
Start ticketverkoop 1 september 2023 om 10:00 uur.
Entreeticket
€ 10 aan de deur
€ 7,50 voorverkoop online
Genoemde prijzen zijn inclusief: btw, servicekosten en € 1,50 vermakelijkheidsretributie voor de gemeente Amsterdam.
Kinderen tot 13 jaar gratis toegang (mét entreeticket < 13 jaar).
Gratis entreeticket met je Stadspas (alleen aan de deur op vertoon van je Stadspas, niet online te reserveren).
Let op: iedereen die het festival bezoekt heeft een entreeticket nodig, ook als je een workshop of masterclass gaat volgen.

Language: English
This is really special: we have invited three Venetian glass blowers to teach workshops and share their knowledge.
Chiara Lee Taiarol, Mariana Oliboni and Andrew Dougherty work in this female run studio El Cocal in Murano, home of the original Ventian glass work. Traditionally, the craft has been male dominated and the trade was passed on from father to son, which makes this studio really stand out.
During this workshop you can learn how to make a wave vase or a wave bowl. There will be a maximum of two participants for a one hour workshop.
Disclaimer: glass is fragile, it may break during cooling down. NB it has to cool down for 24 hours, so you can pick up your work the next day.
“Why did I choose glass? Actually, it chose me. I have tried many materials but glass has a strength, when you work with it you have to be present. You have to respect it, it’s alive. In a certain sense it has led me to live life to the full”
Chiara Lee Taiarol



Kumiko is een Japanse houtbewerkingstechniek. Het wordt toegepast op lampen, scheidingspanelen, deuren en wandversieringen. Het is een soort mozaïek met houten strips. In Japan zijn er fabrieken waar de apparatuur heel specifiek is gemaakt voor deze techniek. Buiten Japan heeft het meer het niveau van een ambacht. In de workshop geven we een kleine introductie en gaan dan zelf aan de slag met het maken van een paar eenvoudige patronen. Dat doen we met een speciale Japanse zaag en specifieke tools.
Kumiko is een stille en doordachte techniek die veel geduld en precisie vereist. De oude Japanse houtbewerkingstechniek bestaat uit het maken van patronen van kleine stukjes in elkaar grijpend hout. In Japan wordt het gebruikt voor (shoji) lampen, panelen of wandversiering.
Werken met een nauwkeurigheid van 0.1 mm, want anders valt je werkstuk in duigen. We gaan aan de slag met een Japanse (trek)zaag en moeten voorzichtig zijn met een zeer scherpe beitel. Je gaat kennismaken met het Izustu-tsunagi patroon. Afhankelijk van je vaardigheid en doorzettingsvermogen maak je je eerste kumiko-paneeltje (20 x 20 cm).
Rob Alferink is een bouwer van houten lampen. En sinds ettelijke jaren ervaren in het gebruik van de kumiko-techniek. Het is iedere keer weer een uitdaging om nieuwe kumiko-patronen te leren en die te verwerken in een lamp. Zijn lampen vinden hun weg naar Noorwegen, Luxemburg, Canada, de US en enkele andere landen.

Language: English
This is really special: we have invited three Venetian glass blowers to teach workshops and share their knowledge.
Chiara Lee Taiarol, Mariana Oliboni and Andrew Dougherty work in this female run studio El Cocal in Murano, home of the original Ventian glass work. Traditionally, the craft has been male dominated and the trade was passed on from father to son, which makes this studio really stand out.
During this workshop you can learn how to make an ornament, paper weight or small bowl. There will be a maximum of four participants for a one hour workshop.
Disclaimer: glass is fragile, it may break during cooling down. NB it has to cool down for 24 hours, so you can pick up your work the next day.
“Why did I choose glass? Actually, it chose me. I have tried many materials but glass has a strength, when you work with it you have to be present. You have to respect it, it’s alive. In a certain sense it has led me to live life to the full”
Chiara Lee Taiarol



