BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20160402 DTSTAMP:20160210T125245 DTSTART:20160227 GEO:52.3706567;4.8824697 LOCATION:Galerie Ron Mandos (Amsterdam)\,Konijnenstraat 16A (temporary loca tion)\nAmsterdam\, 1016 HJ SEQUENCE:0 SUMMARY:Joint Exhibition\, Mohau Modisakeng\, Silvia B. UID:409506 END:VEVENT BEGIN:VEVENT DTEND:20160227T190000 DTSTAMP:20160210T125245 DTSTART:20160227T170000 GEO:52.3706567;4.8824697 LOCATION:Galerie Ron Mandos (Amsterdam)\,Konijnenstraat 16A (temporary loca tion)\nAmsterdam\, 1016 HJ SEQUENCE:0 SUMMARY:Joint Exhibition\, Silvia B.\, Mohau Modisakeng UID:409507 END:VEVENT BEGIN:VEVENT DESCRIPTION:

New York-based writ er and artist Emily Segal \;reads excerpts from her novel-in-process\, which is currently on view in  \;Foreword.  \;She is \ ;joined by artists Calla Henkel and Max Pitegoff to discuss both the texts and the exhibition\, as well as ideas around \;&lsquo\;shared fictions& rsquo\; and creative economies.

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To bo ok a ticket for this event\, please click the button below:

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De in New York gevestigde schrijver en kunstenaar Emily Segal leest fragmenten voor uit ha ar roman in wording. Deze fragmenten zijn momenteel te zien in de tentoonst elling Foreword. Ze wordt vergezeld door kunstenaars Calla Henkel en Max Pitegoff om de teksten en de tentoonstelling te bespreken. Ook zulle n zij ingaan op hun ideeë\;n over creatieve start-upbedrijven en hun ge deelde opvattingen\, taalgebruik en ficties\, die centraal staan in de tent oonstelling.

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Om kaarten te bestellen kunt u op onderstaande knop klikken:

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DTEND:20160216T210000 DTSTAMP:20160210T125245 DTSTART:20160216T190000 GEO:51.9154779;4.4770598 LOCATION:Witte de With Center for Contemporary Art\,Witte de Withstraat 50 \nRotterdam\, 3012 BR SEQUENCE:0 SUMMARY:An Evening with Emily Segal\, Calla Henkel & Max Pitegoff\, Emily S egal UID:409503 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Witte de With Center for Conte mporary Art is pleased to present GesammttkkunnsttMeshuggahhLaandtttt\, a solo exhibition with artist Charlemagne Palestine\, who also spent several years living and working in Rotterdam. Presenting a selection   \;of works from the artist&rsquo\;s oeuvre\, the exhibition includes early video works\, sculptures\, paintings\, installations\, and sound scores. Ch arlemagne Palestine works form a highly personal universe of rituals\, into xication\, and shamanism. In the last four decades\, the artist has created an extensive body of experimental musical compositions\, bodily performanc es\, and\, in later years\, visual art works that are inhabited by stuffed animals. To Palestine\, teddy bears figure as powerful shamanic totems\, wh ich he fondly calls Divinities.

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Born in 1947\, Brooklyn\, in a Jewish family\, Charlemagne Palestine gained reco gnition in the sixties with his experimental compositions and performances. A flamboyant part of the creative scene of New York\, he collaborated with choreographer Simone Forti\, artists Tony Conrad and Richard Serra\, and p erformed alongside avant-garde artist La Monte Young and composers Terry Ri ley\, Philip Glass\, and Steve Reich. In spite of the art historical consen sus about that era and his contemporaries\, Palestine has always resisted b eing labeled a minimalist\, opting instead for the term &ldquo\;maximalist& rdquo\;. In his later years he toured through Europe\, settling briefly in the Netherlands\, where he lived and worked in Rotterdam.

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Central to his exhibition are a grand piano\, as \ ;the sounding heart of the show\, and a new large-scale version of the so-c alled God-Bear Museum Model\, a proposal for a new kind of museum where music and performance find a home just as easily as a painting would. Also part of the exhibition are Palestine&rsquo\;s extraordinary music or sound annotations\, a vast collection of works on paper\, which aim to tran slate sound into image.

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The exhibitio n kicks off with a performance by Palestine on the opening night\, Thursday 28 January 2016\, and will be accompanied by a new catalogue\, co-publishe d by Witte de With Publishers and Sternberg Press\, on behalf of Kunsthalle Wien.

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Curator:  \;Luca Lo Pinto (Kunsthalle Wien)\, together with Samuel Saelemakers

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The exhibition is co-commissioned by Kunsthalle Wien and Wi tte de With Center for Contemporary Art. An earlier iteration of the exhibi tion was on view from 18 September to 8 November 2015 at Kunsthalle Wien.\n

On 2-3 April 2016\, Charlemagne Palest ine and Simone Forti will present a new version of their performance Il luminations at Vleeshal Markt\, organized by Vleeshal\, Middelburg.

