now:
Indigo Phase

Yokouchi addresses various historiographical aspects in relation to natural materials, especially the interaction of Japanese, Indonesian and Dutch cultures.

19 till 26 Sep 2020

airWG Amsterdam is pleased to announce the exhibition INDIGO PHASE by Kentaro Yokouchi, Japan 1979. Opening on Friday 18 September 5-7 pm at puntWG exhibition space in Amsterdam.

Yokouchi, the airWG artist in residence since July, will show a selection of works created during this residency period, where the use of indigo and other natural pigments on supports such as paper and silk predominates. His research addresses various historiographical aspects in relation to these natural materials, especially the interaction of Japanese, Indonesian and Dutch cultures concerning its production, use and commercialization.

Kentaro has a special interest in the use of old techniques and historical images which enable a new poetic encounter of cultures, thereby re-establishing bridges and approaches between Eastern and Western art. Also, he reveals traces of links between images of the past, whose silent voices and gestures point to a different configuration of our human condition.

The exhibition will close on Saturday September 26th at puntWG with a special meeting between the public and the artist, in a live connection with curator Mizuho Fujita from Kyoto City University of Arts Art Gallery @KCUA in Japan, who will speak with Kentaro about his recent works exhibited in Japan under the title: SOMETHING FOR EVERYONE, a work that Kentaro made during his stay at airWG Amsterdam.

Photo documentation by Ilya Rabinovich


We count on your presence, next Friday September 18th for the opening and Saturday 26th for the closing and farewell of Kentaro Yokouchi.

Open everyday 1-6pm. Closed on Monday 21/9

Visitor Guidelines - Keeping You Safe!

In adherence to the protocol for cultural spaces due to COVID19 we kindly request you to consider the following before and during your visit;

  • Refrain from visiting when you are experiencing (minor) health issues such as a head cold, a runny nose, a cough, a sore throat, a raised temperature or fever and/or shortness of breath
  • We will allow a maximum of 5 visitors inside the space at the same time. Individuals, couples, roommates and small families of two or three people.
  • You are required to always keep a minimum distance of 1,5 meters from other visitors and staff
upcoming:
Not LESS-MATERIAL

La Cocina want to call attention to what we tend to take for granted – that is, what we consume –, and highlight some of the socio-political, historical and cultural intersections that consumption implies.

3 till 4 Oct 2020

Friday 02/10, 19:00:  Drum-n-Pix, Pixeltrance or Expressionistic Minimalism on a Subpixel ,  performance by Maxim Timinko
Saturday & Sunday:  14h-19h 
Sunday 04/10, 18:00: Finissage

Toon Fibbe & Laura Wiedijk, Céline Mathieu, Maxim Tyminko Presented by: La Cocina. [Lore Gablier I Alejandro Ramírez]

Not LESS-MATERIAL marks the opening of the festival ‘A Matter of (In)digestions’ organised by La Cocina in different venues in Amsterdam in October-November 2020. With the festival, we want to call attention to what we tend to take for granted – that is, what we consume –, and highlight some of the socio-political, historical and cultural intersections that consumption implies. What do our appetites tell us about taste and infrastructure, crops and identity, recipes and botanics?

At PuntWG, we present installations and performances by Céline Mathieu, Toon Fibbe & Laura Wiedijk, and Maxim Tyminko. Drawing on the phenomena of online communities driven by erotic fantasies, on homeopathic practices and on algorhythmic calculations at machinic speed, the artists invite us to reflect on consumption in relation to fluid and more volatile objects such as songs, beliefs, desires, or data. How do these objects change and evolve over time? How do they consume and move themselves from place to mind, from mind to space? 

Toon Fibbe & Laura Wiedijk sound installation, To Stick My Head Into Your Mouth and Lick Your Tongue, elaborates on the phenomenon of Vorarephilia: the desire and fetish of being swallowed up in one piece. Unable to fulfill such a desire, vorarephiles perform their fantasy by way of collective fiction. Bewitched by fear and excitement, a question arises: Is the desire to dissolve into something larger than oneself a form of surrender, or is it a courageous attempt to oppose the pervasive force of hyper-individualism? 

Alluding in her title to the process of diluting a substance in a homeopathic preparation, Céline Mathieu presents 7 CH (Airwaves, Person, Flowers, Homeopathy, Technics SL-1200, Test Press of ‘Blusens Fasong’ by Gaute Granli): a series of liminal gestures that explore, through sound and space interventions, the invisible ‘effect’ of the act of feeding – be it mind or space.

Maxim Tyminko presents an iteration of his installation and performance Drum-n-Pix, Pixeltrance or Expressionistic Minimalism on a Sub-pixel Level, in which he delves into Vernor Vinge’s utopian/dystopian concept of technological singularity: a moment when machine intelligence surpasses the cognitive capacities of the human brain. Exploring the process of digesting visual data, the piece is an inquiry into the logic behind A.I. image analysis that evolves into a psychedelic experience of repetitive rhythmic audiovisual patterns.

