DNK DAYS: one site, counting

one site, counting is an experimental setting fusing aspects of Martijn Tellinga’s earlier investigations into self evolving durational pieces and resonance tuning.

Curator: DNK-Amsterdam
15 till 21 Jul 2018

Open daily until 21 July – 13:00 – 18:00

Seamus Cater – Concertina
Anne La Berge – Fluit
Koen Nutters – Bas
Germaine Sijstermans - Clarinet
Leo Svirsky - Accordion
Samuel Vriezen – Melodica

one site, counting is an experimental setting fusing aspects of Martijn Tellinga’s earlier investigations into self evolving durational pieces and resonance tuning. The piece is the result of his pondering over questions of the musicality of space and spatial animation of musical matter, as well as his ongoing interest in how experience of place and surrounding comes about through resonance. one site, counting attempts to explore resonance of site as an oscillation caused between acoustic properties, narrative structure and musical interpretation.

Following a partly poetic, partly scientific reading of the acoustic signature of a given space, resonances are made palpable as an extension of its architecture. Carefully mounted speaker drivers projecting electronic pure waves at resonant frequencies, cause the room to naturally amplify the tones and hum at its intrinsic pitches in response. In this slowly shifting acoustical space, highly position-specific occurrences are situated.

The installation seeks to make the sensorial traversable as a performative plane as well, including the resonant frequencies into a score as reference points for acoustic musicians that visit the gallery on a daily basis, unscheduled and unannounced. Guided by the specific harmonic bearing of their instrument, they will perform open geometries of quiet sustained pitches hovering around the resonant tones, drawing spatial musical gestures that instill body and location into the inching sounding space.

Following a similar self-organising routine, the unfolding of the installation is captured on video. Fragments selected from an expanding archive of documentation are played back into the space, expanding the visual and acoustic narrative of the piece as it takes place.

About the Artist

Martijn Tellinga (1974, Netherlands) is an artist, composer and occasional performer. His practice enfolds elements of concert, installation and performance art. Drawn from a reduced formalist-seeming vocabulary, his work centers on the exploration of sound & listening to express ideas of space, place and process: their reciprocal production, contextual intertwining, and potential as a perceptual, performative and social medium. It includes a wide variety of conceptual actions and chance operations, probing the emergent field between intended and accidental occurrences.

Recently he has been producing performance installations explorative of extreme duration, sound installation work investigating the practice of resonance tuning, and documentary pieces utilising principles of acoustic measurement and intervention style negotiations of site.

Engaged with the formative principles of music, his instrumental scores commonly propose intuitive bending of (music) systems through open-ended and rule-based instructions that provide performers with a template for listening, acting and interacting.

He performs and exhibits his work worldwide, lectures and works in residence. Over the past 3 years, he has articulated his artistic research through the development of courses focussing on the spatial, processual and environmental modalities of sound informed practices. This led to a visiting professorship at the Central Academy of Fine Arts in Beijing and ArtEZ Academy in Arnhem, and intensive courses at the Modern Academy in Hong Kong and Museo Ex Teresa Arte Actual in Mexico City.

With DNK ensemble he interprets and re-enacts seminal pieces from the likes of Cornelius Cardew, David Dunn, Dick Raaijmakers, Anthony McCall and David Tudor.

He is currently a Fiosraigh PhD candidate at the Graduate School of Creative Arts and Media in Dublin.

DNK Days 2018 is supported by AFK, FPK and Mondriaan Fonds

Sarah Hughes: Anti-Matter, image by Mary Ann
DNK DAYS: Anti-Mass

Anti-Mass extends Hughes' ongoing preoccupation with the boundaries between sculptural installation, musical composition and performance.

Curator: DNK-Amsterdam
29 Jul till 4 Aug 2018

Anti-Mass is a new body of work from Hughes, extending her ongoing preoccupation with the boundaries between sculptural installation, musical composition and performance. Presenting a series of works on gessoed board, Hughes presents a series of image clusters that function as compositional devices both within themselves, their collective groupings and the exhibition space. Hughes has been investigating the delicate interrelated languages between different forms of composition for a number of years, focusing on key compositional strategies such as placement, interrelation, and arrangement, often transposing the linguistic tropes of musical notation and instruction into the language of collage and sculpture.

In Anti-Mass the images are stripped back, almost to the point where they function like transparencies, embracing crossovers between figure / ground, sound / silence.

