control and exclusion and a space for care, imagination, and future-making. By tracing how ideas of ‘paradise’ have been constructed and repeated over time, the film invites viewers to look again at the seductive images of nature that surround us, and to consider how we might cultivate different, more attentive relationships with our environment.
&#60;img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/9799c7c493657f4269879e850de2972a1fd51c64e2c65a72d1e21359a193f63b/2026-01-26-Cathedral-MAIN-SCREEN-FINAL---Sound0.jpg" data-mid="244675383" border="0"  src="https://freight.cargo.site/w/1000/i/9799c7c493657f4269879e850de2972a1fd51c64e2c65a72d1e21359a193f63b/2026-01-26-Cathedral-MAIN-SCREEN-FINAL---Sound0.jpg" /&#62;Still from Paradise Pt II, Mirka Duijn.&#38;nbsp;

General interest&#38;nbsp;

In the quest to make sense of their environment, humans rely on narratives, stories and myths that they tell themselves and others. But the narratives that are shaped around our relation to nature are heavily influenced by the natural colonial-gaze, a lens through which nature has often been perceived as a realm to be dominated and controlled.

Throughout history, narratives have shaped our perception of nature as an external, pristine entity, fostering an idealized escape from the complexities of human existence. However, this idealized portrayal has hindered our capacity to foster a holistic and sustainable rapport with the environment, resulting in a disconnect between our constructed stories and the complex realities they represent.


Despite the growing awareness of the need for a paradigm shift in our narrative approach to nature, we continue to struggle in reconciling the preconceived notions of the romanticized and enlightened views of nature. This tension between the constructed narrative and the authentic reality of our environmental challenges has led to a profound disconnect, perpetuating the colonial proposition that nature exists solely for our exploitation and benefit.

&#60;img width="1600" height="884" width_o="1600" height_o="884" data-src="https://freight.cargo.site/t/original/i/720a6fa2a73b2a3f9963a694dc8b25e166f2d1daa7f013ceec6aad3ea1a503fa/PHOTO-2023-10-11-22-09-33.jpg" data-mid="194186211" border="0" data-scale="98" src="https://freight.cargo.site/w/1000/i/720a6fa2a73b2a3f9963a694dc8b25e166f2d1daa7f013ceec6aad3ea1a503fa/PHOTO-2023-10-11-22-09-33.jpg" /&#62;
Telephone poles disguised as trees in Utah.&#38;nbsp;

In exploring the contemporary landscape and tracing the historical trajectory of humanity's portrayal of nature, it becomes evident that the roots of this dissonance can be found in the flawed narratives that have long dominated our understanding of the natural world.&#38;nbsp;Paradise Pt II project will exist out of a mosaic of case studies around this proposition. We are working with cases where there is a tension between the narrative that is created and the underlying represented reality. We will both focus on the present day, as well as tracing back history of the image of nature, asking ourselves the question: where and how did it go wrong, and with what consequences?

&#60;img width="1020" height="1490" width_o="1020" height_o="1490" data-src="https://freight.cargo.site/t/original/i/2fb4a613234949d6acb34f27b796114b83d304a1d4ef19614353bab8ab37a0dc/Schermafbeelding-2023-10-13-om-10.01.59.png" data-mid="194186163" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/2fb4a613234949d6acb34f27b796114b83d304a1d4ef19614353bab8ab37a0dc/Schermafbeelding-2023-10-13-om-10.01.59.png" /&#62;
The first sequoia tree that was transported to a world fair in England, after being ‘discovered’ in California by Western settlers. The bark was stripped off the original tree, transported and assembled at the fair. The tree was assembled so poorly, that visitors thought the it was a fake, a hoax, and for several years the discovery was not taken seriously at all.&#38;nbsp;
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		<title>Shangri-La</title>
				
		<link>https://studiokimmo.nl/Shangri-La</link>

		<pubDate>Fri, 25 Nov 2022 09:55:42 +0000</pubDate>

		<dc:creator>studiokimmo</dc:creator>

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		<description>Shangri-La, Paradise under ConstructionDocumentary, 2023

