Strange things are happening in the village. Rumours of plague. Just ask at the Tavern: there’s something a little odd about this year’s crop, the baker has gone mad, and the brewer is working overtime…
It’s just after harvest time, the autumn of 1519. Or 2019. It’s the aftermath of…of what? Strange things are happening in the village. Rumours of plague. Just ask at the tavern: there’s something a little odd about this year’s crop, the baker has gone mad, and the brewer is working overtime. Something around here smells a little off…
You, the itinerant artist, have just arrived to fulfil your commission at the abbey. But to complete your work, you must navigate village life, and find out what’s eating this town before it gets you too. The bel is kapot, you have to knock to get in. This is an exhibition in the form of a riddle, or a riddle in the form of an exhibition, set in a space and time very much like our own.
KLOPPEN AUB, BEL IS KAPOT is a collaborative project by Ash Kilmartin and Bergur Thomas Anderson, with appearances by fellow townspeople Lisa Kuglitsch, Gunnar Gunnsteinsson, Hrafnhildur Sigurðardóttir, Sigrún Gyða Sveinsdóttir and Arbeiter.
Ash Kilmartin (Aotearoa/New Zealand) and Bergur Thomas Anderson (Iceland) are artists who live in Rotterdam. This exhibition is made possible with the support of AFK.
Title: Stonecarver’s Dilemma
Date and time: 19 October 2019, 17:00-21:00
Stonecarver’s dilemma (2019) working drawing. Bergur Thomas Anderson and Ash Kilmartin
Stonecarver’s Dilemma is a live choose-your-own-adventure in which the audience decides the fate of the young artist who attempts to live by their work, and by their good conscience. Live music, improvised foley, dangerous snacks and specially brewed drinks might just help with these difficult choices.
Oscar Santillán and Matthew C. Wilson draw out complex relations between seemingly disparate histories, methodologies, and cosmologies, shaping the way humans relate to their present location in time and space.
Visual artists Oscar Santillán and Matthew C. Wilson present their works together in a two-person exhibition. They approach the exhibition as a materialization of their years long dialogue. In their own ways, each artist draws out complex relations between seemingly disparate histories, methodologies, and cosmologies shaping the way humans relate to their present location in time and space. In “Drained Atlas,” the artists present recent and new works bringing together the histories and speculative futures of scientific exploration as the entangled process of undoing worlds to generate new ones.
Drained Atlas mini-symposium
Time and Date: TBD
For this mini-symposium on the entangled relations produced through the process of “worlding,” the exhibition artists will be joined by scientists and thinkers. Each guest will discuss their own work which connects to themes in the exhibition. The symposium will take place in the exhibition space. Guests to be announced shortly.
A play with the relation of object, artist and agency in the gallery space, as well as in a broader sense of history writing.
“I want to belong to the living” is an exhibition by Isfrid Angard Siljehaug, Anna Hillbom and Ann-Catrin Olsson. The artists wish to make possible a tactile re-reading of the past, where the agency of each artist's work at times is blurred, at times visible. A play with the relation of object, artist and agency in the gallery space, as well as in a broader sense of history writing.
Elements from art history, architecture, mythology and the body are used to enable a personal understanding of time, a rupture in chronology. By that bring out a possible mystic, a giggle, something skin-warm.
The title indicates a wish to bring to life fragments adapted from the past. Canalized and altered, they become animated shreds of something vaguely familiar. “I want to belong to the living” refers to the body's yearning for eternality. A fantasy about sculptures who long to be touched. Like John Berger is looking for the living in Greek sculptures.
”All the sculptures stolen from Greece who are now in foreign museums, are strangely un-sensual and that's one of the reasons they belong here (in Greece). The sensual in art is in a way a glorification of participation, a cohesion between body and nature. Here does no such cohesion exist. The famous ideals that the classic sculptors searched for was actually a comfort for the loneliness of the body. All these sculptures were, it seems to me now, mediators of a well controlled longing without end.”
- John Berger
This exhibition is generously supported by the Amsterdams Fonds voor de Kunst and Iapsis/Swedish Arts Council.
Curated by Lora Sariaslan
This is the end presentation of the current AirWG resident Mo Sirra supported by Mondriaan Tijdelijke Binnenlandateliers programme.
“Mo Sirra examines and theorizes the essence of creation. How can one mediate art? How can one create? And more importantly, how can one create 'freely'? This examination has deeply influenced his approach to cultural practice and is reminiscent of the (memory of the) sites or lieu de mémoire (site of memory) of the French historian Pierre Nora.
As Mo Sirra approaches art practice as an act of urgency, he focuses on the impermanent and spatially complex nature of art practice through his diverse and fluid work encompassing drawing, installation, photography, and sculpture. The politicization of life and hence art is one of his driving forces, informed and enriched by personal experiences leading to (hi)stories that entangle the first person with(in) the third--blurring the edges of a self-portrait.”
The artist in question argues that art is an act of urgency requires practitioner and institution at state of emergency. Despite this prescheduled presentation; please be advised that the artist, the content of the presentation, the opening hours, the location are subject to change.
What if the human being inherited a contaminated knowledge?
What if ‘art’ is advertisement instrument for Capitalism, propaganda for other Ideology?
What if ‘freedom of expression’ is daily exercise, rather than an article in Human Rights Act?
What if ‘independence’ is a continuous struggle against suppression rather an inactive clause in a constitution?
When injustice becomes law, resistance becomes duty.
atelierWG Foundation invites artists to organize an exhibition to be presented at puntWG. Deadline: August 1st 2019.
OPEN CALL for 2020 Program
atelierWG Foundation invites artists operating in any medium to organize an exhibition to be presented at puntWG, an exhibition space located in the centre of Amsterdam.
puntWG seeks to provide a platform for invited artists to temporarily own the space with a sense of freedom and responsibility to give form to their own programme and make contact with the public.
