Opening Times: 30 March, 5 & 6 April, 12 & 13 April, 19 & 20 April. 13:00-18:00.

Part of the Open Call series

Each week in April, Maria Zandvliet, Lyckle de Jong, Kim David Bots and G.C. Heemskerk will create and perform a new musical theater piece. Which will be filmed by DOP Sjuul Joosen. Each piece consists of music, text, costumes, lighting, scenery and props, which are made on site. The remains of the performances — sets, costumes, props and (video) documentation — form a weekly, changing exhibition.

Each performance has its own storyline, inspired by the history of the WG site, market forces in healthcare and the aesthetics of healthcare environments. The pieces are episodic and connected, but can also be experienced separately. We work sequentially from the themes: Healthy, Sick, Death and The Afterlife. After the exhibition we will make a film, enriched with sound design, drawings and music, seen as a powerful tool for knowledge transfer.

Performances:

1. Gezond (30 March 16:00)
2. Ziek (6 April 16:00)
3. Dood (13 April 16:00)
4. Het Hiernamaals (20 April 16:00)

In our society today, there is a strong emphasis on health. Buildings are designed for healthy, human bodies, with limited consideration for individuals who are supposedly 'deviant'. This is also true in everyday life, where strict standards determine what is considered deviant or healthy, what is considered natural and what is not. These images influence not only the design of our buildings and public spaces, but also how we are allowed to behave, what gender we are assigned, how we feel, and whether we are excluded or given more opportunities. By playing with the idea of health and illness, we challenge these normative frameworks and create an absurdist narrative that opens up new possibilities. We ask questions such as: Why is health seen as the responsibility of an individual? Isn't it eminently a social thing? This is a core part of our method: we constantly take on different roles, trying to be something we are not ourselves, thus empathically putting ourselves in the shoes of a “sick” or “healthy” Other. Perhaps fiction is the best way to really feel what it is like to be in a different situation. Fiction can thus even be seen as a powerful tool for knowledge transfer.

The artists are supported by the Mondriaan Funds and Stroom Den Haag.

Photos by Studio Plancius (www.studioplancius.com).

Exhibition Opening Times:
Thu-Sun: 14:00 - 18:00
Mon-Wed: by Appointment* 

Lecture: 22 March, 14:00 - 18:00

Part of the airWG series

Mapping Belonging presents an in-depth reflection on the spatial conditions for belonging as experienced by Mayrah Udvardi, atelierWG Artist in Residence. During her three-month residency, Udvardi examined the diverse places she has called home—defined as any location where she lived for three months or more with access to a kitchen—to consider how architecture, geography, and cultural context informed her sense of place.

How does your built environment contribute to your sense of belonging — or displacement?

In her role as Design Director with MASS Design Group — a global nonprofit that partners with communities to design, build, and advocate for architecture that promotes justice and human dignity — Udvardi habitually poses this question to others. Yet her creative practice is deeply personal, shaped by repeated experiences of placemaking and uprooting that began in childhood.

By the time she came of age, Udvardi had learned two profound lessons. First, political access does not equate to social acceptance. Although citizenship in three countries eased border crossings for her family, it held no sway on the playground. Belonging, she observed, arises from shared history, a connection to place, and a sense of steadfastness — all of which eluded her.

Second, the construction of homes and territories perpetuates transnational “slow violence” — the gradual harm inflicted by privileged communities on marginalized peoples and ecosystems. She witnessed this in the suburbanization of her birthplace in Ngunnawal country (Australian Capital Territory), which rendered thousands of acres vulnerable to fire; in the influx of migrants to post-wall Berlin fleeing war and economic hardship; and in the precarious farmworker housing underpinning Oregon’s agricultural empire. While she eventually accepted that belonging might remain elusive, the reality of slow violence became a galvanizing force in her professional practice.

Udvardi’s retrospective is organized as an interactive catalogue of cartographies that trace the emotional and historical significance of each past home at domestic, community, and regional scales. Visitors are invited to engage tactilely with the catalogue, drawing their own conclusions about each home’s capacity to foster belonging. Ultimately, Mapping Belonging urges contemplation of how origins, migrations, and memories converge to form a sense of home and challenges viewers to question the complex forces shaping our relationships with place.

Photography by Studio Plancius

Exhibition Open: 4 - 9 March, 13:00 – 18:00

Part of the atelierWG series

Alexandra Verkerk & Joop Haring invite you to their show in puntWG, Amsterdam.

It’s our reflection to ‘Nature’,  all around us. And it’s Springtime!