	
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Shangri-La, Paradise under Construction (2022)Directors: Mirka Duijn &#38;amp; Nina Spiering
	A travelogue through Shangri-La; the fictitious paradise from the classic novel Lost Horizon (1933). Twenty years ago a Tibetan tourist spot in China presented scientific proof that it was the real Shangri-La. In her search for the truth behind the supposed evidence the filmmaker excavates layers of fact and fiction of the area. What words and images have attached themselves to facts? How do stories come into being and how do they shape reality?
Presently, the film is being internationally distributed, making its way to various festivals, television broadcasts, and video-on-demand platforms.
The film is part of a wider research project, with multiple outcomes, amongst which publications, installations and lecture performances. Read more about the research behind the project here.
DistributionTVSVT Sweden, 2023NPO Netherlands, due in 2023&#38;nbsp;

Festivals
World premiere at IDFA, International Film Festival in Amsterdam, 2022, in competition for Best Dutch Documentary.DocPoint Tallin/Helsinki 2023, 
Trento International Film Festival 2023, Millennium Docs Against Gravity Warsaw 2023 Dutch Film Festival 2023Film TheatreTheatrical release in 23 film theatres in the Netherlands in January 2023. &#38;nbsp;VOD/TVOD
World wide: Amazon Prime,  Apple. Youtube pay per view.&#38;nbsp;
Nominations, prices
Nominated ‘Best Dutch Documentary at IDFA, 2022’, Nominated Best Film Music for Documentary, BUMA Netherlands, 2023’, in Competition at Trento Film Festival, 2023, in Competition at Millennium Docs Against Gravity Warsaw 2023&#38;nbsp;&#38;nbsp;International Sales: Journeyman Pictures
Produced by: De Productie (NL), Film Kreatörerna (SE), Studio Kimmo (NL)Funded by:Dutch Film Fund, Amsterdam Fund for the Art&#38;nbsp;Swedish Film Fund.
	

Read the reviews in Newspapers:

NRC Newspaper ︎︎︎︎ 
Volkskrant ︎︎︎ 
Fries Dagblad ︎︎︎︎Telegraaf&#38;nbsp;︎︎︎1/2
Parool review
Trouw&#38;nbsp;review
Filmkrant&#38;nbsp;review

Read the international&#38;nbsp;Modern
Times Review:“In their film Shangri-La, Paradise under Construction, directors Mirka Duijn and Nina Spiering reconsidered the most basic premises of documentary filmmaking – truth, evidence, and interpretation.”

“Even if the fantastic nature of Shangri-La might indicate that this documentary will be about fantasy, it is not. The key theme of Shangri-La, Paradise Under Construction, is the reality and the mysterious ways of its construction.”&#38;nbsp; - Melita Zajc

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Read the international IDA-review: 
“A film that richly explores the creation of meaning from different perspectives that infuse the project of “paradise under construction,” and leaves viewers with hard questions to ask themselves about exoticization and power.” - Patricia Aufderheide

&#60;img width="1449" height="825" width_o="1449" height_o="825" data-src="https://freight.cargo.site/t/original/i/e3dc2a4fbec9bc800c7e9248528feb78820113c4aab2468d045e048d120d0d56/Screenshot-2023-10-17-at-20.07.24.png" data-mid="193999742" border="0"  src="https://freight.cargo.site/w/1000/i/e3dc2a4fbec9bc800c7e9248528feb78820113c4aab2468d045e048d120d0d56/Screenshot-2023-10-17-at-20.07.24.png" /&#62;

Other media:
Listen to an interview on Opium Radio (in Dutch).
Interview in the Dutch Film Newspaper:
Filmkrant (in Dutch).

Interview in SEE.NL (in English).
Listen to an interview  on the Ketelhuis Podcast (In Dutch).


