Een gezond en duurzaam dieet begint bij een gezonde voedingsbodem. Tijd voor een beter begrip van microscopisch leven, de stille regisseurs van de duurzame transitie. Wat is het effect van een plantaardig dieet op ons eigen darmmicrobioom en het bodemleven? En is microscopisch leven de ideale alternatieve bron van eiwitten?

Micro-organismen zijn niet alleen belangrijk voor gezond voedsel uit een gezonde bodem, maar zijn zelf ook een belangrijke bron van eiwitten. Hoe kunnen microben de transitie naar een duurzaam dieet versnellen? Hoe zorgen we dat de transitie niet alleen bijdraagt aan een beter milieu, maar ook aan een gezonder dieet.

De Koplopers over de eiwittransitie

In een tweeluik van De Koplopers onderzoeken we de eiwittransitie grondig. Deze eerste aflevering richt zich op de psychologische en politieke hindernissen die we tegenkomen op de weg naar een dieet rijk aan plantaardige eiwitten.

Vergroenen, verduurzamen, innoveren. De ambities voor Nederland zijn groot, maar de realiteit is weerbarstig. In de serie De Koplopers ontmoet Teun van de Keuken mensen die oplossingen van de toekomst nu al in de praktijk brengen. Wat kunnen we van de koplopers leren?

De Koplopers is een samenwerking met Regieorgaan SIA. SIA bevordert de kwaliteit en de impact van het praktijkgericht onderzoek van hogescholen.

Sprekers

Martina Sura-De JongLector Eiwittransitie, Hogeschool Van Hall Larenstein

Adnan OnerNatuurkundige, Oprichter Farmless

Ivana MikFermantatiewetenschapper

Boy GriffioenBiologisch melkveehouder op Boerderij de Groene Griffioen

Altijd als eerste op de hoogte van onze programmering

Fossil fuels, oil – and our reliance on it – are at the forefront of the climate crisis. The Kuwaiti visual artist Monira Al Qadiri researches how entire cultures and landscapes are exploited by the addictive but destructive substance of oil. The exposition Landscapes of Extraction – spanning sculptures and videos – shows how oil-soaked our culture is today and invites viewers to imagine a future without it.

Uncanny landscapes, golden drill bits, speaking murex seashells and pearl diving songs. In the world that Al Qadiri creates, she plays with the paradoxical beauty of the destructive oil industry. She pre-empts the end of oil by creating monuments and mythologies around it, as if to eulogise it, like a long lost history from ancient peoples.

Al Qadiri’s work draws upon the transformation of her home country, Kuwait and the broader Gulf region. A landscape that was, before the discovery and extraction of oil, characterized by the culture of pearl diving. Al Qadiri’s ongoing search for historical ties between the pre- and post-oil Kuwait show how our mindset of extraction today is entangled with the colonial histories of crude oil.

The connection of her work to the Netherlands is hard to miss: colonial larceny, the looting of raw materials and shipping them away overseas. Is oil the very stuff that connects the scarred landscapes across the world, from of the Gulf, to the Nigerdelta and the North Sea?

The exhibition at De Balie has been curated in close consultation with Monira Al Qadiri, its presentation is as partner project of the Hartwig Art Foundation. 

Fossil fuels, oil – and our reliance on it – are at the forefront of the climate crisis. The Kuwaiti visual artist Monira Al Qadiri researches how entire cultures and landscapes are exploited by the addictive but destructive substance of oil. The exposition Landscapes of Extraction – spanning sculptures and videos – shows how oil-soaked our culture is today and invites viewers to imagine a future without it.

Uncanny landscapes, golden drill bits, speaking murex seashells and pearl diving songs. In the world that Al Qadiri creates, she plays with the paradoxical beauty of the destructive oil industry. She pre-empts the end of oil by creating monuments and mythologies around it, as if to eulogise it, like a long lost history from ancient peoples.

Al Qadiri’s work draws upon the transformation of her home country, Kuwait and the broader Gulf region. A landscape that was, before the discovery and extraction of oil, characterized by the culture of pearl diving. Al Qadiri’s ongoing search for historical ties between the pre- and post-oil Kuwait show how our mindset of extraction today is entangled with the colonial histories of crude oil.

The connection of her work to the Netherlands is hard to miss: colonial larceny, the looting of raw materials and shipping them away overseas. Is oil the very stuff that connects the scarred landscapes across the world, from of the Gulf, to the Nigerdelta and the North Sea?

The exhibition at De Balie has been curated in close consultation with Monira Al Qadiri, its presentation is as partner project of the Hartwig Art Foundation. 

