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. /
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
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
About the reparation of liaisons within family, the reconnaissance of ornamental language, the visualisation of a heritage that was never accessible, the remembrance of the names of ancestors.
29.07: opening ceremony with special guests Fuensanta Méndez, 18:00-21:00
Belarus is a country whose national identity has been thoroughly destroyed over the past hundreds of years by way of repressions, language reforms, constitutional changes and heavy propaganda. The majority of Belarusians don't know their roots, culture and are ashamed of the Belarusian language, considering it 'peasant-like'. That is one of the reasons why we, as Belarusians, have been asleep as a nation for a long time and are now seeking the process of building and forging a new structure between us as humans, repairing connections between the land and people.
Voices Of Belarus. Chapter Two: Restoring Connections talks about the reparation of liaisons within family, the reconnaissance of ornamental language, the visualisation of the heritage that was never accessible to us, the remembrance of the names of ancestors to restore the way home. Artists invite visitors to acknowledge the exhausting growth of numbers of political prisoners in Belarus. This show is an act of solidarity with the Belarusian citizens who are fighting for their human rights but are ending up imprisoned and labelled as extremists. Voices Of Belarus. Chapter Two: Restoring Connections will guide visitors through the works and their language. It's an open space for conversation, which prompts one to think about abstractions of freedom, reality and dreams of people we might never encounter.
Due to increasing oppression and severe persecution of any trace of resistance, freedom of speech and/or artistic expression in Belarus, we feel the urge to make multiple voices be heard and noticed despite the informational, political and territorial isolation of their origin. As a group of two expats and one resident of Belarus, we aim to raise the visibility of cultural cleansing by offering what we still have and are able to maintain by emerging and reinforcing connections from the outside and inside of our Motherland.
Voices of Belarus. Chapter Two: Restoring Connections presents a new series of The Postcards Of Solidarity, and individual works: Long Way Home. Part 2, 2021 - the audio-visual installation by Masha Maroz; 10 Years Of Not Being Home - the photo zine and prints by Sasha Kulak; I Cry, I Cannot See - the sculptural illustration and the eponymous poem by Dasha Golova.
The Postcards of Solidarity, 2021
(second edition - 555 pieces)
An ongoing project of Dasha Golova based on precious findings of textiles and tapestry from the ethnographic archive Past Perfect, this edition is realised in collaboration with Masha Maroz and Sasha Kulak. We kindly invite you to stand in solidarity with political prisoners in Belarus. Each of 555 cards is dedicated to each different person. These postcards are puzzles/fragments of a wider message, an ornamental code of Belarusian tapestry and embroidery, interlacing with the image behind it. This code is the key to our identity. The fragmentation of the print serves as a protection from censorship. Each of the postcards contains the information of the recipient such as the name and address of the prison, a stamp and our key message, an ornamental watchword. Everything is ready for you to activate this — not necessarily verbal — communication by choosing one of the postcards and dropping it into the postbox. By doing so you are delivering hope, a gesture of awareness, acknowledgement and support.
Sasha Kulak: a filmmaker, whom work spans a variety of visual projects ranging from documentary to fashion and music videos to photography and curation.
Masha Maroz: multidisciplinary artist and ethnographer from Minsk working on topics of collective memory trough personal, "belarusian context”, national identity.
Dasha Golova: artist and tailor, devoted to reflection on social fabric, its ruptures and reparations. Founder of biannual event Textile Initiative, based in Amsterdam.
This event is the last episode of the project Wanting to but Not.
This event is the last episode of the project Wanting to but Not and will present:
☞ A booklet designed by Ronja Andersen. This booklet works as a small catalogue of our exhibition at puntWG and it includes new images and the original texts from the art works of Giovanni Giaretta, Helena Grande and Faysal Mroueh.
☞ A new episode of feelsgalore together with poet and artist Daniel Vorthuys. Hanging out during the performance we did last February created a space for sharing fairy-tales and other fantasy constructs through sound. We have worked on a poetic audiowork titled feelsgalore.radio where we compiled our voices telling old and new stories, accompanied by music and sound.
☞ feelsgalore.radio will be available at puntWG during Saturday 10 July, just book a time slot if you’d like to listen: LINK.