	&#60;img width="1148" height="1624" width_o="1148" height_o="1624" data-src="https://freight.cargo.site/t/original/i/dac84fc561a950f93cd533ac46f9c3b54882a254140eeb472189a869432766f3/Screenshot-2022-11-26-at-12.06.07.png" data-mid="160222416" border="0"  src="https://freight.cargo.site/w/1000/i/dac84fc561a950f93cd533ac46f9c3b54882a254140eeb472189a869432766f3/Screenshot-2022-11-26-at-12.06.07.png" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>The Industry</title>
				
		<link>https://studiokimmo.nl/The-Industry</link>

		<pubDate>Fri, 25 Nov 2022 09:55:43 +0000</pubDate>

		<dc:creator>studiokimmo</dc:creator>

		<guid isPermaLink="true">https://studiokimmo.nl/The-Industry</guid>

		<description>The Industry&#38;nbsp; &#38;nbsp; Interactive Documentary, VR, Podcast Series, 2017, 2018

&#60;img width="1530" height="856" width_o="1530" height_o="856" data-src="https://freight.cargo.site/t/original/i/eadaecc952fee947f84a424f85dd01d51a05fc9d04b2cf765a93a5f41c3fdd81/Screenshot-2022-11-26-at-16.22.50.png" data-mid="160212046" border="0"  src="https://freight.cargo.site/w/1000/i/eadaecc952fee947f84a424f85dd01d51a05fc9d04b2cf765a93a5f41c3fdd81/Screenshot-2022-11-26-at-16.22.50.png" /&#62;
&#60;img width="973" height="920" width_o="973" height_o="920" data-src="https://freight.cargo.site/t/original/i/c7774e14ee0192fdad71f124a775d986306d46b6e0fed81da9bd1362234be105/Screenshot-2023-10-06-at-14.25.24.png" data-mid="192915198" border="0"  src="https://freight.cargo.site/w/973/i/c7774e14ee0192fdad71f124a775d986306d46b6e0fed81da9bd1362234be105/Screenshot-2023-10-06-at-14.25.24.png" /&#62;
&#60;img width="973" height="969" width_o="973" height_o="969" data-src="https://freight.cargo.site/t/original/i/7a705c499facd38884a933c07905f7dd55fd5bba1472a4fd094140a975fadd3c/Screenshot-2023-10-06-at-14.25.35.png" data-mid="192915185" border="0"  src="https://freight.cargo.site/w/973/i/7a705c499facd38884a933c07905f7dd55fd5bba1472a4fd094140a975fadd3c/Screenshot-2023-10-06-at-14.25.35.png" /&#62;
&#60;img width="943" height="862" width_o="943" height_o="862" data-src="https://freight.cargo.site/t/original/i/7c7269b31ecbca250f4fbea6167553fcd7df0c7c5fcb3f7158fe0bef4ae20379/Screenshot-2023-10-06-at-14.25.58.png" data-mid="192915163" border="0"  src="https://freight.cargo.site/w/943/i/7c7269b31ecbca250f4fbea6167553fcd7df0c7c5fcb3f7158fe0bef4ae20379/Screenshot-2023-10-06-at-14.25.58.png" /&#62;
&#60;img width="1492" height="755" width_o="1492" height_o="755" data-src="https://freight.cargo.site/t/original/i/4312687c09958b544917b96f3ee8181c2534a9ce564b3e505680d7fb3fea65c2/Screenshot-2022-11-26-at-16.23.48.png" data-mid="160212043" border="0"  src="https://freight.cargo.site/w/1000/i/4312687c09958b544917b96f3ee8181c2534a9ce564b3e505680d7fb3fea65c2/Screenshot-2022-11-26-at-16.23.48.png" /&#62;

The Industry (2017 - 2018)Director: Mirka Duijn&#38;nbsp;


The Industry is a trans-media project commissioned by Submarine Channel and directed by Mirka Duijn. This research-based project run from 2016 to 2018 and concluded in a VR Installation, an Interactive Documentary, and a Podcast Series.


The Netherlands is leading in Europe when it comes to the trade of weed, XTC and cocaine. Submarine Channel asked Mirka to explore how it can be possible that this industry is this wide spread, despite the Netherlands being such a regulated country.


Mirka was mostly interested in the banality of the industry. If one does not ask about it, you will not find it, but once one does, you will see that it is everywhere, and connected to everyone in our society; our brothers, grandmothers, friends and colleagues. Inspired by the everydayness and the ubiquitous presence of the industry, Mirka asked herself the question: What if we in the media approached the industry like any other industry? Wouldn't that help to better understand how it could have become so intertwined?