Check the full program of ‘A Matter of (In)digestions’ HEREAs part of the festival, the artists also produced online works that are published on La Cocina’s website:

Performance as Text: Neuroplasticity by Céline Mathieu.
I Want to Be Eaten by Celebrities by Toon Fibbe and Laura Wiedijk.
A Musical Piece for Marimba and One Million Colored Squares by Maxim Tyminko.

‘A Matter of (In)digestion’ is supported by the Amsterdam Fonds voor de Kunst, the Prins Bernhard Cultuurfonds and the French Institute in the Netherlands. 

The performance will be streamed: more info to come. 

past:
Anthea Bush, Growing Stone, 2020, work in progress, close-up
Avant Gardener

Avant Gardener delves into interwoven matters around frontiers and borders, botany, spiritual presence, interspecies cooperation and kinship. 

Curator: Naz Kocadere
4 till 13 Sep 2020

VISIT on 5, 6, 10, 12 & 12 September 2020 2-6 PM or by appointment

With such rocky and reversing terrain, seasons persevere and nature transforms itself anew, but also into certainty. Keeping Donna Haraway’s
Staying with the Trouble (2016) close at hand, Avant Gardener delves into interwoven matters around frontiers and borders, botany, spiritual presence, interspecies cooperation and kinship. The artists in this exhibition explore the transitory phases between natural and cultural landscape presented in forms of drawing, installation, photography and audio-visual documentation of sonic work.

Anthea Bush’s tall drawings entitled Growing Stone sprung as she watched potatoes grow with multicolored branches into unusually shaped forms. Patiently observing how these alien bodies contain themselves over many months, Bush keeps record of time and collects data of the alternative world they inhabit, similarly to 16th-Century botanists. These magnified watercolor illustrations of outgrown potatoes are accompanied by the protagonists themselves—the real life vegetable in its full eerie botanical glory, displayed on various glass plinths.

Conceived in its entirety, Christina Della Giustina’s you are variations - tree house invites the visitor to the second floor as if climbing the nearby tree trunk for an intimate and closer experience of the work. Initiated in the artist’s studio almost a decade ago, Della Giustina’s artistic project emanated from a wish to listen to the neighboring tree facing her studio at Atelier WG, in puntWG’s immediate environment. Studying the water cycles of trees, you are variations transform empirical data into a musical score that is performed through collaborative live performances and audio-visual installations. The tree house installation presents visually animated documentary material alongside you are variations’ last performance of the artist’s nine-year research at Colloredo-Mansfeld Palace in Prague. 

Capturing her research around intimately observed rituals and myths connected to landscape, Emily Bates’ 100 Days photographic series narrates meditation practices through scenes of stillness with hidden intricacies. Documenting a shaman temple on the coast of South Korea, the artist follows traces of nature worship, animism, rituals of misfortune and how these traditions navigate around power references of water and mountains. Bates partners her photography with five flags of colored silk hung on the wall that refers to the Korean shamanic ritual “Obansinjanggi.” The banners of the guardian gods are used in divination and the colors are associated with five directions according to traditional cosmology: blue is for the east, misfortune and distress; white is for the west, the Cheonsin (Celestial God) or blessing for the dead; red for the south, and good fortune; black for the north, symbolizing death; and yellow for the center, which stands for one’s ancestors.

Servet Koçyiğit entwined pieces of various shades and patterns of green fabric within themselves resembling topography maps and tree rings in his most recent textile map Medical Green. With reference to the color palette used to demonstrate the spread and the intensity levels of the COVID-19 virus throughout the map of the Netherlands, the artist amplifies the structuring of frontiers and borders, as well as the inevitably contagious. Suspending the work outside the balcony above the gallery space, Koçyiğit brings the debatable distinction between private and public to front. 

The exhibition is entitled by a mischievous wording attempt of a song* that not only discusses gardening as a way to escape one’s own thoughts, but also portrays the familiar sentiments around deprivation based upon unusual circumstances. Living in troubling times with unjust patterns of both pain and joy, Haraway indicates that the task should be to make kin by means of inventing connections to practice learning how to live and die well with each other. Sticking with such difficulties, she adds, requires learning to be truly present. As a way to hold one’s ground, the artists look into interrelations of representation, kinship and spirituality.

*Avant Gardener by Courtney Barnett
The Double EP: A Sea of Split Peas, 2013

Further readings 

Staying with the Trouble: Making Kin in the Chthulucene by Donna Haraway
Duke University Press, 2016

Korean Shamanism: The Cultural Paradox by Chongho Kim
Routledge Revivals: Vitality of Indigenous Religions, 2003

Online Encyclopedia of Korean Folk Culture
Korean Folk Beliefs

 

past:
It Takes Revery
MMC Schobbe
29 till 30 Aug 2020
past:
BIC Inkwell – 2020, oil on canvas, 50 x 60 cm
Extended Studio Micha Patiniott

During the months of July and August puntWG is offering short working periods for several artists in an extended studio program.

