upcoming:
Something Other Than a Thing

This collaboration is an attempt to address questions surrounding the relationship between representation and meaning that are derived from the object.  

9 Feb till 3 Mar 2019

Among all the discourses that find their relevance in today's time (politics, religion, gender and art), OBJECT becomes the point that draws all the parallels above, becoming the unifying converging point. How we associate or define an object and how it defines us is where all discourses, perhaps, begin. 

The project “something other than a thing” is based on conversations around “OBJECT”, in which each artist associates their individual perceptions about the concepts of the objective, objectification, and the object-hood. 

Finissage:

Talk and Lunch with Leonardiansyah Allenda, Iqra Tanveer and Ehsan Ul Haq
3 March 2019 @ from 12:00 

The project ‘something other than a thing’ serves as the starting point for this public Lunch-Talk. This event marks the finissage of the ongoing show in the form of a performative talk. During this event the artists will cook for the public as a hospitable offering to initiate a collective discussion, that extends from the initation of the project to the recipes cooked and their origin. For this Lunch-Talk the artists are inviting everyone to become a part of this communicative process, which embodies cooking, eating, talking and exchanging thoughts about art and everything around it.



past:
DNK Days presents: ‘Displacement’

Makino’s new piece functions like an experimental setup that consists of multiple components including the physical presence of the visitor in the space.

Curator: DNK Days
8 till 16 Dec 2018

Open Daily from 15:00 to 19:00

The installation might cause vertigo and nausea.
The installation is harmful to people suffering from vertigo, epilepsy and other neurological disorders.

Yutaka Makino has undertaken several projects in the past years that provide acoustically and visually conditioned environments in which processes of perception are made tangible to the perceivers and reflections on the acts of perception are provoked. All the elements employed in a space are intertwined and interact with each other, so that the interdependence of behavior and counter-behavior of the elements sets the visitors’ perceptual transformations in perpetual motion.

The setup of Makino’s new piece, Displacement, functions like an experimental setup that consists of multiple components including the physical presence of the visitor in the space. There is auditory stimulation that masks almost all the acoustic features of the space. Additionally, an optokinetic stimulator is used to produce an unstable visual environment in which spatial references are constantly disrupted. Commonly used as a rehabilitation apparatus to reduce the visual dependencies of subjects for example with balance disorders or vertigo, here optokinetic stimuli are used in such a way that instabilities in orientation are induced and our dependency on visual references is put to a test. For the visitor, any gesture of other visitors becomes another spatial reference that conflicts with the output from the optokinetic device. The individual experiences of the visitors will emerge from this interference of the conflicting references.

past:
Camera and The Mirror

Camera and the Mirror is part of long term artistic research project that investigates the relationship between camera, performer, operator, image capture, and the viewer experience.

30 Nov till 2 Dec 2018

Friday 30 November Live Event : Lecture Performance & Installation
Saturday 1 & Sunday 2 December: Installation Exhibit

Camera and the Mirror is part of long term artistic research project WHAT DO YOU SEE? - mechanisms of the seen, which investigates the relationship between camera, performer, operator, image capture, and viewer experience.

Via the staging of a visual essay and a performative lecture, Maria Lalou will establish the role of the camera as an independent actor, demonstrating its contemporary engagement and function as opposed to seeing it as a tool to mediate the subjective view of the person behind the camera.

The camera is a remote sensing device as it senses subject without any contact. The functioning of the camera is very similar to the functioning of the human eye. History as the camera, or rather as cinema, records it, gives a relentless account of facts, moving objects, and persons, of situations, distances, light, and dark, thus recording reactions, behavior, attitudes of people in a situation. 

The cinema thus also records the visions people have, their actual and virtual at the same time. Using material from her recent research on the role of the camera, Lalou will perform a live essay around the camera apparatus and its transverse point from a device to its intersubjective role in societies today, looking at the functions of cinematic mechanisms. 

The material compound will include both diagrammatic drawings and video footage extracted from the research on three flms by Jean Luc Godard, Mohsen Makhmalbaf, and Harun Farocki, alongside her own recent flm The Dialogue (2018).

The opening event will celebrate the publication The Camera, 2018, alongside a performance element and an installation comprised of short video essays, completed as part of her residency at ISCP in New York and her on going research on ‘mechanism of the seen’, supported by Amsterdams Fonds voor de Kunst in Netherlands, J.F Costopoulos Foundation & The Fulbright Foundation of Greece.

past:
Hannah Dawn Henderson, Between a Gaze and a Gesture (2017), Slide installation
Inverting the Archive

Inverting the Archive brings together filmic works to question the applicability of the ‘post’ status of our assumed ‘post-colonial’ era.

3 till 25 Nov 2018

Inverting the Archive brings together the filmic works of Henderson and Peres dos Santos, generating a space in which to critically meditate on the parallel histories of Dutch and British colonialism and to question the applicability of the ‘post’ status of our assumed ‘post-colonial’ era.

In recent years, the research of Henderson and Peres dos Santos has been underpinned by their by their engagement with archival materials sourced from the National Council of Civil Liberties (UK) and the Beeld en Geluid Archief (NL) respectively. Mediating archival threads of colonial history from the position of being an entity who embodies such political inheritance often prompts the haphazard task of second-guessing the vocabulary with which the past has been framed, the narrative laced with bias and scattered with gaps. How, however, can the lens of an artwork invert silence and materialise presence out of absence?