Mirka decided to approach the industry like any other industry, with its entrepreneurs, workers and bosses, working from their offices, warehouses and homes everywhere across the Netherlands. She interviewed the weed growers, coke kingpins and drugs traffickers, asking all of them: What does a workday of a drug trafficker, coke lord or weet cutter look like?


To visualise the interviews Mirka and Nina collaborated on 3D scanning the workplaces of the entrepreneurs and workers all over the Netherlands, which range from a corner snackbar, or a beautiful antique shop to an underground weed farm, thus ’mapping’ the industry that is hidden in plain sight in cities, towns and villages. Audiences could either check the places online or in a VR installation, in which the scanned settings were exhibited as virtual dollhouses situated on the map of the Netherlands.

	Won a Peabody Award in 2018. Won a FIVARS Award in 2019.
Special 
Mention at Prix Italia 2018. Nominated at IDFA 2018, 
Nominated for Prix Europa 2018 
Nominated for Prix Bohemia 2019
Produced by:Corine Meijers,Submarine Channel / SubLabVPRO
In collaboration with:&#38;nbsp;
Zesbaans VR
IDFA DocLab
Check The Industry Interactive at Submarine Channel.Find everything about the project at the VPRO Programme page for the Industry.
 &#38;nbsp;
Listen to the podcast series.
&#60;img width="973" height="972" width_o="973" height_o="972" data-src="https://freight.cargo.site/t/original/i/a65af63d8f1cdc26f96d41fdb7b364598633eba66ec8ada73f409722cd669f99/Screenshot-2023-10-06-at-14.26.16.png" data-mid="192915148" border="0"  src="https://freight.cargo.site/w/973/i/a65af63d8f1cdc26f96d41fdb7b364598633eba66ec8ada73f409722cd669f99/Screenshot-2023-10-06-at-14.26.16.png" /&#62;


ArticleIn 2017 Mirka published an article on the development in collaboration with H. Koenitz: 
Beyond The Timeline a Data-Driven Interface For Interactive Documentary
 
Abstract
In this paper, we present work on the data-driven interface for The Industry, an interactive documentary in development about the Dutch illicit drug industry. The motivation for the work was to provide a more complete overview of a highly complex matter using a form of interactive digital narratives (IDN). 
As it is with many complex issues, news reports on illegal drugs in the Netherlands are mostly fragmented and reactive, which makes it difficult for audiences to gain a good understanding of the topic. The approach starts by obtaining big-data sets from police and media. On this foundation, a narrative interface will be designed. This paper reports on the iterative design approach, and interface metaphors, on the lessons learned and the current state of affairs. Our intent with this paper is to fuel a discussion on narrative representations of complexity.


</description>
		
	</item>
		
		
	<item>
		<title>Do Better</title>
				
		<link>https://studiokimmo.nl/Do-Better</link>

		<pubDate>Sat, 26 Nov 2022 10:55:56 +0000</pubDate>

		<dc:creator>studiokimmo</dc:creator>

		<guid isPermaLink="true">https://studiokimmo.nl/Do-Better</guid>

		<description>Do Better (Bart Constant &#38;amp; Dustin O’Halloran)Short Film / Music Video, 2011

