'To contaminate is to care' is a collaboration experiment which opposes individualistic practice and exhibition making and is a material trialogue of affect and mutation between the artists, the materials and the space.
During the exhibition PuntWG functions as a social and experimental space in which the work of the artists will continuously develop. The space is open for visitors from March 4-25, Wed-Sun 12-5pm.
Saturday March 3 at 5 pm
'Perspectives on contamination'
double lecture with cultural philosopher Gijs van Oenen and forensic biologist Ate Kloosterman, moderator: Lukas Verburgt
Saturday March 17 at 8 pm
Finnisage with artist talk
moderator: Sher Doruff
Sunday March 25 at 4 pm
On the artists
Jesse Ahlers (NL, 1985) studied fine arts at Hogeschool voor de Kunsten Utrecht and Artistic Research at the University of Amsterdam / Gerrit Rietveld Academy. She draws, writes, takes and finds photographs, makes installations and works with colour pigments. She exhibited her work in Stedelijk Museum Bureau Amsterdam, CBK Zuidoost and Kunsthal Charlottenborg in Copenhagen. In March, she was artist-in-residence at Arquetopia in Puebla, Mexico, with a project
Having a background as a classically trained musician Cecilia Bengtsson (1984) studied Fine Arts at the Gerrit Rietveld Academy, Amsterdam and has completed the Artistic Research Master in The Hague. Bengtsson’s work revolves around inter-bodily relations. She has exhibited in various contexts including Lumen Travo and Lab 111, Teto Projects and STROOM gallery. Cecilia Bengtsson is also a text writer and teaches at the Royal Academy of Art in The Hague.
Judith Jansen (1985) studied philosophy at the University of Amsterdam, where she graduated from the Research Master in 2012. She currently is a student at DOGtime, Gerrit Rietveld Academy. Her work investigates processes of time and change, the interplay of reality and fiction and the tension between what is made visible and what is kept out of view. She combines digital media with drawing, text and performance into work that is often itself also process-oriented.
Karen Barad, , Cecilia Bengtsson, Judith Jansen, Jesse Ahlers
Keep posted through the Facebook event of Emerging Intra-actions (Karen Barad reading group)
Reading group dates:
14.01.2017 15.00 – 17.00
04.02.2017 15.00 – 17.00
25.02.2017 15.00 – 17.00
Location: to be announced
Please confirm participation before Wednesday the 10th of January to email@example.com
Punt WG and To Contaminate is to Care
Supported by AFK
We regret to inform you all that due to illness of the artist the exhibition DNK-Days 2018: Displacement by Yutaka Makino, has unfortunately been cancelled.
On the January the 6th there will be soup and a preview, with an informal conversation with the artists belit sağ & Suat Öğüt.
The exhibition will be there from 13-29 January 2018, open on Thursday, Friday, Saturday and Sunday from 2-6pm.
The prevalent comprehension of (architectural) space tends to focus on (singular) event(s) staged in a certain space. The city, the square, the street, the house, the room of sorts are perceived as spaces where personal, public, and societal relations, such as political struggle, conflict, disagreement, and leisure take place. This kind of comprehension externalizes the relational and the spatial from each other, thus detaches the architectural space from the relations that produce it, or the relations that it produces. In fact, each such relation produce their (architectural) spatiality, and the architectural space defines the characteristics of these relations. For instance, both the sovereign and the resistance are established and experienced, and transform in a certain space, in accordance with the characteristics of the space.
The artists depart from the idea that architectural space is the founding base of the personal, public, and societal relations, and thus they focus on the assemblage of the architectural design strategies, its imaginations and images that establish these relations, in order to understand the underlying legal, political and social infrastructure that produce the spaces they analyze.
belit sağ's work is kindly supported by Mondriaan Fonds
AFK provided production for Suat Öğüt.