Tijdens de workshop leer je de basis van het graveren onder leiding van glasgraveur Alie Winters. Zij graveert al 37 jaar in opdracht voor bedrijven en particulieren.
Je start met een proefwerk op een platte glasplaat. Dan kun je wennen aan de apparatuur en krijg je een idee van wat je kunt. Vervolgens ontwerp je je eigen tekening die je op een drinkglas kunt graveren. Je kunt gebruik maken van diverse soorten freesjes welke allemaal een andere functie hebben. Voor je het weet ga je met een mooie, zelf gemaakte creatie naar huis.
Je maakt gebruik van graveermachines en ontvangt tevens beschermingsmiddelen die je dient te gebruiken. Deelname is op eigen risico’s en deelnemers dienen de veiligheidsinstructies te volgen.
Graveren gaat terug tot in de prehistorie. De gravure is de voorganger van de ets. Anders dan bij een ets, waarbij de tekening door zuurinwerking wordt verkregen, wordt bij een gravure de tekening direct in het glas gekrast. Een graveur gebruikt een handpen met een diamantstift.
Alie Winters van Lemsterglas graveert met de hand, ambachtelijk. Ze heeft het vak geleerd als leerling van meester in de glaskunde Jaap Deen te Sloten en deelt haar kennis graag tijdens het Ambacht in Beeld Festival.



Language: English
In this workshop you will learn about the world of violin making with important basic techniques. The goal is to make a technically and aesthetically important part of the instrument yourself: the sound hole. Under guidance, and with the help of essential violin making tools, you will draw shapes, cut and saw spruce wood. At the end you will varnish your workpiece and proudly bring home your self-made part of the violin.
Musical instrument making has a tradition of many centuries. Violin making has been a profession in its own right since the Renaissance. Naturally, the first thing everyone thinks of is the Great Stradivarius from Italy. But many do not know that there is also a great tradition in violin making in Germany. The university Westsächsische Hochschule Zwickau (WHZ), University of Applied Sciences that offers this workshop works in this tradition. Today, in addition to modern technologies, violin making is still connected to old traditions and experiences. Besides craft techniques, a large part of this profession is a knowledge of history and styles. You will get an insight into this, when you visit this workshop.
This workshop will be led by young violin makers Hannah and Karl from Germany. Hannah is a master violin maker based in Markneukirchen. Hannah finished her apprenticeship in 2017. Today she works at the place of her studies on the sidelines of teaching and helps the students with their scientific work. She also has an instrument making workshop with her partner. Karl finished his apprenticeship in 2019. Afterwards he did an internship in the Netherlands for eight months. Currently he is also studying Musical Instrument Technology.

Connected through Kerstin Rice.

Language: English.
Minhwa is a traditional folk painting style, which beautifully captures the essence of Korea’s cultural heritage. Minhwa colourfully represents the perspectives, religions, symbols of daily life and desires, and folk mythologies of its time. It features robust animals as supernatural such as tigers, dragons, insects, and cranes, and features colourful natural backgrounds with peonies, clouds, lotuses, water, or the sun. The unique symbolism blends Buddhism, Shamanism, Confucianism, and Taoism. Participants will pick one simple sample Minhwa and follow the instruction to finish one painting.
During the workshop, you’ll have the privilege of painting on traditional Korean paper coated in lacquer. Our handcrafted brushes sourced from Korea and China ensure an authentic and immersive painting experience.
Under the expert guidance of teacher Yeun, you’ll progress step by step, creating a high-quality painting and honing your skills in this cherished art form. The size of the painting will be A4 or A3.
Studio Yen is a Korean painting studio based in Rotterdam, dedicated to spreading the beauty of oriental art and philosophy. We offer high-quality Korean painting classes and workshops, aiming to blend tradition with a modern touch. Our mission is to support artists in their creative journey, providing them with the skills and inspiration to explore and embrace Korean artistry. Join us as we celebrate the captivating essence of Korean painting and its timeless significance.
Yeun Kim specialized in ‘Advanced Major in Oriental painting’ during her bachelor’s studies. After gaining valuable experience in industrial design and teaching art, she ventured to the Netherlands. Driven by a deep desire to share the richness of Korean culture, Yeun founded Studio Yen, an art studio that offers high-quality Korean painting classes. Additionally, she established Design Only Together, a company that reflects her diverse roles as an artist, art teacher, designer, and entrepreneur. Through Studio Yen, Yeun is dedicated to showcasing the brilliance of Korean art to a global audience. Her artistic prowess and entrepreneurial spirit converge in a mission to introduce the beauty of Korean culture to the world.


