Director Marcel Kampman
Camera Maurice Mikkers
Music The Fantastic Journey Of The Underground Man by De Staat

Alle muziekvideo’s zouden live moeten gaan in een vol Paradiso. Wat is dat tof zeg. Geweldige plek, licht uit, zaal vol en volume ook en dan kijken. En daarna de euforie van de mannen en vrouwen die mee hebben gewerkt. Nogmaals dank René, Bjorn, Oscar, Susan, Alfons, Jaap, René, Tim, Hans, Irma, Maurice, Stan en Jonathan!

Johan, het was mooi, het was fijn. Dank Jacco, Maarten, Diets, Jeroen maar ook Diederik en Wim. En natuurlijk Ferry.

Foto’s door Bjorn Eerkes en Maurice Mikkers.

Van de site van Excelsior Recordings:
Johan sluit af in Paradiso met goud, vinyl en nieuwe video
Na een uitgebreide afscheidstournee door het hele land en een succesvol laatste optreden in een uitverkocht Amsterdams Paradiso is het nu definitief: Johan is niet meer. Na vier albums, 46 liedjes en een ontelbaar aantal cluboptredens in binnen- en buitenland, festivalshows op onder andere Pinkpop, Lowlands en Parkpop en diverse prijzen is Johan verleden tijd. Paradiso werd gisteravond nog eenmaal getrakteerd op een intense show, mede dankzij de unieke setlist samengesteld door de fans. Diets Dijkstra, Jeroen Kleijn, Maarten Kooijman, Matthijs van Duivenbode en Jacob de Greeuw: THX!

Niet getreurd, er is ook nog beter nieuws. Om te beginnen heeft Pergola (uit 2001) onlangs de gouden status bereikt. Dat zijn dus meer dan 25.000 verkochte albums. In Paradiso ontving frontman Jacob de Greeuw uit handen van Joost Zwagerman de gouden plaat. Om dit succes te vieren is Pergola vanaf nu eenmalig en in beperkte oplage op vinyl te koop. Klassiekers als Tumble and Fall, How Does It Feel en Day Is Done, nu dan eindelijk op vinyl verkrijgbaar. Waarschijnlijk volgt er binnenkort nog een bijzondere allerlaatste release van Johan, hierover later meer.

Dan is er ook nog een nieuwe videoclip voor Why Don’t We, het allerlaatste nummer van de laatste Johan-plaat ‘4’. Marcel Kampman maakte de fraaie video, die gisteren in Paradiso in premiere ging, met in de hoofdrol schrijfster Susan Smit en Oscar Voskuil.

Director Marcel Kampman

This video has been made by and because of the generous support of the people and organizations below. Without their help, energy and corporation this video couldn’t have been made. Thank you!

The Guy Oscar Voskuil
The Gal Susan Smit
Dead Guy Jaap Bossen
Project Control René ten Brink
First Camera & Assistant Director Bjorn Eerkes
Second Camera Maurice Mikkers
Driver, Handyman, Props, Bus, Stuntman & Body Double Alfons Dolsma
On-set Photographer Jonne Seijdel

Editor René Brouwer, WRKS
Color Correction Hans Loosman, WRKS
Compositing & Flame Magic Tim van Paassen, WRKS
Production Assistant Irma Moolenaar, WRKS

Special Effects Stan Smulders
Titles & Typography Jonathan Looman
Location A Radio Kootwijk, Wim Huisman of Staatsbosbeheer
Location B citizenM Amsterdam City Hotel, Robin Chadha

What is The Naked Poodle?
Per round, creative teams challenge each other to conquer a pressing issue. Meanwhile they are aided, agitated, rushed, confronted, interrogated and challenged by influentials. These renown writers, designers, directors, architects and other gurus barge through the mosh pit from one team to the other. Big Brother cameras record the teams’ efforts and instantly send their images to the large screens, bringing the pressure to a boiling point. After exactly 30 minutes the computers shut down and all the work is automatically turned in. The teams then present their work. The audience will decide who is to win. The team that gets the biggest applause will be honored and introduced in the Naked Poodle Hall of Fame and will win the prestigious Pink Poodle award.

At Marcom this year, The Naked Poodle, the teams goal was to develop the brand new marketing model for 2009.

Director and everything else Marcel Kampman

The Creative Company Conference is an international conference that brings business and creativity together in one arena, deconstructs the DNA of creative companies to understand their business models, presents the entrepreneurs that play the game of value creation, innovation and creativity in business.

The CCC is the place to connect, get inspired and learn lessons from business and creative thought leaders from every corner of the world.