Fossil fuels, oil – and our reliance on it – are at the forefront of the climate crisis. The Kuwaiti visual artist Monira Al Qadiri researches how entire cultures and landscapes are exploited by the addictive but destructive substance of oil. The exposition Landscapes of Extraction – spanning sculptures and videos – shows how oil-soaked our culture is today and invites viewers to imagine a future without it.

Uncanny landscapes, golden drill bits, speaking murex seashells and pearl diving songs. In the world that Al Qadiri creates, she plays with the paradoxical beauty of the destructive oil industry. She pre-empts the end of oil by creating monuments and mythologies around it, as if to eulogise it, like a long lost history from ancient peoples.

Al Qadiri’s work draws upon the transformation of her home country, Kuwait and the broader Gulf region. A landscape that was, before the discovery and extraction of oil, characterized by the culture of pearl diving. Al Qadiri’s ongoing search for historical ties between the pre- and post-oil Kuwait show how our mindset of extraction today is entangled with the colonial histories of crude oil.

The connection of her work to the Netherlands is hard to miss: colonial larceny, the looting of raw materials and shipping them away overseas. Is oil the very stuff that connects the scarred landscapes across the world, from of the Gulf, to the Nigerdelta and the North Sea?

The exhibition at De Balie has been curated in close consultation with Monira Al Qadiri, its presentation is as partner project of the Hartwig Art Foundation. 

Fossil fuels, oil – and our reliance on it – are at the forefront of the climate crisis. The Kuwaiti visual artist Monira Al Qadiri researches how entire cultures and landscapes are exploited by the addictive but destructive substance of oil. The exposition Landscapes of Extraction – spanning sculptures and videos – shows how oil-soaked our culture is today and invites viewers to imagine a future without it.

Uncanny landscapes, golden drill bits, speaking murex seashells and pearl diving songs. In the world that Al Qadiri creates, she plays with the paradoxical beauty of the destructive oil industry. She pre-empts the end of oil by creating monuments and mythologies around it, as if to eulogise it, like a long lost history from ancient peoples.

Al Qadiri’s work draws upon the transformation of her home country, Kuwait and the broader Gulf region. A landscape that was, before the discovery and extraction of oil, characterized by the culture of pearl diving. Al Qadiri’s ongoing search for historical ties between the pre- and post-oil Kuwait show how our mindset of extraction today is entangled with the colonial histories of crude oil.

The connection of her work to the Netherlands is hard to miss: colonial larceny, the looting of raw materials and shipping them away overseas. Is oil the very stuff that connects the scarred landscapes across the world, from of the Gulf, to the Nigerdelta and the North Sea?

The exhibition at De Balie has been curated in close consultation with Monira Al Qadiri, its presentation is as partner project of the Hartwig Art Foundation. 

Fossil fuels, oil – and our reliance on it – are at the forefront of the climate crisis. The Kuwaiti visual artist Monira Al Qadiri researches how entire cultures and landscapes are exploited by the addictive but destructive substance of oil. The exposition Landscapes of Extraction – spanning sculptures and videos – shows how oil-soaked our culture is today and invites viewers to imagine a future without it.

Uncanny landscapes, golden drill bits, speaking murex seashells and pearl diving songs. In the world that Al Qadiri creates, she plays with the paradoxical beauty of the destructive oil industry. She pre-empts the end of oil by creating monuments and mythologies around it, as if to eulogise it, like a long lost history from ancient peoples.

Al Qadiri’s work draws upon the transformation of her home country, Kuwait and the broader Gulf region. A landscape that was, before the discovery and extraction of oil, characterized by the culture of pearl diving. Al Qadiri’s ongoing search for historical ties between the pre- and post-oil Kuwait show how our mindset of extraction today is entangled with the colonial histories of crude oil.

The connection of her work to the Netherlands is hard to miss: colonial larceny, the looting of raw materials and shipping them away overseas. Is oil the very stuff that connects the scarred landscapes across the world, from of the Gulf, to the Nigerdelta and the North Sea?

The exhibition at De Balie has been curated in close consultation with Monira Al Qadiri, its presentation is as partner project of the Hartwig Art Foundation. 

Fossil fuels, oil – and our reliance on it – are at the forefront of the climate crisis. The Kuwaiti visual artist Monira Al Qadiri researches how entire cultures and landscapes are exploited by the addictive but destructive substance of oil. The exposition Landscapes of Extraction – spanning sculptures and videos – shows how oil-soaked our culture is today and invites viewers to imagine a future without it.

Uncanny landscapes, golden drill bits, speaking murex seashells and pearl diving songs. In the world that Al Qadiri creates, she plays with the paradoxical beauty of the destructive oil industry. She pre-empts the end of oil by creating monuments and mythologies around it, as if to eulogise it, like a long lost history from ancient peoples.