On the Artists
Suat Ögüt was born in Diyarbakir, Turkey in 1986, lives and works in Amsterdam. Ögüt is a graduate at the Fine Art Education Faculty of Marmara University, Painting and Sculpture Department in 2007. Ögüt has been a guest artist at HISK, Ghent, for the post-graduation program in 2012-2013. In 2013 he was one of the winners of the Akbank Contemporary Artist Prize. Since 2014 Ögüt is a co-founder of Corridor Project Space in Amsterdam.
belit sağ is a visual artist living in Amsterdam. She studied mathematics in Ankara, audiovisual arts in Amsterdam. Her video background is rooted in video-activist groups in Turkey, where she co-initiated bak.ma, online audiovisual archive of social movements. She completed residencies at Rijksakademie, Amsterdam, 2014/2015; International Studio and Curatorial Program (ISCP), New York, 2016. Her work was presented in EYE Filmmuseum, Amsterdam; MOCA, Taipei; Tabakalera Film Seminar, San Sebastian; Toronto/Rotterdam/New York International Film Festivals; documenta14, Kassel.
Merve Bedir is an architect and researcher. She studied architecture at Middle East Technical University and has a PhD from TU Delft / Faculty of Architecture. Merve is the co-founder of Land and Civilization Compositions; member of "Matbakh I Mutfak" (Kitchen), a transnational women collective in Gaziantep; and a founding member of "Mekanda Adalet Derneği" (Center for Spatial Justice) in Istanbul. Merve is part of Future+ / Aformal Academy, an independent school for urbanism and public art in Shenzhen.
The exhibition will tee off with an afternoon of performances, readings and remote experiences on prosthetic sculpting and sensual fragility, by Jude Crilly, Dan Lichtman, Joseph Noonan-Ganley and Jay Tan. Followed by soup and drinks.
The film installation ‘Amended Plastics’ shows a series of sculptures utilising the remnants of prosthetic manufacture. All items were assembled from fabrication leftovers of wearable braces for spinal adjustment. These off-cuts had been intentionally sculpted and professionally processed, but in contrast to their body-tailored counterparts they have no manual function. Much like museological artefacts they exist without use value or ritual purpose. The film adverts to the absence of a tangible function in art production, as well as the emotional disservice of the standardised distance between art work and attendee.
Open on Sunday: 26 November; 3 , 10 and 17 December, 14:00 -18:00 hrs and by appointment.
Johann Arens was born in Aachen, Germany and received his MFA at Goldsmith, London. Since then he has worked on public commissions assigned by Arnolfini Bristol, Jerwood Foundation London and Kettle’s Yard Cambridge. He was awarded the Fellowship in Contemporary Art by the British School at Rome and has been resident at Fondazione Antonio Ratti, Space London and the Rijksakademie in Amsterdam. Last year he received the Prize for Young Art by the Neuer Aachener Kunstverein. Recent exhibitions include ‘These Rotten Words’ Chapter Arts, Cardiff (2017); ‘Anxiety Impress’ NAK, Aachen (2016); ‘Somatic Matter’, Le Foyer, Zürich; ’New Acquisitions’, and Fondazione Fotografia Modena (2015). Upcoming solo presentations will be at P////AKT, Amsterdam and IMMA screening room, Irish Museum of Modern Art, Dublin.
Jude Crilly is a Canadian/British visual artist. She is a resident at the Rijksakademie van Beeldende Kunsten in Amsterdam (2018 & 2019). Through performance, installation, sound and text, her work explores the mysticism rooted in the technologies which drive a socially hyperactive neoliberalist-pharma-porno society. She received her MA Sculpture, Royal College of Art, London and BA Graphic Design, Gerrit Rietveld Academie, Amsterdam. Exhibitions and performances include Transformation Marathon, Serpentine Galleries, London (2015), BALTIC Centre for Contemporary Art, Newcastle (2015), Camden Art Centre, London (2015), Contemporary Art Centre, Vilnius (2016) and Galerie Nadine Feront, Brussels (2017) among others. Upcoming projects include Uncertainty Seminars, Stroom Den Haag, and Whitstable Biennale 2018.
