Presentaties van Enkele Nieuwe Huurders atelierWG

Presentations by some new tenants at AtelierWG

22 Dec 2021 till 9 Jan 2022

In PuntWG (and online via vimeo)


Harm van den Berg

Emergent: beyond form and content, tekeningen

Marieke Zwart

Window, pasteltekeningen

Jasper Coppes

film Aasivissuit (online via vimeo)

Tao G. Vrhovec Sambolec

publicatie project 0.004 Hz


Screening of Jasper Coppes' film Aasivissuit (2019, Length 23'39") on the evening of Sunday 9 January 2022

Aasivissuit is an area of great cultural value (UNESCO World Heritage) where the people of Greenland live.

The film wants to make us reconsider this landscape, in order to make palpable how deep layers of the earth are connected to distant shores; how past, present and the future melt together; and how humans and non-human beings live together and adapt themselves to the changing environment.

Director Jasper Coppes introduces his film, and afterwards the audience can ask questions.

 20:00 Introduction to the film by Jasper Coppes

20:10 Screening of Aasivissuit via vimeo

20:35 Conversation with the audience

21:00 End


Subscription: Eventbrite page
Please subscribe yourself in time to receive a free ticket and to test whether your equipment works properly

http://www.malupeeters.org/aasivissuit-2020-experimental-documentary-with-JASPER-COPPESContact information: www.jaspercoppes.com


Harm van den Berg

Harm van den Berg investigates the concepts of complexity and emergence in a multidisciplinary manner. In addition to drawing, he constructs spaces and landscapes in sound. His work is shown at Museum De Paviljoens, Kunstvereniging Diepenheim, Nederlands Instituut voor Mediakunst (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.

Contact information: info@harmvandenberg.nl,  +31 6 2497 87



For everyone's safety, visitors are obliged to comply with the current COVID-19 rules, including: max. 4 visitors at the same time, wearing a facemask, keeping 1.5 m distance from others, disinfecting hands on arrival, QR code, etc.

Love revealed, or how to keep all this warmth at bay

Violeta Paez reworks familiar stories that contain hidden narratives that survive over the course of centuries.

Curator: Àngels Miralda
10 till 20 Dec 2021

10th-20th December; open Thursday-Sunday from 2-5pm.

Time is a relative experience. It speeds up as we grow older. It can pass by in the flutter of an eye, or a moment can last for hours when subject to great intensity. A story written down thousands of years ago can bring out our deep connectedness to the past and those who will live a hundred years from now. Violeta Paez reworks familiar stories that contain hidden narratives that survive over the course of centuries with a particular focus on the relation between queerness and legibility. To retell mythological tales today is to unveil things hidden in plain sight. Darkness is a space of the unknown, the warmth of night and the cold of winter. Between visibility and invisibility, works, bodies, and spaces in Paez’s work are composed of gestures that unearth lost and fantasized queer stories.

 Love revealed,

         Or how to keep all this warmth at bay

Includes new works made of wax, metal, and various other materials along with performative interventions around the theme of monstrosity and corporeality. Violeta Paez’ new work is a speculative fiction that happens through performance, writing, and sculpture. Events will punctuate the duration of the exhibition at announced times. A publication of writings will accompany the exhibition, published by attempt press.

Time Encircled: Rody Luton — exhibition & book launch

New paintings and photoworks by Rody Luton, exhibited on the occasion of the publication of her monograph Rody Luton. Time Encircled.

2 till 5 Dec 2021

Open December 2-5, 14:00-17:00

New paintings and photoworks by Rody Luton, exhibited on the occasion of the publication of her monograph Rody Luton. Time Encircled.

PuntWG presents new work by the British/New Zealand visual artist Rody Luton, to mark the publication of her first monograph (2021, published by Jap Sam Books). 

The public book launch of Rody Luton.Time* takes place on Saturday 4 december (15:00). Writer/curator Mark Kremer will have a conversation with Rody Luton. Graphic designer Yvonne van Versendaal will cast her design view on the development of the book.

In addtion to Rody Luton’s new paintings puntWG present a number of ‘photoworks’, which will be available for sale, in a special edition (series of 10 prints, signed and numbered by the artist). In puntWG the newly published book of Rody Luton will also be sold, copies of which the artist will gladly sign. 

Rody Luton, born in England and grown up in New Zeeland has her studio in Amsterdam since the mid-1980s. She has a background in both visual arts and anthropology, which is reflected in much of her work, embracing both elements of nature and cultural imagery as sources.