	
&#60;img width="1195" height="773" width_o="1195" height_o="773" data-src="https://freight.cargo.site/t/original/i/aced5b8a434860e20ebe100df6465f77375623bc2439d9d4ba78a3847b010f3a/Screenshot-2022-11-26-at-18.20.19.png" data-mid="160218059" border="0"  src="https://freight.cargo.site/w/1000/i/aced5b8a434860e20ebe100df6465f77375623bc2439d9d4ba78a3847b010f3a/Screenshot-2022-11-26-at-18.20.19.png" /&#62;
&#60;img width="1917" height="1305" width_o="1917" height_o="1305" data-src="https://freight.cargo.site/t/original/i/b5b339082ba3054fdb825fda300a61176b6b26443294d9cb1423b8a52e5ab5ec/Screenshot-2022-11-26-at-18.22.33.png" data-mid="160218060" border="0"  src="https://freight.cargo.site/w/1000/i/b5b339082ba3054fdb825fda300a61176b6b26443294d9cb1423b8a52e5ab5ec/Screenshot-2022-11-26-at-18.22.33.png" /&#62;
&#60;img width="1907" height="1226" width_o="1907" height_o="1226" data-src="https://freight.cargo.site/t/original/i/68c3d861009f1b97552a68e4b918d05dc5c829bed5bfaeae394b44f733d95269/Screenshot-2022-11-26-at-18.27.39.png" data-mid="160218129" border="0"  src="https://freight.cargo.site/w/1000/i/68c3d861009f1b97552a68e4b918d05dc5c829bed5bfaeae394b44f733d95269/Screenshot-2022-11-26-at-18.27.39.png" /&#62;
&#60;img width="1915" height="1344" width_o="1915" height_o="1344" data-src="https://freight.cargo.site/t/original/i/d47a86202ecf1c28b2b2ad03ccec4ce75b83913cd7c69e23971da60d71afa547/Screenshot-2022-11-26-at-18.25.40.png" data-mid="160218120" border="0"  src="https://freight.cargo.site/w/1000/i/d47a86202ecf1c28b2b2ad03ccec4ce75b83913cd7c69e23971da60d71afa547/Screenshot-2022-11-26-at-18.25.40.png" /&#62;
&#60;img width="1917" height="1371" width_o="1917" height_o="1371" data-src="https://freight.cargo.site/t/original/i/d71445fa9adfb6f5db6575c54cdaac6606e26725f4517b21c2992bbc08ca20cd/Screenshot-2022-11-26-at-18.25.29.png" data-mid="160218118" border="0"  src="https://freight.cargo.site/w/1000/i/d71445fa9adfb6f5db6575c54cdaac6606e26725f4517b21c2992bbc08ca20cd/Screenshot-2022-11-26-at-18.25.29.png" /&#62;
&#60;img width="1912" height="1311" width_o="1912" height_o="1311" data-src="https://freight.cargo.site/t/original/i/ce983b23c86428eb19eef34f8cb80232920f2010a31c378b0a0cb83398291558/Screenshot-2022-11-26-at-18.26.24.png" data-mid="160218119" border="0"  src="https://freight.cargo.site/w/1000/i/ce983b23c86428eb19eef34f8cb80232920f2010a31c378b0a0cb83398291558/Screenshot-2022-11-26-at-18.26.24.png" /&#62;
&#60;img width="1918" height="1233" width_o="1918" height_o="1233" data-src="https://freight.cargo.site/t/original/i/f8c4df0b3c1d2e29103531cd2af6de6a320ce7e4159ce68d0be177aff13a3ea2/Screenshot-2022-11-26-at-18.20.46.png" data-mid="160218063" border="0"  src="https://freight.cargo.site/w/1000/i/f8c4df0b3c1d2e29103531cd2af6de6a320ce7e4159ce68d0be177aff13a3ea2/Screenshot-2022-11-26-at-18.20.46.png" /&#62;

Do Better (2011)Directors: Mirka Duijn &#38;amp; Nina Spiering

	A disciplined trapeze artist is torn between her craft and a boy.
Music video made in collaboration with Rutger Hoedemaekers.
&#38;nbsp;
	Won the NFF price for best music video in 2011
Music: Bart Constant, 
Rutger Hoedemaekers, Dustin O’Halloran
Cast, a.o.: 
Liv Knoche, Olivier Tuinier, Dineke Faas, Minne Maaskant.