The works of the exhibiting artists are connected by an event rather than themes, but can be interpreted through topics of hosting, intimacy, scale, and the poetics of materiality.
Suggested Cuts: is a small exercise in live record cutting as a performance tool.
Daily from12:00 -» 20:00.
There is no opening per se, everyday there will be recording/cutting sessions open to the public. On the last day there will be a finissage with a live performance using the recorded materials. The time of the performance is flexible.
Suggested Cuts: is a small exercise in live record cutting as a performance tool.
The project is based on exploring the possibilities of the vinyl recorder lathe, also known as a dubplate cutter. This machine essentially works like a normal record player, but in reverse: it uses a diamond stylus to cut the vinyl in real-time to engrave the vibrations produced by the incoming sound signal.
For Suggested Cuts:, Avelãs invited a number of artists and musicians to each create a small edition of unique versions of the same piece/composition – if there are 10 copies, it will be performed 10 different times, and each dubplate will be unique.
In collaboration with André Avelãs, the invited artists/musicians are encouraged to explore the limitations and possibilities of the medium of vinyl records – etching, shaping, making picture discs, exploring locked, inverted and parallel grooves, using materials like X-rays or old CDs, making unplayable record-objects, drilling multiple centre holes, and so on...
Visitors are welcome to attend the recording/cutting sessions, and to listen to the records cut on the days before on listening stations in the space.
A reply to the call "to make art as words"
Finissage 30 May 14-18 Hrs
Visits by Appointment
Thur-Sun / 14-18 Hrs
In 2019, Good Neighbour (GN) proposed an exhibition that could be seen as a container for words, similar to a book. To make art as words, this was the invitation to ten artists and one writer to participate in Sufferin’ Succotash. Back then, different works were drafted, organized, selected and written. Due to the pandemic, the show was postponed and all the plans were delayed. Throughout 2020, this interruption opened time and space for new meanings and reconsideration. In its 2021 version, the works embraced slight adjustments and the exhibition became SUSU, a repetition of the original show, but including a few differences.
The title Sufferin’ Succotash was originally taken from Ron Padgett & Joe Brainard’s homonymous publication made in 1971. It referred to a trademark expression said back then by Silvester the cat, the Looney Tunes’ cartoon.
“Because these cartoon characters were ubiquitous in the childhood of most North Americans between, say, 1940 and 1995, a lot of people have only ever heard this phrase said by them, never by an actual human in the same room they are in.” According to users of the question-and-answer website Quora: “it was an interjection to express dismay, frustration, distress or surprise. Anyhow, the literal meaning of succotash is a vegetable dish with corn and beans, sometimes also with tomato, peppers, or onion. The phrase sufferin’ succotash may therefore have an intrinsic meaning beyond its usefulness as a minced oath: aw, crap, we're eating this again?”
To visit the show please reserve a spot through this link.
Good Neighbour (GN) is a research platform based in Amsterdam since 2017, run by artist Martin La Roche, designer Dongyoung Lee and researcher Valeria Marchesini. GN defines itself primarily as a community of readers who share a communal interest for books seen as performative tools. GN doesn’t seek to build a library, it makes time for appreciating existing ones.
This exhibition is made possible with the kind support of the Amsterdams Fonds voor de Kunst and Mondriaan Fonds.
To see the whole SUSU’s documentation go to this Art Viewer feature.
The daily activities of practicing, dancing, and resting are performed within the space.
Concept: Koen Bartijn
Performers: Doke Pauwels, Elisa Zuppini, Federica Dalla Pozza
Choreography: Elisa Zuppini
In Bare Time three performers inhabit the space of Punt WG for a day. The daily activities of practising, dancing, and resting are performed within the space. Looped, these activities succumb to a bare choreographed pattern in which nothing new seems to enter. At the same time, the shared space in which they’re performed provides the potential for micro-events to influence the flow, creating raptures in the routines and emancipating them. While their times and activities are partitioned, there is a constant search for a common time
On May 1st and 2nd, we open the doors of the exhibition space in which you can witness the dancers in the loop of their common practice.