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Witte de With Center for Contem porary Art presenteert GesammttkkunnsttMeshuggahhLaandtttt\, een s olotentoonstelling met performer\, geluids- en beeldend kunstenaar Charlema gne Palestine\, die ook enkele jaren in Rotterdam werkte en woonde. De tent oonstelling presenteert diverse werken uit het oeuvre van de kunstenaar\, w aaronder vroege videowerken\, sculpturen\, schilderijen\, installaties en g eluidsopnames. Charlemagne Palestine werkt vanuit een zeer persoonlijk univ ersum van rituelen\, bedwelming en sjamanisme. In de afgelopen vier decenni a werkte de kunstenaar met een scala aan media om experimentele muzikale co mposities\, fysieke performances en\, in latere jaren\, beeldend werk te cr eë\;ren dat gekenmerkt wordt door speelgoedbeesten. Voor Palestine geld en vooral teddyberen als krachtige sjamanistische totems\, die hij liefkoze nd Divinities\, oftewel goddelijke wezens\, noemt.

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Charlemagne Palestine werd in 1947 in Brooklyn gebor en in een Joodse familie\, en verwierf erkenning in de jaren zestig met zij n experimentele composities en performances. Hij werd al snel een flamboyan te verschijning in de creatieve kringen van New York en werkte samen met ch oreograaf Simone Forti\, kunstenaars Tony Conrad en Richard Serra\, en voer de performances uit met avant-garde kunstenaar La Monte Young en componiste n Terry Riley\, Philip Glass\, en Steve Reich. Ondanks de kunsthistorische consensus over dat tijdperk en zijn tijdgenoten heeft Palestine zich altijd verzet tegen de term minimalisme en omschrijft zichzelf liever als &ldquo\ ;maximalist&rdquo\;. In latere jaren toerde de kunstenaar door Europa en ve stigde zich kort tijd in Nederland\, waar hij woonde en werkte in Rotterdam .

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De kern van de tentoonstelling best aat uit een concertvleugel\, die beschouwd kan worden als het hoorbare hart van de tentoonstelling\, en een nieuwe grootschalige versie van de zogenaa mde God-Bear Museum Model\, dat dient als een ontwerp voor een nie uw soort museum waar muziek en performance evenzeer welkom zijn als schilde rkunst. Ook zijn in de tentoonstelling Palestine&rsquo\;s unieke muziek- en geluidsannotaties te zien\, een ruime verzameling werk op papier\, waarin de kunstenaar geluid naar beeld vertaalt.

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De tentoonstelling gaat van start met een performance door Palestine t ijdens de avond van de opening\, donderdag 28 januari 2016. Bij de tentoons telling verschijnt een nieuwe catalogus\, gezamenlijk gepubliceerd door Wit te de With Publishers en Sternberg Press namens Kunsthalle Wien.

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Curator: \;Luca Lo Pinto\, samen \;met Samuel Saelemakers

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De tentoonstelling is een gezamenlijke productie van Witte de With en Kunsthalle Wien. Een an dere editie van de tentoonstelling was te zien van 18 september tot 8 novem ber 2015 in Kunsthalle Wien.

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Op 2 en 3 april 2016 voeren Charlemagne Palestine en Simone Forti een nieuwe versie uit van hun performance Illuminations bij de Vleeshal Markt\, geo rganiseerd door de Vleeshal\, Middelburg.

DTEND:20160501 DTSTAMP:20160210T125245 DTSTART:20160129 GEO:51.9154779;4.4770598 LOCATION:Witte de With Center for Contemporary Art\,Witte de Withstraat 50 \nRotterdam\, 3012 BR SEQUENCE:0 SUMMARY:GesammttkkunnsttMeshuggahhLaandtttt\, Charlemagne Palestine UID:409501 END:VEVENT BEGIN:VEVENT DTEND:20160128T190000 DTSTAMP:20160210T125245 DTSTART:20160128T170000 GEO:51.9154779;4.4770598 LOCATION:Witte de With Center for Contemporary Art\,Witte de Withstraat 50 \nRotterdam\, 3012 BR SEQUENCE:0 SUMMARY:GesammttkkunnsttMeshuggahhLaandtttt\, Charlemagne Palestine UID:409502 END:VEVENT BEGIN:VEVENT DESCRIPTION:

If both art and literature con stitute forms of thought\, what is generated or lost in slippages\, transla tions\, and activations between the two? Are their dividing lines arbitrary or highly dissoluble? How do both forms enfold and unfold across the exhib ition space? What relates making to writing\, viewing to reading?

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Witte de With launches Para | Fictions\, a cycle of sustained investigations on its ground-floor\, taking as its focus these questions through the practice of six \;artists\; Calla He nkel &\; Max Pitegoff\, Mark Geffriaud\, Laure Prouvost\, Oscar Santilla n\, and Lucy Skaer. Each project on display promises to present a different artistic methodology\, which constitutes a combination of each artist&rsqu o\;s visual interests and literary underpinnings\, to seek the viability of repositioning &lsquo\;reference&rsquo\; as &lsquo\;form&rsquo\;\, &lsquo\; translation&rsquo\; as &lsquo\;co-authorship&rsquo\;.

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The Para | Fictions series has been provoked by t he particular correspondences of literature and visual arts in contemporary culture\; a landscape made up of disparate yet relatable topographies of i nfluence branching into fiction as a research methodology\, and theoretical discourse around the fictional nature of the contemporary itself.

