Presentation Piket Art Awards 2025 

On the large screen in a packed and expectant Auditorium 2 in the Theater aan het Spui, Karel van Laere calmly ambles along on top of a slowly rotating concrete mixer mounted on a truck, talking on his mobile phone. Location: Kaohsiung, Taiwan. This fragment from Karel’s breathtaking video Calling from Work (2025) is not only a very special opening of the 12th Piket Art Prizes Award Ceremony, but also a reference to development and continuity. In 2014, Karel van Laere was the very first winner of the Piket Art Prize in the Performing Arts category. After his word of welcome, tonight’s presenter, David Westera (nominated in the same category in 2023), tells us that, some ten years ago, Karel was on the panel when he auditioned for the Performance course at the Toneelacademie Maastricht: “Piket is my link with Karel van Laere.”

David gives the floor to Taco Hovius (chairman of the board of the F.H. Piket Foundation) and Marie Jeanne de Rooij (director Piket Art Prizes). Hovius: “Later on, there will be prosecco for everyone, but first we will show that the Hague art scene is bubbly, too.” Hovius draws attention to the great value of what has already been achieved thanks to Frederik Hendrik Piket and expresses his faith in the future: “The Hague aims to be European Capital of Culture in 2033. Well, by that time our Foundation will still be there!” Marie Jeanne de Rooij is happy that none of the nominees will go home empty-handed: “6,000 Euros for every winner and 3,000 for each of the others, that is 36,000 Euros per year. Quite something!” She also asks for a special round of applause for Vladislav Detiuchenko and Veronika Rakitina, who are present tonight. Vladislav and Veronika were nominated in the Dance category in 2024; a few days ago they won Holland’s Got Talent 2025.

Dance

“When you’re an actor,” David Westera says, “you can never just sit back and enjoy a performance. What you see, raises all kinds of questions, that prevent you from being carried away.” But as far as he is concerned there is one exception: dance. He invites the audience to join him in watching the videos for that category. “Amazing,” he says after nominees and jury have come on stage. “They’re so different, these three!” In her video, Annabel Koele speaks of the abstract shapes she seeks to create with her body, “so that it becomes difficult to recognise it as a human body.” David: “This alienation, do you also experience it yourself?” Annabel: “No, I actually know very well what I’m doing. It’s quite logical for me.” Chandenie Gobardhan combines traditional Indian dance and contemporary street styles in her work. David: “Does one of the two give you greater freedom?” For Chandenie they both carry the same weight: “No, not really. It’s not a matter of choice.” In his video, Giulio Hoxhallari confesses that, as a child, he dreamed of dancing with Michael Jackson. David: “Yeah, well, that is not going to happen, of course… Is there someone you could see as Michael’s successor?” Giulio: “No, for me he was the beginning and he still inspires me. He was truly the King of Pop.”

The Dance category jury, Erik Kaiel and Mitchell-lee van Rooij, now take the floor. Kaiel: “We really leave no stone unturned here in the Hague. These days, it’s about people who can do anything. There’s also an enormous diversity, which is unique for the Hague. But in the end we managed to find three exceptional dancers.” With a grin he adds: “Which is actually rather an achievement.” Van Rooij reads the winner’s jury report, but without mentioning a name, so that everyone is kept in suspense until the last moment. The winner in the Dance category is Chandenie Gobardhan. In a brief interview with Team Piket after the ceremony Chandenie says: “Sometimes you’re working in silence, following your intuition. Winning this prize feels like and echo of recognition, a sign that this silence is heard. I feel intensely recognised and enormously motivated to go on moving, connecting, feeling, and sharing. This prize also feels like a mirror of the community which surrounds me, of everyone who carries me, inspires me and reminds me of why I keep creating.”

Painting

“Dancers and actors are familiar with this place,” David says. “Familiar with the stage, because for our kind of art, we always have to bring along our bodies.” That does not hold good for visual artists, who can enter into a conversation with the viewer without being present. But after watching the videos, he has something to get off his chest: “Well, some of these people can really act!” Livia Claesson’s patience fills David with amazement and respect. “Yes, really,” Livia says, “when something goes wrong with the airbrush, I have to start all over again.” Jemima de Jonge often works with cardboard. David: “Why cardboard?” Jemima: “I use cardboard to create my sets. Initially, I didn’t want to draw too much attention to these sets. I wanted a neutral background, so I chose cardboard, but in the end I became really fascinated by that material.” For Carmen Roca Igual, the large windows of many Dutch living rooms were a revelation: “In Spain windows are small and what goes on behind them is a secret. I can’t help it – I just have to look inside. Then you realise we’re all here together at the same time, busy with our own lives.”