The work is pseudo-linguistic, diagrammatic, painterly, and makes reference to Hughes’ longstanding use of collage. The images contain fragments of line and noise, coalesced ‘phrases’, or representations, and use methods of erasure and re-application to hollow out brushstrokes in order to capture how forms of sound occupy duration, space, and surface.

Sarah Hughes is a British artist, composer and performer with a long standing interest in alternative modes of living, creative agency, and acts of resistance. Her work explores the boundaries of interdisciplinary practice, often moving between sculpture, installation, composition and music. Hughes is a co-founder of Compost and Height, a curatorial platform that focuses on new music and composition. She is also co-editor of the new music journal Wolf Notes, and co-founder of BORE, a publication dedicated to experimental text-based and graphic scores.

Hughes’s work has been exhibited and performed internationally, including at South London Gallery, Cass Sculpture Foundation, Supplement, London; V22, London; Sydney Non Objective, Australia, and Oriel Davies, Wales. Her compositions have been performed by Apartment House, Dog Star Orchestra, ensemble, The Set Ensemble, as well as festivals including the London Contemporary Music Festival and Music We'd Like To Hear, London. Realisations of her compositions have been published by Another Timbre Records, Suppedaneum, Consumer Waste Records and Reductive Music.

As a performer Hughes has played at various venues including the Musée des Beaux Arts de Nantes; The Wulf, Los Angeles; Cafe Oto, London; Parasol Unit, London; Holywell Music Hall, Oxford, and with a number of musicians including Angharad Davies, Tim Parkinson, Jürg Frey, Michael Pisaro, Antoine Beuger, Patrick Farmer, Stephen Cornford, Ryoko Akama, David Stent, and Dominic Lash.

Hughes was the Sound and Music Embedded composer-in-residence at South London Gallery 2015-16.

DNK Days 2018 is supported by AFK, FPK and Mondriaan Fonds

Extended Person, silkscreen print, pencil, watercolour and band aids on paper, Sara Campos, 2018.
Leaving the House is a Performance

Leaving the House is a Performance is a duo exhibition between visual artist Sara Campos and writer Renate Stalman, who are showing work together for the first time.

8 till 23 Sep 2018

Leaving the House is a Performance is a duo exhibition between visual artist Sara Campos and writer Renate Stalman, who are showing work together for the first time.

Both artists felt the necessity to reflect on their own maternal experiences and how these have influenced the way they work and mother. Not so much as a need to depict past events but more as a way of channelling, conducting through materials, stories and creating a space so that a dialogue can arise. How does motherhood influence the artist and vice versa?

Campos and Stalman will enter in a dialogue by juxtaposing their works. Both artists have a different approach in the way they deal with narrative. Although finding a lot of similarities in their sense of humour.

Renate Stalman will present short stories through sound pieces and printed text. Based on observations of daily live and with a crude and sometimes awkward sense of humour, the individual is faced with social and personal failures, with a tiny space where beauty shines through.

For Stalman, motherhood has allowed the writer to be confronted with the possibility to enjoy the moment more, to dive into the fragments of life, instead of always striving for a whole, or completed story: I will never be enough, or whole, and that is fine.

The fragments used in the exhibition can be looked at as experiments with the experience of the fragments themselves. One could say that these fragments, heard and read by others as well as herself, are a way of accepting the imperfections and limitations in life; accepting the loss of control of the story and therefore allowing it to become something else, something different, something not planned in advance; something without her own judgment. 

In her writing process, Stalman aims to have the perfect story-line, with a perfect ending: always having a fixed idea of what the story should be. But she is always having trouble with this: the planning, the structure, the disappointment in the end. This exhibition will allow Stalman to let that fixation go: to lose her own initial (an often serious) intention and meaning of the often autobiographical story-lines, and to find enjoyment in the smaller parts of the whole: a paragraph, a sentence, a word.

Sara Campos is interested in performative ways of approaching materials, where the body is often involved in processes of formation. She will present different works on paper and sculptural works resulting from improvisation, repetition of images and gestures, and transmission of energy from material to material. Through silkcreening, casting and manipulation of photographs, the works are explorations on how body, material and movement can be inter-related.