Sinds mensenheugenis gebruiken mensen aarde pigmenten om kleur te geven aan hun omgeving. Pigmenten werden gemengd met verschillende binders en vulmiddel om deze kleurstoffen op verschillende manieren te kunnen verwerken.
Kom op het Ambacht in Beeld Festival werken met deze prachtige natuurlijke kleuren en en maak je eigen kunstenaars materialen.
Pastels zijn van die mooie zachte krijtjes waarmee je heerlijk kunt tekenen, en waar je de kleuren zo mooi van kunt uitwrijven. En nee, ze zijn niet te vergelijken met schoolbord krijtjes, de kleuren zijn veel voller en stralender, en het krijt zelf is zachter.
Leer hoe je met natuurlijke aarde pigmenten zelf prachtig zacht kunstenaars-krijt kunt maken. Kies één pigment of meng meerdere pigmenten. Meng en bewerk alle ingrediënten tot de juiste consistentie hebt en en rol je eigen pastelkrijt. We maken dit krijt volgens ambachtelijk recept met pure natuurlijke ingrediënten en pigmenten.
In 1 uur tijd kun je kun je ongeveer 4 verschillende kleuren krijt maken, die je in een doosje mee naar huis krijgt. Na een paar dagen zijn ze droog en kun je er prachtig mee tekenen!
Inclusief:
Materiaal voor verschillende krijtjes
Doosje om de krijtjes mee te nemen
Korte werkbeschrijving op papier
Twirre van Kraaijenoord is oprichter van Handmade Heaven, ze is creatief ontwerper en gebruikt verschillende ambachten en technieken in haar ontwerpen. Zij volgde een opleiding voor Trompe-l’oeil schilderen waarin naast marmer en hout schilderen ook het ambachtelijk maken van olieverf aan de orde kwam. Ze heeft onderzoek gedaan naar natuurlijke verfstoffen voor textiel. Twirre is verder gegaan met haar zoektocht naar natuurlijke kleuren en maakt nu haar eigen extracten, verf, inkt en pastelkrijt. In het televisieprogramma “Het geheim van de meester” wat te zien is in oktober, maakt zij het kunstenaarsmateriaal met ingrediënten van de meester!


Language: English
Kids: make your own bamboo animal! You will learn how to make two to three bamboo animals during the workshop.
Join a master bamboo weaver from Luang Prabang, Laos, and learn about the many uses of bamboo in Laos. During this interactive workshop, you will learn the bamboo weaving craft using no tools other than your hands and creativity.
They consume it (such as in bamboo soup), craft musical instruments, fashion weapons for hunting and traps for capturing animals, and even utilize it for paper production. They incorporate it into constructing houses, walls, roofs, and even bridges. They skillfully split bamboo in various techniques to intricately weave it into baskets, hats, traps, ceremonial items, woven walls, and mats.
Many bamboo creations are dark brown in colour because they have been hung over the house fire in the smoke to harden the bamboo and kill off any insects living in the bamboo. In the villages, cloth weaving is done mainly by women, but men usually do bamboo weaving. It is an important skill, and some people say a man cannot get married unless he can weave bamboo.
There are over 1000 varieties of bamboo worldwide; four main ones are used in Laos. These varieties have multiple uses, which depend on the width of the bamboo stems and the age of the plant. In the countryside, people from the region venture into the forest to cut bamboo, selecting stems that possess the appropriate length between joints. Subsequently, the bamboo is meticulously split and peeled. It is then subjected to scraping, rendering it smooth and flat. Following this, it undergoes a soaking process, often in the river, which can last for several days. This soaking serves to soften and enhance the flexibility of the bamboo, as well as to eliminate any insects that may be present within the bamboo.
At Ock Pop Tok Living Crafts Centre, the value of traditional crafts and their teachings to visitors is significant. This is done not only to keep these crafts alive and thriving but also to encourage visitors to gain a deeper appreciation of the various crafts of Laos, including bamboo weaving.
Originally from Ngoi District, Ae moved to Luang Prabang in 2006 to become a monk. Like many young Lao boys, he was taught the art of bamboo weaving from a young age by his father. While bamboo has many uses in Laos, it’s hard to make a living out of it in Laos. Ae thus decided to take a new direction in 2010. With the hopes of increasing his chances of working in tourism – Luang Prabang is a UNESCO heritage town, and its hospitality scene offered many opportunities – Ae decided to study English. He joined Ock Pop Tok in 2012 and then left in 2017 to gain more experience. Throughout, he never let go of his love for bamboo weaving and would always find some time to practice.
Working at Ock Pop Tok made this easier for him as Ock Pop Tok promotes the traditional crafts of Laos through workshops. Ae rejoined the Ock Pop Tok family at the end of 2022 as Assistant Hospitality Manager, jumping in to teach bamboo weaving classes to tourists visiting Luang Prabang and thus sharing his love for the art of bamboo weaving. He loves that his job allows him to learn new things every day while meeting people worldwide. In his spare time, you will find Ae fishing on the banks of the Mekong, often using bamboo traps and baskets he fashioned himself.
Connected through Craftscurator.