Pietertje van Splunter and Johan Gustavsson, the Painting category jury, are ready to reveal the name of the winner. Van Splunter: “Art requires courage, long lonely hours in the studio. So it’s great to be able to celebrate art here tonight.” Gustavsson praises the “strong and vibrant art scene” in the Hague. “It’s always exciting to look at art in the Hague,” he says. “This year is special because, despite many differences, our nominees also have a lot in common. Their work has humour and that’s something we can do with in these difficult times. Besides, their work shows a lot of attention for the humanity we all share.” The winner in the Painting category is Carmen Roca Igual. In her reaction after the ceremony Carmen says: “I am very grateful for the opportunities given to young artists, so that they can continue their work and continue to believe in it. I am happy to be able to keep creating and to share my work with a dash of colour, with humour and humanity.”

Performing Arts

David has afterthoughts. “In my own video of 2023, I say that acting or making theatre is professional goofing around. But on further consideration… The theatre is venerable, it already existed in ancient Greece. We’ve been doing this for ages. Actually, it’s totally ordinary!” The considerable size of the group of people now with him on stage is due to the presence of Kollektief op Kracht, consisting of director Nanine Kok and players/makers Trix van Erkel, Jan Groenland, Jelle Huizinga and Léon de Vrede: all five of them are here tonight. “How do you go about working collectively?” David asks. The answer is very ‘collective’: “We mostly do things together, but there is a division of tasks. So it’s partly sharing out, but in the end it’s … collective.” In her video, Hélène Vrijdag describes the make-up of her character Woman Folly as “glitter raccoon”. “Where does Woman Folly go when the raccoon is taken off?” David asks her. “She’s there,” Hélène says with conviction. “When I come, when I’m angry about people’s behaviour on the road…” In his video Mike Zanting expresses the wish to make a trilogy about three figures from queer history. He has already made a performance about the Bavarian king Ludwig II  – any ideas for the other two? Mike: “Not at all, actually. Really, I don’t know yet. And at the moment I’m busy with very different things.”

The Performing Arts jury, Nadine van Pinxteren and Joep Hendrikx, makes its debut this year; in 2022, Hendrikx won the Piket Art Prize in his category. “Super nice to be able to show you that we’ve seen you.” It is clear that they take pride in ‘their’ nominees. “Kollektief op Kracht has worked very hard to hone its identity and we want them to take a step forward and move to the big stage. Mike is not only a great actor, but also a maker with a voice of his own. Last summer, in a small tent at theater festival De Parade, he created a world that was grand and intimate at the same time. Hélène, the things you can do, it’s incredible. Your work demonstrates that distinctions between disciplines and compartments are superfluous.” The winner in the Performing Arts category is Kollektief op Kracht. Their delighted reaction: “This recognition makes us tremendously happy and grateful. We would first of all like to thank the Performing Arts jury. In addition, De Parade and especially John de Weerd. Without him, we wouldn’t be where we are now. We would also like to thank our ‘champs’; friends and colleagues who help us in all kinds of ways. We should include our accountant Peter Kok, Meester Ontwerpers, and the board of Kollektief op Kracht, consisting of Roel Tichelaar, Mischa van Teeffelen, and Marthe Wannenmacher. Finally, we would like to thank the audience. Without all those people who come to see us, there would be nothing for us to show.”

Clarinettist Jelmer de Moed’s performance of Steve Reich’s New York Counterpoint enables winners, nominees and audience to recover a bit from all the excitement. Then David invites the chairwoman of the Piket jury, Majel Blonden, to join him on stage for this year’s presentation of the Piket Jury Prize.

Piket Jury Prize

The Piket Jury Prize 2025 goes to Cees Debets, Managing Director Theatre of Het Nationale Theater. “This is the right moment to honour Cees Debets with a prize; he will be retiring early next year. Cees is a very special theatre manager, because he is always there. He turns up at every performance, always with an infectious, genuine enthusiasm, ready to experience something new and exciting. There is nothing of the ivory tower about Cees. He talks to everyone, players, technicians, the people behind the bar. He is likeable and approachable and brings out everyone’s best. Collaboration is second nature to Cees. His collaborative attitude has doubtlessly contributed to the succesful merger of Koninklijke Schouwburg, Het Nationale Toneel, NTjong, and Theater aan het Spui, resulting in Het Nationale Theater. In a world in which power play and outcry are apparently seen as the solution for everything, Cees’ example demonstrates that there are different ways.” Debets: “I think it’s wonderful to receive this prize here, in this building. Its architect, Herman Hertzberger, is known for the concept of ‘relational space’. I find that very appealing. I believe in the power of dialogue. In ‘the other voice’, in collaboration and sharing. I love this city which presents itself as a village – quiet, cleanliness, consistency. Compared to Amsterdam: fast food versus slow cooking. For me, trust is a condition. Distrust can never be a breeding ground for creativity.” He brandishes his award, the Hammer, designed by Joep van Lieshout: “Forget about distrust. Combat indifference!”

Closing tonight’s ceremony, Marie Jeanne de Rooij expresses her gratitude towards all those who contributed to this festive evening, including Jasper Masthoff who made the videos; the members of Team Piket; and Janneke Kämena and Janneke Stofmeel, thanks to whom everyone received their Hammer and jury report. And then it’s time for that prosecco.