Part of the airWG Series

Working in the context of war, Ksenia Bilyk tries to capture the sick, ugly essence of the aggressor and highlight the prejudice that has poisoned the collective consciousness; she seeks to uncover the mechanics behind the twisted mirror that distorts reality beyond recognition.

10 till 15 May 2023

Part of the airWG Series

In the “Chimera” series, Ksenia Bilyk observes cultural matters that are used by Russian political propaganda.

In her works, she attempts to understand the scale of propaganda and how it motivates people to support the aggressive war effort.

The resentment that followed the collapse of the Soviet Union combined with history of the victory over fascism in World War II, turned this memory into a psychotic, almost religious cult with a desire for revanche.

On February 24, 2022, along with tank fire and rocket explosions, we witnessed the results of propаganda full of manipulative anti-Western rhetoric, which now serves as a facade for the destruction of the so-called “brotherly nation”.

Working in the context of war, Bilyk tries to capture the sick, ugly essence of the aggressor and highlight the prejudice that has poisoned the collectiven consciousness. She seeks to uncover the mechanics behind the twisted mirror that distorts reality beyond recognition.

Since Russian propaganda is based mainly on narratives of the past, most of Bilyk's works from this series have references to Soviet symbols. She intentionally uses symbols that have been distorted by propaganda, as they have lost their original cultural meaning and have become a mere tool for propaganda themselves. She distorts them into even more absurd, ironic, and helpless forms following the same myth-making manner.

Thoughts On Paradise 03 (HK 982)Watercolor and acrylic on paper99x66cm2022
Paradijs 2.0

Part of the atelierWG Series

We think of paradise as a magnificent garden. But aren't we ready for an alternative representation of it? A shape that yields something essentially different from what a miracle garden, a tropical beach, or some other 'pampering resort' has to offer us?

3 till 7 May 2023

Opening times: 15:00 - 18:00

Part of the atelierWG Series

At puntWG, you can see my first explorations of an alternative paradise and I would love to talk to you about it.

For 2500 years, earthly paradise was defined and shaped by prophets, kings, painters, explorers and politicians. What they painted for us is a delightful picture of an isolated, walled haven where you lack nothing: for centuries a dream image that is as stable as it is unattainable.

But does that image still suffice as an ideal desired world? Does it still match the perception and desires of people in our current era? Or is an alternative, contemporary representation of the earthly paradise conceivable? A form that yields something essentially different from what a miracle garden, a tropical beach or other 'pamper resort' has to offer us? And what could such a paradise look like?

I will occupy myself with these questions in the coming years and I will report visually on this Project Paradise. Not with the illusion of being able to deliver the final image. But making an effort to visualize and present a 'workable' version of paradise as comfort and inspiration for possible places of escape.

Consultation Hours Paradise 2.0

Interviews about paradise, by appointment

3-6 June, 10:00-13:00 and 19:30-21:30

As part of my Project Paradise, I have conversations with diverse people about their image of paradise, based on a set number of questions. 

With CONSULTATION HOUR Paradise 2.0 I want to find out in what different forms of paradise exists in 2023.

If you want to share your thoughts on paradise with me, you can sign up for an interview here.

Read more about Project Paradijs


Photography by Ilya Rabinovic


Part of the puntWG Open Call Series

Masatoshi Noguchi and Susan Kooi turn puntWG into a bank, where 'Tulpengulden' can be used to purchase food and drink

31 Mar till 23 Apr 2023

Part of the puntWG Open Call Series

Back in 1637 one could buy a canal house in Amsterdam with a tulip bulb, during the so-called tulipmania, the first economic bubble. Their function as a currency, with its value just as unreliable as crypto currency today, was short-lived. Its value changed completely again in the Dutch Famine of 1945, when people ate old dry tulip bulbs. The bulbs went from currency to emergency food. Tulip bulbs are both a symbol for the unjust wealth the Netherlands gathered from colonialism, and of the poverty caused by WW2. 

For the exhibition we produce a limited amount of ceramic coins called ‘Tulpengulden’, that can be used to purchase food and drinks. We turn the gallery into a bank, where we offer a currency exchange service. The entrance is where the actual exchange happens. The exchange rate changes throughout the show, which is displayed on a screen. 