The book Rody Luton.Time Encircled was published in the autumn of 2021 by Jap Sam Books*. The monograph presents the work of Rody Luton in its diversity: painting, drawing photography and mixed media. In addition to 120 art works, the book presents writings and sketchbooks, with an introductory text by curator and art writer Mark Kremer. Graphic design is by Yvonne van Versendaal.

*Rody Luton.Time Encircled. ISBN 978-94-92852-42-7. Hardcover. 144 pp. 20,5 x 26 cm. Price: € 32.- Available from the artist (contact@rodyluton.com), Jap Sam Books or bookshops.




Piotr Urbaniec asks Justyna Górowska, where does all the puddle and rainwater go?

13 till 28 Nov 2021
Saturday & Sunday, 14:00 - 18:00

During my stay in Amsterdam for over three years, I always felt a childlike excitement when there was heavy rain. The city is flat; there are a lot of old roads that gather the rain in their irregularities. Once, on my way to the studio, a car splashed me. I was soaked. It was a weird experience; at first I was angry and went to find the driver. He said, “I'm sorry”, but I knew he did it on purpose. On Google, I discovered that splashing someone is a crime but that if the driver says “sorry” you can't take him or her to court. Then I flipped my perspective and started thinking that being splashed was actually an abject, melancholic experience. On my return to Amsterdam, I wanted to get splashed again from a puddle, but somehow in October there was not as much rain as usual, there were not enough puddles... Now, I'm asking Justyna where all the water goes.

This project is supported by Amsterdams Fonds voor de Kunst and Adam Mickiewicz Institute. This year Piotr Urbaniec is supported by Mondriaan Fonds.

Photo documentation by Ilya Rabinovich.

Still from; If we were the same in 1827, moving image, around 20min, in progress, 2021.
With Permission From the Officer

Liao weaves together a narrative of the legal, technological, psychological, and boring bureaucracy of EU borders.

Curator: Àngels Miralda
29 till 31 Oct 2021

Zhixin Liao has a special ability to find himself in strange situations. At airWG his residency developed under pandemic restrictions from April-July 2020 in which he invited visitors to break into his ground-level windows in order to see his newest works. Confinement is a relative experience. His permission to stay in the Netherlands restricted him within national borders for a period of time. Finding himself, once again, in a situation of not being able to leave, he decided to go out and search for these borders by bike. After touching the entire land border of the Netherlands Liao is now a participant at HISK in Ghent, where he continues to ride out into the landscape for occasional meetings with the Dutch border.

Recording landscapes between Sas van Gent and Gent, Liao weaves together a narrative of the legal, technological, psychological, and boring bureaucracy of EU borders. Art is born from its context, and Liao’s practice is now inseparable from the border-marking sculptures that dot the extremities of the Netherlands. Yet, in order to remain here, he is faced with an endless production of official documents to prove that he is a practicing artist, makes exhibitions, and is a useful member of Dutch or Belgian society. After cycling and recording the unique landscapes he has asked a group of friends and artists to help copy them, for this task he has been able to produce letters from them that affirm their active contribution to the Dutch art scene.

This exhibition is supported by the Mondriaan Fund.


Jude Crilly and Demelza Watts present an immersive exhibition Fever consisting of new collages, sculptures and drawing works.

9 till 24 Oct 2021

Jude Crilly and Demelza Watts present an immersive exhibition Fever consisting of new collages, sculptures and drawing works.

The works explore alternative systems or paradigms through which to make sense of the complexity of our current moment. Today’s complex systems cannot be fully understood because they are embedded within other complex systems. Instead of falling back on simplistic narratives or conspiracy theories to explain the complexity around us, we must pivot to other ways of thinking. Collage is used by the artists as way to bypass these set logics and taxonomies that we have come to rely on.

In the works collage is approached in its most complete sense, using many materials and processes: drawing, weaving, tapestry, watercolour, text, embroidery, laser-cutting, CNC-routing, print and engraving. The works are hybrids of the hand-made and machine-made, creating personal material languages. The works mix and merge with each other—creating a ludic, open-ended, alchemical world made up of relations, and relations of relations.

Jude Crilly has created two wall-based ‘codexes’, which map connections between language, complexity and trauma. Taking inspiration from medieval medical manuscripts, animal avatars and the human nervous system, the codexes can be read as bio-psycho-social moodboards for our current moment. Where is trauma held within the complex systems of the body? How is trauma expressed outwardly by mind, affect and spirit, and how is it contained in our current culture?

Demelza Watts uses the idea of the ‘amulet’ as a starting point, as a personal, protective object which distill or contain moods, beliefs and anxieties—and as a recipe for new events. These amulets show the longing found in the switching roles from participator to observer many of use experienced during the isolation of the last year. Layering craft, gesture and recollection, Watts' works attempt to masquerade as a memento, a keepsake, a shrine even, to a lost moment.