Campos experienced a kind of dematerialization of the body and mind after giving birth, where everything seemed to be leaking: sweat, milk, blood and soft bones. This liquid principle became observable through a mass of noisy parakeets that surrounded her house by morning and by nightfall, while she was lying in bed for months. The image birds brought symbolic meanings of fertility and womanhood to mind in a form of noise and movement. By repeating the images on silkscreen, a new pattern emerges and variations can be seen. Nature observations became stimulants for the work and an alternative to understanding the post partum body and the healing of trauma.

About the Artists

Sara Campos (Lisboa, 1981) is a visual artist. Her work is mostly performance based, asking questions ranging from the personal to the philosophic; about our relation to materials, each other and western culture. She combines performances with other forms, such as sculpture, music, spatial installations, video and photography. She won the Rietveld Prize in 2010 with her video performance “Thank you for coming”, where she conveyed the impossibility of communicating the meaning of art. She often collaborates with other artists, craftsmen, filmmakers and musicians. In 2015 she organized “A Supernova Plus an After-Thought”, a group event in the VU botanical garden and Amstelpark, setting up a meeting place to fleet away from the small talk at art openings.

Renate Stalman (Groningen, 1980) is a writer of short stories. She has a Masters in English Literature, specializing in women’s fiction from the 18th and 19th century. Most of her stories have been published in Tijdschrift Ei, a Dutch online magazine for literature and visual art, where she also functioned as an Acquiring Editor for two years.

In daily life, she is a buyer for the literature and poetry section of the biggest English language bookstore in Amsterdam and the mother of a son. Her (sometimes autobiographical) stories mostly deal with themes of loneliness, shame and the urge and failure to connect with people and the outer world.

From the exhibition The weathers they live in by Nicola Arthen (photo:  Franziska Schulz)
OPEN CALL for 2019 Program

atelierWG Foundation invites visual artists to organize a two-person exhibition accompanied by a series of events to be presented at puntWG, an exhibition space located in the centre of Amsterdam.

1 Jun till 15 Jul 2018

atelierWG Foundation invites visual artists to organize a two-person exhibition accompanied by a series of events to be presented at puntWG, an exhibition space located in the centre of Amsterdam.

Based on a successful program of duo exhibitions in 2018, we are motivated to continue this format for 2019. We invite proposals for two-person exhibitions in any form that encourage dialogue  between the artists and their work. We look for proposals that combine a rich public program that include events such as performances, screenings, lectures, artist talks, dinners etc. Each exhibition will last four weeks (including installation and de-installation times).

Artists will be selected on the basis of the quality of their proposal and their considered approach to using the space.

atelierWG foundation provides selected artists with an open platform to realize their projects at puntWG. This includes the space and basic equipment, professional photo documentation and the production of printed matter to accompany each exhibition. As a small organization, we unfortunately cannot provide financial support for production. puntWG’s team will issue acceptance letters for successful applicants to support their applications for external funding.

You can find the puntWG floorplan HERE.

Application guidelines: 
Please include the following documents in your on-line submission:

  • A PDF with the following information: full name, date and place of birth, postal address, phone number, e-mail and website

  • CV, max two A4 pages of participating artists

  • A proposal (max. 250 words) that includes a description of your exhibition and the public programme.

  • A short motivation for showing at puntWG.

  • A maximum of five images in jpg format, 2MB all together

  • Please indicate your preferable months for the exhibition and the times when you are not available. The more accurate you are, the better we can organise the calendar.

All applications with attachments to be sent via email to:

The submission 
deadline is July 15th 2018.

All recipients will be notified before 
October 1st 2018.

For general information and questions regarding puntWG, contact team puntWG: 

Organization and programming of puntWG: Noa Giniger, Frank Mandersloot, Tao G. Vrhovec Sambolec, Michelle Son and Maaike Anne Stevens. 

Following the relocation of the hospital Wilhelmina Gasthuis in 1984, now the AMC – Academic Medical Center – artists, small business owners and residents have shaped and preserved the unique character and special site of WG in Amsterdam. Today a large number of artists are living and working on the grounds, including those who are part of atelierWG (in Pavilions 18 and 19).

AtelierWG Foundation, established in 1989, houses
 120 artists' studios as well as initiating projects in the fields of art and culture, including international exchanges and Open Studio routes.

