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. 

16 Feb till 3 Mar 2019

Finissage:Talk and Lunch with Leonardiansyah Allenda, Iqra Tanveer and Ehsan Ul Haq, 3 March 2019 @ 12:00-15:00

Something other than a thing here reflects to a state of being, a state of being of a “thing” for a particular moment in time. Neglecting and rejecting preconceived ideas and perceptions of what it has been. It is a departure from its former state of existence and its ascendance or descendance to a new state in such a way that it becomes something else. It becomes something more or less than what it has been. This transience in ascendance or descendance is not a way to reject all what this “something” can be, but taking a brief pause from its formers states in order to find new potentials that are not affected by its previous perceptions and meaning.

The project ‘Something other than a thing’ is an effort to take a flight from rationales of everyday mundane plane of life and strip away all the logics, functionalities and usefulness of the “thing” in order to approach this “something”. This idea is explored by the artists to create works that reflect this transient nature of being.

The project ‘something other than a thing’ also includes a public Lunch-Talk. This event marks the finissage of the on-going 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 initiation of the project to the recipes cooked and their origin. For this Lunch-Talk the artists invite everyone to become a part of this communicative process, which embodies cooking, eating, talking and exchanging thoughts about art and everything around it.

‘Something other than a thing’ is a collaborative project between artists, Iqra Tanveer, Leonrdiansyah Allenda and Ehsan Ul Haq.

Finissage:

Talk and Lunch with Leonardiansyah Allenda, Iqra Tanveer and Ehsan Ul Haq
3 March 2019 @ 12:00-15:00

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 initiation 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.

Ehsan Ul Haq born in 1983 in Lahore, Pakistan, works with sculptural forms that question their own inherent content, making, and object hood. Stripping away their histories, their functionality, and context, he engages the viewer with a new guidebook of perceptions for existing objects/meanings. His notable exhibitions include “Survival kit” annual contemporary art festival in Riga Latvia, “An Age of Our Own Making” Images festival Holbaek, Denmark 2016, “Back in 5 minutes”, Martin Van Zomeren, Amsterdam Netherlands, “No Real Body”: 3rd Ural Industrial Biennial of Contemporary Art, Yekaterinburg Russia 2015, “VOID: there’s nothing more left, but a little trace from human beings”, Ginkgo Space, Beijing China, Moscow International Biennale For Young Art, Moscow 2012, and ‘The Rising Tide’ at the Mohatta Palace Museum, Pakistan 2010. He has been a resident artist at Rijksakademie van beeldende kunsten 2014-2015.He is currently a recipient of “Werkbijdrage Bewezen Talent” from Mondriaan Fonds Netherlands.

Iqra Tanveer born in 1983, Karachi, Pakistan is currently based in Amsterdam, Netherlands. Working with video, photo and objects in her installations, Tanveer has participated in several group and solo exhibitions across Pakistan, India, UAE, Italy and Hong Kong and Netherlands. She has recently completed her residency program at Rijksakademie van Beeldende kunsten,Netherlands ,2017.She has been a participant in Colombo biennale,Sri lanka, 2016 and a part of the exhibition “Whorled Explorations” at Kochi Muziris Biennial, India. She has also exhibited her works at Moscow Museum of Modern Art in a solo show titled Between Earth and Sky.

Leonardiansyah Allenda born in 1984, In Indonesia. Allenda’s practice intertwines notion of art, agency, interior and other designs, centered to the body and perception of space in addressing his personal inquiries on infrastructure of cultural and capital values. Allenda has recently completed the Rijksakademie residency in 2017. His work was presented in solo show Bertimbang Taruh, at Cemeti Art House, Yogyakarta, Indonesia. Some group exhibitions include, Asian Art Biennial, National Museum of Fine Art, Taichung, Taiwan; Kathmandu Triennale, ‘The City’, Nepal; Jogja Calling, 4A Center for Contemporary Asian Art, Sydney, Australia; Biennale Jakarta, ‘Maju Kena Mundur Kena’, Jakarta; ‘High Water’ Fukutake house project, Shodoshima, Japan.

past:
Image by Chunchi-Wang
BELLYBUTTON

You are alive! Snip! Your umbilical cord has been cut! What kind of behaviours will you exhibit?

1 till 3 Feb 2019

Opening & Performance: 2nd Feb 18:00 to 20:00

Performance: A Transcontinental Apology
Ghost in Silence - Rumiko Hagiwara
Sorry Not Sorry - Jo-Lene Ong
BELLYBUTTON - Bea McMahon and Rumiko Hagiwara


((((((((((((())))))))))))

You are alive! Snip! Your umbilical cord has been cut!

What kind of behaviours will you exhibit?

At a bar in Amsterdam, Bea was giving feedback to Rumiko’s video/performance work Ghost in Silence (2018), which concludes its narrative with the word 'Sorry.' This word, 'Sorry', sparked the idea for their collaboration, and BELLYBUTTON is the end result. It is both a presentation of source material and a performance. They invited Jo-Lene for assistance in how to do some Transcontinental Apologizing, and she will contribute with a fashionable "Sorry not sorry."

Sorry.

According to Bea the full stop after the above sorry can only be one of four possibilities:

1. stop
2. please stop
3. O please stop
4. O do please stop

Rumiko had thought it was going to be apologizing without end.

The source material for BELLYBUTTON can be viewed 1st to 3rd February from 14:00 - 18:00

past:
Conflict of Interest, performance Anet van de Elzen. foto: Emilio Moreno
Masterclass Performance

The masterclass is open to students from any discipline of art, theatre makers and visual artists. 

26 till 27 Jan 2019

The Masterclass Performance comprises two days with four units of working exercises and assignments aimed at developing physical consciousness and sensitivity. With these tools, we investigate the power and meaning of the dialogue between performer and audience, performer and space and performer and time. The final part of the masterclass is the presentation of your performance in puntWG in Amsterdam for an audience.

The masterclass is open to students from any discipline of art, theatre makers and visual artists.

To sign in for the masterclass or for more information please open the following link: http://www.tobepresent.nl/masterclass/masterclass_performance_2019/masterclass_performance_2019-1

Anet van de Elzen

www.anetvandeelzen.com
www.tobepresent.nl

Anet van de Elzen creates images with hands, head and body. Her work is interwoven with her life and experiences, the work contains archetypical or iconographical elements which are the keys to the communication with the Other. When the images have been made, they grate reality, dismantled and stripped from what is not important, sometimes impoverished, aggravated, lonely, their origin found in a different reality.

Danielle van Vree

www.daniellevanvree.nl

Danielle van Vree wants to get in touch with the audience and put something into motion with a work. Her approach is physical and philosophical and presents the spectator with a transparent concept, in which there is room for reflection. She uses sound, text, video and objects as a means to create a double image and to question the relationship and space between subject and object.

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