past
SUSU
Clara Amaral, Enric Farrés Duran, Martijn in ‘t Veld, Maartje Fliervoet, Michiel Hilbrink, Francisca Khamis, Ignacio Gatica, Ilse van Rijn, Stéphanie Saadé, Martín La Roche, Dongyoung Lee
8 till 30 May 2021

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.

  

Opening hours

puntWG is open on weekends from 14.00 to 18.00 hrs and extra opening hours as shown above.

And also by appointment

Newsletter

If you like to stay informed about the activities in puntWG, please subscribe to our newsletter.


Share:
past
View of the exhibition SUSU at Punt WG, Amsterdam, 2021. Photograph by Ilya Rabinovich. 
View of the exhibition SUSU at Punt WG, Amsterdam, 2021. Photograph by Ilya Rabinovich. 
View of the exhibition SUSU at Punt WG, Amsterdam, 2021. Photograph by Ilya Rabinovich. 
View of the exhibition SUSU at Punt WG, Amsterdam, 2021. Photograph by Ilya Rabinovich. 
From left to right: Enric Farrés Duran, Tell me, enigmatic man, whom do you love best?, 2017; Maartje Fliervoet, Correspondances (frieze), 2021; FranciscaKhamis Giacoman, As far as I can rememb
From left to right: Enric Farrés Duran, Tell me, enigmatic man, whom do you love best?, 2017; Maartje Fliervoet, Correspondances (frieze), 2021; Francisca
Khamis Giacoman, As far as I can rememb
Enric Farrés Duran, Tell me, enigmatic man, whom do you love best?, video still, 2017. Image courtesy of Martijn in ‘t Veld.
Enric Farrés Duran, Tell me, enigmatic man, whom do you love best?, video still, 2017. Image courtesy of Martijn in ‘t Veld.
Dongyoung Lee and Michiel Hilbrink, Droomhuis, 2021. Photograph by Michiel Hilbrink.
Dongyoung Lee and Michiel Hilbrink, Droomhuis, 2021. Photograph by Michiel Hilbrink.
Ignacio Gatica, Stones Above Diamonds, detail, 2020. Photograph by Ilya Rabinovich.
Ignacio Gatica, Stones Above Diamonds, detail, 2020. Photograph by Ilya Rabinovich.
Stéphanie Saadé, Underlines, 2013.   
Stéphanie Saadé, Underlines, 2013.   
From front to back: Martín La Roche, Alinea, detail, 2021; Maartje Fliervoet, Correspondances (frieze), detail, 2021.   &n
From front to back: Martín La Roche, Alinea, detail, 2021; Maartje Fliervoet, Correspondances (frieze), detail, 2021.   &n
Maartje Fliervoet, Correspondances (frieze), detail, 2021.
Maartje Fliervoet, Correspondances (frieze), detail, 2021.
Clara Amaral, Manual, 2021. 
Clara Amaral, Manual, 2021. 
 Maartje Fliervoet, Correspondances (textiles), 2021.
 Maartje Fliervoet, Correspondances (textiles), 2021.
Martijn in ‘t Veld, Marcel Proust on eBay, detail, 2021. 
Martijn in ‘t Veld, Marcel Proust on eBay, detail, 2021. 
From top to bottom: Stéphanie Saadé, Underlines, 2013; Enric Farrés Duran, Open a place for conten
From top to bottom: Stéphanie Saadé, Underlines, 2013; Enric Farrés Duran, Open a place for conten
Francisca Khamis Giacoman, As far as I can remember, performance documentation, 2021.  
Francisca Khamis Giacoman, As far as I can remember, performance documentation, 2021.  
Dongyoung Lee and Michiel Hilbrink, Droomhuis, 2021.
Dongyoung Lee and Michiel Hilbrink, Droomhuis, 2021.