For the 2009 edition, I was creative advisor on content, speakers and opportunities. In my role as creative director, I was also responsible to the visual branding of CCC in all appearances on a really tight budget.

Director Marcel Kampman
Animation Marcel Kampman
3D artwork David Scheper
Music Reinier Verhard

Mastermundo and the art of nowness.
By Marc Boumeester

This year’s edition of Mastermundo had taken some elements of a flash mob, some elements of a school trip and some of a spiritual session. Seemingly unnoticeable the heterogeneous group of exactly 100 participants grew closer literally every mile of the journey, which is in itself not surprisingly. But why was its shape so important for the build-up of the day? After taking one look at the list of asked participants, one was already convinced this day would contribute immensely to ones self-development, so why go through the trouble of schlepping around this large group from city to city, from museum to train, city council, public- bars en squares? Or was this just another way of polishing up a dull conference by adding something strange?

No, it was not. And this is why.

In the age of intertwining media, where the post-modern notion of cross-media is rapidly losing its validation and the discourse on “media 3.0” is beginning to consist of hollow phrases, the new content driven participant takes the lead in redefining the several media and communication-maps.

Within the dying remains of the allocution based communication systems, the new participant freely floats in and out new forms of multilateral communication. The new participant is no longer going through the mental process of accepting the changes and opportunities given by the never ending waves of media revolution, like the vast majority of the current generation of communication professionals has had to do. The new participant has acquired the ability to accept not only the possibilities of “media 3.0 and on”, but has also the understanding that all related knowledge will become obsolete at any given moment. But the new participant is not worried by that at all. By having been brought up in and with these systems and primarily being driven by content, he has shifted his learning- and comfort-zone towards the unstable, as opposed to the stable like his predecessors had. Motion has become the standard, the hypothesis zero. Therefore all definitions of space and time are now being reevaluated and redefined. It is no longer useful to look at the here and the there, it is no longer useful to look at the past and the future. Instead the new participant will constantly rename the here and the now. Finally it will become possible to dismiss the archaic notion of history being a set of events all resulting in the present. Instead the new participant will regard the now as being somewhere on the shape we call time, where every traveler has equal opportunity to make a difference. No longer is he trapped in a fixed grid of space-time, he has finally become a vectorist, purely existing of direction and energy.

And this is exactly what Mastermundo 2008 showed us. Traveling on the existing infra-structure, but not being part of it, constantly changing the sets of perspective given to us by the “participants who knew they could say something” (notice how I carefully avoid using the term speakers, that word dates from the ancient regime as we now know), fluently drawing its own speedlines along the way, constantly creating its own context. All this in combination with the absence of the twittertwatter one normally encounters on such occasions (no added flavours, colours or preservatives), gave this day a very strong sensation of nowness. For this day we all became the new participant, for this day the answer to the question “Where are you?” would have been “I am now”.

This movie impression of almost 15 minutes, just as the Mastermundo book, gives a representative impression of that day.

Director Marcel Kampman
Camera I/M/D Students
Edit Marcel Kampman
Music Max Richter, ‘Shadow Journal’ from the album ‘The Blue Notebooks’.

Director Marcel Kampman
Animation Marcel Kampman
Artwork Marcel Kampman, Eric Schakel

Changing the world through collaborative creativity.

Context
Everybody is talking about web 2.0, cross media, innovation, collaborative creativity and other buzzwords. We were really curious what would happen if we moved this to a festival environment, like PICNIC. What could be the results of mapping knowledge of other disciplines on existing issues? What would happen if we put people together who never met before? Could we move from theories from brilliant minds, managers and people in suits to practice? To ‘doing’: making usable, meaningful, helpful and relevant solutions and ideas? Demonstrating the added value of creativity, ideas and design?

Everybody is looking for breakthrough ideas and innovative solutions. But in most cases those ideas are evolution, not revolutions. Evolution solves problems to survive: minor adjustments for changing situations. In order to get revolutions, the approach to get breakthrough ideas should be different. To think ‘out of the box’ and ‘out of the comfort zone, people must be out of their box and out of their comfort zone. This is facilitated by The Idea Machine. Hoping that the results will lead to revolutions.

When you wanted to create the future and had great ideas that needed to be developed further, you could submit your very best thoughts to the Amazing Idea Machine at Picnic’08. Here the most creative minds in the world, the best illustrators and the finest concept developers made sure it was nurtured and loved. To grow out to become the next big thing.

Developed in collaboration with Leendert Mulder of Syndiqate. Photography by Maurice Mikkers.

Concept, initial design and art direction. Made in a team when working at Fabrique as a creative director.