Language: English.
Finally, your learning opportunity on the principle of traditional & authentic Korean fermentation is at Ambacht in Beeld!
The Kimchi workshop hosted by Mina from House of Fermentation will guide you through the one-of-a-kind recipe, specifically originated in Jinju, South-Korea. The recipe is rarely known even amongst Koreans, as Jinju is located on the south coast of Korea, and the region is known to incorporate biodiverse ingredients from the sea.
At this workshop, Mina will take you back to the 70s in a rural village where entire villagers came together to make 300 – 400 cabbage Kimchi and then some together. On this scale, the work takes 3 to 4 days. Oftentimes, the day starts with old ladies waking up at 5 AM, and coming out on the street with their cutting boards and knives, to begin washing and chopping ingredients.
For Ambacht in Beeld, this is a light version workshop where all participants work together to complete one big batch of Kimchi to be shared at the end of each workshop, as in her childhood experience where all the neighbors took part in making a huge batch of Kimchi each year to feed the whole village. She will also guide you through the differences between all fermentation methods worldwide, Kimchi variations, and Kimchi-themed recipes.
All 17 ingredients to put together
430 grams of Kimchi per person to take home with
Korean Fermentation is the only fermentation recipe in the world that allows fermentation to go on practically forever. You can open the jar as many times as you want to take some Kimchi out, it will continue to ferment. Making Kimchi is a craftmanship of building a harmony that works as one complete ecosystem: Harmony of biodiverse ingredients, biodiverse microorganisms, harmony of nature and us, humans.
There isn’t one key ingredient that does the fermentation in Kimchi. Each ingredient has a different role to play. So our job is to be the best logistic team that brings all the ingredients together at its best status where microorganisms thrive as the best chefs. That’s why once we put together one batch of Kimchi, we do not disturb the ecosystem by adding something new later.
That’s also why:
1. We do not use synthetic or artificial or processed ingredients that do not provide any nutrients for the microorganisms.
2. We do not separate or cultivate a single type of microorganism like Kombucha making.
3. We do not use heavy saltwater brine that only cultivates a single type of microorganism.
4. We do not use vinegar, high acidity substance, processed sugar, or rice wine that kills the microorganisms.
5. We do not “feed” bit by bit like sourdough making.
This craftsmanship also comes with the philosophy of honoring nature. Nature has given us the gift of harvests as we take advantage of nature for farming. So we must be able to consume everything nature has given us. And we should not be wasting any of it. If we can preserve it, we must. This is not a choice: So Kimjang (Kimchi making) comes with the militant discipline of zero-waste and sustainability.
At this workshop, the Traditional Korean Pot ‘Hang ah ri’ which is a 2000 years old refrigeration tool that is still in use to this day in Korea, will be exhibited as well. You can taste the true Naturally-Fermenting Kimchi that has been fermenting in the Hangahri for about 3 months.
This Hangahri and 90 different Onggis and Hangahri were imported directly from South Korea in 2021 through crowdfunding. Mina has chosen the government-registered (and protected) craftsman Choong-Ghil Hwang’s works so that people can utilize them in the workshops, and use them for production at HoF location. You will be able to see the family insignia stamped on every pot.
These traditional pots are kneaded to create micro air pockets in the wall itself that breathe out fermentation gas, specifically one element of the gas: CO2. As the pot is releasing the CO2, the temperature and humidity level in the pot is regulated just like our planet Earth which is why our ancestors called the environment inside of the pot “pure and clean”. This also meant that we never “burp” Kimchi. ‘Burping’ is a modern-day myth that started with plastic Tupperware, canning, and other sealed jars used for Kimchi as industrial food makers misunderstood what Kimchi is about.
Are you ready to take part in the Kimjang workshop? I hope to see you at The Table.
Mina was born and raised in Jinju, S.Korea. She studied nursing at the university which helped her research and verify the traditional recipe back to life. Since the university, she began teaching English which became her 6-year career that led her to become a corporate trainer for the following 12 years.
She moved to the Netherlands and hoped to launch a new set of life with the freedom of being herself. Seeing some of the downsides of the food scene in Amsterdam, ignited her passion for traditional Korean food and teaching. In 2019 With HoF, she embarked on the journey to reintroduce the legacy of Kimchi-making and ensure that each jar embodies the rich cultural heritage of Korea as well as the true health benefits of Kimchi.
House of Fermentation with Kimchi and other Korean condiment products, runs fermentation workshops and dinner events at its location which became also popular choices for many companies’ teambuilding events and private celebrations.