Daniel Lichtman is a New York-based artist whose work considers the lone creator of self-initiated public content, as well as the fantasies, dramatics and constructions of freedom involved in producing and believing in an imagined audience. Lichtman is a 2017 Media Arts Fellow at BRIC Arts and Media House, Brooklyn, where he will have a solo performance this fall. Recent exhibitions, screenings and performances include Hercules Project Space (2017), The Drawing Center (2015) and The Queens Museum (2015), New York; University of Oxford, Oxford (2016) and Dynamo Arts Association, Vancouver (solo, 2016). Residencies include The Drawing Center (2015), and the National University of Colombia, Bogota (2013). Lichtman received his MFA from Goldsmiths.
Joseph Noonan-Ganley is an Irish artist based in London. He has recently contributed performances to 'Stories From The Sculpture City' at the Henry Moore Institute, Leeds, 'Moving Performances', Faculty of Music, Oxford and Eros Press’ 'Self/Love' publication launch at Bosse & Baum, London. His solo exhibition 'Femme Fabrications' (2016) took place at Quick Millions, London, and his installations have been included in 'Something II Be Scared Of' (2017) at Syndicate, Cologne, 'Plural Melts' (2016) at Yvonne Lambert, Berlin and 'Letters' (2015), Kings College London.
Jay Tan grew up above a supermarket at the edges of the posh bits of Surrey, playing netball, picking scabs and eating TV. She graduated with an MFA from the Piet Zwart Institute, Rotterdam and completed her residency at the Rijksakademie voor beeldende kunsten in Amsterdam in 2015. Recently, her work has been shown at Kunstverien, Amsterdam, the Museum Boijmans Van Beuningen, FUTURA, Prague, the Vleeshal, Middleburg, the CAC in Vilnius, Galeria Bunkier Sztuki, Kraków and HollyBush Gardens, London. She has had solo presentations at Galerie van Gelder, Amsterdam (2015), Rotterdam, the Camden Arts Centre, London (2013), Witte de With Center for Contemporary Art (2012), Rongwrong, Amsterdam (2011).
Silvia Copray e.a.
On Sunday 19 and 26 November, artiststudios will be visited in the WG-building under professional guidance of art historians Anne Berk and Saskia Wijne. During these visits the tourguides and the artists will talk with the visitors about the work and the method of the artist. It will be a special afternoon full of interesting artistic insights.
Departure from puntWG – across WG-plein nr.80
13.00 - 14.30 first tour
14.30 - 15.00 coffee/teabreak
15.00 - 16.30 second tour
16.30 – 18.00 drinks in puntWG
Costs are € 15 per person (including coffee/thee and another drink).Places are limited, so do respond quickly.
You can sign up by e-mail (firstname.lastname@example.org).
Then you will receive a confirmation and pay at puntWG before the tour starts.
Sunday 19 November
Paviljoen 18 M.v.B. Bastiaansestr.
Joop Haring 9a Bg Noord www.joopharing.com
Maria Schilder 43 Bg Z. www.mariaschilder.nl
Silvia Copray 125 2e verd. N. www.eksteeninart.com
Hermelinde Hergenhahn 137 2e verd. Z. www.hermelindehergenhahn.net
Joost van Santen 153 3e verd. N. www.joostvansanten.nl
Paviljoen 19 WG Plein
Norbèr van Herwaarden 1F Bg www.ceramicfurniturechop.com
Bianca Koevoets 23 1e verd. www.dezadelwerkplaats.nl
Marian Bijlenga 20 1e verd. www.marianbijlenga.com
Suzanne Esser 63 B 3e verd. www.suzanne-esser.nl
Sunday 26 November
Paviljoen 18 M.v.B. Bastiaansestr.