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Foreword: Calla Henkel &\ ; Max Pitegoff
29 January &ndash\; 10 April 10 2016< /strong>

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In Foreword\, Berli n-based duo Calla Henkel and Max Pitegoff focus on shared fictions and the abstraction of community within entrepreneurial startups and models of crea tive labor. An excerpt from a novel-in-progress by New York-based writer Em ily Segal (co-founder of the trend forecasting group and art collective K-H OLE and former creative director at Genius) will be released and installed in three parts over the course of the exhibition\, framed by a configuratio n of colored benches and tables pulled from spaces run by Henkel and Pitego ff over the past five years in Berlin. These tables display Henkel and Pite goff&rsquo\;s short story &ldquo\;Photography and Eating\,&rdquo\; which ex plores the creative classes&rsquo\; relationship to risk\, profit\, fantasy \, and uselessness\, drawing from their interviews and visits to startups i n Berlin. The brightly coloured installation recalls both the aesthetics of the start-up offices they visited\, and those of early 2000&rsquo\;s relat ional art practices\, offering a non-work space in the ground floor gallery of Witte de With. Hosting two parallel semi-fictional narratives weaving i n and out of truth in a nod to internet-era journalism and digitally circul ated texts\, Foreword sees Henkel and Pitegoff perversely position text as art object.

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Curators: Defne Ayas\, Natasha Hoare

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Para | Fictions
Foreword
is presented as part of Para | Fictions\ ,  \;a cycle of sustained investigations taking as its focus the relati onship between literature and visual art \;through the practice of six& nbsp\;artists\; Calla Henkel &\; Max Pitegoff\, Mark Geffriaud\, Laure P rouvost\, Oscar Santillan\, and Lucy Skaer.

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Each project on display presents a different artistic methodology\, constituting a combination of each artist&rsquo\;s visual interests and lit erary underpinnings\, to seek the viability of repositioning &lsquo\;refere nce&rsquo\; as &lsquo\;form&rsquo\;\, &lsquo\;translation&rsquo\; as &lsquo \;co-authorship&rsquo\;.

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Para | F ictions  \;is supported by AMMODO.

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AMMODO_ZW-01

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Als zowel kunst als literatuur vormen van denken zijn\, wat ontstaat of gaat v erloren in kruisbestuivingen\, vertalingen en interactie tussen de twee? Zi jn hun scheidslijnen willekeurig of eenvoudig te overbruggen? Hoe omhullen en onthullen beide vormen zich binnen de expositieruimte? Hoe verhoudt make n zich tot schrijven\, en bekijken zich tot lezen?

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Witte de With presenteert Para | Fictions\, een reek s van voortdurend onderzoek op de begane grond dat deze vragen centraal ste lt via de praktijk van zes kunstenaars\; Calla Henkel &\; Max Pitegoff\, Mark Geffriaud\, Laure Prouvost\, Oscar Santillan en Lucy Skaer. Elk proje ct gaat uit van een andere artistieke methodologie\, die volgt uit een comb inatie van de visuele interesses en literaire achtergrond van elke kunstena ar\, om te onderzoeken hoe levensvatbaar het is &lsquo\;referentie&rsquo\; als &lsquo\;vorm&rsquo\;\, en &lsquo\;vertaling&rsquo\; als &lsquo\;co-aute urschap&rsquo\; te zien.

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De Para | Fictions serie ontsproot uit de bijzondere overeenkomsten van litera tuur en beeldende kunst in de hedendaagse cultuur\; een landschap bestaande uit ongelijksoortige maar verwante topografieë\;n van invloed\, gebrui kmakend van fictie als een onderzoeksmethodologie\, met een theoretisch dis cours rond het fictieve karakter van het hedendaagse zelf.

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Curatoren: Defne Ayas\, Natasha Hoare (concept)\, Sam uel Saelemakers

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Foreword: Calla Henkel &\; Max Pitegoff
29 januari &ndash\; 1 0 april 10 2016

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In Foreword richt het in Berlijn gevestigde duo Calla Henkel en Max Pitegoff zich op de gedeelde opvattingen\, \;taalgebruik en \;fictie van \;creatie ve start-upbedrijven. In de loop van de expositie wordt in drie delen een f ragment van een roman in wording van Emily Segal (New York\, medeoprichter van trendvoorspeller en kunstcollectief K-HOLE en voormalig creatief direct eur bij Genius) gepubliceerd en geï\;nstalleerd. Deze fragmenten worden onderdeel van een samenspel van gekleurde banken en tafels uit werkruimtes die Henkel en Pitegoff de afgelopen vijf jaar in Berlijn hebben geleid. Op deze tafels is Henkel en Pitegoffs korte verhaal Photography and Eatin g te zien\, waarin de relatie tussen de creatieve klasse en aspecten a ls risico&rsquo\;s nemen\, winst maken\, verbeelding en nutteloosheid wordt onderzocht. Daarbij putten Henkel en Pitegoff uit diverse interviews met B erlijnse startende ondernemers. De felgekleurde installatie doet denken aan de esthetiek van de kantoren die zij bezochten en aan relational art uit het begin van deze eeuw.

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Het resultaat is een niet functionerende werkruimte op de begane grond van Witt e de With. Zo verweven Henkel en Pitegoff in Foreword met twee par allelle semi-fictieverhalen\, waarheid en verzinsel (met een knipoog naar d e digitale journalistiek van het internettijdperk) en stellen op tegendraad se wijze tekst als kunstwerk voor.