Camera: Marijn Zurburg &#124; Robijn Voshol &#124; Editing: Jasper Verhorevoort &#124; Grading: Dustin Kershaw
Produced by: &#38;nbsp;Studio Kimmo (NL)


Full Video:

	
</description>
		
	</item>
		
		
	<item>
		<title>Mirkastan</title>
				
		<link>https://studiokimmo.nl/Mirkastan</link>

		<pubDate>Sat, 26 Nov 2022 10:54:33 +0000</pubDate>

		<dc:creator>studiokimmo</dc:creator>

		<guid isPermaLink="true">https://studiokimmo.nl/Mirkastan</guid>

		<description>
	Mirkastan
	Publication, 2010
Mirkastan&#38;nbsp;— Mirka Duijn/ Proconsul Editions± €75 (Antiquarian Booksellers) ︎ Add to Cart

Mirkastan is a travelogue in real time, gleaned from Mirka’s twitter feed during a journey from Amsterdam to Tokyo via Serbia, Turkey, Iran, Turkmenistan, Uzbekistan, Tajikistan (sort of), and China in the Spring of 2009, at a time that twitter was still being explored as a medium.

The publication of the twitter feed is initiated and edited by Rosemary Sheridan. It was published by The Proconsul Editions and launched at the Artbook@MOMA PS1 bookstore in New York.

Hardcover, 376 pgs.English/Dutch20108.75 x 11.25 inches
&#60;img width="399" height="630" width_o="399" height_o="630" data-src="https://freight.cargo.site/t/original/i/b270a26d6afebf3e5a3fb5bfb0ebea48ca0d409043ba742c32cd79df2a9a119a/Screenshot-2022-11-26-at-16.39.38.png" data-mid="160212682" border="0" data-scale="100" src="https://freight.cargo.site/w/399/i/b270a26d6afebf3e5a3fb5bfb0ebea48ca0d409043ba742c32cd79df2a9a119a/Screenshot-2022-11-26-at-16.39.38.png" /&#62;


	&#60;img width="803" height="1024" width_o="803" height_o="1024" data-src="https://freight.cargo.site/t/original/i/311335d2b91de1d60800343d9e594487fad52031e3f91aa073fcc286d23e8aef/matrix100927_900-803x1024.jpg" data-mid="160212728" border="0"  src="https://freight.cargo.site/w/803/i/311335d2b91de1d60800343d9e594487fad52031e3f91aa073fcc286d23e8aef/matrix100927_900-803x1024.jpg" /&#62;


	Mirkastan in the New York Times approval matrix:

“Like the individual frames of a film, a narrative is formed by tiny flickers of text, in which each is individually significant, but which combine to create an abstracted moving image of the experience being portrayed. Plus it’s funny and multilingual.”


	Excerpts:Page 51

We are off to (demolished village replaced by)$50 mln Disneyland aka “TurkmenbashiLand of Fairytales”. 4:46 AM Apr 29th from txtPage 55

Someone was hitchhiking in the middle of the desert holding an enormous freshly caught fish in his hands. 3:03 AM Apr 30th from txt
Page 278

I couldn’t sleep without the curtains.There was a huge storm. 10:45 AM May 22nd from txt

Page 282

Or they forgot to clean thosebeneath the table.10:47 AM May 22nd from txt

	
Page 52

The dead silence of the park is rather eerie, people having fun with the sound turned off. #at Ashgabat. 5:50 AM Apr 29th from txt”Page 107

Mr. Goodayberg’s (yes that is phonetic) house is cute. The fur on the toilet seat is a bit weird though. #at Cholpon-Ata 10:18 AM May 11th from txtPage 279

Then I discovered huge bloodstains on the wall. Streams of blood were hidden under the table.10:46 AM May 22nd from txt