Al Qadiri’s work draws upon the transformation of her home country, Kuwait and the broader Gulf region. A landscape that was, before the discovery and extraction of oil, characterized by the culture of pearl diving. Al Qadiri’s ongoing search for historical ties between the pre- and post-oil Kuwait show how our mindset of extraction today is entangled with the colonial histories of crude oil.

The connection of her work to the Netherlands is hard to miss: colonial larceny, the looting of raw materials and shipping them away overseas. Is oil the very stuff that connects the scarred landscapes across the world, from of the Gulf, to the Nigerdelta and the North Sea?

The exhibition at De Balie has been curated in close consultation with Monira Al Qadiri, its presentation is as partner project of the Hartwig Art Foundation. 

Fossil fuels, oil – and our reliance on it – are at the forefront of the climate crisis. The Kuwaiti visual artist Monira Al Qadiri researches how entire cultures and landscapes are exploited by the addictive but destructive substance of oil. The exposition Landscapes of Extraction – spanning sculptures and videos – shows how oil-soaked our culture is today and invites viewers to imagine a future without it.

Uncanny landscapes, golden drill bits, speaking murex seashells and pearl diving songs. In the world that Al Qadiri creates, she plays with the paradoxical beauty of the destructive oil industry. She pre-empts the end of oil by creating monuments and mythologies around it, as if to eulogise it, like a long lost history from ancient peoples.

Al Qadiri’s work draws upon the transformation of her home country, Kuwait and the broader Gulf region. A landscape that was, before the discovery and extraction of oil, characterized by the culture of pearl diving. Al Qadiri’s ongoing search for historical ties between the pre- and post-oil Kuwait show how our mindset of extraction today is entangled with the colonial histories of crude oil.

The connection of her work to the Netherlands is hard to miss: colonial larceny, the looting of raw materials and shipping them away overseas. Is oil the very stuff that connects the scarred landscapes across the world, from of the Gulf, to the Nigerdelta and the North Sea?

The exhibition at De Balie has been curated in close consultation with Monira Al Qadiri, its presentation is as partner project of the Hartwig Art Foundation. 

Fossil fuels, oil – and our reliance on it – are at the forefront of the climate crisis. The Kuwaiti visual artist Monira Al Qadiri researches how entire cultures and landscapes are exploited by the addictive but destructive substance of oil. The exposition Landscapes of Extraction – spanning sculptures and videos – shows how oil-soaked our culture is today and invites viewers to imagine a future without it.

Uncanny landscapes, golden drill bits, speaking murex seashells and pearl diving songs. In the world that Al Qadiri creates, she plays with the paradoxical beauty of the destructive oil industry. She pre-empts the end of oil by creating monuments and mythologies around it, as if to eulogise it, like a long lost history from ancient peoples.

Al Qadiri’s work draws upon the transformation of her home country, Kuwait and the broader Gulf region. A landscape that was, before the discovery and extraction of oil, characterized by the culture of pearl diving. Al Qadiri’s ongoing search for historical ties between the pre- and post-oil Kuwait show how our mindset of extraction today is entangled with the colonial histories of crude oil.

The connection of her work to the Netherlands is hard to miss: colonial larceny, the looting of raw materials and shipping them away overseas. Is oil the very stuff that connects the scarred landscapes across the world, from of the Gulf, to the Nigerdelta and the North Sea?

The exhibition at De Balie has been curated in close consultation with Monira Al Qadiri, its presentation is as partner project of the Hartwig Art Foundation. 

Fossil fuels, oil – and our reliance on it – are at the forefront of the climate crisis. The Kuwaiti visual artist Monira Al Qadiri researches how entire cultures and landscapes are exploited by the addictive but destructive substance of oil. The exposition Landscapes of Extraction – spanning sculptures and videos – shows how oil-soaked our culture is today and invites viewers to imagine a future without it.

Uncanny landscapes, golden drill bits, speaking murex seashells and pearl diving songs. In the world that Al Qadiri creates, she plays with the paradoxical beauty of the destructive oil industry. She pre-empts the end of oil by creating monuments and mythologies around it, as if to eulogise it, like a long lost history from ancient peoples.

Al Qadiri’s work draws upon the transformation of her home country, Kuwait and the broader Gulf region. A landscape that was, before the discovery and extraction of oil, characterized by the culture of pearl diving. Al Qadiri’s ongoing search for historical ties between the pre- and post-oil Kuwait show how our mindset of extraction today is entangled with the colonial histories of crude oil.

The connection of her work to the Netherlands is hard to miss: colonial larceny, the looting of raw materials and shipping them away overseas. Is oil the very stuff that connects the scarred landscapes across the world, from of the Gulf, to the Nigerdelta and the North Sea?

The exhibition at De Balie has been curated in close consultation with Monira Al Qadiri, its presentation is as partner project of the Hartwig Art Foundation.