In 2006 puntWG was created as an interdisciplinary exhibition space and platform for the arts, with a lively program of exhibitions, performances, concerts, lectures and discussions with the aim of initiating an open and broad discourse between artists and the public. PuntWG was initiated by the artists of atelierWG, who finance the space and organize its programming.

 an artist-in-residence, opened in September 2015, hosting a guest studio for national and international artists with an emphasis on research and collaboration.

Faux Syrup Angel

Faux Syrup Angel is a collaborative exhibition by Lily and Mila Lanfermeijer.

16 Jun till 9 Jul 2018

Faux Syrup Angel is a collaborative exhibition by Lily and Mila Lanfermeijer.

During their exhibition at puntWG an installation consisting of several textile works, pieces of furniture and sculptural works will draw inspiration from concepts like ergonomics and modern folklore in which different processes of transmission, in material, verbal or customary form will be the point of departure. The displayed pieces will change in form and function over the duration of the exhibition.

This exhibition is generously supported by the AFK.

Attend this event on Facebook.

Pei-Ying Lin
9 till 10 Jun 2018

This exhibition is an introduction to Pei-Ying Lin's concept of 'virophilia': a love of viruses. The exhibition will utilise graphics and text in order to preview Lin's upcoming cookbook project. This cookbook, featuring recipes, futuristic food aesthetics, new (virus) farming/economy systems, gastronomy rituals and a toolkit for inventing, will be aiming to make readers look positively on viruses and their roles in our world.

After this, you will become a 'virophiliac'.

Currently an artist in resident with 3Package Deal with airWG, Waag Society, Mediamatic, and Vrije Universiteit, Pei-Ying Lin has been expanding her interests in bacteria, viruses and biology during her residency at airWG.

You can find more information about the airWG program on the  website. The artist Pei-Ying Lin is our resident artist from November 2017 till August 2018.

On the artist

Pei-Ying Lin is a bio-art designer and artist from Taiwan, who is spending nine months at AirWG, as part of the AFK Amsterdam Fund for the Arts programme for outstanding international talent. Her work focuses on combining science and human society through artistic methods, looking for common ground in different cultural perspectives shaping individual perceptions of the world. During her Amsterdam residency she is working on a project in collaboration with Mediamatic, De Waag & University of Amsterdam.

Pei-Ying received a Bachelor of Science from National Tsing Hua University, Taiwan, and a Master of Arts at Royal College of Art, London. She is the founder of Taiwanese BioArt Community.

Stories from a Black Hole
Pernille Lonstrup and Phil Bosch
12 May till 3 Jun 2018

Open 3th June from  14 till 18 hours. Performance Sensorial Explorations’   from 17 till  19 hours.

The exhibition of Phil Bosch and Pernille Lonstrup is based around the juxtaposition of their different works in which they explore the state/status of civilization. Leading question for the artists is whether the works can be placed before civilization or after its collapse?

In addition to the exhibition, the two artists will continue to explore this notion of knowledge and civilization, as an imaginary construction. By setting up three public events, where artists, philosophers and scientists are invited to investigate how the western mind has been shaped into our current notion of what civilization is and how it might be de-conditioned.



Event three:  Performance - Sensorial Explorations
3 June 17-19:00
Phil Bosch
Jan Van Den Dobbelsteen

The exhibition and public program is supported by:


Stichting Stokroos

Australian Government Regional Arts Fund, Regional Arts Victoria.

On the artists

Phil Bosch works with sensorial explorations through video, she explores a space that exists between image and language, reflecting upon established meanings and what is left when these meanings are abandoned. Bosch works as an archaeologist in her video, digging out the invisible evidence, that history will not be able categorize.

Pernille Lonstrup’s work makes blind spots/gaps visible in communication, that a system of language would neglect. She focuses in her work on a societal system’s ability to listen and understand, what is not a common norm within the system itself. Lonstrup works as a linguist, where her work leads to an absurd drama in which codes and sign of a common regime constantly transform.          

Language and image are said to be at the basis of human civilization. Bosch and Lonstrup want to explore how this idea has shaped the status of our current civilization, if this status is an imaginary construction. They wish do so through their different approaches and working methodology; Bosch’s working is rooted in image and Lonstrup’s working is rooted in language.

The two artists are planning the exhibition around their two most recent video works ‘Telluric 0’ en ‘Constructions’. 