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Cu ratoren: Defne Ayas\, Natasha Hoare

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< strong>Para | Fictions
Foreword is onderde el van Para | Fictions \, \;een serie die ontsproot uit de bijzondere overeenkomsten tussen \;literatuur en beeldende kunst in de hedendaagse cultuur.   \;Als zowel kunst als literatuur vormen van denken zijn\, wat ontstaat of g aat verloren in kruisbestuivingen\, vertalingen en interactie tussen de twe e?

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Dergelijke vragen staan centraal i n een reeks van voortdurend onderzoek op de begane grond via het werk van&n bsp\;zes kunstenaars\; Calla Henkel &\; Max Pitegoff\, Mark Geffriaud\, Laure Prouvost\, Oscar Santillan en Lucy Skaer. Elk project gaat uit van ee n andere artistieke methodologie\, die volgt uit een combinatie van de visu ele interesses en literaire achtergrond van elke kunstenaar\, om te onderzo eken hoe levensvatbaar het is &lsquo\;referentie&rsquo\; als &lsquo\;vorm&r squo\;\, en &lsquo\;vertaling&rsquo\; als &lsquo\;co-auteurschap&rsquo\; te zien.

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Para | Fictions wordt ondersteund door \;AMMODO.

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AMMODO_ZW-01

DTEND:20160410 DTSTAMP:20160210T125245 DTSTART:20160129 GEO:51.9154779;4.4770598 LOCATION:Witte de With Center for Contemporary Art\,Witte de Withstraat 50 \nRotterdam\, 3012 BR SEQUENCE:0 SUMMARY:Para | Fictions: Foreword\, Calla Henkel & Max Pitegoff UID:409499 END:VEVENT BEGIN:VEVENT DTEND:20160128T190000 DTSTAMP:20160210T125245 DTSTART:20160128T170000 GEO:51.9154779;4.4770598 LOCATION:Witte de With Center for Contemporary Art\,Witte de Withstraat 50 \nRotterdam\, 3012 BR SEQUENCE:0 SUMMARY:Para | Fictions: Foreword\, Calla Henkel & Max Pitegoff UID:409500 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Performances:

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every Thursday/Saturday/Sunday

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11 performances running across 2 hours

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Each cycle starts on the hour at 2pm and 4pm.

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Week 1: January 30\, 31

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Week 2: February 4\, 6\, 7

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Week 3: February 11\, 13\, 14

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Week 4: February 18\, 20\, 21

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Week 5: February 25\, 27\, 28

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Week 6: March 3\, 5\, 6

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& ldquo\;Relational Stalinism&rdquo\;

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In opposition to the strangling of museum spaces worldwide by rampant immaterial kudzu\, (i.e. Post-French Post-Conceptual Dance\, Da nce-We-Can&rsquo\;t-Call-Dance\, Po-Faced Minimalism\, Feel-Good Participat ory Glibbery\, (a.k.a. Too Many Seagulls)\, and Performance with no qualiti es whatsoever aside from its leeching of court-approved historical referent s\, (a.k.a. Fancy Shoulder Piggybacking))\, the breed of Relational Stalini sm arose in a Theater Internment Facility in Preoccupied Benelux in the lat e Twenty-Teens. The primary tenets of Relational Stalinism are: Emboldening Confusion\, Logocratic Exuberance\, and Antic Behaviorism. Relational Stal inist works use a slippery iron fist to unbutton the viewer&rsquo\;s buggy of self and catapult her into a realm of truths only palpable through highe r forms of irrationality.

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Th is advanced breed of world-bending adopts the degree-zero performance palet te as a constraint (performers\, in a room\, that&rsquo\;s it)\, but pushes it out of monochrome and into a pubotany of deviously vibrant offshoots wh ich stretch participants&rsquo\; language and behavior in the service of in vention.

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&mdash\;-

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Running across six spaces at Witte de With\, R elational Stalinism &ndash\; The Musical is an ambitious assemblage of new performances created by artist Michael Portnoy\, enacted and developed with a diverse troupe of dancers\, actors\, singers and improvisers. Many different registers of performance will simultaneously cohabit the institut ion\, mixing inscrutable role-play scenarios\, experimental sketch comedy\, hyperactive spectatorship\, melodramatic operatic interlude\, prog-rock mi cro-dance and teary-eyed theoretical soliloquy. Combining futurology with s atire\, this exhibition transmutes the seeds of prevalent approaches to vis ual arts performance as a form of generative critique.

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Relational Stalinism &ndash\; The Musical is the latest branch of Portnoy&rsquo\;s Improvement League\, initiated in the Taipei Biennial 2010\, which seeks to &ldquo\;improve&rdquo\; existi ng breeds of art-making by pruning\, grafting and hybridizing certain lines of thought in a kind of conceptual horticulture.

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Public Program:
The project is accompan ied by several events including Performance Taxonomies\, a symposium on March 3\, 2016\, featuring a series of present and futur e taxonomies by key thinkers in the field of performance analysing current typologies from which speculative improvements can be structured\; The Particiturbation Room\, a conceptual nightclub at various locations in Rotterdam\; and on a night of short films selecte d by Portnoy himself to draw out the absurdist streak in artist&rsquo\;s mo ving image.