About the artists

Jude Crilly (1982, UK/CA) lives and works in Amsterdam. Her work focus on sculpture, sound and writing. She was a resident artist at Rijksakademie van beeldende kunsten (2018–2019). She earned her MA (Sculpture) at the Royal College of Art, London, and BA (Graphic Design) from Rietveld Academie, Amsterdam.

Demelza Watts (1990, Wiltshire) is an artist who lives and works in London. Watts completed an MA (Sculpture) at the Royal College of Art, London, and a BA at Wimbledon College of Art, London. Their work uses research, found objects and experiences to examine the intersections of art, home and the everyday.

The artists met while studying at RCA London. Both artists have exhibited internationally.

This exhibition is generously supported by the Niemeijer Fonds, and the a-n Artist Bursary UK.
The artists would like to thank Matteo Casarin, Monique de Wilt and Floris Schönfeld.

Photo documentation by Ilya Rabinovich.

De Liefde

For this exhibition, Takeda will show new works created during his stay at the airWG.

18 till 26 Sep 2021

The first contact between Holland and Japan was made in 1600 by the ship ‘De Liefde’. It was the beginning of a long symbiosis, not always happy, but all in all profitable for both parties. It was "Love” at first sight that turned into uneasy matrimony.

-  T. Volker, Porcelain and the Dutch East India Company (1954) 

Despite the national isolationism of Japan during the Edo Period, trade with the Netherlands continued. Thus, even during these difficult times, the two countries managed to continue their cultural exchange through trading. In particular, Japanese urushi lacquer wares and porcelain played an important role in connecting Japan and the Netherlands culturally.

The sea divided people from the outside world, but on the other hand, it was the only way to connect people to that world. Therefore, it’s easy to imagine why people in medieval times were so bewitched by the view of the sea. 

Tatsuma Takeda grew up by the sea on Amakusa island, near Dejima, the only Dutch trading post in Japan. His ancestor was a dealer in foreign merchandise. Also, Amakusa island is one of the regions associated with Japan’s “hidden” Christians and an area of exotic cultures. 

For this exhibition, Takeda will show new works created during his stay at the airWG.

Supported by Pola Art Foundation.

In the pause of a gesture there might be an echo

Why does the question mark end with a full stop? Everything that follows after a question is but a particle of the very same question. /

3 till 5 Sep 2021

Opening Times

Friday 3 September 14:00 – 17:30  
Opening Performance night: 19:30 – 21:30

Saturday 4 September  14:00 – 17:30 
Performance night: 18:00 – 21:30

Sunday 5 September 14:00 – 17:00

Please join us for the opening days of 'In the pause of a gesture there might be an echo' presenting part I of: Questions?  –  Richtje Reinsma, Sightless Seeing #5: Black Box  –  Sarah van Lamsweerde, Subversion, Synthetic body –  Aram Lee, Façade_Override_Façade  –  Anastasija Pandilovska, curated by Marjoca de Greef and Anastasija Pandilovska.



Why does the question mark end with a full stop? Everything that follows after a question is but a particle of the very same question. 



Group assembly? She thinks a. Let’s call a your object. We observe that although I try to think a, her mind moves to b. You could fight this. Instead we accept the displacement. b now becomes my new object. Assembly and evolution. Group?



One,                two,                three,                turning left, a hand holds a skeleton from someplace else, dipping the fingers in archival dust as the body navigates between repeating patterns. Like a Borgesian character, between the turning of pages, adopting a new role each time, growing and shedding a different skin with the turning of the lights



The sea is a cloak as mirrors are masks. A flipping body amplifies faltering movements. Breaking the surface. For a moment our traces are laid bare. Overturn. The feet gain new strength. Only bodies attest to the change in the waters 

                                                                                     Slippery floor


Splintering walls in scorching heat.
Façade, override, façade overrides,
layer after layer, each layer, emphasises a difference,
differences rendered visible, overlaid, superimposed, exclusion. Glitch.

What task does a fractured line perform?


(AL, AP, SvL, RR, MdG) 

Can we break off with a question? 


Made possible with the kind support of Mondriaan Fonds, Elisabeth Vermaat Müller Fonds, Lira Fonds, Tijl Fonds, Prins Bernhard Cultuurfonds Noord-Holland, Stichting Helden der Zee-Fonds Dorus Rijkers/ Samenwerkende Maritieme Fondsen, Nationaal Reddingmuseum Dorus Rijkers, Allard Pierson Collecties.

Suns and Stars



31(0)6 16610195