First event: ‘Culture < >Nature

PLACE:            Punt WG, WG Plein 80, 1054 DM Amsterdam

DATE:             19 May

TIME:             17:00 – 19:00

GUEST SPEAKERS:   Sissel Marie Tonn (artist), Eva Meijer (philosopher/artist) and

Niek Speetjens (earth scientist)

MODERATOR:       Bernice Bovenkerk (philosopher)

In the first event 'Culture < >Nature we are considering the question; what is culture and what is natural? This first event is a presentation and panel talk to create a dialogue between art, animal ethics, philosophy and geology to explore alternative visions to the scientific notion of the ‘Anthropocene’: the idea where the human being is the dominant and overall decisive factor on all processes on the earth and its atmosphere. Guest speakers are Sissel Marie Tonn (artist), Eva Meijer (philosopher and artist) and Niek Speetjens (earth scientist), moderator Bernice Bovenkerk (philosopher).

*Sissel Marie Tonn (Denmark)
Tonn’s practice focuses and reflects up on sensory and perceptual structures of attention within environments undergoing change.

*Bernice Bovenkerk (The Netherlands)
Her research interests concern issues in animal and environmental ethics and political philosophy. Current topics are animal agency, animal domestication, the moral status of animals and other natural entities, climate ethics, and deliberative democracy.

Eva Meijer (The Netherlands)
With use of different media and new strategies, artist, philosopher, writer and singer-songwriter Eva Meijer opens up fresh perceptions and sensibilities concerning the political status of animals, radically including them in contemporary discourses.

* Niek Speetjens (The Netherlands) is an Earth Scientist specialized in hydrology. Currently he focuses on arctic permafrost research, which falls within the context of understanding the effects of climate change on local and global scale.

Het Tweede Event: Black Holes & The Notion of the Self’

PLAATS: Punt WG, WG Plein 80, 1054 DM Amsterdam

DATUM: 26 MEI 2018

TIJD: 17:00 – 19:00


Koen Aartsen (psycholoog)Simon Fisher(kunstenaar), Emilio Moreno (kunstenaar), Renée van Trier (kunstenaar)
Pernille Lonstrup

Aan de hand van het kunstenaarsgenre ‘zelfportret’ onderzoeken wij ‘a black hole’ met behulp van diverse kennislichamen zoals kunst, wetenschap, psychiatrie en film. Gedachten, impressies en expressies over donkere materie, verdwijningen en verschijningen van betekenissen in psychoses, tijdreizen en zwarte gaten worden in verband gebracht met het concept van het ‘zelf’. Zij worden vanuit verschillende disciplines en in verschillende hoedanigheden in dit event naast elkaar geplaatst.


UNHEARD (2016)Installation by Tao G. Vrhovec SambolecMicrophone, clock, custom made software.variable dimensionsPhoto credits: Dejan Habicht
Tao G. Vrhovec Sambolec
28 till 29 Apr 2018

Will be open:
Saturday 28-4-2018, 17:00 – 20:00
Sunday 29-4-2018, 12:00 – 17:00

Installation UNHEARD consists of a microphone, a clock and custom made software that resets the clock to zero every time it detects a sudden peak in loudness of the sonic ambiance of the place where it is installed. Listening to the ambient sound and displaying the passing of clocked time in-between occurring auditory events, the installation articulates the relation between the measured time and the time as it is being experienced.

This setting invites the visitors to focus on listening along and to explore their own margins of hearing and attention, while it is suggesting a shadow temporality unfolding in the intertwining zone between the representation and the experience of the passing of time.

On the artist

Tao G. Vrhovec Sambolec works with invisible ephemeral phenomena and the notion of space. His artistic practice is a poetic exploration of relationships between transitory and temporal flows like sound and weather phenomena and architectural and social spaces they inhabit.

In his installations, he builds an environment sensitive to its immediate ephemeral surroundings, and enhances its temporal dimension by creating situations where the outside and inside, the unpredictable and constructed, the permanent and temporal converse. His works encompass interdisciplinary and mixed media installations, sound interventions and electro acoustic music.

Unheard is a part of artistic research project Rhythms of Presence, carried out under the
Norwegian Artistic Research Programme at Bergen Academy of Art and Design -  Norway.

Co-produced by:

Zavod SPLOH, Ljubljana

Zavod Projekt Atol, Ljubljana

Supported by:

Ministry of Culture of the Republic of Slovenia

City of Ljubljana – Dept. for Culture - Slovenia