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Relational Stalinism &ndash\; The Musical is curated by Defne Ayas (Director\, Witte de Wit h) and Natasha Hoare (Associate Curator\, Witte de With) and is a co-produc tion of Witte de With and A.P.E (art projects era)\, with thanks to product ion and dramaturgy advisor Maaike Gouwenberg.

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Made possible with the support of Fonds 21\, the city of Rotterdam and the American Embassy.

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< img class=" wp-image-79489 size-medium alignnone" src="http://www.wdw.nl/wp /wp-content/uploads/2016/01/logos-fondsen-Portnoy-585x109.png" alt="logo's fondsen Portnoy" width="585" height="109" />

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Dramaturgy advisor: Maaike Gouwenberg

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Perf ormances

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Elke donderdag/zate rdag/zondag

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11 performances die in to taal 2 uur duren

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De reeks start om 14 :00 en 16:00 uur

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Week 1:   \;30\, 31 januari

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Week 2: 4\, 6\, 7 f ebruari

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Week 3: 11\, 13\, 14  \;f ebruari

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Week 4: 18\, 20\, 21  \;f ebruari

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Week 5: 25\, 27\, 28  \;f ebruari

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Week 6: 3\, 5\, 6 maart

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Relational Stalinism &ndash\; The Musi cal is een serie van nieuwe performances door kunstenaar Michael Portn oy.  \;De serie is ontwikkeld in samenwerking met dansers\, acteurs en zangers en wordt gedurende zes weken uitgevoerd in de zes bovenste zalen va n Witte de With Center for Contemporary Art. Met een mix van cryptisch roll enspel\, experimentele komische sketches\, hyperactieve toeschouwers\, melo dramatische opera intermezzo&rsquo\;s\, prog-rock micro-dance en tranentrek kende theoretische monologen neemt Portnoy bezit van het instituut. Door fu turologie met satire te combineren\, bouwt dit project voort op bestaande t oepassingen in de performance kunst en zet aan tot een vorm van evolutionai re performance-kritiek.

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Event s
Het \;project omvat ook diverse events\, waaronder Performance Taxonomies\, een \;symposium op 3 maart& nbsp\;2016. Dit programma omvat een serie van actuele en toekomstige ontled ingen van performance door specialisten uit het veld\; zij analyseren samen huidige soorten performance en speculeren over mogelijke verbeteringen voo r het &ldquo\;gebruikelijke&rdquo\; model. Daarnaast vindt \;The Particiturbation Room \;&ndash\; een conceptue le nachtclub &ndash\; plaats op diverse locaties \;in Rotterdam\, en pr esenteert Portnoy een avond met door hem geselecteerde films die het absurdisme in artistieke film- en video naar boven halen.

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Relational Stalinism &ndash\; The Musical< /em> is het meest recente deel van Portnoy&rsquo\;s Improvement League< /em>\, een project dat de kunstenaar startte tijdens de Bië\;nnale van Taipei in 2010. Het project heeft als doelstelling om bestaande &lsquo\;soo rten&rsquo\; van kunst te &lsquo\;verbeteren&rsquo\;\, vergelijkbaar met pl antenteelt waarbij een ras wordt aangepast door te snoeien\, te verpotten e n te kruisen.

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&mdash\;&ndash\;

\n< p style="text-align: justify\;">&ldquo\;Relationeel Stalinisme& rdquo\;

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Het Relatio neel \;Stalinisme kwam op in een theater buiten het theater in de verst rooide Benelux van begin eenentwintigste eeuw. Het was een reactie op de ve rstikkende immaterië\;le &lsquo\;kudzu&rsquo\; die de museumzalen werel dwijd overgroeide (denk aan Post-Franse Post-Conceptuele Dans\, Dans-die-we -geen-dans-kunnen-noemen\, Humorloos Minimalisme\, Feel-Good Participatie L olbroekerij (m.a.w. te veel zee-egels) en Performance zonder echte kwalitei ten buiten het uitzuigen van door het hof goedgekeurde historische referent ies (m.a.w. Referentie Brei)). De belangrijkste dogma&rsquo\;s van Relation eel \;Stalinisme zijn: Aanmoedigen van Verwarring\, &lsquo\;Logocratisc he&rsquo\; Uitbundigheid en Kluchtig Gedrag. Relationele Stalinistische wer ken gebruiken een glibberige ijzeren vuist om de toeschouwer van zijn perso na te ontkoppelen en hem de ruimte in te lanceren\, waar de waarheid alleen tastbaar is via hogere vormen van irrationaliteit.

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Deze uitzonderlijke vorm van carnavaleske wereldver vorming adopteert het ultra minimale (museale) performance palet als een be perking (performers\, in een ruimte\, dat is het dan) om het uit het monoch rome in een &lsquo\;schaambotanie&rsquo\; van slinkse\, levenslustige verta kkingen te duwen die de taal en het gedrag van de performers tot het uiters te oprekken\; dat alles ten diensten van de uitvinding.

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(vertaling uit het Engels van \;Relational Stalinism)

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Relational Stalin ism &ndash\; The Musical \;is samengesteld door curatoren Defne Ay as (directeur Witte de With) en Natasha Hoare (Associate Curator Witte de W ith) en is een is een co-productie van Witte de With en A.P.E (art projects era).