</description>
		
	</item>
		
		
	<item>
		<title>Land of Change</title>
				
		<link>https://studiokimmo.nl/Land-of-Change</link>

		<pubDate>Fri, 25 Nov 2022 09:55:43 +0000</pubDate>

		<dc:creator>studiokimmo</dc:creator>

		<guid isPermaLink="true">https://studiokimmo.nl/Land-of-Change</guid>

		<description>Land of ChangeDocumentary, museum 2013

&#60;img width="1280" height="638" width_o="1280" height_o="638" data-src="https://freight.cargo.site/t/original/i/e1a8cbe31e552eeb9cf90dcd4ffb0d620fb8e58531e41f7501b3122e9f422b6b/Screenshot-2023-10-20-at-13.49.43.png" data-mid="194308972" border="0"  src="https://freight.cargo.site/w/1000/i/e1a8cbe31e552eeb9cf90dcd4ffb0d620fb8e58531e41f7501b3122e9f422b6b/Screenshot-2023-10-20-at-13.49.43.png" /&#62;
&#60;img width="2554" height="1278" width_o="2554" height_o="1278" data-src="https://freight.cargo.site/t/original/i/8a80a9f2b2f586180a5305f8d3b35a6a0a4f979d3ed8d88222fec96caa04c350/Screenshot-2022-11-26-at-11.01.56.png" data-mid="160198638" border="0" data-scale="96" src="https://freight.cargo.site/w/1000/i/8a80a9f2b2f586180a5305f8d3b35a6a0a4f979d3ed8d88222fec96caa04c350/Screenshot-2022-11-26-at-11.01.56.png" /&#62;
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&#60;img width="1640" height="820" width_o="1640" height_o="820" data-src="https://freight.cargo.site/t/original/i/04a9a309856e2f6416a061c2006c84104609a51661f52aec5117aa1a02fe2469/Screenshot-2023-10-20-at-13.41.59.png" data-mid="194308582" border="0"  src="https://freight.cargo.site/w/1000/i/04a9a309856e2f6416a061c2006c84104609a51661f52aec5117aa1a02fe2469/Screenshot-2023-10-20-at-13.41.59.png" /&#62;
&#60;img width="1641" height="871" width_o="1641" height_o="871" data-src="https://freight.cargo.site/t/original/i/9c4e87daea347e3695ff53d533de892fbaf8df75d7082e2ebb2c4093b0aca89a/Screenshot-2023-10-20-at-13.42.24.png" data-mid="194308584" border="0"  src="https://freight.cargo.site/w/1000/i/9c4e87daea347e3695ff53d533de892fbaf8df75d7082e2ebb2c4093b0aca89a/Screenshot-2023-10-20-at-13.42.24.png" /&#62;
&#60;img width="1641" height="818" width_o="1641" height_o="818" data-src="https://freight.cargo.site/t/original/i/e89ca692ca077e9613535a773cbe0a81785e57ae1797cadceb68d86238b27c3d/Screenshot-2023-10-20-at-13.42.14.png" data-mid="194308583" border="0"  src="https://freight.cargo.site/w/1000/i/e89ca692ca077e9613535a773cbe0a81785e57ae1797cadceb68d86238b27c3d/Screenshot-2023-10-20-at-13.42.14.png" /&#62;
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&#60;img width="2550" height="1290" width_o="2550" height_o="1290" data-src="https://freight.cargo.site/t/original/i/f037a321c6705fcf1fe7166fe8d10c20d51b97a5201ef4a54cf7dc54e262d404/Screenshot-2022-11-26-at-11.09.15.png" data-mid="160198674" border="0" data-scale="95" src="https://freight.cargo.site/w/1000/i/f037a321c6705fcf1fe7166fe8d10c20d51b97a5201ef4a54cf7dc54e262d404/Screenshot-2022-11-26-at-11.09.15.png" /&#62;
&#60;img width="1637" height="818" width_o="1637" height_o="818" data-src="https://freight.cargo.site/t/original/i/ccb282559c9f71483b30a60aea3c3498880e055a94113223f669426d72f8e367/Screenshot-2023-10-20-at-13.41.10.png" data-mid="194308578" border="0"  src="https://freight.cargo.site/w/1000/i/ccb282559c9f71483b30a60aea3c3498880e055a94113223f669426d72f8e367/Screenshot-2023-10-20-at-13.41.10.png" /&#62;
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Land of Change, the Zeeland Archives Project (2013)Directors: Mirka Duijn &#38;amp; Nina Spiering

	
What is it like to live in a region where everything is changing? How do you deal with the loss, but also with the new gains? This film project holds a collage of portraits of inhabitants of the Dutch region West Zeeuws-Vlaanderen, amidst the marches, mudflats and the ever-present wind.


This film was made for the Dutch Zeeuws Museum. It has been developed as a part of their Islands Archive Project eilanden.net. The museum asked inhabitants of Zeeland to make films about aspects of or objects from/in Zeeland that they would like to be ‘remembered forever’. The films were stored in the Islands Archive.