Loek Schönbeck 1 Bg Noord www.lucinus.nl
Marijke Janssen 55 Bg Z. www.marijkejanssen.com
Jacqueline Bohlmeijer 55 Bg Z. www.j-bohlmeijer.nl
Paviljoen 19 WG Plein
Clare van Stolk 1A Bg www.clarevanstolk.nl
MMC Schobbe 3 Bg www.mmc-schobbe.nl
Irene van Vliet 10 Bg www.wovenwonders.nl
Anna Volkova 877 (State of Mind) http://annavolkova.nl/about.html
Barbara Nanning 65 3e verd. www.barbarananning.nl
Tamar Rubinstein 51 3e verd. www.tamarrubinstein.nl
Anne Berk has written for Kunstbeeld, Het Financieele Dagblad, Beelden and Museumtijdschrift magazines. She is the author of Bodytalk, de nieuwe figuratie in de Nederlandse beeldhouwkunst (Body Talk: New Figuration in Dutch Sculpture, 2004), curating the exhibition of the same name at Museum Beelden aan Zee in The Hague. In 2015, she curated In Search of Meaning. Mensbeelden in Globaal Perspectief (In Search of Meaning: The Human Image in a Global Perspective), presented at Museum De Fundatie in Zwolle (NL), accompanied by her book of the same title.
Saskia Wijne is an art historian. After years of art gallery experience, she established Art You Go! The activities that she engages in here are diverse, but the core focus is the promotion of contemporary art. She and Anne Berk have jointly organized art-orientated journeys to several countries, including Documenta in Kassel, Germany, and the Venice Biennial.
“Every monument implied a chain of prior monuments which all notated, in slightly but insignificantly varying ways, the same foundational content. The paper monuments were not reports on a real procession or a real arch, but performances that referred to other pictorial performances.”
– Christopher S. Wood, ‘Maximilian I as Archeologist’
The exhibition Constant Continuity revolves around the ongoing distributive procedures of the Ehrenpforte, a 16th century print collage. Employing the physical conditions of circulation as input for production, the works on show in Constant Continuity explore the paradoxical processes of dematerialisation and value production found in contemporary institutional treatments of art historical objects. The exhibition will be complemented by an artist publication with an essay by Brenda Tempelaar.
Timo Demollin is a visual artist currently enrolled at the Sandberg Instituut fine arts programme in Amsterdam. His recent works scrutinize the socio-economic relations between art production, its implicit dissemination and the associated processes of value creation. Constant Continuity is his first solo exhibition in Amsterdam.
The exhibition We always need heroes by Rosie Heinrich sees the premiere of a long term multidisciplinary art project delving into the psychological and social dynamics of Iceland’s Crash in 2008. Rather than purely economic, the Crash was the collapse of a collective narrative and myth. Heinrich has spent two years interviewing and listening to numerous Icelanders. Their testimonies, insights and voices are the raw material for her video and performance works, which question the effects and potential of a crisis. Heinrich’s eponymous artist book will be published by Fw:Books.
Saturday 7 Oct, 5–7 pm
The exhibition will be opened by Frank van der Stok and the consulate of Iceland Wouter Jongepier.
Sunday 8 Oct, 4–6 pm
Screening, artist talk and performance with guest Myriam van Imschoot
Sunday 22 Oct, 3–5 pm
Screening and artist talk with guest Sarah van Lamsweerd
Open Thursday–Sunday, 2–6 pm, or by appointment (contact email@example.com).
This project is made possible with the generous support of the Mondriaan Fund, the Amsterdam Fund for the Arts and SÍM artists’ residency, Reykjavik.
On the artist
Rosie Heinrich (UK) is a visual artist based in Amsterdam. Heinrich works with audio material from recorded conversations as a medium to construct narrative works. She considers the construction of our (collective) realities through the act of storytelling. Unpacking language and forms of narration, her research results in printed matter, audio and video works, performances and installations.
Heinrich completed the MFA programme at the Dutch Art Institute in 2012, when she published the sound piece It was big enough to get me completely inside. Performances have been presented at Veem Theater, Amsterdam, Sub Urban Video Lounge, Rotterdam and Kunstvlaai, Amsterdam. Her video work It's possibly the only way that I can walk through myself (2014) was screened at A Tale of a Tub, Rotterdam, Het Vijfde Seizoen, Den Dolder, and Art Rotterdam. In 2015 and 2016 she was an artist in residence at SÍM Reykjavik, where she developed and presented parts of We always need heroes.