We're showing: Paintings, sculptures, drawings and wall hangings in puntWG

Slideshow: Friday, March 7 at 17:00 in puntWG

Spring-party / Finissage: Sunday, March 9 at 14:00 – 18:00

See our website: www.haringverkerk-art.nl

Photography by Studio Plancius

Opening times: 15, 16 + 22, 23 February

I promise to devote my heart to you and my art, for both are my life’s passion. In each stroke of my brush, you shall find me. - Artemisia Gentileschi

Dear artists, lovers, and significant others

We are excited to invite you to the Valentines show The Patron Saint of Beekeepers in puntWG opening on 14 february at 17:00

puntWG is an independent, artist-run space for experimental exhibitions and artistic exchange in Amsterdam West. Since last year, we have a new volunteer team overseeing its organisation and programming. 

To introduce ourselves and share our new way of working for the coming year, we are organising a large group show that consists of postcards, love letters, and valentine's day cards sent from artists near and far.

Expect lots of letters, cocktails and feelings.

Fare thee well, my love...

Yours forevermore,
The puntWG team:
Nina Harra, Julia Dahee Hong, Susan Kooi, Lily Lanfermeijer, and Smári Róbertsson

Artists:
Marijn Akkermans, Josefina Anjou, Bergur Anderson, Gegee Ayurzana, Inez de Brauw, Ceel Mogami de Haas, Emma van den Berg, Lars van de Grift, Halla Einarsdóttir, Caz Egelie, Helen Frik, Agathe Gabrielle, Julia Gersten, Marije Gertenbach, Noa Giniger, Joseph Hughes, Hrafnhildur Helgadóttir, Lukas Malte Hoffman, Simone Jarvis, Masaki Komoto, Tatiana Kouguell, Rosita Kær, Garrett Lockhart, Bláithín Mac Donnell, John MacLean, Agata Milizia, Aaro Murphy, Ana Navas, Petra Noordkamp, Micha Patiniott, Will Peck, Josse Pyl, Alina Senchenko, Caroline Silverman, Michelle Son, Mai Spring, Olle Stjerne, Lisa Sudhibhasilp, Charlotte Weise, Tran Wang Dai, Marika Vanderkraats, Rúna Þorkelsdóttir & more to be announced. 

Photos: Studio Plancius

Part of the Open Call Series.

Swan, Nina and Rick invite you to move into their WG. According to the landlord (who  will live with you) it’s a room (8m2) like any other. It’s just that the light switch is in the kitchen. There’s no threshold separating the noisy floor boards in the kitchen from what used to be the dining room (now your room). When someone is peering into the fridge late at night it sounds like they’re standing next to your bed. With the scratching coming from behind the painting you never feel alone. However, the landlord tells you, your room has one big advantage: One of the long walls is completely window, from left to right, top to bottom. It's beautiful, isn’t it?  

Play Home is the inaugural issue in PuntWG's exhibition series of uncustomary matchmaking. The cohabitation of works is structured like a spatial montage of  fragments of domesticity and communal living. Homemaking is always a work in progress, it’s making it work. Living together inevitably breeds issues of excess and (over)proximity. Each brings their own projections, blurry edges bleeding together in uncanny and unpredictable ways. Memories, torn from their original time and reconstituted alongside each other, furnish the space. 

And then that window: supposedly a clear demarcation between inside and outside, looking through a matter of sending and receiving. But when all is too much, everything too close, its structural function sheds this illusory simplicity. Suddenly you find it looking back at you and yourself part of the scene you’re looking at, part of the house. Our new roommate.

Open: Saturdays & Sundays 12 - 6 pm / Other days 5 - 7 pm / Wednesday 11 December 4 - 6 pm

Part of the airWG series

The Wind Blows Where It Wants invites us to explore ideas of escape both as a mindset and a method, re-imagining actions and desires as acts of fugue. This is an invitation to awaken our minds and rethink reality through fresh, unexpected perspectives. A proposal by Pau Masclans, realized with the support of the participating artists and De Appel Amsterdam. 

Generously supported by Foundation R. Amigó i Cuyàs / BBAA Universitat de Barcelona and airWG Artist in Residence of Atelier Wilhelmina Gasthuis.

Photography by Ilya Rabinovic.

Exhibiton opening times: Weekends 14:00 - 18:00 and Weekdays between 13:00 - 17:00 by appointment only

Sunday 8 December: Artist talk at 16:00

Part of the atelierWG Series

Begun in 2005, Julian & Jonathan is my most extensive body of work, portraying the relationship between my father, Julian, and my half-brother, Jonathan. Jonathan is 20-years younger than me, and my childhood memories of my relationship with my father have since found echoes – to some extent – in Jonathan’s experience. I’m interested in the triangulation between us; the changing proximity and distance we share, and the peculiar feeling of looking in on a world to which I don’t fully belong. 

Over the years, the dynamic between them – and us – has ebbed and flowed. Sometimes they were close, and at other times they were further removed from one another. They have both dealt with the hardship of loss and its many painful consequences. My images of Jonathan throughout his youth, whether alone or with our father, chronicle these shifts and turns. With each photographic session, I attempt to get closer to him, to establish connection, to understand his inner world; at times, the resistance I’m met with only fuels my intrigue to know more. The project is as much about me and my family as it is about their separate universe.