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Het project is mede mogelijk g emaakt door financië\;le steun van Fonds 21\, de Gemeente Rotterdam en de Ambassade van de Verenigde Staten van Amerika.

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logo's fondsen Portnoy

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Dramaturgie adviseur:  \; Maaike Gouwenberg

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APE

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DTEND:20160306 DTSTAMP:20160210T125245 DTSTART:20160129 GEO:51.9154779;4.4770598 LOCATION:Witte de With Center for Contemporary Art\,Witte de Withstraat 50 \nRotterdam\, 3012 BR SEQUENCE:0 SUMMARY:Relational Stalinism – The Musical\, Michael Portnoy UID:409495 END:VEVENT BEGIN:VEVENT DTEND:20160128T190000 DTSTAMP:20160210T125245 DTSTART:20160128T170000 GEO:51.9154779;4.4770598 LOCATION:Witte de With Center for Contemporary Art\,Witte de Withstraat 50 \nRotterdam\, 3012 BR SEQUENCE:0 SUMMARY:Relational Stalinism – The Musical\, Michael Portnoy UID:409496 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Upstream Gallery presents Shifting Optics III\, a new edition in a series of signaling group exh ibitions where the impact of digital culture on the visual arts is shown. I n the first edition (2014)\, a new generation of artists was introduced. Fo r this generation that grew up with computers\, working in a hybrid method between analog and digital comes naturally. In the second edition (2015) re cent developments were placed in dialogue with works by pioneers such as Pe ter Struycken and JODI\, who were using computers and the Internet already in their art in the twentieth century. While the interface between art and computers is still relevant today\, institutions and a wider audience now a lso recognize its urgency. With Shifting Optics III\, Upstream Gal lery continues its research within this rapidly transforming field by bring ing together six artists who have embraced a digital working method. From d ifferent angles and in a variety of media\, they reflect on the impact of c omputers on our collective consciousness.

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Aram Bartholl (DE\, 1972) researches the relation between the physical and digital world. A well-known example is his work Map\, for which he mad e a large sculpture of Google&rsquo\;s location-icon on the exact locations that are indicated by Google Maps as city center. For the series Come get some\, Bartholl uses a figurative element from early First Person Shooter c omputer games\, in which the player has a personal point of view with at th e bottom of the screen an image of a hand holding a gun. The coarse pixels remind us nostalgically of the visuals from nineties&rsquo\; games. By usin g a manual silkscreen technique\, unevenness arises\, highlighting the diff erence between printed colors and the ones that appear on monitors. In the installation Point of View\, Bartholl researches the role of the h and held screen as a view on the world. Thanks to developments such as Goog le Glass\, the domination of these screens in our environment will decrease again in no time.

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Max Dovey (UK\, 19 87) combines performance art and new media to research the impact of softwa re and data on human beings. The work How To Be More Or Less Human is based on im age recognition software. This software classifies photos by algorithms. Wh en you enter a selfie via your webcam\, the program analyses for example yo ur gender\, race and age based on similarities with images from online imag e databases. In a live performance\, Dovey researches how photos of himself can be indexed by software as for example &lsquo\;sexy&rsquo\;\, &lsquo\;p ragmatic&rsquo\; or &lsquo\;successful&rsquo\;. Clothing and posture play a major role in this. Because the software is based on commercial stock phot ography\, it reacts on cliché\;s and visual stereotypes. Dovey raises the issue of this disturbing development in a playful manner.

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Constant Dullaart (NL\, 1979) makes influential w ork that is deeply connected with the internet. Both online and offline\, h e reacts critically to the power structures of mega corporations that drama tically influence our worldview through the internet. He examines the bound aries of manipulating Google\, Facebook and Instagram and recently started his own tech company Dulltech with Kickstarter. Like a digital arc heologist\, he also delves into the early days of the internet. The series Jennifer in paradise is based on the photo that was used as demonstration m aterial in the first version of Photoshop. The founder of Photoshop made th e picture of his girlfriend on a tropical beach. The intimate image would b e adapted and manipulated by thousands of users of the program\, before it would disappear in oblivion. Dullaart wants to give this photo\, the very f irst to be manipulated with software that would change visual culture forev er\, back its iconic status in our collective memory.

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Yu Honglei (CN\, 1984) belongs to a generation of young Ch inese artists who effortlessly combine digital and sculptural techniques. I n China\, his work is now widely picked up by critics and museums. Yu is fa scinated by the way in which the daily life of artists is influencing their work. The digital animation video The farm is based on the eponym ous painting by Joan Miró\; from 1922\, on which his house in the Spa nish countryside is depicted. In its digital version\, Yu zooms in on vario us details\, and so creates a narrative reconstruction of the daily life of the painter. Narrating is Miró\;'s wife\; her story includes anecdot al references to Miró\;'s connection with avant-garde artists such as Man Ray\, Max Ernst and Pablo Picasso. The space that Yu creates\, asks fo r reflection on how Western art history is spreading globally through the i nternet.