We use the kitchen to cook on Fridays - starting ourselves with Curry Udon, a dish that combines Indian curry that travelled from the UK to Japan with Japanese noodles and fish broth, with tulip bulbs as topping. We serve cocktails based on tulipvodka and mocktails with tulipsyrup.  Next Friday's menus are by artist/chefs Müge Yilmaz and Mattia Papp. As the menu changes, so does the exchange rate for the coins.

Friday 31 March, 18h: Opening event and dinner
Friday 07 April, 18h: Dinner by Mattia Pap
Friday 14 April, 18h: Dinner by Müge Yilmaz

Generously supported by:


Stichting Stokroos

Dinners sponsored by:


Photography by Ilya Rabinovic

Tomorrow's Light is Falling on My Wall

Part of the airWG Series

Ukrainian artist-in-residence presents installations, video, objects, photography and
texts, reflecting on the future and the present in a time of war in her homeland,
displacement, uncertainty and hope.

17 till 26 Mar 2023

Part of the airWG Series

Saturday and Sunday 18-19 & 25-26 March, 2pm-6pm.
Monday-Friday 20-24 March, 3pm-7pm. 

WG Artist in residence Anna Kakhiani from Kyiv came to the Netherlands shortly after the beginning of the war, first living in the 'opvangcentrum' in the former townhall of Piershil, Hoekse Waard, then setting up studio in Amsterdam. Completing her 3 month residency at airWG she now presents her work in an exhibition at puntWG.

The exhibition entitled Tomorrow's Light is Falling on My Wall captures, in a non-documentary way, the changed sense of the future that has come about because of the war, as Ukrainians are forced to leave their homes and abandon their lives.  


As witnessed in Anna Kakhiani’s multidisciplinary artistic expressions, such forced changes lead to an inevitable transformative experience. In her words, “There is no longer any certainty of space, and time begins to be non-linear and includes much more than anyone is accustomed to. The future has become both a monument of hope and a pocket full of stones for luck that you carry with you everywhere. The future has become a light that falls through the window on your wall and you feel it as a hope, a promise of a good day tomorrow.

Anna Kakhiani (1991) is a Ukrainian visual artist and curator, working with a range of media, including video, film, text, installations, as well as performance and land art. During the last decade, she has developed art projects and installations, often in collaboration with artist groups, cultural organisations and artistic initiatives. She has exhibited at a variety of venues, predominantly in Ukraine, and participated in the residency curated by Liverpool Biennale 2018. Recently, she took part in the Moon Gallery Foundation project “The Essence of Home” 2022-2023.

Anna Kakhiani can be found on Instagram: @annakakhiani and Facebook: anna.kakhiani.

Anna Kakhiani’s WG residency is supported by the Dutch Fund for Ukrainian artists,
Mondriaan Fund and airWG.

The Invisibility of Colour

Part of the atelierWG Series

The innovative sound installation The Invisibility of Colour offers an opportunity for spectators to experience themselves an emergent process of creation in real-time.

3 till 13 Mar 2023

Part of the atelierWG Series

Finissage: 12 March 16:00

At puntWG Harm van den Berg presents an innovative sound installation, entitled The Invisibility of Colour. In this work, he conducted interviews with individuals on the street to gather their perspectives on colours. These recordings are combined to create hundreds of spoken colours, which are played through 20 invisible speakers spread over the surface of a wall.

The Invisibility of Colour is part of van den Berg's research on emergent processes. Emergence means: appearing spontaneously. It is a phenomenon which occurs often in nature. For example, a flock of birds in the sky showing the most fantastic shapes, a colony of ants collectively creating the most stunning building structures, or thousands of fireflies that blink in perfect synchronisation. This is swarming behaviour which is not much different from how atoms and small particles collectively behave. Colour is also an emergent phenomenon: atoms have no colour; colour only appears when a large number of atoms are in a certain arrangement.

In addition to sound installations, van den Berg also creates drawings consisting of fine- meshed structures with emergent properties. While his drawings reflect this emergent process, The Invisibility of Colour offers an opportunity for spectators to experience themselves the emergent process of creation in real-time.

In his drawings and sound installations, Harm van den Berg (1970) investigates natural processes at the interface between nature and culture. His research focuses on phenomena such as self-organisation, complexity, and emergence. His work has been exhibited at institutions including Museum Belvédère, Museum De Paviljoens, Kunstvereniging Diepenheim, Netherlands Media Art Institute (NIMk), Galeria Klovicevi in Zagreb, Crossing Border Festival, Zoo Gallery in Nantes, W139, Arti et Amicitiae, Goethe-Institut, and AC Institute in New York City.