6 till 30 Jul 2020
During the months of July and August puntWG is offering short working periods for several artists in an extended studio program.

Since last week Micha Patiniott has been using puntWG as a temporary extension of his studio. 

He will be working in the space till the 30th of July.

More information to follow soon, keep in touch with our Instagram and website for updates.

Micha Patiniott (Amsterdam, 1972) is a figurative painter known for his slightly absurdist and surreal paintings
 
“My paintings are based on a playful and associative way of looking at everyday events. Rooted in personal experience and imagination, objects, body parts, people, and animals are made to act in ways that do not occur in reality. Trivial situations easily get out of hand and lead to poetic, bizarre or humorous images.
 
I like to tilt the image by adding what is for just a second an association to the subject. Through simple manipulations, the subjects are given a charge that makes them into something else; they suggest multiple meanings, or even a way of looking at reality, like a visual koan.“
 
Recurring visual motifs are inanimate objects or materials, flora and fauna that has been anthropomorphized and displayed in a social construct or human context. These objects are often related to the act of making art itself: pencils and brushes, ink and paint, an empty canvas or paper, musical instruments. The result is a scene that might resonate with the viewer in multiple psychological ways. The paintings are not fixed stories: they do not confirm images, they create images together with the viewer.”
 
Micha Patiniott’s solo exhibitions include the Stedelijk Museum Schiedam, Anna Zorina Gallery in New York, Galerie Sturm in Nuremberg and Cinnnamon gallery in Rotterdam. He has received multiple grants and fellowships, including the Louise Bourgeois Fellowship and the Mondriaan Foundation Stipendium for Established Artist. In 2010 the artist monography 'Curiously Human’ was published. He is a Rijksakademie alumni, receiving a two year residency in 2006 & 2007 (Amsterdam).
 
past:
Photo credit:  Vincent Verhoef for Under the Influence (2020)
Open Call 2021

Announcement

12 Jul 2020

With the advent of Covid-19, puntWG's scheduled exhibitions for 2020 has been spread over into next year. With these changes, the team of puntWG has decided to postpone the annual open 2021 call to October 2020. Keep checking our website and FB page for updates. We thank you for your understanding and patience and look forward to future activities at puntWG.

past:
Girls Got Golds
Miku Sato
20 till 28 Jun 2020

Open Daily 1pm – 5pm

This is the final presentation of recent airWG resident Miku Sato.

Girls Got Golds  is a video about the medalists of Amsterdam Olympics in 1928. In response to Tokyo Olympics 2020, the past Olympic games, especially the Netherlands' women's national gymnastics team, was researched by the artist. The video retells the stories and memories of the girls and also features a survivor of WWII. 

This practice tries to revive incidents and people that are concealed by history; the ones that are not properly recorded or heard by society in different circumstances, and finds the artist drawing her own suggestive line between the past and present.

About the Artist

Miku Satoʼs practice is based on her fieldwork of specific places, where she starts up a project delegating her intention to the local people she selects. Through video, installation and peopleʼs participatory action, she explores new perspectives and alternative possibility of relationship between individuals and the world as well as passivity and proactivity in society. Her quest is to compose her own new narratives to retell the past and present together under a different light.

Photos by Ilya Rabinovich

Visitor Guidelines - Keeping You Safe!

In adherence to the protocol for cultural spaces due to COVID19 we kindly request you to consider the following before and during your visit;

  • Refrain from visiting when you are experiencing (minor) health issues such as a head cold, a runny nose, a cough, a sore throat, a raised temperature or fever and/or shortness of breath
  • We will allow a maximum of 5 visitors inside the space at the same time. Individuals, couples, roommates and small families of two or three people.
  • You are required to always keep a minimum distance of 1,5 meters from other visitors and staff

Please announce your visit through sending an email to airwg@atelierwg.nl.

past:
Supported by the Mondriaan Fond and the Stipendium for Emerging Artists/Werkbijdrage Jong Talent 2019-2020.
Window was Opened

Last year Zhixin Liao initiated an art project about the invisible risks involved in being confined. The requirements set by his residence permit forbid him to leave the country, so he traveled the entire length of the  Netherlands mainland border by car, bus, bike and foot.

20 till 28 Jun 2020

Only open from 1pm-5pm each day.

Note from the artist:

Last year I initiated an art project about the invisible risks involved in being confined. The requirements set by my residence permit forbid me to leave the country, so I traveled the entire length of the  Netherlands mainland border by car, bus, bike and foot.

This open studio will feature a series of images and a video about the material I collected along the way. During the self-quarantine period I used the materials I had access to; the fabric works are made from my former roommate's bed sheets, extending from the room where I have been living, out the window, to the edge of the property. The small objects in the containers were found when I was roaming the border, and I tried to restore them as they should be. As a foreigner, I seek to share the care and effort I take in restraining my actions so that they comply with social norms and regulations.

The audience may climb into my residency space through the window if they wish, with a maximum of two people at one time, and no more than a total of ten people per day. I also welcome people to use stories on Instagram to share how they  ‘break’ in.