Events: 

On Commonwealth Migration and Archiving
Talk by Hannah Dawn Henderson
10 November 2018 @ 18:30 - 20:00

This talk will recollect a period of research undertaken by Henderson in the archives of the National Council of Civil Liberties. Overlaying this excavation into the history of Commonwealth migration to the UK with an autobiographical perspective, Henderson will present observations and materials that bring into focus the claustrophobic proximity between the political and the personal.
 
_______________________________________

The Toxicity of Art Institutions in the Netherlands
Talk & Screening: An Open Talk with Miguel Peres dos Santos 
17 November 2018 @ 18:30 - 20:00

In the Dutch artistic landscape there remains little reflection exerted towards the capacities through which art institutions fail to integrate their professed ethos into the reality of their institutional practice. Yet still the archetype of the white male phallic figure remains the most centralised and powerful entity in this landscape, in that it is this figure who still largely retains the authority to sanction, negotiate or censor Other voices.

In this talk, Peres dos Santos will dissect recent case studies that expose the underlying sociological fear of power-loss, impotence and cognitive dissonance, and will further exemplify fallacies in institutional policies concerned with addressing issues of de-colonialism, race, and white privilege.

_______________________________________

Envisioning Opaque Futurities
Screening and Intervention
Commences 22 November 2018 @ 18:30 — 21:30 (continues throughout duration of Amsterdam Art Weekend)

A discussion between Egbert Alejandro Martina, Olave Nduwanje, and Simone Zeefuik, annotates an ongoing screening of Manthia Diawara’s film One World in Relation (2010). Édouard Glissant, the subject of Diawara’s film, wrote that: ‘if we examine the process of understanding people and ideas from the perspective of Western thought, we discover that its basis is this requirement for transparency [...] Perhaps we need to bring an end to the very notion of scale. Displace all reduction.’ Glissant’s propositions are imagined, critiqued and exercised throughout the evening.

 

past:
Emotion Recognition from an algorithmic point of view

Emotion Recognition from an algorithmic point of view is a collaboration between visual artist Coralie Vogelaar choreographer Marjolein Vogels and actress Marina Miller Dessau.

7 till 28 Oct 2018

Conversation on Emotion Recognition from an algorithmic point of view
With: Anja Groten, Coralie Vogelaar and Margarita Osipia
19:00-21:00
25 October 2018

Vogelaar will discuss themes of this show with designer and researcher Anja Groten (the artist behind interactive installation Face the InterFace), and curator and writer Margarita Osipian.

Finnissage
28 October 2018
17:00-20:00

Join the artists for a drink, an exhibition tour and Q&A.

Emotion Recognition from an algorithmic point of view is a collaboration between visual artist Coralie Vogelaar choreographer Marjolein Vogels and actress Marina Miller Dessau.

Together they explored and trained deconstructed facial expressions according to the Facial Action Coding System, developed by prof. Paul Ekman in 1978. This system forms the basis of contemporary emotion recognition software and shows us a computer way of looking at our emotions.

By combining these collaborative performative experiments with algorithmic compositions and image blending as a method, these studies have resulted in – amongst other – two video installations and a live performance exploring the complexities and unknown expressions of the face.

Sound design: De Auditieve Dienst, Arnoud Traa

This exhibition is generously supported by the Stimuleringsfonds voor Creative Industrie, 
by European Media Artist in Residence Exchange (EMARE) at Werkleitz and the ministry of culture Saxony-Anhalt.

The emotion software is FaceReader, with the help of the Usability Lab, Communication and Multimedia Design, Amsterdam University of Applied Science

past:
“Persen”, digital image with text by Renate Stalman, 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, an exhibition of prints and performances, is a collaboration between artist Sara Campos and writer Renate Stalman, who are showing work together for the first time.

The prints are images and texts. The performances relate to the prints.

The idea for the exhibition originated from being a mother. Raising a child in the western world is a pretty solitary activity; in a way most individualism tends to promote isolation. The modern search for perfection and obsessions with self-image conflict sharply with the messy business of motherhood. In a way, society has created an urban environment where being social no longer refers to meeting in public spaces but to digital networks. In this setting leaving your house is like performing a courageous act.

For this exhibition the artists will be seeking to ask how we can get a grip on experiences of motherhood through artworks and vice versa; and, what can we do with images and words?

The title of the project is used here as a working tool, in order to associate different ideas and form possibilities. 

The exhibition will bring together printed images, texts and the translations of these into performed actions. Campos and  Stalman will explore the spaces between image and text, and how these can be manifested in the performers, in gesture, speech, motion, and repetition.

The performances will be a combination of actions and spoken stories by Renate Stalman.

The prints, operating between being promotional tools and instructions, draw inspiration from advertisements, particularly their boldness of statements, scale and general language. 

During the course of three weeks, the exhibition will change its form. Different elements such as images, sound recordings and performance instructions will be generated. The artists will use the exhibition format as a way to develop new works, so that it can travel into a different space or venue.

This project is kindly supported by the Amsterdams Fonds voor de Kunst and Stichting Stokroos.

Performances:

“Transitions”-------Instruction for 5 performers, 8th september at 17:30
“Transitions”---------Instruction for 5 performers, (Fernissage) 23 september at 17.00

Performance directed by Sara Campos, with short stories by Renate Stalman
Performers: to be announced



past:
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, a.pe.ri.od.ic 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.

www.sarahhughes.org

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

past:
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

With:
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.

www.martijntellinga.nl

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