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The working method of Austin Lee (US\, 1983) is exemplary for the generation of digital natives to whic h he belongs. The digital reality is completely natural to him\, which is r eflected in his use of 3D printing techniques\, GIFs and his recently publi shed SPHERES publication that merges print with augmented reality in a spec tacular way. In his paintings\, Lee ingeniously translates pixels to paint. The works start as a sketch on an iPad. Many artists see especially the li mitations of drawing software versus a sketchpad\, but Lee embraces the typ ical aesthetic that arises from it. The translation from the screen to the canvas gives the work a less volatile character\, but the use of aerosols a nd fluorescent paint recalls the digital origin. Lee's distinctive painting style is spontaneous and accurate\, with a playful frankness that reminds of the Cobra movement. The boundless energy evokes the best of the New York graffiti culture from the 80s on. But most of all the work is unmistakably contemporary.

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Jan Robert Leegte (NL\ , 1973) is among the first Dutch artists who were involved in the 90s NetAr t movement. Since 1997 he creates art in the form of websites\, which he co nnects to art historical movements such as minimalism\, land art and concep tualism. Leegte also translates the themes of his work to offline media suc h as print\, sculpture and projections. A recurring theme in his work is th e sculptural materiality of interfaces of computer programs. Remember the e arly graphic design of cursors\, selection boxes and menu bars that were to give the user the impression of actually physicaly pressing the buttons wi th graphic shadows. In 2000\, Leegte made the website Scrollbar composition\, entirely composed of scroll bars. The appearance of the artwork is depe ndent on the software that one uses to visit the site. The work In memo ry of new materials gone originates from this: the scroll bar captured as a physical sculpture that is preserved before software updates definiti vely put an end to it. With Ornaments Leegte creates a link betwee n computer interfaces and architectural ornament (such as the classical fa& ccedil\;ade of Upstream's seventeenth-century canal house) as a largely for gotten frivolity.

DTEND:20160312 DTSTAMP:20160210T125245 DTSTART:20160130 GEO:52.3691115;4.8976257 LOCATION:Upstream Gallery\,Kloveniersburgwal 95 \nAmsterdam\, 1011 KB SEQUENCE:0 SUMMARY:Shifting Optics III\, Aram Bartholl\, Max Dovey\, Constant Dullaart \, Yu Honglei\, Austin Lee\, Jan Robert Leegte UID:409493 END:VEVENT BEGIN:VEVENT DTEND:20160130T193000 DTSTAMP:20160210T125245 DTSTART:20160130T170000 GEO:52.3691115;4.8976257 LOCATION:Upstream Gallery\,Kloveniersburgwal 95 \nAmsterdam\, 1011 KB SEQUENCE:0 SUMMARY:Shifting Optics III\, Aram Bartholl\, Max Dovey\, Constant Dullaart \, Yu Honglei\, Austin Lee\, Jan Robert Leegte UID:409494 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Man is driven by an urge to ca tegorise. It is in our human nature to observe and to classify our surround ings. A system used to understand and interpret the world\, a tool to expre ss ourselves. Such systems have created a universal interconnection in whic h each element continuously informs the other. In such a structured setting \, wouldn&rsquo\;t it be impossible for a concept such as chance that is in different to the relationship between things to exist? Perhaps not when cha nce is understood as a connected substance\, linked to previous actions and decisions yet producing an unpredictable outcome &ndash\; an &lsquo\;unpre dicted rational&rsquo\;.

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Rare collisi ons of purpose examines this notion\, displaying the fine line between the directed and the unexpected through a selection of artists who have been in vestigating the shifting parameters of painting. Attention is brought to th e fusion of materials\, with each artist&rsquo\;s approach focusing upon a methodical journey punctuated by a series of accidents. Though the amalgama tion of ingredients is initially directed\, the journey becomes somewhat de liberately fraught and unpredictable\, casting the intention away from the priority of a final pictorial image. It is in this process that the develop ments of these works communicate meaning &ndash\; a process that relies upo n slight recognition and decision making\; a directed form of chance.

DTEND:20160312 DTSTAMP:20160210T125245 DTSTART:20160130 GEO:52.3707973;4.8694664 LOCATION:Boetzelaer|Nispen\,De Clercqstraat 64 \nAmsterdam\, 1052NJ SEQUENCE:0 SUMMARY:Rare Collisions of Purpose\, Robert Cervera\, Peggy Franck\, Tom Hu mphreys\, Peter Lamb\, Simon Mathers\, Neil Rumming UID:409491 END:VEVENT BEGIN:VEVENT DTEND:20160130T190000 DTSTAMP:20160210T125245 DTSTART:20160130T170000 GEO:52.3707973;4.8694664 LOCATION:Boetzelaer|Nispen\,De Clercqstraat 64 \nAmsterdam\, 1052NJ SEQUENCE:0 SUMMARY:Rare Collisions of Purpose\, Robert Cervera\, Peggy Franck\, Tom Hu mphreys\, Peter Lamb\, Simon Mathers\, Neil Rumming UID:409492 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160312 DTSTAMP:20160210T125245 DTSTART:20160206 GEO:52.3703359;4.8801005 LOCATION:Stigter van Doesburg\,Elandsstraat 90 \nAmsterdam\, NL 1016 SH SEQUENCE:0 SUMMARY:Solo Exhibition\, Lucas Lenglet UID:409490 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galerie Gabriel Rolt i s proud to present Part Here Part Barely There\, Nik Christensen&r squo\;s most recent body of work.

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For his fifth solo show at the gallery\, Christensen takes us further in his journey made of Japan ese ink and monochrome forms.