We encourage proposals for duo and group exhibitions that encourage dialogue between the artists and their work. We also invite proposals for one-person presentations on the basis that they seek interaction with other (relevant) individuals or groups through a public program.
We welcome proposals that include a rich public program of events such as artist talks, performances, screenings, (performative) lectures, dinners etc.
Artists will be selected on the basis of the quality of their proposal and their considered approach to using the space.
Each exhibition will last four weeks (including installation and de-installation times).
This call is not intended for curated group exhibitions.
The organization of both puntWG and Foundation atelierWG almost fully depends on volunteers.
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 non-profit organization run by a group of artists, 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.
Please send ONE pdf (max 10 mb) which includes the following documents in your email submission:
Please indicate if you at the time of this application have already (partly) secured funding for the exhibition.
Proposals to be emailed to firstname.lastname@example.org
The submission deadline is August 1st 2019.
All recipients will be notified before October 1st 2019.
For general information and questions regarding puntWG, contact team puntWG: email@example.com
Organization and programming of puntWG: Lily Lanfermeijer, Mila Lanfermeijer, Michelle Son, Maaike Anne Stevens and Tao G. Vrhovec Sambolec.
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.
airWG, an artist-in-residence, opened in September 2015, hosting a guest studio for national and international artists with an emphasis on research and collaboration.
An experimental video game composed by field work material collected in the Alps, with personal narrative content inspired by mainstream pop culture.
The central piece of She-Wolves is an experimental video game composed by field work material collected in the Alps (during workshops, interviews, and walks), with personal narrative content inspired by mainstream pop culture.
It tells the sensual story of women werewolves in the Alps de Haute-Provence, where the wolf re-appeared 20 years ago, a hundred years after its extinction in France. The return of the predator causes great political tensions in local communities opposing shepherd protecting their cheptel, to ecologists in favor of its protection. In parallel, vernacular legends raise again, inspired by local stories and movies like Twilight. The mythical meets the political ; the local blends into the global.
She-Wolves capsizes the gender paradigm of the powerful fertilizing force in nature and gives the bestial hairy power to women. It opens the door for an open narrative experiment taking its sources in ecological matters, feminism, folklore and pop culture.
During the opening, the performative version of the game will be performed at 19:30.
I have told myself there are three things I should write about: images, sounds, and their coincidence.
I am writing these notes on the train from Berlin to Amsterdam. A self-imposed exile of six hours to write down some thoughts. I have told myself there are three things I should write about: images, sounds, and their coincidence.
A yellow figure floating in an endless grey space. The figure has no outline, no boundary, but melts into the surroundings.
Images from an infrared camera. Photography without light. Or actually, photography of light we cannot see. At first, it makes you think of an X-ray; instinctively you think that an image which shows something hidden, must be the image of an inside. But in fact, these images show only radiation; not even a surface, but that which envelops the surface.
You could say these images are a metaphor, because a sense is carried over. That which usually is felt--warmth--is transferred to a visual representation. The invisible is made visible (is that a form of synesthesia?) To paint what you hear. To say what you feel.
On these images you can see that the warmest places in the body are those where we say feelings house: the chest, the belly, the crotch. In a flash, I link the infrared images to a Jesus painted by Grünewald. Not the famous crucifixion, but the one on the back, Jesus resurrected from the grave. Floating in a night sky, painted in a surreal combination of yellow, pink and red, his face merges with the light of a bright star. The wounds on his hands and feet radiate the strongest. They must be the warmest.
Infrared cameras were developed by the military, and are used by drones to find their targets. Omer Fast interviewed a drone operator, who 'flies' a small plane in Afghanistan from a room in Las Vegas:
“…if someone sits down on a cold surface for a while and then gets up, you’ll still see the heat from that person. For a long time. It kind of looks like a white blossom. Just shining up in heaven. It's quite beautiful.”
A wooden spoon hitting a steel plate, a song coming from a bucket, a coffee cup sounding like an alarm clock.
It might be cheesy to put it this way: objects that speak to us. But it is tempting to do so, to think of what they would say. In my imagination, they are desperately trying to get a point across in a language that we don’t understand. Lending them a tragic air, suffering from their inability of expression. Or perhaps they are ghosts from the past, an echo from history, trying to warn us not to make the same mistakes again. Or finally, they could be incarnations from another world, who are not saying anything, but quietly laughing at our feeble will, our changing emotions, our petty concerns.
The planets are aligned in a particular way, and at the same time someone's life is in crisis. For example, the break up of a relationship between two teenagers. To think that the alignment of the planets and the break up are in a necessary causal relationship with each other is a fallacy.
But at the same time, it is deeply human to ascribe meaning to coincidence. Put a plastic Spiderman figurine on a baroque table and the meaning of both objects changes. I think of the collaborations between John Cage and Merce Cunningham, in which they would independently of each other create a music and dance piece, to be performed simultaneous.
I imagine the loop of the slides different in length than that of the sounds. Thereby creating a multitude of coincidental relationships. Sometimes the sound will coincide with the image of a washing machine, the next time with a naked woman, again a next time with an image of the sea. Like two planets in different orbits, two lives lived independently of each other. At times crossing each other, at times not.
We are thrilled to have been granted the Werkbijdrage Kunstinitiatieven.
puntWG is thrilled to announce that we have been granted the Werkbijdrage Kunstinitiatieven from the Mondriaan Fund. We join a beautiful list of 23 artist-led initiatives existing throughout the Netherlands.
This contribution will allow us to continue to improve our programme and support our activities over the next year.
Congratulations to all recipient initiatives!