The purpose of this request was to get a gestalt view of the present-day cultural identity of Zeeland. As we watched these films, we asked ourselves: are the subjects filmed by the participants indeed being ‘remembered’ by being added to this archive? Can one glean any knowledge about the present-day cultural identity of Zeeland from this archive? And how could we, filmmakers, add to this act of remembering, by restructuring and (re)visualise the contents of the archive?


For this project we took the films from the Zeeland archive as a base for a new narrative, which is build around several core portraits of inhabitants of Zeeland. Some of the found footage is used as-is, but most of it is repurposed around recurring themes.


 More information about the film:
West Zeeuws-Vlaanderen is a secluded part of the Netherlands. It is not connected to the Netherlands by land, you can only get there over water or through a tunnel, and you have to pay for both options.&#38;nbsp;
Over centuries this area has been in constant change. The geography, the sea and the constant battle against the seawater dictated most of the changes.
Nowadays the changes in the region are of a different kind. The geography still plays a big part in it though: just as in many other secluded area’s in Europe, Zeeuws-Vlaanderen is rapidly changing because of macro-economic changes. A lot of old industries are dying. For ages most inhabitants were farmers and fishermen. But now the fishing industry hardly exists anymore; it disappeared within the last 20 years. Next to that,&#38;nbsp; as a result of the expansion of farms, a lot of farmers are leaving the region. Finally, also young people leave: There is no work for them in the area. As a result the population is aging rapidly. These changes have been going on for years, but at this moment the changes are gaining momentum. The government tries to deal with the problems by focusing on a new industry: tourism. Polders are dug out to give space for artificial lakes and grand marina’s.
The local inhabitants find themselves amid this transformative period: much has already vanished, yet the emergence of new developments is still on the horizon. They are holding their breath while waiting for the tourists to come.
 This film is a poetic collage of portraits of inhabitants of the area. Among them, for example, skipper Jaap Albrechtse (63), who retires from his work and sails his ship to Africa. And the 22-year-old Mariëlle Notebaart. At workdays you can find her behind the counter of the Texaco gas station. During festivities she has got an other job though: she is elected to be the towns’ ‘Shrimp Princess’. Another character is Foort Lokerse (59), the head of the fish auction. He wants to turn his fish auction into a Fish Experience for tourists for whom he will place a ship on the roof of his building; it will be his own fish theme park. He hopes it will save the identity of Breskens as a fishing town.
The portraits of Jaap, Mariëlle, Foort and many others together form one story, the story about change in West Zeeuws-Vlaanderen. 
Broeder Dieleman, musician from Zeeuws-Vlaanderen (internationally known for his collaborations with a.o., Bonnie Prince Billy, has made almost all the music for the film. His music, together with the sound of water, wind and seagulls, forms a base for the rhythm of the film.
	
Fragments from the film (7:30”).The full film can be seen here. 
&#60;img width="978" height="973" width_o="978" height_o="973" data-src="https://freight.cargo.site/t/original/i/4d270cd66a51142f0b54287229c63f07d53998d028a67ae8eba6e4b7cf8245cd/Screenshot-2023-10-06-at-14.08.22.png" data-mid="192909385" border="0"  src="https://freight.cargo.site/w/978/i/4d270cd66a51142f0b54287229c63f07d53998d028a67ae8eba6e4b7cf8245cd/Screenshot-2023-10-06-at-14.08.22.png" /&#62;The film has been added to the permanent collection of the Zeeuws Museum. After having been exhibited in the temporary Islands Exhibition in 2014,the film was added to the permanent exhibition from 2017 to 2022, becoming an integral part of their curated showcase.Produced by: Zeeuws Museum, Serious Film, Studio Kimmo.
Press:VPRO, DE AVONDEN
NPS, LIJN 1 &#38;nbsp;
PZC PZC &#38;amp; OMROEP ZEELAND @ FILM BY THE SEA

Film &#38;amp; Philosophy Conference: 
http://www.film-philosophy.com


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