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Before  \;the recognition of a represented landscape or figure\, it&rsquo\;s the depth of colors that catches the viewer&rsquo\;s eye. The variation of tones drags the spectator into the intriguing shadows of the paintings: fro m the delicate lightness of the grey to the darkness of the pure black\, th e gaze wanders on the paper and gets entirely lost in the changeable nuance s of light. The different subjects appear so as the result of a sudden mate rialization: they just take form in front of us\, they happen\, as phenomen ological factors of the material world. Phenomenology\, Edmund Husserl&rsqu o\;s conception about worldly things as &lsquo\;phenomena which occur&rsquo \;\, is surely used as a source of inspiration. The Husserlian philosophy r esonates in Christensen&rsquo\;s lines\, it becomes a concretization of tho ughts and feelings\, accompanied by fragments of other\, semi - recognizabl e\, references.

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The dichotomy of geom etric shapes and vague\, undefined spots creates the perception of a parall el\, other dimension: the morbid figurativity of things meets the hardness of a digital\, quasi-futuristic geometry\, which reminds\, among others\, o f German expressionistic art and cinema. The fogginess of colors and the al most scientific cut of the paintings refer\, for instance\, to The cabi net of dr. Caligari\, the film where the quintessential elements of Ge rman expressionism come together. The almost idyllic nature represented in& nbsp\;My Tears Blend To Where the Rain Went \;is made of \ ;squares and rectangles\, referring more to a future digital landscape than to a traditional\, peaceful habitat. The same alienation is glorified in < em>Modern triumph\; the title itself explicates the present and future victory of technological progress.

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E ach pixel\, or hard-lined fragment\, by which the whole of the image is com posed\, gain a different meaning if reconstructed by the viewer&rsquo\;s ga ze. It&rsquo\;s exactly the versatility of this reconstruction that allows the existence of endless possibilities and realities\, giving a semiotical value to the works. \;

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The infini te ways and means of perception are what lie behind the title of the show: the impressions of the here are fragile in their instantaneity\, they are p oised between present and future\, and end being incomplete: part here\, pa rt barely there.  \;

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Nik Christensen (1973\, Bromley\, Ken t\, UK) graduated from the Rietveld Academie in 2000 and lives and works in Amsterdam. He has had exhibitions at major Dutch museums such as the Teyle rs museum in Haarlem and the Stedelijk Museum in Schiedam\, as well as myri ad international galleries. His work is part of important private and corpo rate collections\, including those of the Gemeentemuseum in The Hague\, the Dutch central bank DNB\, Gilissen Bankers and many international private c ollections. Major publications include the Vitamin D2 International Drawing Anthology at Phaidon Books and more recently Thames and Hudson &lsquo \;Picturing People&rsquo\;.

DTEND:20160305 DTSTAMP:20160210T125245 DTSTART:20160130 GEO:52.3519271;4.9020278 LOCATION:Galerie Gabriel Rolt\,Tolstraat 84 \nAmsterdam\, 1073 SE SEQUENCE:0 SUMMARY:Part Here Part Barely There \, Nik Christensen UID:409488 END:VEVENT BEGIN:VEVENT DTEND:20160130T200000 DTSTAMP:20160210T125245 DTSTART:20160130T170000 GEO:52.3519271;4.9020278 LOCATION:Galerie Gabriel Rolt\,Tolstraat 84 \nAmsterdam\, 1073 SE SEQUENCE:0 SUMMARY:Part Here Part Barely There \, Nik Christensen UID:409489 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Martin van Zomeren is pleased to present 'IMAGE OF AN IMAGE'. the second solo exhibition of Pieter Engels at the gallery.

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Pieter Engels (1938\ , Rosmalen) moved to Amsterdam in the late fifties and finished the Rijksak ademie in 1962. Two years later he founded EPO (Engels Products Organizatio n). The &lsquo\;company&rsquo\; was housed in a showroom on Prinsengracht a nd organized annual sales events of not usable furniture and shiny objects\ , referred to as products. The works were then sold together with a folder magnifying the product. Sometimes they were priced according to the weight. Engels presented himself not as an artist but as the director of the firm: Simon Es\, his alter-ego\, a fictive sales manager. Functional objects wer e deconstructed and 'repaired' in a dys- functional way\, creating somethin g never seen before. He applied the principle of destruction also to the ar t world (EPO is a striking example). and sometimes he pushed it against the public - for example when he performed in a space full of philatelists cut ting the most precious stamps.  \;

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Even though his work shows a clear influence by the Fluxus' irreverence\, Engels always kept an independent position. The exhibi- tion focuses on hi storical works made between 1963 and 1969. \;

DTEND:20160312 DTSTAMP:20160210T125245 DTSTART:20160206 GEO:52.3706006;4.8798566 LOCATION:Martin Van Zomeren\,Hazenstraat 20 \nAmsterdam\, 1016 SP SEQUENCE:0 SUMMARY:Image of an Image\, Pieter Engels UID:408916 END:VEVENT BEGIN:VEVENT DTEND:20160206T190000 DTSTAMP:20160210T125245 DTSTART:20160206T170000 GEO:52.3706006;4.8798566 LOCATION:Martin Van Zomeren\,Hazenstraat 20 \nAmsterdam\, 1016 SP SEQUENCE:0 SUMMARY:Image of an Image\, Pieter Engels UID:408917 END:VEVENT END:VCALENDAR