This performance is part of Antidote an international network of solidarity, collaboration and collectivity between dancers, artists, thinkers and other creatives.
Images: Julia Mira https://juliamira.net/
Appendix Songs is an exhibition touching on friendly abjection and sensing at a distance.
Read Radna Rumping's text accompanying the show here.
There’s a hypothesis that the appendixes of Homo habilis and our earlier ancestors could emit and receive radiation, allowing for a form of remote feeling over long distances, something that became vestigial as the voice gained primacy. If a telephone ‘speaks with its ears and hears with its mouth’, as the riddle suggests, the appendix was able to talk without either orifice, transmitting and receiving directly through the skin's pores. Stress can cause acid reflux to abrade and mute the vocal cords, and as the throat quietens, the appendix sings along to other voices.
Appendix Songs is an exhibition touching on friendly abjection and sensing at a distance, with works by Mónica Mays, Susan Ploetz, Jean-Francois Peschot and Tom K Kemp, with a text by Radna Rumping.
Susan Ploetz - ‘PSY-SOMA-TEK’ - LARP
One-to-One Sessions: Bookable between the 10th and 25th April
Group Sessions - 13th, 16th and 21st April
Group sessions conducted as 3 hour larp (live action role play)
Online group session April 25th
For more info and to sign up visit: https://susanploetz.com/PSY-SOMA-TEK
Through iterative role plays and one-on-one appointments participants will explore a variety of embodied extra-sensory techniques inside the fictional framing of a speculative institution called PSY-SOMA-TEK. Founded by a mysterious figure in a time of crisis, the institute seeks to create sustainable psy-somatic technologies to find missing people, see into the past and future, and communicate and connect across distances, decentralize knowledge and extend powers to those in need when the technocratic-suprastructures of the old order have started to fall apart.
Tom K Kemp - ‘After the Maestro’ participatory RPG session - ONLINE.
Saturday 17th and Sunday 18th April @ 3pm
5 players per session - duration ~3hrs.
Book an appointment by writing you name in this document
Or email email@example.com.
After the Maestro is a tabletop roleplaying game set within an anthropomorphised anatomical city akin to those seen in animations like Once Upon a Time... Life, Osmosis Jones and Cells at Work!. Players take on the role of cellular and microbial workers during the aftermath of a successful labour emancipation within the inner body. Through ludic storytelling and speculative worldbuilding, each iteration of the game generates a narrative with its own body-politic metaphors, describing and anthropomorphising different anatomical systems and devising new structures of organisation and interdependence in the sudden absence of established biological hierarchies.
Mónica Mays’ (ES/NL) practice considers materials and objects through their production and reproduction - following the contexts they come from, through the symbolic meanings they acquire, to the economies they circulate in. Informed by fabulations of the home, her installations work with the vernacular stories and tacit knowledges of the objects she deploys, where craft, lore and agencies meet.
Susan Ploetz (US/DE) is an artist-researcher working with somatics, theory, writing, experience design and real-life simulations in different speculative configurations. Her work deals with the overlapping spaces of soma and technos; she uses imagination, the senses, bodymind, magical materiality and protocol to induce emancipatory emotive dissonances and the expansion of perceptions and ontologies.
Jean-Francois Peschot (FR/NL) revises the function of contemporary imaging technologies, forcing mutations in the translation and standardisation of information into human modes of comprehension. Through sculpture and video he explores mechanisms at work in the image economy, using misappropriated consumer devices to contaminate common scientific narratives and the production of semiotics.
The films and installations of Tom K Kemp (UK/NL) use RPG design, improvised filmmaking and animation to parse the eerie consequences of global bureaucratic and financial systems on intimate and immediate human relations. His works generate semi-autonomous Weird fictions, where gamification and collaborative storytelling are combined into a deviated method of complexity modelling.
Given the current situation, the artists will work in the space and build up the exhibition as planned but open public visits will only be announced in April if the current corona measures change. Follow the exhibition through our Instagram account.
Works and exhibition supported by Mondriaan Fonds, Amsterdam Fonds voor de Kunst, Bilbao Arte Foundation and the Stimuleringsfonds.
Photo documentation by the exhibitors