Supported by the Amsterdam Funds for the Arts and Mondrian Fund.

More information about the artist can be found at www.harmvandenberg.nl.

Open: every day from 2pm - 6pm and by appointment 
Worlds in Formation

Part of the puntWG Open Call Series

Worlds in Formation documents a community of young amateur KPOP dancers in Rio de Janeiro

18 till 26 Feb 2023

Part of the puntWG Open Call Series

Worlds in Formation was filmed over weekends spending time with a community of young amateur dancers who rehearse KPOP (Korean Pop Music) dance covers using the windows of the Museum of Modern Art, Rio de Janeiro Brasil, as mirrors.

It documents rehearsal, hanging out, preparation, competition, and care, acts towards building a community as a generative space of resistance through elective assembly and shared interest. Through a non-linear and rhythmically repetitive structure, the film reflects the bagginess of time that characterises youth cultures of hanging out, appropriating space without ownership.

In a political moment in Brazil which is deeply dangerous to be queer, female, black, poor, or trans, this community are consciously acting to build a space to exist in public, producing a high visibility presence for oppressed minorities.

11-17 Saturday and Sunday or by appointment. Email: info@solarcher.net

Over weekends spent with this community, recording rehearsals, performances, and moments of care, the film follows fragments from conversations about the nature of their community and their reflections on their collective creative practice as an act of resistance, and making and remaking images with bodies. Worlds in Formation documents moments of collective practice, creating spaces of care, resistance, and survival, and producing counter-publics in the city, staging rehearsal as the conjuring up of a desired world within the confines of the present.

Also available at the exhibition will be Held by Hands, a publication by Sol, featuring texts commissioned from members of the Brasilian Kpop community on the social potentials and risks of fandom and fan attachment to mass culture.

Image credit: https://vimeo.com/634523771

Photography by Ilya Rabinovic

Fundraiser Film Screening

Part of the puntWG Open Call Series

Fundraising for earthquake relief in Turkey and Syria, puntWG will host a film screening weekend

Curator: Sol Archer
25 till 26 Feb 2023

Part of the puntWG Open Call Series

Organised by Sol Archer, a fundraiser for earthquake relief in Turkey and Syria will take place in puntWG on Saturday 25 and Sunday 26 February at 20:00.

Featuring films by Peline Esmer, Belit Sag, Cihad Caner, and more to be announced.

Please write to sol.archer@gmail.com to secure a seat, and tell us which day you will be there. 

Entrance is a suggested donation of €20, or more if you are able. 

We will have details on four suggested funds at the door, and instructions on how to donate to them. 

They are:

A Livestock Feed Fund - coordinated by Belit Sag, who is organising a shipment of emergency animal feed to communities in Samadag/Hatay, who have been cut off without provisions. Their aim is targeted on providing support and logistics to food infrastructure, to prevent secondary collapse of food production.

Mor Dayanışma - women’s support network, who are very active on the ground in Turkey with woman’s safety in groups displaced by the earthquake. 

Sard NGO - the Syrian Association for relief and Development, they have been active in Syria for ten years, dealing principally with food insecurity, shelter for internally displaced refugees, and medical/health infrastructure.

Ahbap - who work in Turkey across social aid, animal rights, humanitarian aid, natural disaster coordination and assistance, and who are very active in the earthquake disaster relief effort.

Expelled from Earth

Part of the puntWG Open Call Series

A world is a world is a world. Exhibition by Jan Berger and Jaakko Myyri.

17 Jan till 13 Feb 2023

Part of the puntWG Open Call Series

How do societal worldings constitute the understanding of the self within a grand epic? In Jan Berger’s work High Seat, images of terraformed topologies are conflated with narrative snippets that allude to the making of cultural policies, their semantics, and subjectivities within their respective Western cultural world-frames.

Myyri’s sculptural ceiling works Gully-body/Aeolia-body play a constant loop of rainy day gifs: an image subject that is most commonly shared online as a backdrop to show poetic grief, personal yearnings, or the need for ‘a break from everything’. Myyri uses the object of a fan to both emphasise the need of machines and humans alike to cool and process, as well as the geodesic onset to communicate intimate narratives in complex environments.

Image credit: Jan Berger

Photography: Ilya Rabinovich